Tag: women who kick ass

Single Review by William Ruben Helms

New Audio: Pain Gain Shares Atmospheric “Prizefighter”

Formed back in 2023, Pain Gain — Kilo‘s Chloe Kaul, SWIM’s Hamish Lefevre, and CRUSH3d’s Samuel Cooke — began as a deliberate left turn for its members. Shedding their established electronic identities, Kaul, Lefevre and Cooke retreated to the beachside forests of southern Australia with guitars, modular synths and a tape recorder. What they believed was a temporary and fun moment of escape, quickly evolved into something far more profound for the trio: a thorough recalibration of sound, process and purpose.

Despite each member’s distinct musical paths, Pain Gain is about a shared musical language discovered. Rooted in instinct and play, the project became an immersive, almost familial experience for its members. The result is their self-titled, full-length debut.

Slated for a July 17, 2026 release through Play It Again Sam/PIAS, the forthcoming album reportedly sees the trio trading velocity for gravity while moving fluidly between indie rock melodrama and expansive pop balladry, all while rejecting genre as a fixed idea.

Thematically, the ten-song album traces personal upheaval with unflinchingly honesty. Kaul’s sometimes excoriating lyrics are paired with tactile soundscapes shared by Lefevre and Cooke in which no single voice dominates. Working with an instinctive creative process, the trio embraced single takes, analog experimentation and the beauty of imperfection, allowing songs to emerge organically from their surroundings, Each room of their retreat became a makeshift studio; melodies frequently drifted through kitchen conversations, while lyrics were created from late-night exchanges by the fire.

“We went away together with only the intention of starting something new, we never expected that we would end up not only with an album, but one that feels as cohesive and collectively personal as this,” Pain Gain explains. “It’s a record that looks for beauty in friction, and finding a new start in the wreckage of something past”

The self-titled album’s latests single “Prizefighter,” is an atmospheric bit of synth pop paired with Kaul’s achingly tender delivery. The song which emerged from reversed and replayed tape experiments, sonically recalls ACES and others. But as the song slowly builds up to its crescendo, the song channels the growing exhaustion, frustrations and resentments of staying too long in something that won’t change.

As the trio explain, “‘Prizefighter’ is a centrepiece to the record. Conceptually it’s about being coaxed into a cycle that never breaks. It’s always the same fight.“

Single Review by William Ruben Helms

New Audio: Magi Merlin Shares Shimmering and Defiant “pixxie”

Rising Montréal-based JOVM mainstay Magi (pronounced Mahd-j-eye) Merlin makes music for fellow obsessives. There’s no soft lunch. She sings directly to the listener, face pressed up against the other side of the screen’s glass. With a propulsive, avant-garde inspired take on pop and what she dubs as “broken R&B,” the Canadian artist’s work sees her exploring life’s deep existential truths.

Now, if y’all have been frequenting this site over the past handful of years, Merlin has collaborated with co-writer and producer Funkywhat, building a shared musical language through the release of 2022’s Gone Girl EP, which led to touring with Noga Erez and an electric set opening for Omar Apollo in Mexico City — and last year’s A Weird Little Dog, which helped her establish “broken R&B,” an honest account of how she works, her artistic direction and visual world. The JOVM mainstay supported that effort opening for Nubya Garcia across the US and with festival appearances at Osheaga and Festival d’été de Québec, where she opened for Ty Dolla $ign, And recently, she opened for Yaya Bey during their European tour.

Outside of music, she made her acting debut this year in Chandler Levack’s Mile End Kicks alongside Barbie Ferreira, Devon Bostick and Juliette Gariépy. The film screened at this year’s SXSW and Toronto International Film Festival (TIFF).

The Montréal-based JOVM mainstay’s highly anticipated full-length debut POWER HOUSE is slated for a July 10, 2026 release through Bonsound. The 12-song album is reportedly a slickly produced, infectious and high-energy effort that conceptually is an exploration of the internal architecture we all inhabit, housing the conflicting rooms of anger, fear, vanity, and ultimately, a reclaimed sense of power. The album is very much an ode to the realization that inner work is the only true outer work.

The album also serves as a realist’s manifesto, written from Merlin’s perspective as a bisexual/ENM woman. Throughout the album, the Montréal-based artist’s narrators explores the uneasy contradictions of seeking validation in both platonic and romantic relationships. She deconstructs the plastic confidence used as modern armor, the performative standards of the beauty industry, and the systemic pressures that force women to navigate their lives with hyper-caution.

POWER HOUSE includes the previously released “POPSTAR,” SpiceKick,” and “So Smart,” which have receive attention across a number of international media outlets including Clash Magazine, Stereogum, BrooklynVegan, Wonderland Magazine, Libération, Exclaim! and RANGE, as well as airplay from BBC 6 Music, France Inter, FIP, CBC and Radio Canada. The album’s latest single “pixxie” continues a run of slickly produced synth pop, anchored around the rising Canadian artist’s self-assured and soulful, pop star delivery and her unerring knack for catchy hooks.

Thematically, the track focuses on the liberation of women from the male gaze but written and sung ironically from the perspective of the manic pixie dream girl, breaking out from a reductive caricature — at all costs.

“Female characters in film are often reduced to this trope, simply a device used to further the plot of the male protagonist,” Magi explains. “This is a role and, at its worst, an expectation many men in real life will cast onto their female counterparts. The only function of women in their eyes is being a sexual object or a tool to aid them in their growth.”

Video by William Ruben Helms

New Video: Alex Amor Shares Shimmering “Avalanche”

Over the past handful of years, rising Scottish singer/songwriter and musician Alex Amor haas released three EP’s 2021’s debut, Love Language, 2022’s The Art of Letting Go and 2023’s Super Sonic, all of which have received praise from The Line of Best Fit, DIY Magazine, Clash Magazine, Dork Magazine, Wonderland, Notion, 1883 Magazine, The Skinny, Ones to Watch, The Sunday Mail, and The Scotsman — and she has received airplay from BBC Radio 1‘s Jack Saunders and Sian Eleri.

The rising Scottish artist has made a run of the UK festival circuit playing sets at TRNSMT, The Great Escape, Liverpool Sound City, Live at Leeds and Dot to Dot. She has also toured extensively across the UK, playing bills with Good Neighbours, Liang Lawrence, Gretta Ray, Swim Deep, VLURE and a list of others.

Amor’s highly anticipated full-length debut Heavenly Bodies is slated for an August 21, 2026 through New York-based label VERO Music. Written and recorded between London and Glasgow with Peter Brien, Baz Kaye and Karma Kid, the album’s material is heavily informed by meditation, rune reading and the work of Swedish mystic Hilma of Klint. Weaving together celestial imagery, spirituality and the vast emotional terrain of human connection, the album’s material reflects Amor’s fascination with cosmic symbolism and the belief that personal experiences mirror the rhythms of the universe. Sonically, the album is a decided evolution from the raw indie charge of the rising Scottish artist’s earlier work as the album features diaristic, intimate and confessional songwriting is paired with shimmering guitars, ethereal synths and slow-burning arrangements.

“Avalanche” Heavenly Bodies‘ latest single is a breathtakingly gorgeous tune features Amor’s plaintive vocal singing intimate, lived-in lyrics detailing a relationship on the brink with an unusual clarity — through the perspective of someone who recognizes the relationship is ending, while the other partner is oblivious. Her vocal is paired with a shimmering, remarkably hook-driven, Laurel Canyon-like arrangement.

Amor wrote and produced the original “Avalanche” demo in her childhood bedroom in Glasgow before bringing it to her trio of collaborators in London — Brien, Kaye and Karma Kid — to complete the song.

“Avalanche is about the unsettling moment in a relationship where something has shifted, but only one of you is willing to see it,” Amor explains. ” While you’re starting to recognise it for what it is, the other person is still holding on, almost wilfully ignoring the cracks. The idea of an avalanche felt like the perfect metaphor. It’s not necessarily about destruction, it’s about release. It’s what happens when pressure has been building for too long and can’t be contained anymore. It’s sudden, overwhelming, and sometimes painful, but it clears everything out. And in that aftermath, there’s a kind of clarity – you can finally see things as they really are.”

Directed by Henry Croston, the accompanying video for “Avalanche” features Amor in a series of mod and 70s country-inspired monochromatic outfits singing and strumming her gorgeous sky blue Fender in some rooms with some decidedly 1970s era decor. A dancing alien in a suit listening to music on a Walkman is frequently off on the side, adding a surreal and playful sense of humor to a song but while also emphasizing the song’s central romantic couple.

Single Review by William Ruben Helms

New Audio: Austin’s French Film Shares Bruising “Rabbit Foot”

Formed back in 2013, Austin shoegazer quartet French Film — Ash Keenum (vocals, guitar), Drake Moreno (guitar), Colby Falkner James (bass) and Joshua Harpur (drums) — quickly established a sound that draws inspiration from Blonde Redhead, Sonic Youth, Autolux and Unwound.

The Austin-based quartet supported last year’s debut ep, Yours sharing stages with Drook, Courting, Unwed Sailor, We Are Scientists and a list of others, while developing a profile in their hometown’s underground shoegaze and post-hardcore scenes for a visceral and intense live show. And adding to a growing profile, they were a standout band at this year’s SXSW.

French Film signed to Los Angeles-based label Solid Brass Records, who will be releasing the compilation album, Yours + Five on August 21, 2026 digitally and on limited-edition Ruby Red and Opaque White vinyl. Recorded with Kevin Butler at Test Tube Audio, the ten song album is full of atmospheric melodies paired with abrasive and jarring tension. Thematically, the effort explores the juxtaposition of the horrors and hopes of modern society — and matters of the heart.

Yours + Five’s first single “Rabbit Foot” is a breakneck and bruising blend of shoegaze, post-hardcore and alt rock that showcases the band’s ability to craft rousingly anthemic hooks and choruses within a classic grunge song structure. The song captures a swooning and desperate longing for someone who has slipped out between the narrator’s fingers.

Video by William Ruben Helms

New Video: Penelope Isles Shares Shimmering “Thinking Seat”

Today, Isle-of-Man-born, Brighton-based JOVM mainstays Penelope Isles — siblings Jack and Lily Wolter — announced that they’ll be releasing their long-awaited and highly-anticipated third album, the aptly titled 3 on September 25, 2026 through Bella Union. Three years have passed since their last live show. Somewhere in between, life happened: Lily Wolters spent six months in Sri Lanka and Indonesia, stepping back from music for the first time years and spending the bulk of her time surfing. Jack Wolters hit the road as a guitarist in rising country star CMAT‘s touring band. And over the past year, Jack and Lily have released acclaimed solo album as Cuboza and My Precious Bunny respectively.

Written on a monthlong surf trip to Lagos, Portugal, 3‘s songs have sandy feet, beach hair and sunburn shoulders with shimmering hooks and aching harmonies. A year later, the band went to the Isle of Lewis off Scotland’s northwest coast to record the album live at Black Bay Studio.

Interestingly, 3 marks a couple of firsts for the JOVM mainstays: The album is the first as a true trio with their close friend Joe Taylor (drums) joining the band, and the first album that they’ve ever recorded live. Jack and Lily Wolter trade shimmering guitars and sunlit harmonies and aching falsetto ethereally floating above while Taylor’s drumming anchoring everything. While the album’s material is carefully constructed, the songs read a bit like the pages of someone’s diary ripped out and slipped under someone’s door while evoking a perfectly built sandcastle on summer vacation that’s flattened in an instant by a loved one’s passing cruelty.

Thematically, the album’s material sees the band still hopelessly obsessed with love, with heartbreak and what lingers afters, but the band carve out something entirely new: Sonically, the album is reportedly much like a shifting coastline of sound — hazy, luminous and always on the verge of collapse. Essentially, the album is the sound of the songwriting duo finding each other again. “Penny Isles is such a big part of our personalities,” Jack Wolters says. “So it was about time we got back to it.”

3‘s first single “Thinking Seat” is a sun-dappled tune that features Lily Wolter achingly tender delivery ethereally floating over shimmering, shoegazer-like textures and twinkling synths anchored by Taylor’s steady and propulsive time-keeping. Written upon reflection of the countless hours spent behind the wheel of the Wolter siblings splitter tour van, the song is s spiraling sequence of worry, heartache, planning, remembering, forgetting and then remembering again, desperately trying to hold it all together, trying to stay on track and on time, and trying to find a parking space large enough for the van. Sure, there’s a specificity that only tiring musicians and those who know touring musicians would know; but the song is rooted in a deeply universal uncertainty about your life, your place in it and what’s next that will be familiar to just about anyone.

The song features the lyric “U.G.A.K.I.,” an acronym for “You Guys Are Killing It,” a catchphrase that they coined and have used when touring felt especially difficult, dirty, absurd and flat out stupid, as a way of injecting humor and positivity in the constant uphill struggle of being a touring band in the contemporary music industry.

Directed and shot by the duo, the video pulls back the curtain for working bands, as it features the duo desperately trying to create a groundbreaking visual on a shoestring budget. While detailing the absurd difficulties of their lives as touring musicians, they do so with a sense of humor.

Single Review by William Ruben Helms

New Audio: Yerilis Shares Gorgeous “Me Levanté”

Yerils Villamediana Hernández is a Venezuelan-born and-based singer/songwriter and musician, who performs with monoym Yerilis. She can trace the origins of her career to her childhood: She started writing her first songs when she was nine. By the time she turned 16, she joined the C.U.A.M. Choir, which strengthened her technical rigor. She complemented that with advanced training and signing under the tutelage and mentorship of Raif, the host of La Magia del Mundo Infantil y Juvenil. Hernández’s multidisciplinary background allows her to approach interpretation and stage presence with a technical precision and professionalism.

The Venezuelan artist has established a reputation as a versatile singer/songwriter, capable of bouncing between traditional Venezuelan rhythms, like the pasaje and more contemporary sounds across various styles and genres.

Her latest single “Me levanté” is a gorgeous blend of Venezuelan folk with a contemporary arrangement — in this case, a shimmering, dexterously finger plucked guitar accompanying by Hernández’s proud delivery. At its core, is a much-needed message of perseverance in difficult and uneasy times, which gives the song a timeless feel.

Single Review by William Ruben Helms

New Audio: Lolabelle Shares Anthemic, Mosh Pit Friendly “Limb”

Buxton, ME-based indie rock band Lolabelle can trace their origins back to the summer of 2024, when three neighbors– Caroline Homer (vocals, guitar), Kurt Fedora (bass) and Gene Gill (drums) — met in their backyard and bonded over a shared love of 1990s alt rock. This meeting of the minds, bought together an unlikely pairing of musicians: Fedora has recorded with J Mascis and Dinosaur Jr., Mark Lanegan, Gooblehoof and a lengthy list of others — and is a grizzled national touring circuit veteran; Gill, is a music educator and saxophonist with a background in both classical music an jazz; and Homer, a former opera singer and late-in-life guitar player.

That casual meetup quickly became a vehicle for Homer’s songwriting and the trio would regularly sneak into the dusty, unfinished basement of their apartment building to jam. When Robert Samantha‘s and God’s Furniture‘s Stephen Bennett (lead guitar) joined the band, the quartet quickly established a sound that’s bittersweet, deeply visceral and cathartic yet fun and full of driving energy while making the rounds of the Portland, ME area live music circuit, including Blue Portland Maine, The Apohadion Theater, The Portland Club, Hey Sailor! and the Starboard Lounge, Hi-Fdelity Brewing, Fogtown Brewing Company, DIY shows and more.

The band went to the studio to record their debut EP, which is slated to drop sometime this month. The EP will be supported with a planned Northeast tour, too. In the meantime, their debut single, “Limb” is a melodic bit of indie pop that channels 90s alt-rock like Veruca Salt, Dinosaur Jr, Letters to Cleo and the like, complete with the classic, alternating quiet verses and loud hooks and fuzzy, distortion pedaled power chord-driven choruses. It’s a fun, mosh pit friendly party starter of a tune that can light up a room.

Video by William Ruben Helms

New Video: Velatine Returns with Brooding, Trip Hop-like “Playing With The Orbits”

Melbourne-based songwriter and producer Loki Lockwood is the creative mastermind behind the darkwave/goth recording project Velatine. For the bulk of Velatine’s history, Lockwood collaborated with different vocalists while crafting a unique and fresh take on the familiar and beloved darkwave/goth sound. 

Last year’s “Till Death Do We Art” saw Lockwood collaborating with Nocturna. Lockwood discovered Holly Purnell through an Instagram ad. Purnell collaborated on “Oh See Me — The Siren,” and while working on that song, she joined as the project’s full-time vocalist.

Released in April, “Whisper Park,” the first Velatine with single with Purnell as a full-time member was a change in sonic direction, showcasing a more forceful goth and doom-like direction. Their latest single, “Playing with the Orbits” is a return to form featuring Purnell’s siren-like delivery over a broodingly atmospheric and glitchy production that seemingly draws from trip hop, industrial electronica and darkwave.

Written five years ago, “Playing with the Orbits” is inspired by Bianca Devins and her unfortunate murder. As Lockwood says, “her story shook me, and if you know the story, then the lyrics reveal its underlying complexity. It’s a song about her murder, it required sensitivity in its delivery. I didn’t see her naive, she was intelligent, creative, an individual, but sadly missed that this was coming. She was exposed and became a target, A song that somehow waited for Holly to express all of this.”

“Bianca was 17 when killed by an obsessed man, who she met online. Referred to as an ‘E-girl’ by the media, she was hardly that,” Lockwood continues, In her teens she had struggled with anxiety, depression and the net had been an escape where she had bonded with others with similar struggles. She worked hard to resolve her own personal issues, finished school and planned to study psychology.

“In her case, her killer spread photos of the aftermath on social media that exploded her into ‘stardom.’ Hardly an influencer, just popular and likable online, she had about 2,000 followers on Instagram when her short life ended. Within days of her murder though, that number had risen to more than 160,000. Incel groups were the main perpetrators spreading the pictures, also sending them to family members with vile messages, such as ‘She deserved it’,”says her mother Kim Devins. “Bianca was everything they hated. She was a really smart girl, very pretty; a lot of guys liked her. She was also intuitive and aware. She recognized grooming in her online community and had helped a lot of girls get away from some dangerous situations.”

Had she got this attention when she was alive surely she would have used it to warn others, but sadly she missed the signs herself. We all crave to be liked, but like her, most of us are happy to expose ourselves to others we don’t know. Innocent normal behavior right? Well it should be, but it’s also about what happened after she was killed that triggered the song. One of the last ‘brag’ posts her killer made was ‘You’re going to have to find someone else to orbit you fuckers.’

Her murder was a carefully planned and executed affair by someone who wanted to maximize their own notoriety. His images were seen, spread and celebrated by an online community of ‘Incels,’ who called her killer ‘a legend.’

There is plenty on-line if you want to dig deeper and so no need for me to say more except read the lyrics and hear Holly’s performance, the story is there,” Lockwood explains in a statement that includes some repurposed and edited material from articles written by Anna Moore, which appeared in The Guardian.

Video by William Ruben Helms

New Video: she’s green Returns with Gauzy “close your eyes”

Minneapolis-based outfit she’s green — Zofia Smith (vocals), Liam Armstrong (guitar), Raimes Lucas (guitar), Teddy Nordvold (guitar) and Kevin Seeback (drums) — specialize in crafting dreamy soundscapes that transport the listener to scenes of soft summer rain and fields of swaying wheat, infused with raw emotional intensity. 

Their debut EP, 2023’s Wisteria saw the band establishing an honest and exploratory songwriting process, as well as reputation for being a force in the world of sonic surrealism. They supported the EP with tours across the Midwest and East Coast with Hotline TNT, Friko, JOVM mainstays Glixen and a list of others. 

Last year, the Minneapolis-based quartet signed to New York-based Photo Finish Records, who released their Henry Stoehr-produced sophomore EP Chrysalis. The EP included  the Souvlaki-era Slowdive-like “Graze,” and the Sundays-meets-A Storm In Heaven-like “Willow.” 

Building upon a growing national profile, the Minneapolis-based outfit will be releasing their newest effort, swallowtail EP on July 10, 2026 through Photo Finish Records. The EP will feature the previously released “mettle,” a decidedly  120 Minutes-era MTV-like bit of shoegaze and dream pop, the gauzy “paper thin” and the EP’s latest single “close your eyes.”

Much like “paper thin,” “close your eyes” is a gauzy and slow-burning tune that seemingly channels Souvlaki while evoking a slow descent into deep sleep. Smith’s ethereal and yearning voice dissolves into the shimmering and swirling guitar textures, which adds to the overall vivid dream-like feel of the song.

“‘close your eyes’ is about a mysterious person who kept recurring in my dreams,” she’s green’s Zofia Smith explains. “In those dreams, we shared a life together by the ocean. Waking up and realizing they weren’t real left a lasting impression on me, leaving me wondering about our connection to our dreams, how my mind could have created this person, or if I knew them in a past life.”

Directed by Jaxon Whittington, the accompanying video for “close your eyes” is shot in a sepia-toned blue ad recreates elements of the dream that inspired the song — with a life at the sea while Smith sings directly at the viewer, and an unseen figure of her dream person.

Video by William Ruben Helms

New Video: Alewya Shares Cinematic Visual for Dancehall-like “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. 

The song features a sample from legendary Ethiopian singer/songwriter Teddy Afro, which was chosen by Alewya for sentimental reasons, as several generations of Ethiopans and Eritreans have listened to him growing up, much like she did.

“Maktoub,” which derives its title from the Arabic word “it is written,” reflects ZERO‘s recurring themes of faith, instinct and roots woven throughout. Led by feeling, rather than prescribed formula, “Maktoub” showcases the JOVM mainstay’s intuitive creative process in which rhythm and emotion guide the music before lyrics. “Sometimes songs take time to reveal themselves but ‘Maktoub’ felt immediate and effortless from day one,” Alewya says.

Directed by Lee Trigg, the accompanying video for “Maktoub” was shot in Afar, Ethiopia and follows the JOVM mainstay and a crew of friends riding motorcycles across the plains — and running. The video captures Alewya as a magnetic, carefree presence.  For the video, Alewya and the local filming crew flew two hours from the nation’s capital Addis Ababa and then drove eight across the country to reach the region, camping and hiking through its volcanic landscape along the way.

Afar lies at the junction of three tectonic plates — the Arabian, Nubian and Somali — and is one of the hottest and lowest places on the planet, where temperatures regular exceed 122º F with the land sitting at 410 feet below sea level. Despite the extreme conditions, the nomadic people of Afar have developed an unparalleled knowledge of survival and a fiercely independent culture. Historically, the Afar people have resisted colonization by neighboring empires and European powers.

“Afar is where my worlds meet — where three tectonic plates converge; Arabian, Nubian, Somali,”  says Alewya. “It is the birthplace of humanity, and a land where a new ocean is forming beneath my feet. The Afar people are warriors who have lived on their own terms for centuries, and the women carry a grace that makes me feel close to God. For ‘Maktoub,’ with Teddy’s vocals blessing the track, it felt right to create from the closest place to the beginning.”

Video by William Ruben Helms

New Video: Tokyo Tea Room Shares Mesmerizing and Shimmering “Eyes Off You”

Last year’s full-length debut, No Rush saw the rising Margate, UK-based outfit Tokyo Tea Room quickly establishing a sound and approach that takes listeners on a journey within a tender, comfortable bubble. Their music is inspired by lived-in, human emotions while thematically exploring longing and the ephemeral nature of existence. The album eventually led to millions of monthly listeners across the DSPs and a sold-out North American tour, helping the band amass a rapidly growing global audience.

The Margate-based act have new music coming that will reportedly see them entering a new chapter that sees an evolution of their sound that remains rooted in the emotional depth that the band has begun to be known for. The rising British act will return to North America for a fall tour, supporting their new material. The tour includes two NYC area dates — October 13, 2026 at Music Hall of Williamsburg and October 14, 2026 at Bowery Ballroom. Check out the rest of the tour dates below.

In the meantime, the rising outfit’s latest single, the Daniel James Elliott-penned “Eyes Off You” is an atmospheric, mesmerizing and hook-driven, sophitispop-inspired bop that features Beth Dunn’s yearning vocal ethereally floating over shimmering synths, Nile Rodgers-like guitar and a supple yet propulsive bass line. “Eyes Off You” captures the desperation and delusion of an all-consuming obsession, describing the inability to let go, even when it hurts.

Directed by Jacek Zmarz and starring Anders Hayward, the accompanying video for “Eyes Off You” is a cinematically shot fever dream that follows Hayward as he expressively dances in series of surreal yet gorgeous locales.

Video by William Ruben Helms

Video Interview: Hush’s Paige Barlow and Miles Dupire-Gagnon

JOVM’s William Ruben Helms chats with Hush’s Paige Barlow and Miles Dupire-Gangon about their recently released “For Dolly” and more.

Video by William Ruben Helms

Throwback: Happy 45th Birthday, Brandi Carlile!

JOVM’s William Ruben Helms celebrates Brandi Carlile’s 45th birthday.