Playful spoken vocals introduce the track alongside indie guitars before straightforward rock drums push it into punchy pop-rock territory. The instrumentation keeps things relatively simple, leaving Wild’s personality to provide the real spark. Lo-fi spoken-word passages capture her growing frustration and exasperation, her distinctly Australian delivery becoming increasingly snotty while retaining the sense that she’s fully aware of how ridiculous she sounds.

That affection beneath the envy becomes even clearer in the accompanying video. Wild and her friend happily browse clothes and mess around together, while scenes of Wild alone in a graffiti-covered alley provide an outlet for her internal monologue, complete with exaggerated expressions and spectacular death stares directly into the camera. Funny without becoming mean-spirited, ‘So Annoying’ celebrates the kind of friendship strong enough to survive the occasional irrational urge to find someone deeply irritating simply for having their shit together.

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Layered, theatrical vocals introduce the song before a funky guitar riff and punchy drums establish its sexy, upbeat pop-rock pulse. Synths bring a glossy sheen to the verses, while Magdalene swaps some of the sneering sleaze of previous single ‘Super Lucrative Jukebox Baby’ for something softer and more sultry. There’s still plenty of bite beneath the polish, with shades of MARINA in its combination of theatrical delivery, sharp pop hooks and knowingly exaggerated femininity.

The accompanying video pushes that performance to its limits. Magdalene writhes on a bed surrounded by women before the fantasy gives way to a trailer-park setting and increasingly invasive cameras. Dragged through a crowd of paparazzi before eventually appearing lifeless, she turns public scrutiny into something grotesque and darkly camp. ‘Mattress Actress’ may revel in being watched, but beneath all that glossy provocation lies the uglier question of what the spotlight ultimately takes in return.

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Driving, almost tribal-like drums open the track alongside a crunchy, grungy bassline before distorted guitar arrives for the first chorus. From there, ‘We Could’ve Been Friends’ gradually brightens, introducing cleaner, jangling guitars as its catchy chorus lifts away from the darker verses. A distorted guitar solo provides one final release, reinforcing the song’s unmistakable 90s alt-rock flavour.

Greider’s vocal fits that world perfectly, balancing melodic warmth with a dry, occasionally bitter edge. Her narrative approach makes each detail feel like another piece of evidence being calmly laid out until the conclusion becomes unavoidable. There’s sadness in what could have been, but ‘We Could’ve Been Friends’ ultimately feels more cathartic than heartbroken — less about grieving the relationship than recognising exactly why it needed to end.

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Rather than relying on one standout element, ‘SUCKERPUNCH’ works because everything slots neatly together. Mid-tempo guitars bring shades of The 1975 and Pale Waves alongside a nostalgic nod to 2000s pop-rock and pop-punk, while the band’s male and female vocals prove particularly well matched. Their contrasting styles weave naturally around one another, adding personality to a catchy, polished arrangement that already feels remarkably assured for a first release.

The accompanying lyric visualiser keeps things simple, leaving Make An Exit’s broader visual identity to reveal itself as the band develops. Musically, though, ‘SUCKERPUNCH’ already gives them a strong foundation. Catchy without trying too hard and nostalgic without sounding stuck in the past, it’s an impressive introduction from a band worth keeping an eye on.

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Bouncy rhythms and punchy guitars give ‘Midnight Murderess’ an instantly danceable pop-rock energy, while playful vocals and a huge sing-along chorus tap into some serious noughties nostalgia. There’s a touch of the unabashed pop-rock rush of Kelly Clarkson’s ‘Since U Been Gone’, brought forward with a more modern alt-pop edge reminiscent of Pale Waves. It’s camp, mischievous and knowingly ridiculous in all the right ways, with the band clearly having enormous fun with the murderous premise.

Sadly, there’s no video to complete the picture (yet!) – because this song is practically begging for one. ‘Midnight Murderess’ conjures up visions of a chaotic 2000s house party or, better still, a gloriously camp comedy horror where nobody is taking the bloodshed particularly seriously. SerpentS have delivered a banger with its tongue planted firmly in its cheek.

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Guitars immediately set things in motion, but it’s the sisters’ brilliant harmonies that give ‘Into The Light’ much of its character. Pure pop-rock from beginning to end, the track steadily grows towards a huge bridge before bursting into a soaring, anthemic chorus where its sense of optimism really takes flight. There’s something wonderfully nostalgic about the whole thing, carrying the emotional immediacy of a teen movie soundtrack without feeling stuck in the past. In fact, ‘Into The Light’ feels tailor-made for that final scene where everything is going to be okay: one last hopeful shot, the chorus soaring in the background and the screen fading to black as the credits begin to roll.

That cinematic quality fits beautifully with a song Record Pink describe as capturing “that bright hope of life”, using its expansive sound to represent the feeling of starting again. There is no need to search too deeply for that sense of renewal either; it’s written into the very fabric of the song, from the uplifting guitars to those increasingly expansive harmonies. ‘Into The Light’ does exactly what its title promises, emerging into the sunshine with arms wide open.

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‘Part Of Me’ hits hard from its opening seconds, launching straight into a grungy wall of guitars before settling into a driving alt-rock groove. There is an interesting divide between the instrumentation and Susi’s vocal: the heavier guitars carry shades of The Pretty Reckless, while her emotionally expressive delivery sits much closer to the pop-punk world of Paramore and Avril Lavigne. It all comes together in a suitably anthemic chorus built for singing along at full volume, capturing that particular combination of angst, melody and crunchy guitars that defined so much turn-of-the-millennium alternative rock. You could easily imagine it soundtracking the climactic scene of an early-noughties teen movie.

Speaking about the single, Susi explains: “This is a track about never feeling like you fit in anywhere, and finding that one person who makes you feel like you do. It’s a powerful song that I wrote at a time where I was feeling lost.” It’s a sentiment likely to resonate with anyone who has ever struggled to find their place, but even without digging into its deeper meaning, ‘Part Of Me’ succeeds as a punchy, nostalgic alt-rock anthem with enough modern weight to avoid feeling like a simple Y2K throwback.

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A driving bassline and energetic drums immediately set the pace before MEANDER’s soaring vocal takes centre stage, effortlessly lifting the song’s infectious melodies. While the track leans more towards polished pop than full-throttle rock, there’s plenty of guitar-led energy to enjoy, particularly during a brilliantly fun solo that steals the spotlight and injects an extra burst of personality.

Despite tackling themes of identity, family and self-determination, ‘Hand Me Downs’ never feels weighed down by its subject matter. Instead, it’s filled with an uplifting spirit that makes it easy to picture people singing, dancing and celebrating together. Confident, melodic and full of heart, it’s another exciting step towards MEANDER’s debut EP.

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While the instrumentation leans confidently into anthemic rock territory, Taylor’s polished, pop-infused vocal brings an emotional warmth that keeps the song grounded. The contrast works beautifully, allowing moments of vulnerability to build naturally into a chorus that feels uplifting without losing sight of the hurt that inspired it.

There’s a distinctly cinematic quality running through ‘Goodbye,’ making it easy to imagine the final scene of a film where the protagonist walks away from the wreckage without looking back. It’s an image that perfectly reflects the song’s message: sometimes the bravest thing you can do is close the door, keep moving forward, and never look back.

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Powered by prominent guitars and a fast-paced energy, ‘Sick Pretty Boy’ embraces everything that makes great pop-rock so irresistible. The influence of artists like Avril Lavigne and Olivia Rodrigo can certainly be felt, but Pratt brings her own personality to the mix, balancing angst with a playful edge. There’s plenty of bite in the track’s portrayal of a toxic on-off relationship, yet it never loses its sense of fun, making it as catchy as it is cathartic.

Inspired by the pull of a charming but damaging relationship, ‘Sick Pretty Boy’ captures the all-too-relatable experience of recognising the red flags while somehow finding yourself drawn back in anyway.

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