Horsegirl is announcing their new record Phonetics On And On, produced by Cate Le Bon. The meditative lead single ‘2468’ is out now. ‘2468’ comes with a music video directed by Eliza Callahan and choreographed by Alexa West, and it encapsulates the deadpan fun of Horsegirl’s music. They’re also revealing a handful of US tour dates for this spring. [via Stereogum]

Lambrini Girls (Phoebe Lunny and Lilly Macieira) share new single ‘Love’ from their much anticipated debut album Who Let The Dogs Out releasing January 10 via City Slang. With their headline tour next year moving quickly, they also announce a string of intimate record in-store performance to join the records release. The band say of the single, “‘Love’ isn’t a critique on real affection—it’s about mistaking toxicity for love. Like a moth drawn to a flame, unable to discern between warmth that soothes and a fire that burns you, and getting pissed off about it. It’s an embrace full of sharp edges, a kiss that stings. Poison pretending to be sweet, venom dressed up as nectar. When love is learned through chaos, pain feels like connection. It’s the cycle of chasing affection through suffering and holding on because you’ve never known anything else. It’s about the bitterness and resentment from trying to find something, only to realise it remains elusive. What this song conveys isn’t love at all; in fact, it’s very opposite.”

Zac Dov Wiesel directs a dazzling Y2K-inspired promo for Audrey Nuna. The video for ‘Mine’ features a clever central hook, hopping between an austere, industrial performance and a silver-tinged utopia, dripping with retrofuturistic excess. Diving fully into early 2000’s aesthetics – namely Frutiger Aero, which is characterised by shiny, glossy textures and dreamlike futurism – the video sees Nuna cross over into different virtual worlds with the same dynamic performance and arresting style. Brilliant work from the creative team, who capture an iconic aesthetic through a contemporary lens. [via Promonews]

Last month, Colombian artist Ela Minus announced her new album,DIA, out January 17 via Domino, and released the “swaying, cathartic dance anthem” (Brooklyn Vegan) ‘BROKEN.’ Now, Ela unveils ‘UPWARDS,’ presenting Ela relishing in pure pop splendor. An unabashed and addictive theme song for safeguarding yourself, your body, and your soul, ‘UPWARDS’ is unforgettable on first listen. It is propelled by an unrelenting pulse and sharp refrain, as Ela chants over and over “I’d love to save you / but you’ve got to save yourself,” all while aggressive and busy synths bounce underneath, feeling like lasers waging a war against the song itself. The “UPWARDS” video, which sees Ela collaborating with directors Albert Estruch & Marc Sancho (of Querida), creates a unique visual and auditory experience by featuring Ela in the center of a circle with her instruments, surrounded by cameras and screens that capture and show different angles of the action in real time.

Multi-Platinum global pop superstar Kesha has lifted the curtain on the long-awaited official music video for her blockbuster hit single, ‘JOYRIDE.’ Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the action-packed visual – which sees Kesha racing through the desert in an explosive car chase with evil baddies in hot pursuit – is available now.

Raissa, the multilingual, multinational artist poised for global superstardom, releases her Cute Threat EP on Neon Gold Records. Born in Spain and raised across the globe in cities like Beijing, Sydney, Kuala Lumpur, and London, Raissa embodies a rich tapestry of influences. From antique Gothic literature to vintage anime, her creativity draws from a vast well of inspiration. Now based in Los Angeles, she channels this unique background into a collection of songs that are as emotionally vulnerable as they are empowering. The title track, ‘Cute Threat,’ encapsulates the EP’s essence. With industrial production and biting lyrics like “I’m not your big baby,” the song is a masterclass in contrast. The playful harmonies, including irresistible “lalalas,” juxtapose with the aggressive tone of the lyrics, creating a dynamic and unforgettable listening experience. Reminiscent of Charli XCX, Raissa blends punk energy with sugary aesthetics, making this the perfect centerpiece of the EP and a testament to her ability to challenge expectations while delivering an irresistibly catchy bop. [via Staged Haze]

mercury, the rising Tennessee-based artist born Maddie Kerr, has returned with her brand new single ‘Swarm The Hive Mind’. Marking the first release since her ambitious EP and short film Together We Are One, You And I earlier this year – the track serves as a reunion with coveted indie rock producer Alex Farrar (MJ Lenderman, Snail Mail), stacked with walls of guitars and sludgy timbres. “’Swarm The Hive Mind’ is about breaking out of a box; questioning and sometimes going off track of how everyone else thinks, lives, and acts,” says Maddie. “It’s easy to get stuck in hive-minded thinking, and it’s important to see things from all angles and veer off from what seems normal sometimes.” ‘Swarm The Hive Mind’ is an apt second chapter to the sound Kerr captured on Together We Are One, You And I, a three-track project comprised of ‘Born in Early May,’ ‘Special,’ and ‘Crick’ and produced by Farrar. An experimental voyage of grief, pain, and loss, the trio of songs oscillates between grunge and iridescent indie rock as they wander through the depths of human suffering and emerge resilient. Infinite black voids, spiritual iconography, and the scarlet glow of embers and flames define the EP’s companion short film, following Kerr and a cast of characters from different walks of life through narrative vignettes, contemporary dance, and poetic abstractions.

LUNA gives us ‘Personal Torture’ from her upcoming album, No Rest. The single focuses on the way that LUNA has held herself back in life. She has been her own enemy, essentially, but now, she knows that she can also be the one who makes things right. The electronica beats and 80s-inspired synth reflect her new mindset, their uplifting sounds paving the way for change. You can see how this all plays out in the music video below. About ‘Personal Torture,’ LUNA shares, “‘Personal Torture’ is a moment of honesty and clarity, a raw snapshot of what it means to reclaim yourself. I wrote it in Stockholm, feeling a thousand miles from my comfort zone yet closer to myself than ever. There was this storm of realization, like I’d been spinning in circles, tied to expectations and illusions that weren’t even mine. I thought I had it all—but really, I was caught in my own ‘personal torture.’ This track is about stepping out of that spiral, flipping the table on what no longer serves, and finally putting yourself first. We all have our own ‘personal tortures,’ those battles and expectations that we sometimes don’t even notice we’re carrying. I hope this song resonates with you, that it gives you the courage to look at what holds you back and start letting go. ‘Personal Torture’ opens the journey of ‘No Rest,’ my upcoming album, where each song peels back another layer of what it’s taken to find my voice. Here’s to choosing ourselves, even when it’s the hardest thing to do. So tell me, what’s the one thing you’d let go of if you could?” [via Melodic Mag]

Chi, the genre-defying UK artist and high-fashion model, is back, and she’s brought an electrifying new single to shake things up. ‘Spiderwick’—a sonic juggernaut blending alternative punk with raw, electrifying intensity—cements Chi’s reputation as a fearless creative force. This highly anticipated track is more than music; it’s a statement. With ‘Spiderwick’, Chi plunges into uncharted territory, delivering a bold production that feels both surreal and visceral. Her dynamic vocals cut through the track’s boundary-pushing soundscape, creating an experience that’s impossible to ignore. This is Chi at her most unapologetic—her signature rawness intact, her ambition cranked to 11. But Chi doesn’t just stop at the sound. She’s unveiled a jaw-dropping visual accompaniment that takes the song’s narrative to the next level. The avant-garde video is an explosion of vivid storytelling and cutting-edge style, inviting fans into a universe that’s uniquely hers. It’s a kaleidoscopic ride that showcases her dual mastery of music and aesthetics, proving yet again why she’s one to watch. [via Static]

There are few bands that have made as much of a statement with their debut single that Austin’s Farmer’s Wife, who took aim at their home state’s deeply unlikeable Governor with 2022’s ‘Greg Abbott’s Maxi Pad.’ After keeping the momentum going with last September’s grungy There’s a Monster EP and a pair of singles released earlier this year, the group’s currently gaining traction as they tour the US as the opening act for Cloud Nothings, who are midway through touring in support of the tenth anniversary of their 2014 album Here and Nowhere Else. And speaking of monsters, Farmer’s Wife is returning with a new music video for their EP’s lead single ‘Swarm,’ which sets the ominously simmering alt-rock cut to an old-school horror visual involving a dollhouse, a huge spider, and some clear inspiration from Mary Shelley. “In an evil lair below the dollhouse, [vocalist Molly Masson] combines pig guts, glitter, and boy hair to create Jaelyn-stein, the ultimate monster to trap more victims: Derek, Jude, and Jacob,” the band shares in a statement, lending a bit of narrative cohesion to the clip. “With the help of Molly’s giant tarantula, Jaelyn-stein chases the boys throughout the house, Scooby-Doo-style. Within the lair, the boys transform into animal-human hybrids, causing an explosion. ‘Swarm’ finds its intense melodic finale with a visual that matches: flames, destruction, and [our] deepest, darkest fears.” [via FLOOD]

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Glasser, the electronic music project of Cameron Mesirow, has shared the music video for her recent song ‘Vine,’ the first single off of her upcoming album, crux. Julia Crockett directed the video, which features Mesirow posing for art students. Crux is due out October 6 via One Little Independent. This is Glasser’s first full-length album release in 10 years. Crux becomes a melting pot of sorts, pulling from unavoidable hardships and making it into something a bit more digestible. Of the album’s lead single ‘Vine,’ Glasser says, “It was like an attempt at making something where all the parts sound like they’re very separated. I was thinking like jazz, actually. It was about getting back to writing music after feeling a bit disconnected from the machinery around making it your profession.” [via Under The Radar]

CIEL have released a new single, ‘So Scared’. Following on from ‘Somebody’, it’s the latest track from the Brighton band’s upcoming EP Make It Better, set for release on July 7 via Jazz Life. Michelle Hindriks (vocals, bass) says: “’So Scared’ is about being scared to be vulnerable and open up yourself towards someone else. But at the same time it’s about actively wanting to change that part of yourself and working hard to be able to be vulnerable, as it’s an important part of making valuable connections with others. The song started out with just one cute sounding synth line with the vocal part over it and in the studio we kept adding layers of guitars to create a much bigger sound.” [via Dork]

Nashville, Tennessee’s GAL — short for GIVE ART LIFE — is an avant-garde artist consistently pushing boundaries. As she tells stories of love, heartbreak, and rebellion, she blurs the lines between reality and imagination and blends rap, singing, and songwriting into cohesive tracks. Her newest single, ‘Roxx Off’, details the emotions that arise as a love turns into heartbreak. Speaking on the track, GAL explains, “Love never truly disappears; it just transforms into pain, regret, forgiveness, or sometimes even hate, but it always circles back to love. ‘Roxx Off’ is about that someone you love to hate, but can’t seem to let go of. It’s relatable to any situation where you struggle to maintain what you truly want, or try to shake off something you don’t.” Below, you can watch the single’s music video, directed by Christopher Scholar with creative direction and styling by LaDonna Wittingham. Green and pink florals create a flower power-esque setting, while long nails and experimental fashion complete the picture. Whether camouflaging into the wallpaper or starring on the screen of an old television set, GAL plays with special effects and experimental, trippy visuals to captivate the audience. Ending with a reference to The Addams Family’s Thing, a disembodied hand, the video tells a story of its own while also bringing the lyrics and soundscape to a new dimension. Cinematic, expansive, relatable, and honest, the song and video will lure you into the world of GAL. [via Wonderland]

The Japanese pop-rock band CHAI have announced a new self-titled album, their follow-up to 2021’s WINK. It includes ‘We The Female!,’ which came out last month, and now they’re sharing the breezy, groovy ‘PARA PARA.’ “There’s not a deep meaning to that song, it’s really just about the dance,” the band’s MANA said, referencing Japan’s ’90s two-step dance trend. She continued: “As long as you can feel the two-step, any dance is possible! Let your body just move to your dancing heart ♡ When your body moves to the beat of your heart, you’ll realize that the world is smaller than you think, and all your problems are easier than they seem. ‘Cause two-step and music is the best way to communicate in this world ♡ Let it START! CHAI’s two-step dance music ☆☆” [via Stereogum]

twst is back with a new single called ‘Off-World’. Following April’s ‘Most Viewed’, the track comes paired with a music video co-directed with Sam Kinsella. Speaking about the track and its accompanying visual, twst said: “‘Off-World’ resonates with a universal desire to give oneself completely, forging connections that transcend societal norms. The music video serves as a visual representation of the song’s themes, depicting a cyborg girl who descends upon Earth, yearning to break free from the confines of this world and find solace in another realm. In this transcendent journey, ‘Off World’ encapsulates the concept of liberation. The cyborg girl symbolises the struggle for personal freedom and self-expression, embodying twst’s own quest for authenticity. The lyrics vividly portray longing and transformation, urging listeners to break free from predetermined moulds and embrace the unknown. The chorus becomes an empowering anthem for those seeking to transcend their current state and embrace a new existence beyond societal boundaries.” [via Our Culture Mag]

Kesha has unveiled a video for ‘Only Love Can Save Us Now’. The intense track features on the singer-songwriter’s recently released Rick Rubin-produced album, Gag Order, which is described as a record that excavates, “the deepest recesses of her soul.” The clip also finds the singer channelling a variety of emotions into a surreal performance of the song. [via Stereoboard]

Rising pop artist Gabi Sklar reveals the music video for her new single, ‘Good Kisser.’ ‘Good Kisser’ is a sultry and sophisticated pop anthem that highlights Gabi’s captivating vocal range. “The song explores the ‘maybe I should, maybe I shouldn’t’ relationship with a really good friend — it’s about that push-and-pull of intuition vs. temptation,” she says. For the ‘Good Kisser’ music video, Gabi collaborated with director Justin Thorne (House of Giuseppe) to bring the song to life. “What I like most about the music video is that it allowed me to step outside of myself and play various characters,” Gabi elaborates. “I also really adore 60s glamor which made it that much more fun to experiment with different vignettes, personas and aesthetics inspired by that decade.”

Alice Merton makes her long-awaited return with a new single entitled ‘Charlie Brown.’ The track is a catchy indie-pop song that tells the story of a man who is stuck in a rut. His days are repetitive, and his past keeps coming back to haunt him; he is searching for a higher meaning in life, something that makes him feel fulfilled – unfortunately, he has yet to find it. The chorus comes in as a push out of the daily grind: “Hold tight we’re moving on! Keep that dream just a little bit longer!” ‘Charlie Brown’ is a wake-up call to get back into the driver’s seat of your life. It’s a hymn to keep going – no matter how big the obstacles may be. Stop settling for the apparent security of everyday life, but fight for what is important to you. Thus, the song’s message is not only addressed to Charlie. All of us could do with leaving our comfort zone sometimes, try things and to stand up for our dreams. After having finished a North American and European Tour with the British indie-pop band Bastille last year, Merton found herself back in the studio, writing with Chris Wood aka “Woody” (drummer from Bastille) and songwriter/producer Matt Wills. Merton recalls, “It was honestly one of the best times of my life, getting to tour with such a lovely group of people, and then creating music together.” William Farquarson (bass player in Bastille) joined the session a few weeks later and out came ‘Charlie Brown.’ The track was finished off with production by Paul Whalley, mixing by Jon Kelly (Kate Bush, Freddie Mercury, Duffy), and mastering by Sascha Busy Bühren. The accompanying video for ‘Charlie Brown’ was filmed in London and written and directed by Alice. At her side was choreographer Lyn Lim, with whom she worked with on ‘Lash Out’ and ‘Blindside,’ and her trusted Director of Photography Elias Koehler. Together, they created a world where Charlie seems to be a bit confused and depressed with his life situation, but Alice is adamant that he realizes how special he is.

Caity Baser has shared a new single, ‘Leave Me Alone’. The accompanying video sees her take inspiration from a number of Hollywood films, including American Beauty, Lady & The Tramp, Love Actually and more. Caity says: “I wrote ‘Leave Me Alone’ about this boy that I was seeing. And then after we stopped seeing each other I was like ‘fine we were seeing each other anymore’ but then he was still bugging me and calling me and bothering me all the time on nights out, trying to get in my ubers home and I was saying “no, no, no, sir! I don’t want that. “Then he would tell me all these sweet, sweet nothings and make promises filled with love but actually meant nothing and then I’d say “I don’t even care if you don’t mean it just leave me alone”. So this song is about that one person that were not leave you alone – that is grinding your gears, making you sick to your stomach and you don’t want to say anything so you just say: say leave me alone!” Of the video, she adds: “The video was so much fun to make! I made it with Callaway Breeze and we recreated scenes from Love Actually, Say Anything, Romeo and Juliet, Lady And The Tramp and Wolf Of Wall Street. It was really cool to recreate some of my favorite movies and incorporate them into my music video. It was also so fun to be with everyone during the day of the shoot and have all these slay outfits I must say. Also there was a sexy, slay boy there the whole time. Watch it!” [via Dork]

Enigmatic Los Angeles songstress Madeline Goldstein steps back into the spotlight, leaving a poignant imprint on the darkwave scene with her latest EP, Other World, thoughtfully curated by à La Carte Records. At its essence, Other World is an intoxicating melange of charm and command. Though concise, it serves as a formidable artistic descendant of her first full-length debut, yet confidently carves its unique place as a breathtaking tour de force. The titular track and single, ‘Other World’ immerses its listeners in a mesmerizing dreamscape woven from the shards of erratic drum beats, echoing synthesizers, and the celestial aria of a soaring soprano. Goldstein’s main vocal thread, delivered with her trademark elegance, intensifies in passion as it surges towards the climaxing third act. The sparkling requiem draws from the deeply intimate realm of Goldstein’s solitude, echoing the emotionally charged ballads of musical theatre and the heightened drama of 80s romance anthems. The track reverberates with traces of The Motels, Aimee Mann, and Tuxedomoon, especially apparent in Byron Burchard’s saxophone epilogue, acting as an emblem and embodiment of tears. As the song ascends towards its pinnacle, the chorus of backing vocals weaves and hovers above the sonic tapestry, heralding the distant saxophone’s soothing warmth to the track’s closure. The monochrome visual accompaniment, crafted by director and cinematographer Tyler Carlin, portrays an enchanting, intimate dance between two women, with the second role embodied by Margot Rhodes (Mirror of Venus). The nature of their relationship remains tantalizingly elusive: are they rivals? Sisters? Lovers? Or perhaps they are merely apparitions within each other’s minds? Yet, their languid, abstract dialogue unfolds in a hypnotic ballet. Byron Burchard also graces the frame with his saxophone. Both the song and the video are steeped in the profound influence of David Lynch – and in keeping with this spirit, perhaps it’s more fitting to allow this Other World to remain a stunning enigma. [via Post-Punk]

20-year-old nu-punk artist BEX has shared a brand-new single and killer video. Detailing the “struggles and emotions within a relationship”, the song goes by the very apt name ‘Don’t Date The Devil’, and arrives ahead of her performances at 2000trees and Y Not? this summer. Speaking about the full meaning behind the single and video, BEX shares: “I have used extremes to emphasise the pain, dread and guilt the main character of the track should feel, but doesn’t. The first verse explores blame – it is the character taking the guilt away from themselves and blaming their partner for choosing to be with them; when they should be taking responsibility for their own actions. The track moves through an abusive relationship, constantly comparing the character to the devil and displaying themes of pain and harm combined with love. The music video conveys the relationship as a personal battle. An inner love fight rather than a two – or more – person relationship. A battle of self-hate and harm. Throughout the music video we see the ‘weaker’ character gain power to finally result in the eye gouge scene, where the ‘weak’ character takes charge of their inner demon and kills it/them. Overall the track and video display power dynamics within different situations, relationships, friendships and between your external and internal self. Loving is hard, whether that’s with yourself or with another. Being aware of your actions and your own love language can be a helpful way of making it slightly easier. We cannot have love without hate and we cannot hate without love.” [via Kerrang!]

Sydney-based alt-pop duo Cat & Calmell, consisting of Catherine Stratton and Calmell Teagle, has announced their upcoming mini-album How Do You Feel? will be released on September 29. From the mini-album, the duo released the second single called ‘Feel Alive’ along with a music video. The track was written by Catherine Stratton, Calmell Teagle, and Taka Perry who also produced it. The accompanying video was directed by Joshua Moll, Oliver Kirby, Calmell Teagle, and Catherine Stratton, who filmed on location in Sydney. The duo said of the song, “When we wrote this, Calmell and I were in a really dissociative state. I had just turned twenty and was getting really, really scared and existential about everything, I had a lot of anxiety, and I didn’t know what to do with myself and nothing made me feel good. So, the main sentiment of the song is that only when I think about dying do I actually even feel anything at all—whether it’s fear or excitement.” [via pmstudio]

Filipino-American multidisciplinary artist and activist ((( O ))) shares her latest ‘Sanctuary’ and announces her album, ((( 4 ))), out this summer on August 27. An unpronounceable symbol, ((( O ))) represents an all-seeing eye, the big bang, birth, rebirth, the female anatomy that makes birth possible, a ripple in an otherwise still body of crystal clear water… or whatever else that might resonate with you. Sonically, ‘Sanctuary’ is ethereal, but the way the beat grooves is a little grungy and sweaty, for fans of FKJ (to whom she is married)’s sound with a bit of Jhene Aiko or Kehlani crossed with Medasin and Raveena RNB stylings. It’s gooey and precise but free. Of the track, ((( O ))) says, “’Sanctuary’ is about the cyclical nature of menstruation. This song explains the discovery of our ability to harness the power of our menstrual cycles as superpowers through our ‘inner seasons.’ It’s about tuning into my own inner rhythms as our guide for unraveling the layers of album ((( 4 ))) for the rest of this year – finding solace and harmony, utilizing the power of ritual and inner cycles as a portal to deeper connection and understanding.”

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