The record fuses electro house with a guitar sound that still bears the scuff marks of the rehearsal room, and the combination should, by rights, curdle. Plenty of acts have tried to marry the dancefloor to the distortion pedal and ended up with something neither camp wants at its party. 12 Days Dead sidestep the trap by refusing to blend the two elements into a single grey paste. Instead, the synths snarl in one corner, the guitars stomp in the other, and the drums referee the whole scrap with a 128 BPM stopwatch. The chorus, when it finally lands, feels less like resolution than a ceasefire — brief, thunderous, and entirely too much fun to last.

Vocally, the track doesn't ask to be admired so much as obeyed. The delivery has the swagger of someone who has already decided the argument is won before you've opened your mouth to disagree, and frankly, given the size of the chorus behind it, who's arguing? The lyric sheet won't trouble anyone hunting for the next Dylan, but that misses the point rather spectacularly. This isn't a song built for close reading over headphones at 2am. It wants a car stereo pushed past its comfort zone, a festival tent with the sides flapping, a room full of strangers who've stopped checking their phones.

What sets this apart from the current glut of genre-hopping electro-rock hybrids is the sheer confidence of the editing. Nothing overstays its welcome. The verses don't loiter, the pre-chorus doesn't apologise for existing, and the drop — inevitable as it may be — earns its keep rather than simply arriving on schedule like a delivery van. The production has a glossy, neon sheen to it, all late-night motorway lighting and vending-machine hum, but the guitars keep hauling it back toward something grubbier and more physical. It's the tension between those two instincts, shine and grit, that gives the track its pulse.

Comparisons will be reached for — a bit of early Prodigy's menace, a dash of the arena-rock bombast that bands like Enter Shikari made a career out of refining — but 12 Days Dead wear their influences the way a good tailor wears chalk marks: visible, useful, and gone by the time the finished article walks out the door. The band's stated philosophy, "Feel the Beat First. Think Later," could read as a cop-out from a lesser outfit. Here it plays as a dare, and the track backs it up with enough rhythmic muscle to make the boast feel earned rather than borrowed.

Is it a masterpiece? Almost certainly not, and one suspects 12 Days Dead would laugh you out of the room for suggesting they'd aimed for one. What they've delivered instead is four minutes of genuinely thrilling, controlled chaos — a single that doesn't so much announce a new act as slam the door open and leave it swinging, in no hurry to shut it again. Whatever they do next, "Bang Bang Zoom Zoom" has made certain plenty of people will be listening for it.