On the new track the band say: “The age old tale, of selling your soul to the devil has been fabled accounts of high society for years. However due to recent events come to light- it turns out that the elite are very much actually, the devil incarnate, baby eating, pedos. What a fucking surprise! They had no souls to sell in the first place.”

The single is also accompanied by a music video directed by London-based filmmaker and director Harv Frost (The Last Dinner Party, Laufey).

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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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Speaking on the new single, Lambrini Girls explain, “Man comes in many forms, from world leaders to tech CEOs and humble softboys. But what unites them? Society has celebrated their supposed massive figurative and literal dicks, which they constantly flaunt. Why? Toxic masculinity.”

They add, “Fuelling their sense of entitlement and insecurities leads to harmful behaviours. Which when left unchecked, means we have to deal with the fallout. The definition of ‘Big Dick Energy’ is a confidence that doesn’t need proving. Which begs the question, how big is that dick in reality? If you haven’t figured this out by now, it’s not that big.”

Who Let The Dogs Out was recorded with Gilla Band’s Daniel Fox with mixing by Seth Manchester (Mdou Moctar / Battles / Model/Actriz), and the record bottles everything wrong with the modern world and shakes it up. If peppering political songs with humour is like sticking a sparkler in some bread, then Who Let The Dogs Out is like a fireworks display in the factory itself: strange, dangerous, exciting.

The album rips through a laundry list of social ills. Sirens blare over a heavy distorted bass and a live drum breakbeat, dancing between upbeat pop punk, dirty grunge tones and discordant post-punk. There’s even some noise-pop cheer for putting yourself first, whether it’s having an autistic meltdown or doing a poo at your mate’s house.

With instrumentals that inhale you like a Level 5 tornado and sentiments that make you want to kick the nearest door through, it’s a take-no-prisoners debut from one of the UK’s most fun and fearless bands.

“You know how Fleetwood Mac almost dedicated Rumours to their cocaine dealer? I think we should dedicate this album to all the booze we bought at Tesco.”

Who Let The Dogs Out:

1. Bad Apple
2. Company Culture
3. Big D*** Energy
4. No Homo
5. Nothing Tastes As Good As It Feels
6. You’re Not From Around Here
7. Scarcity Is Fake (Communist Propaganda)
8. Filthy Rich Nepo Baby
9. Special, Different
10. Love
11. Cuntology 101

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Pearl & The Oysters – Juliette Pearl Davis (Juju) and Joachim Polack (Jojo) – met on their first day of high school in Paris, and have been together ever since. The duo’s new LP is their second record for Stones Throw and the result of nearly two decades of connection and collaboration. The duo kick off their tour with Ginger Root, on September 24 in San Diego. ‘Triangular Girl’ was written 12 years ago, when the duo were at jazz school in Paris. They decided to re-work the song for Planet Pearl, this time with a stellar cast of L.A. musicians: Riley Geare of Unknown Mortal Orchestra, Caleb Buchanan, Logan Hone and Andrew Forman, and taking inspiration from 60s and 70s Brazilian waltzes. The influence of Brazilian music is strong throughout Planet Pearl – Jojo’s PhD was on the composer Antônio Carlos Jobim – along with the Brazilian concept of saudade, the melancholic longing for a beloved yet absent something or someone. [via Northern Transmissions]

Exploring the sonic spectrum between funk, soul, and jazz, North West London singer, songwriter, and producer Lynda Dawn’s new single, ’11th Hour,’ is out now via her own First Dawn Records imprint. Now, she reveals the video, directed by Ricky Rxse. Following up on her previous single, ‘Where You Are,’ ’11th Hour’ is the second track to be taken from Dawn’s forthcoming, highly anticipated eponymous EP, releasing on October 4 with a limited vinyl run to follow. Co-produced by Lynda Dawn and JACKUM, the single is an empowering exploration of time, longing, nostalgia, and hope. She explains: “I wanted to capture the fragility of relationships and the pressure we often feel from society, all while being aware of time slipping away. Although it’s written as a love story, it’s really about those critical moments we all face in life. I hope the lyrics can encourage listeners to never give up on what they love and to seize the moment for a new dawn.”

Change can be an unpredictable force—both exhilarating and disorienting. For rising WestMidlands songwriter and guitarist Nieve Ella, the past few months have been a whirlwind, propelling her into a new chapter. Emerging from this period is the 21-year-old’s biting new single, ‘Ganni Top (She Gets What She Needs)’, out now, on AWAL Recordings. The single is the final glimpse from Ella’s transformational new 8-track EP, Watch It Ache and Bleed, arriving on October 17. An ode to ripened self-awareness, the EP contours melancholy and mischief across gritty 90s indie with a refined pop edge. It encapsulates the essence of a young artist who has redefined her understanding of ambition and desire. A rip-roaring highlight produced by Jamie Rendle and Hugo M Hardy (Nick Mulvey, Col3trane, Obongjayar) new single ‘Ganni Top’ presents a hedonistic take on fresh starts, with Ella envisioning the exhilarating escapades that follow her liberation. “You can fill me in the back of your limousine,” she quips on this playful, grunge-inspired tribute to newfound singledom. Complementing the single is a rousing official video directed by REBEKAHBCREATIVE. Adorned in her signature heart-jewelled necklace and corset, the video is a sassy exploration of ‘getting what she needs.’. Reflecting on her new single, Ella describes: “Ganni Top is a glamourised celebration of being young, fun, wild, and free, while also highlighting the needs of a woman. She gets what she needs!”

Today, Ruby McKinnon, AKA Flower Face, is back with the riveting ‘If I Beg You.’ “I knew ‘If I Beg You’ was going to be the last song because it felt like the turning point,” McKinnon explains. “I built this really beautiful, incredible, inspiring life that I would never give up to go back to what I had before. It starts out sounding like a tape disintegrating, like, audibly falling apart. Then the big part comes in, and it’s this moment of triumph and healing.” ‘If I Beg You’ proves the versatility that makes Girl Prometheus so hypnotic. Plus, the lyrics are wonderfully scathing, serving as the perfect album closer when she sardonically sings, “Is this a worthy goodbye?” Below, watch the music video directed by McKinnon and Boy Wonder. [via Stereogum]

Cody Frost has unleashed a brand-new single and video, ‘PROCESS.’ The alt. punk star calls this newest banger “a spicy brain rager that begs for a pit”, adding that, “It’s about feeling like I’m pretending to be something I’m not. I act like I have it all together, but in reality, I don’t. I made this song for my younger self, who needed to hear this.” [via Karrang!]

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Today they share new single ‘Body Of Mine’ ahead of a busy summer touring the US with Amy & The Sniffers, a string of festivals, their biggest headline show yet, and ending the year supporting IDLES at their sold-out London shows.

“While many of our songs, are critiques of societal issues, ‘Body of Mine’ is a little more personal,” Lambrini Girls explain of their newest offering, continuing, “This song is about trying to connect to your gender identity, feeling like you’re not fully yourself, and struggling to figure out how to truly become it. Gender is a complex experience, we acknowledge that this song represents just one perspective among many, of not knowing where you fit inside it all. It’s tough to feel that nobody really gets you and it’s also truly quite shit when you don’t really know how to understand yourself either.”

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‘God’s Country’ was recorded by Gilla Band’s Daniel Fox in the deep dark days of December. They fuelled themselves with Christmas lights and Guinness until Lilly’s bass sounded like a jet engine taking off and Phoebe blew her voice out.

For the video, they filmed it themselves around London with friend Jessie Morgan and wanted to highlight how messed up everything is with contrasting statements i.e. filming outside Buckingham Palace with a statement about poverty in the UK.

Speaking on the track, the band explain: “’Gods Country’ is our long, overdue call-out of the government and rise of the far right. We wrote this a few months back, when the political landscape had evidently reached a global boiling point.

“Great Britain. Think colonial, shit-hole, chunk of land. Thriving off unhinged nationalism, fed to us by the right red hand of unelected prime ministers. Despite this, we have the audacity to call our country ‘Great’. So we ask you, ‘Are you sure?’

“We could deep dive into inspirations and influences- but the songs about politics, not us. We hope the song speaks for itself.

“Rishi, Cameron, Cummings, Starmer – you’re all on our shit list.”

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“In order to be a lad, make sure to follow the following guidelines: excessive drinking, harassing anyone with a pulse and starting fights. Most importantly, make sure to never talk about your feelings as this simply cannot be associated with manliness. Lad culture is the shit stain on the bathroom floor and toxic masculinity is the toilet paper that refuses to unstick from the shoe of society. Nobody wins.” says the band.

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Manchester based talent Freak Slug has shared details of her new EP. The songwriter dips into 80s indie pop tropes, adding something surrealistic, hazy, and somnambulist. New EP Viva la Vulva – an excellent title – lands on May 3, and it finds Freak Slug moving into a fresh space. Informed by the roots of her adopted city Manchester – think The Smiths, Durutti Column – Freak Slug also adds something startling, and new. Lead single ’27 Club’ is online now, and it’s the perfect fusion of light and shade. She comments: “’27 Club’ juxtaposes happy melodies with sharp sarcastic lyrics about losing somebody you loved to suicide and wishing you’d have known how to be there for them before the age of suicide awareness, reminiscing about how you met, and who they could have been if depression didn’t take over.” [via Clash]

Scene Queen has released a new single, ’18+’. With the song calling out sexual abuse and grooming in the music industry, a portion of the single’s net profits will be donated to anti-sexual violence organisation RAINN. Scene Queen says of the track: “I wrote ’18+’ to be controversial and I hope that’s what I’ve achieved. When I wrote the song I made it my mission to make something that sounds like an intense personal call out but also broad enough that it covers an entire epidemic within the scene. Having people arguing over which band I might be upset with, arguing over security measures taken place in the scene, or even arguing whether the lyrics are good or just borderline unsettling is the exact point of the song: to get people talking about what we’ve refused to talk about in the scene the last ten years. When I left the scene around 2015, because it no longer felt like a safe space for women, I swore that if I ever came back I would make it my mission to set fires until it was safe. I alluded to this heavily on Bimbocore Vol. 2 with my song ‘The Rapture (but it’s Pink)’ featuring Mothica, but ’18+’ is me finally making the first step into that. Predatory behavior is something that has been happening in the scene for years and still happens now. If I waited for the perfect time and the easiest way to start the conversation, I would never get the chance.” [via Upset]

Bristol-based post-punk grungers Peach release their second single ‘I’m Scared’, along with an enjoyably sinister video produced and directed by members of Holding Hands With Horses collective Lee Kiernan of fellow Bristolians Idles and artist Charlotte Gosch. The vid emits serious Wicker Man vibes as the four-piece cavort uncertainly in the countryside with a group of masked and be-ribboned figures. The song alternates between a fierce wall of sludgy guitars and wailing from singer Ellie Godwin and quieter, more spacious interludes with gasped, whimpered vocals. Written by all four members, the band say the song is: “about having that fear to do something completely out of our comfort zone, and the continuous battle of excitement and fear in making good or bad choices.” Godwin’s impressive, versatile voice takes us on a whole trip through to that dark side and back again, at times recalling (for this listener) Jennifer Finch, Kat Bjelland, Mitski, early PJ Harvey and perhaps Katie Jane Garside. [via Loud Women]

Thai multidimensional songwriter and creator Roskamala has just unleashed the latest single and visuals from her upcoming EP. Called ‘Loving Mess’, the upbeat pop anthem features singer Lia Apa and is an intoxicating listen. ‘Loving Mess’ is a song all about self acceptance and trying again and again with love even if you fail. The autobiographical narrative was written as a self reflective look at Roskamala’s own issues and flaws but in a lens of acceptance, knowing that she is always trying to improve herself. Lyrics including,”Let’s be fools / break the rules / if you make me fall for you / see what this loving mess can do,” show that Roskamala is ready to make herself vulnerable for the one she desires. ‘Loving Mess’ reminds us all that while we have baggage, we can still be brave and open to experiencing love in all of its forms, even if we are afraid. Sonically, the single features bright hip-hop drenched landscapes, decadent soul-drenched vocals and cathartic melodies full of fervor and heart. In the accompanying visuals, Roskamala plays a barbie like doll figure in a colorful ice cream parlor where she is brought together with a ken like doll by three mysterious figures for an interesting and thought-provoking watch. [via Earmilk]

100 gecs have unveiled the video for their new single ‘Dumbest Girl Alive’, taken from their just dropped album 10,000 gecs. The electro-punk duo, comprised of Dylan Brady and Laura Les, have been teasing the release of 10,000 gecs since December last year, when they released the surprise Snake Eyes EP. They followed this up with the release of singles ‘MeMeMe’, ‘Hollywood Baby’ and ‘Doritos & Fritos’. [via Dork]

The Ghanaian-American singer Amaarae impressed a lot of people with 2020’s The Angel You Don’t Know. She’s popped up here and there in the two and a half years since, but now she’s ready to start rolling out a new album. It’s called Fountain Baby, and its lead single ‘Reckless And Sweet’ is out now. The song brings an eerie, almost PinkPantheress-like quality to booming, cinematic African pop production founded in drum programming but laced with acoustic guitar. [via Stereogum]

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Based in Brighton, Phoebe Lunny (Vocals/Guitar – she/they), Lilly Macieira (Bass – she/they) and Catt Jack (Drums – N/A) have a strong artistic bond over their creative common ground – hot button societal issues combined with a biting, tongue in cheek lyrical style all their own.

‘White Van’ is a message to street harassers, with its seething vocals and blistering soundtrack. Of the song, the band explain: “A satirical take on catcalling, the story of being followed around in a white van. We’re taught, systemically, that it’s our sole responsibility to prevent our harassment. ‘What were you wearing?’ or ‘You shouldn’t have walked home by yourself’, implies your body in a public place is considered public property. If you do not modify your behavior in everyday life to protect yourself, then it’s your fault entirely. Instead of blaming us, maybe we should point the finger at Terry with his dick out behind the wheel and the system that has enabled his behavior for years.”

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Phoebe Lunny (Vocals/Guitar – she/they), Lilly Macieira (Bass – she/they) and Catt Jack (Drums – N/A), first joined forces amongst the anarchic waves of the Brighton underground music scene. They soon formed a strong artistic bond over their creative common ground; not just a musical connection, but also in the shared messages they set out to convey.

Today, they share new single ‘Help Me I’m Gay’ which when first performed live was in the middle of lockdown; for a series of socially distanced, fully seated live gigs at Brighton Dome. Phoebe came out to her mum on stage after downing three bottles of wine and tearing her pants open. Unbeknownst to her, her whole family was also watching on live stream and Christmas has not been the same since. They also all learned to play their instruments in one day.

“This song is about the trivialisation of queer people,” the band explain. “Shag whoever you want, don’t let anyone put you in a box and if you do ever find yourself in one, then know you can shag your way out of it.”

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