Musically, ‘Greyhound’ is a spirited slice of guitar-driven indie pop/rock, reminiscent of early KT Tunstall. Galloping acoustic guitars establish an infectious momentum, soon joined by energetic, driving drums and a supportive bassline. Katie’s bright, urgent vocals carry a mixture of vulnerability and frustration, creating an interesting contrast with the song’s lively instrumentation. Midway through, the arrangement slows dramatically, leaving just her voice and piano before the guitars return and percussion gradually builds everything back to full throttle.

There’s something wonderfully fitting about the restless, galloping rhythm of a song named after one of the fastest dog breeds. Beneath its energetic exterior, however, ‘Greyhound’ captures the loneliness of loving someone who makes you feel forgotten. It’s a catchy, emotionally honest combination of movement and melancholy.

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Slightly eerie, vintage-tinged piano chords open the track, joined by acoustic guitar and gentle percussion that gives the song a slow, waltz-like sway. There’s plenty happening beneath the surface, yet the arrangement remains spacious, allowing steph’s warm, soulful vocal to lead. Delicate in places, her voice rises into genuinely soaring territory as distorted guitars gradually creep into the mix, before the song strips back once again towards its close.

Despite its self-destructive story, ‘October 31st’ feels inviting rather than bleak. Warm, melancholic and wonderfully autumnal, it conjures fallen leaves, darkening evenings and the irresistible temptation to revisit something you already know is bad for you. Sometimes old ghosts are particularly difficult to leave buried.

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Produced by David Baron, the album examines the costs and sacrifices that come with leading a creative life and the importance of trusting oneself in times of confusion.

Ogier shares her new single ‘Hands Tied.’ On the self-penned track, Ogier captures the euphoria of falling in love. 

 Fly 1111:

1. All These Dreams
2. Baby Don’t Hurt Me
3. Hands Tied
4. Land
5. Rocksteady/HeavyMetal
6. Believing
7. W2F
8. The Prize
9. Keep You
10. West And Down
11. Fly 1111
12. Private Power

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Its charm lies in its simplicity. Acoustic guitar and drums provide a light, breezy rhythm, while flashes of lead guitar and a gentle touch of piano add colour without overcrowding the arrangement. Konigsberg’s sweet, conversational vocal carries an effortlessly catchy indie-pop melody, with harmonies from Katie Von Schleicher and Greta Keating adding warmth. The chorus is the real earworm, capturing the conflict between lingering affection and knowing it’s time to move on.

The accompanying video leans wholeheartedly into the song’s summery charm, following Konigsberg driving, lying in the grass and spending time beside a lake with an appropriately homemade feel. Warm and deceptively simple, ‘Free Byrd’ turns letting go into something tender rather than triumphant — finding freedom without pretending it doesn’t hurt.

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Beginning with delicate fingerpicked acoustic guitar, ‘Tourniquet’ gradually unfolds around May’s warm, breathy and quietly aching vocal. Strings begin to swell in the background before gentle percussion joins, but midway through the arrangement shifts: the fingerpicking falls away, replaced by strummed guitar and fuller percussion that give the song a greater sense of forward movement.

Eventually those two approaches come together, beautifully mirroring the emotional tension at the song’s heart. The delicacy of its opening feels rooted in longing, while the more purposeful strumming suggests acceptance beginning to take hold. Rather than presenting letting go as one clean break, ‘Tourniquet’ allows both feelings to exist at once, making for a tender and deeply affecting piece of indie-folk.

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Clean, jangling textures sit alongside flashes of distortion, giving the song a softer 90s alt-rock and grunge feel as it spirals towards a cathartic release. Eventually everything falls away, returning Weinman to where she began: alone with her acoustic guitar. There’s melancholy in that retreat, but an unexpected sense of peace too, before the title arrives as the song’s final lingering question.

The accompanying video makes that emotional dislocation tangible. Weinman wanders a funfair, riding the carousel and Ferris wheel, playing games and watching banger cars, while other scenes find her peering into a doll’s house or playing guitar alone in the darkness. Surrounded by places and objects associated with fun, ‘Do you think you can live without dying every day?’ quietly asks what happens when you can no longer tell whether you’re enjoying any of it.

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Beginning delicately with acoustic guitar, ‘Signals’ soon expands into a full-band arrangement alongside Keane’s band Na Reálta. Atmospheric lead guitar moves around the acoustic foundation, occasionally stepping forward with brief melodic flourishes, while steadily building drums give the song its brooding intensity. It sits comfortably in indie singer-songwriter territory, gradually increasing its weight without losing the intimacy at its core.

Keane’s vocal is undoubtedly the star. Rich with her natural Irish inflection, her delivery feels raw, expressive and intensely personal, as though she really is addressing another person rather than an addiction. There are echoes of SOAK in that distinctive combination of accent and emotional directness, but Keane makes the perspective entirely her own. ‘Signals’ leaves behind a lingering melancholy, capturing the exhaustion of recognising a destructive cycle while still struggling to break free.

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There’s a wonderfully playful energy to ‘Move On’, led by intricate layers of acoustic guitar. Fast finger-picked parts tumble over one another alongside an equally nimble bassline, while galloping drums give the track its jaunty, forward-moving bounce. Dunai’s warm vocal remains conversational at its heart, occasionally taking on a more playful quality that sits naturally against all that movement. Despite its energy, the song retains the intimacy of indie-folk, with the detailed guitar work providing much of its character.

Most importantly, ‘Move On’ radiates the cosy optimism at the heart of its message. Rather than dwelling on how long somebody might remain in our lives, Dunai celebrates the ways we continually shape one another, capturing some of the simple excitement and openness of making a new friend.

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‘Alfresco’ has pure lazy-afternoon energy. Soft synths and piano drift alongside warm touches of guitar and chilled-out percussion, creating a relaxed bedroom-pop sway that seems designed to make the world move a little slower. MEANDER’s dreamy, intimate vocal fits naturally within that softness, occasionally joined by subtle backing vocals without disturbing the song’s easy-going atmosphere.

It’s the lyrics, though, that give ‘Alfresco’ its particular charm. Songs so often place romantic relationships at the centre of our emotional lives, while MEANDER gives platonic love its own moment in the sunshine. There’s nothing dramatic about the friendship she captures here, and that’s precisely the point. Cosy, affectionate and wonderfully unhurried, ‘Alfresco’ is a reminder that sometimes happiness really can be as simple as sitting outside with someone you love.

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Guitar-led indie pop forms the heart of ‘Mini Moon’, coloured by retro-pop touches, occasional handclaps and candy-sweet backing harmonies. Mårtensson’s Swedish-accented deadpan gives it an endearingly left-field character, tossing out its sharpest lines with barely a raised eyebrow. As the track progresses, the arrangement becomes increasingly playful, with sweeter harmonies and handclaps joined by a welcome burst of saxophone. B-side ‘Leave It’ takes a stranger route, pairing prominent, charmingly wonky piano with scattered chaotic percussion and abrupt tempo changes. Mårtensson retains her deadpan delivery but allows more emotion to creep through, while the track’s art-pop and post-punk edges bring to mind the playful experimentation of Kleenex/Liliput.

‘Mini Moon’ also comes accompanied by a suitably whimsical DIY video, following Mårtensson through Berlin’s Rehberge park armed with sunflowers and a gloriously homemade papier-mâché moon. Different enough to show two sides of Matching Outfits but oddball enough to unmistakably belong together, both tracks find plenty of charm in things being just a little bit wonky.

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