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“Omg,” Suki Waterhouse is back with a new single.

Waterhouse has been teasing “Omg” — which she co-wrote with Natalie Findlay — on social media for about a week now. But it took a while for the shimmering pop-rock tune to get off the ground: “We started half the song and then put it to the side,” Waterhouse told Rolling Stone. “We were like, ‘It’s not working.’ And then two months went by and we were back in the studio, and suddenly this chorus came out with this energy around it.”

Taking cues from electric synth-pop and the garage rock revival, “Omg” is a bit vengeful and very full of attitude: “You know I only tried to play your games/ So you cannot forget my name,” she belts on that aforementioned energetic chorus. The music video, directed by Émilie Richard-Froozan, features Waterhouse in Edith Piaf-inspired glam — and gives us a glimpse of her growing baby bump.

Suki Waterhouse channels Edith Piaf in the video for “Omg,” her shimmery new single.

The singer, model, and Daisy Jones & the Six actress had teased the new song on social media for days, finally releasing it. “It’s really, really the best way to start my year,” she tells Rolling Stone, on a call from Los Angeles. “I’ve been holding onto it for a while.”

The track, co-written with Natalie Findlay and Jules Apollinaire, is a synthy, sleazy rocker with the kind of anthemic chorus that will be in your head for days.

★★★☆☆ "Like a murderer jumping outta nowhere in an alley, love has jumped in front of us, like a lightning strike." This may seem a bizarre way to describe a relationship but in fact it perfectly captures the essence of the strange psycho-sexual bond that lies at the twisted heart of Remy Bennett and Émilie Richard-Froozan's Buttercup Bill (2014). It's a tantalising piece of slow-burn Southern Gothic that threatens to never get going, but even in its listless moments never relinquished a pervading sense of threat. Violence and aggression lurk just beneath the surface and the film cultivates a decidedly Lynchian vibe, particularly in the form of its striking opening.

A fractured and dizzying delve into a grief-stricken mind, the film's first section boldly attempts a formal approximation of said grief. The death of childhood friend Flo casts Pernilla (co-director, Bennett) into a state of disarray. Memory and reality collide as her past and present merge.