SACHI’s Bubbly New Electro-Pop Anthem ‘Worst Behaviour’ Is, Ironically, The Best


New Zealand producer pair SACHI have teamed up with rising NYC singer Sam DeRosa to dish up a festival-ready EDM sugar-rush dubbed ‘Worst Behaviour’.

The infectiously melodic piece of anthemic electro-pop is the type of song you’d crank up for a group singalong with your girlfriends on the way to the club; as cheeky, sweet and uplifting as a chilled glass of bubbly.

As one half of SACHI, Nick Chrisp, explains:

“‘Worst Behaviour’ is about a lopsided relationship where one half is playing games while the other is smitten. It came together super quick because it was something we all related to and thought others could too.”

The duo will be taking the flirtatious banger on the road for a bunch of national and international festival dates… fingers crossed it won’t be long before we see them plot a course for Australia!

For now, you can take ‘Worst Behaviour’ for a spin below.

PNK FME’s Brooding ‘Infatuation’ Is A Dreamy Drunk-Drive Through The Electro-Pop Clouds

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Vocalist and producer PNK FME is our new musical infatuation.

The Adelaide shooting star landed on the Good Intent team’s radar this week with a mesmerising new dollop of minimalistic electro-pop that is a straight-up MOOD.

Dubbed ‘Infatuation’ (see what we did there), the tune is driven along at a slow, cruising pace by softly clanking percussion samples that loop beneath throbbing synths, buoying PNK FME’s delicate, verby vocal melodies up to soar as he gives voice to “internal musings of falling helplessly in love and the associated desires”.

The woozy, introspective soundscapes he crafts here instantly ensnare, and it’s little wonder his talents have already netted him sync deals with Mercedes Benz, Adelaide Fashion Festival and the South Australian Tourism Commission.

Similarly, we recommend ‘Infatuation’ as the perfect soundtrack to your next late night party drunk-cry, because it will instantly add a touch of class and poignance to proceedings.

Low Key Crush - Sing about unreciprocated love in their new track ‘Swimming Laps’


Melbourne indie-pop band Low Key Crush sing about unreciprocated love in their new, softly percussed and harmony-rich track, Swimming Laps’.

The light tune expresses the desire for love that doesn’t exist or has not yet taken off. It serves as a reminder to the listener that - even though one may want to experience requited love - it’s important to appreciate the unrequited kind too.

Low Key Crush utilise consistent acoustic melodies and chilled lyrical references to create the perfect mixture of sincerity and reclusive acceptance in the song.

‘Swimming Laps’ was initially written by singer/guitarist Tim Haines, and was brought to life with the help of his close musical pal, bassist and vocalist Ella Francis of Mac’s Peake, and his new friend, drummer Taycian Lord.

Together, their shared love of guitar-based pop music has grown into a completely unique sound. Their influences include 90’s idols The Cranberries, Lemon Heads and Max Martin, with nods to modern torchbearers Soccer Mommy, Snail Mail and Hatchie.

Live Review - Laneway Festival, Brisbane - 2019


This year’s St. Jerome’s Laneway Festival marked the 12th year of the event in sunny Brisbane and with its outstanding rep I had high expectations for my first Laneway experience. As the day began and I tried to get by bearings, stumbling across the Print Fest (Comic, Zines and Print store) and Jet Black Cat (Vinyl store), instantly making the occasion dissimilar to most, if not all concerts usually held at the Brisbane Showgrounds.


The girl power was strong right from the start, with killer performances from dinosaur-loving Ruby Fields and multi-talented G Flip. The musicians pumped the crowd up by inviting them to sing and dance along to their tunes.

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While the hot, sticky temperature peaked in the arvo sun, Triple J Unearthed winner KIAN burst onto stage looking far too cool for the weather. The young star had an instant effect on the crowd by sending the girls into a frenzy with his charismatic blend of charm and lovability. After he performed some of his moving new songs (yet to be released), recently dubbed Young Australian of the Year Baker Boy joined him to sing their track ‘Cloud 9’. To no surprise, KIAN finished his set with his breakout single ‘Waiting’, proving the future of Aussie music scene is in safe hands.

I was in desperate need of a feed and a beer after the first half of the festival and the short break gave me a chance to observe one of the other most entertaining things about festivals – the fashion. Most guys went straight to striped button-up shirts with chino shorts and Vans, unless of course they wore something completely and utterly random. The ladies on the other hand wore almost anything imaginable, with an odd trend of train conductor hats.  


Methyl Ethyl were next up and having never seen them live, I wasn’t sure what to expect. The band’s alternative look and sound had everyone vibing hard, especially when they gave a wholesome recital of their 2018 hit ‘Scream Whole’.


As the searing sun sunk into the surrounding buildings, Skegss lit up the ‘Good, Better, Best Stage’. The fun-loving trio knew exactly how to energise the rowdy Brisbane crowd, banging out ‘L.S.D’. Whether you were a fan of the band’s Australian rock tone or not, the Skegss audience shifted the intensity into fifth gear when bass guitarist Toby Cregan began crowd surfing as he belted out ‘New York California’.

Cosmos Midnight were next on the ‘Never Let it Rest Stage’, forcing me to make the trek across the showgrounds yet again. After having a seemingly slow start to their set, the twins took the show to a completely new level with the addition of a guest vocalist.


I was unsure what to do/who to see next as I was already exhausted from all the walking, but Wil Wagner of The Smith Street Band drew me towards the ‘Dr. Martens Stage’ with his strong Aussie accent and wholesome guitar riffs. The Melbourne band brought an unexpected sense of vitality to a somewhat drained crowd, including myself.

After listening to a few homegrown Aussie rock songs from Courtney Barnett I decided to get ready for my most anticipated set of the day – What So Not. The DJ instantaneously lit up the stage and blew every other act out of the water. The electronic timelessness of What So Not made the show completely different to anything else, even security nodded their head along to a few songs. In particular, ‘Jaguar’ was one to remember, as every crowd member sang along to the buildup of the bass-heavy track. The DJ demonstrated to any aspiring producers in the audience how to execute an exceptional electronic set.


Gang of Youths closed out the festival, and I was sceptical about whether they could top What So Not’s blinder. It didn’t seem possible, but the energy shot up yet again for the last act. Lead singer Dave Le'aupepe’s mention of life lessons throughout the performance brought the audience closer both physically and spiritually, while making me realise the significance of transcendent connections at any music gig. The group put on an exquisite show, which was infused with tender masculinity and sex appeal. In a massive explosion of confetti, Gang of Youths closed the day with the legendary guitar riff from ‘Bohemian Rhapsody’.

St. Jerome’s Laneway Festival 2019 was without a doubt one of the most impressive displays of Australian and international music talent I’ve witnessed at a local event, and I cannot wait to see how they build on it for next year.   

All photos by Charlie Dally-Watkins.


Asha Jefferies’ Glorious Debut EP Will Hit You Where It Hurts & Then Heal You Again


Off the back of three widely-adored singles, Brisbane teen singer-songwriter Asha Jefferies has unveiled her full debut EP, Hold Yourself Together, in all of its heartfelt glory.

Asha’s dizzying soprano deftly switches from sparrow mode to hawk mode across this disc’s sublime six-track soundscape, fluttering delicately in the tear-jerking acoustic passages of title track ‘Hold Yourself Together’ before soaring with a ferocious strength in the guitar-powered bars of ‘Absence & Copyright’.

For anyone feeling particularly vulnerable in the feels department when listening to this, a warning: Jefferies’ deeply personal and emotionally wrought lyricism will cut you right to the core, and after it breaks you down, it will lift you back up again. Which is a pretty damn magical accomplishment, especially for someone so young.

Talking about her first body of work, Jefferies explains:

"This EP took so long because I decided to value honesty over everything else. The way in which I write is so subliminal and is difficult to seperate myself from. It is dripping in sub-conscious truths. Hearing that shit back through speakers as a teenager can be terrifying. A lot can get swept up and away when you lay tracks down and mark them for what they are in recordings. This two year climbing and building mountain was one of learning how to present myself and my work in its most authentic form, no matter how ugly, scary and real it is. Diving deep into vulnerable waters is murky territories, but it’s the only format in which music matters - to connect."

Produced over the last 12 months with Miro Mackie (St. Vincent, Dirty Projectors, Bishop Briggs) and Simon Nelson, Hold Yourself Together is available now and you can take it for a spin right here.

And to celebrate the big release, the exquisitely talented crooner is hitting the road on a massive national tour this month. Peep all the dates below.

Asha Jefferies Live Dates








Lime Cordiale’s Slinky New Slice Of Surf Rock Is The Damn Money


Northern beaches-reared duo Lime Cordiale are back with another cool glass of tune water dubbed ‘Money’.

True to its name, ‘Money’ makes bank with its slinky basslines, hazy synths and laid-back surf rock grooves, with the addition of jazzy horn lines and Motown harmonies to cap off a vibe of effortless chill... like a musical version of the sunglasses emoji.

Produced by Dave Hammer - the man behind the group’s 2018 debut LP Permanent Vacation - the single also comes packing a hilarious (and, tbh, slightly disturbing) music video starring brothers Oli and Louis Leimbach as the hired help working at an opulent summer mansion (spoiler alert: they also play the rich snoots who live there, with transformative Eddie Murphy-like skill).

“Some people have an obsession with money. This one is for those that think that money is more important than what really matters” Louis explains of the meaning behind the song.

To toast the release, the lads are currently in the midst of a huge tour across Australia and New Zealand.

Check out the music video for ‘Money’ and catch their remaining list of tour dates below!

Lime Cordiale Live Dates

FRI FEB 8 | Narrabeen Hotel | Narrabeen

SAT FEB 16 | Dunedin University | Dunedin (NZ)

SUN FEB 17 | Galatos | Auckland (NZ)

WED FEB 20 | San Fran | Wellington (NZ)

THURS FEB 21 | Lincoln Uni | Christchurch (NZ)

FRI APRIL 5 | Republic Bar | Hobart

SAT APRIL 6 | Mode | Launceston

FRI APRIL 12 | Lion Arts Factory (AA) | Adelaide

SAT APRIL 13 | HQ (U18) | Leederville

SAT APRIL 13 | Amplifier | Perth

SUN APRIL 14 | Newport Hotel | Fremantle

Windwaker’s Anthemic New Groover ‘The Sitch’ Will Have You Feeling Aggressively Optimistic


Melbourne’s Windwaker have walloped us about the ears with an aggressively uplifting new hunk of metalcore dubbed ‘The Sitch’.

The anthemic groover should go down well with fans of Emarosa or Don Broco, combining an infectiously danceable, pounding drum beat with lashings of heavy, rhythmic guitar lines and vocals that seamlessly switch between soul-infused pop and throat-tearing sceamo.

TBH I’d never actually heard of these dudes before this track landed in my inbox but they’ve converted me straight up. If Good Intent worked on any kind of star system I’d give this a solid 5/5, but failing that, I’m just going to say it. bloody. RIPS!!!!!

With his optimistic chorus refrain of “I’m still breathing”, vocalist Will King explains that the band wanted to move away from their sadboi beginnings on this newbie:

"Coming out of our last record, a record deeply rooted in post-adolescent feelings of pain and loneliness, as a band, it’s safe to say that we all had this strong desire to redeem ourselves of those sole qualities. I think we have always feared trapping ourselves in a box, kept in by 1-dimensional expectations, and we are very conscious of not allowing that influence to hinder our creativity. We are absolutely not a band who is going to sit around all day writing the same songs over and over again. It’s just not going to happen."

‘This Sitch’  has just been revealed as the maiden cut of Windwaker’s brand new EP, Empire, which is set to drop on Friday, 22nd March (pre-order here).

It also comes packing a pisser music video filled with wall-to-wall band hijinks, which you can check out below.

NZ Funk Aliens LEISURE Cross Over To The Dark Side On New Toe-Tapper ‘Easy Way Out’


Critically-acclaimed New Zealand-based five-piece LEISURE are getting our toes tapping and heads bopping with their brooding new slice of electro-funk, ‘Easy Way Out’.

An infectious tapestry of rhythmic guitar lines powered by a dark, driving offbeat that skulks beneath a drunken alien-like synth and sinisterly hushed vocal melodies, this artfully constructed groover is the perfect soundtrack for a midnight drive. 

...Maybe through one of those sleepy little rural towns with a water tower where something just seems off.

With lyrics based on overcoming personal challenges and self-empowerment, ‘Easy Way Out’ has been plucked off the LEISURE’s forthcoming sophomore album, and arrives on the heels of the group signing on with Auckland-based Saiko Management, also home to widely-frothed acts like E^st and Glades.

Awaken I Am’s Blockbuster New Bop ‘Indifference’ Is Like A Reverse-Engineered ‘Punk Goes Pop’ Track

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Criminally under-acknowledged Brisbane  alt-rock outfit Awaken I Am have loosed another monster earworm from its cage.

The sophomore cut of the group's upcoming EP The Beauty In Tragedy is dubbed ‘Indifference’, but inspires anything but.

The single sounds like a reverse-engineered ‘Punk Goes Pop’ track, a infectiously hook-riddled electro-laced bop with sparkling production that just so happens to be powered by a huge wall of crunching guitars.

Lyrically, the song spills its guts about a toxic relationship, as vocalist Jimmy Stevenson explains:

“Sometimes you are in a relationship where you want the best for your other half, yet that person wants to push you away and only be happy when it benefits them, and that is meaning behind ‘Indifference.’”

Awaken I Am's forthcoming 5-tracker will be released on Friday, April 26 and will serve as a tribute to their late guitarist Connor Verner-Oakley.

In the words of drummer Luke McKenzie:

“During the writing, recording and the lead up process to completing these songs, it forced us to face grief and loss everyday as we worked through it. The release of this EP is our chance to give ourselves and fans something to always remember Connor by while giving us closure to move on to a new chapter as a band.”

Listen to ‘Indifference’ below and catch Awaken I Am touring live around the country supporting Secrets (US) later this month.

Awaken I Am Live Dates

THURS JAN 31 | JIVE | Adelaide

FRI FEB 1 | The Evelyn Hotel | Melbourne

SAT FEB 2 | Crow Bar | Sydney

SUN FEB 3 | Club Azzurri | Newcastle

THURS FEB 7 | Transit Bar | Canberra

FRI FEB 8 | Crowbar | Brisbane

Sean Frazer Plucks At Our Heartstrings On This Acoustic Ode To His Dad’s Wisdom, ‘You Know I’


Central Coast-bred singer-songwriter Sean Frazer paints deeply affecting sonic portraits using only music’s primary colours - guitars, drums and vocals. His latest offering ‘You Know I’ is no exception.

The solo artist’s second single is a heartfelt piece of acoustic balladry with lyrics inspired by his dear old dad, “who always saw the bright side even on dark days”.

Frazer’s warm vocals croon and pluck at our heartstrings as deftly as he plucks (or strums) at his acoustic guitar, unfolding a tale of aching nostalgia, the passing of time, sadness, celebration and making the most out of every day lived.

Play this at my funeral please, Sean.

A.D.K.O.B. Have Resurfaced And They’ve Brought A Serious Vibe With Them


Three years after the release of their highly-frothed underground debut EP, Sydney’s other-worldly indie rock minstrels A.D.K.O.B. have re-emerged from their tune cave with a brand new toe-tapper dubbed ‘Chalkline’.

Mixed by Luke Million (I Know Leopard, Carmouflage Rose, Luke Million) & produced by A.D.K.O.B. themselves, the gently lapping bop conceals an aching sadness beneath its sunny grooves and lush wash of male and female vocal harmonies, with multi-instrumentalist band leader Mark Piccles explaining that the song speaks to the kind of confusion and desperation that humans feel when faced with an impossible situation, but still wanting to see the best in it.

In his own words:

“It’s a song about what it means to learn from mistakes, or perhaps that some times you don’t learn at all.

‘Chalkline’ has been lifted from A.D.K.O.B.’s forthcoming second EP NOTHING IS A WASTE OF TIME, which is set for release later this year.

Yours Truly’s Newbie ‘Circles’ Is An Empowering Pop-Rock Sugar Rush

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Yours Truly are a foursome of pop-rockin’ young whipper-snappers from Sydney with a rep for kicking dicks both live and in the studio. Full disclosure, they’re also my good mates, but that doesn’t make them any less worthy of having their music immortalised on the sacred Good Intent blog, it just makes me pretty bloody lucky.

Fresh from slaying the stage down at UNIFY Gathering, where they dropped the spicy bombshell that they’ve just put pen to paper with Australia’s “cool club” heavy label UNFD ahead of the release of their sophomore EP Afterglow (out April 12), Mikaila, Lachie, Teddie & Brad have walloped us with their fresh single ‘Circles’, an infectiously singable anthem with sparkling pop hooks and an unapologetic punk ‘tude.

No need to patronise / The way you act ain’t right,” belts Mik, a certified vocal kween, delivering a straight-up, BS-free MESSAGE amid the song’s cheerfully bop-along verse, which then surges into a sugar rush explosion of a chorus and a guitar riff that cascades like a burst of bubbles from your ears down to the floor.

“And I’m over it / Yeah frankly I’m just sick of it / What makes me different to you? / I got nothing to lose / And everything to prove.”

Not since Aretha Franklin’s iconic 1967 anthem has a song about respecting women been so damn catchy.

‘Circles’ also comes packing a dizzyingly bright, high-production music video that features cameos from some of the band’s favourite lady-bros including, ahem, yours truly.

Pun. Fucking. Intended.

YT Dingo – Presents Stunning Visual Feast In ‘Thrill Of The Chase’

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YT DiNGO (pron. White Dingo) has returned with the second part of his ambitious and magnificently detailed short-film trilogy, ‘Thrill Of The Chase’. From the mind of Travers Ross, YT DiNGO explores a flurry of sounds, movement and themes through both the expansive visual and audio layers. ‘Thrill of the Chase' is directed and edited by ARIA Award-winning videographer Claudia Sangiorgi Dalimore (Her Sound, Her Story).

The track begins with a wide array of bells and warm percussion which provides the perfect platform for the dusty visuals and enticing dance moves. This is built upon by the introduction of driving drums, hardcore-esque screams and a building narrative created beautifully by Claudia. Wolfmother producer, Dave Atkins has used a deft-touch to mix all these elements together in a wash of truly Australian art.

YT DiNGO explains the meaning behind the work:

"This trilogy is a raw expression of my little story on this planet in outer space at this moment in the only way I can communicate at my fullest form from experiencing all of you (people, animals, nature and what surrounds us),”

Both musically and visually, the piece shows a deep love for Aboriginal cultural with three stunning Indigenous actors / dancers set in the Gumbaynggirr outback. The cast for 'Thrill of the Chase' features Blk Cockatoo of the Yidnji people from far North Queensland, Shae Duncan from Gamilaraay (Moree) and Carmel Vale from Dunghutti (Kempsey).

Since releasing his debut music video and single, 'Shipwrecked', last year—which garnered more than 50k views on Faceboook —YT DiNGO has performed across the east-coast of Australia including premiering his live show at Splendour in the Grass.

We Are Definitely Not Over SAYAH’s Heady New Slice Of Electro-Pop


He’s not over me” croons SAYAH in the infectiously singable chorus of her freshly minted electro-pop offering of the same name, and TBH neither are we.

The Sydney-based singer is just getting warmed up, kicking off 2019 with a huge bang(er). ‘He’s Not Over Me’ marks the first slice of a mysterious new new body of work from SAYAH, and sounds like the heady musical lovechild of Flume and Meg Mac (on what planet would that not be a winning combo?) 

The quirky vocalist’s sultry soul-infused vocals drive this dancefloor-friendly bop, cascading over woozy synths, hypnotic bursts of production and modest percussion that nonetheless delivers the kind of contagious rhythms that tug at your fingers to start clicking.

After topping the triple J Unearthed Pop Chart with her 2017 debut single ‘Addicts’ and sharing the stage with the likes of pop megastar Ruel, SAYAH has already kicked some serious career goals, and we can’t wait to see what else she has up her stylish sleeves in the year to come.

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Electro-Pop & RnB Collide In Jason Winston’s Life-Affirming Debut Bop ‘Foreverland’


Sydney-based, Melbourne-raised singer/songwriter Jason Winston has planted his flag firmly on our radar with an attention-stealing debut dubbed ‘Foreverland’.

Fusing minimalistic electro-pop production with rhythmic RnB-infused vocals that lift into an ear-caressing falsetto in the chorus, this life-affirming sonic gem is - at its core - a love song, and undeniably inspires the emotion upon which it muses (insert heart-eye emojis ad infinitum)

Winston explains the track as follows:

I wrote this song as a celebration of everything this relationship made me feel. Joy underpins this represents an idea that some of us chase permanence in relationships, but it doesn’t exist. Moment to moment is all we have and love.

Making his foray into the music world after graduating from NIDA in 2013 and spending his early twenties pursuing acting, Winston is poised to drop his debut album later this year and our ears are ready.

Harley Young & The Haymakers’ New Indie Bop Is The Essence Of Aussie Summer

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It’s the sound of getting sunburnt during a game of backyard cricket, even after you’ve slipped, slopped and slapped. It’s the sound of your dad knocking back a stubby of Tooheys New on the back verandah as the sun goes down at 8pm. It’s the sound of watching seagulls maul each other on the beach as you chuck your leftover fish & chips in their general direction.

Harley Young & The Haymakers’ freshie ‘Barina Jean’ is a breezy indie rock hymn that’s got Aussie summer written all over it, from the endearingly ocker twang of its dual male/female vocal passages to its charmingly mundane music video packed with quintessentially Straya’n visuals.

Bright guitars skip merrily along to a clapping rhythm on the snare in this infectiously sunny bop, as frontman Harley Young’s lyrics drip with locality and romantic nostalgia, referencing everything from TV Hits Magazine to the Bruce Highway.

Produced by John Willsteed (The Go Betweens) and following on from their 2015 album Flinders Parade, the Brisbane sixsome’s musical drought-breaker marks the first cut of their upcoming LP Little Songs For Big People, which is set to be released (on vinyl, no less) this March.

Stay tuned for national tour dates to come, but for now you can pour yourself a chilled glass of January jangle juice courtesy of the delightful ‘Barina Jean’.

The Belafontes – Share Latest Head-Banging Fuzz Anthem ‘Roll On’


If, like me, you’re in need of a power drill to get all those Christmas carols out of your head, no need to fret and do something you’ll regret later; The Belafontes are here to help.

The Melbourne-based, married-couple duo have delivered their new single and EP of the same name, ‘Roll On’, which effortlessly blends surf-punk bravado, infectious harmonies and the frenetic abandon of the early White Stripes catalogue.

As it kicks off, there is no screwing around with ‘Roll On’, feeling as if The Belafontes have burst into your lounge room and started jumping up and down on your favourite sofa. Lead vocalist Jess Belafonte produces delicious earworms that will bring out your inner rebellious teenager. These are complemented by stark harmonies and large shouting crowd vocals that give ‘Roll On’ a massive dollop of passion and heart.

Jess explains the lyrics behind ‘Roll On’ as follows:
“It’s something in the vicinity of never giving up on your youthful pursuits and wanting to quit your job and live in a tour van.”

This all races to a thumping bridge and spine-tingling snare-build that caps off a nostalgic non-stop fuzz singalong. A light synth line is used brilliantly in the last chorus to provide an ethereal glaze that only invites you to play it again. 

‘Roll On’ will position you perfectly between the skate park and the beach, delivering the first taste of Summer ‘19 to your eagerly awaiting ears. Catch The Belafontes ripping through shows across Melbourne throughout January and February.

The Belafontes

Live Dates

FRI 11 JAN | The Gasometer Hotel | Collingwood

SAT 12 JAN | The Retreat Hotel | Brunswick

SAT FEB 9 | The Last Chance Rock & Roll Bar (EP Launch) | Melbourne

Grace Turner – Delivers the gut-punch final blow to 2018 with ‘Easy I Fall’

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With the curtains closing on 2018, and as Australian music fanatics looked to the festival season, I was lost in the horizon of the new year, setting myself up for an earth-shattering blindside that has left me rolling on the ground in a daze. Not to worry though, I have a big smile on my face, as that cheap shot comes in the form of indie-rock-fuzz gem, ‘Easy I Fall’, from Newcastle-based singer-songwriter, Grace Turner.  

Over the last year, Grace has slowly been wowing Australian audiences with her brash, poignant lyrics and slow-burn, driving indie rock. With ‘Easy I Fall’, Turner presents her most fascinating work to date, with the sunset-filled cascade of her songwriting washing over you, listen after listen.  

‘Easy I Fall’ kicks off with the most face-slapping, memorable lyrics of 2018, Grace begins; “If you want to fuck me then just tell me that you love me, don’t know how easy I fall”. The apathetic style of Turner’s vocals, mixed with the raw-emotion of foreboding loss, make for a heartbreaking gut-punch of an introduction. From here, Grace has you clasped by the throat, gulping, as she croons; “There is no room for you, there is no room for two”.

Turner explains “This song is about being tirelessly perused. I used to play it first in my set to shock people into listening to me. I often joke in my live show that it’s about trying to break up with someone but sleeping with them instead. In a deeper sense it’s about power imbalances in relationships, not being listened to and putting someone’s wants and needs above your own.”

‘Easy I Fall’ holds your hand tight and walks with you into the eclipse of 2018, equal parts heart-wrenching and warmly embracing. As the festivals roll in and the feet-stomping dance hits commence, I will quite happily lie back on my couch, with a beer in hand and this beauty on repeat.

Turner has so far supported the likes of Alex the Astronaut, Gabriella Cohen, Jess Locke, Kingswood and Phil Jamieson (Grinspoon) in 2018. Grace and her band head to Festival of the Sun and Mountain Sounds Festival this festival season, with more shows to be announced in 2019.  Stay tuned.


THU 13 DEC | Magic Castle (Headspace Fundraiser) | PORT MACQUARIE
FRI 14 DEC | Festival of the Sun | PORT MACQUARIE
FRI 15 FEB | Mountain Sounds Festival | CENTRAL COAST

Price Park – ‘Fire’ is the warm doona you need a good snuggle with.

“Hey ma! The rains are ‘ere!”


With torrential rain bucketing down in ol’ Sydney town (flooding will probably start soon), I bring you the warm, comforting anti-venom: Melbourne-based producer Price Park’s new single, ‘Fire’.

After garnering praise from all-comers for his debut single ‘Skin’ earlier this year, Price Park delivers an uplifting and glowing follow-up. ‘Fire’ begins with striking vocals and soft, padding percussion that gently builds, with every delicate element meticulously executed. The piano and guitar intertwine to create a balanced and epic finish. As the chorus hits, the guitar flickers, reminiscent of the same melancholy that Death Cab For Cutie have hit at their high points.

Singer-songwriter Joe Kosky’s vocals are beautifully whispered across ‘Fire’, adding some cream to this layer cake of a ballad. These whispers fold over each other, in waves of emotion. What could have come across as something soul-destroying and hopeless, is lifted to something more reflective and accepting.

Price Park says of ‘Fire’:

“Fire is all about getting stuck in routines, usually destructive ones, whether that’s with someone or some ‘things’. It’s that ‘rock bottom’ that we all hit at some point in our lives, and the resolve for things to change that eventuates. The production reflects that. It’s triumphant and passionate. It’s driving and hopeful.”

‘Fire’ once again solidifies Price Park as an emerging producer to keep tabs on in the Australian electronic scene.

Live Review – Neon Lights, Singapore – Day Two


Neon Lights is a festival held in Singapore at Fort Gate in The Fort Canning National Park. While on my travels, the stars aligned so that I was in town to check it out. Beers cost like $20 a pop here, so I thought bugger it - might as well try to swindle a media pass by pretending to be some big shot journo from Australia. Media pass approved, more money for overpriced beers.  

Firstly, I feel like I need to point out that I’ve never actually reviewed an event before, so, apologies in advance if this is something of a train wreck write-up. I probably won’t do one again for a very long time / probably won’t be allowed to after I hit post on this.  

My day started as I rolled into the media accreditation section. I picked up my wristband, felt mildly important as an international blogger, and then I was on my way into the festival grounds.

Singapore is really hot. Like humid AF. Luckily, the venue was well-shaded and provided some relief. There’s an interesting history behind Fort Gate that goes back to the 1300’s, which you can totally Google if you’re really keen for a brush-up on Malaysian / Singaporean history.  

After topping up my wristband with some cash, I ventured over to the smaller stage 'Easy Street', where two dudes called 'E-TracX Scratch Works' were getting down with some hectic vinyl scratching. While I'm sure there's an audience for this repetitious display of DJ'ing, my limited attention span indicated that I was not up to endure an hour straight of it. My overall thoughts of their performance? 'Wicky-wicky'. Stick that pull quote at the top of your next press release, lads. You're welcome. 

A short walk to the main stage greeted me with Afrobeat group, Instigator Afrobeat Orchestra. Some dude was ripping on a bongo and the rest of the band were pretty gnarly too. This kind of music really doesn't do much for me, as it just strikes me as background / elevator noise. That's not taking away how tight and great they were, it's just I preferred to use this opportunity to buy a beer.

After purchasing a frothy, I felt like charging a durry, and the smoking area was right next to the Easy Street stage. So, there I was back hanging out with scratch Magee again. What's pretty rad is that they'd invited people up to have a crack at some scratching; kids were having a great time and that’s what counts. 

Riot !n Magenta took to the main stage with their blend of electronica, trip-hop and soul. Tight rhythmic grooves played under an airy and spacious layering of synths, dreamy guitar and steadfast bass. Frontwoman Eugenia Yip's commanding soulful vocals soared above and completely mesmerised. 

I ventured back to Easy Street, where Perk Pietrek quietly addressed the crowd as he opened his set, but what followed was anything but reserved. Explosive future bass, deep-house and trap rattled the Easy Street stage, blending together an eclectic collection of samples and textures. The small crowd there to watch him were all intrigued, with growing enthusiasm. I was continually on the edge of my seat as every transition piqued my interest. This was thought-provoking and exciting electronic music. In conclusion, it’s safe to say I'm now converted into the Perk Pietrek fan club. Only critique is – shush between songs, man! Just play your bangers and don’t talk. I genuinely mean that with love.

Back at the main stage, London indie-punks Shame burst open their set with 'Dust on Trial'. I was super pumped to catch these dudes, as I saw them absolutely slay back in Australia earlier this year for Laneway Festival and a headline show at the Lansdowne Hotel. Unsurprisingly, their frenetic brand of punk rock impressed all in attendance, and Neon Lights' vibe stepped up a considerable notch (even if it was just mostly from the hilariously polite mosh pit). Crowd favourite 'One Rizla' was met with a roar from the audience; Shame had well and truly got the Singaporeans eating out of their hands at this point. Despite the unwavering heat, the charismatic quintet continued to power on with a hugely compelling performance all the way throughout their set. Some of the new material worked an absolute treat as well. 

Bouncing back to the Easy Tree stage, local producer FAUXE delivered on flawless hip-hop inspired beats, deep trembling bass and intricately brooding production - often melding samples of traditional Malaysian music into the mix. Vocals shifted between English, Indian and Malay; as odd as it sounded, it worked. Dynamics constantly dipped and rose erratically, but with precision - FAUXE effortlessly crafts songs - this guy is the real deal. 

On that note, my phone was about to die as The Vaccines opened their set. All I can say from my vague and boozy memory is that they instantly found the extra gear in the events atmosphere, and I sadly had to depart a few songs in. On the plus side, it was to a rad restaurant to finally gorge down on some highly anticipated Singapore Chilli Crab. 

Thank you, Neon Lights. What a great addition to Singapore's ever growing contemporary music culture.

P.S. Yes, I missed Interpol, but apparently they only played new songs, so joke isn’t on me lerl!