The Neu Bulletin The Neu Bulletin (Fake Turins, Ethel Cain, Midlight and more!)

North London 11-piece (!) Fake Turins specialise in soupy disco-psych resonances, and latest offering ‘Parcel Duchamp’ is no exception. Hinged upon a slaloming bass-line, the groove slips in and out focus, whimsically seduced by any tall tangent or rhythmic excursion that might take its lip-licking fancy. It’s as if LCD-Soundsystem were swallowed by a fragmented time-vortex, slopped en masse, then reformulated in a parallel universe of boogie-centric reckoning. And within that confusion, this vignette of funk, setting hips in motion, was thankfully born. (Elvis Thirlwell)

Ethel Cain’s new song ‘Gibson Girl’, the first teaser of debut album ‘Preacher’s Daughter’, is inspired by Evelyn Nesbit, the world’s first supermodel who was also known as the Gibson Girl. “Whenever I start to lose myself and forget what I’m capable of, I just turn to her and she’s the greatest reminder,” Cain says, and the song – a near-six-minute odyssey full off shuddering synths and Cain’s whispery, inviting voice – is a reminder to realise your own strength. (Will Richards)

“I need a place to grow old, believe me, believe me.” George Ireland pipes on Midlight’s achingly earnest new single ‘Home’. The London-via-Brighton four-piece appear to tap into profound emotions far beyond their age would have you believe, deftly conjuring formidable sorrow in the unity between each instrument. ‘Home’ is a wary balance between glistening cymbal crashes and surging guitar swells, effortlessly pairing the candour of Fontaine’s D.C. with the lucid breathiness of Massive Attack. (Alisdair Grice)

Just like its titular title, the new song from London four-piece Japanese Television slides and slithers about, groovy and menacing, always on the attack. There are elements of wig-out psych in their sound, but as soon as you feel they've settled into a groove, the track then skips into a post-punk breakdown or fires out filthy rock'n'roll riffs. In under four minutes, they pack a hell of a lot in. (Will Richards)