This week’s new tracks: Olivia Rodrigo, Liz Phair, the Goon Sax

If Rodrigo’s star-making Drivers License mournfully pored over mementos of a lost love, her new one douses the trinkets in kerosene and lets them burn. On a 00s-indebted blast of punk-pop sunshine, Rodrigo snarls, shouts and cackles as she wishes hell on her ex. It’s a pleasingly unhinged kiss-off to a turbo-shagging “sociopath” with barbs that pierce like the needles of a voodoo doll.

Phair’s bruised ballads always had a world-weariness beyond their years, but her new album, Soberish, shows a sense of ease, like when a knot in your stomach subsides. Her balmy vocals on In There wonder at a partner who has cracked the shell of a steely exterior, finding a way in “like smoke under the door”. Ambient wobbles recall the magic of William Orbit productions, making blissed-out textures feel brand new.

Aussie trio the Goon Sax make creating perfect indie pop look as easy as cooking Super Noodles. Think classic Morrissey without the awfulness – and with better jokes, too. Among a creeping groove and guitars that shimmer, singers Riley Jones and Louis Forster trade verses and sly putdowns as they describe a partner with the emotional intelligence of a toaster. Been there.

With no messing around, Sigrid returns with a weapons-grade banger just in time for tops-off weekends in the park. Mirror is a blast of disco-house future nostalgia that – unlike the whiff of cynicism in some other pop about self-love – is fuelled by her winsome sincerity and infectious “ah-ah-ahs”. It’s as refreshing as an ice lolly and sticks like a spilled Rekorderlig.

UK garage throwbacks are all the rage, but no one bottles the joy of Sweet Female Attitude quite like De Casier. The Portuguese-Danish pop auteur reaches heady heights on this inspired merge of 2-step, Darkchild-era R&B and futuristic bass that practically demands that you park up by a speaker stack, sling your phone in your bum bag and snog a stranger.




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