Single Reviews

Posted 10 Jun 2015 @ 1:16pm


Someone should let Strokes bro this song name’s already taken. This one’s a bit bland, and could do with a few more lager-lager-lagers.

Posted 10 Jun 2015 @ 1:15pm


As far as borezo beachy shit-rock goes, this at least has a slightly interesting guitar tone that makes an appearance at the beginning, only to disappear up the track’s own arsehole. Seriously should’ve just run with that solo for three minutes, would’ve saved us from the insufferable “ba-ba-ba-dap” refrains.  

Posted 10 Jun 2015 @ 1:12pm


Jess Ribeiro possesses a terrific vocal dynamic that alternates between drawl and pristine higher registers. Here it sits in the spotlight in front of sparse instrumentation, building swells in all the right places. The gentle flicker of the chorus is a measured triumph.

Posted 10 Jun 2015 @ 1:11pm


Shades of Dinosaur Jr in the sprawling tonal palette, Track One is a mellow driving force, deftly striding a tightrope between restraint and indulgence, crafting a breezy form of tension.

Posted 3 Jun 2015 @ 9:44am

We’re not removed enough from the chillwave era to loop into nostalgia for the chillwave era. Wait. Maybe we are. Fuck. I guess no one was clamouring for a return from Neon Indian, but here he is just the same, and it’s actually pretty alright. It turns out what chillwave needed in 2015 was a reggae inflection. Fairly weak hooks mean it’s a little disposable, but it’s a fun jaunt all the same...

Posted 3 Jun 2015 @ 9:43am

Throughout You Know I Love You, there’s a flirtation with cliché that threatens to resign the track to sheer nothingness – as in, who needs to hear another bunch of fuckers with guitars dishing up platitudes about love? But there are so many nuanced elements to forge a brilliant sense of personality; vocalist Nick Griffith possesses a distinctive voice, captivating, like Carey Mercer with...

Posted 3 Jun 2015 @ 9:43am

After a low-key return with Bang That earlier in the year, Disclosure drop a certified banger more in line with the highlights from Settle, featuring a touch of gospel, a touch of garage, and a simple house arrangement. Nothing revelatory, but we don’t go to the Disclosure bros for revelation, just bangers. I really like the beginning 30 seconds, feels huge.

Posted 3 Jun 2015 @ 9:43am

In a stroke of remix genius, Client Liaison jettison the original goofy guitar licks (that were still pretty great) heard in The Preatures’ Cruel, revealing that Isabella Manfredi’s vocal take isn’t too far removed from Client Liaison’s own pop phrasing. The result is a brilliantly cool construction, elevated to the next level thanks to a hearty serving of sax. A true confluence of both acts’...

Posted 3 Jun 2015 @ 9:42am

Ya boi Harley Streten opens his first new material in yonks with a touch of Burial ambience, lending credence to the Flume = Burial rumours that literally no one except me right now has been talking about. It takes a while to get going, with the vocal hooks from Andrew Wyatt there at the fore until the eventual chip-tuney drop. In fact, this sounds a lot like the work of Flumey’s newfound...

Posted 3 Jun 2015 @ 9:42am

Taking Slum Sociable’s down-tempo, sample-heavy Anyway and running miles with it, Melbourne producer Darcy Baylis transforms the track into a dancefloor monster, masterfully pulling the strings between frenzy and respite. It’s a wonderful five minutes forty-five, using the lush tonal enticement of the original and parlaying into a resounding groove magnet.

Posted 1 Jun 2015 @ 7:08pm


So this team-up from Franz Ferdinand and Sparks has come out of nowhere, with all-in full band collabs not exactly as prevalent within the rock realm. But this works, and it’s pretty great. Johnny Delusional is a glorious pomp romp, the opulent chorus being the best thing Franz Ferdinand have done in *checks release date of their second LP* ten years? FFS, I’m getting old.

Posted 1 Jun 2015 @ 7:05pm


This is like a dozen songs fucked into one, and I’m here for it. It’s difficult to grasp, jack-knifing into self-parody territory with some full-on ridiculous samples, but it pushes barriers along the way. And hey, we could always do with more boundary pushers in the world of bedroom producers.

Posted 1 Jun 2015 @ 7:04pm


Some focus group fuckers have cooked up the idea that it’s the right time for a track that lists the days of the week again (what was the last track to do it? Craig David?) So here we have EDM golden bro Avicii with a soggy re-tread of Wake Me Up. Lacking the genre mash inventiveness (if you’d call it that), this is just a bore-zo banger.

Posted 1 Jun 2015 @ 7:03pm


This is ridiculously huge, with rising (well, already risen) BNE producer UV boi فوق بنفسجي  indulging in every blown out whim, going to town on a Lex Luger sample pack along with a trademark iPhone notification sting. The vocal from Fionn Richards feels a little pointless, but it’s a huge tune nonetheless, even if it finds itself entrenched in a slightly expired trend.

Posted 1 Jun 2015 @ 7:02pm


Stonefield’s corporate shit-rock has evolved into something decent here on Golden Dream, finding space and doing something with it. It’s a slow burner, riding on waves of guitar and organ lushness. This is what Wolfmother should’ve evolved into. Shit, if Stonefield have half an hour’s worth of similar tracks, bung ‘em on as AC/DC support later in the year.

Posted 27 May 2015 @ 10:09am


Our first solid tune of the year contender sees Jamie xx craft a fancy-free sample-heavy groove, with Young Thug effortlessly contributing show-stealing verses (“I wanna ride in the pussy like a stroller”) and proving he’s still one of the most exciting rappers on the planet (Dej Loaf and Fetty Wap are also up there). It’s a track that rewards repeat listens, which is just as well, as...

Posted 26 May 2015 @ 1:58pm


Two white prats dressing in all white using imagery of all-white animals as avatars call themselves Slaves, produce awfully shite punk with about as much edge as Boris Johnson’s barber’s scissors. An outright travesty, even by NME buzz band standards. Hopefully they’ll fade away before we’re subjected to a Falls Festival appearance. Don’t want to even think about the prospect of...

Posted 26 May 2015 @ 1:57pm


The tremolo-laden folk vocal on Twilight Driving couples nicely with a noodling arpeggio chime, but the strong chorus deserves something a little more impactful, resulting in a slightly muddled feel. Still, the command for a little effort in wading through the murk is mostly rewarding and the track holds up.

Posted 26 May 2015 @ 1:56pm


Bad Blood isn’t one of the super strong cuts from 1989, but it’s not exactly an instant skip on the tracklist. Here it gets a trappy inflection on the beat with a few guest verses from K-Dot, not to mention a blown out, star-studded video – a throwback to Diddy excess that seems to have fallen by the wayside as label budgets tighten. I’m here for this.

Posted 26 May 2015 @ 1:54pm


Maccy DeMarc-bro follows up last year’s Salad Days with a quickfire mini-LP Another One, featuring lead single They Way You’d Love Her. It’s more of the same wavy guitar tones featured on Salad Days, delving more into outright love song territory than the introspection of that album. Breezy ‘n’ bewdiful.

Posted 26 May 2015 @ 1:52pm


The title track to Oscar Key Sung’s Altruism EP is one of his strongest cuts yet, his lyrical conviction rising to the excellent production, achieving a resonant intimacy. Still, you get the feeling Oscar is capable of so much more. Maybe a full-length mixtape to get all this Shlohmo x Jeremih biz out of the system, then an album proper with a banger or two in line with All I Can Do. ...

Posted 26 May 2015 @ 1:51pm


Previous single Paradise was a little bit of a lull for dancefloor lotharios Total Giovanni, but When We Break corrects their course into the stratosphere (the launchpad being a show-stealing appearance at Golden Plains). Here they capture a genuine emotion that digs deeper than a d-floor free for all – it takes control of hips while twigging a certain melancholy in the chest. The...

Posted 20 May 2015 @ 11:21am


A dextrous three minutes of cauterising energy, Sports shifts masterfully between skittish menace and sheer power, paying due worship to the power of the riff throughout. High Tension haven’t set a foot wrong yet, and the just-announced new LP Bully is set to be a corker.

Posted 19 May 2015 @ 5:07pm


It’s been evident for a while now that the Smith kids are operating on a whole other level, and this is Willow’s finest musical moment yet (though, Whip My Hair still slaps). It’s off-kilter pop, Willow showcasing powerhouse vocals, reminiscent of Kimbra’s breakthrough.

Posted 19 May 2015 @ 5:06pm


After a steady few years of local producer-singers busting out tired Weeknd imitations (as was the case with Hopium’s trash single Dreamers), I began quietly begging for an artist to go all in on mainstream US R&B production. And now that it’s finally here with Right Now, I feel like a dog that’s finally caught up to the car it’s chasing. Is this good? I dunno. Hopium and co-...

Posted 19 May 2015 @ 5:04pm


Loaded with a yearning beauty, Jessica Says’ return drips with an urgent melancholy, almost devoid of metaphor in its detail of the titular drug. There’s double entendre in the lush chorus, backed by a dreamy backing choir, “I’m a Xanax baby / But I wanna get off”. There’s a realness to the melodrama.

Posted 19 May 2015 @ 5:02pm


If you couldn’t tell by the features, this is fucking weird, and not really in a good way. The Rod Stewart credit is a sample, and a pretty obscure one at that, with Miguel jumping in to echo the hook. It’s just not interesting enough; the midway switch-up to near-dubstep territory isn’t as impactful as the gear change on last year’s Multiply.

Posted 19 May 2015 @ 5:00pm


Purple Skies, Toxic River, my top album pick of 2013 just had its US release, so TV Colours concocted a film clip for The Neighbourhood to celebrate, featuring rapid snippets of Canberra’s suburban landscape. The track still holds up as a belter nearly two years on, driving with a ferocity that invokes shades of Jay Reatard and his flying-V. Give Purple Skies… a burl if you haven’t...

Posted 13 May 2015 @ 9:37am


Black Cab’s hypnotic, Suicide-esque Victorious gets an adrenaline-charged edit from Mikey Young, here in full Lace Curtain mode, doing everything a remix should. It’s a belter through and through, with shades of Quincy Jones’s Money Runner in its high-octane funk flourishes, and it all comes together in a gold medal triumph. Pressed in a limited edition 12”, with a handful of copies...

Posted 12 May 2015 @ 9:20pm


Out Of Age bursts out of the gate with some huge fuck-off riffs and doesn’t hold back for a single second. Sheer power, impossibly cool. Close your eyes and you can feel the bodies ‘n’ beers flying about the band room.