Exploring the duality of obsessive romantic infatuation – juxtaposing (borderline) creepy, comedic lyrics with a deeply vulnerable and sacrificial chorus – ‘Precious Things’ follows Phoebe’s Ask Me Now EP, released earlier this year.

New single ‘Precious Things’ marks a significant evolution in Phoebe Green’s artistry – and is the first taste of a new project due for release in 2025, written and produced by Phoebe within the intimate settings of her flat in Manchester and her parents’ house in the coastal town of Lytham St Annes.

‘Precious Things’ showcases a devastating vulnerability lyrically and a deft assuredness in its swelling production, all encapsulated within the song’s powerhouse chorus.

Speaking more on the release of new single ‘Precious Things’, Phoebe commented: “I really wanted to write a song about the obsessive, almost fan-like behaviour that we can exhibit in romantic relationships; I love borderline creepy lyrics that are a combination of uncomfortable and almost comedic when expressing love for something or someone. I wanted to contrast this with a truly devastating chorus that almost feels sacrificial, a willingness to be of use in any way to someone just to feel needed. I like that sonically both of these ideas are reflected also, the verses are sort of nursery rhyme-jolly so that the deeper meaning is concealed somewhat, whereas the chorus is just fully heart-on-sleeve yearning with the big synthy choral sound.”

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Speaking about ‘I Think That I’m Getting Boring’, which is the first song she worked on with Steph Marziano, Phoebe explains, “I wanted to write about the calmness that comes with being in love and letting go of the fear of being ‘boring’. There is so much joy in consistency and contentment that seemed so daunting to me because I’d never let myself have it before. It feels like a very anthemic coming-of-age type of song which is funny considering I’m in my mid twenties, but it’s reassuring that I’m still growing in so many ways.”

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Speaking about ‘I Could Love You’, Phoebe says “it explores the mixed emotions when meeting someone new, wanting to hold back in a self preservation sense but also having a gut feeling that it’s the right thing to pursue. For a really long time, love songs made me feel too vulnerable and I found it easier to convey bitterness than hope, so getting to a point where I can write an openly queer song about falling in love is really affirming.

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Speaking about the single, Phoebe notes “It’s about mourning something before it’s over – being aware of a dynamic and the repetition of it but feeling completely trapped. I love emotional pop music so much, I feel like I can only do that when I’ve mostly healed from something otherwise I want it to sound as miserable as I feel (lol), but I think there is a franticness that comes with grief that makes me not want to be still, and a relief that comes with feeling distance from it now.”

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Gemma Rogers has shared her brand new single ‘My Idea of Fun’ set to be released alongside her new album at the end of July. Written to accompany a David Shillinglaw exhibition in Hoxton, Gemma penned the lyrics whilst nursing a broken heart and staying at a friend’s in Brighton. Her brother, Nick, came up with the guitar riff and Arlen Figgis remixed it, bringing in DJ Fast from the Fun Lovin’ Criminals to play melodica and additional keys. Brimming with raw humour ‘My Idea of Fun’ is a colloquial commentary on the trials of drinking in the afternoon. Gemma’s effortless vocal delivery is matched by her lyrical prowess resulting in a masterful piece of musical comedy. “How do I hope this song will resonate with my listeners? To have a little dance and a lot of laughs. Life can be very serious. I also think it’s wise to go out with a wingwoman so she can keep an eye on you when you’re getting loose. I reckon I’d have avoided lots of madness had I taken my own advice.” Producer Figgis also directed the music video, which features David Shillinglaw painting live throughout the shoot, and additional animation by Alex Burt. “David has also gone on to do the art for the album. He’s been one of my main inspirations. I’ve always thought of his art as the accompanying visual to my music (or vice versa) to be honest. It’s so kaleidoscopically communicative. He’s an artist through and through and is as pure as they come in his drive to explore the honest messy human condition.”

Experimental pop artist ko aka koala – the moniker of multidisciplinary creative KO Lee – has shared the official music video for her single ‘why is everyone so scared of me.’ The song was written from the perspective of a zombie – someone who is doomed to be alone, who can’t help but hurt people around them. The video depicts a classic horror movie aesthetic, and was directed, styled, and edited by ko herself. “It is symbolic of being not seen or understood, and judged by a superficial first impression that you can’t shake off,” says KO. “The video shows the duality between good and bad – as the lyrics state ‘looks can be deceiving,’ so we understand that the two are actually intertwined.”

Kennedy Ashlyn aka SRSQ [pronounced ‘seer-skew’], has shared a captivating new single from her forthcoming album Ever Crashing, which is set for release on August 19 through Dais. The delicate yet crushing ballad ‘Abyss’ sees Ashlyn sing of her bipolar disorder with shattering clarity. Raw and vulnerable, the track embodies her unique ability to masterfully synthesizes her private struggles and sorrows into stirring, redemptive anthems. Her multi-octave range and moodswing songcraft consists of tumult and triumph, darkest night breaking into brightest dawn, proving her a musician of elemental force. The accompanying self-directed video pictures Kennedy submerged in water. She comments: “‘Abyss’ describes my darkest days with the imagery of my skinless body trapped in a riptide, its rawness exacerbated by the rushing saltwater. Suspended above is a glowing orb, the promise of peace, growing fainter and fainter as the tide pulls me down. I watch it disappear in yearning surrender, only to be resurrected by the powerful shine of the sun, which cuts through the water at random, allowing me to ascend if only for a short time. The video was shot almost entirely underwater using a home made periscope.”

Florida-born, LA-based indie-folk performer Johanna Warren has announced the follow-up to her 2020 album, Chaotic Good. Her forthcoming sixth studio album, Lessons For Mutants, will be out October 7 via Wax Nine / Carpark Records. Warren has also shared an uptempo lead single, ‘I’d Be Orange,’ which has a music video co-directed by Warren and Richey Beckett. Warren began working on Lessons For Mutants all the way back in 2018, where she tracked songs in tandem with the material from Chaotic Good. She eventually finished recording her latest in the pastoral UK “surrounded by sheep, cows and a foragerʼs paradise of wild edible plants,” as a press release puts it. Warren describes ‘I’d Be Orange’ as being “about martyrdom and masochism in pop culture and the quest for stardom.” She continues: “The only thing we love more than building up an icon is watching them fall — and yet, as an aspiring icon, even when you know that, thereʼs still this perverse desire to be one of the chosen ones who gets pinned to the cross and set ablaze.” Elaborating on Lessons For Mutants, Warren says: “Thereʼs this unspoken rule in modern music—modern life, really — that everything needs to be Auto-Tuned and ʻon the grid.’ This record is an act of resistance against that. Thereʼs beauty and power in our aberrations, if we can embrace them.” [via Stereogum]

Los Angeles-based Zella Day has released a brilliant new video, directed by Alex Casnoff, for her song ‘Radio Silence,’ which she released three weeks ago to rapturous response. ‘Radio Silence’ – written in the Autumn of 2021 – details the experience of a young woman forced to reckon with the choices surrounding an unintended pregnancy. Combining sonic elements of college radio-era R.E.M. with haunting synths and drums, as well as some of the most pointed, evocative lyrics Day has ever written, ‘Radio Silence’ is raw, candid, and universally resonant. Says Day about the video, “It was on a Monday that we decided we were going to shoot a music video that was coming Friday before I left for Texas. We ended up shooting until 4AM, I was on a plane two hours later with beach sand in my shoes leftover from the Santa Monica Pier. There was a frantic energy in the air that night as we moved through the city with our shot list, we found some of our best scenes in an In-And-Out bathroom and while running down side streets in Simi Valley. I’ll be keeping the Bunny head as a memento from our iPhone thriller. We really want the viewer to feel the energy that we felt creating this psychological chase through Los Angeles.“

This week, Beach Bunny released their sophomore album, Emotional Creature. And the Chicago band is back with one more single and video. ‘Weeds’ is a likable and hooky one that Lili Trifilio said “felt like I was taking ownership of my emotions instead of letting my emotions drive me into despair.” [via Stereogum]

On her new single, girlpuppy (Becca Harvey) addresses the most excruciating breakups out there: those that occur between friends. The Atlanta-based singer-songwriter channels the pain of going from inseparable best friends to total strangers on ‘Wish.’ The song is the first release from her forthcoming debut album, When I’m Alone, out via Royal Mountain on Oct. 28. Her first venture into shoegaze, girlpuppy swaths her floaty vocals in gauze-like layers of fuzzy guitars and tinkering bells. ‘Wish’ embodies the blur of love, anger, hurt and confusion that comes with someone leaving your life and never giving you a reason why. Still holding out hope for reconciliation, she promises, “I don’t even need an apology,” and confesses, “If you’d call me back / I’d tell you that I love you / and I’ve missed you all this time.” An emotionally raw introduction to her new era, ‘Wish’ sees Harvey shines in her most vulnerable state. “On ‘Wish’ I was thinking about when friends leave your life and you’re not entirely sure why,” Harvey explains. “It’s a pretty universal feeling, I think. And, the thing is—even if you managed to live in the walls of that person’s apartment and were able to figure it out, their reasons might not make total sense. This song is me living with that feeling, when loss just doesn’t quite add up. This is the first shoegaze rock song I’ve made and I did that intentionally—the emotions in the song go from anger to sadness to nostalgia and all the other emotions that you feel when you go through a ‘friend breakup.’ I imagined it being really cathartic to play it live.” Check out the video for ‘Wish’ (dir. Matt Swinsky and Eat Humans) above. [via Paste Magazine]

Phoebe Green has released ‘Just A Game’, the fourth single to be lifted from her upcoming debut album Lucky Me. Following the release of ‘Sweat’, ‘Lucky Me’ and ‘Make It Easy’, Green has unveiled new cut “Just A Game”, which is teamed with a Niall Trask-directed video. “‘Just A Game’ is probably the most obvious pop song on the album, which makes me feel kind of uneasy but excited,” Green says. “I’m still coming to terms with making songs that aren’t entirely alternative because I’m so cautious of my songs making me cringe if they sound too polished, but this one is just a pop bop and I’m here for it.” Green adds, “I wrote it with my friend Jessica Winter who really encouraged me to venture outside of my comfort zone and embrace my newfound willingness to write in a more structured, concise way. It was actually so freeing and I feel like I had opposite inhibitions to what is expected! I love that despite the danceability it’s still a good old heartbreaker, that is one consistent factor that I doubt will ever change.” [via Line Of Best Fit]

Kenzie TTH is serene and silky on ‘Driveway (Credits)’, the ‘glue’ of her upcoming EP, which will arrive in August. The movie-soundtrack magic of ‘Driveway (Credits)’ draws on Kenzie TTH’s (pronounced Kenzie Teeth) myriad talents. Across design, editorial, fashion, music, running a label, and working with numerous other creatives, it’s no surprise that ‘Driveway’ is a fully-fleshed musical tale with artistry on every level, and arriving alongside a stunning coming-of-age-film toned music video, Kenzie creates a whole world for this story. Packed with swirling synth textures and understated vocal dexterity, Kenzie TTH pulls together all her influences and emotions on the latest release. Both fit for a contemplative nighttime drive under the wide-open skies and the moment when you pull into the driveway quietly and leave your thoughts in the car, Kenzie’s songwriting is airy and melancholy. Bringing all the emotional layers together to form a quiet sense of acceptance, ‘Driveway (Credits)’ is a perfect cinematic closer. “It was the first time we stood back and felt like we actually knew where we were going,” Kenzie explains of the track. “’Driveway (Credits)’ is the blueprint, the sort of glue of the record, that informed the rest of the tracks on We Stayed Too Long sonically and conceptually. It’s a song about closure, and in writing it, I started imagining the final scene of a film — how it all ends: the what-ifs and second-guessing that comes with choosing to close the door on a relationship, but ultimately being resolute in the decision for two people to part ways and accepting that there is no driving off into the sunset together.” [via Line Of Best Fit]

After a pair of EPs, Skullcrusher — the quietly appealing and not particularly skull-crushing musical project of Helen Ballentine — is finally releasing a debut album. It’s called Quiet The Room, and it’s dropping in October on Secretly Canadian. The strummy, shimmery, sighingly spectral lead single ‘Whatever Fits Together’ is out now with a video by Silken Weinberg. Here’s what Ballentine has to say about it: “I wrote ‘Whatever Fits Together’ while reflecting on my past and wondering how I might begin to explain it to someone. I viewed my younger self through a wash of emotions: anger, sadness, pity, confusion, all reaching for a kind of compassion. I tried to capture the contradictions that comprise my past and define who I am now. As I looked back, I saw my life in pieces: some moments blacked out, some extremely vivid, some leading nowhere. Through the song I attempt to piece it together in some non-linear form and accept my disparate story.” [via Stereogum]

London based project Pretty Sick will release their debut album later this year. The band is driven forwards by Sabrina Fuentes, marking out their sound with excellent EPs Come Down and Deep Divine. Debut album Makes Me Sick Makes Me Smile is out on September 30, a 12 track statement that traces their tangled trans-Atlantic roots, while touching upon family, mental health, love, and more. Ahead of the release – and it’s accompanying UK tour – Pretty Sick have shared biting new single ‘Human Condition’, a punchy punk-edged statement that operates on its own terms.

Indie Brooklynite Scout Gillett has announced her debut album, no roof no floor, out October 28 via Captured Tracks. She also released lead single, ‘signal,’ a bass-heavy, lightly screamy song that comes with a tongue-in-cheek music video directed by Scout herself. Of the inspiration for the video, she says, “I chose to make the object of desire a sandwich rather than a lover…I wanted to channel the slapstick work of Charlie Chaplin. I never end up finding the sandwich, just the mime pretending to chow down. I think lightness is achieved by letting go and embracing uncertainty. As in the video, which ends in laughter and acceptance, there is joy in surrender.” no roof no floor was produced by Nick Kinsey and features contributions from Ellen Kempner of Palehound, David Lizmi of MS MR, and Kevin Copeland of The Big Net. The album was inspired in large part by the changing meaning of home for Scout, as her home state of Missouri had become a place she didn’t recognize when she returned in 2020. She recorded the album in a barn in upstate New York, blending her southern upbringing with her DIY indie sensibilities. [via Brooklyn Vegan]

Powerhouse vocalist Reneé Rapp returns with her new single ‘In The Kitchen.’ The 22-year-old delivers a poignant piano ballad that highlights her knack for penning devastating lyrics and shows off her towering vocal range. Currently winning over viewers and critics alike with her starring role as ‘Leighton’ in the HBO Max/ ITV series The Sex Lives of College Girls, this track proves that Rapp has equally developed gifts as a musician. On ‘In The Kitchen,’ Rapp hones in on a simple memory from a relationship — to convey how alone she feels. “I walk in the kitchen, my heart hits the floor,” she sings sweetly over gentle chords. “It’s you that I’m missing, just had a vision of us cooking dinner, and you’re holding me from behind.” Co-written by Reneé alongside Monsters & Strangerz (Dua Lipa, Justin Bieber, Maroon 5), Tommy Brown (Ariana Grande, The Weeknd, Blackpink), and Michael Pollack (Lizzo, Becky G, Justin Bieber), the song draws on personal moments of Reneé’s, creating an emotional and raw experience for her listeners, almost enduring the pain alongside her as she sings. [via Total Entertainment]

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BEX has dropped a brand new single, ‘Tiptoe’, sees the artist’s 2022 debut and features heavy bass plucks, annihilating drums, and witty vocals across a riotous music video. Describing herself as, “a punk-rocker who wants the music to speak again” BEX is a young artist looking to reshape the rock industry through a lens of hard-hitting riffs, feminist lyrics and cutting-edge videos. Amongst this BEX balances out all the things that “suck,” such as: sexism, racism, fast fashion, judgementalism and heartbreak with pleasantly uplifting things like: riffs, self-expression, expressive art, inclusion, equality, feminism and last (and certainly not least) respect. Speaking about the track she says: “Lyrically ‘Tiptoe’ is about males who take advantage of women, ‘just because we perform it doesn’t welcome you off stage’. The chorus reflects on men taking action and the consequences that come from it. Musically the track is just riffs, fat riffs. A simple punk structure with two alternative bass lines that compliment each other. ‘Tiptoe’ is simple but meaty. The song is filled with alot of rage and rebellion against female norms, standing up for myself/ourselves and other females who have been in vulnerable situations. The track is in favour of post modern feminism.” Recorded in the first lockdown, ‘Tiptoe,’ is a track produced by Sam Cramer, and with BEX’s bass tones all created by hand on a custom pedalboard. ‘Tiptoe’ arrives with a vivid official video co-directed by BEX herself and videographer/photographer Olivia Brissett. Matching the soaring and beckoning energy of the track, BEX says of it: “The video is a visual representation of my anger and rage in the song. Also representing female empowerment, and lastly… showing off my handmade outfits and masks.” Honourably gifted across the arts, BEX is not just a musician, as she admits, “I hand painted the artwork on a canvas,” about the single’s artwork. Continuing her love for curating BEX expands on some of the projects she’s working on: “I have been making a zine that I am going to get printed, it’s like a little lyric and expansion book, all handmade. I also self directed the music video and I am currently in the process of editing it! I love making things, I made all the outfits for the music video as well as the masks. Nearly everything is DIY, I love having the ability to portray my personality creatively.”

In 2019, the Australian musician Stella Donnelly released her debut full-length, Beware Of The Dogs. Now she’s back with her sophomore album, Flood, which was written while Donnelly moved between various cities in her home country during lockdown. “I had so many opportunities to write things in strange places,” she said. “I often had no choice about where I was. There’s no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about.” Now, she’s sharing the playful lead single ‘Lungs,’ which comes along with a video that Donnelly co-directed with Duncan Wright. “Very loosely based on the Banded Stilts of my album cover, the character I play in red is a wobbly adult, doing their best with their new set of legs and responsibilities, trying to make it look easy but very much on unsteady ground,” she said in a statement. “I wanted this video to celebrate the child, firm in their footholds, intimidatingly honest, not to be messed with, they are the strength and power of this video no matter how much I try to assert myself as the boss.” [via Stereogum]

Phoebe Green will release her debut album Lucky Me on August 19. The songwriter has something special, with a string of project illuminating the patient innocence of her lyricism. The pensive title cut is online now, the optimism of the title undercut by word-play that deals with Phoebe Green’s own insecurities. She comments: “‘Lucky Me’ explores the idea of disguising self-destructive behavioural patterns due to a feeling of guilt for living a seemingly easy life. I’m very lucky in so many ways that I almost feel ungrateful for still experiencing such difficulties with my mental state. I frantically search for a trivial, tangible cause of distress so that I don’t have to dig too deep or accept that I might just be a bit mentally fucked, then altogether silence myself when I imagine how others may be perceiving me and my actions. The song represents the common defence mechanism of invalidating and dismissing my emotions before anyone else can.” Phoebe Green continues: “I wanted ‘Lucky Me’ to be the title track of the album as this is very much a running theme throughout; analysing and dissecting my experiences and emotions as opposed to feeling them, as they feel easier to digest that way. The title almost feels sarcastic and snarky depending on which way you look at it, and as I use humour to cope a lot of the time it does seem fitting. But I am actually extremely lucky to still be here so there is some sincerity in there somewhere.” [via Clash]

Down to the name, Number One Popstar makes no attempt to hide what she’s about. A mix of winking satire and loving tribute, the pop project spearheaded by singer and comedian Kate Jean Hollowell is both a quintessential chart-topping indie pop idol and a witty, irreverent send up of the genre. Having been likened to the Andy Kaufman of pop music, Number One Popstar is the sorely needed injection of humor we didn’t know was needed. Looking for relief from all her worries and woes, Number One Popstar is back with her latest single, ‘Dance Away the Pain.’ Full of glossy ’80s synths, the track sees Hollowell use her quirky strain of pop as a form of escapism, delivering a dark yet catchy hook of “My depression makes me go insane/I just wanna dance away the pain.” Not quite as overt as an SNL skit or a Weird Al Yankovic track, Number On Popstar manages to strike the right balance between humor and finely crafted melodies without making the music a joke. The single arrives alongside an equally absurd visual directed by Hollowell herself. Clad in a neck brace, the music video shows Number One Popstar hitting up the early bird special at the local family restaurant (which fittingly also looks like it hasn’t been updated for decades) to stuff her elderly compatriots’ faces and naturally dance away the pain. “I feel like pop music, especially pop music videos, are filled with young cool people, but I want to make music that brings joy to everyone, at any age, specifically 70+,” Hollowell says of the visual, which features a cast made up of real life friends she met at a Zumba class. “My hope is that this song is a celebration of not just dancing, but acknowledging the pain you’re going through.” [via PAPER]

Mysie has released a new video for ‘gin + juice’. It’s a cut from her new EP joyride, out now via Fraser T. Smith‘s label 70Hz, about the first time she met her ex-partner; “that exciting feeling I got before we were together,” she explains. “What I realise between every project is that I’m learning as I go,” she adds, of the EP as a whole. “I forget that’s what life is about, and I’ve learned so much from Joyride. It served as therapy to me.” [via Dork]

Rapidly rising Australian punk rock stars Teen Jesus and the Jean Teasers are thrilled to release their debut EP Pretty Good For A Girl Band via Domestic La La. To celebrate they’ve dropped a video for ‘Girl Sports,’ their blistering new single which was written in honor of the male dentist who said that bassist Jaida Stephenson should stick to “girl sports” after knocking her teeth out skating. Featuring nods to three classic teen films, the ‘Girl Sports’ video is everything you’d come to expect from the four-piece; in your face and won’t back down, but they’ll still have some fun along the way. On the video, Teen Jesus and the Jean Teasers say, “We had so much fun filming the ‘Girl Sports’ video. While the song encapsulates a lot of frustration and anger, we wanted to create a visual element that brought a more light-hearted feel to a song that touches on some pretty frustrating experiences a lot of women and non-males would relate to. We wanted to create a fun take on the idea of ‘girl sports’ by drawing inspiration from sport scenes in Clueless, St Trinian’s and Twilight (we hope we did the iconic pitching moment justice). We wanted the video to be fun as possible because everything we wanted to say, we had already screamed in ‘Girl Sports.’ The video is basically a big middle finger, you can’t touch us moment, to all the men that had and continue to look down on us.”

Los Angeles trio Lost Cat share their second single, ‘Bitch Fight,’ the latest track off their upcoming self-titled debut album, Lost Cat, due May 27 via Lolipop Records. As the rollicking fuzzed-out punk rock track proclaims, “If you don’t like it, you can go to hell!” Speaking on their newest single, band member Kiki wrote: “‘Bitch Fight’ was quietly written in my parent’s garage while they were sleeping…Originally, the lyrics were fist fight but when I brought the song to practice, Lucy thought she heard Bitch Fight and that’s where the name was coined. The song still needed a few more words, so the remainder of the song was again quietly written but this time at Angie’s dad’s house as he slept.”

Los Angeles hard rock outfit Starcrawler have released an official video for their single ‘Roadkill,’ directed by Gilbert Trejo (son of actor Danny Trejo) and featuring a cameo appearance by none other than Steve-O of Jackass infamy. In the video, the band is chased through the streets of LA by a raging pink jalopy with a grudge, driven by Steve-O. Interspersed with a very cool, stylized performance shoot, ‘Roadkill’ is perhaps the best example to date of Starcrawler’s super-swanky drip being fused with hard rock and punk. In talking about the track, vocalist Arrow DeWilde said, “‘Roadkill’ is about anyone that tries to dig their heels in the ground and stand in your way. We’ve all had people try to tear us down, and sometimes you just have to run right through them.” [via Metal Injection]

Award-winning French pop trio Hyphen Hyphen unveil a new single and accompanying music video, ‘Don’t Wait For Me’. ‘Don’t Wait For Me’ was co-written with six-time Grammy winner Glen Ballard (Alanis Morissette) and mixed by Charlie Holmes (Ed Sheeran).“In the midst of chaos, we’ve chosen the light! Here is our new song ‘Don’t Wait For Me.’ We had so much fun writing it with Mr. Glen Ballard, hope you’ll feel the energy. Don’t wait anymore!” says the band. “It was a great privilege to be invited into the creative circle with Hyphen Hyphen,” says Ballard. “Their exuberance and talent was a great inspiration. This band has joy and energy at their core…I’m forever a Hyphenate!”

The singer Carlota Flâneur broke onto the music scene a little less than two years ago with a her tender and colorful pop sound. Her first album uncertainty, will finally be released on September 16. On it, Carlota Flâneur explores all the forms, manners, angles and colors of pop within ten songs that stick in the memory and introduce the world into a fantastastical universe. Now, Carlota releases ‘lungs,’ the first single that the Barcelona artist is sharing from this first LP. It is a fresh and catchy song that hints at the next steps for the young singer. In the video clip for ‘lungs,’ Carlota Flâneur speaks to herself in different worlds full of color, snow and stars, creating a narrative between the apparently real and fictional spaces through a telephone as a common thread.

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