Neu Bulletins are DIY’s guide to the best and freshest new music. Your one stop shop for buzzy new bands and red hot emerging stars, it features all the tracks we’ve been rinsing at full volume over the last week.
We’ve also got a handy Spotify playlist where you can find all the Neu tracks we’ve been loving, so you can listen to all our hot tips in one place!
Fräulein - The Last Drop
Given they've just finished a summer of touring with Be Your Own Pet and have this week hit the autobahns of Europe with Big Joanie, that London-based duo Fräulein have found the time to record and release a new cut is a wonder in itself. But we're not complaining - with 'The Last Drop', Joni Samuels and Karsten van der Tol reveal another string to their sonic bow, infusing their recognisable, skittering grunge with the intensity and fervour of post-break-up pain. (Daisy Carter)
Man/ Woman/ Chainsaw - What Lucy Found There
The latest in a recent line of young bands from the capital making a buzz the old-fashioned, live circuit way, angsty sextet Man/ Woman/ Chainsaw’s third proper release hums with the sort of layered energy that’s clearly been honed on the stage. Echoes of Black Country, New Road and black midi come through in their orchestration and vocalist Ben’s quivering delivery respectively, but the more traditionally melodic vocals of counter-foil Vera steer ‘What Lucy Found There’ into their own path. Ominous and full of foreboding, if their name wasn’t ripe fodder for spooky season, then their latest track certainly cements that status. (Lisa Wright)
pencil - The Giant
A world away from the jaunty jangles that fill his work as Fake Laugh, the debut track from Kamran Khan’s newest venture pencil - also featuring ex-Kagoule guitarist Cai Burns and Swim Deep drummer Thomas Fiquet - is a far tenser affair. Centred around Coco Inman’s fluttering violin lines and Khan’s intimate, breathy vocal, ‘The Giant’ turns minimal ingredients into something wonderfully theatrical and dramatic. They’re probably not going to like this, but it sort of sounds like the most delicate parts of early-career Muse - FYI, that’s a good thing. (Lisa Wright)
Zola Courtney - Unthinkable
Really, the best way to listen to this song is to sit in a poorly insulated attic apartment while the rain finally makes it feel like October. The track’s cover art shows Zola Courtney in the pale light of her home playing guitar, but it’s the lilting piano melody that carries this tune (the guitar does come in later though, don’t worry). Softening the blow with the warmth of her voice, Zola finds herself admitting her relationship has run dry, anticipating the pain of the looming break-up. It’s tender, it’s beautiful, and if you’ve been on the wine you’ll probably have a good cry. (Caitlin Chatterton)
gglum - SPLAT!
Newly signed to indie label Secretly Canadian, 21-year-old songwriter Ella Smoker - better known as gglum - has returned with tumultuous anthem ‘SPLAT!’. In keeping with the Londoner’s signature lo-fi sound, discordant guitars and punchy drum lines ruminate together, while distorted vocals grapple with the angst of teenage desire. Placing emotional outbursts alongside moments of rationalisation, ‘SPLAT!’ captures the chaos of young love in its rawest form. As the first offering since 2022 EP ‘Weak Teeth’, it signals an exciting shift in a new direction for gglum. (Emily Savage)
Nightbus - Exposed To Some Light
Building on their city's strong reputation for bands who know their way around a synth or two, Manchester trio Nightbus have followed up moody debut single 'Way Past Three' and sophomore effort 'Mirrors' with 'Exposed To Some Light' - a masterclass in hand-clapping, bassline-creeping, atmospheric tension. At times recalling Heartworms, at times recalling New Order, this third turn is their most dynamic and intriguing yet. (Daisy Carter)
Kaeto - No Body
Kaeto combines pop panache with strobing dance textures for a fabulous groove on 'No Body'; it's just her second ever single, but one absolutely melting with confidence and style. Her lyrics swing from introspective, questioning and intense, to outward-looking and erring towards hysteria. The desperate onslaught of distorted vocal that eases the track through the bridge into its whirling outro is a piercing crux of high energy, and as 'No Body' calms down and ends, we’re left with the sense that Kaeto has much more to share with us. (Ims Taylor)