The masked singer’s jagged pop deals in suburban bleakness, English nationalism and jilted romance against a backdrop of DIY drum machines and acoustic guitar

From Darlington, County Durham
Recommended if you like Blood Orange, Dean Blunt, Elliott Smith
Up next The Dirt Pt 1 EP out now

As the internet spits out underground artists like mouthwash, it’s becoming harder to separate the visionaries from the vibe-hackers. But Pollyfromthedirt’s jagged pastoral pop demands more than just a passing scroll. Released independently this week, the County Durham native’s first EP clashes brass band samples, shuddering Midi strings and awkward acoustic guitar together. There’s a trace of Elliott Smith in his grey-skied songwriting, yet made entirely his own by the crude drum machines, pitched-up vocals and DIY production. At best, like the EP’s weirdest track, Kalm, the music departs from traditional song structure and coalesces into delay-steeped, swirling ambience.

Ian Brown and Tim Burgess were among those to pay tribute to Mani, whose death was announced by his brother and nephew

• Alexis Petridis: ‘Mani’s writhing, relentless bass was the Stone Roses’ secret sauce – it taught indie kids how to dance’

Gary “Mani” Mounfield, best known as bassist of the Stone Roses and later a member of Primal Scream, has died aged 63. The cause of death has not been shared.

His brother Greg Mounfield posted the news on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.” His nephew also shared the news.

Overpowering, explosive and intense, the trio’s contemporary form of psychedelia is rebooted for the troubled, disturbing climate of 2025

From Brighton
Recommended if you like Osees, Ty Segall, the noisier bits of King Gizzard
Up next Currently working on a debut album for release next year.

A city with its own psych festival, and indeed a gig promotion company called Acid Box, Brighton has no shortage of lysergic left-field rock bands. But while most of their local contemporaries tend to the more recumbent end of the psychedelic spectrum, Oral Habit deal in what they call “the ear-rattling psychic dream of choked-up acid punks”, a sound that feels overpowering, explosive and intense: you could say it’s more closely aligned to the disoriented racket of mid-60s freakbeat than the pie-eyed beatitudes of the Summer of Love; equally you could suggest it’s a very contemporary form of psychedelia, rebooted for the troubled, disturbing climate of 2025.

The Catalan star’s epic new single is delighting and dividing classical music fans in equal measure

The Top 10 of today’s Spotify Global Top 50 looks like business as usual: two Taylor Swift songs; Lady Gaga and Bruno Mars’ Die With a Smile hanging around for an eighth month; the eminently normal male pop stars Sombr and Alex Warren doing brisk business.

But nestled among the crowd-pleasers is something of an outlier: a gothic, baroque assault powered by Vivaldi-style strings and operatic singing in German and Spanish.

Far from being the preserve of ecclesiastical listening, the reissue of O’Connor’s 1973 album is a compelling feast of drum machine, acoustic guitar and synth organ

From Sydney, Australia
Recommended if you like Shirley and Dolly Collins; Efficient Space’s Sky Girl compilation
Up next Fire of God’s Love reissued by Freedom to Spend on 14 November

As any nun worth her salt might tell you, revelation can come from the most unlikely places. Such is the case with Fire of God’s Love, a 1973 album by the Australian nun Sister Irene O’Connor.