Unsurprisingly for an artist who has spent much of her musical life behind the kit, it’s the beat that immediately commands attention. Steady, prominent drums provide the heartbeat for layers of gleaming electronics, while Lia’s brilliant vocal carries an emotional depth that cuts through the song’s rhythmic pulse. There’s a confidence and experience to her delivery that makes everything feel effortless, balancing vulnerability with an irresistible groove. Far removed from the whispery dream-folk associated with her previous material, ‘If Not For The Chaos’ feels made for a roller disco, mirror balls scattering light across the room as its electronic rhythms keep everyone moving.

Lia describes the single as “a continuation of blending emotion with intent”, bringing her heart to the forefront while reflecting on fleeting connections and moving forward with her solo work. That combination of emotion and movement is where ‘If Not For The Chaos’ really shines. Introspective it may be, but this is music with a physical pull too – proof that sometimes you can process what’s going on inside your head while dancing underneath a mirror ball.

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The song was written during a series of earthquakes in Iceland that caused the musicians to feel uneasy but also strangely excited. These feelings ultimately led them to write ‘See Feel Touch Die,’ a song that feels both ritualistic, suspenseful and exciting: a testament to the relentlessness of mother nature in both her repetition and unpredictability.

Stefánsdóttir had written lyrics during a visit in Los Angeles where she experienced extreme droughts and wild fires – lyrics which Valsdóttir felt inspired by and ultimately used as building blocks for the song’s lyrical content.

SCAM explores these themes through a hypnotic yet playful bassline, tight percussion and modular flares. The song feels like a train ride that keeps you locked in through out it’s many twists and turns.

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‘Do What I Want’ introduces new listeners to an artist unafraid to push boundaries, blending raw honesty with a playful, mischievous streak. The track channels late-night chaos and dance-floor release, but always through FILLY’s lens: sharp, self-aware, and unwilling to conform. Her performance is commanding and tongue-in-cheek all at once, striking the balance between satire and sincerity that makes her vision feel distinctly her own.

“My collaborator Gabe Greenland and I got into this super tiny, hot studio in London. The AC was broken, so we had to keep the door open just to survive. He told me he’d always wanted to make a Euro inspired track, and I was like, say less!!! Let me introduce you to my world. I think the whole studio building could hear us making this one,” says FILLY.

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Alongside the announcement, Quealy drops the first single and video off the project, ‘Londontown.’ A synth-filled journey through nostalgia, longing, and the magnetic pull of a place that holds both dreams and heartbreak, ‘Londontown’ captures the bittersweet romance of chasing something — or someone — through time and memory. It’s for anyone who’s ever searched for connection in a world that moves too fast. The video perfectly embodies the push and pull of the track, as Sam and her dancers deliver a performance so infectious, you’ll be itching to join in and dance your heart out.

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Both written and produced by Lights, ‘WHITE PAPER PALM TREES’ brings some of Lights’ early-day influences to the forefront, reminiscent of her more nostalgic leaning material. ‘SURFACE TENSION’ pushes Lights into new territory, channeling dark wave and new wave elements and a string of German lyrics as a nod to A6’s inspirations.

“I couldn’t decide which song to release because I feel like both appeal to such different sides of the fan base,” explains Lights. “I had the idea to release both simultaneously and let the fans decide where they stand.”

The diversity of the tracks speaks to the breadth of her album. The dual release is set to please fans both old and new, while their dualities extend into the visuals for each song. Both directed and edited by Lights, the accompanying music videos are shot and edited to interact with one another when played next to each other at the same time. You just have to decide which volume to turn up.

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“ALIVE AGAIN is kind of a “last hope” anthem,” says Lights, “It’s about the lows we hit and the demons we carry, and how, from that vantage point, we can sometimes gain clarity about what we want from our lives and the people around us.”

Set against a hyper-melodic, fast-paced new wave backdrop, the song blends nostalgic sounds with modern energy. The accompanying music video, brimming with horror movie references, portrays a whimsical camaraderie with those inner demons. Both haunting and uplifting, ‘ALIVE AGAIN’ delivers a bold, cathartic listen that cements Lights’ reputation as a boundary-pushing force in the electro-pop scene.

On the inspiration behind the song and music video, Lights says: “We all have demons, so we might as well learn to live with them. Or — as the music video depicts — even learn to hang with them (along with a plethora of horror movie references). Much like a lot of my new music, I was able to capture a hyper-melodic, fast-paced new wave feel in the music that provides a nostalgic twist to the whole experience.”

A6:

1. INTRO
2. DAMAGE
3. ALIVE AGAIN
4. SURFACE TENSION
5. YOU’RE KILLING ME
6. WHITE PAPER PALM TREES
7. GHOST GIRL ON FIRST
8. TAKE IT EASY
9. DRINKS ON THE COAST
10. CLINGY
11. THE OTHER SIDE OF THE DOOR
12. PIRANHA
13. DAY TWO

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“I’ve been kinda homebound lately, trying to do the things they tell me,” she sings, describing the feeling of being unable to act – even with the insights and tools she has gradually acquired through years of focusing on her own inner development. A waiting position in deep longing to break free from an overwhelming doubt in her own judgment.

‘Hyperdoubt’ starts as an honest and introverted song, but quietly builds up to a euphoric wall of synths and vocals, opening up to Cucuun’s grandiose and hyper-organic universe, which the listener is invited to embrace. “I know there’s no wrong or right, but I’m trying to find it” is her impatient realization that she is still stuck trying to figure life out with her head, and that she is trapped in the belief that there is a right and a wrong way to do things.

There is something pitiful and self-deprecating about the lyrics, but at the same time something sincere and self-aware. The song is written from a self-pitying perspective, where Cucuun exposes both herself and her fellow human beings’ ego-driven minds. “Please, applaud me,” she almost whispers in the middle of the song, with a desperate hope that external recognition would be able to relieve the pressure from herself. The song deals with the grief of unfulfilled potential. The potential for a lot of beautiful experiences, she could have lived in that time, which was wasted on longing for something bigger – and thus missing out on what is.

With ‘Hyperdoubt’, Cucuun wants to pass on that message to her fellow overthinkers and hopefully bring the listeners out of their heads and into a little closer contact with their sensing body. ‘Hyperdoubt’ is produced in close collaboration with Frederik Meldgaard, who is also part of the Danish duo, I Sky.

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“People step onto the dance floor to be themselves, whether they seek to disconnect or are in search of a deeper connection with others. It unlocks a part of ourselves that often lies dormant in our daily lives. The dance floor offers an escape from a world that tries to funnel people down the same cookie-cutter pathways, even though no one is built for the same path,” says Kiesza about the new track.

“A friend of mine once said, ‘If none of my friends are going to Heaven, I just want to go where they’re going’. It made me think about the oppression that can come with self-expression and the courage it takes to wake up every day and be completely yourself. In ‘Heaven Ain’t Calling,’ the underlying message I’m conveying is that nothing will stop me from being exactly who and what I was created to be. And if Heaven Ain’t Calling me, I’m going where all the people go!”

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Following on from recent singles ‘Loser’, ‘All I Want’ and ‘Firework’, ‘Take It Slow’ continues Kuoko’s musical evolution, melding emotionally charged electronic melodies and wry, introspective lyricsim, exuding both vulnerability and empowerment. She says: “As a songwriter, producer and visual artist, I am well aware of the self-exploiting tendencies of our fast-living society. With ‘TAKE IT SLOW’ I try to reflect on the need to take a break. Wee need to remind ourselves to take things slow, I wanted to portray a dreamy synth landscape, that counters the upcoming winter days with a bit of sun and warmth.”

As a DIY artist who not only produces her own music, but is also deeply involved in the visual world around it, this is a topic close to KUOKO’s heart. Her laidback vocal approach to the catchy chorus effectively centres this message around joy and fun.

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Digital Precision, the forthcoming self-produced second album by able machines, moves into uncharted emotional and musical territory for the pair. “I think for both of us, writing this album was a cathartic purging of emotions,” says vocalist Tay Côlieé. “Each song is a little glimpse into the inner workings of our brains and how we navigate the tangled dynamics of angsty love.” Over a varied set of 12 tracks, the project allows the duo to strikingly expand their sonic universe using punchy, futuristic production and timely, thoughtful lyricism–written and produced entirely by the two artists in Los Angeles. With their second album, the pair is able to expand on the work they’ve made and experiment with their influences. Côlieé says, “Stylistically, this second album gave us an opportunity to dive deeper into developing our sound. We had fun pulling elements from our background in different musical genres — like my love of Fiona Apple and Elliot Smith, Linus’ punk/metal upbringing and then melding all that into the electropop sphere.” The majority of Digital Precision was mixed by Seth Earnest (Tessa Violet) and mastered by Paul Logus (Anthrax, Notorious B.I.G.).

‘Evidence,’ out today, is an empowering, Swedish pop-influenced earworm with an irresistible baseline and dreamy vocals. Côlieé says, “We wrote this as sort of a response to breaking out of toxic relationship patterns and realizing your own worth.” The album was already written when the track made its way into their lives, but they saw something special in it and dropped everything to record it. Côlieé adds, “Musically, it’s our tribute to our favorite Scandinavian artists.”

The track’s accompanying self-directed video is a cinematic CSI-style take on the song as the duo step into character as detectives, doing research and collecting evidence investigating a toxic ex. Dotson says, “It was the perfect opportunity to put our 3 “band chihuahuas” in the video as the K-9 Unit. We found an old audio parts manufacturing lab in East LA and it was the perfect location for our crime lab.” The plot-based video posed new challenges, like having to recruit multiple characters other than themselves for the first time. Côlieé adds, “The production had so many moving parts, rather than just Linus and I winging it, we had so many opportunities to plan and add little Easter eggs in every scene — like hiding our song lyrics in the love letters and having our logo appear in subtle places.”

Digital Precision:

1. Nefarious
2. Digital Precision
3. Coronal Mass Ejection
4. Watch The World Die
5. Evidence
6. Where Is My Mind?
7. Machiavellian
8. Hope It Hurts
9. You’ll Find Out
10. Conclusions
11. Dirty Pictures
12. 33°

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