For a band who spent three decades fighting to reclaim their own songs, Giant Killers could have coasted on nostalgia. Instead, they’ve come back swinging: sharp, stylish, and definitely present. Their new EP The Boy Who Went Delulu and Other Stories is more than a teaser for November’s full-length, it’s a declaration that their future burns brighter than their history.
Clocking in at four tracks, this is a lean, polished collection that proves the duo of Jamie Wortley and Michael Brown aren’t just survivors, they’re songsmiths who know exactly how to bend pop’s shimmer to their own vision. Where last year’s Songs for the Small Places was rooted in memory and belonging, this set dives headfirst into the messy spectrum of love: obsession, delusion, devotion, and the hope that something real survives the chaos.
The title cut, “The Boy Who Went Delulu,” takes internet slang for starry-eyed fixation and dresses it up in glossy synths and warm melodies. It’s radio-ready on the surface, but the unsettling lyrics turn it into a Trojan horse of unease: creepy, catchy, and completely addictive.
“Standing on a Ledge Again” keeps the unsettling theme alive, pairing jangling guitars and hushed vocals with lyrics that suggest love pushed to a dangerous brink. It’s both gorgeous and unsettling, which seems to be Giant Killers’ sweet spot. “Soho Story” dials things down into something more enigmatic, an understated track that sparkles with detail, evoking late-night neon streets and unattainable connections.
The closer, “Hope Our Love Lives,” flips the script. A celebratory rush of horns and soaring vocals (courtesy of longtime collaborator Gibbo) lift the EP into euphoric territory. It’s a love song that wears its optimism proudly, even if the lyrics hint the story may not last forever.
Across all four tracks, the production is sleek without losing intimacy, full of textures that nod to the band’s ’80s and ’90s DNA while sounding refreshingly alive in 2025. The choruses stick, the instrumentation surprises, and the writing cuts deeper than most pop acts dare.
Giant Killers have every excuse to look backward, but The Boy Who Went Delulu and Other Stories looks only ahead. It’s proof they’re not content with being a footnote in indie-pop history, they’re still writing the next chapter, and it’s sounding bigger, bolder, and brighter than ever!
