Neu The Neu Bulletin (mary in the junkyard, Jacob Alon, The Orchestra (For Now) and more!)

Paying no mind to winter’s increasingly dark and oppressive gloom, London’s mary in the junkyard offer us a sunlit respite on ​‘this is my california’. The trio’s first single since their debut EP release, here the wrought intensity of their formative offerings soaks in the soapy bubbles of a new, assured inner peace, signalling a clear growth and maturation of their sound. Rejecting the often sugarcoated depictions of the Golden State in search of a paradise closer to home, the track’s gently bobbing guitars lap warmly over the sincere sandy crunch of Clari Freeman-Taylor’s vocal, making one wonder if perhaps the inner contentment we all seek can be found right here after all. (Hazel Blacher)

Smooth strains of finger-picked folk guitar open ​‘Confession’, the immediately engaging latest offering from Scottish singer-songwriter Jacob Alon. They sing softly at first, relaxing into the story, but then bravely open up, their voice rising with audible emotion as they circle and approach the final confession. ​“I never meant to lose / You were my best friend” goes the powerful refrain, opening a window into an intensely personal memory. With sparse instrumentation and a firm reliance on their own voice, here Jacob weaves something strikingly beautiful, richly rewarding our patience. (Phil Taylor)

With its sophisticated charm and a vast scope of sonic elegance, The Orchestra (For Now)​’s debut single ​‘Wake Robin’ is an eight minute epic displaying the London group’s delicate songcraft and playful ambition. The track is operatic at heart, conveying the band’s collective personality and unashamed grandiosity through its blend of string-led writing and clear guitar music influences — a sound that the band describe as ​“many-handed, fidgety, experimental power-pop tunes”. With an opening gambit as unapologetically loud and raw as this, The Orchestra (For Now) are further cementing their prime position among next year’s ones to watch. (Kyle Roczniak)

Arriving ahead of a support tour with The Amazons next month, ​‘When I Wake Up I’m Sad’ sees Fiona-Lee channel striking transparency. Produced by Hugo White (The Maccabees, 86TVs), the visceral indie rock track weaves itself around themes of independence and loneliness, analysed through the lens of societal narratives surrounding women’s relationships. Honing her now-signature pairing of diaristic storytelling and boisterous, electric guitar-laden backdrops, it’s a defiant statement of intent from the Yorkshire riser. With a series of upcoming live dates and an increasingly strong catalogue to her name, Fiona-Lee has once again proved herself as one to watch over the coming months. (Emily Savage)

Clara Mann​’s latest single ‘‘Til I Come Around’ — lifted from her upcoming debut album ​‘Rift’ — is a meditative folk track that uses vivid imagery to explore intimacy and vulnerability in a long-term relationship. ​“Pulled the glass from your lip / You spat out my name as you bled” she sings softly, the lyrics’ dark subtext at odds with the gentle guitar and delicate piano underneath. Despite the song’s sombre tone, Mann’s voice is as immediate as if she were in the room with you, and ​”Til I Come Around’ is a contemplative, promising glimpse of what she’ll offer next. (Ife Lawrence)

Intensely careful but effortlessly endearing, indie-pop duo Esme Emerson​’s latest release comes alongside the announcement of a new EP, ​‘Applesauce’ (due 7th March 2025). ​‘Together’ seeps with intricate lyrics detailing fear, excitement, and all the emotions of falling in love, backdropped by a delicate guitar progression alongside haunting lead chords. Esme Lee-Scott’s vocal performance is as soft as it is soul-crushing, but this chorus is sure to be skipping daintily around your head for the rest of the day. (Peter Martin)

Brighton avant-garde, art-rock sextet Flip Top Head have been building a steady following over recent months, thanks to a sound that balances classical, jazz and post-punk. It may sound like an odd mix of genres at first glance, but they manage to make it work harmoniously; just take ​‘Parish Cafe Meetings’, which begins slowly with soft acoustic guitars and Bowie Bartlett’s vocals, before unfurling into something angsty with a real punk edge. Full of wry lyricism, it’s a perfect introduction to the group’s sound, and epitomises why they’re such an intriguing proposition. (Chris Connor)

Tags: Neu, Neu Bulletin, Clara Mann, Esme Emerson, Fiona-Lee, Flip Top Head, Jacob Alon, Listen, mary in the junkyard, The Orchestra (For Now), Watch