Rachel Chinouriri and Cat Burns – ‘Even‘
It’s been a little while coming, but the collaboration between two of indie-pop’s brightest new lights feels every bit as bittersweet as we predicted. Taking measured aim at the double-standards that exist for Black artists in the music industry, ‘Even’ is a solid dose of country-tinged indie-pop, but with an unmistakably direct chorus: “We talk the same, dress for fame / Why does no one else believe in / Us the same?”. Accompanied by an insightful podcast conversation between the pair, it’s a message of comfort to all the Black and mixed-race girls out there, reassuring us that there’s always somebody out there who understands.
Lisa – ‘Moonlight Floor‘
Riding high off the success of ‘Rockstar’ and ‘New Woman’, Blackpink’s Lisa goes three-for-three on ‘Moonlight Floor’, a Sabrina Carpenter-esque retro-tropical bop that riffs off the iconic Sixpence None The Richer song ‘Kiss Me’. Rather than let the hugeness of the sample overshadow her, she holds her own, offering her French fans a tantilising shoutout of “ooh la la” flirtation.
Gracey – ‘Rhetorical Questions’
Also channelling her own nostalgic inspiration (shades of Bronski Beat’s classic ‘Smalltown Boy’), Gracey comes in clutch with a late summer heater. ‘Rhetorical Question’ might be wrangling with the dizzying effect of mixed signals in a new relationship, but the overall feeling is pure effervescence, giving itself over to the thrill of falling head-over-heels.
Chloe Slater – ‘Tiny Screens‘
It’s pretty hard to write a ‘state of celebrity’ single without resorting to total cheese, but there’s something pretty intriguing about Chloe Slater. Taking bold, punky swings at influencer culture, fleeting virality and “turkey teeth”, ‘Tiny Screens’ feels both playful and a little bit sinister, offering itself up to the very scrutiny it critiques. At just 21, we’re predicting big things for this Manchester-based graduate.
Ratbag – ‘Pinky Girl‘
Sibling to it’s precursor single ‘Pinky Boy’, Ratbag’s new one has arrived just in time for Halloween, with witchy baroque swoops and itchy, sarky vocals that squeak like Cinderella mice right before everything turns back into pumpkin mulch. If you’re looking for a new favourite artist at the sonic midpoint between Faye Webster and The Last Dinner Party but with a scathing critique of toxic gender relations, you may well have found your match.
