The IINAG team has done the heavy lifting and curated this week’s essential new tracks so you don’t have to. Dig into our top picks below, then head over to the playlist for the full deep dive.
Deadletter double down on their jagged, socially charged post-punk with ‘Among Us.’ Driven by a slinking, menacing bassline and sharp bursts of saxophone, the track digs into the quiet paranoia of living under constant surveillance. Zac Lawrence’s vocal delivery feels urgent and human, shifting from cool, matter-of-fact observation to a wired, almost feral bark. The result is a lean, tightly wound song that channels the suffocating feeling of being watched and further cements the band as one of the most exciting and rhythmically inventive acts to come out of South London. – Lauren Moreton
Rolling Blackouts Coastal Fever’s ‘Sunburned in London’ is an epic that unfolds through a series of verses, moving across the globe without ever settling. The structure mirrors that unease, remaining inconsistent and unpredictable throughout. Monotonous, almost deadpan vocals guide the narrative as swirly guitar solos cut through the song, and big chorus-like swells keep shifting the momentum of the track. Wherever the song lands, it circles the same idea of a romance between strangers, culminating in Tokyo, where perhaps the penny finally drops, and the connection becomes real. The final verse is stacked with euphoric harmonies that rise to the surface and gently carry the track home. – Henry Dunn
Released as a surprise double single alongside “Alone In Cologne,” “Billy Elliot” finds North London’s Sorry at their most quietly reflective. Stepping away from the high‑concept grit of their recent album COSPLAY, the track plays like a coy psych‑pop bubbler, washed in ’80s sophisti‑pop textures. Lush synths and dreamy, wandering guitar lines make a soft bed for Asha Lorenz’s surreal lyrics, which circle around the bittersweet distance of past relationships. It’s a gentle, mid‑tempo standout that shows how easily the band can pair immediate, melodic hooks with a subtle sense of avant‑garde unease. – Katie Macbeth
“Worry Angel” is a haunting, slow-burning masterpiece that sits at the intersection of shoegaze and gothic folk. Witch Post utilises a wall of shimmering, reverb-drenched guitars to create a dreamlike atmosphere that feels both protective and suffocating. The vocals drift through the mix like a ghost, delivering lyrics that personify anxiety as a celestial, hovering presence. There is a weight to the production, a sense of beautiful gloom that rewards repeat listens. It is a striking introduction to their “doom-pop” sensibilities, offering a sonic sanctuary for those who find comfort in the darker corners of alternative music. – Ollie Thomas
Evelyn Gray delivers a breathtakingly intimate performance on “Clotheslines,” a track that pairs sparse folk instrumentation with sudden flashes of industrial‑tinged intensity. The song unfolds like a series of Polaroids, using everyday images of laundry and open windows to explore vulnerability and renewal. Gray’s voice is the clear centre, raw, unadorned, and able to move in an instant from a fragile whisper to a soaring, emotive cry. It’s a quietly cinematic piece of avant‑folk that feels like a private confession, and it underlines Gray’s rare knack for finding profound beauty in the mundane. – Katie Macbeth
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