Australian alt-dance trio Haiku Hands (Claire Nakazawa, Beatrice Lewis, and Mie Nakazawa) release ‘Cool For You,’ produced by Motez (Flume, Disclosure, Sam Smith, Tkay Maidza) via Spinning Top Records. This is the latest off of their forthcoming Pleasure Beast, due December 1. Of the single, which recalls the soundscapes of Chemical Brothers or Prodigy, Bea Lewis says, “This song is about feeling yourself, being at a party and enjoying being yourself. Being with your crew and feeling everybody, it’s the antithesis of capitalism that you need to be something else, that you need another product to feel good, that you need anything. It’s a statement that you’re already good. In fact you’re already awesome and mad and lit and you should be singing it from the rooftop and celebrating yourself and backing yourself and feeling yourself. It still gives me goosebumps when I listen to it even though I’ve heard it a million times. It’s liftoff baby!!!!”

Corlyx has joined forces with Suzi Sabotage to unveil the gorgeous, dark darkwave thriller ‘Kill Cave,’ the second single from Corlyx’s highly anticipated album, slated for a 2024 release under the Out Of Line Music label. ‘Kill Cave’ serves as a hauntingly poignant tribute to those on society’s fringes, evoking the enduring tales of enigmatic women who have been historically misunderstood and marginalized. This collaboration seamlessly melds the distinctive styles of both artists, yielding a composition that is both shadowy and enigmatic, simultaneously possessing elements of beauty and the macabre. Within their artistic underworld, darkness converges with the divine. Suzi Sabotage, renowned as a Finnish songstress who effortlessly fuses dark coldwave with synthpunk, crafts an ethereal yet danceable auditory landscape, occasionally embellished with the haunting strains of the Finnish kantele. “Suzi Sabotage was my first choice to join us in this song,” gushes Caitlin Stokes of Corlyx. “I love her powerful iconic energy, and she brought some fresh ideas to the song. We had a blast making the music video together, front women rarely collaborate, and I think we need to see more of this…our unique beauty in harmony is powerful and enchanting.” “It’s been an unforgettable, wonderfully berserk experience to collaborate with Corlyx, especially flying over to Italy to film the music video with them,” Suzi Sabotage recalls. “I handpicked the song myself out of different alternatives because it immediately took my breath away, sounding like a modern darkwave classic. They’re talented, lovely people who I think should become THE name on everyone’s lips in the goth scene.” The music video, a captivating visual accompaniment that harmonizes seamlessly with the track’s ethereal nuances, emerged from a collaborative endeavour led by director and editor Caitlin Stokes. Stokes skillfully translates the essence of the song’s lyrics into a compelling cinematic narrative. Through her direction and editing prowess, the video paints a vivid picture of a voyage of self-exploration and the process of discarding ill-conceived facades. [via Post Punk]

Following the release of recent Death By Laundry EP out on August 2 through AWAL, along with recent single ‘What Do I Know?’ and ‘Wasted Youth’, Sarah Crean supported Blackpink at BST in Hyde Park and Bombay Bicycle Club on their UK dates. The now Brighton-based artist, Crean debuts ‘The Subtle Art of Past, a fine new song with an video inspired by cult films Corpse Bride and The Addams Family – starring Sarah and an invisible man echoing the song’s sentiments. “This is my favourite song that I’ve released so far. The premise of it and its story both feel so simple yet were so extremely therapeutic for me to write. I can remember just feeling so bitter and honestly seething a little bit when we made this and the whole song came very quickly because of that for sure. But at its core it is a song about just how extraordinary a person’s impact can be both in how they come into your life and how they leave. It just might take a wee bit of extra time to accept that.” [via Nialler 9]

After releasing their debut album Fishbowl back in March, Miami-based coldwave trio Donzii have returned with a bonus EP named for and featuring the album’s second track, ‘Penetrate.’ As the teaser single ‘John Wayne’ suggests, the EP’s new material continues to reflect the fact that the band has comfortably shared a bill with New Order and Drab Majesty in recent years, while the addition of remixes of Fishbowl tracks ‘Fun’ and ‘Crash Landing’ by Brutus VII and Mr Twin Sister, respectively, reflects forays into synth-punk and dream-pop. Along with the release of the Penetrate EP, the band is sharing a Trulee Hall–directed music video for the title track, which brings the release’s chaotically green album cover to life. Shares the band, “The video is an extension of Trulee’s amazing body of work that we feel flows into our aesthetic—chaotic energy that isn’t afraid to poke fun at the hypersexual and male-dominated world we live in.” Of the wonky new-wave-by-way-of-funk track itself, the band shares that it was a conscious attempt to return to their no-wave roots while combining their broad slate of influences into something totally fresh. “‘Penetrate’ is simultaneously funky and dark, referencing many of our influences at once,” they add. “As we were crafting the song, we wanted to write something with a chord progression we had never heard before to ensure its originality and perk our ears.” [via Flood]

British dance artist Ella Rosa has got the ick. Her latest single ‘gross!!!’ is a playful tune about the awkward first stages of a relationship, where the PDA is almost unbearable. We’ve all been there, sometimes it’s inevitable and even hard to tone down when you’re feeling head over heels for someone, but Rosa is here to try and cool things down a little, urging people to quite simply “get a room.” The songwriter shares, “I made this song to poke fun at myself. PDA, puppy love, infatuation, whatever you want to call it is gross and I needed to almost make an anthem to remind myself (and others) that it’s not that deep.” Rosa’s sweet, angelic vocals glide like silk over throbbing drum and bass, while twinkling guitars, and iridescent synths create an all-consuming atmosphere. [via Earmilk]

Last week, Sevdaliza released the single ‘Nothing Lasts Forever’, featuring Grimes. She has now shared the official video which was directed by Willemkantine. Visuals of approved deepfake A-List celebrity faces, including Grimes, Ferg, Julia Fox, and Madonna, on bikini-clad competitive bodybuilder figures, exhibit Sevdaliza’s penchant for engaging with cutting-edge technologies whilst shining a light on the quest for unrealistic perfection with a pop aesthetic and dystopian, mechanic lens. “How do you get Sevdaliza, Grimes, Madonna, Julia Fox and Ferg in one space? By using the same technology that is often weaponised against artists, instead, as a vehicle to bring them together as collaborators. That’s how. Of all these uncanny artists, who is really there? Whatever medium it is that Sevdaliza and Grimes speak through, they are constructing worlds of their own that mirror and distil the world we all share,” director Willem explains. “The video for ‘Nothing Lasts Forever’ plays with the theme of transience in a digital landscape. In a world where filters are always within reach and reality blends seamlessly with our digital identities, the video seeks to question our common reality in an engaging way. Sevdaliza and Grimes are constructing worlds of their own that mirror and distill the world we all share.” [via Line Of Best Fit]

Alt-pop sensation Abby Sage is set to captivate the world with her latest single, ‘Hunger.’ Produced by MyRiot (Halsey, London Grammar, AURORA), the alluring release serves as the second offering from the Toronto-born, Los Angeles-based artist’s forthcoming debut album, due out in Spring 2024 via Nettwerk. In this compelling track, Abby Sage delves into the profound and sensitive topic of sexuality, delivering a message of self-discovery and liberation. ‘Hunger’ represents Sage’s fearless submission to her true desires and an unwavering commitment to her own identity. The chorus’s deeply personal lyrics, “Feed my hunger, No shame, I’m just a beginner,” perfectly encapsulate the spirit of the song – an unapologetic declaration of personal empowerment and the courage to embrace one’s authentic self. When asked about the single, Sage shared, “‘Hunger’ is the most important song to me on the album. It addresses the pressure and expectation that I have felt all my life surrounding sex and what my relationship with it should look like. Give enough but not too much. Want it enough but not too much. It’s my surrender to myself and what I want/crave, finding that in myself, and moving forward. I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason I hope it reaches people.” Accompanying the release of ‘Hunger’ is a spellbinding music video that beautifully illustrates Abby’s journey of breaking free from the shackles of shame as she explores her sensuality and sexuality. The video is dark but poetic, an artistic masterpiece that serves as a powerful visual narrative, reflecting the song’s themes and Sage’s creative vision.

Ahead of a UK tour later this month, Canadian twin duo Softcult bring their whirlwind year to a resounding conclusion and tease things to come in 2024 with the release of ‘Haunt You Still’. On this next collection of songs, siblings Mercedes (she/her) and Phoenix (they/them) Arn-Horn shine a more brilliant light than ever before on the many complexities of human existence. Though they’re still yet to release their debut album, Softcult are already carving out a signature sound with their enthralling, celestial shoegaze bliss interlaced with impassioned lyrical calls, opening conversations about gender equality, violence, climate change, corporate greed and much more. New single ‘Haunt You Still’ finds Softcult unpacking the lingering impact we each inevitably have in our past relationships and friendships. “Maybe it’s a defence mechanism, but we tend to demonise the people we once held close once they’re out of our lives, and it’s not always warranted. It’s a reactive way of protecting ourselves,” they explain. “This song is an acknowledgement that when things don’t work out between two people, it’s not always one sole person in the wrong. Looking back on our past, we have to reflect on the parts we’ve played and the damage we may have unintentionally left behind. When those people think of us, do they look back fondly or has the chapter of their lives where we appeared become a painful memory?”

DIAMANTE has released a new music video. The new music video, for the track ‘1987’, is the brand new single from the American singer-songwriter and marks her first new music since last year’s The Diamond Covers EP. The new song provides a glimpse into her third full-length studio album. More information about the new album will be unveiled in due course. Speaking about the new single, she says, “’1987′ is a love song to my favorite era of music: the 80s. I chose the year 1987 because that specific year birthed so many of my all-time favorite records, which have most inspired my own music. Writing this song was also a means of escape for me during what felt like a very heavy and anxious time. I remember sitting in the studio thinking about what it would be like to transport myself back to the 80s when everything seemed simpler and life had a little more sparkle.” [via Distorted Sound]

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To celebrate their new LP, the trio return with a thumping pop anthem, ‘Feel So Good,’ a Gorillaz + Fatboy Slim-inspired cut of euphoric indie sleaze with a propulsive break beat that will make you want to dance, as well as boasting an all-star production team consisting of Dan Farber (Lizzo, Tkay Maidza, G-Flip) and Josh Fountain (BENEE, Ladyhawke).

Speaking about the single, Claire Nakazawa says, “I recorded my vocals for ‘Feels So Good’ two nights before I gave birth, so the chorus ‘let it out it feels so good it makes you want to cry’ took on a whole new meaning. The music is inspired by Fatboy Slim’s anthemic dance vibe and Gorillaz.”

Beatrice Lewis adds, “’Feels So Good’ is a song about speaking your truth into a world that would often much prefer you to stay quiet, polite, in line and obedient. It can be speaking loud political truths or quiet needs and wants to the people closest to you. This song is a dedication to those moments in your life when you can be brave enough to find your voice and let it out.”

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Chanting, “All day I think about the night,” it’s clear that this is pure party anthem that takes not taking yourself too seriously… very seriously. The relentless percussion is produced in a way that makes you feel like you’re deep in the belly of an underground warehouse banger even if you’re dancing alone in your home, or in the park on a sunny Saturday, or in the cereal isle on a routine grocery run. It’s an instant mood-booster no matter where you are.

Of the track, the band say, “’Ma Ruler’ smacks you in the face like your best friend’s just arrived at the party. The one you’ve been waiting for who’ll drive the dance floor into the ground and no one will leave once they’ve arrived.”

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Having established herself as one of Australia’s most important voices and striking songwriters of recent years, Melbourne-based artist Eliza Hull has proven the longevity of her art, and continued evolution. With the release of her new single ‘Running Underwater’, the songwriter and musician embraces a beautiful new chapter of creative and personal expression; the threads of experiences from both sides of her being knitting together beautifully in creating a gorgeous piece of new music. ‘Running Underwater’ saw Hull work with ARIA Award-winning producer Pip Norman (Baker Boy, Missy Higgins) on production, recording the track at BIGBANG Studio. Mixed by Simon Lam (Woodes, Cub Sport) and mastered by Idania Valencia (Sam Smith), ‘Running Underwater’ – in its final form – lets the dynamism of Hull’s vocals and arrangement take prominence, flourishing with each sonic swell. ‘Running Underwater’ is the first song Hull has written about being disabled and living with a condition called ‘Charcot Marie Tooth’. The condition, a degenerative nerve disorder, has affected Hull’s walking for a long time; it was a disability that she kept hidden, specifically in the music industry. In recent years however, Hull has emerged as an accessibility advocate within the industry; her determinism and approach to educating and spurring on change in perspective and structure, when it comes to the way disabled musicians are treated within the industry, has been incredibly influential. ‘Running Underwater’ is a powerful musical representation of Hull’s strength, and an example of the artist coming further into her own.“For a long time I hid my disability, especially in the music industry. This was due to under-representation of disabled musicians and I was constantly shown that disability was a deficit or something that should be feared and hidden. It was such a heavy weight holding onto these beliefs, it was exhausting to constantly hide. This song is about pushing up against society’s view of disability, it’s about letting go of the fear and being authentic and true to myself and showing that it’s ok to be different.“ Working with director Keiran Watson-Bounce, Hull has also produced a moving music video for ‘Running Underwater’, filmed at The Goods Shed in Castlemaine. Featuring the talents of dancer ‘roya the destroya’, the experience allowed Hull to bring the song to life in a beautifully unique way onscreen. And in doing so, has represented disability onscreen in a way not generally seen. “The music video features my very good friend ‘roya the destroya’. She is a brilliant disabled dancer who moves like nobody I know. She actually started busking with an early version of the song and sent me a video of her performing with it. When I watched that video I knew I had to collaborate with her on the official music video. She has a beautiful ability to inhibit what I am feeling in my music and then express that through movement. In the music video she is like my alter-ego, almost like the spirit part of what I am feeling in the lyrics. Keiran Watson-Bonnice is the director of the music video. We have worked together in the past on the ABC Kids TV show And Then Something Changed, which I produced and wrote the music for. We shot the clip in one day, in mostly one take in the Goods Shed on a freezing winter’s day.“

Next month, Christine And The Queens are releasing a new album, PARANOÏA, ANGELS, TRUE LOVE, recorded with super-producer Mike Dean. We’ve heard ‘To Be Honest’ and the 070 Shake-featuring ‘True Love’ from it so far, and now Chris is sharing another new one, ‘Tears Can Be So Soft.’ “Tears can be so soft was born out of the marriage of a Marvin Gaye sample that caught my attention, this intoxicating, elegant, almost poised in its melancholy string arrangement,” Chris said in a statement, adding that they wanted to create “this deep sense of almost womb-like, hypnotic space where the voice could soar in its loneliness, [an] interplay between the suffering that motivates tears and the gentle healing effect they can have.” [via Stereogum]

In June, This Is The Kit will release a new album, Careful Of Your Keepers, which follows 2020’s Off Off On and is produced by Super Furry Animals’ Gruff Rhys. We’ve already heard lead single ‘Inside Outside,’ and now they’re back with another album track, ‘More Change,’ which comes with an animated video created by Benjamin Jones. Jones explains of the video: “With this video I wanted to create something that felt homemade, organic and very much alive. Using very simple puppetry with some old coat hangers and some basic stop motion (and some surprisingly willing neighbors who lent me their faces) I’ve tried to create a few characters and scenarios which are connected in some ways, but also reflect the themes I picked up from the music – sadness, compromise, exploring new ground, and finding new ways to help each other move forward.” [via Stereogum]

Water From Your Eyes have released a new single and video ’14’, the latest preview from their forthcoming album and Matador debut Everyone’s Crushed, out May 26. A crescendo of swelling strings, pizzicato and electronic drone moving around a cyclical vocal refrain of “How many is 14?,” the band describe the song as “a quasi-serial inkblot signifying submission to personal demons and the realization that change is both necessary and inevitable.” Watch the widescreen black & white video directed by the band’s Rachel Brown below. On the video, Brown says: “I was largely inspired by Meshes of the Afternoon, Last Year in Marienbad, and Spirited Away, as well as the painting The Triumph of Baccus by Diego Velázquez, a favorite of Nate’s. I wanted to capture the feeling of being haunted by one’s own inner turmoils and the act of letting those conflicts go.”

Late last year, art-pop masterminds Kate NV and Angel Deradoorian announced that they’d joined forces to form a duo called Decisive Pink. Next month, they’ll release their debut album Ticket To Fame. Now, they’ve also shared a joyous piece of spiky weirdness called ‘Dopamine.’ ‘Dopamine’ is a six-minute piece of deadpan art-funk about the emptiness of consumerism. Kate NV and Angel Deradoorian chant the names of products with arch, sarcastic glee as their music mechanistically tics away. In the video, director JJ Stratford films the two of them in theatrical makeup as they work in a warehouse full of boxes. Both musically and visually, ‘Dopamine’ recalls some of the artiest post-punk of the late ’70s and early ’80s. [via Stereogum]

Ashnikko has unveiled the official video for her single ‘WEEDKILLER’, directed by Furmaan and Vasso. It follows the release of her other recent singles ‘You Make Me Sick!’ and ‘Worms’, which will appear on her highly anticipated debut album of the same name, due to arrive imminently via Parlophone Records. “This song is the one that gave birth to the whole album,” stated Ashnikko. “It’s the climax of the record, the epic fight scene in the wasteland. Swords drawn, roots deep into the ground, I have come here to photosynthesise and eliminate the weedkillers. It is a violent fantastical storytelling set in my realm.” [via Dork]

Louise Post – of seminal band Veruca Salt – is sharing the video for her first debut solo track ‘Guilty,’ a perfect reverie of guitar haze. Directed by Meeno and written and produced by Post, the video showcases a married couple’s relationship on the fritz with no one person more guilty than the other in their wrongdoings. About the song, Post reflected, “I wrote this on a Tuesday and recorded it on Thursday, writing most of the lyrics on the drive from my house over to the studio. This song literally poured out of me. I was sleeping when it woke me up and demanded to be written. The first verse and chorus landed as an accusation, but then I realized it was far more interesting, and much more true to life, to have everyone in the song be guilty of something. To have the narrator own up to her own guilt, and then acknowledge the universality of it all. I mean, what would we be without our secrets? The song is ultimately about not taking ourselves so seriously.” [via AntiMusic]

Singapore-born, London-based artist Yeule has released a new single, ‘Sulky Baby’, alongside news of new US and UK headlining shows later this year and their signing with Ninja Tune. ‘Sulky Baby’, which is accompanied by a visually stunning music video directed by Yeule themselves and Jaxon Whittington, is a melancholic tune that blends 2000s alt-rock and shoegaze. Yeule said of the newly released track via a press statement: “‘Sulky Baby’ was like a 2000s alt-rock shoegaze hybrid tinted in sad satire. I felt like I was talking to a younger version of me, stopping her from crying, looking back at the ways I betrayed and neglected that innocence from myself. I failed to protect her and I felt like I needed to go back in time and fulfil what she was starved of. So that she could return to my side. So that I can smile like a little kid again.” They continued: “The song gives quite vivid descriptions of a depression I felt with almost a burning passion, yet I tried to give it a light-hearted tone. I think romanticizing is not always that bad. It helps to do it sometimes when you’re dealing with a repressed memory. I think it is called an advantaged delusion? Sometimes, that’s the only way I can remember parts of me I don’t want to remember, so that I can lay her to rest and heal. My mother used to tell me as a child, not to sulk all the time. I guess that’s why sulking is so special to me.” [via NME]

Lana Del Rey has released the 10-minute music video for ‘Candy Necklace’ featuring Jon Batiste from her new album Did you know that there’s a tunnel under Ocean Blvd. The video, directed by Rich Lee and shot in Los Angeles, sees the singer take on the role of numerous Hollywood starlets throughout history like Marilyn Monroe and Elizabeth Short, also known as the The Black Dahlia. The black and white video features behind the scenes shots of Del Rey through the camera finder, in the make-up chair and alongside collaborator Batiste at the piano. “The whole thing about the video — why it was all supposed to be behind the scenes — was because all these women who changed their names and changed their hair, like me,” Del Rey tells the crew at one point in the video. “It’s like they all fell into these different snake holes. So the whole point is like, how do you learn from that and not fall into your own thing?” [via NME]

‘The Most Wanted Person In The United States’ — the recently released 100 gecs track — has finally received the goofy visuals to match its irreverent sonics. The new video finds Laura Les and Dylan Brady masking up to steal packages off of porches, brandish plastic swords at Ring doorbell cameras, kick a life-sized plastic horse, and hold up a convenience store with automatic weapons made of Monster Energy cans, among other misadventures. [via The FADER]

Borderline Toxic have made their long awaited return, releasing latest single ‘Sir Satan’. The band’s desire to explore emotive, personal lyricism paired with a raucous background of scuzzy riffs is exhibited in full. Featuring another flamboyantly crafted video, Borderline Toxic continue to illustrate why their sound has struck a chord with press both at home and abroad. ‘Sir Satan’ delves into themes about our own character, our flaws, our strengths, our relationships and how these individual traits are influenced by both positive and negative experiences that have shaped us. Hypnotic front-woman Kerry Glass delivers the line, “…nothing is A-Ok, said Sir Satan…” with stinging aplomb. Kerry is telling the listener that our demon is always in the back of our mind causing doubt and, ultimately, sabotaging the healthy relationships we create. Kerry’s own personal rebuke to the paternal issues she has faced growing up are laced throughout the song and are cocooned by filthy, face melting guitar riffs, biting drum beats and a grooving baseline.

Sweden’s Hot Breath returns with the new hot single and visually stunning music video ‘Keep On Calling’. The track is a highly energetic rock explosion with powerful vocals and thrilling riffs, of which the band comments: ”’Keep On Calling’ is a song about trying to break free from forbidden duets – even though your body is as tense as a bow-string”.

Ukrainian refugee and pop singer-songwriter Natisa Gogol has shared the video for her latest single entitled ‘Aesthetics’. The disco-infused dance pop anthem is a love letter to the LGBTQ+ community, especially those in Russian occupation who are further discriminated against. Natisa confides, the song “is a tale of love that is more powerful than life itself, overcoming injustice, prejudice, and any obstacles it may encounter.” The futuristic video is a dedication to the LGBTQ+ community, portraying a love affair between two women that transcends space and time. ‘Aesthetics’ further highlights many people’s concerns that if Russia occupies Ukraine, the LGBTQ+ population will have their current rights taken away. Natisa’s music delivers a powerful message about holding onto strength and hope, even in the most disastrous and dark of times, as she herself was forced to flee her home in Ukraine to begin a new life.

Toronto–based songstress Sam Casey wears her authenticity like your favourite pair of well–worn jeans. Her unfiltered and unapologetic songs are inspired by the past two years of her life: all the breakups, the makeups, the drugs, the dancing, the crying, the anxiety and the love. Her passive aggressive song, ‘7 Second Superstar,’ was inspired by TikTok fame. It comes off as judgmental because it is. Sam and her co-writers, Julianna Eye and Chloe Kay, felt critical of social media – TikTok in particular – and how it promotes a culture of one hit wonders. “Julianna, Chloe, and I wrote this song over Zoom in 2021 with TikTok reaching its height of popularity and all of us being quite literally forced to participate on the app,” Sam explains. “After a conversation regarding our experiences in the early-2000’s and late 90’s (before social media existed), we decided to try a blink-182 vibe and about 2 hours later we had a song.”

Grace Potter is gearing up to release her fifth studio LP Mother Road via Fantasy Records on August 18. An audacious and heart-pounding map of the soul, Mother Road finds Grace deconstructing her deepest fears and darkest regrets, charting the fallout with brutal honesty and emotional daring. To celebrate the release, Potter has shared the inviting, irresistibly twangy title track. The single comes alongside an endearing Pulp Fiction meets Thelma and Louise styled video. Grace Potter reflected on the meaning of Mother Road, saying, “In Grapes of Wrath, John Steinbeck called Route 66 the ‘The Mother of all roads…the road of flight.’ As I zeroed out my odometer and started west on my road trip across the US, I hoped that driving the road of flight would give me a bird’s eye view of my life. But it didn’t take long to realize that I was not flying; I was running away. In the solitude, I found myself smashing open the piggy bank of deeply-buried memories. Those gems of my real-life exploits spilled into my creative consciousness and emboldened me to write an album that reaches far beyond what actually happened–launching me down the alternate-reality roads of what could have happened.” [via uDiscoverMusic]

Grammy-nominated Nigerian dance-pop vocalist Kah-Lo releases her new single ‘fund$’ on Epic Records. Spinning a tale of greed and glory, Kah-Lo’s latest single sees her fierce vocals cut with a darker edge. A powerful anthem that flaunts Kah-Lo’s intrinsic ability to seamlessly blend genres at her will, ‘fund$’ commands attention with its shiny synth stabs, punchy basslines, and rhythmic percussion. Kah-Lo’s playfully audacious lyrics add a feminist flare to the track as she sings, “Girls just wanna have funds, can’t have fun if you don’t have funds”. As with all of Kah-Lo’s originals, her vibrant persona shines through on ‘fund$’ as she teases her more rebellious side. ‘fund$’ arrives with an official music video that sees Kah-Lo take a murderous turn to enact revenge on those who have done her wrong. Portraying a femme fatale in this Kill Bill-esque music video, ‘fund$’ is an enticing introduction into Kah-Lo’s villain era. [via Find Your Sounds]

Madeline Kenney has announced her fourth album, A New Reality Mind, arriving July 28 via Carpark Records. Following 2021’s Summer Quarter EP, A New Reality Mind was produced and recorded by Kenney in her basement and processes the abrupt end of a long-term relationship. Along with the album news is a lead single, ‘Superficial Conversation,’ which also has a self-directed video. “‘Superficial Conversation’ is my way of looking back at the ways I shrunk myself or ignored my own needs in favor of the needs and desires of others,” Kenney explains. “While I wish I had acted differently, I want to be kind and forgiving to my past self and be able to grow and move forward with more power and love.” Of the video, Kenney says: “I wanted the video to show a forced transformation, from the inside and out. Jess Bozzo’s choreography really captured what I wanted to evoke; a painful change that becomes a pretty joyous opening with room for desire and play.” [via Stereogum]

Australia’s acclaimed alternative dance trio Haiku Hands have returned with a new single and music video. Claire Nakazawa, Beatrice Lewis and Mie Nakazawa are on fiery form on their new track, titled ‘Nunchucka’. A dancefloor cut with punk energy, the addictive track offers an instant sonic adrenaline rush. “A super charged high energy self affirmation anthem for anyone who wants to wipe off the patriarchal stain of self-loathing,” the band says about their single. “A song to listen to before you go out, when you’re out, and when you get home. Enjoy your life.” The accompanying music video, directed by Triana Hernandez, sees Haiku Hands and a set of mysterious characters matching the rebellious spirit of the track. [via The Brag]

Up next from LA’s resident femme-punk royalty, The Aquadolls, comes ‘Far Far Away,’ the final single before the June 2 release of their album Charmed. A slice of upbeat summer optimism, the song featuring production by Chris Szczech (The Goo Goo Dolls), is a call to arms for anyone looking to ferociously take back their independence. In the single’s official video directed by longtime creative collaborator Jenna Houchin, the band is drenched in a retro malaise as they attempt to bust out of the norm. Lead singer Melissa Brooks said, “’Far Far Away’ is a fairytale twist on the working class, discussing that the only person who can truly save you is yourself. Recorded by Chris Szcech, this up-tempo track features surfy guitar licks reminiscent of early Vampire Weekend and hand claps to ensure that anyone can clap and chant along to this modern self-love fairytale.” Bassist Keilah Nina chimed in saying that this is, “A tune about struggling with work-life balance. The painful reality of getting trapped in the same 9-5 routine and feeling blocked or detached from personal growth, success, and/or love as a result. It’s also a tale of acceptance, sometimes you have to pull yourself out of the dirt, and that’s okay!”

Sarah Kinsley is pleased to share details of a new EP, Ascension, for release next month via Verve Forecast/Decca Records UK. The EP is released on June 9, and previewed with ‘Lovegod’ and accompanying music video. The video is produced by Sarah who also hand-crafted the ‘Lovegod’ character who features throughout the video. The song itself was written, performed, recorded, produced, and mixed by Sarah. Sarah Kinsley on the new track: “’Lovegod’ is the most devious I think I’ve been in my writing, My own ‘lovegod’ is a perfect lover, an answer to a prayer, an antidote for romantic pessimism. Where can one find love these days? Why do we need it? Why do I find myself begging for some spiritual deliverance?”

Berlin-based, Belgium-raised rising pop icon MOLI returns with her dreamy new single ‘It’s Not My Fault’. Produced by JUNGLE’s Tom McFarland, this nostalgic new cut evokes the 80s with its shimmering electro-pop leanings, wavy synths and MOLI’s signature delicate, soulful vocals. Speaking on the single, MOLI said – “‘It’s Not My Fault’ is about coming to the realisation that you need to leave something that is bad for you and finally feeling a glimpse of that sense of freedom you were missing after feeling pulled down and heavy for so long. I personally felt like certain romantic situations I was in really weighed me down. They felt very one sided. Always chasing people, putting them on a pedestal and putting so much of myself and emotions into it only to end up feeling like I was never enough for them. I would feel so vulnerable and susceptible to being taken advantage of. I didn’t feel like being my true self was okay as I was so focused on pleasing the other person. Making it to the other side of that and experiencing healthier relationship dynamics made me feel so much lighter, confident and independent. It is so freeing to be unapologetically me. At the same time, I have been learning to navigate a very male dominated industry. I feel a lot of growth has happened for me over the last few years. I have my own opinions and I am confident in what I do which has made such a big difference if ever I do end up in a room with someone who I do not feel respected by. It is a very liberating feeling to not be so dependent on someone else’s validation, opinion and it’s that sense of freedom and confidence that I hope ‘It’s Not My Fault’ portrays.” The single arrives with a slick and sumptuous video shot by director Marek Partyš and inspired by the drama and hijinks of old films. Transporting viewers back to the 80s, the visual is set in a casino following a host of glamorous con-men manipulate a roulette wheel, before MOLI in her most baddass, empowering performance yet, unexpectedly swoops in and steals the final riches. Speaking on the video, Partys said -“The first time I listened to the song It is not my fault, I got a whiff of the 80s. The mysterious club, the strange characters, the detective, the casino, the smoke, all popped into my mind while listening to the song. It was a fun ride to piece all these elements together into a story where the singer Moli herself plays one of the main roles. And I’m convinced that she did it perfectly. The whole crew deserves a lot of thanks and respect for helping us with the whole production process.”

Sydney Sprague has released ‘smiley face’ via Rude Records. The video, which was done entirely through CGI and a phone app called “in3D”, which takes viewers through an metaverse driven, wild world of Sydney and her band as avatars, complete with dancing and an epic ending of Sydney flying into the sun. “The visual parts of making music can be really stressful for me,” explains Sydney” “… so going into the making of this video the most important thing to me was that everyone involved was having a good time. That’s why I really love this video, because every part of it was us going “what’s the dumbest thing that could happen” and doing that.” “smiley face: dance-y indie pop/rock. I wrote ‘smiley face’ about this dream I had that made me wake myself up because I was laughing really hard out loud, ” she continues.

Turning the page to a new chapter, multi-platinum singer-songwriter Bishop Briggs shares a confessional new single entitled ‘Baggage’. Bishop also announces the arrival of her highly anticipated new EP, When Everything Went Dark – out June 23. On the track, Bishop embraces her stark humanity like never before. She adds, “I am not perfect. In fact, I’m quite messy. I could say life is messy, which it is, but part of becoming an adult has been acknowledging the messiness that I have too. ‘Baggage’ is the first song where I stand in the mud and triumphantly stomp my feet in it. I can only hope that others feel empowered to own their version of messy and know that they aren’t alone in it. I have found that when I unabashedly show my imperfections and my wounds I am growing. So, there you have it, that’s my baggage.” Re: the striking accompanying music video for the track, Bishop comments: “I didn’t know how well I could hide my sorrow until I did it. Outwardly I would have fleeting moments of socially acceptable niceties and then the minute I was alone I would dissociate, completely unable to function. How could these two extremities exist in one body? It was and is exhausting. I wanted this music video for ‘Baggage’ to show that our blue circles aka our trauma can be meticulously hidden even if someone appears okay on the outside. I hope that whoever watches knows that they are not alone and that there’s a community of people waiting to be supportive.”

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