The week’s roundup of essential releases, also including new Rhiannon Hope, Looney Bergonzi, The Motor Show, Julie Odell and Cuckoo Spit.

ashnymph – ‘Mr Invisible’

Following the arrival of their mega-beast of a debut ‘Saltspreader’ earlier this summer, London newcomers ashnymph are doubling down on their latest offering ‘Mr Invisible’. Released via London imprint Blitzcat Records, the exciting new outfit are back with another electro-charged assault, building from a glitch-filled mind-warper into a psychedelic rave juggernaut. ‘Mr Invisible’ melds a space-psych headiness, akin to Moon Duo, with a Hacienda-like hedonism that recalls A Guy Called Gerald, for a transatlantic sonic fusion of Madchester meets San Francisco. The outfit will be taking their mighty live show across the UK this autumn, including a performance in London on the 17th October at The Elephants Head, Mutations Festival in Brighton and fittingly, Manchester on the 29th November. (Brad Sked)

Bishopskin – ‘Doggerland’

Bishopskin have unveiled their latest single ‘Doggerland’, inspired by the long-submerged ocean territory between Britain and continental Europe. Delivered in his signature baritone cadence, the new cut features impassioned vocals from frontman Tiger Nicholson, whilst fellow musician Tati Gutteridge mirrors Nicholson’s vocals with a delicate and complimentary lightness. At first evocative and plaintive, perhaps due to its slower tempo and sparse arrangement, ‘Doggerland’ gently builds towards a jubilant crescendo. Brimming with traditional instrumentation, fiddles dance wildly amongst smooth clarinets, cascading drums and tightly strummed guitars. The latest release from the London ensemble further demonstrates their knack for bridging the gap between the past and the present, drawing on musical tradition through mythical and ritualistic elements that feel almost ceremonial in nature. (Otis Hayes)

Pedestrian Band – ‘Danang’

Grit and nerve collide where melody and dissonance become inseparable, and on ‘Danang’, Pedestrian Band push post-punk to its noisy, chaotic edge. The guitar screeches with desperate urgency over relentless percussion, while the bass grounds the track with a tense, pulsing rhythm. Distortion does not just decorate the song; it is the melody. Vocals come in like a strained outburst, raw and unfiltered. There is a recklessness to the track, and the London-based trio finds their pulse in disorder, channelling it into something strangely cohesive. The refrain ramps up the tempo and intensity, showcasing a sharp musical instinct beneath the noise. The sharp guitar slices through a loud, grinding bass and driving drums, each element distinct yet tangled in a tense, experimental push as the tempo strains and spirals into controlled chaos. Built on a foundation of friction, “Danang” grips tight and bursts outward, its tension becoming the rhythm itself. (Isabel Kilevold)

Rhiannon Hope – ‘Indulge’

Born in Liverpool, but now based in Leeds, folk songwriter Rhiannon Hope has this week released her debut EP ‘All Things, Rising and Returning’, including the sumptuous new single ‘Indulge’. Textured with violins, twitching snare rolls, and rambling guitars, ‘Indulge’ is a soaring, high-drama epic of folk-rock immersion – rising, falling, coasting, and cruising through its enthralling musical narration like a tapestry being woven before your eyes.  Recalling the rusticism of recent records by Rosie Alena or The New Eves’ Ella Oona Russell, and perforated by that same sense of timeless charm, Hope’s recent emergence is the latest in a long array of exciting new artists emerging from the city of Leeds. ‘Indulge’ arrives via Leeds label Private Regcords (not a typo btw – the owner goes by ‘Reg’), which is becoming a cultural epicentre of the city’s latest alternative wave. Where Hope is divided from her label peers Bathing Suits and Normal Village in the pastoralism of her sound, she’s united alongside them in her strength of vision, and defiance of spirit. (Elvis Thirlwell)

Looney Bergonzi – ‘Year 6 Disco’

Bristol based Looney Bergonzi arrive with their debut single ‘Year 6 Disco’. Describing themselves as a ‘post jangle’ or ‘non-pop’ group, the newcomers’ sound is rooted in rawness and imperfection, upholding within it a relatability and ever-importantly human quality. The track unfolds in such a way that as a listener, it feels as if you are in the room with them, quietly observing the band from the corner of the room as they create and collaborate. Fingerpicked acoustic guitars enmesh with fast yet gentle drums, and the vocals blur the line between singing and speaking, sometimes leaning into whispers. Clicks and scratches linger atmospherically in the background, adding to the raw, home-produced feel that translates so well onto the track. A compelling and genuine debut offering, ‘Year 6 Disco’ feels like an exciting first taster of what might be yet to come. (Otis Hayes)

The Motor Show – ‘Hey! Hallelujah’

Grief is a powerful feeling, in that it can cause severe changes in a person. In confronting the death of a loved one, the aggrieved confront death themselves, and the experience of coming to terms with what we all naturally fear but know is coming can sometimes lead to sudden and unexpected changes. On ‘Hey! Hallelujah’, The Motor Show deftly convey these changes through a fuzzy and raucous lens that is both tongue-in-cheek and intimately personal. Blending a noisy garage-rock rumble with crooning cowpunk vocals, ‘Hey! Hallelujah’ is a buzzing sermon of a tune delivered before a congregation hungry for answers. The call and response verses snap between close recitations from singer Samuel Bufala and gospel-tinged backings of ‘Hey! Hallelujah’. Recounting his mother drifting toward religion as a reaction to mourning, Bufala’s lyrics are both whip-smart but sensitive. ‘Hey! Hallelujah’ drives with ferocity and pace but maintains a groove, attitude and sensitivity seldom heard in contemporary garage-rock. Praise be. (A. L. Noonan)

Julie Odell – ‘Disappearing Act’

‘Disappearing Act’ flows with strings of fingerpicked reverie and a soft voice that murmurs like a quiet breeze. Julie Odell announces her new EP, ‘Disappearing Act’, due October 17th via Frenchkiss Records, alongside the release of its title track. Her vocals move over minimalist guitar strums, each note carefully placed to create a sound that is quiet but never still. The track is delicate yet intricate, reflecting Odell’s keen attention to musical detail. Her voice shifts from a low, gentle hum to high notes that pierce with precision. Lyrically, the song is abstract and emotionally raw. Lines like “It’s fine that we grew / Apart and closer too” capture the tension between intimacy and distance. Her words feel like an inner dialogue caught in a loop, circling the unresolved. Beneath the guitar, a faint string line adds harmonic depth without ever pulling focus. Natural imagery runs through the track, grounding its dreamlike quality in something tangible. The result is tender and precise, each note catching light like ripples settling on a still surface. (Isabel Kilevold)

Cuckoo Spit – ‘Cat’s Cradle’

Initially emerging as a solo bedroom project before growing into a full band, Cuckoo Spit – a Glasgow/London based group led by Lottie Morton – have shared their newest self-released track ‘Cat’s Cradle’. The track was written by Morton back in 2021, and it feels like a love letter to the 90s itself. Furbished with a healthy dose of densely distorted, scuzzy grunge riffs, Lottie Morton’s ethereal vocals entrance atop a reverb-drenched slew of My Bloody Valentine-esque guitars. Taking the listener on a dreamlike voyage, ‘Cats Cradle’ is a truly spellbinding offering from an outfit who are doing things their own way. Cuckoo Spit will be returning to the capital on the 7^th of November for a headline show at The Blue Basement. (Brad Sked)