Georgia Mink – First Bouquet: 13th Floor New Song Of The Day
Glasgow-based Kiwi singer, Georgia Mink releases her second single First Bouquet.
Here is the blurb with more:
A dreamy, angelic track that twists into heavy and grimy rock, First Bouquet is a love letter to the anonymous ‘girl before’, seeing her with empathy as you begin to uncover heartaches in a new relationship through her eyes.

“The song started a while ago as pieces of a poem. I really wanted to play with the idea of a decaying song, taking inspiration from the way a bouquet of flowers decays. That’s how I chose to channel the song’s structure, starting delicate and pretty, before descending into something gritty and messy that feels like it’s falling apart at the end.”
Chasing this musical decaying effect, the song opens with Georgia’s soft, enchanting harmony, and dreamy, flitty guitar strings. Yet as the songs progresses, we get punchy drum hits starting to build, grungy bass and screechy electric guitar with different vocals cutting across one another to add to the chaos.
The song also features genuine screams from the singer, after Georgia’s producer James Allen suggested she use the audio from her ‘Highland Fling Bungee’ bungee swing experience to inject some extra edge into the single’s outro.
Georgia Mink says:
“I wanted this track to have a bit of everything; where you’re kind of lulled into the song at the beginning and screaming along to it in your car by the end.”
With musical influences like DeLacey, Faye Webster, Fazerdaze, Wes Parker and Gigi Perez, First Bouquet, builds on the singer’s debut single ‘sweet sanguine’ keeping an ethereal air, while diving deeper into a grittier, emotional sound. A self-proclaimed over thinker, songwriting is a cathartic way for Georgia to unravel the minefield of swirling thoughts and emotions we all share as we navigate different life stages.
New to the music scene in 2025, Georgia has her sights set on releasing her debut EP in 2026.
First Bouquet is produced and mixed by James Allen and mastered by Philip Marsden.
