Neu The Neu Bulletin (TTSSFU, Dove Ellis, Gladboy and more!)

‘Upstairs’ — the latest instalment from Wigan wunder-girl TTSSFU — is characterised by a luscious, sleepwalking sound; ​“I went upstairs to be alone with you,” Tasmin Stephens coyly croons, just about audible through a gauzy ocean of guitars and distant, viscous drones. Then, it pulls the bedside rug with a marked coup de théâtre: ​“And by that, I mean a photo / I’m zooming in / And I look at your face.” This isn’t another bratty number about woozy hedonism. Instead, it’s more devastating: a lonesome requiem to memories and ghosts, a party anthem for those nights spent lost in labyrinthine longing and never-ending limerence. (Jude Jones) 

With his quietly just-dropped debut LP ​‘Blizzard’, Dove Ellis has forced a rethink of the year’s best albums. At a time when artists face constant pressure to maintain their social media presence to capture our attention, the 20-something, Galway-born, Manchester-based artist — that’s pretty much all we know about him — prefers to stay quiet and let the music speak for itself. And you don’t need to be an Instagram pro when you have songs like ​‘Heaven Has No Wings’. The track’s cathartic vocals and simple yet powerful piano progression evoke a parallel version of Damien Rice — one who has, more or less, made peace with his demons without losing an inch of his lyricism, intensity or grace. Our forecast for the rest of winter? ​‘Blizzard’ after ​‘Blizzard’, with a strong chance of Dove Ellis taking the music scene by storm. (Gabriele Naddeo)

An ode to outsider art, ​‘Doin’ Art Badly’ is Leeds-based garage band Gladboy​’s first music in over a year — and it’s been worth the wait. The song is a rallying cry to shrug off the pressures of perfectionism, and lead singer George Orton and co. gamely put their money where their mouth is: with a jumble of driving guitars, distorted vocals and a bit of screeching feedback, the band deliver their direct message in just over two minutes, channeling The Modern Lovers and The Kinks in the process. The outcome? Art done well. (Attila Peter) 

Booming in with a rich and grungy sound, ​‘Marsh’ hits with a new strength from Cork risers Cliffords. This band have always been ones for heartfelt, story-led songwriting, and here the tale is poignant and gritty. It’s a healing one, too, as vocalist Iona Lynch powers through restrained verses and explosive choruses which delve into themes of seasonal depression and fighting through it. At times, Iona’s vocals battle against wailing, elevating guitars, while a bassline thrums underneath like a late-afternoon shadow. But ultimately, it’s a battle she wins. (Phil Taylor)

Arriving fresh from their European tour with Wolf Alice, Florence Road continue an impressive run of 2025 releases with new cut ​‘Storm Warnings’. The four childhood friends from Bray, Ireland, have firmly established their knack for crafting soaring, anthemic choruses, and this latest instalment is yet another example. Written in the band’s early days, during long hours spent holed up in vocalist Lily Aron’s shed, the track is a remarkably accomplished piece of songwriting for such a young group. If anything, it’s proof that Flo Ro are only beginning to tap into what they’re capable of. (Gemma Cockrell)

Part-time English Teacher cellist and full-time cool girl Blossom Caldarone has returned with ​‘Waxing Lyrical’ — a sultry love affair of a track that reintroduces her solo project with a wink. Fawning vocals drift in and out of view as Caldarone seems to lift directly from the pages of her diary, recounting hot nights and strange underwear and shortness of breath. Strings swell around the sticky love she details, gentle keys and ever-gorgeous vocals almost concealing the flaws of her lover. ​“You are cruel, it’s the best thing you do,” she admits with casual poignancy. Intricately constructed and full of Caldarone’s character, ​‘Waxing Lyrical’ is the perfect way to get reacquainted with her solo work. (Elle Palmer) 

40 years after Kate Bush first ran up that famous hill, Jenny on Holiday​’s ​‘Good Intentions’ proves that it’s still possible to craft synth-pop anthems that flirt with the ​‘80s without sounding derivative. Driven by a hypnotic bassline and a liberating chorus, the new single from one half of Let’s Eat Grandma’s upcoming solo debut, ​‘Quicksand Heart’, would make a great fit for the grand finale of a TV show — we reckon maybe a feel-good drama whose main character has a soft spot for Chvrches’ discography. (Gabriele Naddeo)

A year after the release of their much lauded EP ​‘It’s All Been Done Before’, London indie/art-rock quintet Flat Party are back with bold new single ​‘C4mGrrl’, featuring a cameo from Djank’s Taylor Pollock. Singer Jack Lawther describes the song as a ​“weird little tangent” and, indeed, the pulsing, siren-like synths represent a bit of a sonic detour for the group. There’s a dark, sinister quality to the track that matches the subject matter – distorted online identities and porn addiction – and with the band’s flair for flamboyant hooks still intact, ​‘C4mGrrl’ is an exciting addition to their discography. (Attila Peter)

Four months after the release of their synth-based bedroom album ​‘whatever (whatever)’, Brighton’s big long sun return with ​‘my stars aligning’, a lovely bit of psychedelic folk-pop. Fronted by the ever prolific Jamie Broughton, the octet deliver a tribute to love lost and regained that’s equal parts communal sing-along and classic songcraft. For the first time, Broughton’s bandmates were all involved in the recording process — and they brought some fun instrumental additions into the studio with them, too (tin whistle, clarinet and accordion, to name a few). The result is a timeless pop tune with plenty of DIY charm that’s sure to put a smile on your face. (Attila Peter) 

Bristol’s MOULD have always prided their sound on their impressive instrumental ability, but on ​‘Float’, they slow things down in order to push themselves into a new, more rounded sonic direction. Here, vocalist Joe Sherrin’s performance teeters on the line between the impassioned shouting that has defined the band previously and an anthemic line that doesn’t vary much in pitch; but, added onto the ​’00s-esque guitar licks and James Luton’s techy drumming, ​‘Float’ serves as a strive in the direction of consistency for MOULD, all the while being immensely enjoyable. (Peter Martin) 

If you’re familiar with the discography of Cambridge group Ugly, you’ll know that their vocal work has always played a pivotal part in their greater sound. But on latest track ​‘Gallowine’, it truly takes centre stage, with intertwining melodies floating freely between tonalities in what could easily be mistaken as a tune for a seance. While there are moments of chaos here, it’s clear that every element is kept under control fantastically; at one point, the instrumental soars high like an ​’80s power rock anthem, before delving into the post-rock sound that has defined South London for the last decade. With a long-awaited debut album on the horizon, Ugly are only growing in both intrigue and ability. (Peter Martin) 

Who would you play Flip Top Head​’s ​‘Trilateral Machine’ to? If this were a crossword clue, a good answer might be ​‘English Teacher’ – both the band, and someone who appreciates sharp writing. The Brighton six-piece’s new track pairs evocative lyrics and vocals with art-rock instrumentals that twist and turn gently until they reach a monumental peak. This is the second preview of their sophomore EP, but it feels almost as if it could belong to the Leeds Mercury Prize winners, too. And what about the meaning of that enigmatic machine? Hit play and see if you can figure it out. (Gabriele Naddeo)

Belfast-born, Berghain-bred producer Mount Palomar​’s unlikely link up with veteran indie-pop trio Pip Blom is an exercise in dancefloor disorientation, feverish beats, and salvos of sound twitching, all of which go alongside Pip’s gauzy vocals, musing, half-lucid, about broken bones. Fitting, then, that the music video – co-produced by Mount Palomar and film photographer George A. Barnes – is essentially a Gaspar Noé-inflected LSD trip in a bingo hall, a psycho-visual experience that feels like the frenzied track’s perfect, stimulant-suggestive match. Mount Palomar’s musical modus operandi has long been that classically Berlin melding of the dark and the hedonistic; with ​‘Little Fractures’, the producer executes the combination excellently once more, and pulls Pip Blom into a new and strange nocturnal realm as he does so. (Jude Jones)

Tags: Neu, Neu Bulletin, big long sun, Blossom Caldarone, Cliffords, Dove Ellis, Flat Party, Flip Top Head, Florence Road, Gladboy, Jenny On Holiday, Listen, Mould, Mount Palomar, TTSSFU, UGLY, Watch