Neu The Neu Bulletin (The New Eves, Man/Woman/Chainsaw, Slow Fiction and more!)

On ​‘Highway Man’, folk-punk quartet The New Eves ominously take our hand, dragging us across dusty paths and over boggy marshes, reimagining the Alfred Noyes poem of the same name from a female-first perspective, playing with the fate of the original highway man. The instrumentation creates a sense of worry through perpetual repetition, which steamrolls ahead into layers of jagged harmonies which run along manically unsettling guitar and cello solos. This single acts as an introduction to their new chapter as Transgressive signees, establishing their cinematic, distinctive sound to new listeners whilst simultaneously rewarding existing fans. (Millie Tempo)

Having this week packed out London’s Scala (as well as an array of venues across the UK), Man/​Woman/​Chainsaw have also hinted at a new, brighter sonic direction with their first single on So Young Records. ​‘Adam & Steve’ sees Billy Ward and Vera Leppänen perform a sprightly vocal duet with a fabulous call and response verse tied together by a powerful unison chorus. Clio Starwood’s cello line heightens the track even more, solidifying its ballad-ry feel. ​‘Adam & Steve’ has all the charisma of a drinking song, with the instrumental quality that Man/​Woman/​Chainsaw have, via relentless loops of the capital’s live circuit, come to perfect. (Peter Martin)

Teaming up with Speedy Wunderground for this latest single, exhilarating New York quintet Slow Fiction showcase just why they’re such an exciting prospect with ​‘When’ — a number which offers up more of a chaotic edge and a harsher sound than their previous releases. While there are shades of the early ​’00s garage-rock scene (which of course exploded in New York) to ​‘When’, the band continue to add their own distinct spin — and, in doing so, back up the growing sense of hype surrounding them. (Chris Connor)

On her latest single ​‘Seasons’, Hackney-born singer-songwriter Mychelle is caught somewhere between memory and momentum. The final preview of her forthcoming debut album ​‘Good Day’, the track blooms from a simple, soulful beginning; here, gently strummed guitar chords cradle her rich, velvety vocals as she picks apart the remains of a summer love. Written with her best friend and pieced together across sessions (and basketball breaks), ​‘Seasons’ is steeped in both introspection and instinct — a song born in transit and crafted with care. As the verses loop back to their stripped beginnings, the layering builds gradually, mirroring the emotional tug-of-war in her lyrics: ​“Are we something that was only good for the summer?” There’s a warm ache to it all — a hopeful nostalgia undercut by uncertainty — and by the time the final guitar melody fades, you’re left suspended within that very question. It’s a stunning moment of pause before ​‘Good Day’ drops, and a clear sign that Mychelle is only just beginning. (Lucy Ward)

Combining dreamy synth-pop with floating vocals, in ​‘beast’ LALA HAYDEN is simultaneously resting in a warm, safe place and breaking out boldly into new territories. The song circles around the idea of coming to terms with – and ultimately defeating – self-doubt. As ​‘beast’ begins, we hear uncertain murmurings from the protagonist, but soon the music expands with buzzy synths and rapid beats, and expressions of doubt develop into confident affirmations. By examining her insecurities, and driven by the swirling music she creates, LALA finds her strength: by the track’s end, ​“All I need is a miracle” becomes ​“I am a miracle”. (Phil Taylor)

Possessing a punch-packing pep not dissimilar to the leaping, beer-soaked spectacle of limbs at a raucous live show, Lifeguard​’s new single ​‘It Will Get Worse’ provides an instant injection of blues-curtailing, buoyed-up energy. The track arrives alongside the announcement of the Chicago trio’s upcoming debut album ​‘Ripped and Torn’, and it surges with the scrappy, free-spirited vigour that the group have come to be known for. Charging forth with concise and propulsive d‑beat punk rhythms against a scratchy cacophony of clangorous guitars, ​‘It Will Get Worse”s textural dissonance and riotous exterior is unpeeled to reveal a rich and kaleidoscopic reservoir of gorgeous melodies, lustering with the sort of flair and artistry that luminaries are made of. (Hazel Blacher)

With the release of this blistering new track (named after their tour manager, natch), UNIVERSITY have announced their Beatles-indebted debut album, ​‘McCartney, It’ll Be OK’. Providing a second glimpse at the record, ​‘Curwen’ is just as intense as the rest of the band’s limited catalogue, beginning with a torrent of uncompromising instrumentation which pairs WU LYF-style vocals with ferocious guitars and drums. But the cut shows off a new level of restraint from the band, too. At times, they allow quaint whistles and gentle twangs to come to the fore, moments of sweetness that offset the noise – though Zak Bowker’s vocals never quite lose their anguish. A track that proves UNIVERSITY’s entrancing live set isn’t at all reliant on their gamer gimmicks, ​‘Curwen’ is a promising look at the band’s first full-length offering. (Elle Palmer) 

With ​‘Showdown Shadow’, Brighton five-piece Trip Westerns have offered up a slinky psych-blues feast that echoes the nostalgia of a classic American western. Within its first few moments, the track’s fluttering electric guitar intro boasts a cinematic tension, breaking like the twitch of a finger in a prolonged standoff. It then enters a lush, surfy soundscape which vocalist Harrison Baird-Whitman cuts through with clear precision, adding a sharp layer to the sun-soaked atmosphere. The lyrics illustrate a picture of someone meandering through a world created in their dreams, blurring the lines of reality as they get caught in a relentless cycle of dissociation. ​‘Showdown Shadow’ honours Trip Westerns’ spirit of ​“rock & roll and psych & soul”, delivering a hypnotic blend of brooding suspense, beaming riffs, and a balmy bassline that sticks with you even after the final note plays out. (Kayla Sandiford)

On ​‘Hounds’, a thin, vulnerable guitar riff and simple vocal line herald the introduction of what becomes a remarkably powerful alt-rock song. During the first 45 seconds, Dublin trio For Nina are simply gathering breath — what follows is a blistering explosion of guitars and drums, a tightly controlled cacophony of perfectly judged discordance and deliciously balanced cadence. Later, all drops away again, before a satisfying denouement wherein problems are cathartically resolved. Here, For Nina convey the chaotic mysteries of life and growth through just a few well-chosen words and chords, and it’s stunningly effective. (Phil Taylor)

The final cut to be lifted from Liverpool trio DBA!‘s debut EP, ​‘D.P.D’ is the latest in a series of rambunctious offerings from the hotly-tipped newcomers. What starts off as a twanging, acoustic guitar melody quickly erupts into a raucous landscape of unruly riffs, overlaid by vocoder-splashed vocals and existentially questioning lyricism. An uncompromising deep-cut, it provides an immersive dive into the Northern outfit’s rule-bending ethos. (Emily Savage)

Tags: Neu, Neu Bulletin, Cosmorat, DBA!, For Nina, Lala Hayden, Lifeguard, Listen, Man/​Woman/​Chainsaw, Mychelle, Slow Fiction, The New Eves, Trip Westerns, University, Watch