Built around a deliciously warm, bouncy bassline, ‘dizzy’ settles into an irresistibly hypnotic groove. Funky, wah-wah-soaked guitars weave through the arrangement, accompanied by jazzy piano flourishes and a colourful wash of psychedelic-pop textures. There’s a wonderfully kaleidoscopic quality to the instrumentation, with elements of neo-soul, indie funk and dreamy pop blending effortlessly together. Alice’s soft, dreamy vocals float above the groove, adding another layer of warmth to an already inviting sound.

Rather than chasing dramatic shifts or an explosive climax, ‘dizzy’ finds its charm in letting the music breathe. The relaxed rhythm and gently swirling instrumentation create an atmosphere of carefree contentment, perfect for swaying along without a worry in the world. Like a lazy summer afternoon stretched into four glorious minutes, it’s a little slice of honey-dipped bliss.

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Musically, ‘La Promesa’ is an extraordinary collision of crushing metal riffs, Venezuelan folk influences and gothic, almost operatic grandeur. Rapid rhythms inspired by traditional Joropo intertwine with harpsichord, Venezuelan cuatro, keyboards and maracas, creating a richly theatrical arrangement. Jess moves effortlessly between gorgeous melodic singing and guttural growls, while Spanish lyrics and French passages from bassist Alizon celebrate the band’s multicultural identity. It’s ambitious, unpredictable and utterly distinctive.

The accompanying video is equally imaginative, transporting viewers to an 18th-century manor estate through elaborate period storytelling, dreamy cinematography and impressive DIY special effects. Jess even performs on harpsichord and cuatro, bringing the song’s unusual instrumentation into its visual world. Blending classical elegance, gothic fantasy and ferocious heaviness, ‘La Promesa’ showcases a band whose creativity seems to know no limits.

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Beginning with eerie, droning guitars and haunting, almost spectral vocals, ‘He or She’ gradually descends into a cacophony of abrasive noise. Piercing post-punk guitars collide with sludgy distortion and industrial-tinged textures, while a hypnotic rhythm section drives the escalating tension. Charissa’s vocals shift from ghostly restraint to raw, emotional shouting as the instrumentation grows increasingly confrontational. An improvised-sounding saxophone solo adds another wonderfully unsettling dimension towards the end.

The accompanying video mirrors this disintegration through dark, gothic-tinged imagery, combining performances in a dilapidated warehouse with disturbing suggestions of decay and sexuality. More an immersive piece of sonic art than a traditional rock song, ‘He or She’ captures the chaos of a relationship collapsing in spectacular fashion. It’s uncomfortable, unpredictable and all the more compelling for refusing to play by the rules.

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Beginning with a stripped-back arrangement of guitars and intimate vocals, ‘shadow’ gradually develops into a gloriously grungy slice of 90s alternative rock. Fuzzy, shoegaze-tinged guitars erupt during the choruses, accompanied by explosive drums and crashing cymbals, while shifting rhythms create an unpredictable momentum. Touches of cello add another layer of texture, recalling the raw, emotionally charged sound of Hole and PJ Harvey. brookelen’s effortlessly cool vocals move between fragile restraint and full-throated release.

The accompanying video brings the Icarus imagery to life, depicting brookelen as a fallen angel whose wings end up discarded among rubbish. Dreamy, blurred footage and sun-drenched outdoor scenes alternate with band performances, creating a distinctly 90s aesthetic. Together, the song and visuals explore the painful consequences of flying too close to something that ultimately burns.

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Opening with an attention-grabbing drum pattern, ‘HOLE’ quickly introduces crunchy, distorted guitars and a grungy alternative-rock sound. There’s an interesting mix of indie-rock melody and slightly mathy rhythms, particularly in the bouncy, off-kilter verses. The drums are a standout throughout, shifting between playful, unpredictable patterns and big, punchy rock beats. A guitar solo offers a moment for the bass to emerge more clearly, while an impressive instrumental breakdown towards the end gives the percussion another opportunity to shine.

Coco Scott’s melodic, emotionally vulnerable vocals provide a compelling contrast to the track’s energetic instrumentation. Rather than dwelling entirely in darkness, SPEIRA wrap a difficult subject in something surprisingly uplifting, creating a song that acknowledges hidden struggles while offering a sense of connection and understanding.

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Opening with beautiful guitar harmonics, ‘drift’ unfolds into a shimmering dream-pop arrangement built around delicately plucked, chorus-soaked guitars. Their slightly woozy quality creates a sense of weightlessness, while a subtle, hypnotic bassline and steady, understated drums provide a gentle pulse beneath the surface. Nadia’s delicate, breathy vocals float effortlessly above the instrumentation, carrying a quiet sense of yearning.

The accompanying video extends this atmosphere through sun-drenched, softly filmed scenes of Nadia beside and within the water, interspersed with close-ups, nature imagery and shadowy interiors. The contrast between its summery beauty and moments of solitude mirrors the song’s emotional contradictions. There’s something quietly heartbreaking about ‘drift’, where even the smallest moments of affection can feel impossible to let go.

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Musically, ‘5AM’ is steeped in classic 70s rock ’n’ roll swagger. A Beatles-esque guitar riff leads the way, supported by a groovy bassline and stomping, driving drums. There’s a dirty, bluesy quality to the arrangement, with just enough contemporary indie-rock influence to keep things feeling fresh. Georgie’s effortlessly cool, playful delivery brings plenty of personality, sounding every bit the besotted rock star.

Beneath that swagger lies a more complicated story of queer love, including the secrecy and uncertainty that can accompany relationships before they’re shared openly. Yet ‘5AM’ remains a celebration of desire rather than a lament for its complications. GIRLBAND! take a familiar rock ’n’ roll fantasy and make it entirely their own.

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Built around heavily distorted, downtuned guitars and bass, the track charges forward in a chaotic wall of sound. There’s a raw, almost overwhelming quality to the instrumentation, with the low-end rumble and gritty guitar tones blending into one enormous, dirty racket. LuLu takes the lead on vocals, delivering her lines with a distorted, shouted intensity, while John joins in at intervals, adding to the song’s unruly energy. It’s heavy, loud and practically demands some enthusiastic headbanging.

Just when things appear to have reached an abrupt conclusion, Pink Fuzz throw in a wonderfully unexpected twist: five seconds of complete silence before a squealing guitar solo tears through the quiet. It’s a mischievous moment that perfectly captures the trio’s chaotic spirit. ‘Don’t You Wanna Go To Heaven?’ might leave your ears ringing, but it’s one hell of a ride.

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Musically, ‘Anything You Want’ is bright and breezy without being overly energetic. Synths and drums form the backbone of its relatively simple arrangement, while quirky electronic flourishes introduce a subtle psychedelic edge. Jasmyn’s melodic vocal carries an unmistakable warmth, although there’s a hint of hesitation beneath the optimism, reflecting the song’s push and pull between excitement and self-doubt.

That inner dialogue emerges through repeated encouragements to take chances despite feeling scared or getting stuck inside your own head. The accompanying homemade lyric video matches the song’s playful spirit, combining colourful scrapbook-style graphics, cut-out imagery and animated typography. Rather than pretending uncertainty has disappeared, ‘Anything You Want’ celebrates finding the courage to move forward anyway, making for a quietly uplifting return.

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Delicate piano melodies and understated strings accompany Juli’s fragile, breathy vocal, retaining the vintage, otherworldly quality of her earlier work. Audible piano pedals and subtle creaks create a remarkable sense of intimacy, while the sound of a striking match punctuates a lyric about burning an unworn wedding dress. The result is beautifully sparse and bittersweet.

Its cinematic video offers a darker interpretation. Introduced as the ‘lovesick lady’, Juli drags a shrouded body through the Swedish woods before burning it, eventually appearing in handcuffs. Shot with a retro photographic quality, the surreal narrative symbolises the destruction of her former self. Together, song and video explore the painful but necessary process of learning to love yourself again.

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