Flower Face announces «Kill the Muse» and shares «Better the Devil»
Canadian singer-songwriter Ruby McKinnon, recording as Flower Face, has announced «Kill the Muse» for February 5, 2027, via Nettwerk. New single «Better the Dev
Canadian singer-songwriter Ruby McKinnon, recording as Flower Face, has announced «Kill the Muse» for February 5, 2027, via Nettwerk. New single «Better the Devil» begins with delicate fingerpicked guitar before bringing strings and distorted bass into a song about a difficult question: why can familiar pain feel safer than change?
When pain starts to feel like home
The lyrics explore isolation, emotional inertia and the temptation to return to a relationship that has already proved damaging. McKinnon is less interested in declaring an easy escape than in describing the reasons people find it difficult to leave. The song’s title points directly to the idea of choosing a known difficulty over an uncertain alternative.
From «Bad Dream» to sharper contrasts
Following August’s «Bad Dream», this second preview adds a sense of friction to Flower Face’s intimate songwriting. A fragile guitar pattern gives way to increasingly turbulent textures, reflecting the distance between wanting to move on and feeling unable to do so. Her music inhabits a space between dream pop and gothic-tinged folk, but the emotional decisions inside the arrangement are more revealing than any genre label.
A February album still to be heard
«Kill the Muse» is scheduled for February 5, 2027, and the complete record remains unheard at this stage. Together the singles suggest a sustained interest in emotional patterns, loneliness and self-perception. They give listeners a compelling entry point without pretending that two tracks can stand in for a review of the entire album.
A familiar phrase with a different meaning
The expression behind «Better the Devil» usually concerns choosing familiar trouble over an unknown alternative. Flower Face turns it into a question about self-worth. Leaving a damaging emotional pattern requires more than escaping another person; it also involves believing that a different future is possible. The arrangement captures that contradiction. The instruments grow in intensity while the narrator describes feeling stuck, allowing musical motion and emotional paralysis to coexist. That tension is more revealing than calling the track simply a sad song.