Every woman alive carries a little bit of Medusa, a splash of Cleopatra, maybe some Lilith when she’s feeling particularly unhinged. We’ve been taught to tame that energy, smooth it down, make it palatable. Meanwhile there’s this part of us that wants to walk into a room and dance until we’re dripping wet and someone’s hands are gripping our hips from behind, wants to be worshipped without giving a single fuck about being good or nice or appropriate. siXren’s ‘INANNA’ is what happens when you stop apologizing for that hunger and let yourself become the myth everyone else is too scared to embody. This track gave me permission to let someone pin me against a club wall with their hips and grind until we’re both sweating through our clothes. I haven’t been the same since.
This dark electropop club banger hits different. The production on this is filthy as hell. Grinding beats that stay steady and relentless, industrial dark electropop that sounds like fucking in a club bathroom with the bass shaking the walls. siXren brings this sultry voice over music that feels devine and sinful at once. She opens with “Imma fuck it up / do it again / never stop / anywhere I go / looking hot / till I hit the top” and suddenly you’re in her universe where confidence isn’t a choice it’s the baseline. The way she delivers these lines you believe her. She’s already at the top. She’s just letting you witness it.
The beat drops and she escalates. “Imma switch it up / push it to the edge / hit the floor / let it come off.” That “let it come off” means the dress hitting the floor, the hands sliding panties down your thighs, coming hard enough that you forget your own name. She’s giving permission to shed whatever’s holding you back from being fully embodied on that dance floor. Then she goes harder with “Imma shut it down / on a 10 / do my dance / till the sun come up.” This is the woman who shows up to the club knowing damn well she’s leaving with everyone’s attention still on her at 6am when the lights come up.
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The first verse is where siXren really shows you what she’s about. “If I’m calling out / and I leave no doubt / all up in your mind / like a no-way out / I can set it off / I can lead the crowd / metal to the core / but a butterfly / big bang read the room / make it loud / do things even if not allowed.” That metal-to-butterfly contrast? That’s the whole fucking energy. She’s hard edges and soft curves. She’s breaking rules while looking angelic. She commands the crowd without asking permission. The “metal to the core but a butterfly” line captures what so many women feel but rarely get to express: we contain contradictions and we’re not interested in picking one.
Then comes the chorus that made me understand what this track is really about. “Bodies on bodies all over me / every night / they taking all of me, all of me.” This isn’t romantic. This is collective heat. This is being in the center of the dance floor with someone’s thigh between your legs, hands sliding under your shirt to grip bare skin, their mouth on your neck while someone else’s hands are on your ass, and instead of shrinking from the attention you’re rolling your hips into it and letting them feel exactly how wet you’re getting. She repeats “they taking all of me” but the power never shifts. She’s not being consumed. She’s letting multiple people’s hands explore her body while she decides who gets to take her home fully aware that everyone in this club wants to fuck her and she’s going to make them all wait. The arousal lives in that power of being wanted by everyone while her body belongs to no one but herself.
The second verse gets downright mystical and horny about it. “Hand in hand / make a touch crazy / breath on glass / make it go hazy.” That’s fingertips trailing down someone’s spine before they grab your throat, condensation on club windows from fucking against the glass, vision blurring when you’re grinding so hard you’re about to orgasm right there on the dance floor with a hundred people watching. She continues, “I be deep in the crowd, that’s where we meet / from Earth to Pluto / over galaxy / me everywhere, everything.” She’s turning the club into a cosmic ritual. Your body isn’t just your body anymore. It’s part of something bigger, older, more primal.
Then siXren names herself. “Venus Lilith Inana Anima / alien diva be an enigma / fireball dynamite aqua aqua / meteorite, comet, dust of a shooting star.” She’s claiming every archetype of dangerous feminine power. Venus for beauty that destroys, Lilith for refusing to submit, Inanna for descending into the underworld and coming back transformed. She’s not one goddess. She’s all of them. The alien diva line is perfect because that’s exactly what this energy feels like when you access it: otherworldly, untouchable, completely magnetic.
She keeps building the myth. “Moving headpiece like I’m Medusa / winning the bank like I’m Fortuna / hips and thighs on me and I’m a luna / lost in her eyes, dive in, Bermuda.” Medusa who turns men to stone just by being looked at, Fortuna who controls fate, Luna pulling tides with her body. That “hips and thighs” reference paired with being a moon? She’s connecting her physical form to celestial power. The Bermuda triangle comparison is genius because that’s exactly what this feels like: people get lost in her and they’re not coming back the same.
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siXren, this performer/poet/visual director, built an entire universe around her sultry voice and what she calls “hybrid athletic femininity.” The music video for ‘INANNA’ was shot this summer at a brutalist landmark in Berlin with photographer Azrael Black and cinematographer Hamish Logan. She’s wearing designer Selva and the whole aesthetic sits at this intersection of fashion film, architecture, and myth. The video draws from David Cronenberg’s Crash, exploring that erotic tension between machinery, violence, and intimacy. She’s reimagining the divine feminine as a lone warrior caught between desire and destruction which is exactly what the song sounds like: pleasure and power in a constant dance with each other.
The bridge brings back the goddess roll call. “Venus, Lilith, Inana, Anima / Luna, Fortuna and Medusa / Afrodite, Cleopatra / Kali, Isis, Mary, Athena / under the lights you shine like a star / every night / you shine like a star.” She’s stacking up every woman who was too powerful, too sexual, too divine to be controlled. Cleopatra who seduced empires, Kali who dances on corpses, Isis who brought the dead back to life, even Mary who gave birth to god without a man’s help. These aren’t just names. They’re invocations. She’s calling in that lineage and saying: this is what we’ve always been capable of when we stop pretending to be less.
The whole track is about consensual exhibition. It’s mutual hunger without anyone submitting. Desire circulates outward. She’s not chasing. She’s not being chosen. She’s being absorbed and she’s completely aware of it. That awareness is what makes it so fucking hot. She knows what her presence does to a room. She knows bodies will move toward her. She knows by morning everyone will still be thinking about her. The song is three minutes of what it feels like to fully inhabit your power on a dance floor and let everyone else worship at that altar.
I haven’t felt this untouchable since I stopped caring what people thought and started dressing exactly how I wanted. The Medusa in me is alive. The Lilith energy is thriving. I’m metal and butterfly, hard and soft, dangerous and divine. siXren took a club banger and made a ritual for every woman who’s tired of shrinking herself and ready to take up all the space her body was always meant to occupy.
