Ecca Vandal has good timing, doesn’t she? Just when you think the alt scene needs a jolt of fresh energy, she drops Molly, released on 13 November 2025 via Loma Vista Recordings, and reminds everyone why she’s been such a vital presence since bursting onto the scene.
The South African-born, Melbourne-raised artist has always straddled multiple worlds. Punk attitude meets electronic production, hip-hop flow collides with rock aggression.
Molly continues that tradition but feels leaner somehow. Stripped back in places, yet hitting harder than expected.
It doesn’t rely on overwhelming you with layers; instead, it opens with tense, coiled energy that builds patiently before erupting.
When it does, the impact lands because of that restraint. Vandal’s vocal delivery switches between controlled menace and full-throated intensity, giving the track an unpredictable edge that keeps you locked in.
Production-wise, the electronic elements pulse underneath without drowning out the raw, distorted edge that’s always made her sound distinctive.
Those glitchy touches create an atmosphere that’s both claustrophobic and expansive, a tough balance to pull off.
Lyrically, she’s navigating darker territory again. “There’s the surface meaning, the chaos,” Ecca said. “But underneath all that, there’s something quieter going on, the feeling of being cut down, of losing parts of yourself.”
It’s that duality, vulnerability beneath fury, that makes Molly hit deeper than its explosive moments suggest.
The music video, co-directed by Ecca and Richie Buxton, keeps things raw and direct. It shows her dancing in front of a garage wall while a drummer pounds away behind her.
The movements lean closer to rap and R&B swagger than rock theatrics, and at one point she appears in white angel wings, grounding the whole thing in playful contrast. It’s simple but magnetic, a visual that mirrors her ability to fuse attitude with fun.
This release follows recent singles Bleed But Never Die and Cruising to Self Soothe, proving Vandal’s hardly been quiet, just sharpening her focus.
The elements that made early tracks like White Flag (2014) and End of Time (2016) so gripping are still there, but now they’re refined. Sharper edges, clearer purpose.
What makes Molly work is its refusal to pick a lane. It could sit comfortably on alternative rock playlists or electronic ones.
That genre-fluid approach isn’t new for Vandal, but here it feels even more deliberate, an artist who knows exactly what she wants to say and how to say it.
As a standalone single, it does its job brilliantly. But within her broader catalogue, Molly suggests a more focused chapter ahead.
Less about proving she can do everything, more about doing exactly what she does best, commanding chaos with precision.
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