Scrappy, upbeat indie rock provides the backdrop, with a punchy rhythm, infectious melodies and a ridiculously catchy chorus complete with perfectly placed ‘do do dos’. There are shades of The Strokes in the guitars alongside a touch of Britpop and Pulp’s knack for turning sharply observed everyday details into something funny. The vocals move between playful and lightly sneering, but ‘Not Cool’ never sounds genuinely bitter – they’re having far too much fun taking the mick for that.

Funny without tipping into novelty and catchy without overcomplicating things, it’s proof that sometimes all you need is a good melody, a rubbish ex and some questionable underwear-buying arrangements.

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A subtly funky bassline and disco-inspired drums provide the irresistible groove, while warbling guitars, playful synths and psychedelic textures swirl around them. Anne’s light, dreamy vocal adds to the carefree mood, with sparse lyrics switching briefly into Mandarin as she counts down to the beat. Somewhere between disco and psych-pop, ‘Dance Dance Dance’ is colourful, uncomplicated and impossible to hear without at least a little movement.

The video makes that communal joy its entire focus, bringing together what appear to be homemade clips of fans dancing along. Kaleidoscopic effects weave between the footage, extending the song’s psychedelic streak while celebrating people simply losing themselves in the music. No angst, no hidden meaning, no existential crisis – just three and a half minutes dedicated to the pleasure of a really good groove.

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You’d hardly know it from the music. ‘Window Shopping’ sparkles, driven by a seriously funky bassline that gives the track much of its character alongside bouncing guitars and polished pop production. Disco inflections run throughout, while Sebghati’s strong, clean vocal rides effortlessly over the groove. Rather than dwelling in its insecurity, Night Talks package it inside something bright, infectious and enormously fun – quite simply, it’s a bop.

The accompanying video plays more directly with the song’s themes, surrounding the band with mirrors as they perform beneath moody lighting. Reflections multiply and fragment across the screen, creating an almost mirrorball-like effect that fits both the track’s disco shimmer and its preoccupation with comparison. Sometimes self-doubt, apparently, comes with an excellent bassline.

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A steady, unhurried rhythm carries ‘Splinters’, while Mariae’s clear indie pop vocal sits at the centre of a warm, nostalgic sound. There’s an understated quality to the arrangement rather than an obvious musical transformation to mirror the song’s journey, allowing its melody and storytelling to do much of the work. It’s easy to imagine ‘Splinters’ appearing on the soundtrack to a modern coming-of-age film.

The accompanying video leans into that feeling, following a white-dressed Mariae from isolation – samurai sword in hand – onto roads, into a passing car and eventually along railway tracks. The beautiful, occasionally intense imagery suggests movement and independence. At just 18, Mariae already carries herself with the assurance of an artist whose story is only beginning.

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Despite its suggested shoegaze influences, ‘This Is It’ sits much more comfortably within indie-pop. Hazy touches emerge through the guitars, while hints of The Cardigans can be heard in its understated melodic character. At the centre is Daisy’s distinctive, conversational vocal, carrying both the lingering sadness of the song’s beginnings and the perspective that comes from having made it through to the other side. The transition between those two periods isn’t dramatically signposted; instead, they seem to coexist within the track.

There’s something fittingly uncomplicated about ‘This Is It’. Rather than turning recovery into a huge triumphant moment, Daisy allows the hurt and hope to sit alongside one another – a quietly assured glimpse into the musical world she’s building around the song.

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One of the song’s greatest strengths lies in its beautifully satisfying chord changes, the kind that quietly creep up on you before sending a wave of emotion through the room. Paired with shimmering guitars and Alex’s warm, heartfelt vocal, ‘Inside’ captures that rare contrast where uplifting music carries some of the heaviest emotions. While the lyrics wrestle with grief, generational trauma and the fear of losing those closest to us, the song never feels weighed down by darkness. Instead, there’s an unmistakable sense of hope woven through its soaring melodies, making it feel every bit as cathartic as it is poignant. The accompanying performance video keeps things simple, with Alex and her band playing together in the corner of a room, allowing the song’s emotional honesty to remain firmly at the centre.

Speaking about the single, Alex explains: “It’s about coming to terms with compounded grief, generational trauma… Part of love is accepting loss, making space for grief, and finding the courage to feel it all. It’s a song about connection, the choice to be vulnerable, and learning that the only way through grief is to let yourself feel it.” That openness is what makes ‘Inside’ resonate so deeply. It’s a reminder that even the most painful experiences can become something uplifting when transformed into music.

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A bright guitar line and driving beat hook you in from the outset before Alicia’s heartfelt vocal carries the song through its bittersweet tale of letting go. While the lyrics wrestle with heartbreak and the difficult process of moving on, the music never becomes weighed down by sadness. Instead, it strikes an engaging balance between melancholy and optimism, wrapped up in a sleek indie-pop package that feels effortlessly accessible.

There’s something unmistakably London about ‘Torn’. It feels made for weaving through busy city streets as daylight begins to fade, carrying that subtle mix of hope, reflection and forward motion. The accompanying video reinforces the song’s themes through clever visual metaphors of washing away the past, and although they’re never heavy-handed, they quietly complement the song’s message of healing. With another confident release under her belt, Alicia Clifford continues to show why she’s one of the UK’s most exciting emerging songwriters.

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Despite its dystopian themes, ‘Mother Nature’s Killing Spree’ never loses sight of its emotional core. Bright, driving indie instrumentation gives the track an uplifting energy that beautifully contrasts with its apocalyptic setting, allowing Chloe’s poignant songwriting to shine without ever becoming weighed down by despair. It’s this balance between darkness and hope that makes the song so affecting.

The accompanying video brings that vision to life perfectly, following two strangers falling in love as civilisation unravels around them. As Chloe explains, “I wanted to capture that strange idea of carrying on as normal while everything falls apart around you… But underneath all of that, the chorus is really about something much more human. The idea that, when everything else disappears, love is still the thing we come back to. Lying cheek to cheek as the world ends.” It’s a beautiful sentiment that perfectly encapsulates a song which finds warmth, humanity and hope even at the end of the world.

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Hints of ’90s hip-hop can be heard in the laid-back drum groove and production, but ‘Crying in the Car’ is rooted firmly in indie pop, with acoustic guitar and an easy-going melody at its heart. YAOUNDÉBOXINGCLUB’s soulful vocal brings a timeless quality to the track, making the comparisons to Tracy Chapman feel particularly fitting while still allowing her own identity to shine through.

Rather than dwelling in sadness, ‘Crying in the Car’ finds comfort in reflection. Its nostalgic atmosphere lingers long after the final note, making it feel like the soundtrack to wandering familiar streets and quietly appreciating how far you’ve come. Thoughtful, understated and quietly affecting, it’s another compelling release from an artist continuing to carve out her own distinctive sound.

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Despite its subject matter, ‘Sugar Baby’ unfolds with a dreamy warmth that makes it instantly inviting. Gentle folk touches sit alongside a sweet, memorable melody, while Winston’s distinctive vocal performance gives the track a sense of sincerity and emotional depth. There’s an intriguing contrast at the heart of the song, with its bright, easy-going sound masking a story of feeling taken for granted by someone you care about.

Speaking about the track, Winston explains: “I wrote the song ‘Sugar Baby’ about a friend I felt only wanted to hang out with me if I was the one paying for everything. I really valued our friendship to the point that I would turn a blind eye to them taking advantage of me.”

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