Nothing could’ve prepared us for what a beautiful couple Lizzo and fashion supermodel Tyson Beckford would make in her new music video for ‘2 Be Loved (Am I Ready).’ Making her wildest dreams come true, she brought the 51-year-old heartthrob to the desert for her self-titled album single. The visual follows Lizzo as a runaway bride, recreating scenes from her breakout ‘Truth Hurts’ music video in 2019. After leaving herself and a shirtless pastor at the altar, she speeds across the desert highway in a red convertible and stomps through sand hills wearing white platform combat boots. When all hope seems lost, Beckford appears on a motorcycle. A sight for sand-filled eyes, it seems almost too good to be true. The two get cozy and Lizzo goes in for the kiss, more ready than ever. Just as she does, her friends arrive to retrieve the runaway bride. What they find, though, is not a pretty picture: Lizzo making out with a tree, no supermodel in sight. But she doesn’t let biting on a little bark get her down. Quickly bouncing back with a bottle of Patron, nonetheless, Lizzo and her bridal party pull out all the stops. With choreographed numbers, campfires and blinding blinged-out lingerie, this party is decidedly better than Lizzo’s wedding, anyway. The ‘2 Be Loved (Am I Ready)’ video is an unapologetic ode to taking your time and loving yourself. So don’t settle for anything less than french kissing a supermodel on a motorcycle in the desert, even if it is a mirage. [via PAPER]

This week, THICK released their sophomore album, Happy Now and they’re also back with one last single, the gleaming and spiky ‘Happiness.’ “This song explores the ways we seek validation and how it motivates the way we interact with the world around us,” the band said in a statement. “Whether you look for it externally or internally, it begs the question, ‘Who is this all for and is it ever enough?’” [via Stereogum]

Canadian singer-songwriter Olivia Street and her band King of Foxes are the makers of delightful yet peppy indie-pop. Their recent single release of ‘Pleasant Solutions’ is a perfect demonstration of why her music connects with fans in such a unique way. She has a unique artistic method, that’s versatile and has the ability to create old-school retro sounds with a modern twist. There’s no lack of tongue-in-cheek throughout her music, with each music video bringing a playful vibe, the latest takes place in a dull office, before the staff take matters into their own hands. The lyrics and meaning throughout Only Here On Loan is about being confident, and holding on. The band writes, “When it comes to writing lyrics, I love finding universality in the specifics. I hope that people see themselves in the song — we’re all hurtling through space on a rock together, trying to hold on to what we think we know. There is beauty in realizing that nothing really belongs to us, that everything we have is ‘only here on loan.'” Taken from their forthcoming album, ‘Pleasant Solutions’ offers a rustic sound to modern indie. It’s full of quirky and catchy hooks that’s rich with a nostalgic touch. [via Earmilk]

Chloe Moriondo will release new album Suckerpunch on October 7. Moriondo takes full control of proceedings, augmenting her vision with contributions from Oscar Scheller (Rina Sawayama, PinkPantheress, Charli XCX), David Pramik (Machine Gun Kelly, Oliver Tree), and Teddy Geiger (Caroline Polachek, Olivia O’Brien). A 13 tracker, Chloe Moriondo will preview the album with a night at London’s iconic Heaven club on August 24. New single ‘Fruity’ is online, blazing a trail for the full length, her first since 2021’s ‘Blood Bunny’. The single bursts out of the traps, future-pop stylings with a punk-like sense of defiance. She comments… “’Fruity’ and this album in general are going to be a slap in the fucking face!! I liked the idea of naming the album for something that means an unexpected hit—something you never saw coming. It means the world to me to have the creative means to explore different shiny sounds and work with people I love so dearly on a project that is so new and exciting for me.” [via Clash]

Returning with her sassy pop sheen to prowl over the R&B scene, DEJA releases latest single ‘Boom Boom Bah’. DEJA’s badass and feisty female energy comes in with ‘Boom Boom Bah’. Empowering every girl with that whining and grinding confidence, DEJA shows appreciation to her body heritage in this atypical ode to her mother. Loaded with radiating hip beats and audacious elation, ‘Boom Boom Bah’ is a sass-soaked single. In her own words, DEJA explains;“Even though all the women in my bloodline were, I was not blessed with ample booty. In my family, this has been a running joke for as long as I can remember! Mama blessed me with no nyash, still every single man want that. ‘Boom Boom Bah’ pays homage to my mama and our heritage but in the most light-hearted way. I’ve written ballads about my love for my mother but I wanted this one to make her smile and shake body!”

Possessing a natural knack for genre-bending, Oregon-born artist Haley Johnsen has lent her musical magic to her retro new single ‘Renegade’. Indie-pop and folk-rock join forces here to create a unique sound, underpinned by soaring vocals and introspective lyricism. Having already built up an impressive fan base after her critically acclaimed debut album, Golden Days, the universally loved star’s return has been a sweet one, wrapped up in a nostalgic 80s and synth-laden tinge. Assembling the ultimate dream team on the new project, Johnsen brought to the mix award-winning, time-travelling filmmaker/ TikTok star, Maris Jones, for the track’s accompanying music video. The two creatives transport us to an entirely different decade in the new cut, flaunting all things 80s. Proving that self-love is a global currency when contemplating her newest cut, Johnsen explains, “‘Renegade’ is about fully stepping into who you are and what you’re meant to do in this life, which I believe is one of the most badass, rebellious things we can do. I needed to write this song to remind myself that even though I still struggle with my self-esteem and trust in myself at times, that I am still brave enough to be continuing to push through and follow my dreams. In this video made by the incredible Maris Jones, I get to become the superhero I always hoped I’d be for myself. Saving the world from evil storms of self-doubt and battling it with self-love and courage, one day at a time!” [via Wonderland]

Following the release of their first album in six years Radiate Like This, Warpaint are sharing the video for LP cut ‘Hips’. “’Hips’ has a scuttling intensity to it,” director Jim Hosking says. “It sounds like someone desperately trying to find something. Or at least that’s what it seemed to me. I listened to it repeatedly and kept seeing women desperately searching for each other in a seaside town. Ideas present themselves and it’s not about logic or reason, it’s about emotion. And here the emotion suggested identically dressed women finding each other in an old seaside town in England called Southend On Sea.” “We are thrilled to share this strange and beautiful video for ‘Hips’ from the brilliant mind of Jim Hoskins,” the band add. “Give it a watch.” [via DIY]

Artist on the rise, EMELINE returns with her strong-minded and sensually charged new single ‘Strut’ and its accompanying video. Co-written by EMELINE, ‘Strut’ finds the Los Angeles-based artist fully owning her sexuality and turning the track’s chorus into a supremely catchy statement of freedom: “I don’t do the walk of shame, I strut.” A dance-ready anthem of self-celebration, ‘Strut’ follows the Rhode Island-born singer-songwriter’s viral smash hit ‘cinderella’s dead’. In a departure from the slow-burning dark-pop of ‘cinderella’s dead,’ ‘Strut’ brings EMELINE’s breathy vocals and sophisticated wordplay to a high-energy backdrop of diamond-hard beats, glistening synth, and retro-flavored horns. Both playful and unapologetic, the result is the latest proof of EMELINE’s gift for transforming self-reflection into spellbinding songs with a powerful impact. Co-directed by EMELINE and Kate Zamudio, the video for ‘Strut’ follows the free-spirited phenomenon as she struts along city streets, endlessly turning heads with her unbridled confidence. A glorious explosion of pink, the visual also captures EMELINE making out in a vintage car and an old-school phone booth, ultimately inspiring the scandalized bystanders to shake off their inhibitions and dance along with her.

Los Angeles-based DIY rock band The Paranoyds share new single and accompanying video, ‘BWP’. Alongside the single, the band announces a UK tour this fall with tickets on sale now here, in addition to their North American dates, ahead of their highly anticipated sophomore LP, Talk Talk Talk due out September 9 and available for pre-order now, via Third Man Records. After some audio feedback and a steady guitar loop begins, ‘BWP’ opens the album with an attempt to escape the monotony of daily life. Over warbled vocals, expressing disappointment with how the once-alluring future turned out, guitarist and vocalist Lexi Funston sings, “Up on my bed / I’m looking to mend / I contend I’ve got a case / A fight in my head / I’ve got a ten I’m willing to spend / A day is long when not much is coming in / Cross off 60 more, this future was a bore” Funston explains the fuzzy jam is inspired by feeling stuck in an endless routine for so long, daydreams no longer feel special or significant–they’ve just become the norm. “Every now and then there are those days and sometimes even weeks where it just feels like you’re in a rut–for me they’re usually induced by some sort of gnarly LA heatwave or fire (if i’m really unlucky, it’s both!). All you can really do to escape the heat is daydream, but daydreaming day-to-day…it’s just not the same.” Speaking to what the title’s three letters stand for, Funston adds, “I wrote the demo for the song at a time where it felt like all of a sudden Spotify was overcompensating for years of only boosting male rock bands, in this super disingenuous way (2019). There was this playlist called “Badass Women’s Playlist,” which I thought was such a cringe title for a playlist (looking at the playlist now, they dropped the “Women’s”). “But, on the other hand,” Funston admits, “I wanted our music to be on this playlist…I figured if I wrote a song with that intention in mind and named it after the playlist, we might finally get some subliminal love from Spotify…I guess that makes it a self-referential song about selling out.” Directed by Max Flick, the track’s accompanying video allows each band member and their instrument shine as each shot corresponds seamlessly with each note played. Against a black backdrop, hues of red, yellow and blue along with a single spotlight bring the floating heads of each band member in and out of view. Similar to previously shared visuals, the band brings their retro spirit with them into the future, creating something brand new altogether. Flick, who has previously collaborated with the band, was thrilled to be able to direct the latest video. “Since the first time I saw The Paranoyds play at the original Non Plus Ultra I was an instant fan and knew I wanted to make a video together. We have worked on many projects over the years, but this is my first time directing for them.” After listening to the track, Flick had a clear vision for the visual. “Listening to ‘BWP’ immediately provided me with these vivid images that we were able to make come to life and I couldn’t be happier with the outcome.”

Sudan Archives has shared a new video for her song ‘NBPQ (Topless),’ a track from her forthcoming album Natural Brown Prom Queen. Agusta YR directed the busy, surreal visual. [via Pitchfork]

Annie DiRusso shares her new single ‘Call It All Off.’ “The song is about losing yourself in someone or something and trying to reenter the world once that chapter closes,” DiRusso shares. “This song was born from a time when I was so caught up in a relationship that I didn’t realize I had isolated myself from friends, family and a lot of good things in my life. When I realized how much I missed, I found myself wanting to just give up & ‘call it all off’ rather than reconnect with the outside world because it seemed like too big an undertaking. Releasing this song is a good reminder that there’s life on the other side.” Annie DiRusso also shared about the song, “It’s like me walking out of that relationship and reentering the world and realizing, like, I had a neglected relationship with my friends. Or like, I think often what happens in those kinds of relationships is when someone tells you, like, you should break up with him, then you’re like, ‘yeah, yeah.’ And then you like, just like, don’t talk to that person for a while because I don’t want to break up with your boyfriend. Like, and that was something that had happened with a lot of my friends. And so I think there was that period of kind of getting out of that relationship and being like, Hey, I broke up with him finally. All my friends were so welcoming, too. And it’s just a feeling, like, I think it’s about that fear of, like, I feel so disconnected from everyone, and everyone’s life moved on while I was, like, in this bubble. And I feel weird, like having to reenter now, you know, after missing so much.” [via Guitar Girl Mag]

Ghost Car, the London-based international punk quartet, announced their debut album Truly Trash following their signing to One Little Independent Records. The riotous, quick-witted collection of 11 garage-rock bangers will be released on October 28. The album provides Ghost Car with a platform to rage against political injustices, as their unified harmonies attack patriarchal inequality, homophobia, racism and toxic relationships. Truly Trash is a call to reclaim autonomy and to revolt against the powers that uphold an archaic nationalist system. The jumped-up chaos of their glorious new single ‘Conch Pearl’ perfectly matches its B-movie style visual, by upcoming videographer Cath Shayler. She says that “Ghost Car become collectively entranced by a mysterious pearl object. Obsession quickly turns to possession as the pearl transforms into an all-encompassing hypnotic orb”. The band describe ‘Conch Pearl’ as “a feminist commentary on women/queer community being ‘shrunk down’ to fit a mould. The idea of a conch shell closing up, closing yourself off to the world vs opening up. We wanted to use the obsession with the pearl to represent the possession that is sometimes manifested towards women, something all of us have experienced first-hand at some point in our lives”. [via SoundSphere]

LØLØ’s new single ‘u turn me on (but u give me depression)’ is an excellent summer anthem for anyone who secretly hates their partner. “I wish I fell for an ax murderer instead of you / He’d kill me too but at least he’d make it quick.” LØLØ rolls her eyes, arms crossed over a bright orange bedspread, as she delivers her first line, in the music video, next to a man who is fast asleep. “No he wouldn’t get me hot and heavy / Then pretend he never met me and make me such a crazy bitch.” ‘u turn me on (but u give me depression)’ is a pop-punk battle cry rich with upbeat instrumentals. The music starts off with a bare-bones guitar riff before building up to crisp drum claps and a resonant bass line. Speaking of the new track, LØLØ says, of the lover, “Instead of being dead, I live in a constant state of purgatory – flip flopping from happiness to sadness. I love him, I hate him. He turns me on. He gives me depression. But most importantly, he helps me write the best songs.” [via SPIN]

Whimsical, imaginative and ethereal are all words to describe Arizona born and bred indie pop artist Summy. Now based in Los Angeles, the young social media influencer and otherworldly songwriter crafts music inspired by her personal experiences and her deepest desire to inspire other women to be strong, embrace growth, and to love themselves for who they are. Inspired by a wide array of musical influences including Whitney Houston, Phil Collins, Chicago, Elton John, and Lady Gaga, Summy writes music that is genre-defying and introspective. Her latest single ‘Said It After’ is about “when the relationship ends, the person comes to say all the things you wanted to hear when you were together but now it’s too late, because they said it after.” Summy’s lush and intimate vocals glide effortlessly over enchanting electronic pop soundscapes culminating into a magnetizing musical release. Summy has an uncanny ability to tap into the shared human experience and highlight our deepest emotions for music that is cathartic, tender, and emotive. In addition to her music, she embodies an aesthetic that is creative and vibrant, building a fantastical world for her and her fans. “I’ve always been very drawn to an ethereal and colorful energy for the clothes I wear and the makeup looks I do. I think one of the reasons why I’m more attracted to that kind of vibe is because it really helps me cope with my depression and mental struggles. It’s much harder to cry if you’re in fairy wings,” confides the songwriter. [via Substream]

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Award-winning country soul singer-songwriter Tami Neilson has shared ‘Careless Woman,’ available now via Outside Music. The rebellious country-blues anthem is accompanied by a spectacular official music video – co-starring New Zealand-based actress Olivia Tennet (The Lord of the Rings: The Two Towers, Power Rangers RPM) and Ling Zhang of Parris Goebel’s esteemed Royal Family Dance Crew. “‘Careless Woman’ was inspired by a 1938 collection of ‘Dating Tips’ in Parade Magazine,” says Neilson, “one of which read, ‘Careless Women never appeal to gentlemen. Don’t talk while dancing, for when a man dances, he wants to dance.’ Director Abe Mora was inspired to bring this era to life and built an amazing coin-operated music box for me and my band of Careless Women to perform in, like a human jukebox. As the song plays, the women in the bar are empowered and begin to dance and throw off the oppressive rules of propriety.”

Beija Flo is back with a spectacular new video for her latest single ‘Waiting for the Sun’. The new visuals directed by Sam O’Leary (notable for his work with hit BBC series ‘Inside No.9’ and supernatural videos for the likes of Witch Fever and Bleach Boy) are as surreal as they are sublime and bring a whole new dimension to Beija’s latest release. Bearing witness to the day the laughter dies, the viewer is drawn into the back streets of Liverpool to the most unusual of murder scenes. Starring Beija herself, along with a cast of clowns and a sprinkling of psychedelic animation from the mind of Sam O’Leary, the results are a lysergic blend of tragedy and comedy that make for an engrossing watch. Speaking about the new video, its director Sam O’leary says: “I’m so grateful that Beija doesn’t say no to silly ideas. Because silly doesn’t mean you’re not taking it seriously. I think we’ve walked the tightrope between drama and comedy well. The clowns were fantastic and INCREDIBLY patient as we were shooting this in one take over and over again until there was no more sunlight left. And as the whole video is in slow motion, we had to do everything in one go at twice the speed. I always love making music videos for Beija, and ‘Waiting for the Sun’ is such a fantastic song to work from, especially in terms of getting to subvert expectations.” The video offers a fitting companion to ‘Waiting for the Sun’, a track which fuses a Sharon van Etten-esque sense for drama with a climactic orchestral bombast born for the widescreen. Initially written shortly after Beija was diagnosed with MRKH syndrome and experienced heartbreak for the first time, it’s a track born from under the darkest of clouds. Having lived with Beija almost her entire adult life until its release this year, the song has taken on many meanings and guises for her as an artist, but that sense of raw emotion is as vivid and palpable now as it was when she first penned it. Opening-up about the release, Beija says: “I suppose I find talking about ‘Waiting For The Sun’ so difficult because it’s a medal. It’s a big medal I wear across my chest, day in, day out. It was born in the middle of a war, and is now a growing series of very precious battle scars. It’s hope…. It feels like such a milestone in my life to finally be releasing it.”

Following the release of her March debut album If My Wife New I’d Be Dead, CMAT is sharing the video for ‘Peter Bogdanovich’. “I wrote the song Peter Bogdanovich after listening to a podcast about the making of the film The Last Picture Show,” CMAT explains. “To cut a long story short, Peter ran away and left his wife for yungwan (the lead actress in the film, Cybill Shepherd). I was taken by this particular story because I love his early films, and I loved finding out that his wife, Polly Platt, was the player who was actually responsible for what I love most about his films. I was really interested in everyone’s motivations – Peter for acting so selfishly, Cybill for throwing a bomb on a marriage and her work, and most of all Polly, for staying to work on the film even after the affair came out. I think it is a great allegory for the role that the construct of gender plays in all of our decisions, and how if gender and sexuality wasn’t really seen as such a rigid ‘thing’, our lives would be very different. I approached director Jake Passmore with the idea of doing a video where I was in Boy Drag because a) it worked with the theme of the song b) I thought it would be really fun. Himself and Sam Brautigan, who co-directed, then came up with a brilliant abstract treatment around me playing Peter Bogdanovich that involved choreography, Orson Welles and a puppet. What more could I possibly want? These are all my favourite things, and all of the actors and crew were wildly talented and so pulled it off, which I don’t think was easy given how weird the joint is.” [via DIY]

Following her outstanding debut EP far from home, Swedish singer and songwriter Mimi Bay shares a tender moment on the emotive track ‘helium cowgirl’. This lush return from the artist sees us entering the world of heartbreak with grace, charming our way through the pain with a dose of Bay’s incredible vocal range. On the new single, Bay strips back any bold instrumentation to allow her vocals to float gently over a minimalistic piano melody. A subdued moment in Bay’s catalogue, ‘helium cowgirl’ is a transcendent offering from an artist that has already impressed with previous releases. Resisting the urge to return with an outlandish statement, Bay’s calming, hazy and soft-in-the-centre single provides the goods without losing its impact. “‘helium cowgirl’ is about trying and failing to keep someone around and realizing there’s nothing you can say or do to change their mind,” Bay says. “Like gravity having no effect on helium.” The single comes paired with a silky 50s-inpsired visual that sees Bay in all her minimalistic glory. An evocative visual that pulls on the heartstrings, ‘helium cowgirl’ promises the recovery of heartbreak will be sad but short, an important moment in life where we truly find ourselves questioning our next move. Bay honestly confronts the notions of wanting to keep that person in your life because you believe you’d be lost without them. But in a few months time? You’ll be back out in the world, shining brightly with a new lease of life. [via Earmilk]

Kynsy has returned with a new single, ‘Point Of You’. “’Point Of You’ is me trying to work my way through the different sides of romance, happiness and disappointment,” she explains. “It’s about being stuck in the same cycle of falling in love with people who don’t or will never love you back and the feeling of tiredness that comes from attempting to have romantic relationships with people that never go your way. It’s about being love hungry for an honest and pure connection but being so fed up and dissatisfied by trying and trying that you start to ask yourself, ‘what’s the point’?” The new track comes alongside an accompanying video, of which she reveals: “We wanted to try and portray the pain and mental chaos that comes with rejection. We focused on the idea of a patient in therapy trying to unravel a failed relationship and slowly losing her mind as she analyses the relationship and herself. We wanted to try and create a visual representation of the chaos of an overactive mind by strange movement within a singular space.” [via Dork]

Ailbhe Reddy has a disarming sense of honesty. Lyrically, she’s an over-sharer – funny, astute, and always on-point, the Irish artist pours her feelings into her music, and let’s the world listen on their own terms. Her debut album Personal History landed back in 2020, was amid widespread acclaim it climbed to the shortlist of the Choice Music Prize. Surging into fresh areas, Ailbhe Reddy returns with fuzzy-buzzy new single ‘A Mess’ and it’s a riotous ear-worm. A helter-skelter pop song, ‘A Mess’ tries to pin down why those old patterns of behaviour forever shine through, a kind of self-analytical blast of guitar pop energy. She comments: “‘A Mess’ is about not feeling good enough in a relationship and examining old patterns and habits. It’s about feeling fed up of going around in circles, while focusing on a throw away comment that ‘no wonder it was such a mess’.” Georgia Kelly of CLTV directed the super-fun visuals, which match both the exuberance of the arrangement and the quiet melancholy of the lyric. Ailbhe adds: “I wanted to keep the playfulness of the music alive in the video and make sure it was tongue and cheek rather than very serious. Georgia came up with a few scenarios that were funny representations of feeling ‘not good enough’ and giving up.” [via Clash]

A few years ago, Becca Kauffman started performing as the alter ego Jennifer Vanilla while they were still in the art-rock band Ava Luna. JV has become Kauffman’s main concern over the past couple years, resulting in a lot of stray singles and 2019’s J.E.N.N.I.F.E.R. EP. Last month, they shared a single, ‘Body Music,’ and now they’re announcing a whole Jennifer Vanilla album, Castle In The Sky, out in August. Kauffman wrote and produced it with their longtime collaborator Brian Abelson. “That’s what the process of living inside of an alias has been for me, a way to identify the vision, see where you’re at, and close the gap,” Kauffman explained of the project. “I started Jennifer Vanilla so I could learn in front of people, and display a kind of curiosity and openness which I would probably be far too fearful to do without the cover of an alternate identity. It’s a distinctly Jennifer kind of courage to be curious out loud in this exhibitionistic way.” Jennifer Vanilla is sharing a video for new single ‘Take Me For A Ride.’ [via Stereogum]

Brooklyn-based musician and songwriter Grace Ives’ new album Janky Star is out now via True Panther/Harvest. Grace also has a new video for Janky Star track ‘On The Ground,’ directed by Sara Magenheimer. “Grace was one of my students who eventually became my assistant and friend,” Sara says. “I have been rooting for her for years, so in a way this video is a love letter to her, a way of showing how much I see in her and how truly incredible I believe she is. This video is also a celebration of music videos as an art form. I referenced Warhol’s work for MTV and Deee-Lite’s videos to honor the way in which this humble form has acted as a Trojan Horse, bringing experimental moving image art into homes across the world. I love the punk vibe of this medium and this video embraces its young wild history.” [via Brooklyn Vegan]

New York-based audiovisual project Sound of Ceres are sharing their new single and visual ‘The Fawn’ taken from their new album Emerald Sea. The remarkable visual (directed by Jacob Graham and cinematography by Michael Vanderpool) includes an appearance by conceptual performance artist Marina Abramović, who also provides narration across the record. Speaking about new track ‘The Fawn’, project member Ryan Hover says: “Venus Physica, Universe incarnate, completes their transformation into Venus Verticordia, changer of hearts. This is the final struggle of the human mind, a defiant creation of meaning within the cloud-tides of entropy, a last fever rage against the slow but unstoppable hand of time.”

Rina Sawayama has shared the visuals for her recent single, ‘This Hell’. Sticking to the country theme of her recent live performances, we see Rina making her way to wedding featuring cowboy boots, a stretch limo and a dance routine. The video was directed by Ali Kurr. Speaking about the filming, Rina shared: “It was amazing to get back together with director Ali Kurr (‘XS’, ‘Bad Friend’) for the video for ‘This Hell.’ We always like to tell engaging stories through film together so this one was about love and community in the face of hatred and dissent.” [via Dork]

Nova Twins have shared their new single and video, ‘Choose Your Fighter’. The song is taken from their 5* second album Supernova, out now via Marshall Records. They explain: “‘Choose Your Fighter’ is a motivational track. It’s got that go-get attitude that you need! There will always be obstacles thrown at you but this tune is about powering through, no matter what!” [via Dork]

Queer whimsical ethereal alt pop artist Summy has shared a new otherwordly video. Entitled ‘Said It After’, Summy confides that “this is a song about being in love with someone whose words can put you into a deep trance by saying all the things you want to hear. Only to realize that it was all a cover up for their demons and battles that were placed on you and ultimately, broke you. So when their words come out again, they mean nothing anymore because they ‘Said It After’ struck the heart for the last time.” The fantastical video is an immersive cinematic fairy dreamland. Watch above.

Burgeoning young singer-songwriter Maddie Zahm unveils the single and video, ‘You Might Not Like Her,’ taken from her forthcoming debut EP of the same name out later this summer on August 12 via AWAL. ‘You Might Not Like Her’ is a deeply personal track that highlights Maddie’s emotive vocals and allows her powerful storytelling abilities to shine. The release is accompanied by an equally moving video, directed by Gus Black, that acts as a tribute to her past and sees her current self reflecting on some of her most vulnerable moments. On the track, Maddie shares “‘You Might Not Like Her’ was the easiest song I wrote on the EP. Most of my past work has been about my relationships with other people and never about my relationship with myself. This was the first time I allowed myself to be truly vulnerable in my music and it kickstarted my project. It means the world to me because it’s how I came out to myself and my family.” [via Broadway World]

Maddy Jane has released her new EP Island Time, marking its arrival with a music video for the lead single ‘Eddie’. ‘Eddie’ is an anthemic cut from the Tasmanian singer, who screams “I don’t give a fuck, then I think too much / I’d rather be a woman than just keep my mouth shut” through the song’s chorus. Its accompanying clip was directed by Tas Wilson, and features Jane in a variety of settings, including a small bedroom, a tiger-striped chair, and a room with “Eddie” written all over the walls. [via NME]

From Naarm/ Melbourne comes the soaring melodies of art-pop singer-songwriter Georgia Fields. Making her debut in 2009, Georgia has an impressive collection of releases under her belt, as she introduces us to a new era with her latest single ‘Holding My Hands Out’, a vulnerable and fearless taste of what’s to come on a forthcoming album. With a steady foundation built by warm and wobbly key’s chords and intricate yet minimalistic beats, ‘Holding My Hands Out’s swirling synth melodies and layers of strings steadily build to a climax, Georgia’s vocals taking the lead dynamically as they dance between sincere and soft to powerful and soul-moving. Beautifully composed and delivered between gritty and dainty moments, the release is a testament to Georgia’s abilities as a songwriter and a vocalist. [via Pilerats]

Amidst a fast-paced world where social media likes and follow counts define our self-worth more than anything else, it can be all too easy to lose sight of what is really important in life. Having experienced this herself, LA-based indie pop artist Jazzie Young turned towards her tune-crafting to create ‘wallflower’ — a spellbinding tale of a woman clawing her way back to herself. Released alongside a moving music video, Jazzie buries herself in fallen petals as she reminds herself of the times she has spread herself too thin to please others. Under a blanket of sombre notes and uplifting synthesisers, ‘wallflower’ builds a narrative that is not only relatable to all but also has reassurance baked the whole way through it. As the track draws to a close, when the rising melody reaches a point of triumph, Jazzie regains her wings and learns to be there for herself in times of loneliness — a welcomed departure from the usual boy-saves-lonely-girl narrative. Elaborating further on the track, Jazzie explains, “‘wallflower’ is a song I wrote about the pieces of myself I had lost or changed in my attempt to please the people around me. It’s an intimately produced song that tells the story of how I ended up disconnected from myself and through that admission, how I was slowly returning to a more authentic and whole place. The accompanying music video reflects the ups and downs of this process through imagery of loneliness, coinciding with metamorphosis and a heavy emphasis on shadows vs light.” [via Wonderland]

There’s a cold, unfeeling place where young entrepreneurs enter as the “World’s Best Entry Level Employees” and exit as cash-chasing nightmare bosses. And Automatic just captured that hell in a lone, shiny ‘Skyscraper.’ The Los Angeles band dropped a video to accompany their single ahead of their forthcoming album Excess, due out June 24 via Stone’s Throw. The Alex Thurmond-directed vid conveys a detached corporate dystopia where morale plummets with the stock market and “every dollar gets you off.” Her carefully-place visual gags — such as a “please no crying the lobby” bulletin — match the caustic bite of lyrics like “No country or cause / You’re lost in the fog / Your skin is so tight now / You can’t move at all.” “’The pitfalls of capitalism and corporate life can be easy to fall into,” shares Thurmond. “American Psycho and Office Space were both points of reference, the glorification of monotonous tasks and success measured by climbing the corporate ladder. Those movies have such an over-the-top, satirical quality that really matches the tone of the song, and it was fun to play that up.” [via Vanyaland]

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