Tracks of the Week: Basht, Westside Cowboy, Willie J Healey, Bodega and More!

The IINAG team has done the heavy lifting and curated this week’s essential new tracks so you don’t have to. Check out our picks below, then head over to the playlist for the full deep dive.

Basht tap into pure post-punk nervous energy on Terror TV. Driven by an unrelenting bassline and angular guitar cuts, the track pulses with an urgent, claustrophobic momentum. Jack O’Neill’s snarl carries a distinct grit, channelling the media-saturated anxiety of modern life with blunt charisma. It doesn’t rely on decorative studio flourishes, the song thrives on sheer kinetic force and a locked-in rhythm section that practically demands a chaotic room. It’s a lean, mean slice of contemporary alt-rock that cements Basht as one of Ireland’s most compelling live prospects. – Lauren Moreton

The third single from Westside Cowboy’s highly anticipated debut album is Dobro, further showcasing their ability to write some of the most interesting, layered and exciting indie rock we’ve heard in a long time. Built around an unconventional structure, it patiently gathers momentum before unexpectedly breaking into a short, sharp guitar solo within the first minute, only to slip effortlessly back into place as if nothing had happened. The real beauty of the song comes in its second half, where messy yet charming vocal harmonies collide with driving drums and swirling guitars. The band describe it as “a song for perhaps a younger self? For that moment of waiting and isolation in the hopes of a return. Or it could just be a song about a weird guitar. Who knows!” Who knows indeed, and who really cares when it sounds this good? – Henry Dunn

Hyper-articulate as ever, Bodega turn their analytical lens inward on Weather Me. Ditching none of their signature art-punk motifs, the Brooklyn outfit trade relentless speed for a buoyant, interlocking vocal arrangement that feels equal parts danceable and cerebral. Dual vocalists Ben Hozie and Nikki Belfiglio bounce phrases off one another over sharp, minimalist riffs and a bouncy, metronomic drum pattern. It’s an infectious exploration of endurance and emotional climate change, proving that intellectual post-punk doesn’t have to sacrifice groove or pop accessibility to make its point effectively. – Katie Macbeth

S’All Good finds Willie J Healey operating at the peak of his easygoing charm. Built around a sun-dappled, 70s-indebted groove, the track marries effortless funk guitar flicks with a laid-back, infectious vocal delivery. Healy’s songwriting has always possessed an unhurried confidence, but here the arrangement feels delightfully breezy, a smooth blend of indie-pop warmth and vintage soul undertones. A compelling case for keeping things delightfully simple. – Chloe Jenkins

On The Ever After, producer-extraordinaire James Ellis Ford steps into his own spotlight with a piece of haunting, expansive beauty. The track drifts through lush layers of analogue synthesisers, organic percussion, and delicate woodwinds, evoking a cinematic sense of quiet nostalgia. Free from traditional pop verse-chorus boundaries, the composition builds with patience, allowing space and texture to do the heavy emotional lifting. It feels intimate yet vast, a beauty in atmospheric arrangement that showcases Ford’s deep understanding of sonic tone, leaving a quiet, melancholic resonance in its wake. – Lauren Moreton

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