Listen: Selfish by Sofi Vonn

Coming ahead of her forthcoming EP, Lucky With A Side Of Depression, NY artist Sofi Vonn’s new single Selfish is a slow-moving piece of emotive electronic R&B.

Opening with a vocal that depicts a dark dose of introspection, Selfish rides a minimal aesthetic. Clipped percussion, electronic bass tones and synth notes create a sense of uneasiness, as Vonn sings of giving into self-centred tendencies. The overall effect shuffles with a creeping sense of emotion, oscillating between desire and a kind of self-evaluation and criticism.

Vonn has created a piece of music that feels stripped naked and guilty — the embrace of dark desires that you know lead only to trouble, yet feel all the more alluring for that fact. Peaking synth melodies nudge Vonn forwards as she commits to fulfilling her selfish instincts.

Check out Selfish below, and look out for Lucky With A Side Of Depression from 12 December.

Listen: Heavy World (Remix) by Nik Brinkman

Following on from his sophomore solo album, World Within, which is made up of indie dream pop, Nik Brinkman has remixed his own song, Heavy World, creating the tight electronic reimagining you can hear below.

Having spent years in bands, publishing and touring with the likes of Beach House, Ladyhawke, and Foster The People, as well as writing music for other artists, Nik Brinkman has returned to the relative simplicity and authenticity of guitar-based music. Those acts — particularly Beach House and Ladyhawke — can be heard, respectively, in the original and remixed versions of Heavy World.

Taking the central refrain from the original, Nik’s remix re-filters the melodic hook from Heavy World’s chorus, giving it a new life here, set against lightly processed vocals and warm, elastic bass. The result reminds me of Neon Indian’s blend of indie pop and electronics, particularly on their underrated Era Extraña album. This is music that sits at the perfect intersection of electronic, indie and pop, creating a blissful, psychedelic blanker of sound. Towards the end, Brinkman’s vocals and layered and looped as distortion and synth swallow the listener whole, creating a wonderful feeling.

Listen: X-Ray by The Notwist

Having spent recent years pursuing a form of musical experimentation, notably in the form of 2021’s improvisational, jazz-influenced album Vertigo Days, German outfit The Notwist are back with a renewed focus on creating pop songs.

With a new album, News From Planet Zombie, forthcoming next year, new single X-Ray is a preview of what to expect. Whilst not perhaps pop in the sense that is going to bother the top of the streaming charts, there is a psychedelic sense of wonder in the song’s cacophonous melodies and the innocent sound of Markus Acher’s vocals.

Shifting back and forth between playful nostalgia, and dark waves of layered distortion, X-Ray audibly sits somewhere between hope and terror. Guitars screech, a metallophone builds a sense of child-like curiosity, and loose drums patter. X-Ray is a wonderfully sloppy collage of sound, like heading to space in the rocket from a child’s drawing, wet pitch-black synths eventually swallowing you up like a black hole.

Check out X-Ray below, and look out for the album News From Planet Zombie, due via Morr Music on 13 March 2026.

Watch: Song By The Sea by Tsar B

Tsar B has just unveiled her latest single, Song By The Sea, taken from the forthcoming album, The Writer.

The musical pseudonym of Belgian artist, composer and multi-instrumentalist Justine Bourgeus, Tsar B takes elements of pop, dance and classical-baroque sounds to create a sound that brings together artistry, emotion, and experimentation in equal measures. Here on Song By The Sea, the result is stark, vulnerable, and beautiful, blending humanity and crisp electronics, evoking the sounds of FKA Twigs and Björk.

Song By The Sea depicts a love that consumes a couple, with lyrics that depict the experience of falling for someone so deeply that you give yourself over to it. Describing the song, Bourgeus says Song By The Sea is ‘about two lovers entwined in an eternal hug, transformed into stone like the lovers of Pompeii, sanctified, canonized, as they made love on the beach’.

Organs underpin transcendental vocal flourishes and slow-moving percussion to create a feeling that shimmers with romance and sexuality, whilst encircling a sense of disaster. Tsar B’s melodies tease like fingers tracing the contours of a body — irresistible and constantly leaving you wanting more.

Watch: I Won’t Yell by Romanie

Coincidentally, coming days after Trump told female Bloomberg reporter Catherine Lucy to “Quiet, piggy”, Naarm/Melbourne-based musician Romanie has just unveiled her unapologetic single. I Won’t Yell is about the experience of being a woman in a world where female voices are frequently not heard.

Originally raised in Belgium, Romanie moved to Australia in 2019. She has since gone to build a reputation as an adept live performance, having performed around the globe, and has gained acclaim from Australia’s Triple J. I Won’t Yell comes alongside the announcement of Romanie’s new forthcoming album, It’s Not That Funny, which is due for release on 20 February 2026 via Community Music.

I Won’t Yell was born out of a folk song Romanie wrote years ago. With co-production duties performed by Adam Hyde and Tom Stell, the song was transformed into the dynamic and furious piece you hear over a three-day session in Sydney. Describing the experience, Romanie says:

‘We turned this small acoustic song upside down into this powerful statement, keeping basically all the lyrics and giving them a new meaning. The song is about not being heard as a woman: oftentimes we get called “too much” or “too loud” with the result of keeping our emotions to ourselves, or not speaking up about the things that we want to. I Won’t Yell was a fun song to make: letting go of my constant self judgement with the nudge of Tom and Adam, who let me yell in the vocal booth.’

The result is a record that combines dream-pop synths with grungy guitars and thin, acerbic industrial drums. Romanie’s record retains the space for her voice to be heard, however, a response to those times when she has felt silenced, as she deadpans her way through the double standards women are often subjected to.

Pulling together the crisp melodies of post-punk with a dash of The Slits or the 90s Riot Grrrl movement in her vocal performance, Romanie has created something with the feel of early New Order, but arguably more to say. Check it out below: