There is a particular kind of English misery that wears velvet rather than sackcloth, and Marry Me Emelie! have spent two years quietly perfecting it. "Flowers," the duo's first single since last spring's quietly devastating EP, doesn't so much arrive as exhale. It is less a song than a held breath that finally, reluctantly, lets go.

Southampton has given English music plenty over the years, though dance-floor mysticism has never been high on the list — that's normally Manchester's department, or Bristol's, cities that have built entire mythologies around a bassline and a smoke machine. CDubs, working out of a Hampshire studio rather than anywhere fashionable, has decided the south coast deserves its own contribution to the genre: a producer's confession dressed up as a single, built on the rather endearing premise that he has identified a sixth love language, and that language is, conveniently, the one he happens to speak professionally.

Six men in a room, the press notes insist, with no rhythm or reason to how the songs arrive — which is either disarming honesty or the oldest dodge in rock journalism, the one where "we just feel it, man" stands in for "we haven't thought about structure since 2019." Either way, "Restless City" is the sound of a band climbing back onto a stage they vacated seven years ago, and to their credit, they don't sneak back in quietly. They open with a police siren, which is the musical equivalent of clearing your throat with a foghorn.

Pop music has long had a soft spot for the troubadour who reads too much Hesse and not enough room. Andy Smythe belongs proudly to that lineage, and his new six-track companion piece to *Quiet Revolution* wears its bookshelf on its sleeve with the unblushing confidence of a man who has never once worried about sounding pretentious. The remarkable thing is how often he gets away with it.

Cello arrives at your ears the way a stranger walks into a pub at closing time — unhurried, entirely certain of herself, and somehow making you feel like the room just got more interesting. "Like A Tiger," her third single and the most vivid dispatch yet from the forthcoming album *Kung Fu Disco*, is four minutes or so of deliberate, coiled energy: the sound of someone who has spent years listening to the right records, learning the wrong instrument, and finally deciding to say something worth hearing.

There are songs that arrive fully formed, carrying their emotional weight the way a glass carries water — you can see straight through them and still feel their heaviness. JK Jerome's second single is precisely this kind of song. Not a statement, not a declaration, but something closer to a held breath — the audible sound of two people at the edge of a conversation neither wants to begin.

Debut albums are rarely made — they are accumulated. You can hear it in the grain of *Weight Will Unwind*, Finlay Birch's long-gestating first record: the sediment of nearly a decade of writing, revising, and, crucially, waiting. Songs first penned eight years ago sit alongside material completed within the past six months, and the effect is less a coherent manifesto than a gathered life, laid out with the quiet honesty of someone who has finally decided the time for keeping things private is over.

The moon has always been a presiding symbol of longing — that celestial body just close enough to see clearly and just far enough to remain perpetually out of reach. It is a fitting emblem, then, for a band named The Lunar Keys, who seem constitutionally incapable of reaching for anything less than the absolute and the all-consuming. Their new single, *Everything*, released with characteristic drama on the night of a supermoon, is a record that understands the texture of modern desire with an acuity that most contemporary guitar music has long since abandoned.

There is a peculiar, almost anthropological pleasure in watching a band attempt the football song and get it right. The genre is a minefield — a graveyard of cynical cash-ins, trite terrace chants dressed up in three chords, records made to shift units in the fortnight before a tournament before being mercifully forgotten. Sombre Chairs, three lads from Brighton who really ought to know better, have walked straight into the explosion and emerged, impossibly, unscathed. *Can't Stop Spinning Around* is, against all reasonable odds, rather brilliant.

Diasporic longing is among the oldest subjects in popular music and among the hardest to render without sentiment curdling into kitsch. Too many artists reach for the postcard and end up with a tourism brochure. Ïgor, the Portuguese-born, London-based artist behind Lisboa na Cabeça, does something considerably more interesting: he reaches inward, and what he finds is both intensely personal and bracingly universal.