Get ready for a Min Melon Mix Up! We’re serving up the freshest tracks, think irresistible hooks, smooth vibes, and everything in between. Whether you’re hitting the dance floor, deep in your feelings, or just kicking back, this mix has the perfect sound for every mood.
The Jungle Giants trade nonchalance for raw sincerity in their soaring new single ‘Tell Me How It Feels’. Written and produced by frontman Sam Hales, the track evolves the band’s signature indie-dance DNA into a high-stakes festival anthem. Thrumming with self-awareness, the song serves as cathartic gratitude for Sam’s mother and a brave nod to his own healing following a called-off wedding. With its yearning chorus and massive beats, it’s a masterclass in turning personal adversity into global joy. This is a defiant, hopeful heartbeat for a new chapter.
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Myles Lloyd’s ‘DMC’ feels like a natural evolution rather than a remix, flipping the slow-burn ache of “drive me crazy” into a sleek, K-pop-charged rush. Trading intimacy for kinetic polish, Myles’ falsetto glides over punchy drums and glossy synths while Gemini, Karencici and JUNNY add texture and charisma, each verse snapping with personality. The chemistry feels earned, not gimmicky. Buoyed by the cross-Pacific love sparked by ENHYPEN’s co-sign, the track balances nostalgia and pop precision, turning yearning into something danceable. It’s bright, sentimental, and confidently global. You can’t deny that this feel-good pivot that proves Myles Lloyd’s songwriting travels just as well as his voice.
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Liliana de la Rosa makes a staggering debut with ‘haunted by roses’, a dark alt-pop descent into the intersection of devotion and dread. Drawing on her background as a professional actress and filmmaker, the Sydney-based artist doesn’t just release a song; she constructs a cinematic universe. The track’s hypnotic rhythms and gothic romanticism evoke the moody intensity of BANKS or Ethel Cain, blending ethereal vocals with a slow-burn femme fatale energy. It’s a visceral exploration of obsessive love, where beauty and danger collide. Masterfully produced and emotionally charged, this 2026 debut marks the arrival of a fully realized visionary.
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Produced by Morgan Taylor Reid, Paris WYA’s ‘Hate You More’ flips the breakup anthem on its head, trading rage for restless reflection. Soft guitar lines and glossy synths build into a punchy, 2000s-tinged pop rush, while her voice balances ache and restraint. The hook, “wish I could hate you more”, lands like a confession, not a threat, capturing the awkward space between anger and acceptance. Rather than dramatics, Paris leans into vulnerability, turning bathroom-floor tears into cinematic detail. Catchy yet emotionally literate, the track feels intimate and universal, a polished anti-Valentine’s bop that heals as it hits repeat.
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‘Wait For You’ is a raw, self-produced masterclass in high-stakes heartbreak. Multi-instrumentalist Jay Denton handles every layer of this indie-folk gem, transforming a refusal to “move on” into a cathartic sonic landscape. Moving from the international diplomacy world to the heart of the Nashville and Atlanta scenes, Jay utilizes his cinematic sensibilities, sharpened by placements on The Bachelor and Mayans MC, to craft a track that feels both intimate and expansive. It’s a vulnerable, stubbornly hopeful anthem for the still holding on, proving that sometimes the best art comes from the worst timing.
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If Big Sleep’s debut album Holy Show is a study of emotional chaos, ‘Bruiser’ is its frantic, neon-lit pulse. Clocking in at a breathless 199 BPM, the track is a masterclass in restless urgency, capturing the “messy situations” the album title implies. Recorded with producer Chris W Ryan, the single balances raw post-punk bite with a cinematic scope. It feels like a late-night sprint through Dublin, channeling the adrenaline of a band at full stretch. In a record defined by transience, ‘Bruiser’ is the high-speed chase before the clarity of the finish line.
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On ‘Don’t Mean Nothing’, Classik channels early-2000s hip-hop soul into a bright, boom-bap bounce that feels both nostalgic and freshly minted. Self-produced drums crack with warmth while glossy keys and stacked vocals give the hook lift, letting his verses breathe with humility and hard-won pride. The Toronto artist raps with clarity and purpose, threading personal history and everyday grind into tight, replayable bars. There’s no empty bravado here, just conviction, groove, and craft. As an opener for the year, the single radiates optimism without losing grit, a feel-good anthem that proves substance can still slap on modern playlists today too everywhere.
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Built from hushed, diary-like verses, ‘Pity Party’ plays like a theatrical breakdown dressed in glitter and stage lights. Louis Torre’s voice feels conversational and fragile, as if confessing to a mirror. Then the chorus blooms with stacked harmonies, swelling strings and a curtain-rise lift that turns private doubt into spectacle. Torre leans into dark humor and raw honesty, owning the mess instead of masking it. The production balances intimacy with drama, echoing alt-pop’s cinematic edge while keeping the songwriting personal. ‘Pity Party’ is vulnerable yet defiant, transforming emotional unraveling into something strangely triumphant and deeply human.
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London-based polymath James E. Gray delivers a masterclass in atmospheric tension with single and music video ‘In Doom’. The track opens with a haunting, arpeggiated piano and brooding vocals that pull the listener into a space-rock abyss before exploding into a distorted, bass-heavy chorus. Taken from his upcoming 2026 album Doom, the single explores the heavy trifecta of reality, anxiety, and death with a Brit-rock grit. It is simultaneously dark and energetic, an art-rock odyssey that feels both intimate and epic. James proves exactly why he’s a multi-million-streamed force, crafting a soundscape that is as catchy as it is unsettling.
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On ‘Other Lives’, tinvis turns quiet introspection into widescreen catharsis, tracing the inescapable loops of memory and inheritance with bruised honesty. The arrangement swells patiently with hushed verses give way to ringing guitars and a slow, chest-thumping crescendo. Horn lines from Jon Natchez (of The War on Drugs and Beirut) add sepia warmth, while Eric Gardner’s drums hit with grounded restraint. Produced with clarity by Max Hart, the track balances vulnerability and lift. It’s reflective without drifting. It’s an earnest, slow-burn anthem that lingers like a half-remembered dream you can’t quite shake.
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PURPLE MELON 