Following the breakthrough of her shimmering debut single “Blue Denims”, rising Filipino-Australian pop artist ALEXIS returns along with her most intimate launch but. Right this moment, Music Crowns proudly premieres “HATE IT HERE”—a hovering, searingly trustworthy exploration of identification, self-acceptance, and the contradictions of rising up in a world that usually feels too heavy to carry.
ALEXIS has already begun carving out her personal lane with what she calls her “upbeat unhappy lady” sound—melancholic but melodic, a steadiness of confessional lyricism and irresistible pop hooks. On “HATE IT HERE”, she refines that imaginative and prescient with putting readability. The tune attracts on pop, synth-pop, indie-pop, and pop-rock influences, providing listeners a monitor that aches with fact but begs to be replayed on a late-night drive or a crowded dance ground.
Written at a songwriting camp in Bali with Murphi Discipline, Sally Chatfield, Oliver Kindred, and Tyler Murray, the one marks her first collaboration with Murray—a partnership ALEXIS describes as unlocking her “true sound.” The manufacturing is luminous with out drowning the tune’s emotional depth, leaving area for her voice to shine with piercing honesty.
The accompanying visuals, directed by longtime inventive companion Justin Cueno, convey the monitor’s themes of identification and introspection vividly to life. Filmed inside a mirrored set up, the video turns into a corridor of reflections—fractured, multiplied, but undeniably entire. On the one’s cowl artwork, ALEXIS dons a conventional Filipinana Baro shirt, bridging her heritage along with her current, her roots along with her rise.
By premiering “HATE IT HERE”, Music Crowns highlights an artist unafraid to convey each vulnerability and vitality into the pop dialog. ALEXIS just isn’t merely following within the footsteps of her friends—she’s carving out a sound that feels refreshingly her personal. With this launch, she cements herself as considered one of 2025’s most enjoyable new voices, proving that pop may be deeply private whereas nonetheless sounding completely timeless.
