Neu The Neu Bulletin (Slow Fiction, Joe James, Chanpan and more!)

Slow Fiction return with a nostalgic beauty, the influence of New York culture creating a yearning for something familiar. Here, the feeling of being watched is one too difficult to ignore, as lead drums atmospherically force the listener to see the world through the eyes of vocalist Julia Vassallo. A feeling of dissonance arises, Vassallo’s vocals enhancing this vulnerability like a diary burning to avoid exposure. Then, as a climax is reached, they turn off the eponymoys ​‘Satellite’, concluding after all that ​“it was just a headlight”. (Esther Akinborewa)

Nobody dreams of becoming a wage slave. But on ​‘Papercuts’, Joe James shows how quickly the dream of making money becomes the burden of needing more. With an abstract, soulful instrumental built around a persistent ticking that feels like both a clock and a time bomb, James wrestles with the hamartia of greed and the impossibility of ever feeling satisfied. ​“Money was supposed to fill the hole,” he laments, only to end up more paranoid than fulfilled. ​‘Papercuts’ ultimately lands on a simple truth: nobody is destroyed all at once; the wanting is death by a thousand cuts. (Hannah Breen) 

In preparation for their ​‘autogratis’ EP release (out now via EQT Recordings), New York trio Chanpan make a statement too difficult to ignore. Provocative yet dangerous, ​‘i got a gun’ opens with a fantasy-esque instrumental, their harmonies elevating this world. Atmospherically electric, the percussion and guitar unite with vocalist Grace Dumdaw’s chants, creating a powerful demand to run. Listeners are held in place knowing they should leave, yet feeling tempted to stay — regardless of the risk. (Esther Akinborewa) 

There are songs that take a few listens before they really strike a chord. And then there’s Jordan Patterson​’s ​‘Songs From A Valley Girl’. For those who, like Cameron Winter and Folk Bitch Trio, became fans of her acoustic gems after hearing her debut outing ​‘The Hermit’, it’s hardly a secret that this new Secretly Canadian signee has one of the most distinctive voices on the alternative folk scene. For everyone else, ​‘Cinderella’ is the perfect chance to discover an artist who might finally free vibrato from the curse of the cursive singing meme. (Gabriele Naddeo)

Opus Kink​’s latest offering opens with a low, nagging tension that never quite settles – ​‘Will It Come For You?’ inhabits that uneasy middle ground between safety and catastrophe. Hushed, almost conspiratorial whispers and a steady rhythmic pulse thread through dust-blown guitar flourishes, prowling bass and a brass section seemingly on the brink of mutiny. Through it all, frontman Angus Rogers sounds perpetually on edge, before trumpet and saxophone erupt into a blood-curdling cacophony of squalling brass amidst guttural yells. It’s existential dread, sure, but existential dread that arrives with its sleeves rolled up. (Hannah Breen)

You simply can’t help but move to the beat of Holly Head​’s latest single; driven by chaotic guitar riffs and an infectious unchained energy, the moshpit melody of ​‘I’ve Had Want’ is offset by the intermittent vocals of leading man Joe Moss, which give the song a melancholic edge. ​“I’ll try and see you in someone else / But they might be hard to find / I’m just going to save some face and leave the under side,” he laments, before a distorted, abrupt ending leaves you breathless — yet somehow craving more. (Amelia Jones)

‘Not Going Back’ marks another foot-tapping forward step on Muireann Bradley​’s journey to developing her own clear voice. The lilt and vibe of this timeless song is pure roots, anchored in decades of tradition, but this is an original one, braced with a driving, thumping beat and sung with supreme confidence. From the understated opening bars, the song progresses beautifully, balancing smoothness with catchy rhythm before entering an easy-going flow state. Bradley’s trademark finger-picking style is front and centre, of course, and enriched with subtle flourishes: listen for the rippling Hammond organ, haunting backing vocals, and funk-inspired but subtle licks of electric guitar. (Phil Taylor) 

Buoyed by a reputation that preceded them — the band sold out their first four headline shows before releasing a single track — Curiosity Shop have now shared their debut single, ​‘Crows’. Folk guitars, accordion and layered vocal harmonies make the song feel both timeless and deeply comforting — apt, given the cut was written by songwriting duo Ruairidh Wallace and Sonny Scott during their teenage years. An intriguing introduction to the Edinburgh-based outfit. (Lorène Bienvenu)

mary in the junkyard are a new discovery every time. Despite having built a solid catalogue of music, each track the trio produces is a genuinely intriguing art piece: a treasure uncovered, run through with veins of intense creative thought. ​‘Mouse’ only confirms this. It begins almost tentatively, emerging with caution or maybe reluctance – as you may expect the eponymous creature to behave. But then, big, bold and unexpected things happen: rich dissonant strings swell along with a soft-toned guitar and gentle insistent drums, and Clari Freeman-Taylor is given free rein to exercise her startlingly versatile voice. Everything seems on the brink of chaos, before Clari leads us to rest in seclusion again. A stunning addition to this band’s ultra-novel body of work. (Phil Taylor)

@ are a boundary-pushing outfit from Philadelphia, and on ​‘Autosmile’ they further refine their distinctive brand of psych-folk. Across six and a half minutes, the track gives Victoria Rose and Stone Filipczak room to stretch out, pairing clean acoustic tones with the pair’s interwoven vocals. Although they come from a scene often associated with shoegaze, @ stand apart by leaning into acoustic space with folky vocal textures. As the lead single from their upcoming album of the same name, ​‘Autosmile’ suggests a band settling confidently into their niche. (Kai Marshall) 

The sweet, gentle, fingerpicked melody of Zola Courtney​’s ​‘I Like You’ sweeps across your skin like a cool breeze. The simple yet disarming love song is laced with Courtney’s hauntingly beautiful vocals, and overflowing with tender, vignette-painting lyrics: ​“I got off the red eye to find you at the gates / Brought me all the things I like then you were on your way / Give me love when I need it / Give me time when I need the space”. Unfolding layer by layer, the track’s chorus creates a powerful sense of lift, before the crescendo is resolved and we return to a simple strum. Simply dreamy. (Amelia Jones) 

On this latest offering, jo from school lets things unfold slowly; starting with little more than a looping guitar line and steady drumbeat, the track gradually opens out as Jo Geller’s softer vocals boil over into frustration. The transition only makes the song’s punchier, heavier moments land with all the more conviction, as nostalgic synths give way to a full-throttle, full-band affair. Named after a lyric misheard by producer Hugo Hardy, ​‘Julia Roberts’ is inspired by a brief encounter with a man on the tube, channelling what Geller describes as the feeling of ​“not recognising who you are and how to immerse yourself in living.” (Hannah Breen)

Tags: Neu, Neu Bulletin, @, Chanpan, Curiosity Shop, Holly Head, jo from school, Joe James, Jordan Patterson, Listen, mary in the junkyard, Muireann Bradley, Opus Kink, Slow Fiction, Watch, Zola Courtney