Neu The Neu Bulletin (Chloe Qisha, Cliffords, South Arcade and more!)

Bad outfits, the climate crisis, and a boring bloke called Steve are all issues weighing Chloe Qisha down on her latest outing. Continuing her streak of observational bangers in the wake of recent single ​‘21st Century Cool Girl’, ​‘Sex, Drugs & Existential Dread’ — her answer to the Ian Drury hit — pairs funk-infused pop with a thumping beat as it draws a bleak picture of the world on fire. Embracing the instinct to shut herself in her room and bury her head in the proverbial sand, Chloe’s prescription is a cocktail of anxiety, pleasure and hedonism — all conveniently achievable from the comfort of her bed. (Caitlin Chatterton)

Arriving with a joyous thump of riffs and drums supported by soaring strings, Cliffords have found a new level of punch with ​‘Bittersweet’, a song which captures the over-intense emotion and nostalgia of youth incredibly effectively. This is their first time working with producer Richie Kennedy and it’s paid off, elevating the Cork-based band further and allowing their rich spirit to flow freely. It’s a track packed with beautiful touches – plentiful vocal harmonies, lead guitar mimicking the melodic motif, touches of reverb just where needed – and Iona Lynch has never sounded better as she sings with boundless ambition, rising to dizzying heights. (Phil Taylor)

Bringing the nostalgia and chaos of Y2K to 2025, South Arcade make a riotous return on new single ​‘Supermodels’. With blazing riffs and emotion-charged vocals taking the reins, it sees the Oxford-based band revel in their instantly recognisable blend of ​‘00s pop and guitar-shredding alt-rock. Arriving in line with the quartet’s imminent UK headline shows — and just ahead of their stint supporting Bilmuri around Europe — there seems to be little stopping South Arcade from rising exponentially (and taking over our FYPs as they do so). (Emily Savage)

As the release of their debut EP ​‘Plan 75’ fast approaches, The Orchestra (For Now) have shared their most tempestuous offering yet. Following ​‘Wake Robin’ and ​‘Skins’, new cut ​‘The Strip’ serves as the band’s pièce de résistance thus far. The track sprawls through paranoid surges of frantic piano, dense guitar riffs and shrill, quavering strings. The lyricism is unsparing as it paints something of a neo-noir film saga, all held together by a feverish core. Any shred of calm only lasts for a moment before the instrumentation coils into itself, preparing for a guttural release. ​‘The Strip’ is a vignette that feeds into its darker, calamitous edges while still maintaining mellifluous breaks, and is an exemplary demonstration of The Orchestra (For Now)’s growing complexity. (Kayla Sandiford) 

Like a lone beast swathed in a caliginous ether and hurtling rabidly towards some ominous, metaphysical glow, YHWH Nailgun​’s ​‘Animal Death Already Breathing’ vividly captures the palpitation-inducing, sweat doused desecration of their live shows. Serving as the third single from their upcoming debut album ​‘45 Pounds’, the track’s fleshy, idiosyncratic allure lies in its gruellingly stringent rhythmic nucleus, a quality that has come to characterise the New York band’s output to date. This — coupled with lead vocalist Zack Borzone’s frenzied, near indecipherable wheezing — makes for a sound so singular it is highly addicting, possessing an unabashed rawness that peels back the skin until a blistering sinew reveals itself. (Hazel Blacher)

Indie-folk duo lilo are rounding off the lead-up to their debut album ​‘Blood Ties’ with the release of ​‘Cycling,’ a track that captures the push-and-pull of uncertainty, exhaustion, and unexpected joy. Written by one half of the pair, Christie Gardner, during her time working at a primary school in the thick of the pandemic, ​‘Cycling’ is as much about the physical journey down Old Kent Road as it is about the emotional one. It moves through the turbulence of doubt and helplessness, mirroring the overwhelming task of guiding children through an unpredictable world on a shoestring budget. Yet, through its melancholic honesty, there’s a warmth, and a recognition of resilience and the beauty of simply carrying on. (Gemma Cockrell)

Since beginning her musical journey in 2020, London-based producer, DJ, and vocalist Lauren Duffus has quickly established herself within the city’s vibrant electronic scene. After a run of both local and international performances, she’s now returned with ​‘N.U.M.T.E.’, her first track since 2022. This dystopian club number exists in a hypnagogic state, somewhere between a dream and gloaming wakefulness. Her echoed repetition of ​“I need you more than ever” drifts over twinkling synths and fidgety breakbeats to create an ethereal atmosphere defined by its surreal use of space. On ​‘N.U.M.T.E.’, Duffus blurs the boundaries of her reality with dreamy, liminal soundscapes, showcasing the inimitable flair that makes her a natural fit within the electronic community. (Kayla Sandiford)

Melbourne five-piece Radio Free Alice have made a charming return with their latest single, ​‘Empty Words’. The product of a jam session during their explosive run of UK shows last year, it’s both playful and captivating, as frontman Noah Learmonth’s unique tone and distinctive style blends seamlessly with the track’s instrumentation — at times, delivered with an endearing naivety, and at other moments, with sincere severity. Together, these elements create a magnetic, persistent catchiness that’ll keep ​‘Empty Words’ in rotation for the foreseeable. (Amber Lashley)

On the title track of Clara Mann​’s recently released debut album, soft and hazy guitar sounds combine with her magical vocals to conjure a steady, gentle flow of ethereal, temporal image. Lyrically intense right from the off, ​‘Rift’ simultaneously soothes and challenges, exploring the theme of fractures and fragments of life. There’s an awe-inspiring chilliness surrounding this song, but also a rich depth, with layer after layer of meaning just waiting to be discovered. ​‘Rift’ encapsulates Clara’s approach to life as well as songwriting – a creative and deep thoughtfulness which finds strength in confronting all facets of experience. (Phil Taylor)

Lifted from her debut EP (due later this year), ​‘MINE’ marks a new era for Leeds-based alt-popper Lois, blending elements of pop, soul, and alternative rock. The track embodies the feeling of the artist stepping into a renewed version of herself, all the while embracing the chaos, uncertainty, and euphoria of reinvention. It sees Lois’ emotive vocals glide effortlessly atop a soundscape of atmospheric percussion and lush melodies, leading to a momentous full-band chorus that feels like the perfect insight into her new creative world, affirming her as a key rising star in the North. (Kyle Roczniak) 

Having recently found rapid online success, Wicklow four piece Florence Road have offered up their debut single, ​‘Heavy’ — a track positively pouring with teenage angst and heartbreak. With an ambiguous guitar line chasing after Lily Aron’s immense vocal performance, its chorus crescendo is an emotional sucker-punch that’s surely destined for crowd singalongs. Brimming with potential and still fresh off the block, Florence Road are only going upwards from here. (Peter Martin)

Tags: Neu, Neu Bulletin, Chloe Qisha, Clara Mann, Cliffords, Florence Road, Lauren Duffus, lilo, Listen, Lois, Radio Free Alice, South Arcade, The Orchestra (For Now), Watch, YHWH Nailgun