Discover Top Posts Tagged with #ruby fields

Bella St Clair sets a high bar and proves that she is a creative force that deserves our attention. The Vancouver -based singer-songwriter, actress and filmmaker draws inspiration from her choral and theatrical backgrounds. 'High,' Bella’s new single is the perfect confluence of those two worlds. She gracefully weaves detailed, evocative and often heart-wrenching narrative into soulful, fluid melodies. The track exposes that she isn’t bound by any traditional genre, which chosen path has shown to provide many artists with innovative longevity. 'High' is a sad, psychedelic exploration of cocaine abuse and toxic love,” states Bella. The main character can be found in “euphoric denial, stuck in an endless loop of lust and delirium that feels warm like sunlight.” Later, the analysis shifts into a “frantic, almost paranoid tone, as the production glitches” the character begins to question her decisions, worth and very existence. Bella tells us that the final tonal shift feels like an “intoxicated surrender”. Her character decisively “succumbs to elation and the desperation of her addictions.” She then closes the storyline with a sampled “you get me” and the cycle begins again. Bella St Clair has established herself as someone who can impeccably bring her visions to life and on the screen. She became a one woman show in the visual conception of 'High' and easily filled in the roles as director, producer, hair and make-up artist. In this well honored fashion, the production complimented her personal style stamped within the beautifully crafted dreamlike world. You can even hear amongst the track Bella’s familiar time signature changes, trademark lifts, pauses and spellbinding lyrics. Her vocals borrow from pop, soul, musical theatre, and everything in between. While the production swims artfully from rock to r&b and indie without skipping a metaphorical beat.

Brimheim has released new single ‘poison fizzing on a tongue’. It is about finding an inner strength to break away from a toxic relationship or thought patterns that have taken over control. "The song is about being trapped in a claustrophobic space with someone, or something, that’s toxic. The story dually represents a romantic entanglement with a narcissist or psychopath, and also my mental entanglement with patriarchal ideals, which the antagonist personifies. Emblematic of my own struggle with internalised sexism," Helena, the woman behind Brimheim, says. Along with the single ‘poison fizzing on a tongue’, Brimheim is also releasing a music video. The music video is instructed by the Faroese super16 educated filmmaker and multi artist Heiðrikur Heygum and it is inspired by fantasy, folk tales and tarot cards. Helena explains about the music video: "The Faroese landscape and the fog surrounding the mountains gives the aesthetics a very special quality. I can’t quite remember ever having seen a lot of fantasy inspired music videos, which makes me feel that we have created something unique with this visual."

French for Rabbits – the New Zealand-based, ethereal dream-pop project helmed by singer-songwriter Brooke Singer – have shared 'The Outsider,' the delicate and warm third single to be released from the group’s forthcoming album, The Overflow. On writing 'The Outsider,' Brooke Singer said, “In 2019 I visited LA for the first time to do some co-writing with a few different producers and songwriters ahead of a French for Rabbits tour - it was an exciting, dizzying experience - all the palm trees and heat. One balmy day, I had a session with Marc Orrell and Brooke Johnson and we ended up writing my favorite song on this new record - an introvert’s anthem that finds joy in the act of being alone. The song distils the feeling of being an awkward introvert at a party - staring at your phone on the edges of a crowd.” In regards to 'The Outsider' music video, Singer said “Because the song contains such a vividly painted picture of an outsider at a party – the video concept came to me easily. As a quiet person, you can feel like a ghost at a party. So this is what we filmed. I wanted it to feel a little American in keeping with the song's origins, and we found the perfect tree-lined street in Christchurch with picket fences and gorgeous houses. Our cinematographer Julian Vares really captured what I imagined so well, and our director Martin Sagadin made an admirable stunt double ghost for the bicycle scenes. It’s ended up being a really sweet and slightly heart-breaking little film with a joyful ending. For it, we threw a party with friends and had a great time. My favourite parts of being a ghost were jumping on a trampoline at midnight, and dancing in the bedroom - I thoroughly enjoyed the dance moves I came up with.”

Kynsy, the solo project of the 23 year-old Irish multi-instrumentalist, songwriter and producer Ciara Lindsey, shares a brand new single and video, 'Mr Nice Guy'. The song is co-produced by Kynsy and James Dring (Gorillaz / Jamie T / Sorry) and sees Kynsy bring a swaggering, synth-drenched atmosphere to the detached nonchalance of her lyrics. The accompanying video was directed by Dave Fox and Conor Donoghue. Talking about the new song and video, Kynsy says: “It's a song about money and working and having one of those horrible bosses who tells you he's trying to be 'the nice guy' while he goes through you outside on the street. It’s mostly based on an encounter I had in a waitressing job. I suppose there is a message in there about the power of empathy and kindness in how you deal with people. The video echoes a lot of the themes in the song just pushed to an extreme level. Working with Dave and Conor we created a surreal world that’s really colourful but eerie at the same time. The master [me!] is on a constant power trip and forces her minions to endure some pretty awful treatment for her own gratification. To honour the positive message in the song we get to see how treating people like this will come back to bite you one way or another."

M(h)aol have shared new single ‘Gender Studies’, a response to how gender changes throughout our lifetime, and how some people wish to force the gender binary. It’s about going on a intersectional feminist journey where you become less palatable to wider society, but more palatable to yourself. It comes with a film noir style video that uses images to suggest the constraints of gender roles and the expectations that come with it. This is contrasted with the internal frustration and anger of the song, and the faceless figures act as a frame for understanding and recognising the power of the individual's voice and action in continuing to resist systems of oppression. The new single is the title track from debut EP Gender Studies which they also announced, for release on October 29 digitally, and then a 12” vinyl on January 14 via indie label TULLE which champions underrepresented voices in music. Gender Studies was recorded in just 3 days due to their different locations, and covers topics such as violence against women, the misogynistic music scene in Ireland and the UK, and trying to navigate life when you're not a cis straight white man.

In the lead-up to her hotly anticipated debut album Been Doin’ It For a Bit out now, acclaimed singer-songwriter Ruby Fields released what may be her finest moment captured on tape yet. The restrained, vulnerable and heartfelt new single ‘Bottle’o’ finds Fields behind an upright piano as her delicate vocals take centre stage. It’s a track that shows another side of Ruby - who’s just as well-loved for her more raucous moments - in a piece of new music that’s bound to be a hit with fans. Diary-entry songwriting at its most beautiful and fragile. Ruby Fields is a natural-born storyteller, and the lyrics in this track are no exception. Like many of her best songs, it’s born from lived experience. As per usual, Fields is never afraid to tell it like it is. “I wrote ‘Bottle’o’ in August 2019 living on the old farm waiting for someone to visit, who never made it,” she recalls of the track’s inception. “Went to the shops, tried to get money out and couldn’t. I didn’t have my ID so I had to use cash and my passport to buy beers. Got home and wrote a pretty ordinary poem about it in my opinion but then I sat at a piano and just took it from there and now it might be my favourite.”

Sassy 009, real name Sunniva Lingård, has announced her new mixtape Heart Ego, alongside unveiling 'Mystery Boy' to accompany the news. Heart Ego will be Sassy 009's first project since 2019's KILL SASSY 009 EP. Lingård says of the mixtape, "Heart Ego is the most ambitious project I’ve done so far in my career, yet the project I have had the most trouble defining. Framing it as a mixtape was like finding home. The actual structuring and understanding of my compositions is simply a result of how I think it should feel, and not necessarily in line with a structure someone else completely understands." [via Line Of Best Fit]

Australian-in-London and renowned singer-songwriter Jess Chalker is perhaps best known for being one half of Australian new-wave duo We Are The Brave. She is also a highly sought-after composer and producer, having worked collaboratively with a plethora of respected artists and musicians around the globe, including Sam Fischer, Vintage Culture, Isamachine, Gold Kimono and Passenger. Now Jess embarks as a solo artist in her own right. 'Stupid Trick' is taken from her debut solo full-length album Hemispheres - due November 5 via Jess’ own imprint 528 Records. 'Stupid Trick' is an ‘80s-inspired track that features light-hearted, upbeat vibes and lyrics that emote the innocence of young love and the intense feelings you used to have as a teenager before learning what love really means. Jess says: “I'd been reading Gael Garcia Marquez novels and watching John Hughes movies at the time of writing it, which I think definitely helped shape the concept.” The video to the track was shot in London, post lockdown, and was inspired by one of Jess’ favourite places, Postman's Park. It also references cinematic classics including the 1956 French film The Red Balloon, Charlie Chaplin and Before Sunrise. It was also her first time crafting a short film script. Directed by Marcelo de la Vega, with cinematography by Shane Benson.

Findlay returns with ‘Life Is But A Dream’ her first new music as a solo artist since 2017’s Forgotten Pleasures album. Directing her own dream-like visuals to accompany the song, she wistfully recollects her childhood ideations in stark contrast to the burden of her reality. Effortlessly melding breezy alt-indie, psychedelia and dreamy pop sensibilities, the song centres around an ethereal conversation between an older and younger self, the excitement of adolescence and the yearning for lost youth. It’s a theme that’s salient as ever, with the record being made over a stark period of isolation for Natalie (Findlay). Crafting her own intimate reality within her song writing by twisting wry humour and heavy subject matter, Natalie has explored the weight of her own evolving identity and the depths of her vivid imagination.

Lotic - the project of J’Kerian Morgan shares a new single/video, 'Emergency,' from her forthcoming album, Water, which is out October 29 on Houndstooth. 'Emergency' is an urgent electronic cut. Atmospheric synths give way to Lotic’s siren-like voice as percussion ricochets in the background. “‘Emergency’ is me fully owning my sexuality for the first time,” says Lotic. “I transitioned a few years ago and it taught me that men really have way too much testosterone flowing through their bodies. It makes them act crazy and all they care about is sexual fulfilment, but I can demand pleasure and orgasms too!” The accompanying video, directed by LIL INTERNET, is beautifully choreographed and presents another look into Lotic’s cohesive aesthetic.

With their new album Crocus out now, The Ophelias are sharing the title-track and video. Speaking about the new track and video, Spencer Peppet of The Ophelias said "An old friend said that the first song on an album should be an overture, a thesis statement, a prologue. Crocus the album wasn’t written in order, but the line “I hope that you are happier now/ but I hope that you dream of me” became a throughline. My life has changed since this song was written, but reflecting on the past can sometimes offer clarity. I'm asking, was this relationship as meaningful and important for you as it was for me? And extending a gentle threat- “I hope I’m always a phone call closer than you thought I would be.” I recorded a demo of this song that sounds very close to how the final track turned out. Very rarely do I request to stick this close to the original demo, but I wanted this song to stay as intimate as it began. The noise at the very beginning is me turning on a sink- I wanted to emulate the feedback at the beginning of 'Dusted' by Guided by Voices, and the sound of the tap running reminded me of that. This video centers on light: what the presence or absence of light can do, how it forms around a person, how colors filter and morph. We got to shoot this in Chicago with Alex Halstead, who shot the videos for Neil Young on High and Sacrificial Lamb, and a crew of immensely talented people. Since this song is very intimate, we decided it made sense for the video to focus on me. We played with movement, choreographing some parts and experimenting in others. Jo, who co-directed, says they focused on how the movement, light, and shadow mirrored the melody line. I also repaired, dyed, and beaded the corset myself!"

With their self-titled debut EP set to make an impact when it lands on October 15 via Brace Yourself Records, Grandmas House are giving us the latest taste of what to expect with new single ‘Girl’. “‘Girl’ is an ode to women and falling in love,” the band say. “While being a happy, upbeat tune it also touches on the struggles queer people experience with coming out and the ups and downs of relationships.” [via DIY]

Ahead of the release of new EP Sunshine State on October 29, Pixey has dropped her latest bop ‘Take Me On’. “‘Take Me On’ was such a joy to write,” she states. “I started writing it in my first studio session and finished it the day after. The song is about taking back control when nobody is listening to you or taking you seriously, which I’ve definitely had to deal with a lot in the past. I’ve always wanted to write an empowering anthem with a simple hook, so I was so pleased when the song came together like it did.” [via DIY]

Who we are, and how we present ourselves to the world, can vary within any given situation. After a year (and some change) of world-wide lockdowns, in which we’ve been mostly isolated, our social interactions limited primarily to digital realms, those visions – both of ourselves and others – have become somewhat distorted, or at least nebulous. Along with that comes a particular fatigue, a sense that if we could somehow disconnect, we’d be able to see ourselves more clearly. PNW fusion-pop outfit Foamboy – helmed by Wil Bakula and Katy Ohsiek – understand, and they’ve somehow distilled these rather awkward considerations into something worth dancing to on 'Logout,' their final single from forthcoming debut My Sober Daydream, out October 1. The the video includes album track 'Alien' as a sort of intro, in which Ohsiek confronts other versions of herself locked behind picture frames and television screens, at once horrified and entertained. Directed by Riley Brown, the clip transitions into a neon-hued live set-up featuring Bakula on synths, Ohsiek on vocals, and album mixer Justin Yu Kiatvonchareon on drums as the laid-back house groove of 'Logout' takes over. [via Audiofemme]

Forward-thinking vocalist and producer Sola returns with an inspiring new track and supporting video named ‘Feels Like A War’. A truly unique artist whose music is enriched with powerful reference points, ‘Feels Like A War’ takes cues from the doo-wop sound of the late 1940’s and 1950’s. A lush, textured production formed by a resample of Sola’s own vocals creates an elegant backdrop for the track’s nostalgic feel, yet her modern touch of ‘warped soul’ still firmly remains. Elevated further by trumpet work from Ife Ogunjobi (member of Jazz band Ezra Collective) ‘Feels Like A War’ is a gorgeous blend of Sola’s influences that meander between timeless R&B and jazz styles - inspired by the likes of Sade and Nina Simone - and experimental, electronic soundscapes. Its supporting video, directed by Destine Paige, captures this melting pot perfectly as Sola elegantly performs in a range of classic, and then futuristic, settings. With the track tackling Sola’s experience in overcoming anxiety and learning to embrace her flaws, she explains: “Lyrically, I’m singing to myself about reclaiming my mind from anxiety and depression. I find it easy to be held captive by my thoughts and learning to love my flaws can feel like a constant battle or war. This song is about overcoming, but also embracing them.” And of the video, she adds: "This song has a really nostalgic feel to it, so I wanted to make sure it was captured throughout the video. When looking at the work of the Nigerian photographer Samuel Fosso, I felt similar feelings and really drew upon his art for inspiration on this video. I collaborated with the director Destine Paige, who really helped bring everything to life.”

LA-via Seattle singer, songwriter, and spoken word artist Hollis Wong-Wear, known simply as Hollis, is redefining herself and going solo. Until now, Hollis has been best known for her contribution to Macklemore and Ryan Lewis’ 2013 debut GRAMMY-nominated album, The Heist, with the song 'White Walls,' and for her role as front-woman of popular Seattle group, The Flvr Blue. But, come 2022, Hollis releases her debut solo full-length—an alt-pop album entitled Subliminal, which she wrote and recorded almost entirely during the pandemic. Now, Hollis premieres her third single from the forthcoming album, 'Let Me Not,' a vibrant-yet-melancholy track that marks Hollis’ first collaboration with Ryan Lewis since their work on The Heist. 'Let Me Not' also marks one of the first music videos she’s ever directed—something she’d like to do more of going into 2022. “I have a lot of interests as a filmmaker,” says Hollis. “Between my work directing the ‘Let Me Not’ video and thinking about like moving forward with the other videos, I want to make sure they’re artistically cohesive.” Transformed into an upbeat headbanger with a sneaking, ominous keyboard line, the song and its video depict Hollis, obviously feeling weighed down by the heaviness of the world as she knocks her “head on the wall all night” and “feels like throwing herself out the window.” We see the artist’s helplessness and confusion as she sits in an empty theater, lies alone in the grass, and performs a house show with an angry grimace. In the end, she doesn’t want to “bring down the vibe” by being honest and open about her emotional state and the state of the world—even to herself—a notion that captures the pain, anxiety, fear, and descent into numbness that has gripped many of us since March 2020. That said, the track is anything by upsetting— its honesty makes the listener feel a little less alone. [via Audiofemme]

At the beginning of the month, Phoenix-based songwriter UPSAHL painted a fairly graphic picture for us of the end of a relationship and the revenge fantasies it conjures up for the main character of her forthcoming debut album. The blazing single from Lady Jesus emphasizes her aggressive take on pop choruses and lyrics. It makes sense, then, that the song’s visual accompaniment would be equally aggressive, taking visual cues from a pairing of imagery tied to Psycho and Catholicism you’re unlikely to find outside of this album cycle. “‘Lunatic’ is all about playing a character, so for the video, we wanted to amplify this character,” she explains. “George Gallardo, who directed it, had this fire idea of recreating the shower murder scene from the movie Psycho. Having the majority of the music video take place in a church/confession booth basically makes the whole context of the song sound like a confession. ‘Lunatic’ is really the turning point on my album, in which we get closer and closer to Lady Jesus, so the music video taking place in a church feels like the birth of Lady Jesus and the person I’ve become while making this album.” [via FLOOD]

K-pop girl group ITZY have made their highly anticipated return with new single ‘Loco’. ‘Loco’ was written and composed by South Korean production group Galactika, who also worked on ITZY’s hit 2020 single ‘Wannabe’. The new song, which also dropped alongside a high-energy music video, opens the quintet’s freshly released first full-length album Crazy In Love. Crazy In Love features 10 brand-new songs from ITZY, including the Korean and English-language versions of ‘Loco’. Additionally, the record also includes instrumental versions of every ITZY single to date, from their 2019 debut song ‘Dalla Dalla’ and their most-recent release ‘Mafia In The Morning’. [via NME]

Uffie defined an entire era of early 2000s music and now the icon is entering a brand new one. After a brief hiatus, despite staying busy co-writing for other artists (like Greyson Chance and VINCINT), Uffie is back with a solo single released through Toro y Moi's label, Company Records. The track is called 'cool' and lives up to its title, with groovy production and a chorus that's as nonchalant as the lyrics. "Cool," she repeats, effortlessly, above a fresh bass line. "Kissing by the pool, life's a disco." For Uffie, the song is "about being co-dependent in an emotionally detached whirlwind of a relationship," as she says, explaining how a fast-paced life of "surface" experiences ultimately left her feeling naïve. "When I paused in the eye of the storm to look around, I realized it was all rooted in toxicity. Sometimes you decide to walk away, others you just say 'cool' and close your eyes." Co-writers Axident and Lokøy compared 'cool' to the Michelle Pfeiffer dance scene in Scarface and used that to inspire its Mynxii White-directed visual. Uffie is shot by herself, wrapped in "a world of nothing but excess" to show how lonely that can be. "We chose to lean in to the pain of such an isolating time in order to understand the things that matter most," Uffie says. "Togetherness and deeper relationships between one another." [via PAPER]

Nina Nesbitt is here to soundtrack your downward spiral. For many of us, the pandemic has had a profound effect on our mental health, with everything from depression to anxiety to loneliness arising to the surface. And someone who knows this well is Nesbitt, who wrote 'Life's a Bitch' as a "soundtrack [her] cry dancing, smiling through the tears moments." However, the singer-songwriter went on to add that this "anthem for powering through tough times and not taking life too seriously" came surprisingly easy, as it was written in 30 minutes with production duo Jack & Coke over Zoom. Explaining that the "stream of consciousness" song felt like something that "just poured out at the right time," Nesbitt said the track was inspired by her own proclivity to keep things to herself "until they rise to the surface," though she's now a proponent of "embracing" even the ugliest and most uncomfortable parts of you. "It definitely represents the darker parts of the album, with a slight '80s twist," Nesbitt said before calling the accompanying horror-inspired video a "live mental breakdown," as it takes a Jekyll and Hyde approach to representing the "two sides to someone and how if you keep things bottled up, they eventually find their way out." As such, the Wolf James-directed video follows a "Perfect Nina" character who attempts to run away from her worries in a getaway car, ignoring the red flags and pretending that everything is fine — even if she soon learns that she can't outrun her problems or the darkness that comes with them. [via PAPER]

For The Regrettes singer Lydia Night, who’s been touring consistently since she was 12 years old, a pandemic didn’t just bring her career to a halt — it also caused her to feel like her own identity was slipping through her fingers. Now, Night’s power-pop band voiced their frustrations and anxieties with the new single 'Monday,' along with its whimsical music video. 'Monday' captures the dismay of life on pause, recalling universal memories of piling dirty laundry, health anxiety, and untimely existentialism. “Gotta get the fuck out of LA,” Night sings with a defeated snarl. “Run from the sun before it burns my brain.” Its video, directed by Dillon Dowdell, introduces an ominous character named Joy, who personifies that nagging fear that maybe you have no purpose at all. Stay tuned until the song’s second half, and you’ll spot one Olivia Rodrigo portraying a slightly unprepared DJ at a middle school dance. “As LA locked down, I felt a huge part of my identity and ego being stripped away because of no touring, and no connecting with people at our shows,” Night wrote in a statement. “I had to come up with a new way to function in the world. It was really rough, and still is rough, but I found writing this song to be super therapeutic.” [via Consequence]

Detroit’s Shortly have unveiled the video for their latest single 'Dancer' from their upcoming debut abum of the same name. Alexandra Maniak had this to say on the release: "I’ve had a lot of time to prepare this album- some of these songs I have been playing live for five years already. It wasn’t until we were only a week away from recording the full-length, reviewing the body of work I wanted to take to the studio, that I wrote 'Dancer'. My songs on display and ready to be reworked, I was thinking of what the thesis of the album might be- was it a sad album? It is not lost on me that a lot of my songs are very sad, sometimes to a fault, but I’m not all that sad anymore- or, rather, I’m a lot more hopeful now, and much more comfortable with myself. 'Dancer' is a song about this. Both the newest song and the oldest story, 'Dancer' is a literal retelling of the car accident that injured my back beyond repair, and how I coped with losing what I loved the most afterwards. For me, the song is hopeful. My present voice interjects the story with a comforting reminder. If you love something enough, it becomes a part of you; If I can’t dance, I can still tell the stories I wanted to tell, I just express myself differently. The album is just absolutely laced with mood swings, and 'Dancer' is the reason for all of them."

Breakout star Zoe Wees teams up with GRAMMY-nominated R&B maestro 6LACK on her new single, 'That’s How It Goes'. The two artists co-wrote the powerful track, which contrasts the light and dark energies found in life. The official video was shot in Kiev and directed by Oliva Rose (Ty Dolla $ign, Lola Young), who helmed the video for 6LACK’s 'East Atlanta Love Letter.' Zoe Wees explains, “I loved working with 6LACK. Knowing that 6LACK was working really hard until he became who he is now, inspired me on a different level. The way he appreciated the whole team and our new song is so lovely to see. He has one of the most beautiful souls. And I’m on fire performing this one with him..” 6LACK adds, “Really happy to be able to work with people that speak to my spirit directly. Zoe Wees created a bridge from her world to mine, and ‘that’s how it goes’ is a song that carries a message that’ll never fade. triumph through despair. it reminds me of where I came from, who I am, and where I want to go next.”

London pop outfit Oh Wonder have announced their fourth studio album, 22 Break, alongside the release of its titular lead single. Its soundscape flourished with crystalline keys and emotive strings, the track sees Oh Wonder tap into a gloomier and more pensive corner of their musicality, with members Josephine Vander Gucht and Anthony West – themselves a couple – singing about what a press release describes as a “tumultuous and deeply personal time in their private lives”. The track arrives alongside a black-and-white film clip, wherein Vander Gucht and West reenact the dissolve of their relationship. 22 Break is set for release on October 8 via Island, and comes as the follow-up to their 2020 album, No One Else Can Wear Your Crown. A short film is also slated to be released alongside the record, with a teaser being shared to the duo’s social media pages earlier this week. 22 Break's press release notes that much of the album was written “autonomously” in the pair’s home studio shortly after their last album was released, chronicling a rough spot in their relationship at the start of the COVID-19 pandemic. Vander Gucht commented on the album’s genesis, saying: “We were just writing songs. We had no idea we were writing a breakup album.” “It was such a weird thing,” West added, “to make a breakup album with the person you’re breaking up with, while you’re breaking up.” The pair noted that making ‘22 Break’ was integral to Vander Gucht and West mending their relationship, the former calling it “awkward” and “vulnerable” but pointing out that “it also saved us”. Vander Gucht and West were married in August, following the album’s completion. [via NME]

Varley pays tribute to all the women out there slaughtering the gender norm in their latest quirky video 'Feel It.' Celebrating freedom and feminism, the Jen Krause-directed video depicts the trio in funky outfits that blur the gender boundaries. “‘Feel It’ is to celebrate all of the amazing, talented, and inspiring women in our lives, kind of like a love letter and a thank you in one. In another track off the record, ‘Married with Bruises’ we wrote about the absurd and outdated stereotypes of what certain men think a woman should be but in “Feel It” we wanted it all to be about the badass women who give a chic fuck you to the gender norms that society has set up.” The track is from their debut album Smalltalk & DMCs, which is out now. [via Aupium]

Rosie Lowe has dropped a beautiful new video for her latest single, ‘Paris, Texas’. Directed by London-based duo NoCowboys and visually inspired by the Wim Wenders film from which the single also borrows its name, ‘Paris, Texas’ is taken from Rosie’s surprise new mixtape, Now, You Know, released in full earlier this month. Says Rosie; “I wrote 'Paris, Texas' about those moments when time stands still, like when you’re lost in your favourite movie scene so for the video I wanted to recreate the iconic booth scene from my favourite movie, Wim Wenders’ ‘Paris, Texas’, but put my own twist on it.” Directors Jody Nolan and Betty Cutting, aka NoCowboys, added; “the video explores the ebbs and flows of intimacy; examining the relationship of ultimate familiarity [the one Rosie has with herself]. In an ode to the movie that inspired the song, we wanted to take the viewers on an intimate, sensitive journey through varying degrees of Rosie’s different sides [how they are inhabited and expressed] through surrealism and our photographic style.” [via With Guitars]

The official music video for ‘Fighter’ is here via Effective Records/Sony Music Germany/RCA Records. The song brings together the multi-platinum, Grammy awarded producer/DJ Imanbek and singer-songwriter LP. ‘Fighter' is a healing hymn for all fighters who look back on a failed relationship – and still do not lose hope. An explosive galactic opera, the official music video for ‘Fighter’ features LP as a battle-tested woman warrior at the heart of the action in which the fate of her mission hangs in the balance. Using Unreal Engine 4, the world’s most powerful real-time 3D creation platform, Sensorium Galaxy provided the animation for the music video, generating an ultra-realistic representation of LP inside a virtual world. [via EDM Nations]

As a relative newcomer to the music world, who made her debut just one year ago, Gwyn Love – with her brilliant blend of bold yet sultry electro-pop, and contemporary R&B – has already earned herself more than 16K monthly listeners, 170K Spotify streams, over 700K YouTube views. She has just released her new single and video 'glow’d up.' Asked about how the song came to be, Gwyn explains: “I was in the recording studio in Vancouver when this song came to me. My ex had hit me up while I was in the studio recording with Louise Burns. Louise loves to do this thing where she sings random phrases while she’s talking and I had caught onto that after spending a week with her. I playfully sang “all my ex’s keep hitting me up, yeah they’re hitting me up”. She was like “is that a song or did you just make it up?” I told her I had just made it up and she told me it should be a song.” She goes onto add: “I went to Toronto the next week and finished this super cheeky song that had me dying laughing as I was writing it. While recording with La+ch, he said he thought the song was going to do super well because of how easy it was to produce/write. It all just fit so well. Super stoked for this one.” [via PopWrapped]

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