Elke is back with her sophomore record Divine Urge, which sees Paramore’s Zac Farro return to take on percussion duties while songwriter Jake McMullen joins Kayla Graninger (Elke) on co-production duty. The first single from the record, ‘Enchanté,’ lands somewhere between the blog-era synth-led quirkiness of Chairlift and YACHT and the maximalist radio pop of that same period, with jarring switches in vibe and tempo helping to relay the song’s message regarding the divides between humankind, nature, and technology. “Nature works together with what’s fighting against it without the opponent knowing. It finds a way to keep growing by adapting.” Graninger philosophizes while introducing the track’s Bérénice Bear Eveno–directed video, which sees the songwriter embodying the aforementioned factions of mankind, technology, and the natural world. “This is why no matter how much we develop as a society, we will always have to return to nature—it is wiser than us and cannot be controlled. Sometimes we as people wish to possess the earth to feel alive, but nature teaches us the opposite, to just be alive is to possess the nature inside us.” [via FLOOD]

Enigmatic alt-pop artist Tlya X An continues her journey with the release of her new hyper-pop single, ‘Ninja’. Following the acclaimed ‘Mi Mind Unknown,’ Tlya once again takes the reins as director and editor, collaborating with Oliver Whitehouse to deliver a deliciously quirky music video alongside the track. Carried by a driving drumbeat and Tlya X An’s unique, magnetic vocals, this latest offering masterfully blends hyperpop, R&B, and glitchy electronica. Channelling the pulsating basslines of M.I.A., Charli XCX’s glossy allure and a touch of Grimes’ eccentric genius, ‘Ninja’ is another vibrant portal into Tlya’s unique musical landscape. A heartfelt ode to her sister, born from a reflective London getaway, ‘Ninja’ celebrates their sisterhood, shared joys, and challenges. Yet, the accompanying visual is a mind-bending departure. Directed and edited by Tlya and filmed by Oliver Whitehouse, the video is a surreal dreamscape featuring heart-headed dancers, edgy choreography and a blood-drinking drummer (Lawi Anywar). Inspired by the song’s lyric “Even dreams of hell can be beautiful” from Joe Dispenza’s ‘Becoming Supernatural,’ the video presents a daring visual interpretation of the idea. It conveys the notion that life, in all its complexity, is a work of art and even in the face of adversity, can be seen as a masterpiece. This striking juxtaposition of the song’s intimate message and the video’s provocative imagery showcases Tlya’s artistic range, proving she’s as fearless a visionary as she is a musical virtuoso. “I wanted to keep the video simple inspired by the production and use a white studio,” says Tlya X An of the video “The driving forces of the song are the drum beat and the vocals which have a little choreography that me and my dancers have been perfecting over time mainly for my live shows. The original moves came to me from the beginning naturally before I even had dancers working with me and over time evolved to something more concrete which you can see in the video.”

Surely Shirley, which is made up of twins Anisha and Jenaya Okpalanze, have been serving up sugary melodies and doo-wops backed by swaying grooves for a while now, with a meticulous approach to both their music and their visual output. Directing or co-directing their videos, the pair have built out a Surely Shirley world which feels like it lives somewhere between a 60s dollhouse and a Wes Anderson film, with their music perfectly syncing with the pastels and performances we watch unfold. That’s no more evident than in the ‘Lavender Blues’ clip which dropped along with the EP. Complete with claps and shimmering guitar lines, Anisha and Jenaya’s vocals bounce between softly sung hooks and dreamy harmonies, as a groovy beat keeps everything glued together. [via Life Without Andy]

Northumbrian electro-folk musician and producer Frankie Archer has announced her new EP Pressure and Persuasion and released new single ‘Barbara Allen’ along with an entrancing accompanying video. New single and EP opener ‘Barbara Allen’ is one of the most re-told songs in the English language. Frankie’s spiralling interpretation – co-produced by Jim Moray – transcends expectations. “It’s about a mean, cruel-hearted woman (irony there),” Frankie explains, continuing: “It’s 350+ years old but is dripping with the same expectation that’s laid onto women today.” Melding otherworldly electronic production that snaps and darts between the age-old prose, Frankie utilises harshly chopped and distorted fiddle, pitch-shifted vocals, swinging drum samples and a rich assemblage of analogue and digital synths, with her distinctive approach to folk storytelling opening up a new way of understanding the fabled tale. Discussing the song and her re-imagination, Frankie said: “Barbara Allen is summoned to the deathbed of John, a man she doesn’t really know, so he can tell her he loves her, and expect her to love him back. In some versions of the song he tries to guilt-trip her into it “For I am sick, I’m very bad // One kiss from you will cure me.” Barbara rejects this random man and is branded ‘cruel-hearted’. In most versions she actually dies of sorrow the day after he does (often this is told as a warning to girls not to be so cruel).” “In my telling of the song I explain that Barbara isn’t cruel, and John is actually a bit unreasonable for expecting her to – out of nowhere – immediately love him and kiss his dying mouth (grim) and heal him. “It’s not for me to fix you, John”, she says. The song definitely turned into a band song rather than a folk tune, but the lilting 6/8 hi-hat in the verses keeps the trad feel. I also (sacrilege) added a kind of pop chorus. A lot of trad songs don’t have choruses but this one needed it to reinforce over and over again the message: ‘I don’t owe you anything / I didn’t ask for your attention / Lechery is not a compliment’ – comments that our society was not ready to hear a woman say 350 years ago and still apparently struggles with today.”

London-based, internationally assembled instrumental four-piece, Los Bitchos, release their eagerly anticipated second album, Talkie Talkie, via City Slang alongside a new video for the track, ‘Talkie Talkie, Charlie Charlie’. ‘Talkie Talkie, Charlie Charlie’ is a cinematic odyssey through 80s synth pop that would slot right into Black Mirror’s storied San Junipero episode. About the track, the band said: “’Talkie Talkie, Charlie Charlie’ feels like driving around Miami in the 80s, Grand Theft Auto style, or chatting to friends on old landlines or walkie talkies. It was the first song we recorded for the album and the first time working with our producer Oli Barton-Wood. We had such an incredible time in the studio and ran wild with some electronic drum sounds and some impromptu vocals. We love the blend of sparkly synths and smooth guitars along with bold, fat drums and bass lines. This song ended up inspiring the album title, Talkie Talkie, which has a cheeky ring to it. We could imagine it in neon lights outside our imaginary club. We had a great time with some retro phones and 90s bedroom setups, and dancing our lives away!” Watch the video, directed by Tom Mitchell, below.

With their Crown The Witch headline tour just around the corner now, Bambie Thug has unveiled a brand-new single to celebrate. Entitled ‘Hex So Heavy’, the killer track is described by the singer as “a witches’ siren, a warning to those who have crossed me. This song channels the energy of those experiences – deception, betrayal – and turns them into something transformative: strength, resilience. It’s a reminder to those who have wronged me, that life has a way of making sure we all face what we’ve set in motion. As Jojo Siwa says, ‘Karma’s a bitch…’ and it’s about to come around.” Speaking about the accompanying video, Bambie reveals: “I was thrilled to collaborate once again with Camp Productions, who worked with me on ‘Doomsday,’ for the ‘Hex So Heavy’ video. Kassandra Powell, one of my favourite directors, brought her incredible vision to this project, and our creative chemistry was undeniable once again. “The video tells the story of a shapeshifting witch conjuring spells of revenge from the underworld, and a cunning nymph above ground who has stolen a magical machete from the witch. The nymph, basking in her ill-gotten gains and the adoration of others, believes she’s escaped unscathed. But little does she know, the witch has been watching and waiting to strike back. Drawing inspiration from Suspiria and Lord Of The Rings, ‘Hex So Heavy’ is the first chapter in a saga about reclaiming authenticity stolen by another.” [via Kerrang!]

‘NASTY’ finds Kate Leah sticking to her viral breakup anthem formula in a song that’s all about swiping an ex-boyfriend back from his new girl. Described as “guaranteed to inspire you to drunk text your favourite ex,” ‘NASTY’ is paired with a music video that shows Kate’s bedroom antics as she plots to win back her ex. [via Rolling Stone Aus]

Global superstar singer/actress/versatile powerhouse Halle delivers a sublime new sound with latest single release ‘Because I Love You’. Co-penned by the British phenom Raye, ‘Because I Love You’ introduces a new side of Halle—mature, confident, and ten toes down for her paramour, while also playfully reminding him of her own worth— “you ain’t used to girls that can do it high fashion, you f* with a ten, amen.” As Halle reflects, “‘Because I Love You’ is a song for anyone who has ever been deeply in love. It’s an anthem that tells the story of all of the beautiful passion and euphoria you can feel with that person.” She then touches on the song’s accompanying visual. “The video dives deeper into how vulnerable it makes you feel. I hope people enjoy listening and thinking of the person they love the most.” The song was produced by Grammy nominated producer DemJointz who has worked with artists including Rihanna, Kanye West, Janet Jackson, and more. The song arrives with an official video produced by Lottie Abrahams and directed by Allie Avital. The cinematic official video, features stunning visuals, Halle is once again showcasing her acting chops, impressively playing multiple roles—both as the innocent and devoted girlfriend to her love interest and the sultry temptress threatening to pull them apart.

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Earlier this year, Empress Of opened for Rina Sawayama on a European tour, and she just kicked off another run of dates with Sawayama, this time in North America. To celebrate, they’ve teamed up for a new single, ‘Kiss Me,’ which is, sadly, not a Sixpence None The Richer cover. It is, however, Empress Of’s first new song since last year’s Save Me EP, and the first taste of an upcoming studio album. It comes on the heels of Empress Of’s recent features with Jam City and Lewis OfMan. ‘Kiss Me’ has with a music video directed by India Harris and shot in the English countryside. [via Stereogum]

Girl group XG have released a music video for ‘Puppet Show’, a cut from their debut mini-album New DNA. The music video for ‘Puppet Show’ star XG as leaders of a cult of faceless people, who are performing a ritual around a giant hole in the earth. The girl group later jump into the hale, transporting them to the tip of a structure that stands above the clouds. “Welcome to the puppеt show / Where we play ’em like their plastic dolls / They’ll do anything, anything, anything / When you got ’em hangin’ by a string, by a string,” XG sing on the cheeky chorus of ‘Puppet Show’. [via NME]

Phoenix-based shoegazer outfit MRCH‘s forthcoming EP, TV Bliss is slated for an October 13 release through Vertex Music Ltd. The follow-up to 2020’s No-Holds-Barred EP, the Phoenix-based shoegazer outfit’s forthcoming EP reportedly represents a bold new era for them: The duo delved deeper into collaboration, first developing demos with the help of Jimmy Eat World‘s Jim Adkins. They also enlisted the assistance of Grammy-nominated producer Tony Hoffer and mastering by Dave Cooley. The EP’s lyrical themes and visual aesthetic were inspired by Mickey Pangburn’s childhood memories of being lost in the escapism of television. TV Bliss‘ third and latest single ‘Cherry Painted Eyes’ is a dreamy bit of sheogaze that brings back memories of 120 Minutes. The song is built around glistening synth arpeggios, Mickey Pangburn’s yearning delivery, buzzing guitars, thunderous drumming and rousingly anthemic, shout-along worthy choruses. But as the band explains, the upbeat nature of the song is actually deceptive. “‘Cherry Painted Eyes’ is a song riddled with anxiety. Describing a series of panic attacks and bloodshot eyes . . .,” the band explains. “We wanted to make the video a little more lighthearted than that thought. Set in the void of space, complete with near hit from a passing comet, and a drink to take the edge off. This vid is a DIY playful nod to classics from The Cure and Smashing Pumpkins.” The video sees the pair employing AI — for good. “We built the sets out of paint, paper, quilt batting, and insulation boards. Then coupled it with AI-generated fill and sketches on ProCreate to help expand the world,” the Phoenix-based duo say. “There’s been a lot of talk in the arts lately about the negative aspects of AI. And there are for sure elements of it that are scary. Ones that can lead to really negative outcomes. But, we’re interested in using it as an opportunity to create beyond our budget. A lot like the approach we take with our music. We use whatever tools we can. Whether it’s the cheapest gear or the newest techniques. It’s all fair game. Some of this new tech kind of gives us a way to realize bigger ideas. The song and video are both a bit about bridging those gaps between fear and opportunity.” [via Joy of Violent Movement]

Pen Pin is the new sun-soaked indie pop project from songwriters and multi-instrumentalists Jeni Magana and Emily Moore. Both established musicians in their own right, they met while touring with Mitski and started writing and recording their debut album whenever they weren’t on the road. The result of their “pen pinspiration” has become a chill, vintage pop album that sounds and feels like lounging by a Palm Desert pool when the afternoon becomes the dusk. Their new single ‘The Boredom’ is about the perils of low levels of dopamine. Jeni confides, “I hope it serves as a reminder not to be too hard on ourselves when we find ourselves scrolling through our phones yet again, without knowing how we got there. ‘The Boredom’ isn’t necessarily evil, but it’s a character that you might not always want around but seems to show up when you least expect it anyway.” Surf rock drenched guitars underlay layered breezy melodies for an end of summer earworm.

North Carolina’s hemlocke springs releases her debut EP going…going…GONE!, out now via AWAL. Alongside the release, she has shared an offbeat video for new single ‘pos’, in which keen eyed fans will spot the ghosts of music videos past. The debut body of work from hemlocke springs, going…going…GONE! unfolds across seven infectious songs which showcase her knack for channelling her far-roaming influences and eccentric flourishes into heartfelt indie-pop bangers. On the EP, hemlocke reflects; “The title going…going…GONE! refers to what is currently happening to the idea of where I thought would be. The path I thought I would be walking is going….going…gone. I am now at a point where I’ve realized I don’t really know anything: the past, the present, and particularly the future. going…going…GONE! serves as my commentary as I thought about those periods of time.” [via Northern Transmissions]

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LA-based musician Wallice shares another brilliant video for her latest single ‘Funeral’. The track comes from her new EP 90s American Superstar, out now via Dirty Hit, on which Wallice envisions herself as a fictional celebrity idol, charting her own rise and fall across five tracks. On ‘Funeral’, Wallice crafts a funny and slightly tragic tale as her protagonist fantasises about her own memorial, a surrealist affair complete with her “casket in a muscle car.” Teaming up with director Phil Stillwell again to bring the story to life, we see Wallice pursued through the Californian desert by a band of grim Reapers, before accepting her fate and embracing her memorial as one last rock show. She tells us “The video for ‘Funeral’ was really important to me. It’s my favourite song that I’ve made so far. I pictured a concert-like celebration instead of a traditional solemn funeral, sort of taking the heaviness of a funeral and treating it lightly. In my videos I like to incorporate my lyrics in a literal way, but I also try to capture the tone of them as well. This video walks the line between melodramatic and sarcastic in a way that really captures my sense of humor. The video is also more broadly a symbol for how I’m evolving as an artist– the “death” of cowgirl Wallice is meant to mark the end of that era and the beginning of the next.”

Over the last several months, Dehd have been rolling out their new album Blue Skies. We’ve heard several songs from it already, including ‘Bad Love,’ ‘Stars,’ and ‘Empty In My Mind.’ The album is out now and the band is back with one more single/video. Dehd’s latest is ‘called ‘Window.” “‘Window’ is about being obsessed with true love and the construct of ‘the one,’” Emily Kempf said in a statement. “I wrote it to address my addiction to the terrible and wonderful pursuit of perfect love.” ‘Window’ comes with a video directed by Kempf alongside Kevin Veselka. [via Stereogum]

Katy J Pearson has released a third outing from her Sound of the Morning album titled ‘Alligator’, which is accompanied by a video starring Paul McGann (Doctor Who, The Three Musketeers, Luther). Pearson said of the new outing, “I wrote this track with Dan Carey at his Streatham studio. The day we did so I was having the worst morning ever; I was really stressed as I had a £500 electric bill that I had to pay. I burst into tears at the studio and from that feeling, the song just surfaced from all my anxieties. The lyrics are quite literal and were born from the idea of dissociation when experiencing anxiety. The chorus note ‘it felt just like a dream, and it keeps on happening’ refers to when you are really stressed, things just don’t seem real. There is this juxtaposition between the lyrics and the soaring chorus which is quite euphoric – it’s quite tongue in cheek and I like that about it. Dan played the bass on this track and Yuri from the band Honeyglaze played drums which really gives the track some gusto!” Sound of the Morning will follow Katy J Pearson’s 2020 debut album Return, and is co-produced by Ali Chant and Speedy Wunderground’s Dan Carey. The new album features contributions from Orlando Weeks (after Katy J Pearson contributed to his January album Hop Up) and Pet Shimmers’ Oliver Wilde. “I want people to feel things with my music, but I don’t want to cause my listener too much trauma,” Katy J Pearson said. “Counselling is expensive, so you’ve got to pick your battles…” [via Line Of Best Fit]

Brooklyn musician Zannie Owens (Really Big Pinecone, Potted Plant) will release their debut album as zannie, How Do I Get That Star, on August 19 via Kill Rock Stars. It was conceived as an homage to The Golden Record, the album of earth sounds and greetings that Carl Sagan and Lynn Margulis created to send into space with the Voyager probe in 1977. “I was following this narrative idea about an alien on Earth trying to find their way back to their home planet,” says zannie. How Do I Get That Star includes last year’s ‘mechanical bull’ single, and zannie has now released ‘a rose for every puppet,’ a very charming, gently bouncing song that’s somewhere between Feist and Angel Olsen. Above you can view the song’s whimsical video which was conceptualized by zannie, and shot and edited by G. William Duncanson. “This video was made in collaboration with my three good friends Geoff, Richard, and Will at the Cuneen-Hackett Theater in Poughkeepsie,” zannie says. “The theater opened in 1881 and the energetic history is palpable. The video is designed to be a Henson-ian daydream sequence from the perspective of a janitor. This character is a wink both to the origin of the word janitor (from the Roman god Janus, keeper of metaphorical doors, transitions, and the unification of dualities), and the late night warriors and dreamers of our world doing the unseen dirty work. The hands of fate are more tolerable when holding your friend’s hand. or a puppets hand. or your friend’s hand is a puppet holding your hand, etc.” [via Brooklyn Vegan]

Last year, Noga Erez released a new album called Kids, plus an acoustic version called Kids (Against The Machine). We last heard from her back in January, when she returned with a live cover of Lil Nas X and Jack Harlow’s ‘Industry Baby.’ Now, she’s back with a new song of her own. Erez’s latest is called ‘Nails.’ “‘Nails’ is a song about jealousy, and how being jealous of people, in this particular case another woman, makes you idealize that person in a very weird and dark way,” Erez said in a statement. [via Stereogum]

Chicago post-punkers Ganser are great at making brooding, propulsive songs with twitchy, swaggering hooks, and they’re coming up in the world. The band released the breakout album Just Look At That Sky in 2020, and they followed it last year with Look At The Sun, a remix EP that featured contributions from people like Bartees Strange, Sad13, and Algiers. Now, Ganser have announced the impending release of Nothing You Do Matters, a new three-song EP that was produced by Liars frontman Angus Andrew. Ganser co-leader Alicia Gaines tells Rolling Stone that Angus Andrew pushed the band to mess around with vintage synths: “Having Angus in a room, like, conducting as we were doing vocals and just really pushing us to go above and beyond where we’ve been before was a joy.” Opening track ‘People Watching’ moves with itchy purpose, driven by an erratic rhythm section and stabby, revved-up guitars. The new Ganser EP will also feature a Liars remix of ‘People Watching,’ and the song has an impressive video made by Ganser themselves. Ganser’s two leaders, Alicia Gaines and Natalie Garofalo, co-directed the ‘People Watching’ video, and it shows Garofalo’s bandmates burying her alive. Garofalo works in the film industry, and the band filmed the video with an LED Volume backdrop — the same advanced projection-screen technique that Disney uses to film shows like The Mandalorian. [via Stereogum]

Last month, Lorely Rodriguez returned with a new Empress Of song called ‘Save Me.’ Turns out that is the title track and opener of a new EP, billed as a transitional work between 2020’s I’m Your Empress Of and whatever Rodriguez has in store next. It’s out in late June. Along with the announcement, Rodriguez has shared another new song called ‘Dance For You.’ Much of the EP reflects on the end of one relationship while looking forward to the possibilities of new ones, and that’s a factor in ‘Dance For You.’ “I love the lyrics on this song,” Rodriguez said in a statement. “I made this in Minneapolis with BJ Burton. It was freezing outside. I was in a cave-like studio in the snow literally dancing as I wrote this. ‘Surrender to me like this’ is a touching lyric for me because I’m not hurt over this person anymore. I’ve come out the other side.” Like ‘Save Me’ before it, ‘Dance For You’ comes with a video directed by Alexis Gómez. [via Stereogum]

If you’re looking for a good old-fashioned, noughties break-up banger, CARR is here to help with ‘Cold Charlie’, taken from her new EP TV Boyfriends, out now. Recounting a frustratingly one-sided relationship, ‘Cold Charlie’ is bringing you that angsty, punky slacker pop that we all love to revisit. The single is taken from her new EP giving effortless, nostalgic indie-punk sounds with a modern twist in her strikingly honest lyrics. This is as much for anyone looking to revisit the 2000s as it is for the new generation who need a coming-of-age soundtrack. [via Gigwise]

Vera Blue has shared a striking new preview of her forthcoming second album, winding back the energy for a soaring ballad titled ‘The Curse’. Drawing parallels to her 2017 hit ‘Mended’, the new song centres Blue’s rich and reverberant tenor against a backdrop of bold grand piano chords, synthesised strings, modulated vocal clips and stabbing 808s. Thematically, ‘The Curse’ is described as “what happens when true love can feel like torture”, inspired by an acquaintance of Blue’s that fell in love with a close friend and had to “reckon what that might mean for the friendship itself”. The track arrives with an accompanying video directed by Tim Madden, showing Blue playing along to it on a piano in a pitch-black studio, before snow begins to rain down on her. In a press release, Blue further described the ways she gleaned inspiration from her friend’s turbulent experience: “When I see my friends hurting or going through something, it hurts just as much as it would if it were myself. I am a big empath so raw emotions immediately come to the surface. When writing ‘The Curse’, I’ve found myself inspired by the lives of those I’m close to, yet all these things that I’m writing about, I relate to 100 per cent and have happened to me. It’s almost like it’s happening all over again, but my perspective is on the outside.” She noted that it had “been a long time since [she’d] put out a song like this”, and teased more songs in the melancholic vein of ‘The Curse’. “I think it’s time to show those raw emotions again,” she said, “in more of a deep, heavy way, with more sadness.” ‘The Curse’ marks the first song Blue co-wrote with her partner and producer, Billy Johnston, who came into the mix after Blue wrote an early version solo on her home piano. On the process, she said: “I think the most unique thing for me was the trust and openness we had when writing together. I felt a new level of fearlessness to say certain things I normally wouldn’t.” When it came to making the song’s video, Madden “didn’t want edits or the usual music video tricks to be an unnecessary distraction”, so he endeavoured to film it in one continuous shot – entirely in slow-motion, with no special effects or convoluted set pieces – so that the clip would “allow us time to feel Vera Blue’s emotion, as it’s a very raw and emotional song”. The director continued: “[Blue] is a fantastic performer and on a really challenging shoot, when there’s no cuts, everything has to go right or you could get 90 per cent into a take and have to start over because the smallest thing went wrong. Not to mention, the video is in slow-motion too, meaning Vera had to perform everything twice as fast, the snow had to fall at the right time, the crew had to move lights into position mid-take, it’s like a dance.” [via NME]

Toronto indie pop singer-songwriter Alex Porat is back with another new single, ‘Sensitive’. ‘Sensitive’ sees Porat once again deftly balancing confessional songwriting and insistent pop hooks. Porat confronts her own insecurities and frustrations, confessing, “I hate that I’m so sensitive / All the time / I can’t say what’s on my mind.” However, the track’s ruminative bent comes wrapped in potent alt pop songwriting, bolstered by lustrous synth passages, punchy drumming, and tightly layered vocal melodies. Together, these make for a delirious pop delight, one that is full of introspective intimacy buoyed by sharp melodic sensibilities. Porat says of the track, “I’ve always known that I’m an overly sensitive person,” Alex shares about the track. “I definitely cry a lot and I let my emotions take control of me. My default is reading into situations, taking a lot of things personally, and constantly overthinking. I make my own life harder than it needs to be and that’s the whole concept behind Sensitive. Sometimes I’m convinced it’s a secret super power being able to pick up on all the little things but sometimes those little things are all it takes to bring me down.” [via Under the Radar]

Emily C. Browning is a singer-songwriter, musician, and producer from New Zealand. Not too long ago, she released a dreamy music video for her lovely indie-alternative single, entitled, ‘Andy.’ In the video, Emily and Andy nearly drown at the local swimming pool while drifting in and out of reality. ‘Andy’ tells a heartfelt tale about Emily C. Browning’s recent date with a chain-smoking guy named Andy. Apparently, they were getting along, having a nice conversation, and their eyes were always locked on each other. During their intriguing dialogue, she learned that Andy has a thing for a pretty girl on TV, someone she admires. Months later, she apologizes to her date, “Andy, if you’re listening, I know I dropped the ball, and the rulebook of attraction is elusive at most. Hope you’re doing well, hope you like the way I tell it. ‘Cause, it’s at best an apology, Andy, I’m sorry.” ‘Andy’ contains a relatable narrative and tender vocals that will resonate well with fans of Billie Eilish, Kimbra, and King Princess. The likable tune possesses mellow synths and piano-laden instrumentation flavored with alternative and indie-pop elements. Furthermore, ‘Andy’ serves as a tasty appetizer to what listeners can expect to hear from Emily C. Browning in the near future as she continues to release new music. “I wrote this song about a real date with Andy. It went really well and we talked for hours. But I just couldn’t find that real spark and I was so annoyed with myself for not being into him, so the song is kind of an apology to him!” Emily C. Browning explained. [via Bong]

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