Everything falls beautifully into place. A gently swaying groove sits beneath kaleidoscopic guitars and blissful vocal harmonies, while some gorgeous, spine-tingling chord changes add another layer of emotion. Firmly rooted in dream-pop, ‘Temporary’ feels warm and wonderfully fluid, with the harmonies in particular contributing to its hazy atmosphere. It’s perfectly danceable too – less throwing shapes, more allowing yourself to sway wherever the music takes you.

That bittersweetness is woven right through the sound. You can picture friends dancing together on a warm summer evening, completely caught up in the moment, while somewhere beneath the happiness sits the knowledge that eventually everyone will have to go home. As ViVii put it, it’s about “dancing while you still can, knowing that the song will eventually end.” ‘Temporary’ makes that inevitability feel less like something to fear and more like a reason to enjoy the music while it’s playing.

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Fiona Tagami’s feather-light vocal is once again the song’s beating heart, drifting effortlessly above delicate instrumentation with an almost weightless quality. While ‘Bluebells’ leaned further into whimsy, ‘So Sweet’ unfolds at a gentler pace, trading some of that brightness for something more reflective without ever losing its dreamlike charm. The feeling of finding peace after difficult times quietly reveals itself rather than announcing itself, allowing moments of hope to shimmer beneath the song’s wistful surface. The accompanying video perfectly extends that atmosphere, weaving together dreamy theatre stage performances with scenes on the beach and beneath the lights of a funfair, creating a hazy, almost nostalgic world that feels suspended somewhere between memory and imagination.

Speaking about the song, Fiona says: “I wrote this song right after spending a week straight in the hospital after complications with a surgery. Once I got out of the bland, grey room, everything seemed brighter and sweeter… Forgiveness, sweetness. I felt very at peace.” That sense of quiet renewal lingers throughout ‘So Sweet’, making it another gorgeously understated release from a band that continues to craft songs as delicate as they are emotionally resonant.

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Ellis’ ethereal vocal is the undeniable centrepiece, floating effortlessly above hazy guitars and soft, dreamlike production. Echoes of Mazzy Star and Slowdive can be heard throughout, but the song never feels derivative, instead creating its own gently immersive atmosphere where every note seems to drift by like a passing thought.

The song’s celebration of life’s outsiders lands with quiet sincerity, making ‘all that i’ve got’ feel like a comforting companion for anyone who’s ever questioned whether they’re enough. It’s the kind of track that belongs to those solitary moments spent gazing through a rain-soaked car window, lost somewhere between reflection and hope. Beautifully melancholic yet strangely reassuring, Ellis transforms vulnerability into something quietly powerful.

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While retaining the band’s unmistakable dream pop roots, ‘Plain Sailing’ swaps hazy textures for a cleaner, more buoyant sound. Bright, jangly guitars shimmer throughout, while Tilda Gratton’s vocal gently carries the verses before soaring effortlessly in the chorus, perfectly capturing the song’s uplifting spirit.

Bathed in warmth and optimism, ‘Plain Sailing’ feels like sunshine breaking through the clouds. Its irresistible melodies and feel-good energy make it another beautifully crafted preview of Everythingness, showcasing atmos bloom’s ability to create music that feels both comforting and quietly exhilarating.

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Built around a captivating motorik groove, ‘It’s Enough’ immediately settles into an effortless rhythm, with jangly, reverb-soaked guitars creating a dreamy haze that feels equal parts ’90s dream pop and shoegaze. Rather than building towards a dramatic climax, the song invites listeners to lose themselves in its warm, hypnotic atmosphere, where every element drifts naturally into the next.

Despite the weight of its subject matter, ‘It’s Enough’ radiates warmth and optimism. Its hazy textures conjure images of wildflower meadows, blue skies and golden afternoon sunshine, creating a soundscape that feels breezy, comforting and quietly uplifting. It’s another beautifully realised release from atmos bloom, proving that sometimes the gentlest songs can leave the strongest impression.

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Helmed by Rebecca “Dottie” Cockram (guitar, vocals), Ben Easton (guitar) and Harry Catchpole (drums), they shared lead single ‘Seabird’ to widespread acclaim and now share a second taste of the collection with the brand new seven-and-a-half-minute long dreampop epic ‘Alfie’.

What started as a tender ode to Ben’s family dog who had just passed and an emotional release of the reins of childhood blossomed into a Sigur Ros-esque stunning wall of intricately crafted noise. The single is accompanied by a beautifully shot video directed by their friend Limb.

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With the EP announcement comes the release of new single ‘Poison Berry’ and a one-take video directed by Jay Bartlett depicting a relationship deadlock.

‘Poison Berry’ provides the new EP’s second taste, following 2025 single ‘Submarine’. Built around a hypnotic rhythmic pulse, Night Swimming lean into a gauzy dream-pop palette, turning the lens inward on recurring relational dynamics.

Speaking on the release of new single ‘Poison Berry’, vocalist and lyricist Meg Jones said: “‘Poison Berry’ is an amalgamation of my experiences with men and how they have made me feel in relationships, but it is also a reflection of my own responsibility for the kinds of dynamics I can be drawn to. There is a dryness of tone to this song that I haven’t explored before in lyrics, and a numbness. ‘Poison Berry’ details the state of being acutely aware of your partner’s emotions, although they seem distant, and the loneliness (or bitterness) of feeling like that isn’t reciprocated.”

On the song’s accompanying video, Meg added: “We wanted the music video for ‘Poison Berry’ to present as a satirical caricature showing the pain and futility of trying to make relationships work with people who can’t be who they want to be. We worked with Jay Bartlett for this, who suggested the use of a continuous track camera technique to pan across different scenarios in a confined space. The video swings between expressions of despondency, anger and exasperation to highlight the characters’ repressed emotions and lack of communication.”

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Her latest release, ‘Better Than Mine,’ is a shimmering, early-2000s-inspired pop track that digs into the often-unnamed envy stirred up by social media. “It’s so easy to look at the people around you and wonder why they have something and you don’t, when in reality they’re probably feeling the same way about you,” she explains. The track’s verses channel those spiraling inner thoughts, while the chorus offers a self-aware reality check. By the time the bridge hits, evvvie reckons with her emotions, admitting, “this state of mind is no one’s problem but my own.”

Written in under three hours during her first-ever session with producer Elliott Isaac, ‘Better Than Mine’ captures the kind of spontaneous creative spark that can’t be forced. “It’s not often that you creatively click with someone like that, and I think our energy from that day really made its way into the song,” she says.

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Discussing the single, bassist/vocalist Maddy Myers states, “What if the relationship with the person you’ve planned your whole life around started to crumble? That’s what ‘Lost World’ is about. To contemplate having to start over and figure out who you are again. The older and more settled in this life and relationship I get the more terrifying the idea becomes.”

Maddy and guitarist Gustav Moltke chiselled away at every detail for a couple years and let the tracks and ideas age a little, performing them live with drums/percussionist Josh Cabitac and bassist/synth master George Godwin before rearranging them in their new home studio until they felt just right. Producer duties were taken on by their own George Godwin, working alongside Adam Thein (Djo), who manned the helm on their sophomore album, Sing Spaceship, Sing!.

Myers adds, “Dumb Luck is probably the most collaborative album we’ve made as a band. It has little pieces of all of us within it and feels really special. Like this little mix of all our different characteristics – it’s got my softness and introspection, Gustav’s humour and explosiveness, Josh’s thoughtful precision, and George’s wonky wizardry just kind of blankets over everything. I hope people can feel the care and love that went into these songs that mean so much to us as a collective.”

Dumb Luck:

1. Lost World
2. Penny
3. Fantasy
4. Butterknife
5. Avalanche
6. Space Elevator
7. Superstore
8. Automatic
9. The Light
10. Loveflow

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Ahead of the album’s release, Roller Derby have shared another captivating single. Exploring themes of change and acceptance, glistening new single ‘Ready To Forget’ brings a fresh energy to the duo’s ever-evolving sound, showcasing a grittier edge than we may be familiar with. Fusing together Roller Derby’s trademark shimmering synth sounds and jangly guitars with an upbeat danceable groove, Philine Meyer’s luscious celestial vocals soar throughout; questioning the moment when it’s time to let go: “When is our time to go / Are you ready to forget me?”

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