Category: women who kick ass

New Video: Glasgow’s Cwfen Shares Broodingly Atmospheric and Cathartic “Whispers”

Glasgow-based quartet Cwfen (pronounced coven) — Agnes Alder (vocals, rhythm guitar), Guy DeNuit (backing vocals, lead guitar), Rös Ranquinn (drums) and Mary Thomas Baker (bass) — quickly built up a reputation as one of the UK’s hottest, emerging doom bands with 2024’s “Reliks,” which won over fans and critics and landed on Kerrangs release of the week playlist.

Building upon a growing profile, the Scottish outfit released their Kevin Hare and band co-produced debut Sorrows last year. Recorded at Deep Storm Productions, the album’s material lives in the space around doom, where the weight of its riffs are matched by the weight in your chest, and where the lyrics and songwriting as equally as important as the music. The band specifically intends to write songs that are big on riffs but even bigger on feeling; to create songs that speak to the listener and are carried throughout their lives. Sonically, the band sees Cwfen’s Agnes Alder bearing her (proverbial) claws one minute and howling, whispering and pleading the next one, all while her and her bandmates craft arrangements that evoke a brewing storm front on the horizon, looming larger as you approach.

“We never set out to write an album. We were just four friends making music we wanted to hear. But then Sorrows emerged, and when it did, it pulled us into its orbit. We couldn’t ignore it,” Alder says.  “When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic.”

The album which included long-anticipated and long-desired reworkings of “Embers” and “Bodies,” two self-recorded demos and long-time fan favorites, received unexpected and widespread acclaim from the heavy metal music press, landing on several Best of Lists last year. Since the album’s release, the Glasgow-based quartet have toured extensively with Paradise Lost and Faetooth and they’ve made runs of the UK and European festival circuit, building a growing international presence through their live performances of Sorrows‘ material.

To celebrate a breakthrough year and the anniversary of the album’s release, the rapidly rising Scottish band have released a video for “Whispers,”a broodingly atmospheric song that’s one-part A Storm in Heaven and Souvlaki-era shoegaze, one-part doom metal and showcases Alder’s remarkable vocal range, which goes from a sultry croon to a feral howl. While cathartic, the song comes from a deeply personal place, capturing a narrator in the midst of an all-consuming mix of despair and rage.

“It’s taken a while to feel comfortable releasing ‘Whispers’ as its own thing. The song itself, lyrically, came from a very personal place, in contrast to the broader themes elsewhere on the record,” Cwfen’s Alder says. “This, for me, is a song that cuts right to the bone; it might not be too obvious in the lyrics themselves, but it’s taken a year of seeing the fans respond to it, watching it become one of their favourites, to really have the courage and the confidence to give it some of the love it deserves.

“The screams weren’t planned. They weren’t on the first version, but when we went back into the studio after a few weeks, that’s what had to come out, so what you hear in this song is the depth of that feeling,” Alder adds. “It’s one of the most cathartic, tender, and ultimately visceral songs on the album, and deciding to release it now feels like the acceptance of a direction in my songwriting that I feel ready to explore on the next record.”

Filmed and edited by Amy Greenbank, the accompanying video for “Whispers” is shot in a gorgeously cinematic black and white, and juxtaposes footage of the band playing shows across Finland, Norway, Sweden, Denmark and Ireland to wrapt audiences with haunting wintry landscapes across Northern Europe, the band doing promo shoots and behind the scenes tour footage.

“We were so lucky that our Creative Scotland funding allowed us to take this tour and to bring Amy Greenbank with us,” Cwfen’s Alder says of the tour and video,. “We got to work with an incredibly talented videographer, and we made a friend for life. She’s someone who will always be part of the Cwfen family. We made incredible memories on this tour and it’s so lovely to see some of them here.’”

“Following an unexpectedly busy and wonderful 12 months since the release of Sorrows, we’re proud to share our new video for ‘Whispers,'” Cfwen’s Guy DeNuit adds. “This song has become a live favourite with the band and audiences, and we are so fortunate to have had this documented and beautifully presented by our videographer and dear friend, Amy Greenbank.

New Video: sundayclub Shares Anthemic “Blue Wave”

Winnipeg-based indie duo sundayclub — Courtney and Nikki — have quickly cemented a sound and approach that blends hazy indie pop and dreamy textures with unfiltered storytelling. The result is material that’s much like blurry photograph, grainy yet glowing, fleeting yet full of feeling and life. 

The duo’s nine-song, self-titled, full-length debut is slated for a July 10, 2026 release through Paper Bag Records. Their debut is deeply informed by the stillness of rural Manitoba, where the duo started the band as a way of processing the very strange limbo of early adulthood — that feeling of being caught between who you once were and who you’re slowly becoming. Fittingly, the album is rooted in place: in a romanticized, re-examined Winnipeg with its hard edges softened in the way that memory often soften things. Thematically, the album touches upon growing up, growing apart and growing into your own skin. 

The album includes the previously released “Camera Shy,” and the album’s latest single “Blue Wave.” Built around a motorik pulse, fuzzy guitars and a euphoric, sing-along worthy hook and chorus, “Blue Wave” is an uptempo rousingly anthemic layered with three drum kits — and the product of over 170 vocal takes. Much like its predecessor, there’s a hauntingly bittersweet undertone to the song with the single leaning into the feeling of “pre-nostalgia,” which happens when you experience nostalgia in real time and began to feel as though you might miss the current moment before it’s passed. The song also references Courtney’s first car, a 2009 blue Pontiac Wave, lovingly named Trudy after its previous owner, and the memories Courtney and Nikki associated with the car — and with a specific period of their lives. So, in some way, the car was a bit of a time machine, and a way to explore the fuzzy and hazy spacers between the past and present.

“This song reminisces on the early days of a relationship in the midst of inner turmoil and uncertainty over what the future might hold,” Carmichael explains. “It’s about wanting to be a different, better, and more evolved version of yourself despite not being there yet, and seeking escapism in the past as a way to find solace. I felt impossibly restless at the time of writing the song and was just generally tired: tired of feeling like I wasn’t progressing, tired of being patient with the record we were making, tired of feeling vulnerable and overlooked. By looking back into the past, I could escape into a feeling of wistfulness to distract myself from how frustrated I was in the present.”

Directed by Qran Zhu, the accompanying video for “Blue Wave” was shot in Toronto and follows a young couple in love, who decided to steal two old bikes and go for a joyride. But what originally was young and mischievous whimsy turns into something much more dangerous and eventually tragic.

New Audio: JOVM Mainstay Alewya Returns with Defiant, Dancehall-Inspired “Maktoub”

JOVM mainstay Alewya is an acclaimed London-based singer/songwriter, producer and visual artist. Her highly-anticipated full-length debut, ZERO is slated for a June 26, 2026 release through Because London Records. The album reportedly embodies years of artistic growth into an effort that’s both deeply personal and sonically expansive. But the album also marks a significant milestone, as it sees her boldly stepping into a new creative era, defined by fearless experimentation and cultural fluidity. 

ZERO will include the previously released “Night Drive,” feat. Dagmawit Ameha and “City of Symbols,” “Eshi,” the Busy Twist-produced “Selah” and its fifth and latest single “Maktoub.” Anchored around dancehall reggae riddims, skittering industrial trap triplets, “Maktoub” continues a remarkable run of genre-defying and sweaty global club music that’s expansive yet urgent, accessible yet forward-thinking and remarkably catchy. Over the song’s dancehall riddims, the JOVM mainstay’s reggae-influenced vocal sings lyrics that touch upon themes of resistance, destiny and self-determination that are fiercely feminist and defiantly pro-Black and pan-African.

“Sometimes songs take time to reveal themselves but ‘Maktoub’ felt immediate and effortless from day one,” notes Alewya. 

New Video: Lukka Returns with Summer of Love-like “Blue Ocean Eyes”

New York-based indie trio Lukka — Berlin-born, New York-based creative mastermind Franzi Szymkowiak (guitar, vocals), Ashley Gonzalez (bass) and Simon “SiFi” Fishburn (drums) — have long operated at the crossroads of space rock, neo-psychedelia and synth-driven indie pop. The band’s sound is anchored around hypnotic grooves, immersive textures and melody-driven songwriting, frequently blending repetition with expansive, atmospheric arrangements featuring driving bass lines, propulsive rhythms, delay pedaled guitars and layered analogy synths, and equally atmospheric production.

Syzmkowiak has travelled across the globe, seeking a musical home that felt right. She had stints living in Australia, New Zealand and Argentina before settling in New York. “New York City felt like the right place to meet like-minded people,” she says. “The reason I make music is that it serves as an escape from everyday reality and the problems of daily life. Songwriting helps me process what is happening around me. Music, and especially synthesizer sounds, takes me to another realm where I can feel at peace and experience emotions I have not felt elsewhere. Creating music almost feels like a religious act. Having a band and being an artist in this city has allowed me to meet so many other interesting people. Through these relationships, I feel that I am part of a larger creative community, which creates a strong and meaningful sense of connectedness.”

The trio’s third album, the Abe Seiferth-produced Wendekind is slated for a June 5, 2026 release. The band’s Syzmkowiak was born around the fall of the Berlin Wall. She explains that children, who were born in East Germany at that time were called wendekinder, a generation born into a new, free world. Her mom would always call her a wendekind. “It felt like the perfect title for the album,” she says. 

Recorded at Brooklyn-based Transmitter Park StudiosWendekind reportedly sees the band expanding upon the sound of 2022’s Something Human while pushing further into much more immersive, synth-driven territory. 

Thematically, Wendekind sees the New York diving deeper into the metaphysical, tracing loss and memory, while questioning one’s place in an infinite and seemingly indifferent universe. For Syzmkowiak, the album is a deeply personal and reflective effort, moving between memories of the past, and hopes for the future while touring on space, time, chance and self-discovery. 

“Over the past three years, a series of events pushed me to look inward and question what had been driving my choices and behavior,” Syzmkowiak says. “The album became a deeply personal and spiritual journey, leading me back to my roots and to memories of where I came from.”

The soon-to-be released third album will include the meditative and slow-burning “Fabric of the Cosmos” and its latest single, album opener “Blue Ocean Eyes.” “Blue Ocean Eyes” may arguably be the most Summer of Love-inspired tune of the album to date, with a modern sensibility. Seemingly channeling contemporaries like JOVM mainstays Elephant Stone, the album’s latest single showcases Szymkowiak and company’s unerring knack for pairing earnest lyricism with catchy hooks and shimmering and jangling guitars.

Directed by Jen Meller, the accompanying video for “Blue Ocean Eyes” is split between footage of the band playing in front of psychedelic projections and footage of Szymkowiak wandering around a room strewn with trippy art and lights.

New Video: Lulla Shares Brooding and Atmospheric “Secret Garden”

Lulla is a Chinese Canadian illustrator, fashion designer, singer/songwriter and producer who currently splits her time between Toronto and NYC. As a musician, the Canadian-born artist is a classically trained pianist, who recently began to experiment with electronic music by blending dark synth pop, alternative pop and indie pop to build an immersive sonic world that’s intimate and otherworldly. Thematically, her self-produced and self-written work explores emotional turmoil, femininity and nostalgia through sci-fi and futurism.

Lullaverse is the Canadian artist’s ongoing sci-fi narrative music project in which each song functions as a standalone emotional world and as a chapter in a larger mythological universe. Her second single “Secret Garden” is a a brooding and atmospheric alt-pop song featuring reverb-soaked, skittering beats, bursts of twinkling keys. Lulla’s yearning vocal ethereally floats over a brooding production that sonically seems to channel early Beacon and others.

“The garden is not a place. It is a body. The heart is hidden inside it. The hidden shrine is a vault,” Lulla explain. “A place where everything real is kept, worshipped in private, never surfaced. Heaven would call it sin. The world would call it a waste. Does it matter? Whether the devotion is directed toward a warm body or something of higher meaning, the distinction is irrelevant. She disappeared beyond the atmosphere either way.

“You can hear ‘Secret Garden’ as a queer love story,” she continues. “You can hear it as an artist’s confession. Both readings are fully supported. Neither one is wrong, it is deliberate ambiguous.”

Directed by the artist, the accompanying video features the artist, dressed in white with ivy wrapped around her in a white studio, near a computer and microphone. At one point, we see a confused Lulla running towards a bathroom. For the artist, she’s inexplicably and dangerous drawn to music — at seemingly all costs.

New Audio: Shaina Haynes Shares Shimmering “Timid”

Shaina Hayes is a Montréal-based singer/songwriter, whose work effortlessly blends folk pop clarity with alt-country warm and a deep attention to emotional detail paired with graceful vocals, thoughtful lyricism. Her debut, 2022’s to coax a waltz and 2024’s sophomore album Kindergarten Heart helped the Montréal-based singer/songwriter firmly cement her intimate songwriting.

Alongside her musical career, Hayes continues to operate a vegetable farm in the tiny, rural Quebecois hometown, where she grew up. Fittingly, the land remains a grounding force in her life, shaping her sense of rhythm, patience and presence. Her dual existence as a touring musician and a hands-on farmer, informs the clarity and steadiness that runs through her work.

Kindergarten Heart received coverage from Consequence, KCRW, The Line of Best Fit, Under the Radar, Far Our Magazine, Uncut, BBC Radio 2, BBC Radio 6. The album landed on the year-end lists of Le Devoir, Radio Canada, CISM, DOMINIONATED, Le Canal Auditif and a lengthy list of others. Both albums were supported with tours opening for the likes of The War on Drugs, The Barr Brothers and JOVM mainstay Elisapie.

Earlier this year, she released “Flourish” which received praise from Clash, Wonderland and RTÉ. Hayes’ latest single “Timid” comes on the heels of a short European tour opening for The Barr Brothers. “Timid” is a breezy and shimmering indie pop take on her long-held folk sound, while arguably being one of the more hooky songs she’s released to date.

Recorded in Montreal with a backing band featuring Francis Ledoux (drums), Étienne Dupré (bass), David Marchand (electric guitar), and Lysandre Ménard (upright piano) “Timid” sees Haynes and her collaborators balancing on a tightrope between jam-like looseness and taut, almost mathematical precision, rooted in the warmth and earthiness she’s long been known for. Sonically resembling Julia Jacklin, the new single is an ode to introverts and quiet thinkers; a song that celebrates the richness of the inner while gently encoring vulnerability and self-expression.

“‘Timid’ was a track that came about during a period when I was listening to a lot of Julia Jacklin and Billie Marten. Lyrically, I wanted to explore the idea that even at our most articulate, the way we express ourselves is just a tiny glimpse into what’s actually going on inside us – that we contain whole, unseen universes,” Haynes explains. Ultimately, ‘Timid’ is a song about everything we feel but rarely manage to express.”