The first thing you notice in Sissy Misfit’s new video for X-MAKINA is the way it breathes: a choreography of tension, bodies, and sharp emotional recoil, all orbiting the intensity she carries on screen. The track acts as the gateway to her upcoming album, SISSY FXXXCKING MISFIT, out 30 January, 2026, accompanied by a free listening party in January and a Rat Party takeover in London on 7 February. It marks a bold next step for an artist we last spoke with a year and a half ago.
In X-MAKINA, Sissy dissects the chaos of a former lover with the precision of someone who has learned to turn emotional wreckage into fuel. She describes the idea with characteristic bite: “Deus-Ex-Machina is a term used to describe a character that appears out of nowhere to save the day or the situation! X-MAKINA is the exact opposite, a lover who comes out of nowhere, enters your life, and ruins it, that’s why they are an x.” The track swings between seduction and rupture, its industrial pulse softened by the melancholy curled underneath. It’s confrontational, but not for the sake of shock; it lingers in the uncomfortable glow that follows someone who reshapes you without permission.
The self-directed video widens that emotional field. Commissioned for the ENGINES OF UTOPIA exhibition, curated by Sissy alongside Rick Owens and Dr. Martens, it blends theatrical precision with raw cinematic instinct. Io Viannitis’ cinematography amplifies Sissy’s intensity, while movement direction by Silas Grocott Cain transforms the dancers’ bodies into a kind of collective exorcism. Theo Papoui lends an unsettling magnetism, enhanced by set design from Konrad Milosz and styling that fuses Rick Owens, Stray Tukay, Victor Clavelly and Krisztian P. The result is a world that feels handmade and feral at once, a visual exhale of everything the track refuses to repress.
Her upcoming album, SISSY FXXXCKING MISFIT, expands this emotional logic without attempting to over-explain it. Sissy frames the project as “fun, chaotic, honest, bold and loud and it's everything that makes me who I am,” a statement that matches the way her work bridges London’s nightlife, Istanbul’s underground stories and the punk impulses that shaped her early artistic vocabulary. The record promises a fusion of techno-edged electro pop, visceral confession and the scream vocals that have become her signature. Rather than smoothing its extremes, Sissy arranges them into a coherent force field. If X-MAKINA is the first rupture, the upcoming LP is the architecture being built around it. This new era is not just louder; it’s sharper, more self-aware and entirely unwilling to dilute its edges.