Neu The Neu Bulletin (Panic Shack, Brògeal, Fuzz Lightyear and more!)

In the latest taste of their self-titled debut album, Panic Shack revel in their precious shared friendship via the witty punk sound that’s now become their signature. Breezy and carefree, this new single is a reminder that whatever happens in your life, you always have the safety net of good friends — and that in itself is a gift that deserves to be shouted out proudly in an immense, catchy chorus. To listen to Panic Shack is to become immediately aware of their palpable chemistry, and ​‘Thelma & Louise’ is the perfect certification of that. (Peter Martin)

Inspired by traditional Scottish folk but injected with indie energy, the sound of Falkirks’s Brògeal has already made quite the impression. And the band’s latest single, ​‘Vicar Street Days’, is another winner — built around their distinctive vocals and rhythm section, it makes the most of its rapid runtime, deftly showing that there’s far more to be had here than just comparisons to The Pogues. (Chris Connor)

Integral cogs in Leeds’ fertile DIY scene — sharing members with Bug Teeth and Shaene — Fuzz Lightyear are also locking in to a serious rhythm all of their own. Placing themselves on the frontline of the UK’s current wave of ear-shredding alternative bands — while also warping into the terrifying noise-void of stoner-rock too — new single ​‘Berlin, 1885’ is like strapping yourself into a rollercoaster where the safety regulations haven’t necessarily been met, and where furious action takes precedence over anything that’s actually sensible. And when the dust settles on it all, it becomes clear that (in a pitiful bid to avoid any Toy Story puns), Fuzz Lightyear are turning it up to 11, and beyond. (Elvis Thirlwell)

A surging, bittersweet slice of pop, Billianne​’s latest single ​‘Baby Blue’ channels post-breakup clarity with a sugar-rush sheen. The Canadian songwriter’s rich, clear vocal anchors a track that builds from a simple melody into a fully enveloping, harmony-drenched anthem. Co-written with Nick Ferraro and Duncan Hood, it’s a heartbreak narrative dressed in bright colours. Layered vocals, punchy drums, and strings all culminate in a textural swirl, before fading out into the intimate refrain we started with, offering a sparkling glimpse of the emotional depth promised on her upcoming debut LP. (Lucy Ward)

Showing themselves to be a band who write songs not just for people, but for cows too, the latest single from fast-rising Brighton quartet The New Eves might also be their most defining. Drawing inspiration from the Swedish pastoral tradition of kulning — a female-led vocal technique used to call cattle across the mountains — ​‘Cow Song’ bellows out a near-seven minute epic of buoyant harmonies, stumbling drums, slicing strings, and piquant flutes. Resembling a backpacking mountain hike in punked-up garage-folk form, it’s rugged, unrelenting, yet deeply transportive: sharp inclines one minute, steep descents the next; and then, once at the summit, the most breathtaking views for miles around. (Elvis Thirlwell)

Brewing patiently for the last year in the underworld of East London, Marco Pini’s pop-art opus has finally arrived and comes in the form of ​‘DOX’, a sweet Y2K trip-hop masterclass. Managing to make you feel like you’re in a video game boss battle, it’s controlled with an effective auto-tuned vocal line floating above, while allusive synths weave manically in between. Having played in Sorry for a number of years, the music of RIP Magic is the kind of weird that only Pini could produce — and it’s nothing short of fascinating. (Peter Martin)

Spielmann — the moniker of Leeds-based musician Ben Lewis — delivers another dose of realism on his anthemic new cut, ​‘Got To Go To Work’. The follow-up to April offering ​‘Over It’, it flaunts the multi-hyphenate’s ability to take (the often mundane) aspects of everyday life and wrap them into infectious, indie-infused pop cuts. Arriving alongside the announcement of his EP ​‘Back By Popular Demand’, this single captures the unfiltered honesty that has become a hallmark of Spielmann’s work, affirming why his voice remains a resonant one in the North and beyond. (Emily Savage)

Having recently signed to London label REX RECS, Isle of Wight’s ugly ozo presents ​‘Onto A Winner,’ a sonic confrontation of beauty standards and overwhelming societal expectations. The track is a tour de force of songwriting that strikes against the glamorisation of thinness and social media-fuelled beauty standards, all sitting atop an indomitable grunge bassline. Musically epitomising themes that many can relate to, its sarcastic, almost jovial delivery gives it an inherently dystopian edge, but remains grounded by capricious guitar writing and sturdy, driving beats. (Kyle Roczniak)

Brimming with quirky, ​’90s guitar touches, the latest track from East London’s Ain’t is anchored by a Midwest‑y looping riff which sits below the note-perfect performance from Hanna Baker-Darch, as she pours her frustration out. Produced by Theo Verney (English Teacher, Deadletter) ​‘Jude’ sounds like it’s been pulled straight from a DIY basement show in Illinois; here, the band’s ability to convey their bubbled up emotions is as strong as their aptitude for tapping into nostalgic rock influences. (Peter Martin)

Tags: Neu, Neu Bulletin, Ain’t, Billianne, Brògeal, Fuzz Lightyear, Listen, Panic Shack, RIP Magic, Spielmann, The New Eves, ugly ozo, Watch