Today's Pick

Meet Zella Day, a self-professed wild child from Arizona, who grew up covering legends like Elvis and Bob Dylan at her parents' coffee house, and who's being dubbed (somewhat misleadingly) as the "happier version of Lana Del Rey." While that's an impressive comparison for a 19-year-old, Day's songs of summers and ex-lovers are good enough to stand on their on, and Day is now ready to break out with her own material, starting with her breakout debut single "Sweet Ophelia."
"Sweet Ophelia," a blending of personal encounters in an eerie resemblance to that of Hamlet's Ophelia. Crunching drum machines and menacing electronics juxtapose Day's airy croons as she sings about the sanctity of physical connection, powerfully portraying both the majesty and fragility of letting love consume you. The eclectic and promising indie-pop track opens up with evocative synth chords and an unusual crunching drum sound. Day's falling melody drips through the verse before opening up to an anthemic chorus. The interesting arrangement includes layers of synths, thumb pianos, and strings, but the real focus is Day's haunting vocals native to her origins atop a contemporary throbbing, synth-backed foundation.
It's like some mystical California desert chant-turned-love ballad that never tries to pummel the listener or prove its epic might. Her Gianennio Salucci-directed clip may not have a narrative, as it keeping things simple we get plenty of her face, a flower opening, some writhing around in the back seat of a car, a bit of gentle dancing and of course, being a pop song, an earworm of a chorus. Day calls the video "simple and raw." Shot in an LA studio, the aesthetic was inspired by Day's style icons: Jane Birkin, Brigitte Bardot, and Bianca Jagger. There's no high art concept here, but we love the sexy sound and style of Zella Day. Perfect for 2015.

The Kooks recently released a slick, well executed, and sexy video for their latest tune "Bad Habit," the third single from Brighton group's latest fourth album, "Listen." Shot entirely in black and white, the ultra coy clip was ommissioned to the group by a "super fan," director TJ Andrade, according to Facebook, is all about a very attractive young woman and her numerous online admirers. A bad habit indeed...
The British foursome - Luke Pritchard (vocals/guitar), Hugh Harris (guitar), Max Rafferty (bass), and Paul Garred (drums) generate the rubbishy garage rock sounds of The Kooks, named after the song on David Bowie's "Hunky Dory." With songs described as "catchy as hell," The Kooks have experimented in several genres including rock, Britpop, pop, reggae, ska, and more recently, funk and hip-hop, being described once as a "more energetic Thrills or a looser Sam Roberts Band, maybe even a less severe Arctic Monkeys at times."
The street-smart garage rock of "Bad Habit," as told by frontman Pritchard during their Radio1045 Studio Session, is about someone with a sex addiction, so you can kind of put two and two together after watching the new video for "Bad Habit," a sexy web cam model dances for people while breaking hearts across the internet. But there's also a deeper message in there somewhere.
The hook for the song, which also summarizes the entire theme of the video goes as follows: "You say you want it/ But you can't get it." The video shows a nubile young woman apparently doing a semi-striptease for some unknown watchers on a web cam. The video seems to toy with a variety of taboo subjects: internet sexuality, the objectification of women, feminism, the inherent dangers of internet interactivity, etc. The main takeaway from the video occurs at the very end, when the woman dons her clothes and flips the bird at the camera as she leaves for the day.

To accompany the release of new "Shady XV" compilation in stores today, Eminem unleashed the inspirational, boxing-themed music video for "Guts Over Fear," a triumphant single focused on resiliency in the face of adversity, and featuring Australian singer Sia. Follow your dreams. Fight your fears and overcome the odds! Here's the heavy new video, focusing on an aspiring boxer's path from poverty to redemption, we've all been waiting for.
Eminem has become a master motivator and With his latest, the Sia-assisted synth heavy empowering "Guts Over Fear," he was certainly at it again. The rapper wrote this uplifting, anthemic song for the closing credits song for Denzel Washington's movie "The Equalizer," the big screen re-imagining of the late 1980s TV show. It finds Eminem reflecting on his own struggles as an artist, and touches up on moments of his career as he hopes how his story of overcoming a difficult childhood will continue to inspire others.
Filmed in Detroit, the clip, directed by Syndrome, opens with an athlete preparing for a fight backstage. But the action jumps back six months earlier to show his downtrodden home life and out on his luck as he struggles to pay the bills and provide for his alcoholic father who never believed in him and pregnant girlfriend. As family and work issues continue to mount. But, luckily, our protagonist puts his guts over his fear, and takes out his frustrations on his opponents, continuing to build his boxing skills.
Eventually, we see him inch towards greatness. With a shiny red robe on, he heads out to a ring in front of a packed house for what looks to be a title bout. Eminem's lyrics mirror the story, as he raps in his classic rapid-fire cadence about escaping from the trailer park into the world's stadiums. "The crazy part/ Was as soon I stopped singing I gave a fuck/ Haters started to appreciate my art," he rhymes over dark piano and a skittering beat. Meanwhile, Sia builds momentum with her soulful chorus hook about how she now feels emboldened in the face of adversity.

Irish band The Script just revealed an on-set performance music video for "No Good In Goodbye," the second single from their fourth studio album, "No Sound Without Silence." You can always count on The Script for great lyrics and a catch melodic song, and their latest offering "No Good In Goodbye," is already a live singalong favorite, and sees the Irish three piece band opening up words and meanings and sentiments with characteristic The Script emotion.
There is nothing pretty about saying farewell for good to a person you care about. The emotional song details the difficulties in how one tries to get over heartbreak as the band seems to be beamed into space. According to The Script frontman Danny O'Donoghue, the band's material is made up of complex thoughts condensed down to really simple songs. He explained that with this track, "we wanted to put a twist on a word: where's the good in goodbye, where's the fair in farewell... Then we tried to make that into a lyrical idea, which seemed to work really well."
And the video, directed by Charlie Lightning, is an intergalactic experience. It begins with a light shining down on O'Donoghue as he sings of mistakes he's made in his previous relationship. "I can't take the ache from heartbreak," he belts. With neon lights projecting on O'Donoghue and his band, a hologram of women, played by Brazilian model Anna de Paul, are shown frozen in time. As he practices his apology on the woman he's done wrong she slowly comes to life. Does she forgive him? You'll have to watch to find out.

One Direction go all soppy and romantic on us for Christmas in their brand new music video for the catchy love pop/rock mid-tempo song, "Night Changes," the second single from the UK boyband's fourth studio album "Four," which only hit stores this last week. It's time to go on a few more romantic dates with the boys of One Direction. The festive track's accompanying new video gives fangirl the perfect way to envision a dream date with their favorite boyband member, but we warn you, it probably won't turn out as you hoped!
Directed by Ben Winston, and shot in London, the concept for the video is pretty simple... all five of the boys in the mood for romance as they go on a series of individual dates in five different locations, have a romantic date with someone...well, with you, the way they play to the camera. Following a romantic dinner with Zayn Malik, the ice skating with Harry Styles, the beach with Louis Tomlinson, a board game with Niall Horan, attend the carnival fairground with Liam Payne and a ride in Louis Tomlinson's surely expensive old-timey convertible, to get their video teasers in the "Night Changes # Days to Go" series.
It's all pretty intimate and sweet, but as the track plays along, something...well...changes, and things go horribly wrong in each situation. Arrested. Humiliated. Set on fire. Vomiting. Ambulances. Yes. To be a One Direction girlfriend is apparently a very dangerous thing indeed. The oh-so-adorable clip was fun while it lasted, anyway! Grab a pint of Ben & Jerry’s, get out your tissues, and take a look at the most tear-inducing, life-changing, swoon-worthy moments.

Hozier is known for his boundary-pushing music videos, and with his latest for "From Eden" the boundary in question is once again ethics and morality. As the 24-year-old Irish singer takes the family on a nice, carefree crime spree. It's a modern family bonding. The soulful tune is really mesmerizing and too pretty, and the cinematic clip is definitely an interesting watch and the final slow-motion shot is just heart-warming.
The uplifting indie-rock song "From Eden," is the official fourth single from Hozier's critically-acclaimed self-titled debut album, although it was originally included on the Irish musician's second EP also named "From Eden." The track is a simple love song, seemingly concerned with that time when love begins and a relationship is uncertain.
Hozier, who directed the video himself, takes us on a divergent visual path. He casts himself as the father figure in a young family of three who appear to be on a fun road trip until it becomes apparent that their gas stop is actually a stick-up and he runs out to the car with his approximately 5-year-old child and his significant other, with a paper bag full of money.
No firm back story is offered to the viewer, but between the hold up and the time the cops arrive at their home, we are treated to sunny visuals of a happy family, although clearly not well off, having a nice day together. This is not Bonnie & Clyde, this is the traditional, American nuclear family. It creates a disconcerting effect, in which you find yourself rooting for the criminals with absolutely no reason. In the end, Hozier goes to jail and his son is left without a father. Eden is left in jeopardy. The ending and supporting song make the video surprisingly tender. Again, a roller coaster of emotions here.

Marina And The Diamonds channels her inner Old Hollywood starlet in the glamorous, highly stylized video for her latest track "Froot," the lead single and title track from Welsh singer-songwriter's upcoming third studio album. The 29-year-old songstress looks absolutely flawless while wearing a Marilyn Monroe-inspired slinky dress and striking fierce poses in a hotel room.
Marina And The Diamonds has flouted spelling conventions once again with this offering, but doesn't stop her tongue in cheek wordplay at the title. "Froot" is laced with stinging metaphors and devilishly clever double entendres. This synth-pop disco anthem is an '80s video game-inspired electro-pop track with a shining beacon of pop loveliness. As a sovereign of thoughtful pop music, Diamonds tells a delightfully ambiguous yet amusing tale in "Froot." At face level she is clearly conveying a story of love but is perhaps also alluding to the overall cycle of life's ups and downs, or even just speaking of sex at a more carnal level.
Throughout the song Diamonds is "living la dolce vita" comparing herself to a luscious fruit on a branch waiting to be picked and "juiced" before she's left to rot for the "birds and worms." Graphic, colorful and full of imagination, Diamonds never fails to paint a perfect picture for her audience. A dance floor ready track, it is big and bold, full of retro-inspired sounds and Diamonds' deep, sultry voice. Over some breezy 8-bit production, she sings that "good things come to those who wait," although she "ain't in a patient phase." Diamonds is sick of "hanging around like a fruit on a tree," and she demands that someone cut her from the vine, turn her into wine and fill [their] cup up.
"Froot" is full of surprise fruit imagery, but the retro video contains less fruit in favor of sultry lighting and glittering gowns. Helmed by St. Vincent's "Digital Witness" director Chino Moya, the shadowy and ultra-glamorous video stuffed with old school Hollywood outfits, shimmering dresses, and furtive glances as we see the singer slinks around a regal house and even recruits some dancers clad in matching gold lamé to back her up, which go along perfectly with the song's quirky electro-pop vibe and it calls to mind Madonna's Vogue, casting the singing vixen as a sort of fruit femme fatale.

Double Brit-winner Ben Howard returns and makes his directorial debut with the dreamy video for "I Forget Where We Were," the title track to his brand new sweeping sophomore album. The 27-year-old English folkie and troubadour has several EPs and a 2011 album to his name, but this follow-up is his strongest statement yet, as he externalizes a kind of inner madness while his imagery remains suitably poetic.
It's anyone's guess as to exactly how he has done it, but London-based southpaw singer-songwriter has found himself the antidote to second album syndrome, which is a grand, serious affair and contemplate the pain of love, the restless spirit, and the disquieting sense of falling short. Howard strikes a sure-footed balance between the lilting ballads we've come to expect from past releases and more haunting dirges that carry the weight of remorse. "I Forget Where We Were" delivers a darker Howard, one who embraces loneliness and disappointment instead of shying away from them. As mild as the music might often sound, this is an album that cuts deep.
Howard's intricately picked acoustic is still in the mix, but he seems to have discovered the appeal of electric instrumentation and an effects box, conjuring metallic notes that cascade around each other, while his mournful voice is layered with shadow harmonies. "I Forget Where We Were" has an evocative feel, a string of songs that seem to form themselves rather than being transcribed from a songbook. The sensibility is darker, richer and stranger. It may lack the definition of his debut, but the Brit-winning artist's latest evokes something more ambiguously potent.
Moody, disaffected and gutsy, the title track, "I Forget Where We Were," sees Howard returning with a more electronic-guitar influenced set of songs. The track blends Howard's naturalistic references with the lyrics of a potentially doomed love song. It takes the listener on an expedition through the thoughts of Howard, bringing back that near personal relationship he can create with listeners. When listening, I find it so easy to pretend that Howard is communicating only with me, yet this is part of the personal bubble he builds with every listener. The video is Howard's directorial debut and follows a somber couple for a very serious day at the beach.

A week after premiering the audio, Mark Ronson and Bruno Mars bring their groovy, retro-inspired new collaboration "Uptown Funk" to life with an equally retro and rather fun loving video. The fly and flashy days of the '70s and '80s are brought to Hollywood in the fun-filled, dance-heavy clip features soul-pop sweetheart Mars and packs the punch of a feel-good, old-school funk number, is the first release off UK Grammy-winning producer's fourth album "Uptown Special," which will hit stores on January 27 via RCA Records.
The joyous, groove-heavy collaborative, "Uptown Funk," was took over a half a year to be completed as Ronson spent a lot of time traveling across the States as he tried to pin Mars down. "It was six or seven months of chasing Bruno around on tour," he said. The Time-spiced track's sinewy slap-bass and galactic synths is highly contagious. Pushed by these incredible melodies and fresh drum work that makes a nice home for Mars to let his vocals loose upon. And the video goes flawlessly with track, bring its fun loving ways to life effortlessly.
The duo get their hair permed, shoeshines and jive confidently next to a stretch limo, shoeshines in the high-voltage and goofy clip, shot in New York City, Mars steals the spotlight with his pink blazer and smooth moves, while Ronson serves as his suave, silent sidekick on trips to the hair salon and shoe shiners. Wearing shades and a salmon-colored blazer, the electric Mars, his band The Hooligans, and Ronson prowl around city streets in their throwback attire, performing choreographed moves before getting their shoes shined, and stopping by the salon for a fresh perm. Ronson mostly lingers in the background, with Mars taking the spotlight as he belts the track's feel-good lyrics. The visual recalls the street-clearing dance routines of '80s funkdom with an updated soundtrack to put a strut into your morning haul.

The former Pussycat Dolls frontwoman Nicole Scherzinger has some advice for the next person to date a terrible guy or her ex: "Run." In her just-released stripped-back, atmospheric music video for the emotional heart-breaking ballad, the 36-year-old heartbroken singer gets emotional as she lies on the cold floors of an empty mansion with tears in her eyes and manages to deliver this one piece of advice in a most elegant setting, emoting all the way. It's a pretty, heart-wrenching picture. So powerful and intense!
Scherzinger is switching things up with the ballad after released two up-tempo songs, "Your Love" and "On The Rocks." The enormoballad "Run," is the newest US-only single from Ms. her sophomore solo album "Big Fat Lie," which the singer said was "about me revealing some of my personal struggles and facing them head on. Once you realize something is a lie you are on your way to the truth, where you will find your own clarity, peace and acceptance." The singer's inspiration behind "Run," is her long-term love Lewis Hamilton, as she singing about a terrifying episode of her on/off romance life with the Formula 1 ace where she was neglected as a woman.
"The song is basically encouraging people to run from whatever fears are holding them back," she revealed to E! News. "We all have our own stuff-people, relationships, ourselves, the stuff inside of our mind-that hold us back and make us feel small, make us feel less than, that we can't do it, that we're less then." She added: "It's running from that and running to something bigger and more positive." She was brought to tears while recording the raw ballad. "The song is deeply personal to me and it does show another side to me, a vulnerable side that people don't normally get to see, a more raw side, an authentic side," Scherzinger said.
The clip is simple, emotional and beautiful that reflects the stark and sheer power of her voice with an understated, yet captivating presentation. Set in an opulent mansion, starts with a melancholy Scherzinger lying on a crumpled sheet, writhes around on the floor as she sobs over her lost love and bad break-up. As the piano chords and strings resound, she bares her soul vocally and dead-set on making sure that no one else makes the same mistake that she did. "He's got this perfect way about him," she warns, "He'll make you think that you come first/ But, you'll get lost in the challenge of trying not to get hurt/ Here's advice for the next one: Run."

Calvin Harris and Ellie Goulding are at it again. Following the success of their previously collaborated on "I Need Your Love" from his 2012 album, "18 Months," the dynamic duo have collaborated once more for the new pop anthem, "Outside." Goulding flaunts her toned midriff area and her favorite brand of underwear as she's feeling the same pain and regret as Rita Ora and every other girl who has ever loved and lost Scottish DJ in their new video for "Outside," the latest single from Harris' fourth studio album, "Motion," released last month.
It's about decaying relationships. The EDM song acts as a darker sequel to their previous collaboration. Whilst "I Need Your Love" found Goulding singing about being enamored with her guy, this finds her breaking up with him as she wondering if breaking up with her ex was the best choice. "I'll show you what it feels like," sings the UK songstress in the hook, "now I'm on the outside," a mirror in front of her shatters and stops time as she temporarily reconnects and comes face to face with her ex.
So that's the plot the director used for the "Outside" video, takes this to the extreme. Opening to a trailer park, of all places, the colorful clip shows a casually clad Goulding on her knees and is lamenting the broken relationship on the ground in the middle of a street in broad daylight. Although it seems like an odd intro, there's more to the story than meets the eye. As it turns out, both musicians are stuck in troubled relationships that are rapidly imploding: there's fighting, screaming, hair-tearing, and crockery throwing, and both are itching for a way out.
The "Burn" singer has a new boyfriend who appears to be an alcoholic with a nasty temper, and Harris has moved on as well to someone with a similar penchant for arguing and throwing dishes. Both "exes" mediating whether splitting was an intelligent move. Hints of real-life troubles in paradise are sprinkled into the nearly four-minute video which works out fine with the original message of the song - two lovebirds thinking about the past. Outside seems like the safe place to be.

Taylor Swift unexpectedly premiered the life-changing "Blank Space" music video Monday morning via Yahoo Screen. The Max Martin and Shellback co-produced pop record is the official second single from Swift's newest album "1989," which debuted at No.1 on the Billboard Top 200 last week having sold over 1 million copies in just 7 days!
This song finds Swift sending up her image as a heartbreaker who writes all of her songs about former boyfriends. She warns us that she's "got a long list of ex-lovers, they'll tell you I'm insane" plus she has, "a blank space baby, and I'll write your name." Swift said her intention with this track was to run wild with the way the media portrays how she conducts her romantic life. Swift explained "Boys only want love if it's torture and a constant chase. Men want love if it's real, right, healthy and consistent."
"Blank Space" has been called Swift's "Gone Girl" moment. But she's also having fun with it. Played straight, the Joseph Kahn-directed video is an unflattering portrait of a woman going nuts, but Swift is smarter than that, and it comes off as a meta commentary. In fact, the video's subsequent disappearance may be the best example of how deft Swift is at controlling what she puts out. wearing stunning gowns, and completely embodying her lyric "darling, I'm a nightmare dressed like a daydream." It is, as it's intended to be, hilarious.
Swift's video plays precisely into this. It opens in a fantasy world that's a more grown-up version of the realm on display in Swift's "Love Story" video. But then things turned upon seeing her man, played by male model Sean O'Pry, texting during a picnic date, Swift immediately turns into an incredible stereotype of an unhinged, knife-wielding girlfriend in a perfect, ironic parody of what many must assume is a Swift-ian lifestyle of decadence, glamour, and a little bit of crazy.

Carrie Underwood kicks off her upcoming album, "Greatest Hits: Decade #1," due out December 9, with new Christian-country crossover hit, "Something in the Water," and although it's her first mainstream Christian release since her 2005 smash hit "Jesus Take the Wheel," the spiritual heartstring-tugger's music video has some praising the singer's spirited video which featuring dynamic, sensual dancing and others criticizing the choreography. The video is a gorgeous illustration of the song's lyrics, which speak to Underwood's strong Christian faith.
Underwood is known to throw in a Christian hymn here and there when performing live, but as for an original Christian tune "Something in the Water," which is presumably about the ordinance from Jesus Christ to be baptized, Underwood holds nothing back while showcasing her heavenly high vocal range. Despite the criticism the lyrics are overtly Christian. In the first verse the former American Idol is heard talking about tough times. "Wasting a life that the Good Lord gave me," she belted out the powerful ballad.
"Then somebody said what I'm saying to you/ Opened my eyes and told me the truth. They said, 'Just a little faith, it'll all get better.' So I followed that preacher man down to the river and now I'm changed, And now I'm stronger. There must've been something in the water," She continued. The song ends with the Oklahoma native triumphantly singing "Amazing Grace." Underwood certainly provides the listener with a heart felt and righteously powerful performance and the words of her last verse speak of the joy and peace that Jesus promises when someone opens their heart to Him.
An awe-inspiring choir and dance troupe join the country superstar in this spiritually drenched clip, directed by Raj Kapoor, features more than a few things in the custom-built tank of recycled water, including 12 dancers, three costume changes and 16 choir members. Everyone splashes around a flooded soundstage while Underwood stands in the middle, giving it up to God in a series of rotating outfits. Others think Underwood pushed the envelope too far with scenes in the video where she is laying down around a group of under dancers on top of each other.

On Friday morning, her 18th birthday, Lorde celebrated by unleashing the haunting music video for her popular single, "Yellow Flicker Beat," the alluring lead the theme song from her "The Hunger Games: Mockingjay - Part 1," soundtrack. She's become a bona fide pop star without sacrificing any of her art-kid weirdness, and the Lorde-curated indie-heavy soundtrack will hit stores on November 17 via Republic Records, and the film hits theaters worldwide on November 21.
The New Zealand teenage songstress penned the intense tune with her "Pure Heroine" collaborator Joel Little. The music is similarly eerie, with Lorde purring over softly buzzing chords that segue into a darkly driving arrangement with a hip-hop groove. "People talk to me but nothing ever hits... voices just burn," she sings. With the typically sweeping themes and moody, electronically enhanced melodies, the electropop entrancing number features Lorde's brooding croon over minimal synthesisers and rattling drums.
According to Lorde, it was her "attempt at getting inside" the head of the movie series' heroine Katniss Everdeen. The song begins with a slow and measured start, which features the "touched by pain" lyrics "I'm a princess cut from marble/ smoother than a storm." As the drums start, Lorde sings "This is the start." And Lorde wanted to give us a visual of the dark, yet powerful song.
Directed by Emily Kai Bock who bringing some of the same ominous Lynchian darkness, the sleek clip is a full-on showcase for the "Royals" musician's freaky witch-marionette rap-hands dancing while moving her body and arms like she only can in several moody, atmospheric settings, including a seedy motel, an empty auditorium, a swimming pool, and even a cushy party, as she sings, "This is the start of how it all ends/ They used to shout my name, now they whisper it/ I'm speeding up and this is the/ Red, orange, yellow flicker beat sparking up my heart."

Selena Gomez breaks down into tears in the heartbreaking music video premiere for her brand-new song, "The Heart Wants What It Wants," the lead single from the 22-year-old entertainer's upcoming first greatest hits compilation album, "For You," due out November 24 via Hollywood Records. Love is a true mystery. Gomez opened up about the raw tune and bares her heart and soul in this touching new emotional rollercoaster. Would we all be better off if we could truly choose who we love?
Since splitting from Justin Bieber two years ago, Gomez has had a fair share of rumors, confusion, drama, and criticism lobbed at her for consistently reuniting with her ex. Now, the star who went to the treatment earlier this year for her "toxic relationship," is answering all concerned parties in a very big way. She's shy no more! Produced by Rock Mafia, "The Heart Wants What It Wants," is a super personal ballad that hears Gomez singing about her own life and critics she's received from the outside relating to her relationships.
"There is a million reasons why I should give you up/ but The Heart Wants What It Wants," sings Gomez in the chorus of the emotional pop ballad. "The Heart Wants What It Wants," is so unlike anything Gomez has released in the past. And it's so personal it feels like music she's been wanting to release for a long time but hasn't been allowed to. It's the most vulnerable we've ever heard Gomez, who tries to justify her volatile relationship with Bieber.
The former Disney star opens the somber black-and-white visual with a personal monologue about being wronged by someone who's messing with her head: "You make me feel crazy, you make me feel like it's my fault," Gomez's voice is shaky. "I was in pain... I know him though, and I know that I know his heart, and I know what he wouldn't do to hurt me." Then the dramatic clip leads into the vulnerable track as Gomez croons to a smooth mid-tempo beat about love and love lost. She is heard breaking down and crying as she walking away from the camera, in a very film noir-esque shot. At the end of the video, "The Heart Wants What It Wants" flashes across the screen. Gomez just tore her heart open and left it for us to fix.

K. Michelle is everywhere and killing it. After debuting her new VH1 reality show "K. Michelle: My Life," she's back, breaking hearts and flirts with some black mannequins in the new music video for her new heartbreaker anthem, "Love 'Em All." The R&B-dance slut anthem is the lead single from Michelle's upcoming sophomore album, "Anybody Wanna Buy a Heart?," due in stores on December 9th via Atlantic.
"'Cause they think I love 'em/ But I love 'em all/ I need another one to get over the other one," sings Michelle in the infectious chorus of her newest single and further confirming her 'sluttery.' She's a slut and proud of being one. The Memphis songstress dons her fire red hair as she belts out her latest song about playing the field, making all the boys feel special and when she's done, discarding them. While she admits to breaking a few hearts, she also reminds you as a single woman, she can do what she pleases.
This sexy and sultry new video doesn't see the "Love & Hip Hop" alum at her fiercest state and acting like a slut with men, though. Taking a page from Nicki Minaj's "Anaconda" and J. Lo's "Booty," Michelle highlights her voluptuous asset, of course, her glorious rear and shows off her sexiness and curves. With a driving beat that'll get you moving, the red-haired R&B chanteuse lets the booty meat hang all kinds of out and shows us her moves as she does choreography with a chair and flirt with male mannequins, show some booty and tits in a sluttylicious outfit and sit on her throne because she is the queen (of sluts). Watch Michelle in her fiercest video yet below.

Ariana Grande puts her "petite" beauty on display in a well fancy music video for the straight-up sex song, "Love Me Harder," a Max Martin-produced R&B cut featuring Toronto R&B singer The Weeknd, serves as the third single from Grande's recent  sophomore studio album, "My Everything." As one of the most popular music-artists of 2014, the pint-sized starlet already knew how to please her fans, but her new video, her most serious yet, shows off a sexier version of the pop-princess.
"Love Me Harder" is a darker R&B jam than anyone probably expected from a 21-year-old singer once known for her endless supply of pastel princess dresses. The Max Martin-produced song explored adult themes and is filled with double entendres about rough sex; that one also has a single entendre, delivered by her reliably creepy duet partner, The Weeknd, about feeling the pressure between your hips. This song finds Grande pairing up with The Weeknd as they trade verses about keeping the girl happy by loving her harder.

Grande kept things simple in "Love Me Harder," as opposed to the intergalactic extravaganza that was "Break Free." Here, the sole focus was Grande, as she struck a number of sexy poses throughout the sexyvideo, which was shot in mid-October by Hannah Lux Davis, who explained: "Our visuals are really about this tug of war of just loving harder and the compromise of giving in and needing more and wanting more." The clip opens with dramatic lightning in a sky boiling over with orange clouds. Things get very steamy very quickly and very intense.
Throughout the clip, Grande and The Weeknd, born Abel Tesfaye, withstand earth, wind and water, symbolizing what one would do for love. Most of the video is Grande writhes around on a sandy floor, while singing for her video-love to lover her harder in order to keep her affection. The Weeknd walks nonchalantly through an indoor rain storm, and eventually, Grande and the Canadian singer will get together to sing back-to-back, ultimately illustrating what the song is about - being unable to face the wants and needs of a relationship. Their voices meshed together beautifully and their chemistry was simply off the charts!

First Aid Kit get a natural yet vintage makeover in the folk-pop Swedish duo's new autumnal video for "Stay Gold," the Americana hymn that serves as the title track from Swedish indie folk duo's third studio album, a 13-piece orchestra and masters the art of sophisticated sadness which is more about their own life than their previous ones. For First Aid Kit, gold isn’t about specie, fame, or success. It's something much more precious. The singing and songwriting sisters have a knack for transmuting the common into the extraordinary.
Swedish sisters Johanna and Klara Söderberg have taken what, in the era of TV talent shows and Internet stars, has become a rare path to major-label success. Finds their close harmonies as honey-drenched as ever, "Stay Gold" is a brief cloud over a lovely record that is the aural equivalent of lying in a sunny meadow, with rich texture of classic country instrumentation and stirring string arrangements, matching their soaring vocal melodies.
Like their "My Silver Lining" clip, this one gets lots of mileage from images of both sisters breezing through the shadowy and saturated woodsy landscapes. Inspired by the song itself, which is about fleeting beauty and potential futility and recounts the impermanence of all things such as love and friendship, the Alex Southam-directed clip, shot on the picturesque Swedish island of Gotland with vintage filmmaking, is strewn with a handful of contrasting and albeit gorgeous. There are radiant suns/shadowy cliffs; pristine waves/dead autumn leaves; and the soft glow of twilight/the cold stillness of night. The video matches perfectly with the ethereal and soothing sound that First Aid Kit are known for.