The track is a gorgeous, slow-moving piece that seems to drift in and out of focus. Acoustic guitars, delicate strings and soft drums come together around vocals that almost blend into the instrumentation. Rather than sticking to a traditional song structure, Yvy Veins let the different layers unfold naturally, creating something that feels intimate yet slightly out of reach. These are definitely not songs or melodies that reveal all their charms straight away, but each listen brings something new to discover.

Lyrically, “Observer” deals with emotional distance and that strange point when words and feelings begin to lose their meaning. What we feel and what others say eventually seem to blur into the same thing, leaving us questioning whether there’s any point in trying to make sense of it all. There’s a certain resignation in the lyrics, but also something strangely comforting about accepting that not everything needs an explanation.

The song’s blurry, almost weightless atmosphere should appeal to fans of the Copenhagen experimental pop scene, as well as anyone with a soft spot for Dean Blunt‘s more elusive indie pop moments. The upcoming album was actually mastered by Emil Thomsen, who has previously worked with artists including Smerz, ML Buch, Fine, The Crying Nudes and Mica Levi.

Yvy Veins‘s “Observer” also somes with a self-made video, that you watch below.

“end scene” goes straight for the Y2K melodrama. Layered harmonies, emo pop melodies, dramatic strings and video game inspired textures give the track the feeling of a closing sequence from some lost early 2000s movie or console game. DJ Suzy has specifically pointed to Super Mario Galaxy as part of its sonic DNA, while the lyrics imagine a failed relationship as a film whose script has gone off course. “In ‘end scene’, I’m looking back on a relationship as if it were a movie. I wrote a script for how I wanted the relationship to unfold, but my lover didn’t follow it the way I had imagined,” she explains. By the outro, she is watching the credits roll on the life they shared, with all the drama pushed right to the surface. “I love how the dramatic chords and strings play together with the emo-pop melodies, i’m really happy how it turned out.”

We’ve already had a couple of previews in the form of “Horses” and “Don’t touch me you’re my hero”, with the latter also making it into our Best Songs of 2026 playlist. A lot of Something Shameful traces back to a spontaneous solo trip Meth took to New York in 2024, just after touring the UK with King Krule. The people she met there ended up becoming important figures in her life and, eventually, in the songs too. The album itself came together in a similarly loose way, between 4AD’s London studio with Fabian Prynn, sessions with Sorry’s Louis O’Bryen and Meth’s own bedroom in South London. She also produced and mixed most of it herself.

Now she’s back with “Fun”, and this one goes somewhere noticeably heavier. The acoustic side of her music takes a back seat to distorted guitars, hard hitting drums and vocals that get more frantic as the track goes on. Even that repeated “fun” starts to sound a little less innocent by the end. Meth puts it pretty simply: “Fun is a song about having too much fun…..making choices based on impulsive feelings and the consequences that can come with that.”

The song arrives with a new self-made video and follows a recent run of shows with Mary In The Junkyard.

Their next release is Severn Flood Plain / Where You Run To, a four track EP built around two new songs and two dub versions. The record leans further into the trio’s connection to Bristol dub while bringing in touches of chamber music and post punk, and it comes ahead of another Jabu album currently expected in 2027.

First up is “Severn Flood Plain”, written and sung by Jasmine and inspired by meeting a friend near the tidal Severn estuary. Vintage drum machine rhythms and tremolo guitar give it a slightly tenser pulse than much of A Soft and Gatherable Star, while her voice stays soft and distant above it all. Stream the song below or via our Forecast Tape playlist.

“2am” is one of those tracks that keeps changing shape as it goes. Gianna spends its quieter moments floating over little more than piano, before Latham suddenly pushes the song somewhere completely different with bursts of oversized breakbeats. Across its five and a half minutes, “2am” moves freely between balladry, trip hop and hazy club music. At one point, it feels like it might explode into something anthemic, but instead it goes in the opposite direction, settling into something more intimate and levitating. It also comes with a visualizer, which you can watch below.

Now “sw33t” gets a second life as “so sw33t”, featuring one of our favourite artists, the very in-demand Nourished By Time. Marcus Brown slips into the track with a brand new verse about the lingering pull of love, his smooth, slightly bruised delivery fitting surprisingly naturally into DJ Suzy’s sparkling pop production. “I absolutely love what Marcus added to this song. His melodies are incredible, and he’s such an amazing artist. He brought something really special to it,” Suzy says. Brown was equally taken with the original: “Sweet is really deceptive complex pop song that really struck me melodically and harmonically. I’m excited for people to hear much more DJ Suzy.” And so are we.

For now, this new version isn’t featured on the Kira Krash tracklist, although who knows, maybe a deluxe or expanded edition is somewhere down the line.

Listen/support to “so sw33t” below, and you can also stream the song in our Forecast Tape playlist on Spotify, alongside the most notable releases from the past few days.

Executive produced by 100 gecs’ Dylan Brady and made between Los Angeles and Lebanon, the nine track project brings together the different sides of Thoom’s music without trying to separate them. “I would be lying to my listeners if I tried to separate what seems the most natural to me,” she says. “The contradiction is the point.” She describes the mixtape as “part diary, part mythology” and as “messy, pop, Arabic, experimental, and unapologetic.”

The project closes with “I’m Going Back To Lebanon”, one of its strongest tracks and a song that made it into our Best Songs of 2026 playlist. Produced by Dylan Brady, Frost Children, Spencer Light and Count Baldor, it looks at the idea of going home when home itself can feel uncertain. “Did the summer end? / Is it war again? / Am I going back to Lebanon?” she asks in the chorus, mixing questions about a relationship with her own experience of living between Lebanon and the US. This is clearly a bop, and good news, it now comes with a video directed by Neve Abcari.

Our favourite song on the record is “Wasp In the Fig,” a gorgeous track that now has a suitably surreal video. Directed by Andrew Thomas Huang, the visual follows Eartheater across the earth and through the sky on horseback. Eventually, rider and animal merge and she becomes a centaur. The opening and closing scenes were filmed above Drewchin’s country property in Pennsylvania, which gives the cosmic imagery a connection to the landscape around her home.

For Huang, the idea began with the song’s title and the unusual reproductive life cycle it evokes. “When I first heard ‘Wasp in the Fig’ I was so moved by the urgency of the song and was inspired by the title alluding to the mother wasp’s journey to die inside a fig to give birth to new life. The song’s running beat made me think of hooves, so for this video I envisioned Eartheater as a centauress galloping toward a distant star beckoning her home.”

We already knew Eartheater was a polymath, but apparently dressage is another talent to add to her palette. In fact, the concept developed further when Drewchin brought those skills into the project. Huang describes the final image as a “mythical sci-fi centaur mother goddess,” and we’d expect nothing less from her.