Single Reviews

Posted 18 Mar 2015 @ 1:36pm

Returning from an elongated US excursion, Oh Mercy embrace a driving Kurt Vile, War On Drugs scale, carrying along with a barrelling beat, Alexander Gow’s vocal rising to the occasion for the most part. It’s a lush, breezy ride, burdened slightly by Gow’s reverence for the songwriting form, dipping into a middle eight when a sick, blown-out solo would’ve taken things to the next level. It’s...

Posted 18 Mar 2015 @ 1:36pm

Possessing a similar demented charm to that of Chad VanGaalen, WA’s Peter Bibby snarls while delivering candour, honest and raw, while evoking a strange beauty. One of Australia’s unsung folk gems.

Posted 18 Mar 2015 @ 1:36pm

The slinky third single from K-Dot’s upcoming To Pimp A Butterfly finds a middle ground between G-Funk and P-Funk (especially as George Clinton has just been revealed as a guest elsewhere on the LP), building metaphor upon metaphor, switching keys and flipping the hook on repeat, on a whim. It’s a weird single, the hook is not exactly a pop hook, especially compared to lead single i, but still...

Posted 18 Mar 2015 @ 1:35pm

I dug Muse’s ridiculous, pompous, dubstep-baiting shit in the past few years, to an extent. It was a joke, but an entertaining one at that. Now the British trio return sounding like a high school Muse cover band, flailing dumb, impotent riffs among naughty swear words and edgy political platitude. A three way ouroboros with heads up each others arses, Muse just rolled off the cliff into a...

Posted 18 Mar 2015 @ 1:35pm

The couplets are phoned in, there’s no bother with a bridge, the solo sucks, but still, this kinda rules? Nothing revelatory, but the riffs are big, dumb‘n’loud, a gnarly throwback to ‘90s pop punk. And hey, not one mention of California. Unless heaven is a metaphor for California. Then yeah, nah.

Posted 18 Mar 2015 @ 1:35pm

Taken from Grimes’ self described “~lost album~” that was scrapped in 2013, REALiTi is a dreamy slice of pop that rules even in its unpolished state. It’s a curious indication of the album that might have been, fingers crossed we see a mixtape-scale release in the lead-up to the next Grimes LP proper. Heck, hopefully we see a release of the next Grimes LP proper.

Posted 18 Mar 2015 @ 1:35pm

There was probably a time between 2012 and now where Inspector Norse was played out, but it must’ve been long ago because I’ve forgotten about it. It can still get a d-floor goin’, and if you’re groaning about it, you’re in the wrong. It’s unstoppable. This edit isn’t even that far removed from the original. We’ll probably still be boppin’ along even in the aftermath of a nuclear winter.

Posted 18 Mar 2015 @ 1:34pm

If Let It Happen,the first track from the TBA third Tame Impala LP, clocked off around the four-minute mark, you’d still be left with a solid assurance Kevin Parker is still on the right track. Instead, this time around, the swirling key melodies stutter, as if Parker is switching up to a dance remix of his on track at the midway point. A swell of orchestral strings, unintroduced so far in the...

Posted 11 Mar 2015 @ 1:41pm

An old soul in a young bloke’s body, Fraser A. Gorman preludes his upcoming debut full-length with Broken Hands, a track that lifts from a Nashville Skyline acoustic number into a fleshed-out country rock‘n’roll jaunt. It’s a splendid sway-along that digs a little deeper.  

Posted 11 Mar 2015 @ 1:41pm

Brissie producer Young Franco goes in with an uninhibited bout of upbeat, fairly ridiculous, four-to-the-floor house, with rising vocalist KLP compounding various flourishes with palpable allure. It’s a banger, a world-class one at that.

Posted 11 Mar 2015 @ 1:32pm

A basement rave banger, When I Feel Like Killing, I Murder, is scary good, unrelenting in its construction of mood, a meditation on acting on impulse. There are multiple levels on offer, going lower when you think it can’t get lower, elevating when you think we’ve reached a crescendo. 

Posted 11 Mar 2015 @ 1:32pm

A galaxy away from previous single I’m Not Scared, which was a fairly one-trick blast of skittish earworm melody, Live Long strives for something more spacious, more celestial; PLX playing to their strengths. There are plenty of elements anchored to the indie-pop explosion of around six years ago, but it’s by not quite bound to the era, flexing compositional muscle like more recent Dan Deacon...

Posted 11 Mar 2015 @ 1:32pm

One of the quieter moments on Courtney Barnett’s upcoming debut full-length Sometimes I Sit And Think, Sometimes I Just Sit, the heartfelt Depreston somehow makes a house inspection one of the most beautiful things in the world. Barnett’s knack for the observational concisely captures a life and death narrative with deft aplomb. This is endearing, never breaches overtly sentimental ground and...

Posted 11 Mar 2015 @ 1:31pm

I ride for CRJ – Tonight I’m Getting Over You was one of my favourite pop moments of 2012 – but I’m not really feeling this. It’s listenable, the hook is good, but not great. It’s lacking a certain spark, mainstream pop needs to be more than just being there, y’know?

Posted 10 Mar 2015 @ 4:50pm


A simple hook, dope beat, gimmicky dance – Dope Walk is gonna be a club staple this year. Would be a viral smash if done by an unknown artist. Nearly overstays its welcome, but instead blows up the BPM with a ridic outro. Catchy as hell.

Posted 10 Mar 2015 @ 4:49pm


Best Coast emerges from a chrysalis, leaving behind the image of scrappy garage pop song about California, embracing tailor-made festival-scope songs about California. California withstanding, the lyrics are still pretty shit. Sounds alright though.

Posted 10 Mar 2015 @ 4:48pm


Dreamboat of the century Sufjan returns like he never left, cry smiles all round in the first single from Carrie & Lowell. Pristine, lovely. Imagine hearing this at the Supernatural Amphitheatre in December, maybe.

Posted 10 Mar 2015 @ 4:47pm

I’m a sucker for rolling toms, so Superhero had me from the get-go, despite my trepidations. The return of Faith No More is big and dumb, meaty and sweaty. I wanna hate it, but I can’t. Undeniable, even the breakdown featuring tandem screams of “go,” among restrained arpeggio piano tones.

Posted 10 Mar 2015 @ 4:44pm

Grime never went anywhere, but there’s a renewed focus on the UK currently, thanks to overt influence on superstars Drake and Kanye (Skepta appeared onstage with Yeezy at the Brit Awards, “Yo Skepta: thank you,”). Striking while the iron’s hot, Skepta drops Shutdown, sampling both an offhand Vine quote from Drizzy and an apparent complaint about the Brit Awards performance, going in on a...

Posted 10 Mar 2015 @ 4:43pm

A formidable vocal talent gets lost in a gross overload of production elements, throwing everything plus the kitchen sink into the mix, which might’ve worked if there was a greater spotlight on a singular hook. It’s all there, and it’s all big, and I’m not interested.

Posted 10 Mar 2015 @ 4:43pm

Melbourne outfit I’lls build a long tease on Phiphti, the payoff worth it, sparkling into breakbeat-y grooves akin to +Dome era Seekae. Tastefully refined, highly danceable.

Posted 10 Mar 2015 @ 4:41pm

Invoking a spag bol Western within the mind, The Murlocs breeze through Adolescence,strutting with gun firmly in holster. It’s a snappy brand of introspection: “My only nemesis / Is incompetence,” before drifting into an upbeat kinda chorus. New full-length, title TBA, due to drop mid-year.

Posted 10 Mar 2015 @ 4:39pm

After being leaked in various primitive forms in the past six months, All Day finally had its debut at the Brit Awards last week. I wasn’t ready. The world wasn’t ready. It was so good it gave me goosebumps and made me shit my pants and then my shit had goosebumps. I went to the doctor for it and was diagnosed with Yeezy Seasonal Affective Disorder. Scary thing is, Ye is only getting started....

Posted 4 Mar 2015 @ 3:20pm


The insouciant syncopation on No Such Thing As A View feels like a drunken embrace. Falsetto feathers into a register that feels beyond human, before dipping down to earth, emboldened by a timeless acumen reminiscent of the most daring golden era greats. I can’t bear any distinction between this and international successes like Unknown Mortal Orchestra. Brilliantly rewarding on each...

Posted 3 Mar 2015 @ 3:07pm


Honey trembles down the runway but doesn’t quite soar into liftoff, the power is in Olympia’s voice, but feels burdened by the Arcade Fire-level arsenal of instrumentation. I wanna hear a guitar-vocal version, but I don’t really wanna hear this again.

Posted 3 Mar 2015 @ 3:06pm


The only good Blur song is Tender, yet this comeback track seems turgid and stuffed even by Damon Albarn’s standards. Boring, noisy shite.

Posted 3 Mar 2015 @ 3:05pm


This could be a worthwhile outlaw rock sojourn, but, not to get all “you don’t record heavy metal in Dobly,” the mix betrays Jamie Hutchings’ vocal, hard to make out in the dust storm of tremolo guitars swirling overhead.

Posted 3 Mar 2015 @ 3:02pm


Wu-Tang is the obvious reference point here, not just due to the U-God guest verse, fusing solid bars with classic East Coast production. NYC duo Cannibal Ox return with their first album in 14 years, sounding like we’d hope Wu would sound like in 2015. Blade: Art Of The Ox, lifted from Blade Of The Ronin, is a cruisey posse cut, hitting the mark many times over, especially with a ...

Posted 3 Mar 2015 @ 3:01pm


Beautiful, languid, and pretty much, as much as it pains me to do so, impossible not to describe as Lynchian. Christa is a luscious dreamscape, rippling with trebly chimes. A deft ol’-timey ballad laced with romance.

Posted 3 Mar 2015 @ 2:57pm


Fuck Buttons’ Ben Power returns to his Blanck Mass guise, this time bringing percussion and a few chopped up vocal samples to boot. Doesn’t feel as atmospheric as the self-titled debut, maybe even a bit too corny. The payoff of the closing wall of sound, more in line with the previous record, doesn’t feel necessarily worth it, nor does the fade out of rolling toms familiar to Fuck...