“When you have to choose between connection and self-preservation because the truth is too messy or just too impossible to communicate,” says Sydney on the new song. “It’s a desperate plea for a moment of relief from the horrors. It’s a genuine request for another long island iced tea.”

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“’Flat Circle’ is about what if’s, and wondering if I could rewind my life and make different choices if it would change anything,” explains Sydney on the song’s lyrics. “Would it be better or worse than it is now? What parallel universe versions of me exist and are they happier? Did they do a better job at living? Does that even matter? Is it possible to create my own reality, or am I trapped in an infinite cycle of cause and effect beyond my control? This song is all questions and no answers!”

Sydney’s upcoming album Peak Experience is a coming-of-age soundtrack for the chronically anxious and melodically inclined. Hailing from the sweltering surrealism of Phoenix, Arizona, she channels the heat and heaviness of modern existence into sharply crafted songs that balance existential dread with cathartic guitar riffs. Building on the raw honesty and sharp wit that earned her early acclaim, Peak Experience feels like the culmination of years spent touring, overthinking, and writing her way through it all. It’s an album for anyone who’s ever spiraled at 2 a.m., found solace in a chorus, or wondered if maybe the best way to process life is to just turn it into a song.

 Peak Experience:

1. As Scared As Can Be
2. Critical Damage
3. Deads in the Van
4. Fair Field
5. Long Island
6. Flat Circle
7. All Covered In Snow
8. Your Favorite

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‘As Scared As Can Be’ follows the equally chaotic ‘Fair Field’ released in March. The song and music video perfectly captures the disorienting experience of a bad trip in a hotel room while on tour—an unfiltered reflection of anxiety and the unpredictable nature of life on the road.

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She says “I wrote ‘Fair Field’ last summer after a full-blown panic attack on tour, triggered by an edible in a hotel room in Hays, Kansas. The song carries this underlying tension—almost playful, but also unsettling—that originally captured the chaos of life on the road. Lately, though, it feels like a reflection of the world at large, everything unraveling in real time. I recorded it at home with my band (Chuck Morriss, Sébastien Deramat, and Matt Storto), marking my first independent release in a long time. Reclaiming full creative control has been incredibly freeing—it’s all about making music I love, on my own terms, and just having fun with it again.”

Even in the midst of uncertainty, Sydney finds humor in the madness—though no distraction can completely silence the weight of everything caving in. The truth is unbearable, the knowing and not knowing all at once. But if nothing else, Fair Field reminds us that no high, or low, lasts forever.

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“I was fully floored by ‘i tried my best’ when Sydney & company sent it over,” Kevin Devine says on the collaboration. “The strength and specificity of the songwriting, the stellar arrangement and performance choices, the way the woozy, off-kilter sonic template is in close conversation with the destabilization captured in the vivid, evocative lyrics, which manage to balance the danger of getting lost in your own inner maze with a sharp sense of gallows humor about the inevitability of doing exactly that when the world at large is even scarier and more incomprehensible. I’m flattered to take fractional part in helping it come to life and was grateful to be invited to the fucked-up party.”

“Having Kevin Devine on this song is seriously such an honor,” adds Sydney. “It feels very poetic to me because this song came from a place of uncertainty if my music would ever be heard or if there was even a point to making music at all, but now because of it I got to work with one of my favorite artists. I used to rent Kevin’s CDs from the library in high school and college and listen to them on repeat in my car, and now I get to hear him sing words I wrote. I’ll just never get over it! I love the way he sounds on it, it turned out to be my favorite song on the record.”

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“I wrote ‘tell me’ for a songwriting contest for an indie movie,” says Sydney on the new song. “I lost the contest, but I always really liked it and I’ve been holding on to it hoping it would have its’ time eventually.”

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“There is so much tragedy in the world and it can be hard to make the best of it sometimes, but really all you can do is try. It’s basically just my long-winded way of saying ‘it is what it is’,” says Sydney on her new song.

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Tove Lo has unveiled the official music video for her latest single, ‘I like u’. Made in collaboration with innovative Tokyo-based anime project, Shinsei Galverse, the video features hand-drawn anime artwork and original character design by the video’s director, Japanese storyboard artist Ayaka Ohira. The video was produced by Shinsei Galverse and ARCH Inc, and animated by SoK LLC. The creative fusion offers up the perfect pairing. Tove’s summer smash is a sonic nod to 90s dance music, while Galverse Director Ayaka Ohira brings her ‘nostalgic x futuristic’ visuals to life, combining the aesthetic of classic sci-fi anime with cutting-edge techniques and technology. The video finds Tove’s anime persona stepping beyond her own creative world into the style and story of Shinsei Galverse. Her robot lover, Annie from her seminal ‘No One Dies From Love’ and ‘Borderline’ videos returns in flashbacks. Even as Tove’s planet comes under attack from hostile aliens, she pines for her lost lover. Awakening to her true form, as a badass scorpion-tailed Gal, we learn the dark secret at the core of her new powers – Scorpions consume their mate to survive in harsh conditions. Speaking about the music video, Tove Lo reveals, “I’m so excited for all of you to enter GALVERSE; a powerful and beautiful creation by Ayaka Ohira. I’m so honored to have the final chapter of me and Annie take place in this Universe. It’s been such an amazing experience watching this come to life by Ayaka and her team, and the fact that my character gets to be a part of the heroines in Galverse is so god damn cool. I hope you love this video and feel all the creativity and hard work that went into it <3 R.I.P Annie.” The director adds, “I wanted to create something like a science fiction spectacle. I thought a lot about how to combine the sadness of love and a story on a cosmic scale. Tove and I talked about how we wanted to express the insecurity, vulnerability, and powerful strength of women, as well as the intense and bizarre side of Tove’s character.” [via Prelude Press]

Brisbane/Meanjin duo WIIGZ (Hannah Brydon and Zoë Hilditch) return with their new single ‘French Tips’ and announce their debut EP is on the way. A dreamy, beat heavy banger that fuses electronic pop with the spacey strut of 1990s house, it’s primal beat compels you to move and is nothing short of hypnotic. “We are so hyped for you guys to hear our new single ‘French Tips’,” WIIGZ say. “From playing lots of live shows and growing as artists, we’ve got so much new shit to give to you all. Buckle up because we’re going to take you to a new WIIGZ universe.” Also out is the music video for ‘French Tips’. With a storyline created by WIIGZ, it was directed by Charles Buxton-Leslie with cinematographer Brianna Da Silva and sees the duo go on a crime spree from the inner city to a rural church. “We are known for running around, being wild and chaotic, so we wanted to show this in the music video,” they say. “The concept is tongue n cheek, it’s silly but it even gets a little gruesome at the end. That’s WIIGZ it feels like, taking things a little less serious, silly, fuck you pay us, spotlight in the room pop-star energy. Lol. Come join the party.” [via Women In Pop]

Annie Hart (formerly of Au Revoir Simone) releases her fourth full-length studio album, The Weight of A Wave, via Uninhabitable Mansions. The album arrives with this slightly disturbing video featuring album opener ‘Boy You Got Me Good’.

Phoenix-based singer-songwriter Sydney Sprague has shared a brand new track following the announcement of her highly anticipated sophomore album – somebody in hell loves you (due out September 15 via Rude Records) last month. “I wrote ‘nobody knows anything’ during lockdown in 2020 when everyone became an expert on infectious disease and government response to disaster ,” explains Sydney on the song out now. “Everything sucked and being trapped at home, all that pent-up anxiety had nowhere to go but social media. When you’re face to face with someone, it’s a lot easier to find common ground in normal interactions, but since all of that communication was happening online we lost the filter of social awareness and all hell broke loose. It was all extremes. I felt like I was seeing a different side of people I’d know my whole life and it was shocking. So many people I know severed friendships and even relationships with their families during that time because they just couldn’t reconcile their differences. The internet/world is so full of conflicting information and at this point I don’t really feel like there’s a reliable source in the world,” Sydney continues. “The only thing I know for sure is that I don’t know anything for sure, and I don’t think anybody else does either. I don’t see the point in arguing.”

Korea-based multinational girl group XG have released their new single called ‘TGIF’. The music video for XG’s ‘TGIF’ feature trippy imagery, form floating blobs of slime to mystical creatures the girl group ride on. “VVS’s got nothing on me / Want it, got it, flaunt it, I am queen / Pleased with blessings, look at my body / Wake up, look up in the mirror / T-G-I-F,” they sing on the chorus. ‘TGIF’ will appear on XG’s upcoming debut mini-album New DNA, which is set to be released in September. The project will also feature the previously released single ‘GRL GVNG’. [via NME]

Mckenna Grace has shared a new single, ‘Casual Kisser’. The track marks the first to be taken from the Los Angeles-based actor/singer-songwriter’s debut album, due next year. “‘Casual Kisser’ is about how for me, kissing and dating is a really big deal!” she explains. “It’s about trusting someone enough to venture out of your comfort zone and going along with them, just to have that trust betrayed. Telling them how what you’re doing and the relationship you’re in is important to you and you don’t just kiss anyone, just for them to not take it seriously in the end. In the song I say, “did you hear what I said?” because I’m genuinely asking, “did you hear what I said?!” because if you did, how could you treat my feelings and my boundaries so carelessly? It’s a bit of a bitter song as well – that feeling of being love bombed into feeling safe, only to have that pulled out from under you. I’m truly so excited for all my new music to come, I think I’m really starting to find my sound and space as a songwriter and artist. I’ve had a lot of new life experiences that I’ve funneled into this music, and I can’t wait to share it.” [via Dork]

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“The lyrics of the song are about loving someone who is way too good for you and doing way too much to make it work, feeling like you will do whatever you have to make someone stay even if its hell for you. It really comes through in the punchline of the chorus – “I would die to be by your side and to keep you standing still, yeah that’s over kill,” explains Sydney.

‘overkill’ is the second single to be released from the new album. In May she released the single and music video for ‘smiley face’ – the first taste of what is to come from somebody in hell loves you.

somebody in hell loves you:

1. if i’m honest
2. lsob
3. overkill
4. data analysis
5. smiley face
6. nobody knows anything
7. god damn it jane
8. hello cruel world
9. big star go
10. terrible places
11. sketching lessons

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Having established herself as one of Australia’s most important voices and striking songwriters of recent years, Melbourne-based artist Eliza Hull has proven the longevity of her art, and continued evolution. With the release of her new single ‘Running Underwater’, the songwriter and musician embraces a beautiful new chapter of creative and personal expression; the threads of experiences from both sides of her being knitting together beautifully in creating a gorgeous piece of new music. ‘Running Underwater’ saw Hull work with ARIA Award-winning producer Pip Norman (Baker Boy, Missy Higgins) on production, recording the track at BIGBANG Studio. Mixed by Simon Lam (Woodes, Cub Sport) and mastered by Idania Valencia (Sam Smith), ‘Running Underwater’ – in its final form – lets the dynamism of Hull’s vocals and arrangement take prominence, flourishing with each sonic swell. ‘Running Underwater’ is the first song Hull has written about being disabled and living with a condition called ‘Charcot Marie Tooth’. The condition, a degenerative nerve disorder, has affected Hull’s walking for a long time; it was a disability that she kept hidden, specifically in the music industry. In recent years however, Hull has emerged as an accessibility advocate within the industry; her determinism and approach to educating and spurring on change in perspective and structure, when it comes to the way disabled musicians are treated within the industry, has been incredibly influential. ‘Running Underwater’ is a powerful musical representation of Hull’s strength, and an example of the artist coming further into her own.“For a long time I hid my disability, especially in the music industry. This was due to under-representation of disabled musicians and I was constantly shown that disability was a deficit or something that should be feared and hidden. It was such a heavy weight holding onto these beliefs, it was exhausting to constantly hide. This song is about pushing up against society’s view of disability, it’s about letting go of the fear and being authentic and true to myself and showing that it’s ok to be different.“ Working with director Keiran Watson-Bounce, Hull has also produced a moving music video for ‘Running Underwater’, filmed at The Goods Shed in Castlemaine. Featuring the talents of dancer ‘roya the destroya’, the experience allowed Hull to bring the song to life in a beautifully unique way onscreen. And in doing so, has represented disability onscreen in a way not generally seen. “The music video features my very good friend ‘roya the destroya’. She is a brilliant disabled dancer who moves like nobody I know. She actually started busking with an early version of the song and sent me a video of her performing with it. When I watched that video I knew I had to collaborate with her on the official music video. She has a beautiful ability to inhibit what I am feeling in my music and then express that through movement. In the music video she is like my alter-ego, almost like the spirit part of what I am feeling in the lyrics. Keiran Watson-Bonnice is the director of the music video. We have worked together in the past on the ABC Kids TV show And Then Something Changed, which I produced and wrote the music for. We shot the clip in one day, in mostly one take in the Goods Shed on a freezing winter’s day.“

Next month, Christine And The Queens are releasing a new album, PARANOÏA, ANGELS, TRUE LOVE, recorded with super-producer Mike Dean. We’ve heard ‘To Be Honest’ and the 070 Shake-featuring ‘True Love’ from it so far, and now Chris is sharing another new one, ‘Tears Can Be So Soft.’ “Tears can be so soft was born out of the marriage of a Marvin Gaye sample that caught my attention, this intoxicating, elegant, almost poised in its melancholy string arrangement,” Chris said in a statement, adding that they wanted to create “this deep sense of almost womb-like, hypnotic space where the voice could soar in its loneliness, [an] interplay between the suffering that motivates tears and the gentle healing effect they can have.” [via Stereogum]

In June, This Is The Kit will release a new album, Careful Of Your Keepers, which follows 2020’s Off Off On and is produced by Super Furry Animals’ Gruff Rhys. We’ve already heard lead single ‘Inside Outside,’ and now they’re back with another album track, ‘More Change,’ which comes with an animated video created by Benjamin Jones. Jones explains of the video: “With this video I wanted to create something that felt homemade, organic and very much alive. Using very simple puppetry with some old coat hangers and some basic stop motion (and some surprisingly willing neighbors who lent me their faces) I’ve tried to create a few characters and scenarios which are connected in some ways, but also reflect the themes I picked up from the music – sadness, compromise, exploring new ground, and finding new ways to help each other move forward.” [via Stereogum]

Water From Your Eyes have released a new single and video ’14’, the latest preview from their forthcoming album and Matador debut Everyone’s Crushed, out May 26. A crescendo of swelling strings, pizzicato and electronic drone moving around a cyclical vocal refrain of “How many is 14?,” the band describe the song as “a quasi-serial inkblot signifying submission to personal demons and the realization that change is both necessary and inevitable.” Watch the widescreen black & white video directed by the band’s Rachel Brown below. On the video, Brown says: “I was largely inspired by Meshes of the Afternoon, Last Year in Marienbad, and Spirited Away, as well as the painting The Triumph of Baccus by Diego Velázquez, a favorite of Nate’s. I wanted to capture the feeling of being haunted by one’s own inner turmoils and the act of letting those conflicts go.”

Late last year, art-pop masterminds Kate NV and Angel Deradoorian announced that they’d joined forces to form a duo called Decisive Pink. Next month, they’ll release their debut album Ticket To Fame. Now, they’ve also shared a joyous piece of spiky weirdness called ‘Dopamine.’ ‘Dopamine’ is a six-minute piece of deadpan art-funk about the emptiness of consumerism. Kate NV and Angel Deradoorian chant the names of products with arch, sarcastic glee as their music mechanistically tics away. In the video, director JJ Stratford films the two of them in theatrical makeup as they work in a warehouse full of boxes. Both musically and visually, ‘Dopamine’ recalls some of the artiest post-punk of the late ’70s and early ’80s. [via Stereogum]

Ashnikko has unveiled the official video for her single ‘WEEDKILLER’, directed by Furmaan and Vasso. It follows the release of her other recent singles ‘You Make Me Sick!’ and ‘Worms’, which will appear on her highly anticipated debut album of the same name, due to arrive imminently via Parlophone Records. “This song is the one that gave birth to the whole album,” stated Ashnikko. “It’s the climax of the record, the epic fight scene in the wasteland. Swords drawn, roots deep into the ground, I have come here to photosynthesise and eliminate the weedkillers. It is a violent fantastical storytelling set in my realm.” [via Dork]

Louise Post – of seminal band Veruca Salt – is sharing the video for her first debut solo track ‘Guilty,’ a perfect reverie of guitar haze. Directed by Meeno and written and produced by Post, the video showcases a married couple’s relationship on the fritz with no one person more guilty than the other in their wrongdoings. About the song, Post reflected, “I wrote this on a Tuesday and recorded it on Thursday, writing most of the lyrics on the drive from my house over to the studio. This song literally poured out of me. I was sleeping when it woke me up and demanded to be written. The first verse and chorus landed as an accusation, but then I realized it was far more interesting, and much more true to life, to have everyone in the song be guilty of something. To have the narrator own up to her own guilt, and then acknowledge the universality of it all. I mean, what would we be without our secrets? The song is ultimately about not taking ourselves so seriously.” [via AntiMusic]

Singapore-born, London-based artist Yeule has released a new single, ‘Sulky Baby’, alongside news of new US and UK headlining shows later this year and their signing with Ninja Tune. ‘Sulky Baby’, which is accompanied by a visually stunning music video directed by Yeule themselves and Jaxon Whittington, is a melancholic tune that blends 2000s alt-rock and shoegaze. Yeule said of the newly released track via a press statement: “‘Sulky Baby’ was like a 2000s alt-rock shoegaze hybrid tinted in sad satire. I felt like I was talking to a younger version of me, stopping her from crying, looking back at the ways I betrayed and neglected that innocence from myself. I failed to protect her and I felt like I needed to go back in time and fulfil what she was starved of. So that she could return to my side. So that I can smile like a little kid again.” They continued: “The song gives quite vivid descriptions of a depression I felt with almost a burning passion, yet I tried to give it a light-hearted tone. I think romanticizing is not always that bad. It helps to do it sometimes when you’re dealing with a repressed memory. I think it is called an advantaged delusion? Sometimes, that’s the only way I can remember parts of me I don’t want to remember, so that I can lay her to rest and heal. My mother used to tell me as a child, not to sulk all the time. I guess that’s why sulking is so special to me.” [via NME]

Lana Del Rey has released the 10-minute music video for ‘Candy Necklace’ featuring Jon Batiste from her new album Did you know that there’s a tunnel under Ocean Blvd. The video, directed by Rich Lee and shot in Los Angeles, sees the singer take on the role of numerous Hollywood starlets throughout history like Marilyn Monroe and Elizabeth Short, also known as the The Black Dahlia. The black and white video features behind the scenes shots of Del Rey through the camera finder, in the make-up chair and alongside collaborator Batiste at the piano. “The whole thing about the video — why it was all supposed to be behind the scenes — was because all these women who changed their names and changed their hair, like me,” Del Rey tells the crew at one point in the video. “It’s like they all fell into these different snake holes. So the whole point is like, how do you learn from that and not fall into your own thing?” [via NME]

‘The Most Wanted Person In The United States’ — the recently released 100 gecs track — has finally received the goofy visuals to match its irreverent sonics. The new video finds Laura Les and Dylan Brady masking up to steal packages off of porches, brandish plastic swords at Ring doorbell cameras, kick a life-sized plastic horse, and hold up a convenience store with automatic weapons made of Monster Energy cans, among other misadventures. [via The FADER]

Borderline Toxic have made their long awaited return, releasing latest single ‘Sir Satan’. The band’s desire to explore emotive, personal lyricism paired with a raucous background of scuzzy riffs is exhibited in full. Featuring another flamboyantly crafted video, Borderline Toxic continue to illustrate why their sound has struck a chord with press both at home and abroad. ‘Sir Satan’ delves into themes about our own character, our flaws, our strengths, our relationships and how these individual traits are influenced by both positive and negative experiences that have shaped us. Hypnotic front-woman Kerry Glass delivers the line, “…nothing is A-Ok, said Sir Satan…” with stinging aplomb. Kerry is telling the listener that our demon is always in the back of our mind causing doubt and, ultimately, sabotaging the healthy relationships we create. Kerry’s own personal rebuke to the paternal issues she has faced growing up are laced throughout the song and are cocooned by filthy, face melting guitar riffs, biting drum beats and a grooving baseline.

Sweden’s Hot Breath returns with the new hot single and visually stunning music video ‘Keep On Calling’. The track is a highly energetic rock explosion with powerful vocals and thrilling riffs, of which the band comments: ”’Keep On Calling’ is a song about trying to break free from forbidden duets – even though your body is as tense as a bow-string”.

Ukrainian refugee and pop singer-songwriter Natisa Gogol has shared the video for her latest single entitled ‘Aesthetics’. The disco-infused dance pop anthem is a love letter to the LGBTQ+ community, especially those in Russian occupation who are further discriminated against. Natisa confides, the song “is a tale of love that is more powerful than life itself, overcoming injustice, prejudice, and any obstacles it may encounter.” The futuristic video is a dedication to the LGBTQ+ community, portraying a love affair between two women that transcends space and time. ‘Aesthetics’ further highlights many people’s concerns that if Russia occupies Ukraine, the LGBTQ+ population will have their current rights taken away. Natisa’s music delivers a powerful message about holding onto strength and hope, even in the most disastrous and dark of times, as she herself was forced to flee her home in Ukraine to begin a new life.

Toronto–based songstress Sam Casey wears her authenticity like your favourite pair of well–worn jeans. Her unfiltered and unapologetic songs are inspired by the past two years of her life: all the breakups, the makeups, the drugs, the dancing, the crying, the anxiety and the love. Her passive aggressive song, ‘7 Second Superstar,’ was inspired by TikTok fame. It comes off as judgmental because it is. Sam and her co-writers, Julianna Eye and Chloe Kay, felt critical of social media – TikTok in particular – and how it promotes a culture of one hit wonders. “Julianna, Chloe, and I wrote this song over Zoom in 2021 with TikTok reaching its height of popularity and all of us being quite literally forced to participate on the app,” Sam explains. “After a conversation regarding our experiences in the early-2000’s and late 90’s (before social media existed), we decided to try a blink-182 vibe and about 2 hours later we had a song.”

Grace Potter is gearing up to release her fifth studio LP Mother Road via Fantasy Records on August 18. An audacious and heart-pounding map of the soul, Mother Road finds Grace deconstructing her deepest fears and darkest regrets, charting the fallout with brutal honesty and emotional daring. To celebrate the release, Potter has shared the inviting, irresistibly twangy title track. The single comes alongside an endearing Pulp Fiction meets Thelma and Louise styled video. Grace Potter reflected on the meaning of Mother Road, saying, “In Grapes of Wrath, John Steinbeck called Route 66 the ‘The Mother of all roads…the road of flight.’ As I zeroed out my odometer and started west on my road trip across the US, I hoped that driving the road of flight would give me a bird’s eye view of my life. But it didn’t take long to realize that I was not flying; I was running away. In the solitude, I found myself smashing open the piggy bank of deeply-buried memories. Those gems of my real-life exploits spilled into my creative consciousness and emboldened me to write an album that reaches far beyond what actually happened–launching me down the alternate-reality roads of what could have happened.” [via uDiscoverMusic]

Grammy-nominated Nigerian dance-pop vocalist Kah-Lo releases her new single ‘fund$’ on Epic Records. Spinning a tale of greed and glory, Kah-Lo’s latest single sees her fierce vocals cut with a darker edge. A powerful anthem that flaunts Kah-Lo’s intrinsic ability to seamlessly blend genres at her will, ‘fund$’ commands attention with its shiny synth stabs, punchy basslines, and rhythmic percussion. Kah-Lo’s playfully audacious lyrics add a feminist flare to the track as she sings, “Girls just wanna have funds, can’t have fun if you don’t have funds”. As with all of Kah-Lo’s originals, her vibrant persona shines through on ‘fund$’ as she teases her more rebellious side. ‘fund$’ arrives with an official music video that sees Kah-Lo take a murderous turn to enact revenge on those who have done her wrong. Portraying a femme fatale in this Kill Bill-esque music video, ‘fund$’ is an enticing introduction into Kah-Lo’s villain era. [via Find Your Sounds]

Madeline Kenney has announced her fourth album, A New Reality Mind, arriving July 28 via Carpark Records. Following 2021’s Summer Quarter EP, A New Reality Mind was produced and recorded by Kenney in her basement and processes the abrupt end of a long-term relationship. Along with the album news is a lead single, ‘Superficial Conversation,’ which also has a self-directed video. “‘Superficial Conversation’ is my way of looking back at the ways I shrunk myself or ignored my own needs in favor of the needs and desires of others,” Kenney explains. “While I wish I had acted differently, I want to be kind and forgiving to my past self and be able to grow and move forward with more power and love.” Of the video, Kenney says: “I wanted the video to show a forced transformation, from the inside and out. Jess Bozzo’s choreography really captured what I wanted to evoke; a painful change that becomes a pretty joyous opening with room for desire and play.” [via Stereogum]

Australia’s acclaimed alternative dance trio Haiku Hands have returned with a new single and music video. Claire Nakazawa, Beatrice Lewis and Mie Nakazawa are on fiery form on their new track, titled ‘Nunchucka’. A dancefloor cut with punk energy, the addictive track offers an instant sonic adrenaline rush. “A super charged high energy self affirmation anthem for anyone who wants to wipe off the patriarchal stain of self-loathing,” the band says about their single. “A song to listen to before you go out, when you’re out, and when you get home. Enjoy your life.” The accompanying music video, directed by Triana Hernandez, sees Haiku Hands and a set of mysterious characters matching the rebellious spirit of the track. [via The Brag]

Up next from LA’s resident femme-punk royalty, The Aquadolls, comes ‘Far Far Away,’ the final single before the June 2 release of their album Charmed. A slice of upbeat summer optimism, the song featuring production by Chris Szczech (The Goo Goo Dolls), is a call to arms for anyone looking to ferociously take back their independence. In the single’s official video directed by longtime creative collaborator Jenna Houchin, the band is drenched in a retro malaise as they attempt to bust out of the norm. Lead singer Melissa Brooks said, “’Far Far Away’ is a fairytale twist on the working class, discussing that the only person who can truly save you is yourself. Recorded by Chris Szcech, this up-tempo track features surfy guitar licks reminiscent of early Vampire Weekend and hand claps to ensure that anyone can clap and chant along to this modern self-love fairytale.” Bassist Keilah Nina chimed in saying that this is, “A tune about struggling with work-life balance. The painful reality of getting trapped in the same 9-5 routine and feeling blocked or detached from personal growth, success, and/or love as a result. It’s also a tale of acceptance, sometimes you have to pull yourself out of the dirt, and that’s okay!”

Sarah Kinsley is pleased to share details of a new EP, Ascension, for release next month via Verve Forecast/Decca Records UK. The EP is released on June 9, and previewed with ‘Lovegod’ and accompanying music video. The video is produced by Sarah who also hand-crafted the ‘Lovegod’ character who features throughout the video. The song itself was written, performed, recorded, produced, and mixed by Sarah. Sarah Kinsley on the new track: “’Lovegod’ is the most devious I think I’ve been in my writing, My own ‘lovegod’ is a perfect lover, an answer to a prayer, an antidote for romantic pessimism. Where can one find love these days? Why do we need it? Why do I find myself begging for some spiritual deliverance?”

Berlin-based, Belgium-raised rising pop icon MOLI returns with her dreamy new single ‘It’s Not My Fault’. Produced by JUNGLE’s Tom McFarland, this nostalgic new cut evokes the 80s with its shimmering electro-pop leanings, wavy synths and MOLI’s signature delicate, soulful vocals. Speaking on the single, MOLI said – “‘It’s Not My Fault’ is about coming to the realisation that you need to leave something that is bad for you and finally feeling a glimpse of that sense of freedom you were missing after feeling pulled down and heavy for so long. I personally felt like certain romantic situations I was in really weighed me down. They felt very one sided. Always chasing people, putting them on a pedestal and putting so much of myself and emotions into it only to end up feeling like I was never enough for them. I would feel so vulnerable and susceptible to being taken advantage of. I didn’t feel like being my true self was okay as I was so focused on pleasing the other person. Making it to the other side of that and experiencing healthier relationship dynamics made me feel so much lighter, confident and independent. It is so freeing to be unapologetically me. At the same time, I have been learning to navigate a very male dominated industry. I feel a lot of growth has happened for me over the last few years. I have my own opinions and I am confident in what I do which has made such a big difference if ever I do end up in a room with someone who I do not feel respected by. It is a very liberating feeling to not be so dependent on someone else’s validation, opinion and it’s that sense of freedom and confidence that I hope ‘It’s Not My Fault’ portrays.” The single arrives with a slick and sumptuous video shot by director Marek Partyš and inspired by the drama and hijinks of old films. Transporting viewers back to the 80s, the visual is set in a casino following a host of glamorous con-men manipulate a roulette wheel, before MOLI in her most baddass, empowering performance yet, unexpectedly swoops in and steals the final riches. Speaking on the video, Partys said -“The first time I listened to the song It is not my fault, I got a whiff of the 80s. The mysterious club, the strange characters, the detective, the casino, the smoke, all popped into my mind while listening to the song. It was a fun ride to piece all these elements together into a story where the singer Moli herself plays one of the main roles. And I’m convinced that she did it perfectly. The whole crew deserves a lot of thanks and respect for helping us with the whole production process.”

Sydney Sprague has released ‘smiley face’ via Rude Records. The video, which was done entirely through CGI and a phone app called “in3D”, which takes viewers through an metaverse driven, wild world of Sydney and her band as avatars, complete with dancing and an epic ending of Sydney flying into the sun. “The visual parts of making music can be really stressful for me,” explains Sydney” “… so going into the making of this video the most important thing to me was that everyone involved was having a good time. That’s why I really love this video, because every part of it was us going “what’s the dumbest thing that could happen” and doing that.” “smiley face: dance-y indie pop/rock. I wrote ‘smiley face’ about this dream I had that made me wake myself up because I was laughing really hard out loud, ” she continues.

Turning the page to a new chapter, multi-platinum singer-songwriter Bishop Briggs shares a confessional new single entitled ‘Baggage’. Bishop also announces the arrival of her highly anticipated new EP, When Everything Went Dark – out June 23. On the track, Bishop embraces her stark humanity like never before. She adds, “I am not perfect. In fact, I’m quite messy. I could say life is messy, which it is, but part of becoming an adult has been acknowledging the messiness that I have too. ‘Baggage’ is the first song where I stand in the mud and triumphantly stomp my feet in it. I can only hope that others feel empowered to own their version of messy and know that they aren’t alone in it. I have found that when I unabashedly show my imperfections and my wounds I am growing. So, there you have it, that’s my baggage.” Re: the striking accompanying music video for the track, Bishop comments: “I didn’t know how well I could hide my sorrow until I did it. Outwardly I would have fleeting moments of socially acceptable niceties and then the minute I was alone I would dissociate, completely unable to function. How could these two extremities exist in one body? It was and is exhausting. I wanted this music video for ‘Baggage’ to show that our blue circles aka our trauma can be meticulously hidden even if someone appears okay on the outside. I hope that whoever watches knows that they are not alone and that there’s a community of people waiting to be supportive.”

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