Earlier this month, St. Vincent divulged details about the follow-up to her 2021 album Daddy’s Home, describing it as “urgent and psychotic.” Now, Annie Clark is announcing the LP, entitled All Born Screaming, and sharing the lead single ‘Broken Man.’ “There are some places, emotionally, that you can only get to by taking the long walk into the woods alone — to find out what your heart is really saying,” Clark said in a statement. “It sounds real because it is real.” Friends who helped Clark with the album include Rachel Eckroth, Josh Freese, Dave Grohl, Mark Guiliana, Cate Le Bon, Justin Meldal-Johnsen, Stella Mozgawa, and David Ralicke. It’s her first self-produced album, recorded at her own Compound Fracture studio in LA, as well as Electric Lady in New York and Steve Albini’s Electrical Audio in Chicago. All Born Screaming will arrive via Virgin Music Group, though her last three came out through Loma Vista. In this month’s Mojo feature, she said, “I needed to go deeper in finding my own sonic vocabulary. I like to think of [the record] as post-plague pop, it’s a lot about heaven and hell – the metaphorical kinds. Which is appropriate, because sitting alone in a studio for that many hours I would say is a version of hell.” Below, watch the ‘Broken Man’ video, shot by Alex Da Corte. [via Stereogum]

mui zyu has announced her sophomore album, nothing or something to die for, which will be out in May. It’s the artist’s follow-up to Rotten Bug For An Eggless Century, which came out early last year. It was preceded by ‘everything to die for’ last month, and now project mastermind Eva Liu is sharing another single, ‘the mould.’ Here’s what she had to say about it: “‘the mould’ is a frosted glacial sweetie about the many meanings of mould. mould is very cool, and the right kind can give you super powers. unfortunately though, it’s less than ideal to be squeezed in to a mould that doesn’t fit snuggly. so i’m at the bottom of the rotten jelly bowl trying to work out what mould is the good kind, and what is the bad kind, and maybe realising none of it really matters at all, as long as i can get out of this steep, slippery bowl. this also marks a new approach for my writing indicative of the whole record in a kind of anti-overture-y way.” [via Stereogum]

CLT DRP are back with a new love song, ‘Until You Showed Me’. Out now via Venn Records, it follows the release of the Brighton-based trio’s latest album Nothing Clever, Just Feelings, and arrives ahead of sets at Strangeforms, Reverie, Noizze Fest, Ceremony, Brighten The Corners, 2000trees and more. Commenting on the track, vocalist Annie Dorrett says: “Femininity is a word that has haunted me my whole life, whereas Masculinity is something that I’ve longed for. ‘Until You Showed Me’ is a love song to my current partner for making my gender fluidity something that they nourish and make room for rather than dismiss or ignore. It’s no secret that a lot of people feel the need to lean into a gender role in order to gain respect or normalcy and if they mess with anything outside the binary it can seem threatening. Funnily enough I’ve found myself playing with my femininity a lot more now that I’ve found comfort in my skin again. This song is a little ode to the queers and anyone who strays from the binary in any way small or large. Break the wall from either side, that’s how we get ‘em to listen.” [via Dork]

Paramore have shared a new video for This Is Why track ‘Thick Skull.’ Billed as a sequel to the ‘This Is Why’ video, and again directed by Turnstile’s Brendan Yates, the video depicts an ill-fated van ride, with Hayley Williams in the back. Hayey recently said, “I can’t remember a time I didn’t want to be in a band. I knew not joining forces with similarly crazed people might mean I’d never be brave enough to create things and even if I did, I may never risk sharing them. Selfish? Maybe. Or lonely? Maybe to “leave the house” is a metaphor for risking true vulnerability. This job includes being a mirror or a blank screen for people to project onto and find themselves in. Being perceived in broad strokes will make you feel like a clown. Goofy and/or terrifying, depending on the day. But as I’ve grown up, I’ve felt myself, little by little, let go of the tireless need for people to see me as “good”. Indeed, everyday I learn there is no such box to fit neatly into. It’s taken a lot of hard looks in the mirror, over many seasons of adulthood… but no longer do I question my ability to lead Paramore with integrity (and a healthy dose of dark and self-deprecating humor). And just like a house can be a metaphor, so can a band. Paramore has been the vehicle by which me and my friends have learned our toughest lessons. It has kept us close and it has nearly killed us. You also have these metaphors in your life: What holds you back— what gives you courage— what force compels you to grow even when it’s uncomfortable or embarrassing. (As for Paramore, the band, not the metaphor: We have crashed the van. We’re finding new ways. We have new maps. We are starting from point zero. And this time, we’re reading the fine print.) Love to the ones who’ve needed our band the way we’ve needed it. Just know we are grateful.” [via Pitchfork]

PVRIS have released a new music video. The new music video, for the track ‘Burn The Witch’, is the brand new single from the American pop-rock band and marks their first new music since their latest studio album, Evergreen, which was released in July last year. The new song features collaborations with Canadian rapper TOMMY GENESIS and experimental DJ/producer/vocalist ALICE LONGYU-GAO as well as the track’s co-writer, Kanner. Speaking about the new song, band mastermind Lyndsey Gunnulfsen says, “I’ve been a huge fan of both Tommy and Alice for quite a while so it was an absolute dream to not only have them on a track together but to also get to be crafting the production around their parts. At its core, I just wanted to make a fun project full of some bad bitches in music that I love and create a space where we can express whatever we want and get to experiment sonically. I didn’t want to be overly precious about it, I just want to have fun and free flow! It should be noted that while there are already so many iconic and incredible female producers, writers, engineers etc. out there (I’m no trailblazer here), but there is nowhere near the amount that there should be. This isn’t even something to debate, go look at the statistics.” [via Distorted Sound]

Låpsley is back with brand new single and music video, ‘4AM Ascension Day’. It’s the first taste of an upcoming new EP, and follows the 2023 release of her third album Cautionary Tales of Youth. A press release explains that the track is “about the anxiety of a past infidelity and the guilt that lingers long after a relationship ends. In expressing such home truths with unflinching honesty, Låpsley seeks to release herself from the past – a mindset manifested in the song’s visual, with its imagery of sleepless nights and a kite in full flight.” [via Dork]

After weeks of teasing, Charli XCX has released her new song ‘Von Dutch.’ The Easyfun-produced track arrives with a music video that was filmed at France’s Charles de Gaulle Airport. Watch the clip, directed by Torso, below. Charli XCX also recently announced the title of her new album: Brat. The pop musician’s follow-up to Crash will arrive in the summer. Charli XCX has described Brat as “a club record,” explaining, “i was born to make dance music.. i came from the clubs.. xcx6 is the album i’ve always wanted to make.” [via Pitchfork]

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Back in 2019, the twangy punk band Rodeo Boys released their debut album, Cherry, and they followed it up a year later with the stray single ‘Dog Leg.’ Now, the Lansing, Michigan group have announced a new album, Home Movies, their first for Don Giovanni Records. They’re sharing the gnarled, catchy lead single ‘Sugar,’ a chugging showcase for vocalist Tiff Hannay’s melodious growl. “How can I make it up to you?/ Could have been anyone else/ Well, it’s the least that I could do/ But I just can’t get through to myself,” Hannay sings. Watch a video below. [via Stereogum]

LA mystic-rock mainstay Death Valley Girls share their final empowering title-track ‘Islands in the Sky’ accompanied by a haunting visual directed by Dylan Greenberg. The band’s new LP Islands in the Sky is out now via Suicide Squeeze Records and the band are set to tour across the UK this February and March. About the track, lead-member Bonnie Bloomgarden offers: “We wrote ‘Islands in the Sky ‘for our future selves, hoping that if we can share the secrets we have learned from this life, and all our past lives, we wouldn’t have to suffer or feel alone again in our next carnations! You are not becoming the best version of yourself, you are and always have been, the highest and best you, eternally! You may have forgotten from societal programming, how you were raised, trauma, or ancestral circumstances, but as you grow, try to remember that the highest version of you, is cheering you on! Sending you messages to pay attention to your intuition and trust yourself. To love yourself. And to never forget… From director, Dylan Greenberg on the video: “When Bonnie approached me about making a video for this song, I was excited because the song connected with me immediately. The music and lyrics have a beautiful, melancholy optimism that called to mind a certain timelessness found in work by the Sherman Brothers and the late Burt Bacharach, with a rock/punk edge. The video was made remotely, so I wanted to put together an immersive digital environment for the band and the ghosts to be able to move in. My partner and I dressed in all black and wore ghost costumes they made and double exposed them into the video. It’s an effect that’s been done since the dawn of special effects by pioneers like George Melies, but with the benefit of digital effects allowing me to control them with a virtual camera. I wanted to make sure the movement, tone and visuals all matched the “spirit” (no pun intended) of the song and had a flowing, optimistic energy that I felt emanated from the music.”

Musician and singer-songwriter Lina Maxine releases her latest track ‘LET ME’, launching the next exciting phase of her career with an anthemic pop-rock song guaranteed to captivate listeners with its universal message and up-tempo, power punk musical heart. Lina explains, “Inspired by the great 007 anthems, ‘LET ME’ is about the power of human embrace in the face of adversity, with commanding lyrics conveying strength and drawing people closer together. I wanted to kick off 2023 with a passionate song that offers emotional support to listeners, eliciting hope and a real sense of connection to music, and to each other.” The track opens with a stripped-back, subdued intro, with warm piano chords supporting Lina’s husky, power ballad vocal. ‘LET ME’ then picks up the pace with steel-stringed guitar riffs, energetic bass, hi-octane drums and raw electric strums allowing Lina’s effortless, rockstar vocals to shine. The track intersects genres, gliding through nostalgia-tinged pop with elements of acoustic prog rock and punk expertly thrown into the mix. Written, produced, recorded and mixed in-house by Lina Maxine and Dean Aladay, ‘LET ME’ showcases Lina’s modern rockstar energy alongside an intelligence and musicality that transcends the stage. Mastering the spotlight in both live and recording studio environments, Lina continues to grow her international fanbase, building her close community of ‘Nerd-n-Roll’ addicts.

Multi-instrumentalist and producer Madison McFerrin announced her debut album, I Hope You Can Forgive Me, due out on May 12. Madison produced most of the album herself, and it includes a feature from her father, Bobby McFerrin. The first taste of the album comes from new single ‘(Please Don’t) Leave Me Now,’ an alluring R&B/pop track Madison wrote following a severe car accident. It was produced by Andrew Lappin and is accompanied by a music video directed by Kemp Baldwin. Madison explains: “Being able to walk away from a near-death experience without physical harm is one of the greatest blessings I’ve received in this life. It reaffirmed my purpose as an artist. Writing ‘(Please Don’t) Leave Me Now’ became an incredibly therapeutic and cathartic experience. Being able to express that kind of fear while still creating a fun environment was key to making this song. Death showed up in more ways than one in the process of making this video. In the weeks leading up to the shoot, multiple family members on the production side passed unexpectedly, bringing our plans to a halt. The fate of the video was in flux. Thanks to the tenacity of my team, we were able to regroup and move forward, albeit with a delay. For the video, we wanted to capture the feeling of not being prepared to die. I’m talking to myself both above and within the grave, grieving both who I was and who I could be. I didn’t expect being in a grave for multiple hours in a day would affect me, but it definitely contributed to my journey in processing a near-death experience. This song and video are a manifestation of my own personal growth as not only a musician, but as a human.” [via Brooklyn Vegan]

Prima Queen have announced their debut EP Not The Baby. Set for release on May 3 via Big Indie Records, the duo have described the EP as a reflection on their own feelings and the feelings of those closest to them. “We’ve both experienced a lot of change in the past few years and since we write all our songs together we’re usually drawn to write about our parallel experiences,” Louise Macphail and Kristin McFadden explain. “In this EP we explore different types of change – birth & death, leaving & returning – and how it can affect our relationships. It’s a reflection not only on our own feelings but also the feelings of our family, friends and lovers. We’re really excited to finally release a complete body of work, rather than stand alone singles. These songs are meant to be listened to together and we want people to experience the emotional journey that they create.” News of the EP is accompanied by the new single ‘Back Row’, with the duo revealing, “’Back Row’ is about the pain of hurting someone that was really important to you. The EP talks a lot about changes in relationships and this song brings to light how failed relationships can be beautiful in their own way and ultimately make you who you are.” [via Dork]

Creams has shared new single ‘Need To Talk’. The track is fuelled by an urgent sense of energy, yet its intensity is rendered in a hugely positive fashion. Confrontational in the best possible sense, it’s a hyper-stylised piece of left-field pop, experimental while daring to be open. The Tbilisi, Georgia creator leads from the front, cutting through the challenges in her way. The vocal is on-point, the driving passion of her delivery set against emphatic electronics. Creams comments… “Confronting challenges in life, whether it be in relationships or careers, can be interpreted in different ways. However, facing these challenges helps to build strength and resilience. Eyes that consume, a struggle that’s real, and a mind that won’t stop spinning.,This song is like a journey through my feelings and the chaos in my head. This is a raw and honest look at the fight against my inner demons. Are you here alone or with your support system?” Avi Musaifi directs the video, a hypnotic short film shot at Tskaltubo Sanatorium, an abandoned resort in Tskaltubo. [via Clash]

Glasgow dark-pop mistress Lucia & The Best Boys returns with new song ‘When You Dress Up’. The new single is her first piece of music since 2021’s The State Of Things EP, and finds the songwriter doubling down on her evil, twinkling charm. Mid-way between Lana del Rey and Jenny Hval, Lucia & The Best Boys seems to make pop songs for people who think Wednesday Addams is a little on the optimistic side. New single ‘When You Dress Up’ is shrouded in post-midnight glamour, and it represents something of a turning point for the Glasgow artist. She comments… “I’ve known since the first time we played ‘When You Dress Up’ in the studio that it was the first song I wanted people to hear for this turning point in my music. This song resonates deeply with my values as a woman with its unapologetic, empowering energy. For me, this is an evolution from themes I have sung about in the past which underline the weight of the male gaze, and learning not to suppress our own identity for the sake of another person’s version of who we should be.” [via Clash]

For the past few years, the Chicago poet and musician Kara Jackson has popped up as a collaborator on albums from the likes of Sen Morimoto and Lala Lala. After being named the National Youth Poet Laureate in 2019, she released her first collection of original music, the A Song For Every Chamber Of The Heart EP. In the last couple months, Jackson has shared some singles — ‘No Fun/Party,’ ‘Dickhead Blues,’ and ‘Brain’ — from her debut album, which is being officially announced alongside another new song, ‘Pawnshop.’ Why Does The Earth Give Us People To Love? is out in April, and it features production contributions from Nnamdi, Kaina, and Sen Morimoto, who are all part of the same Chicago scene. Jackson cites Nina Simone, Fiona Apple, and Joanna Newsom as influences, and you can hear all of them to varying degrees on ‘Pawnshop’. [via Stereogum]

While ideas of catharsis are explored on the latest single from Dama Scout’s Eva Liu under her moniker mui zyu, ‘Talk to Death’ is far from heavy, upbeat, or otherwise blood-pumping. Instead, she expresses release through a collected and calculated evaluation of a past “putrid” relationship, as she puts it, with the near-ambient and often-surreal instrumentation still recovering from the decayed romance before beginning the next chapter. “It’s about pawning moldy gifts for new beginnings and playing with ideas of the mundane vs. the extraordinary,” she explains. For a more literal reading of the track title, the video’s directors CLUMP Collective show Liu in an administrative setting literally becoming bored to death as a co-worker talks at her about office matters, landing her in hell where she receives a mani from Death himself. “We had loads of fun killing Eva off in mui zyu’s video!” the collective shares. “We sent her to have a chat with the least threatening Death imaginable; expect fabulous nails, chattering teeth, and the return of her beloved peachy pet.” [via Flood]

Lido Pimienta has shared the music video for ‘Te Quería,’ a track from her 2020 LP, Miss Colombia. The video—directed and edited by J. Gallardo Kattah—depicts Pimienta in a fantasy world as “Queen of the Clowns,” dancing with her clown court before being interrupted a sad clown who turns his gun on them. Of the new clip, Pimienta said in a statement: “The visual for ‘Te Quería’ has always been conceived as a story about transformation—about getting right back up, despite having our spirit shut down. ‘Te Quería’ is a song that exposes toxic relationships, power imbalances and the need for some people, particularly those who we love the most, to confuse our generosity for stupidity.” [via Pitchfork]

International pop sensation and Grammy nominee JAIN is unveiling her new single ‘The Fool’ alongside a music video. This marks the first taste of new music following her sophomore album Souldier and her debut album Zanaka. The song is the first off her much-anticipated new album coming this spring on Columbia/Sony Music France. A new chapter for the multi-cultural popstar both personally and artistically, this poetic body of work is inspired by self-empowerment, new chances and beginnings, and the need to overcome one’s fears. Although entirely composed by JAIN and produced by her long-time collaborator Maxim Nucci/Yodelice, she teamed up with some new creatives to elevate her work to a new era. This international pop and folk album chronicles all the stages one goes through when making a fresh start: fear, excitement, innocence, doubts, letting go and epiphany. While the new album draws on artistic influences such as Kate Bush and Stevie Nicks, much of JAIN’s music originally blended a myriad of genres such as Arabic percussion, African rhythms, electro, reggae, soul and hip hop. She relies heavily on Tarot de Marseilles, an art her mother passed on to her which gives her the strength to jump into the unknown through an instinctive perception of the world’s dangers and possibilities. The Fool is the holiest card in the deck. You can’t go on any kind of journey unless you’re willing to be foolish. Taking your first step, driving a car, falling in love. There’s always a risk you’ll lose your balance. At any moment. But in the end, the fool’s journey is the only journey. [via Broadway World]

Less than a year after the release of her debut album, The Paradise Club, Claudia Bouvette is back with ‘Highly Unrecommended,’ a brand new single that tackles the difficult subject of forbidden love. This bittersweet pop song, which could have been featured on the soundtrack of an early 2000’s rom-com, is an anthem for the hopeless romantics of this world. The inspiration for ‘Highly Unrecommended’ came from a time when Claudia fell in love with someone she shouldn’t have, in a context where it was unthinkable and unacceptable to feel that way. “He came into my life as fast as he left and that feeling stuck with me for a long time,” explains the singer. Originally written on the guitar, bold snares and vocal melodies were later added to give the track a nostalgic y2k feel. ‘Highly Unrecommended’ is accompanied by a music video directed by Vincent Gravel. With an intimate lighting and a distinctive visual identity, the artist captivates the viewer’s attention as she delivers her lyrics with tenderness in a way that evokes the sentimental nature of the song. [via Bonsound]

Powder Blue, the highly anticipated new album from Begonia—the solo project of alt-pop Canadian artist Alexa Dirks—is out now on Birthday Cake Records. In addition, Begonia unveils the music video for feature track ‘The Only One’, directed by Gwen Trutnau. Of ‘The Only One,’ Begonia recalls, “you know that feeling when you think everyone around you is having more fun in their lives than you, so you force yourself out of bed and into the world only to realize you just want to be at home back under the covers? That feeling of running up to the club doors like you are about to enter the best night of your life, but then you end up waiting at the back of the line freezing cold wishing you’d never gone out. I wrote this being like…‘I can’t be the only one, right?’” [via Total Entertainment]

Allison Ponthier returns with ‘Character Development,’ her first new music since her acclaimed 2022 EP Shaking Hands with Elvis. The track calls out an emotional villain who tries to spin past bad behavior as a “growth experience.” Ponthier penned the song with Grammy Award nominees K.Flay and Tommy English. English also produced and played on the track. “‘Character Development’ is about the people I’ve encountered who have treated me poorly, to then turn around and say that learning from that experience has made them a better person,” says Allison Ponthier. “No one should be made to feel like they have to be a casualty or compromise themselves for someone else’s growth. I wrote the track with K.Flay and Tommy English, and it’s been the most cathartic song to sing on tour.” Ponthier teamed up with Brooklyn-based visual artist and content creator Maris Jones–who, like her, is enamored with pop culture and retro style–to co-direct the official video for ‘Character Development.’ Playing into the title’s literary reference, Ponthier plays a best-selling romance novelist with writer’s block. After exploring a series of plotlines that just don’t click, she reimagines the dashing young protagonist and chances for a happily-ever-after ending soar. Maris Jones said, “I was so privileged to work with Allison whose creative vision aligned serendipitously with mine. Working with her was effortless, and the result reflects our shared passion for creating a vibrant visual journey to take viewers on a unique ride parallel to the music. I hope the video will capture the song’s essence but also connect with viewers, leaving a lasting impression that resonates with them long after the video has ended.” [via UDiscoverMusic]

Singer-songwriter and multi-instrumentalist Bella White has announced her new album Among Other Things, out on April 21 via Rounder Records. To mark the occasion White has released a new single, ‘Break My Heart’ and its companion music video. “Out of all of the songs I’ve written, ‘Break My Heart’ is probably the most explicitly about getting dumped. I wrote it with no intention of ever sharing it. I didn’t even feel any particular emotional attachment to it like I do with my other songs, because it was such an isolated experience, zooming in on one specific moment in time. That said, bringing it to life by turning a valley into a peak felt deeply cathartic. It’s a heartbreaker that I hope will at least get you moving.” [via UDiscoverMusic]

The Reneé Rapp hype train barrels forward and is picking up right where she left off a breakout 2022. The deluxe version of Everything to Everyone has arrived with an extended edition of the title track and a new single, ‘Bruises.’ “All my friends make sweet fun of me, I guess it’s funny but the truth’s I bruise easily,” Rapp croons on the ballad. “I’m down to be the joke, metaphorically though, you could flip me inside out and they would show black, purple and green.” The accompanying visuals show Rapp being attacked with knives by strangers and, perhaps cutting deeper, by friends on an ordinary day out. The music video was directed by Hannah Lux Davis, who’s best known for her work in pop with stars like Ariana Grande, Miley Cyrus, Demi Lovato, and more.“On the day [of the video shoot], I was incredibly annoyed. Not by anyone or thing, just, anxiety for me manifests in a lot of different ways,” Rapp tells Rolling Stone. “I don’t remember even acting throughout most of the video. It was just naturally there through the edginess of the day. Hannah created this entire world that cradled the song like a baby.” [via Rolling Stone]

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London-based neo-soul artist Pollena has released the video for new single ‘Diamonds’ starring acclaimed writer and actor Jack Holden. Star of the critically acclaimed West End show ‘Cruise’ and BBC’s ‘Marriage’, Holden performs as a theater technician on the cusp of exploring his true passion. His first steps into his own limelight represent the journey we’re all on to find ourselves, and is reflected in the other characters we see – parents, families, children, all trying to express themselves in love and creativity. Each story embodies the track’s core message of fighting against societal pressures that force us into lives and roles we don’t fit: “I’m tired of society dictating how we should live our lives. With ‘Diamonds’, I want to encourage listeners to fight for what makes them happy, for a better, truer life.” Pollena. Jack Holden and cast in video for ‘Diamonds’ Holden stars alongside a cast of dancers and families in the piece conceptualised and directed by Georgia Rajah, best known for her work on the BBC documentary ‘Learning To Grieve.’

It was Halloween earlier this week and Yeah Yeah Yeahs are howling at the moon with their new music video, ‘Wolf,’ starring Britt Lower of Severance. The visuals were directed by Allie Avital, and open with Lower seated across a table from veteran character actor Will Brill. After a blue jay sings to her — in Karen O’s voice, no less — Lower’s character heeds the call of the wild. She hunts, changes hair color, and generally enjoys her feral life. As the song breaks down into the repeated phrase, “Into the wild,” she even runs into Yeah Yeah Yeahs performing in a seedy bar. At the end she meets again with her housebroken former partner, with unexpected results. “It was our great fortune to collaborate with the powerhouses Allie and Brit on this video for ‘Wolf,’” Karen O said in a statement. “Allie casts a spell with the gorgeous world she weaves — always with teeth that bite, and Britt embodies all the contradictions in the themes of ‘Wolf,’ so enamored with her performance that’s got as much heaven as it does hell. We were beside ourselves with excitement when Allie cast Brit as the lead in the video, YYYs are serious nerds for Severance, what luck when the stars align.” Lower added, “When I heard the title of the song and description of the role were both ‘Wolf’ it was a full body ‘yes.’ To get to work on a story about a woman discovering the wild within and without was a dream. And to do so alongside legend Karen O… I mean, I’m speechless.” [via Consequence]

New York Korean-American artist Margaret Sohn, who performs as Miss Grit, has announced their debut album, Follow The Cyborg, out February 24 via Mute. The album is deeply conceptual, “following the path of a non-human machine as it moves from its helpless origin to awareness and liberation,” as a press release lays out. Follow The Cyborg follows Miss Grit’s two EPs: 2021’s Imposter and 2019’s Talk Talk. Along with the album announcement, Sohn is sharing the title track, which is below and comes with a video directed by Curry Sicong Tian. Recorded entirely in Sohn’s home studio, Follow The Cyborg features the already released single ‘Like You,’ plus contributions from Stella Mozgawa of Warpaint, Aron Kobayashi Ritch of Momma, and Pearla. Opening up about ‘Follow The Cyborg‘s many cinematic influences and its accompanying video, Sohn says: “I wanted to place my body in the cyber world, allowing the different variations of my ghost to move about freely. I wanted to look a little freakish, unrecognizable to myself to avoid my instinctive filtration.” [via Stereogum]

Last year, the London-based musician Eva Liu released her debut EP as mui zyu, a wonderful thing vomits, which was fronted by the lead single ‘pour a brain.’ Now, she’s back with news of her first full-length album, Rotten Bun For An Eggless Century, which was co-produced with her Dama Scout bandmate Luciano Rossi. ‘Ghost With A Peach Skin,’ the first we’re hearing from it, is a warm and interior burble with sticky synths and a lullaby-esque melody. “This song is about leaving your former self and entering your new peach skin. Peaches are considered a symbol of longevity and even immortality in Chinese culture,” Liu, who was born in Hong Kong, said in a statement, continuing: The protagonist has overcome enemies and has bruises to prove the damage. However the bruised peach becomes stronger by overcoming them. The song features guzheng samples that have been highly edited and mangled. We liked the idea of having an excellent musician improvise on the traditional Chinese zither and ‘bruising’ their performance with distortion and effects to create a new stronger sound with little of its former self present – much like the meaning of the song. The ‘ghost’ inside refers to the ghost we used to be, the ghosts we carry with us and the ghosts we have to overcome too. Watch a CLUMP Collective-directed video for it above. [via Stereogum]

Steady Holiday’s Dre Babinski has announced a new album, Newfound Oxygen, her follow-up to Take The Corners Gently, which came out in early 2021. This one will be out in early 2023, and today the Los Angeles-based musician has shared its lead single, ‘Can’t Find A Way,’ a sweepingly sad track about not feeling the same way about someone else as they do about you. “Can’t find a way to fall in love with you/ You worship everything I do/ But I know I can’t find a way to fall in love,” Babinski sings. The track comes with a music video directed by Isaac Ravishankara. “I wanted to make a video that was far less literal than the song itself, but externalized the same emotional core – that the world as I know it is suddenly disoriented,” Babinski explains. “We brought to life the scene from the single’s artwork with fishing wire, blowdryers, and a platform that shifted to a 45 degree angle that the camera and table/chair was mounted to. I had to hold on for dear life.” [via Stereogum]

indie-pop wonderkid Ellie Dixon releases satirical new video ‘Swing!’. The hyper realistic clip plays on Ellie’s experience receiving unexpected online negativity last year. Directed by Jasmine De Silva, the video sees Ellie bounce from set-to-set tackling hurtling baseballs and intrusive microphones. Responding to the incessant nature of trolling, Ellie finds the confidence to swing back when times get tough. With intelligently balanced wit, Ellie taps into the damaging impact traditional feminine stereotypes and impeccable beauty expectations (bright lipsticks, baseball hair curlers, bleach-blonde barbies) have on women today. Speaking of the video, Ellie says, “For this video, I had this idea where I was being bombarded with baseballs and ended up on a baseball pitch against my will. It was a visual metaphor for when you find yourself in unexpected, unpleasant situations and you have to learn to get through them. The director instantly understood the sense of humour and surreal imagery I wanted – I love blending real life with elevated fantasy. The styling brought such a playful, retro feel to the whole video. You have no clue what decade you’re in, but you want to stay.”

Global pop icon P!NK releases her new single, ‘Never Gonna Not Dance Again,’ out now via RCA Records. Produced by GRAMMY-winning hitmakers Max Martin and Shellback, who also co-wrote the song with P!NK, the vibrant pop single is a euphoric and joyful ode to dancing through the hard times. Accompanying the song’s release is its playful music video, co-directed by P!NK and creative duo Nick Florez & RJ Durell. Set in a grocery store, the visual finds P!NK dancing and skating through the aisles, joined by a colorful cast of characters.

Following the release of their second EP, Modern Millenial, LibraLibra return with their utterly unique fusion of pop, electro and punk with an immense new single. Lulling us into a false sense of security with a sweeping orchestral intro, ‘Frenemies‘ soon builds with a haunting majesty into an epic frenzied cacophony. Reflecting on the comfort we may find in fake or damaging ‘friendships’, the track fizzes with a chaotic energy that’ll blast into the ears with a fierce sense of urgency. As it rages with a colossal magnificence, front woman Beth’s vocals simmer with a sultry allure before exploding into a riotous anthem seething with dark undertones. Of the track, Beth explains: “‘Frenemies’ is for all the fake friendships out there. Those friendships bound together through getting f**ked up, losing yourselves, your keys, your phone, blacking out and ending up a shell of your former self in a random kitchen at 4am with no way to get home. Your frenemy is your ride or die, you both should and could be each other’s saviors, but instead the chaos is calling and annihilation feels really good.“ ‘Frenemies’ is accompanied by a brand new video. Directed by kink photographer Sorry Jonny Died, it offers an eerie insight into the wonderfully sordid underbelly of LibraLibra’s world. [via Get In Her Ears]

After coming of age in a “chaotic, bohemian household,” and splitting time between Los Angeles and London for the past two years, budding singer-songwriter Grace Inspace Garner has forged a brand new musical alchemy that blends her interests in rock, pop, and “journalistic observations to create a unique, colorful world.” She found her bearings in London while fiddling with dynamic arrangements and experiments alongside a battalion of musicians holed up in her apartment, which presided over a mechanic’s garage. Garner’s single ‘Last Girl’ is a hypnotizing, electronic spark that highlights her infectious pop vocals. The song flutters and flickers, never pausing for a moment. It’s energetic, memorable, and an irreverent-but-earnest take on dystopia, written and recorded in an Airstream trailer while she was decamped near the Jedediah Smith River and Redwood Forest. Ever since her time in London toying with recordings that featured faint clanks of tools in the background, Garner’s had her sights set on making music that’s industrial in how it combines the sounds that populate her own creative psyche with the echoes of the real world surrounding her at all times. ‘Last Girl’ is a product of Garner’s writing blueprint, in which she composed “poems about places and people set to my head music.” “Imagine if you woke up one day and you’d missed the memo about pairing off for the apocalypse and you were left stranded on Earth while all the couples fled to safety in their spaceships,” Garner says. “You’re left roaming the Earth alone, enjoying the freedom and lamenting the loneliness. That’s the tale of ‘Last Girl’; I wanted to write a song that would celebrate the power of being alone as well as make fun of my insecurities about it.” [via FLOOD]

Nashville indie pop artist daena portrays a magician in the video for her new single ‘Disappearing Act’ – and she’s the most magical talent to hit Music City in quite some time. daena grew up not far from Bruce Springsteen’s old stomping ground in New Jersey. You can hear a little bit of The Boss in her music, as well as 2000s Liz Phair, Prince and Taylor Swift. And, like any great magician, daena surprises you with each new single. ‘Disappearing Act’ urges listeners not to be intimidated by the “perfect life” others project on social media. If you look behind the façade of perfection, even folks like Kim Kardashian have their struggles (Pete didn’t work out, Kanye’s gone crazy, etc.). [via Ladygunn]

With its distorted guitars and echoed backing vocals, ‘Love!’ is infused with 2000s pop nostalgia, with Hallie recalling ‘Cool’ by Gwen Stefani as an influence. “Oscar and I listened to ‘Cool’ by Gwen Stefani in the studio and I loved how the main hook of the song was one lyric and that lyric felt almost personified by the energy and sonic world of the song.” Still, the track sits well amongst other contemporaries (Oliva Rodrigo, Clairo), with hints of pop-punk and dream-pop revealing themselves throughout. Initially lamenting a romantic love lost, Hallie was able to re-channel that energy into a song of appreciation for the supportive bubble of friends around them, and the result is a refreshing take on the relatable concept of love. “I initially wrote ‘Love!’ about my then partner, when I woke up on my period feeling irritable but was instantly comforted by the love and depth of connection we had,” they comment. After finishing the writing and production with Oscar Sharah, I found new meaning in the song, and how in my current life it speaks to the platonic love surrounding me. It’s really nice to be reminded that within all the chaos and confusion of my early 20’s, there is so much support and love in friendships that often surpasses the romantic flings in my life.” As the track unravels, Hallie, we get to see Hallie’s witty lyricism revealing itself (“You call my bluffs / Like I call my mom / You hold me still / With a finger and thumb”) before the track blossoms into luscious guitar lines and a euphoric sense of closure and acceptance. In the accompanying video, Hallie is seen with their closest friends, as they explain, “Running lines and dancing around in our lounge room felt so healing for my inner child; it felt like we were 8 again being silly and full of joy while being creative. We’re all working out who we are and what we want at this time in our early 20’s, so it’s really nice to be reminded that within all the chaos and confusion, there is so much love and we can grow and work it out together. I am so in love with my friends!” [via Line Of Best Fit]

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