After her October 2022 LP no roof no floor contemplated the concept of home, Brooklyn-via-Kansas-City songwriter Scout Gillett returns with news of another new release taking these ideas further. Slated to arrive on September 5, the Imagination, MO. EP suggests a lighter approach to such heavy subject matter while keeping its focus on the importance of one’s upbringing. Gillett cites The Cars and Pat Benetar as primary influences, while also enlisting her father to contribute vocals to the EP’s closer, a cover of Deftones’ ‘Change (In the House of Flies).’ “People who don’t know my background and upbringing may not understand me,” Gillett shares as she explains the deeply personal roots behind the new project. “I have to let them in and show them who [I am] and what I’m about. People might think it’s cute or feel sorry that I had to work so hard to get here. I think my upbringing and its surroundings were remarkable and irreplaceable and I wouldn’t take any of it back. It completely shaped me to be independent and experimental.” Arriving with the news is the EP’s first single, a breezy pop-rock nostalgia track that focuses on turning heartache into something that’ll chart. “I never had the guts to tell them,” she notes of the song’s subject matter, a crush she never pursued. “So I just wrote a song about it and I never got a kiss—so I figured I’d try to make a hit.” Below, check out the video Gillett created for the track, which was inspired by more of her early musical heroes: MTV royalty such as No Doubt, Amy Winehouse, and Lily Allen. [via Flood]

Continuing to push the boundaries of her creative freedom and transcend the limitations of generic songcraft, Miso Extra returns with a euphoric, UKG-infused single, ‘Slow Down.’ The London-based singer, producer, and rapper of mixed heritage co-wrote the song with DJ Boring, who also handled production duties. The release includes two versions: the single and the original extended version, the latter infusing over five minutes of added energy into this unforgettable track. Both are out now on Transgressive Records. Speaking about the release, Miso Extra comments: “When DJ Boring first came to me with this beat I knew it was special and that we had to work together to develop this idea. This track for me evokes a feeling of exhaustive euphoria at the end of a night out, coupled with that trance-like state of desire to want to get home. When I was tracking the vocal for the song I was getting really frustrated that I wasn’t getting the delivery and intonation quite how I wanted it so much so that in one of the takes I blurted out “I didn’t get it” which eventually ended up being used as a sample on the track.” The song was conceived during a period when Miso Extra felt isolated and disconnected from friends. During this time, she often went for walks, capturing the bird noises you hear within the track as field recordings from those moments. Accompanying the song is a bright, fast-paced and conceptual video from her prior collaborator Claryn Chong, who Miso worked with on the creative for her single ‘2nd Floor’. Talking about their partnership, she muses: “I adore working with Claryn Chong and we frequently align with each other when it comes to visual references. When discussing the concept for this video our shared love of Wong Kar-Wai came up a lot and you can see traces of that in this video. I really love how Claryn and her team were able to find a way to visually interpret the motion of the song.”

MOTHICA is back with the seventh track and music video from her upcoming record Kissing Death, ‘Afterlife.’ Of her new LP, available August 23 via Heavy Heart Records, MOTHICA notes, “This is for the younger version of me who romanticized death for a decade, and the lasting impact it had on me as I searched for an easier, softer way to exist.” In ‘Afterlife,’ MOTHICA rides shotgun with Death in his bright red car on desert roads and through a vortex. “I wanna know what it’s like/To feel your heart beating from the inside/Take your soul for the night/Lose control, end up in the afterlife,” she sings in the chorus. [via idobi]

Pom Pom Squad returned last month with the ominous pop banger ‘Downhill.’ Now, the indie rock project helmed by New York’s Mia Berrin is announcing their sophomore album Mirror Starts Moving Without Me. The lead single ‘Spinning’ is out now. “The song represents a moment when I was learning to cope with painful memories of the past and how they’ve shaped my future,” Berrin said. “In accepting them, I’ve been able to find more freedom and forgiveness within myself.” ‘Spinning’ comes with a music video directed by Berrin and Benjamin Lieber, about which Berrin added, “A lot of the lyrics on the album have to do with watching/analyzing yourself, so I knew I wanted to create a surveillance room setup for something. It turned out to be a really fun home-base for the ‘Spinning’ video.” Mirror Starts Moving Without Me follows 2021’s bombastic Death Of A Cheerleader. “I took a lot of inspiration from my younger self on this album,” Berrin explained about the new one, continuing: “I wanted to get back in touch with my creative roots. After hitting a particularly rough bout of writer’s block, I challenged myself to make a playlist of my all-time favorite songs from childhood to adulthood. It was healing in a way I didn’t expect! Before we went into the studio I made my bandmates and Cody [Fitzgerald] do the same, then we all listened to each other’s and had a long conversation about them. Through the sessions for Mirror we were all pulling references from our collective playlists more than anything else.” [via Stereogum]

The formidable trio that is Queen Cult (Maisie – founder and vocals, Brodie Carson on drums and Piers Jarvis on bass) take no prisoners when it comes to exploring topics that are typically less explored in rock music. Unapologetically queer, on their new single ‘To Be A Boy’ Maisie explores themes of gender dysphoria and expectations of AFAB people growing up in a small town, and in the music industry as a whole. Speaking of the track, Maisie says, “This song is super personal to me and based on my experiences growing up, I hope this resonates with anyone who had similar experiences. It was written about growing up with the confusion of wanting to be a boy, when in reality I came to the realisation that I just wanted the freedom that boys had growing up. It’s also about the misconception that when I hung around boys, I should fancy them – but I just didn’t! Navigating a world as AFAB was, and still is, pressured with multiple expectancies in behaviour followed by rules. This is my experience of that. I hope it sticks with you.”

april june has released her 7-track sophomore EP baby’s out of luck again, which also marks an even bigger milestone for the artist. “The last time I recorded something this long was 10 years ago. It’s much easier, psychologically, to let go of a song that you’ve written, as opposed to an EP…This project is very special to me. It just has more weight to it,” april june said of the project. One special highlight from the EP is the project’s closer ‘carry you on my broken wings’. Channeling an ‘80s dream pop sound through layered synths and driving drums, the song tells the tale of a couple that is doomed to fail. One is driven by feelings of lust and danger, and the other is destined to carry them on “broken wings” in her state of unbridled limerence. april june said she was inspired to create the song after falling in love with themes of seduction and danger seen in Italian gangster projects such as The Sopranos and Goodfellas. “[The song is] an exploration of the tumultuous relationship between the protagonist and her dangerous male counterpart. Clad in a tuxedo, he exudes a sexy, enigmatic allure, navigating the shadows with one hand on her thigh and the other on a gun,” april june described. “The lyrics paint a vivid picture of a life where violence and the death drive intertwine. As she carries the weight of her partner on her broken wings, the song becomes a haunting ode to a love that is as sexy as it is wild.” june’s voice is breathy and seductive as she tells this tale of these two people caught in the thralls of euphoria and pain. The track is also accompanied by a highly-stylized music video. Directed by Marco Braia, both the track and video are cinematic by design. “The music video draws heavily from the Giallo genre, with a particular nod to Italian film director Dario Argento. We shot this in Turin, which is a city where Argento made ‘Profondo Rosso.’ Thematically, I was inspired by the idea of creating a main character and a doppelgänger, a sort of a ‘real’ self and a shadow self,” april june explained. [via Line of Best Fit]

Nashville-based artist Ashe has unveiled a new song, ‘I Wanna Love You (But I Don’t),’ with an accompanying video co-directed by Ashe herself. The track, produced by Collin Pastore and Jake Finch (boygenius), is taken from her long awaited third studio album, Willson, set for release September 6. “I just didn’t like myself very much and put on that I was this confident, sort of ray of sunshine and it all made me feel like a fraud,” Ashe says. “Writing ‘I Wanna Love You (But I Don’t)’ was the first time I tried to address all that musically and was so scary and so healing and I’m kinda surprised I’m releasing it at all but here we are!” [via Broadway World]

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The Los Angeles electro-pop duo Magdalena Bay’s sophomore album Imaginal Disk arrives in August, and a new single ‘Image’ is out now. In typical Magdalena Bay fashion, ‘Image’ feels both futuristic and nostalgic. It begins as a mellower, vaporwave-meets-pop diva jam, until a delightfully blown-out bass crashes into the final chorus. Its psychedelic music video features the members of Magdalena Bay in a waiting room, where singer Mica Tenenbaum is about to get an “imaginal disk” upgrade installed in her forehead: “Ooh, so hot/ Meet your brand new image,” she sings as she dances with a couple of “disk sales entities.” It’s real kooky and fun, and you can check it out below. [via Stereogum]

Irish artist EFÉ has released a new single, ‘2000SEVEN’. The Dublin-based artist, whose real name is Anita Ikharo, co-directed the accompanying video with Wiktoria Weintritt, embracing a nostalgic ’90s aesthetic with Japanese film-inspired colour palettes. The video showcases EFÉ and her band performing in various eclectic rooms, centred around a cosy bedroom setting. EFÉ explains the origins of the track: “2000SEVEN Was kinda a rocky version one of my first songs ‘seven’ except this one feels new and could’ve came out in the early 00s hence the name change. It’s also the way me and my band play it live so it was only right we had a recorded version for people to hear. It was a song I wrote when I was like 19, and about how you get closer to someone especially when times kinda get hard and a bad experience can bring people together.” Discussing the video’s inspiration, EFÉ adds: “The 2000SEVEN video was heavily inspired by Cibo Matto’s live performance on a short lived cable programme in 1996. I loved just how cool it was and the live setting of a bedroom was so awesome and refreshing to me and kinda a recurring setting in my music videos. I also love the aesthetic of bedrooms and decorated rooms so it felt very fitting. Me and Wiktoria Weintritt directed it together and it was an insane experience that took very long to finish. But when we finally got the finished video, we were so happy and it’s definitely my favourite music video I’ve made!” [via Dork]

Mothica has unveiled her latest track ‘Mirage’, a preview of her upcoming visual album KISSING DEATH. Set for release on August 23 through her own imprint Heavy Heart Records in partnership with Rise Records, with each of its 12 tracks accompanied by interconnected music videos. Discussing the track, she says: “At one point, this record was taking a classic western inspired direction but I cut most of those songs. I love slide guitar, old church bells, and that spaghetti western influence you’d hear in a Tarantino movie. But being from Oklahoma, I always stayed away from country adjacent sounds because it’s all I ever heard on the radio. “I heard about this idea in therapy I wanted to write about. People imagine achieving their goals will bring them happiness, like this still image in their mind of ‘once I get this, i’ll be happy forever’. But emotions aren’t permanent, it could just be a mirage of water in the desert. So this is my spin on western imagery as a Mothica song. The fans heard a snippet and nicknamed it my yeehaw-thica song.” Elaborating on the album’s concept, Mothica explains: “I decided to make Death a love interest in a dark rom-com-style tale. Throughout the visuals, I’m seen in a therapist’s office explaining this complicated relationship as if describing a scorned lover. The music videos will be like ‘flashbacks’ of what I’m telling my therapist. On the first single ‘DOOMED,’ we go back in time to an angsty teenage version of me. This is my first brush with the Grim Reaper and I doodle pictures of him in my diary surrounded by hearts. Flash forward, I’m shown performing at a dive bar, clubbing, engulfed in self-destruction. He stalks me, and eventually even proposes marriage, and I leave him at the altar and run away. It ends with me and Death in couples therapy. I wanted the music to feel cinematic, like the soundtrack of a movie.” [via Dork]

Australian Eora/Sydney-based multi-disciplinary artist Annie Hamilton has dropped her latest single and accompanying music video, ‘Slut Era’—a defiant anthem that boldly confronts and challenges patriarchal conventions, embodying themes of empowerment and rebellion. Following her recent single ‘Talk’ and critically acclaimed 2022 debut solo album, the future is here but it kinda feels like the past, ‘Slut Era’ continues Hamilton’s exploration of the complexities and obstacles faced by women in the music industry and beyond. The track, described by Hamilton as an “industrial-feminine-rage-pop song,” deftly blends chaotic societal critiques with playful defiance, capturing the paradoxical nature of gendered expectations. “‘Slut Era’ is “an expression of the feeling of being bombarded with impossible patriarchal and societal standards,” she explains. The chorus encapsulates the absurdity of these expectations: “gotta be shareable! vulnerable! f*ckable! relatable! dinner-on-a-plateable! burn-her-at-the-stakeable! – we literally cannot win! The song serves as a commentary on the Madonna/whore complex, the inescapable pressures of social media, and the inherent biases that women and femme-identifying individuals face.” [via Under the Radar]

One of the most compelling groups on the scene since the early 2010s, Rubblebucket, the art-pop project of Kalmia Traver and Alex Toth, is sharing a psychedelic new single, sure to make your hips move. The duo release perhaps the funkiest song they’ve ever made, ‘Rattlesnake’, along with its music video. The band loosely adapted a poem lead singer Kalmia wrote called “Time For the Rattlesnake” from her zine poetry book “Year of The Banana”, capturing it in a funky-disco-smash song form. “A few years before I wrote the rattlesnake poem, my mom and I were on a 30-mile bike ride… Just off the path we spotted a massive rattlesnake lounging in the dappled forest sunlight. It was my first time ever seeing one and my instinct was to stop and get a good look. My mom’s instinct was to get the hell out of there, and we laughed later about this dynamic,” Traver remembers. “The beauty of it took my breath away. But I later ruminated about how even when I am faced with the most breathtaking of our planet’s offerings, it can still be very hard to be present, focused & relaxed because of the chronic anxiety from which I suffer.” Though the tune opens with the neurotic “I don’t want to analyze you but…”, it unveils itself as one character pushing another to self-examine; for Rubblebucket, therapy takes the form of a dance party.

Abbie Ozard has released her new single ‘monsters’. The track arrives ahead of her debut album everything still worries me, set to drop on July 25 via House Anxiety. She explains: “Me and Hugo wrote this after talking about our past relationships and how chaotic and crazy they can be when you’re younger, how you see a side of yourself that you didn’t know you had. It’s hilarious looking back, we put a super satirical twist on situations in the past that were actually quite dark.” Ozard began teasing her debut LP last year with singles ‘days like these’ and ‘i don’t know happiness without you’. She officially announced the album in April with ‘anything for you’, followed by Pixey collaboration ‘miss american dream’. [via Dork]

Luna Li has unveiled her latest single ‘Golden Hour’. It’s the newest offering from her forthcoming album When a Thought Grows Wings, set for release on August 23 via In Real Life/AWAL. The track showcases Li’s introspective songwriting, blending dreamy piano melodies with her mesmerising vocals and exploring themes of nostalgia and vulnerability, capturing the delicate experience of opening up to new love. Reflecting on the track, she shares, “I wanted this song to feel soft and sensual, while also peeking into a psychedelic world. Golden Hour tells the story of an afternoon I spent with someone a couple of years ago in a meadow sitting six feet apart, drenched in rain water and uncertainty, but having a wonderful time experiencing a slow descent into love.” The accompanying music video, directed by Issac Roberts, draws inspiration from the surrealist aesthetics of 1920s cinema, visually representing the yearning and nostalgia associated with romantic love. [via Dork]

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23-year-old, Maryland-raised and LA-based songwriter Jordana Nye returns with a new single, ‘We Get By.’ A rollicking golden folk epic sprinkled with shimmering yacht rock glitter, the standalone track ushers in a new Laurel Canyon era for Jordana, who in between tours with Local Natives, Remi Wolf, TV Girl & Wallows, has been working on material since 2023. The song, which was produced by Emmett Kai, Jordana says is about “true love.” Listen and watch the affirming and perfectly tongue-in-cheek Otium-directed video below. “‘We Get By’ is about true love,” says Jordana. “It’s about leaving any materialistic things behind and basking in the appreciation of the truest loving from a pure ground zero — whether that be with yourself or with someone else. We could leave everything we have and still be happy.”

Sugar, spice, and everything nice color the vibrant music video for ‘Right Now,’ the latest release from powerhouse girl group NewJeans. The record arrives as the precursor to their forthcoming single and mini album Supernatural, which finds the five-piece performing in Japanese. Directed by Youngeum Lee, the Takashi Murakami-collaborated video follows NewJeans as their animated counterparts mix up ingredients to create the perfect concoction to cure Hanni’s broken heart. At the start of the visual, the singer makes a brave first move and invites her crush over to watch a movie, but when she only gets a flower emoji back in response, it sends the group on a collective mission to decipher what the cluster of colors could possibly mean. “Your chance is here and now,” NewJeans warns on the song’s second verse, reminding their romantic prospects that time is of the essence. When Hanni’s crush double-texts to clarify that the flower text was an accident at the end of the video, the scene closes out with the appearance of the dreadful three-dots indicating that the other person is still typing. The cliffhanger ending sets up a world of possibility for Supernatural, out June 21. [via Rolling Stone]

MOTHICA has released a new music video. The new music video, for the track ‘Toxins,’ is taken from the Los Angeles-based alt-pop singer-songwriter’s upcoming new album, Kissing Death, which is scheduled to be released in August this year, via Heavy Heart Records/Rise Records. Speaking about the new song, the artist shares, “’Toxins’ is the first song that made the record, since I originally wrote it for a Halloween release in 2022. I loved the image of a spider singing to its freshly caught prey. It took on a new meaning with the grim reaper as this stalker or dark shadow that followed me around, even when I made strides to get better like going to therapy or getting sober. The analogue synths David Burris put in the chorus definitely inspired the sound of the record, taking influence from the darkwave genre.” [via Distorted Sound]

Brighton power duo ARXX unleash playful ‘Good Boy’ via Submarine Cat Records. This follows prior single, equally lighthearted ‘Crying In The Carwash’ and acts as a second sneak peak into a soon-to-be-announced larger project. Laden in harmonies, a hypnotic thumping beat and dripping in spicy, submissive tongue-in-cheek lyricisms, ARXX consider ‘Good Boy’ their “big gay anthem”. On the track, they say, “It’s a little bit saucy, it’s a little bit cheeky and it’s a lot of fun! It’s a song about feeling good and making other people feel good. It’s our favourite song we’ve made so far, we hope it makes you feel good.” Undeniably groovy, this suggestive tune is bound to get you on your feet. However, whilst raunchy in its auditory nature, the video takes a more literal and adorable stance on the phrase ‘Good Boy’, seeing almost a dozen dogs audition for their spot in the Good Boy Academy, featuring Hanni and Clara judging and dancing with the contenders.

Suki Waterhouse has returned with news of her second collection of mellow alt-pop following her 2022 debut I Can’t Let Go. The actress/musician will unleash Memoir of a Sparklemuffin on September 13 via Sub Pop after gaining traction on the festival circuit over the past two years. In the meantime, Waterhouse has shared the record’s first single in the form of ‘Supersad,’ a polished garage-rock anthem merging scuzzy guitars with the singer’s soaring and, well, at least a little bit sad vocals. “I tried to write a ’90s song you could hear playing at the mall in Clueless or as an opening track for Legally Blonde,” she shared upon the track’s release. The track also arrives with a music video that embraces those vibes equally well. [via FLOOD]

Self Esteem and Moonchild Sanelly have teamed up for a collaborative new single, ‘Big Man’. The song marks the first release from the former – aka Rebecca Lucy Taylor – since her BRIT and Mercury Prize-nominated 2021 album, Prioritise Pleasure, and “explores the nuances of modern masculinity and gender roles”. “I’m a big man/ Yeah, I’m a fucking big man/ What are you?” the pair sing over an electronic beat. Speaking about working with South African musician and dancer Sanelly, Taylor explained: “Me and Moon wrote a song from the perspective of a good boyfriend. The ones that are just chill and secure so they just leave you to it. The ones that don’t want a medal for doing the bins. The ones that see that you’re working your tits off so they go and get yet another thing you’ve ordered and missed the delivery of from the post office. The ones that don’t take your success as a direct threat to their existence. To me, this is real masculinity.” She continued: “We have both collaborated with Johan Karlberg on our records and I’m so grateful to him for introducing us, it was a joy to make this song together.” ‘Big Man’ arrives with an official music video, which Taylor described as “an inverse ‘I Want To Break Free’” by Queen – referring to the band’s iconic 1984 visuals. The clip sees the two artists undertake various household chores while donning oversized suits. [via NME]

To usher in the official start of summer, Pop-rulebreaker UPSAHL makes her long awaited return with a brand new single and accompanying music video titled ‘Summer so hot,’ out now via RCA Records UK. ‘Summer so hot’ kicks off a new era for UPSAHL as she demonstrates her sonically elevated new sound. Destined to be played on a speaker out by the pool in warm weather, the track is a sexy summer anthem showcasing UPSAHL’s breezy vocals, impressive breath work with packed lyrical verses and an electro-infused bassline keeping the beat. The music video, replete with fans, ice cubes, and popsicles, emphasizes the sweltering heat UPSAHL is doing her best to cool off from. Alternating between a poolside dance party (from which you can see the detritus of the previous night’s debauchery strewn across the lawn) and a sensual video shoot in the cool confines of the house, UPSAHL perfectly encapsulates what a typical summer hang looks like in the throes of soaring temps. On the track, UPSAHL shares: “I wrote ‘Summer so hot’ in the middle of winter in London. I was feeling nostalgic for that perfect summer day where all fucks fly out the window, you’re just being present with friends, and escaping to wherever the day takes you.”

Italian-born, London-based riser Sans Soucis has shared another preview of their forthcoming debut album Circumnavigating Georgia, which now has a confirmed release date of October 9. New track ‘If I Let A White Man Cut My Hair’ is a homage to the significance of nurturing Black communities, and a testament to how even small, everyday acts can serve to resist structural marginalisation. “I think when you build your personality around everything that society wants you to be, then you also agree to a lot of norms that don’t belong to you,” Sans Soucis – aka Giulia Grispino – has said of the laid-back, groove-infused single. “But to really own my narrative, I needed to move on because I didn’t want the society I live in to tell my story for me”. [via DIY]

Multi-artist talker recently dropped her debut album, I’m Telling You The Truth. Along with the album’s arrival, she has shared a video fot ‘Return to Sender.’ Directed by Sylvie Krakow and choreographed by Nadine Olmo. talker’s Celeste Tauchar on the video: “I worked on the Return to Sender video with my good friend Sylvie who also directed the ‘TWENTYSOMETHING’ video. We already have a relationship where we really push each other to go for crazy concepts in our work, and I love working with her so much because she doesn’t think any idea is too much. She’s always going to find a way to make it work, and I’m the same way. Sylvie instantly saw the funeral idea when she heard this song, and together we unpacked the idea of having a funeral for my relationships and my emotions. We paid homage to the album’s intro track, which encapsulates putting to rest all of the experiences and negative moments in my past that I unpack in the record. We brought in Nadine Olmo to choreograph the dance, which of course was amazing. She’s worked with Olivia Rodrigo, Blink-182, PVRIS Tinashe, just so so many amazing artists and it was both intimidating and a huge honor to work with her, and that she wanted to be part of it.” Celeste tapped into her dance background, but it’s been a long time since she used her body in a way to physically tap into emotions. “It brought me to a whole different plane with expressing the song and getting back into the headspace, because I wasn’t just singing the lyrics and thinking about them. The song was seeping out of every part of my body and I really felt drained the next day, physically and emotionally. But I’m so happy with how it turned out, and I think it’s the most fitting way to paint the full picture for this song and really tell the whole story. And since it’s coming out the same day as my album, I wanted it to be as honest and raw as possible.” [via Northern Transmissions]

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Following the viral success of her body-positivity anthem ‘Fat,’ singer-songwriter Kate Yeager returns with a stirring new single, ‘Edit,’ in which Yeager delivers a poignant exploration of self-acceptance and the journey to authenticity, especially for young queer people. The track is shared along-side and incredible, Princess Diaries-esque music video, that was brought to life by a queer woman-led video team. ‘Edit’ comes just in time for pride month, encouraging listeners to challenge societal norms and celebrate individuality. “I feel like the qualifier for a pride song is generally about self acceptance and living your truth. But I feel like it often gets lost that it takes a while to get there,” remarks Kate. “This isn’t about the destination. It’s about the journey. It’s about feeling the pressure to mute certain parts of yourself. To be less gay, less queer, to make yourself more palatable for other people. This song is the painful the realization that people don’t get the full you when you make changes to yourself for their happiness.”

Jen Cloher has never shied away from making bold political statements, and with their latest single ‘Annabelle,’ they delve deep into the personal and the political. The track’s accompanying video paints a stark, harrowing portrait of a protagonist undone by her relentless need to win at all costs. Yet, beneath this personal unraveling lies a trenchant critique of white feminism’s dominance in contemporary discourse—a movement that Cloher asserts is often more focused on advances in individual power than on the collective liberation from systemic oppression. Cloher challenges listeners to reconsider the true meaning of equality and justice, pushing beyond surface-level victories to confront the deeper, more pervasive issues at hand. Cloher worked on ‘Annabelle’ with producer Tom Healy (Marlon Williams/ Tiny Ruins.) ‘Annabelle’s’ accompanying video was co-directed by Jen Cloher and Claire Giuffre, bringing Cloher’s original vision to life and marking their directorial debut. The video features Gabrielle Bradbeer, Esther Henderson, Nathalie Pavlovic, and Melissa Fulton. [via Backseat Mafia]

Kate Bollinger has been putting out dreamy pop songs for a while now, primarily collected in a string of EPs and singles that date back to 2017. Now, the Richmond musician (who is now based in LA) has announced her debut full-length, Songs From A Thousand Frames Of Mind, which will be out in September. Collaborators on it inclue Sam Evian, Matthew E. White, Jacob Grissom, and Adam Brisbin. Lead single ‘Any Day Now’ is out now. “My good friend Matt [E. White] was visiting from Virginia and we got together to play some music,” Bollinger shared in a statement. “We wrote this song and then drove around Los Angeles together. That same day he helped me realize the kind of record I wanted to make, which I subconsciously knew but couldn’t really find the words for until then.” She continued: “A few months later, I recorded the song at Sam’s [Evian] place in upstate New York with a band we put together. We spent the first day practicing the songs. The next day we recorded the first two songs, ‘Any Day’ Now being the second one. We did it all live in the room, no headphones or click, done in the spirit of most of my favorite music from the late 60s.” [via Stereogum]

MOTHICA has released a new music video. The new music video, for the track ‘The Reaper,’ is taken from the Los Angeles-based alt-pop singer-songwriter’s upcoming new album, Kissing Death, which is scheduled to be released in August this year, via Heavy Heart Records/Rise Records. Speaking about the new song and the accompanying music video, the artist says, “I was listening to a lot of movie soundtracks when I was writing this album, like the synthwave in the movie Drive. I wanted to write an upbeat love song you could dance to. I rarely write about relationships or love, but this one was a fun twist with the subject being my infatuation with the grim reaper. Lyrically, I try to rationalise that he’s a good guy and it became this more lighthearted song of the record that is unlike anything I’ve ever released. I invited dozens of my friends to be in the music video, where I sung the song in 2x speed so you saw this slow motion of a neon-lit club around me, and there’s some humour in there like the grim reaper teaching me how to play pool or my friend dancing on his scythe like its a pole.” [via Distorted Sound]

Detroit five-piece Habibi are sharing ‘In My Dreams,’ along with an accompanying video. ‘In My Dreams’ lulls you gently into the band’s world, encapsulating the glittering and evocative side of new album Dreamachine. The track centers on a steady drum machine pulse, which the band colors with a dazzling array of synth textures and dreamy melodies. The vocals lilt and float above the shimmering instrumentation as the lyrics explore the push and pull of a strained romantic relationship: “The skies above you took away, my own compass gone astray. / I can’t let you hear, I can’t feel you near / How do hands unheld grow old? How does something true unfold? / Now I must be saved, I never asked you to stay.” The band’s Lenny Lynch says of the track, “‘In My Dreams’ beams us up to a dazzling dreamland, a cosmic world of sleepless nights and a hopeless romantic tug-of-war. This song encapsulates the mood of the album: a relentless longing, like something that feels out of reach, but that we are deeply connected to. That emotion is steering the song, as it unfolds like an inward dive into the pulp of Dreamachine. I had been listening to a lot of minimal synth early 80s music, and my dad gave me a keyboard so I started writing songs on it. We had always wanted to go in a synthier direction eventually. James Richardson is our friend in Hudson Valley, NY, and we wanted him to listen to the almost-finished album to see if he was compelled to add anything. He added some mellotron to this song that gave it some really surreal elements in the background.” [via Under The Radar]

When many musicians are remaining silent on the Israel-Hamas war, Kehlani is standing next 2 Palestine. In their new music video for ‘Next 2 U,’ the R&B performer and a troupe of dancers wear keffiyehs on their shoulders and dance in front of Palestinian flags. “They gon’ have to come get me / They gon’ have to see about me / to get next to you,” Kehlani sings, twisting the song’s message to a lover into a statement of defense. (‘Next 2 U’ is a single off their to-be-announced new album.) The video also opens with an anti-war quote from Palestinian poet Hala Alyan: “Keep your moon / We have our own / Keep your army / We have our name / Keep your flag/ We have fruits and in / All the right colors.” Additionally, it closes with a message about the children killed by Israeli forces in Gaza. “We tried to make a scroll honoring the names of thousands of deceased children,” it reads. “The list was so long that our fastest scroll at 3 minutes was illegible.” Instead, Kehlani is encouraging fans to read the list of names “at your own pace.” [via Vulture]

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Emerging, independent rock artist Cutt has released the official music video for her latest single ‘No Crown In This Dead Town’. The video, directed by Ethan Maniquis (“Machete,” Five Finger Death Punch, Daughtry), highlights her Los Angeles roots and the famed Sunset Strip, where the rocker frequently performs. ‘No Crown In This Dead Town’ – produced by Sean Hurwitz (Smash Mouth) and Gregg Cash (Josh Todd & the Conflict), who also co-wrote the song with Cutt – is Cutt’s fight song, serving as motivation to keep working on her music and pushing forward with her career, even when it feels like you can be stuck. “‘No Crown In This Dead Town’ is about me wanting to give up on music,” shares Cutt. “Entourage is one of my favorite TV shows and the intro to the show inspired the opening shots of the video! It’s me in a red mustang looking up at all the billboards on Sunset Blvd. wishing it was me up there! The rest of the video is me and my band performing on a rooftop in downtown LA.”

fantasy of a broken heart are announcing their debut album, Feats of Engineering (out September 27 on Dots Per Inch). To mark the announce the band are sharing a new single entitled ‘UR HEART STOPS,’ with an accompanying video directed by Rachel Brown of Water From Your Eyes & thanks for coming. Though shaped by the surrealist endeavours of 70s prog-rock and late-90s dream pop, and the logic-eschewing rules of animated worlds, the album is ultimately tethered to reality, to music as sculpted by years of live performance. Featuring contributions from other members of the NYC scene the band travels in, including Nate Amos (This Is Lorelei, Water From Your Eyes) and Jordana, the album is a maximalist diatribe anchored by the emotional core of its central relationship. Lyrics careen between the silly and the sincere, while Bailey’s husky baritone whispers, shouts, and croons, Al’s airy vocals twang and soar transcendent, their voices drifting in and out of conversation with each other. ‘UR HEART STOPS’ perfectly walks the line between the poles of the band’s sound, managing to be effective as pop music and avant garde in its construction, funny and genuinely beautiful. It’s a remarkably imaginative piece of music, that manages to be clever and surprising without taking itself too seriously, and it wonderfully captures the unique cocktail fantasy of a broken heart have been brewing for their debut LP. Wollowitz says of the song: “‘Ur Heart Stops’ was conceived in the midst of the pandemic after we moved from New York to Los Angeles looking for a breath of fresh air. With no shows in sight, we made the decision to finish writing the song without ever playing it live, a rarity for us that led to a very honest arrangement unbothered by the potential reaction of an audience. We finally got to play it live a year later at a cathartic house show at Brooklyn’s now closed Bohemian Grove. It felt like people caught onto the song right away despite it being the odd duck in an otherwise familiar set. The basement flooded overnight after the show and everything was caked in mud when I returned in the morning to pick up some gear. Heart is a reflection on the never-ending engine of day and night, separation and reconciliation, and the collective depression felt while marching to the coffee pot. While it started as a more personal dialogue between Al and I, I think the song ultimately became an anthem of perseverance for anyone who struggles to get out of bed every morning. We still do.”

Finom – the Chicago-based band co-fronted by Sima Cunningham and Macie Stewart, formerly known as Ohmme – will release their new record, Not God, on May 24 via Joyful Noise Recordings. Now, they present a new single, ‘Cyclops,’ alongside a video directed by Mannequin Pussy’s Marisa “Missy” Dabice. ‘Cyclops’ pulses with a fuzzy bass line and Finom’s signature harmonies. There’s a boisterous tension in its instrumentation, which is captured in the accompanying video. It features Cunningham and Stewart as eccentrically-dressed boxers, joining together to take on an evil force in the ring. “Your band is your own personal Odyssey,” explains the band. “You have to want to go on it, you have to fight for it, you have to live for it. I think this song is reacting to some of the subtle undercurrents and mental demons we’ve had to fight off when it comes to persisting as a band. But also, really thinking about battling a cyclops and all of the injury you endure to make it through to the other side.”

Rising pop artist Brooke Alexx has unveiled her self-directed music video for her recently released single, ‘Hot Like You.’ The video finds Alexx transforming from an office chic to Hollywood glam, with the swipe of some lip gloss, a show-stopping red dress, and her favorite pair of shoes from Pashion Footwear. “The music video represents when I was working a day job and pursing music at nights and on weekends. I felt like a double agent,” Alexx says on the new video. To bring her vision for the music video to life, Alexx teamed up with the aforementioned shoe company Pashion Footwear. The brand makes the world’s first fully convertible and customizable heels (a.k.a. shoes that can turn from heels to flats, as well as be endlessly customized with interchangeable Heel Kits + accessories). [via Substream]

Madrid-based indie rockers Hinds have unveiled plans for their new album, Viva Hinds. The record is set to be the band’s first since 2020’s The Prettiest Curse, and will feature two A-list guest stars. Spearheaded by the incredible duo that is Carlotta Cosials and Ana García Perrote, Hinds have been among the most notable indie bands of recent time, both in mainland Europe and further afield. Hence, there is already a lot of excitement surrounding the announcement of Viva Hinds. The first hints at a new album came back in February, when the duo released ‘Coffee’, their first single in years. However, it is only now that a new album has been confirmed, and details have been revealed. Alongside the announcement, the band released the album’s lead single ‘Boom Boom Back’, giving a sneak preview into this new era for Hinds. The song is a perfect summer anthem, featuring the kind of euphoric indie guitar sound that the band have become synonymous with, backed up by Cosials’ effortlessly cool vocals. ‘Boom Boom Back’ also gives some idea of the calibre of guest stars that will feature on the new record, with Beck arriving to deliver a verse. He met with Hinds by chance during a film screening in Los Angeles, and quickly set about organising a collaboration. The slacker king is not the only guest to feature on the tracklisting for Viva Hinds, as the as-yet-unreleased song ‘Stranger’ is due to feature Fontaines D.C. frontman Grian Chatten. The album’s lead single arrived in conjunction with a music video, awash with friendship and euphoria to match the mood of the song. Directed by Cosaials and Perrote themselves, the video sees Hinds take on the streets of Hollywood in the blistering sunshine.

Future soul voyager Raveena touches down once more on new single ‘Pluto’. ‘Pluto’ is a wonderful piece of zero gravity alt-soul, with her jazz leanings providing a real sense of flexibility to that dulcet vocal. In a note, she reveals that this beautiful new single actually relates to loss, while also re-learning the acceptance of joy. She comments… “This record is so inner child for me. It’s a song about loss, but woven into the most joyful soundbed. When making it, I was remembering the feeling of having my little walkman and listening to the most euphoric pop songs, dancing around the yard or looking out the window on a long drive at ten years old. I want to bring back the sweetness that feels like it’s suspended in that time of the early 2000s and 90s. I love the amalgamation of sounds we landed on in this song- it’s such a classic R&B record in so many ways, with all these hidden gems of unique instruments like swarmandal and electric sitar.” The surrealist video was pieced together with VFX imagery by Danish artist Ida Lissner, and acts as a homage to some 80s and 90s greats – think Prince’s ‘I Wish U Heaven’ and Faye Wong’s ‘Sing and Play’. [via Clash]

MOTHICA has released her new single ‘Red’, taken from her forthcoming visual album KISSING DEATH, which tells an immersive story across the tracks and their accompanying music videos. “After releasing Nocturnal, which had more of a heavier influence, I knew I wanted to include a rock song. In the narrative of the album, I wanted younger me to go to a rock show of future me, which is obviously impossible in reality, but it represents all the music I grew up listening to and what I’d later be inspired by,” says MOTHICA. “My buddy Nick Sadler and I wrote this together to be this rock-inspired anthem that teenage me would’ve loved, despite the lyrics being so self-destructive.” [via Bring the Noise]

Slovakian alt-pop artist Karin Ann has launched her debut album, Through the Telescope, showcasing her eclectic musical range and depth in storytelling. Released under 3am Records / PIAS, the album features the compelling new video for her track ‘I Don’t Believe in God’, starring Imogen Heap. Through the Telescope is a fusion of folk, rock, and gothic disco, drawing influences from artists like Mazzy Star and Hozier. Produced with Benjamin Lazar Davis and Will Graefe of Okkervil River, the album captures Karin Ann’s journey through love, identity, and mental health challenges. Karin expressed her personal connection to the album, stating, “Before I even considered making this album, I was at a breaking point where I seriously thought about giving up music due to my declining health. Benjamin, my collaborator on the album, unexpectedly entered the scene, and later came Will. The two of them sparked this whole new wave of creativity, and the album turned out even better than I imagined. This project was a labor of love, free from external pressures, allowing us to craft a narrative that reflects our shared artistic integrity. I’m so full of pride as I prepare to share this deeply personal piece of work with the world, and I’m hopeful that it resonates with listeners on a profound level.” The new video for ‘I Don’t Believe in God’ is a visually striking exploration of spiritual and societal challenges. Karin notes, “It’s a vulnerable reflection of spiritual dilemmas, influenced by my experience navigating as a queer woman in a conservative, Christian environment.” The video incorporates themes of religious persecution, drawing parallels with historical events like the witch trials.

The UK singer Mabel has a brash new single out. For ‘Look At My Body Pt. II,’ she teams with Shygirl for a hard, trap-infused pop song about “questioning the male gaze and the power of the divine feminine.” Mabel’s statement on the song: “This record is about questioning the male gaze and the power of the divine feminine. I’ve often felt judged by my appearance, and I’ve let comments get the better of me. Now, I’m at a stage in my life though where I’m celebrating my body without letting it define me. I wanted to let anyone who’s ever underestimated me or judged the book by its cover know that I’m ok with them doing that now because I know who I am. Collaborating with Shygirl is something I’ve wanted to do for a really long time as I’m a big fan of her music and everything fell into place with this record. She totally understood everything I wanted it to be and she’s made the song so special. She’s a superstar.” Watch director David Wilson’s video for the song below. [via Stereogum]

Fashion muse, actress, and writer Julia Fox continues to defy expectations, this time venturing into the world of music. Following the release of her debut single ‘Down The Drain,’ Fox unveils a powerful music video directed by Ben Draghi, known for his work with Zendaya and Dove Cameron. The ‘Down The Drain’ music video delves into Julia Fox’s past experiences as a dominatrix. It weaves a captivating narrative where Julia Fox takes on various roles as she embarks on a mission to rescue her friend Richie Shazam from peril. Shot in a location deeply significant to Fox’s personal history, the video adds a layer of authenticity to her performance, showcasing her unwavering commitment to her artistic endeavours no matter how memeable. Fox took a personal approach, involving her close circle in the creative process. This choice gives the video a distinct, intimate feel. It transforms what might seem like an unexpected move into music into a captivating display of Fox’s unique ability to bridge different creative fields. [via FAULT]

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Irish indie rock band Pillow Queens dive into intoxicating feelings with punchy, cathartic track and official video ‘Heavy Pour’. ‘Heavy Pour’ is a track that lays the foundation for a story of unshakable conviction in the face of doubt and feeling inadequate. Sonically, lead guitarist and vocalist Cathy McGuinness shares, “It feels like a bit of a bizarre journey or a fever dream.” Opening with a 90s grunge vibe, twangy distorted guitars and open strings, it gets progressively heavier before a cathartic release. McGuinness says, “The guitar becomes more palatable in the middle eight, totally contradicting the previous section of discordant chaos. It then falls into a glorious half time with ‘oohs’ to support the instruments, giving a feeling of clarity and resolve before snapping back to the chorus.” Lyrically, lead vocalist, guitarist and bassist Pamela Connelly adds, “A lot of the lines in this song could convey the typical sweetness of a love song, but it has brief moments of outside perspectives that cast doubt over the conviction represented. The song tries to show the “heavy pour” as a compulsion that while having moments of joy, ultimately heightens personal insecurities.” The band also touches on gender and common misconceptions with the line, “I want more, but I’m not man enough.” Vocalist, guitarist and bassist Sarah Corcoran says talk regarding that line has sparked conversations about gender, particularly the tendency to equate masculinity with bravery. “Intrigued by this dynamic, we wanted to delve into and dissect the idea that one’s gender expression is impacted by their perceived level of courage. Spoiler: it’s not. All genders can be courageous and/or scared.” The track’s accompanying video, directed by Kate Dolan, is inspired by old silent films like The Cabinet Of Dr. Caligari, Faust and Nosferatu. The idea for the video came immediately to Dolan upon hearing the track. Dolan says, “The song felt like a haunting and I felt the video needed to be something quite stylistic. I came up with the idea of the music video being a long lost silent film that has never been seen, a haunted piece of art buried in an attic somewhere. Then, as the band performs the cursed film is purged, burning up. The band are always up for having some fun so the shoot was a lot of fun and we played a lot on set.” The spooky video was aptly shot at Glenmaroon House in Dublin. The Tudor-style Edwardian mansion, dating back to the 1850s and once owned by a member of the Guinness family, exuded an eerie charm perfectly suited for the video’s aesthetic.

Babe Club says they were inspired by Mark Ronson and Lykke Li’s song ‘Late Night Feelings’ to make a new dance groove beat. While ‘Late Night Feelings’ is about heartbreak, Babe Club’s new single, ‘Kiss Kiss Bang Bang,’ is about uncovering your deep dark secrets. Here’s what the band had to say about their new song: “We wanted to make a dance song that inspired people to get weird and mischievous. We abandoned the idea for a year, picking it back up while being inspired by how interactive and hype Chappell Roan’s songs get with the audience. Singer Jenna Desmond recalls channeling her inner weird Barbie-the damaged one- for the lines, ‘let’s just have fun, kill the lights now turn it up,’ in hopes people will be sweating out their demons with strangers on the dance floor. It’s murder on the dance floor.” [via Holy City Sinner]

Australian trio Telenova returns with their latest elegant, disco track ‘Power.’ The song comes with an official video directed by frontwoman Angeline Armstong that is brimming with vibrant colour and otherworldly imagination. In a day of big announcements, the band has also shared news of their debut album Time Is A Flower (to be released on August 16 via Fiction) which will be played live across their forthcoming European tour which will see them touch base in London on October 1st at The Outernet’s The Lower Third. The track was co-produced by the band and Styalz Fuego who has also produced tracks for Troye Sivan, Tate McCrae, Odesza, Imagine Dragons. Speaking about the song’s creation Angeline explains “The song is a fable-like story of a flower in love with the sun, but the sun is setting. And the flower is afraid of being left alone in the darkness without the very thing that gives it power and strength. Of course, the flower unaware that the sun inevitably always rises again. The more we kept building out the lyrics the more Josh and I realized its a fairly multi-layered metaphor for love. Inevitably (and beautifully) people will hear different things in the meaning of ‘Power’, it resonates on a romantic-love kind of micro level, but can really extend out to a divine kind of love and existential longing – whatever your idea of ‘God’ or the universe or something ‘bigger’ it’s the cry of a human being out to whatever is out there, to like, not be abandoned basically, not be left to our own devices all on our own. And then we shroud that all in a big fun dancey disco tune – because why not.”

On her brand new single ‘Comic Trip’, Sylvie Kreusch nosedives into a fantasy world where anything is possible. It is a song that buzzes with colors, sensations and Big Emotions – with a stylistic nod to bands like The B-52’s and Stereolab. “On ‘Comic Trip’, I wanted to create a world where everything is possible, where reality and fantasy intertwine.” Kreusch says about her latest song. “The inspiration came from the nostalgia for my childhood, when I could lose myself for hours and hours, reading vintage comic strips in my grandmother’s attic. I was immediately reminded of those Roy Lichtenstein-sounds, which I added in both the arrangements and the lyrics.” With its bright, sparkling arrangements, ‘Comic Trip”’resonates like the pop music version of a retro sixties comic that’s brimming with spectacle, intrigue and suspense. Kreusch turns into a superheroine protagonist who jumps kinetically from panel to panel. “’Comic Trip’ harkens back to childhood, the days when you still looked at the world with wonder. I think we as adults can learn a lot from that.” Kreusch adds. “I am now in my thirties and everything is becoming slightly predictable. I now have a little more control over my life, so it is sometimes shocking when you lose that spontaneity. Being a bit more naive in the world, especially as a creative person, is a very important thing to keep doing. So that’s what I’m looking for now.” ‘Comic Trip’ is a very visual song, so there really had to be a video. The things I wanted to do weren’t that easily executed either. It is about children who completely lose themselves in comic books and look in amazement at a world in which everything is possible. I tried to put that world visually in a video. It turned out really cool, and it required a lot of preparation. It’s very conceptual, even though I don’t normally write like that. You constantly bump into things that are not feasible. There is certainly something of a Western influence in it: comics and Westerns are two worlds that often go well together. There was a lot of shooting in terms of choreography on a treadmill. The world I am in is a kind of desert landscape, in which things travel my way. And the children act as a shadow of me. Sometimes they follow me around and then they disappear again. That was maybe the hardest part: finding children in which gender and age looked fluid. That there is something very playful and young about them, but they are also very mature in how they move, in their way they imitate me a little bit. Part of the video for ‘Comic Trip’ was actually filmed on location, and partly animated. The idea behind it is that you’re not supposed to be able to tell the difference between what’s real and what’s fantasy.”

Kate Nash has shared ‘Space Odyssey 2001’, as the latest single from her forthcoming album, 9 Sad Symphonies. The track sees Kate nash recount a first date with her now-partner and pokes fun at her own movie choice. “It’s the wrong film for a date, but I love the film. I like making jokes in songs. I like that there’s this beautiful love song but it’s also complaining about this critically acclaimed film being too long. I don’t recommend it for a first date,” she explains. “‘Space Odyssey’ is a love song about my partner who I was friends with for many years, but we met up at just the right time in the summer of 2017, both single and very unexpectedly fell in love,” Nash continues. “Romance came back into my life in this effervescent, joyful and healing way. I’d been through so much pain and toxicity. In the video, I arrive at this homestead having been through hell, exhausted and at the point of no return. I am rescued by a half man/half donkey. It’s inspired by Shakespeare and the way his plays use surrealism, fairy tale and classic love stories, but also the genuine complexities of human relationships. I’m taken into this homestead as I’m ready to give up and am healed by sunshine, friendship, food, joy, animals, nature and falling in love with someone you really don’t expect, which transforms me from a broken, bloody mess to a higher level self (in this case, a fairy).” [via Line Of Best Fit]

MOTHICA has shared another new single and video from her upcoming album Kissing Death. Following last month’s first single ‘Doomed,’ the artist unveils a song attached to her name, ‘Curiosity Killed The Moth’ – and as such, she says that it felt like an especially “daunting” one to write. “I thought of the phrase ‘curiosity killed the cat’ on the way to a session with David Burris and Alexandra Veltri, and we twisted it to be about a moth,” MOTHICA explains. “Like a moth to a flame. Icarus flying too close to the sun. “I’ve always wanted to write a song about moths, but of course, it being my namesake that felt like a daunting task. I wanted every song to feel like it was from a soundtrack since I knew I was going to do a music video for every song, and so it turned into this dark cinematic feeling that I really love.” [via Kerrang!]

Calva Louise has revealed the extraordinary cinematic Sci-Fi video for their new song, ‘Under the Skin’, and the news they have also signed to Mascot Records—home to P.O.D., VOLA, Defects, Conquer Divide, Dragged Under, and Oxymorrons,. ‘Under the Skin’ was co-written by Allanic and Pendulum’s Gareth McGrillen and is a mesmerising blend of raging metal riffs, swirling electronica, and Allanic’s extraordinary ability to flit between ethereal vocals and demonic howls. It swoons in and out of a stunning narrative, with melodic twists along the way that are penetrated by an attack of hypnotic aggression. ‘Under The Skin’ follows a complex Sci-Fi narrative and is the introduction of a conceptual storyline about the characters and their counterparts called the Doubles. Talking about the song, Allanic says, “The lyrics deal with the obstacles that arise between them as one is looking for freedom and the other is looking to perpetuate their consciousness, but the expectations are not the same for both sides.” The video is a feast for the eye and was directed and edited with VFX by Jess Allanic. This first single release is accompanied by Calva Louise’s most ambitious music video production, including a Sci-Fi movie-style short film telling a story about parallel dimensions where the characters are looking to perpetuate their consciousness beyond the real world.

Shannon & The Clams release their latest single ‘Big Wheel’ and its accompanying music video. The song will be featured on their upcoming album The Moon Is In The Wrong Place out May 10 via Easy Eye Sound. Kicking off with resounding Moog synthesizer instrumentals and vocals from guitarist Cody Blanchard, ‘Big Wheel’ chronicles the unavoidable passage of time and life’s impermanence. On the track, Shannon & The Clams showcase their remarkable knack for making big, devastating feelings more tangible through upbeat melodies and creating a place for listeners to celebrate life. In August 2022, singer and frontwoman Shannon Shaw’s world was turned inside out: with mere weeks to go until their wedding, the singer’s fiancé, Joe Haener, died in a horrific car accident. It was a devastating loss that hit Shannon & The Clams — who were all incredibly close with Haener — with cataclysmic force. Cue ‘Big Wheel,’ guitarist Cody Blanchard’s response to Joe’s death — a meditation on how time and reality become distorted in the face of sudden loss. The lyrics ruminate on the feeling of helplessness as time marches on after someone dies, like the feeling of being strapped into a ferris wheel seat that you don’t want to be on — as if you have accidentally gotten on the wrong ride and everything has “gone off the track” and you desperately want to pull the stop lever. The song also explores the impotent desire to rewind time and to keep the gap between “now” and “before” as small as possible, like the urge to keep a child at a certain innocent age before the harshness of the world turns them cynical. “See the boy waiting in line, weep for him on the other side.” The accompanying music video, directed by Vanessa Pla, is an eerie exploration of time visually reminiscent of silent era films. [via Concord]

Following last month’s single ‘Maverick’, self-styled brat punk Delilah Bon has unleashed another ferocious single in the form of ‘Finally See Me’. Taking inspiration from her school days, it’s a raw and riotous exploration of Delilah’s teenage school experience, and the mental health struggles she faced, feeling lost and alone as a free-thinker in a system that didn’t understand her. “This song is about craving recognition and validation,” says Delilah. “I receive messages from so many young people who feel just like I did back in school. They tell me they use my music to get through the day, which hits close to home for me. I remember spending lunch breaks hiding in the school toilets, listening to P!nk, just trying to escape the world.” [via Kerrang!]

Cross Dog is a noisy, experimental, bass-driven hardcore punk band from Peterborough, Ontario. Their music is played at ear-splitting volumes, but the band’s socially conscious messaging cuts through the noise loud and clear. Formed in 2013, the intentional omission of a guitarist from the lineup leaves Cross Dog lacking absolutely nothing. Affirming the power in the rule of three, Tracy A (vocals), Mark Rand (bass), and Mikey Reid (drums) explode with a multiplicative force that betrays the finite bounds of their instrumental limitations. Cross Dog’s newest album (and first for Stomp Records), All Hard Feelings (out June 7), sees the band maintain the sonic onslaught they’ve become known for, but with a few tweaks. ‘Hard Feelings,’ the first single to be shared ahead of the LP’s launch, is a pseudo-diss track that stemmed from Tracy feeling blindsided and betrayed. It encapsulates the moment when you are all pure and reactive emotion before you calm down and view your current situation through a healthier, more balanced lens. It’s the perfect “scream-it-in-your-car” song, so you don’t end up screaming it in someone else’s face.

Taylor Swift has released her first Tortured Poets Department music video. The visual is for the album’s opener, ‘Fortnight,’ featuring Post Malone. Watch the new video, written and directed by Swift and co-starring the musicians with Ethan Hawke and Josh Charles, below. [via Pitchfork]

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Creating a dreamy and chic soundscape, Gorgeous Dyke’s latest offering is a noticeable shift from their post-punk roots. Still running off the energy of a catchy, Bauhaus-esque bass line, ‘No Approval,’ differs in its more obvious house direction. The lyrics paint a picture of an unflappable woman heading steadfast wherever life may take her – despite whatever criticisms or judgments that may come her way – ultimately finding refuge in outward self-expression. Their accompanying music video brings this philosophy into motion as the two get ready to make the world their runway alongside their pup. There’s also a pizza in the oven, which may or may not represent more than just a case of the munchies. Fans can still expect the grooviness of Deee-Lite, the sleek, understated vocals of Gina X Performance, and the commanding bass lines of ESG but with a new synth sound that switches things up from their previous releases.

Deep within The Stolen Moans HQ, on the top shelf of an antique bookcase, lives a turquoise-colored hard drive marked “experimental”. This is the Mad Kingdom, a surrealist laboratory, where tunes deemed too reckless for mainstream consumption, remain locked in lead-lined boxes like Madame Curie’s notebooks. Oddities with unknown half-lives, pieces to a still-undiscovered puzzle, sitting, waiting. However, before we can talk about how one of these “experiments” escaped, we first must tell the story of the person who always supported the bands pursuit of the weird and wonderful, Micheal (MP) Peters, their beloved friend, and the “best-dressed roadie in show business”. “MP was a true child of the sixties and grew up at a time when cults and mayhem found fertile soil in sunny California,” say the band. “The recounting of his storied misadventures never failed to astound and entertain. We were always delighted when he drove up (in his veggie oil-powered Mercedes hearse) wearing impeccably tailored 3-piece suits, to help out at shows. He was the epitome of the saying “it’s the journey, not the destination that matters”, and encouraged us to always stay open to the crazy magic that happens along the way. Loud Rock & Roll was one of his passions but he especially loved it when songs got weird! The first time we first played ‘Pu Num Tu’ for MP, his response was, “Whoa, Mondo!”, which was pretty much the highest compliment you could receive from him. The story of how the companion music video came to be is another bizarre tale of happenstance but the abridged version is, we spent a weekend having messy fun in the dark with fellow artist-adventurers. This of course brings us back to the music and why we’ve dedicated the song a video to MP. Tragically he caught the coronavirus in 2020 and passed away within days of becoming sick. He was with us for so much of the journey and would be absolutely delighted that ‘Pu Num Tu’ is finally getting released. If Surrealism’s goal was to revolutionize the human experience by attempting to find magic and beauty in the unexpected than ‘Pu Num Tu’, is a Surrealist Affirmation in the pursuit of joy and freedom. MP buddy, the lunatics are now running the asylum, and YES, this Pu is for you… Rest in peace Michael XO, SM.” The music video was shot and directed (including the stop motion animation) by female director Hannz Mulligan. The band found her student reel online and really clicked in person. “The video was as much fun to make as it is to watch.”

The joyous, experimental Japanese group CHAI recently released their single ‘WHOLE’ and collaborated with Sondre Lerche on his song ‘Summer In Reverse.’ Now, CHAI have come out with a new single called ‘SURPRISE.’ It’s a giddy song that manages to be soothing and explosive in equal measures, and it’s got an extremely colorful music video that the band shot with director Yoshio Nakaiso in Los Angeles. In a press release, CHAI say that the ‘SURPRISE’ video is based on the band’s experience of having their tour trailer stolen in America but still playing all their shows thanks to the support and generosity of other people. In the clip, the members of the band go on a magical quest to find the instruments that they’ll need to play shows. Here’s what CHAI say about the song itself: “We all have that precious “something” that we can’t express in words. But sometimes those things happen to make it out as words, and we want to feel and love that “surprise”. Those become the surprises of our lives, and I become a brand new me♡. That’s what we had in mind when we wrote ‘SURPRISE’. Check it out♡” [via Stereogum]

Vancouver’s Kamikaze Nurse shares ‘Come From Wood’, the second single from Stimuloso which arrives June 3 on Mint Records. Of the song, Kamikaze Nurse said, “’Come From Wood’ wrote itself after KC pondered the simplistic mystery of the Pixies’ b-side ‘Into the White’ on repeat for many months. The song unfolds like a dream, as the archetypal apple and an enchanted forest stage a familiar scene with unfamiliar imagery in the mind of the listener.” Along with the single, the band shares an imaginative music video, the concept of which was realized in collaboration between director Jaewoo Kang and Kamikaze Nurse’s KC Wei. About the video – Director’s quote from Jaewoo Kang: “’Come From Wood’ includes motifs from fairy tales – red apple, forest, moss fields – and re-imagines the idea of sensuality, closeness, entanglement and passion from the perspective of worms and an apple. Visual elements of the video have been inspired by the lyrics, which came to life with an incredible performance by the band members and the dancers. Vibrant set design and gelatine mould of the main character’s body is decomposing, juxtaposed with the animated, visceral movement of the dancers. The video attempts to capture the feeling of familiarity mixed with the uncanniness of the decomposing body to create a more nuanced expression of intimacy and pleasure.”

Desire release their first album since their self-titled debut in 2009 with new record Escape, which is out now via Italians Do It Better. To coincide with the release, the band have also shared a new video for their single ‘Black Latex’ from the record.

Tove Lo returns with a brand-new track and official music video, titled ‘No One Dies From Love’. Co-written with long-time collaborator Ludvig Söderberg, neon keys illuminate a runway to the centre of the dancefloor as her voice resounds over a disco break, “No one dies from love, guess I’ll be the first.” The song signifies a new and exciting chapter for the Sweden-born, Los Angeles-based artist. Tove recalls on making the song, “when you’re with someone for a long time and it ends all of a sudden, it’s like a part of you has died. This person is now a stranger to you. All of the memories are tainted. For the first part of the breakup, you believe you’re not supposed to feel good about anything you had together. What I believe I do best is ‘heartbreak you can dance to.’ The song is that.” The video for ‘No One Dies From Love’ was filmed in Mexico City and was directed by the Brazilian duo Alaska, whom Tove previously collaborated with on the video for ‘Are U gonna tell her?’ Speaking about the video, Tove reveals, “All the songs on the album are very cinematic, dramatic and grand, so for the visual story I want to attach a character to each song. For No One Dies From Love it’s the classic vulnerable, lonely starlet looking for connection. This mini movie is a different kind of love story.”

Aldous Harding has shared the animated video for ‘Tick Tock’. The song is taken from her new album Warm Chris. ‘Tick Tock’ gains a neat visualiser which transforms its narrative. Aldous Harding steered the clip, working alongside animator and film-maker Chris McD. Colourful, cute, and lackadaisical, ‘Tick Tock’ taps into an alternative side of Aldous Harding’s psyche. [via Clash]

Maryam Qudus is a producer and studio engineer based in the Bay Area, and she’s worked with artists like Toro Y Moi, Tune-Yards, and Speedy Ortiz’s Sadie Dupuis. Qudus also makes her own music under the alias Spacemoth, and she’s just signed with Dupuis’ Wax Nine label. This summer, she’ll release her debut album No Past No Future. As Spacemoth, Qudus makes synthy, fizzy indie-pop. It’s got a deadpan catchiness that reminds me of ’90s vintage-synth explorers like Stereolab and the Rentals. Qudus has just shared her new single ‘Pipe And Pistol,’ and she’d already released one called ‘This Shit.’ Both songs are driving pop songs with all sorts of historical currents flowing through them. In a press release, Qudus explains ‘Pipe And Pistol’: “’Pipe and Pistol’ revolves around a wobbly synth and distorted drum loop, played with and processed by a Korg MS-20. The song was inspired by my parents, who immigrated from Afghanistan in the late ’70s, and explores the challenges faced when building a new life in America.” Interweaving colorful psychedelic visuals and blue collar employment, Ambar Navarro’s video for ‘Pipe and Pistol’ speaks to the surreal and confusing experience of navigating a new life in America in the late 1970s. [via Stereogum]

Indie-pop cover stars Beach Bunny are currently anticipating the release of their sophomore album, Emotional Creature, out in July. Ahead of the release, the Chicago group, led by Lili Trifilio, have shared lead single ‘Oxygen’ and ‘Fire Escape.’ Now, they’re sharing a new video for ‘Karaoke,’ which features a cameo from Bob Odenkirk and is very much in line with the band’s previously explained “full-blown sci-fi aesthetic” for Emotional Creature. As a press release lays out, ‘Karaoke’ is just part one of Beach Bunny’s Star Wars-meets-Star Trek “galactic adventure” visual series, though one character in the video certainly resembles Dr. Manhattan from Watchmen. As for Odenkirk, the Better Call Saul star plays the band’s “Star Captain.” “‘Karaoke’ is a song about having a crush — it’s about infatuation, fleeting feelings, and the bittersweet nature of uncertainty,” Trifilio explains. “It’s about learning pieces of who someone is and liking them before even knowing the whole story.” [via Stereogum]

Placing perfectly next to her previous single ‘Best of Luck’, ‘Heart Emoji’ is the latest pop release in the signature style of Sukie. ‘Heart Emoji’ is Sukie’s gently grasping hand as she guides her listener down memory lane. Dealing with change, loss and moving on, Sukie opens upon another of her personal experiences whilst using her alt-pop tendencies to bed her honest narrative. Glancing into her good old times of ‘going out with the girls’ whilst being young and reckless, Sukie reminds herself of what she cherished the most. Layered with love, nostalgia and topped with colourful synths, ‘Heart Emoji’ is as wistful as it is an endearing single. In Sukie’s own words, she explains; “Covid hit when I was in my last year of uni and I ended up moving away from all my friends in the midst of lockdown. Most people I didn’t get to say goodbye to. It was such a crazy contrast going from being surrounded by all my best friends to moving to a city where I knew no-one. It took me a year to make any new friends and I was really really lonely – that’s where heart emoji came from. I missed my friends so much! I missed feeling sexy and getting ready with my girl friends, helping each other do our hair and makeup. I missed the silly drama and getting too drunk and stupid dancing in a club with a sticky floor. I even missed the hangovers. I wrote the song about mourning the loss of that carefree life, knowing that I’d never get it back. I feel like this was such a universal feeling at the time, when we were all stuck inside for months on end, and I wanted the music video to capture that lonely experience.”

Manchester’s Abbie Ozard releases new single ‘Rose Tinted’ – the final preview of new EP Water Based Lullabies, out July 1 via House Anxiety (WOOM,Carpetgarden; formerly King Krule, Courtney Barnett, Vagabon). Slowly coming into focus, ‘Rose Tinted’ blends a blurry intro into a commanding rhythm. Sonically, it occupies a glistening dream-pop space, over which Abbie delivers restrained, authentic spoken word before a freeing earworm of a chorus takes hold. Talking about the song, Abbiesays: “’Rose Tinted’ was a poem I wrote a few years back when I realised all my friends were growing up and I felt kinda left behind. I found myself covering up these feelings with clothes and messing with the way I looked. I even tried meditating, which I hated because it made me think way too much. It’s an observation on how 20 somethings cope with transitioning into adulthood, how they share their morning routines online, meditate to stay calm, buy new outfits -that whole ‘don’t get depression vibe’. I want to be able to soundtrack my generation.”

girlcrush write songs about lives that don’t meet the heteronormative ideal. They portray their own feelings and experiences as non-monogamist, queer and transgender with a mutual vision to lend their voices to those who can’t be heard and create a feeling of recognition and community for queer and marginalized people. This Spring, girlcrush are ready with the brand new single, ‘Dysphoria! At the Psych Ward’ – a song that criticizes the gender normativity inherent in the medical system. The feelings of alienation and loneliness of being a trans person in a rigid society are delivered with both anger and irony by guitarist Nat. “Being in a mentally vulnerable place while being met by a lack of understanding of gender diversity by medical personnel is an incredibly difficult position to navigate in. A simple thing like asking for help can be hard to do. While trauma and mental illness can affect anyone, trans people are at a higher risk of developing depression, anxiety, eating disorders, PTSDand of committing suicide. We wanted to write a song addressing this theme,” Nat says. The title is a reference to the emo band Panic! At the Disco – a nod to the music of Nat’s own troubled teenage years. ‘Dysphoria! At the Psych Ward’ is the sound of girlcrush and their distinct style of catchy melodies delivered with honesty and fragility, backed by unrelenting drums and good amounts of distortion. ‘Dysphoria! At the Psych Ward’is one of twelve tracks on the album, I don’t feel so good, all of which show different colors of mental illness as experienced by the band members. girlcrush are drummer and vocalist Andrea (all pronouns), bass player and vocalist Marie (she/her) and guitarist and vocalist Nat (they/them and he/him).

Taiwanese-Australian singer, producer, songwriter, and multimedia artist Jaguar Jonze is thrilled to unveil her latest single ‘PUNCHLINE,’ the final track to be shared ahead of the release of her debut album BUNNY MODE out June 3 via Nettwerk. ‘PUNCHLINE’ is a playful diary entry about navigating the industry as a woman of colour, while also wanting to authentically represent her culture. Her sharp-edged humour shines through in its lyrics (“Can’t remember if it’s east or west or in the tropics;” “We love culture but make sure it’s to our very liking / Make it milky, make it plain and not too spicy”), cheekily sung through the many eye rolls that come with the turf when making art as a marginalised person. The video, which was directed, edited and produced by Jaguar Jonze, welcomes back the Asian women and non-binary folk who featured in the visuals for ‘WHO DIED AND MADE YOU KING?,’ as they all related strongly to the message behind ‘PUNCHLINE’ and wanted to make their voices heard.

Astralwerks has released Alison Wonderland’s new album, Loner – the follow-up to 2018’s Awake. Loner captures the triple threat producer-singer-songwriter at her best; an exhilarating juxtaposition of lyrics and sound, it’s as bright as it is brash. “My life was going a certain way before something pulled everything out from under me,” Alison Wonderland explains. “I felt like I had hit my rock bottom.” Throughout her career, Alison has been a courageous advocate for mental health discussions and honest about her own struggles with depression. Staying true to her message with Loner, she writes with a captivating new assuredness in the light that comes after the storm. “It’s the most positive, hopeful album I have ever written,” she says. “It acknowledges the darkness but creates its own euphoria through it.” That sense of triumph and euphoria shines brightly in the official video for ‘Something Real’. Working with a 3-D scan of Alison, director Tyler Lampe (who has created stunning visuals for her projects and live shows over the past year), immerses her in a vibrant, surreal world. As she journeys from total darkness to sunshine to sunset, Alison travels through trippy portals that encompass and transcend her previous realities and experiences the sense of weightless the song describes.

Los Angeles trio Lost Cat share a music video for ‘L.O.S.T.,’ the first single off their upcoming self-titled debut album, Lost Cat, due May 27 via Lolipop Records. Mixing classic riot grrrl and the flair of a 60s girl group a la The Dick Clark show, Lost Cat exists at the crossroads between old and new. On the track’s accompanying music video: “Brought to you by the minds of Expo Aktuel & Lolipop Records. In this first mystery driven episode of Lost Cat’s upcoming video mini series, the group gets caught between the claws of an evil villainess who aims to take down the rockin’ band of Femme Fatales. However, Lost Cat is not going down without a fight! ‘L.O.S.T.’ is the first of three action packed video/episodes which feature their upcoming singles out this month on Lolipop Records! Tune in this month to find out the fate of Los Angeles’ favorite new girl group Lost Cat!”

Carly Rae Jepsen shares her highly anticipated new single ‘Western Wind.’ Produced by Rostam Batmanglij ‘Western Wind’ is available now at all digital retailers via 604 Records. ‘Western Wind’ inhabits a warm and hypnotic atmosphere achieved through a delicate tapestry of elements: sunlit guitar tones, soulful piano melodies, the luminous textures of Hammond B3 organ, an elegant patchwork of percussion. Graced with Jepsen’s radiant vocal work, the result is a spellbinding backdrop to her lyrical storytelling, infusing the song’s mood of nostalgia and longing with a lovely euphoria. Like all her output to date — such as her critically lauded and culture-shaping 2015 album EMOTION — ‘Western Wind’ embodies a charmed quality that invites a certain daydreaming on the part of the listener. As Jepsen reveals, the song emerged from the deep solitude of quarantine, a period of time that compelled her toward her most introspective songwriting yet. Complementing the beauty of the song is an equally stunning video shot in the natural elements of Southern California by Taylor Fauntleroy.

Indie-pop artist Cody Frost has unleashed her debut mixtape TEETH. Following her debut EP, 2021’s IT’S NOT REAL, TEETH has a considerably sharper edge than Frost’s previous work, clearly influenced by heavier music and the current wave of hyper-pop. To accompany the mixtape’s release, Frost has also dropped a video for the mixtape cut ‘Redundant’. Like the rest of TEETH, ‘Redundant’ sheds the relatively stripped-back emotionality of Frost’s early singles to reveal a beautifully abrasive, happily aggressive set of sounds. Instead of the easy-on-the-ears aesthetic that helped her reach the finale of BBC’s version of The Voice, ‘Redundant’ sounds like a cross between Billie Eilish’s neo-gothic pop and Yves Tumor’s dancy experimentalism. It’s a track you’d imagine playing at London’s most intimidatingly hip club. Juxtaposing party visuals with sequences of a Bowie-esque Frost alone on a soundstage, the video embodies the new stylings of TEETH. Frost is quite literally in your face for a majority of the song’s runtime, as she rushes the fisheye camera to sing of seedy attention-seekers common in the British party scene. “I work in a bar and the lyrics are really about the type of customers I have served in the past,” she tells Consequence. “I wrote the line ‘and with every bit I feel the dirty napkin they dropped on the floor crumple in my fist’ in the back room whilst seething over a rude customer.” With TEETH’s change of pace, it’s exciting to think of what Frost may have in store for future projects. Will she continue to embrace her “heavy roots” or switch up the sounds once again? “I’m super excited for what is coming next for me musically,” she says, before stopping herself from revealing too much. “I can’t say much but I will say that some of my biggest dreams [are] becoming true in the works!” [via Consequence]

The Haunt are a South Florida band helmed by a sibling duo of vocalist Anastasia Haunt and her guitar-wielding older brother, Max. Last week, they dropped their latest single, the gnashing, bombastic and wildly catchy ‘I’M NOT YOURS,’ which was produced by Escape the Fate’s Kevin Thrasher, and now they’ve shared its accompanying music video. The black-and-white visual features alternating shots of Anastasia running and struggling to emerge while tied to a chair, as well as footage of the band jamming out cathartically in a small space. “‘I’M NOT YOURS’ is about being done with the bullshit and taking back your power from someone who tried to rip it out of your soul,” Max says. “I was in a relationship that made me feel very small, so when it was finally over, I had a lot of work to do to build myself back up again. And writing this song was really the biggest ‘fuck you’ I could think of. PSA: Your feelings are fucking valid and if you have a feeling about something or someone, you’re probably right, trust your Mf instincts!” [via Revolver]

Cape Town-based duo Emerger deliver a shimmering, hook-filled Alt-Pop gem with the release of their latest single ‘Aeroplane Park,’ a nostalgic fever dream about love and longing, set at the turn of the millennium. The track, produced and mixed by co-songwriter and multi-instrumentalist Gerry Matthee, is a meticulously crafted mid-tempo affair that drapes Emma de Goede’s intimate and pristine vocals in lush soundscapes backed by a percolating beat. “I think it’s safe to say it’s one of our favorites so far,” says Matthee, who recorded and mixed the track at the duo’s recently launched SoundBorough Studios. He also mixed the track in Dolby Atmos, the spatial audio technology that creates a fully immersive listening experience, which can be streamed on Apple Music. ‘Aeroplane Park’ speaks to universal feelings about the innocence of youth, the longing for connection and the pain of separation; a meditation on the roads we travel and the choices we make. De Goede, keyboardist and chief lyricist of the duo, does not shy away from how personal the song is for her. In fact, ‘Aeroplane Park’ is a real place – a playground near the singer’s childhood home – and the song reflects the early days of the relationship between the two band members, who are life partners as well as musical ones. “Memory is fleeting, and I wanted to capture some of what I remember from my childhood,” says De Goede. “This song is a bit of time travel for me – to reflect on a specific time, place and person. How I recall feeling about it then and what it means today when seen through the eyes of an adult.” Matthee agrees: “We can never truly appreciate the points in time that accumulate as a lifetime of experience. We often need to do more living to give it all context. We have a few more miles on us since those days at the playground – it’s nice to reflect on how we’ve both grown since then.” Emerger remembers with great fondness the days when MTV played music videos 24/7. For ‘Aeroplane Park,’ the duo set out to tell a story about first love blooming at the turn of the millennium while also paying homage to the favourite network of their formative years. The video, written, directed and edited by the duo, finds the adult De Goede cavorting in a mid-20th century home with her younger self (played by Stella van Zyl) and replaying her memories of the special connection that formed with her childhood friend Matthee (played by Michail Etsebeth) while spending time in the aeroplane-themed playground near her home. ‘Aeroplane Park’ was shot on location in Cape Town, lensed by cinematographer/director of photography Kyle Wesson and with technical and design support from Divan Putter and Pascale de Brandt. [via PR Newswire]

Los Angeles alt-pop artist, MOTHICA has shared her latest single, ‘Last Cigarette’ featuring Antiguan-German singer-songwriter Au/Ra. The track is taken from MOTHICA’s forthcoming album, Nocturnal, alongside previously released singles, ‘Sensitive’ and ‘Casualty’. “I wrote ‘Last Cigarette’ about someone I met who reminded me of myself in a toxic way,” shares MOTHICA. “We shared a lot of pessimistic tendencies, and it reminded me of trying to quit cigarettes, something that we all know is bad for you, but there’s still this allure to be caught in a negative cycle.” [via Prelude Press]

Great Time has dropped a new video for their single ‘I could Be.’ The track is off the Philadelphia band’s forthcoming release Was I Right, scheduled to drop on June 9. Singer/multi-instrumentalist Jill Ryan has been the touring saxophonist with Cassandra Jenkins, Japanese Breakfast and Kristine Leschper. This video was directed by lead singer of Mannequin Pussy, Marisa Dabice Quote from Jill Ryan: “Filming the music video for ‘I Could Be’ was a really special experience. It was incredible to be directed by Marisa Dabice. I felt so comfortable in her presence. She commands a room not only on stage performing with Mannequin Pussy but also on set. Getting direction from her was empowering. You really have to trust the person that’s telling you what to do and how to move in order for you to perform your best and most authentically and I felt very connected and safe with her to do that. This song is a reaction to traditionality, patriarchy, “the man” and everyone that wants to make me feel small.” [via Northern Transmissions]

Sir Chloe‘s new single and accompanying music video, ‘Company,’ consummates camp and kink, latex and leather. The visual, which follows ‘Mercy’ and their 2020 Party Favors EP, opens inside a seedy hotel room that adds an absurd sensuality to the alt-rock band’s latest release. Filtered through yellow lighting, frontwoman Dana Foote stands alone at the beginning, before turning her gaze to the camera and revealing a handful of leather-clad baddies who stand opposite her. Tension builds so thick it could be cut with a knife — perhaps even one of Sir Chloe’s, from her past life as a “knife salesman.” Best described by Foote as “a song to flex your muscles to,” Sir Chloe’s single makes listeners beg for release. “I want to hear you want it,” she sings on the chorus. “I want to hear you ask for more.” Whether walking her “dog” to the bank or making them crawl to her, Foote languishes in the lewd — and makes us want to, too. [via PAPER]

The Linda Lindas have released a music video for ‘Why.’ The track comes from their debut album, Growing Up. The visual was directed by Elizabeth Ito and Suzie Vlček and features punk legend Kathleen Hanna as the voice of an interviewer. The punk quartet spoke about the video in a press release. “The ‘Why’ music video is a tribute to The Decline of Western Civilization, the legendary 1981 documentary about LA punk by Penelope Spheeris, and Spirited Away, one of our favorite Miyazaki movies,” the band say. “It is set at an imaginary Save Music In Chinatown show, part of the series of all-ages matinee fundraisers for music education at Eloise’s school, where we played some of our earliest gigs with some of the musicians from Decline — Alice Bag, Phranc, Keith Morris, Chuck Dukowski — who are now our friends. The art was drawn by Eloise, the flyers are real and no dessert was wasted!” [via Alt Press]

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