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!



As this year rockets towards its inevitable end, with everybody spinning around in a daze & wondering where the heck it escaped to, outstanding new Australian music continues to drop out of the sky and give you a good kick in the ears.

Today I have the pleasure of introducing the teeth-knocking goodness of Adelaide-based quartet Donnarumma & their new brash, frenetic but charming indie rock track, ‘Rollercoaster’.

Rollercoaster’ starts with light, plucky guitars, giving the veneer of being a cruising ballad, before the driving riffs and drums send your eyebrows northward and the track lifts off. Lead singer Louis’ crooning vocals, bouncing in between falsetto and low growls, are the perfect addition to the driving rhythms that power the song with overflowing energy.

When the chorus hits, it feels like the perfect storm as twirling guitar riffs, vibrant drum hits and the repeated phrase “My head is a rollercoaster ride”, form into a beautifully infectious hurricane.

 Louis explains:

 “I based the narrative around the idea of being self-critical, almost like a person arguing with themselves in a mirror”.

And the storm surge doesn’t abate as the final chorus gets faster and faster (and faster again) and the track spins out of control with almighty force. Louis’ yells are of pure want and desperation, bringing the perfect end to a track blazing with pure elation and vibrancy. '

‘Rollercoaster’ proves that Donnarumma have well and truly landed, and just like Big Kev, I’m excited. Now go and get kicked in the ears by ‘Rollercoaster’ at their live shows coming early next year, so you can jump on that rollercoaster as well (apologies, needed to sneak that in somewhere).

FRIDAY 11 JANUARY | Crown & Anchor Hotel | Adelaide, SA
THURSDAY 17 JANUARY | Grace Darling Hotel | Melbourne, VIC
SATURDAY 19 JANUARY | Frankie's Pizza | Sydney, NSW
SUNDAY 20 JANUARY | Hamilton Station | Newcastle, NSW
FRIDAY 22 FEBRUARY | Heya Bar | Brisbane, QLD
SATURDAY 23 FEBRUARY | Miami Shark Bar | Gold Coast, QLD

LISHI – Get wrapped up in the tragic embrace of ‘Token’

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Sydney-based singer-songwriter LISHI has triumphantly returned with a soothing, heart-wrenching ballad dubbed ‘Token’.

A true veteran of the Sydney music scene, LISHI provides us with a swaying, moving song that expresses love, loss and finding the strength to accept and move on. Over the last 10 years, LISHI has released a vast collection of material, both as a solo artist and with former band, Cameras.

‘Token’ starts with lush piano and LISHI’s soft vocals flowing over the top of each other, like a tree swaying in the wind. Her talents as a classical pianist are on full show here, as the keys reverb out like a warning bell. This leads into the chorus, which opens up an overwhelming wave of hurt, with the strings perfectly lifting the feels to the next level.  

Here’s LISHI on the of writing ‘Token’:

“I’m never sure when I sit down to write a song what it’s going to be about but this one ended up being inspired by the memory of my father.”

Having already played with such artists as Meg Mac, E^ST, Holy Holy & Kira Puru, LISHI is an artist that we can expect big things from in the future. I, for one am bursting with excitement to see ‘Token’ live ASAP.

Premiere: JPL – ‘Seaside’ (The Kooks Cover)


Byron Bay native Jo Loewenthal is better known as the producer, songwriter and vocalist from Tora.

When he isn’t on the clock for Tora, Jo also has a solo project under the moniker ‘JPL’, formed as a new creative outlet to write and release music outside the sonic scope of what he created with his band. 

Today, we have the pleasure of offering up the first review of his latest effort - and it just so happens to be a cover of the timeless classic ‘Seaside’ by indie-rock favourite’s The Kooks.

Swapping out the acoustic for an electric axe, JPL’s version is - true to the original - laced with glimmering keys and a subtle yet apt rhythmic section. The addition of beats and other instruments gives the rendition a lot more feel and depth, beautifully complementing his warm, soul-drenched vocals.   

JPL describes the motivation behind the cover as follows:

“Growing up, I was a big fan of The Kooks and that has definitely inspired me here. I wanted to give the track a bit of energy and bring in a bit more dynamic, whilst still giving space for the lyrics and melodies to shine. This song was re-worked at a time when I was writing a lot of original music, so the act itself gave me a timely break and allowed me to engage a different creative angle. The original is such a beautiful track. Working on a cover is always a risk, you’re never totally sure if you’re going to pull it off and I’m really hoping I’ve done it the justice it deserves."

Stunning and meticulously executed, this rendition is certainly something I could imagine Luke Pritchard himself giving a nod to.  

JPL has also written and produced for the likes of MØME and GRAACE, and clocked up an impressive 40 million streams across his discography.

No doubt about it - JPL is another fine project to keep across.

Feather Touch – Returns with glorious dancefloor-destroyer ‘Need You’


Sydney-based producer Feather Touch is back in all of his feet-thumping glory, with dancefloor-destroyer ‘Need You’. Showcasing him at his best, it’s no surprise his sound is often explained as “Tropi-Calypso Disco”.

If there was ever a justification to be that annoying dickwad requesting songs of the DJ at 3am, this song is it! ‘Need You’ touches you in a myriad of ways, however it ain’t nothing like a feather (slow clap.. please?).

The track starts out with what I can only describe as being sucked into a demented, strobe light seizure-inducing game of Donkey Kong. The verses provide some respite to catch your breath as Feather Touch’s own vocals slide smoothly across light percussion. Even at its lightest points, ‘Need You’ is designed to make your body move, and in my case, I have to try and sit on my leg to make it stop moving to this track.

Feather Touch has summed up what was different about his process for ‘Need You’ as follows:

"For this song, I really put aside my insecurities about singing and avoided being self-conscious on the structure as much as possible. I was really surprised by how much of a pop song it turned out to be."

Joining Feather Touch on production duties for this track is Melbourne producer extraordinaire Haxx (Kult Kyss, Yeo, King IV). This is a finger-licking combination and I hope we see more outings from this tag team in the future. I’ll definitely take as many tracks like ‘Need You’ as I can!

After performing his launch show last Friday at House Hibernian, keep your eyes out for Feather Touch’s new shows, because they’ll be anything but chill.

Premiere: Newsteam – Mystify on Debut Cut ‘Anna’


Yew! Another Central Coast band, another premiere * insert shaka here *

Newsteam are a sextet comprising of Jacob Borg (ex-Jinja Safari), Eli Milojkovic, Scott Wallis, Adam Williams, Pete Sanderson and Benjamin Welch.

Today, Good Intent has the pleasure of offering up the first listen of their stunning debut single ‘Anna’ ahead of its official release tomorrow (Friday, October 26).

Setting the tone with a solid, carefree beat and dreamy ringing of delayed guitar, ‘Anna’ comes to life as the rumbling bass of Milojkovic and croons of Wallis interweave into its charismatic verse.

Shifting in direction, dynamics gently drop as Wallis’ endearing vocal “I am Mystified, Anna, I know, there you go” coasts over the top. Instrumentation continues to step down, as drums and glimmering keys pair to provide the perfect bedding for Wallis’ striking vocals.

‘Anna’ picks up the pace again as it moves through the latter part of the song, eventually building into a gradual crescendo and epic jam-outro, shining a light on the group’s deft approach to songwriting that boasts effortless navigation of builds, drops and transitions.

Drummer and lyricist of the track, Borg, describes the story behind ‘Anna’:

“A couple of years ago I was working down south on a property owned by a friend of my boss at the time. His friend was going through a separation whilst we were there. The ex-partner was still staying there and packing up her belongings and eating dinner with us. The two were all honky dory in front of us but you could sense it wasn't so behind closed doors. It was a weird situation to be in the middle of for a few weeks; we were building new structures for him and she was inside stripping things away…”. 

On top of its enticing melodies and meticulous instrumentation, it’s the subtle intricacies that make ‘Anna’ really shine. With each listen, you discover something new that differentiates from your cookie-cutter indie-rock.

Newsteam, take a bow. You have delivered one of the most impressive debut indie-rock tracks from an Australian artist in 2018.  

Meet Novocastrians Jones The Cat and their cracking new track ‘I Want You Still’


Newcastle-based punk rockers Jones The Cat have just released their new single, ‘I Want You Still’, produced by ARIA award winning engineer Peter Holz (Peking Duk, Gang of Youths, Vance Joy) and Simon Berckelman (The Internet, Art vs Science, Andy Bull).

Part of a double A-side single release, the track marks the group’s first offering through Canadian independent label Dine Alone Records, and is a snippet from their forthcoming debut EP (due in the coming months).

Lead single ‘I Want You Still’ forms a combination of tastefully executed, Australiana-inspired spoken word, riding over the top of fuzz-laden, pulsating bass and erratic splashes of drums and guitar.

As verses gradually build, frontman Jack Waterson’s poetic vocals abruptly change into melodic screams with the angst-fuelled line: “Yet through all the frustration and small reservation forever, caught in circles and going, round again”, which perfectly bridges the transition into the frenetic and infectious chorus.

‘I Want You Still’ is a well-executed, thought-provoking take on melodic pop-punk that avoids a linear formula with just the right amount of unexpected twists and turns. The impressive cut sets the tone for a record well worth checking out upon its release.

‘I Want You Still’ is available now worldwide.

Ro – Is Not ‘F**ked Up Over You’

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We’ve been really slack since rolling out our blog. We publicly stated we’d be aiming for three-to-four posts a week, and now here we are - four weeks in - and we’re only averaging two. I promise it’s because we’ve been unexpectedly busier than we thought we’d be, but still. Tsk, tsk.

Anyway, enough of me blabbering on like I’ve been set an essay with a minimum word count I’m trying to fill, because I do have plenty to say about Melbourne-based songwriter Ro and her slow-burning new tune, ‘F**ked Up Over You’.

I first caught Ro at ‘The Newsagency’, a charming and intimate venue located in the inner-western Sydney suburb of Annandale and a well-suited setting for what I was about to witness. It didn’t take long for me to be drawn into her raw and emotive brand of indie-rock (as well as her wry humour during song changes).

So, when ‘F**ked Up Over You’ hit my inbox last week, I was pretty darn excited to hit play - and certainly wasn’t left disappointed.

Crisp and lightly-strummed guitar sets the tone against an aptly stripped-back beat, as Ro’s gorgeous vocals shine brightly and firmly tug at the heartstrings. The song gently lifts, as the swooning chorus finds its extra gear in Ro’s infectious melodies that soar and shine a light on playing the player, and deflating the ego of an ex-lover.

Ro on ‘F**ked Up Over You’:

"F**kd Up Over You is about moving on. It’s a sort of mantra about the underrated strength in nonchalance, especially after the rekindling of a destructive romance. It’s also about self-affirmation and self-respect after someone has underestimated you. When people take you for granted, sometimes the best thing is to foot down and declare that you’re strong and unfazed; and not the damaged damsel anymore".

It’s poetic lyricism, bursting with melancholic charm and a myriad of other emotions, amongst a background of hazy garage-pop. What more could you want?

Premiere: Desert Moons – Share Majestic New Cut ‘Come Over’

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Full disclosure: I’m good friends with Simon and Jake Dobson of Desert Moons, and also help them out with promoting their music. No money is exchanged (just sharp pokes of my belly), I simply like their music and (sometimes) them as humans.

So, if you believe that impacts this review - jog on and head over to their Spotify or Apple Music to form your own opinion #transparency

For those of you happy to look past the nepotism, let me introduce you today to NSW Central Coast experimental-electronica pop duo, Desert Moons, who are premiering their dreamy psych-rock infused single, ‘Come Over’.

Opening with bouncing synths that recall the vibe of Childish Gambino’s ‘Redbone’, ‘Come Over’ projects itself swiftly from its funk-laden intro into a deep pit of fuzzed-out synths.

The dynamics wind down again for a fleeting moment, emphasising the striking vocals and harmony arrangements of Jake Dobson:“Will you come over, now that he’s gone? Will you come over, now that she’s gone?” he croons; a playful view of young love at its early stages and, at times, the frustrations of ego that accompany it.  

As the song progresses and continues to shift back and forth amongst its contrasting elements, it’s apparent the brothers have not only meticulously bridged the transition between the funk / R&B tinged verses and the thick psychedelic walls of Moog synthesisers – but have also tastefully melded the qualities of them together.

Jake’s hypnotic vocals glide along effortlessly with floating, fluttery synths, aligning in tandem perfectly to add the finishing touches on their strongest works to date.

The band has previously racked up a number of accolades, with props from the likes of KEXP, triple j, Rolling Stone Magazine, blahblahblahscience and various other tastemakers.

‘Come Over’ is out everywhere today, but since you’re here, I’ve made your life easy and included the Soundcloud link in this article.

Who the fuck is Codeine Messiah? We don’t know, but we still ain’t mad about it

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Take my hand and let’s slip into the world of the unknown. My latest find, courtesy of triple j Unearthed, is a whole bouquet of wild, carnivorous flowers from an artist called ‘Codeine Messiah’.

Codeine Messiah is an absolute unknown at the moment, with the only piece of information I can find being that he or she supposedly lives in the Western Plains of NSW. One thing is for sure though, they have an amazing ear for spine-tingling, leg-shaking production.  

‘Physical Symptoms’ starts with an endearing, whistle-like sample and beautiful melodies from vocalist Harvie, before dropping into that light snare dance-build. From this point, you know exactly where the song is traversing to: “DROP THAT SHIT”. However, it’s done breathtakingly well. All through ‘Physical Symptoms’, Codeine Messiah makes sure to continuously twist the arrangement and music slightly, to give you that satisfied eyebrow-raise.  

The chorus makes you feel like you’re in that crazy sweat/sex party from The Matrix. Then, second time around, Codeine Messiah pushes the eject button, leaving you feeling like you’re glued to ground as trees collapse in on you. Sounds pretty freaky, aye?

Yep, give this track a listen NOW.

Lupa J - Unveils enigmatic new single 'Drift'

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Sydney-based electronic artist Lupa J has unveiled her latest offering ‘Drift’, from her forthcoming debut album ‘SWALLOW ME WHOLE’ (due early 2019).

‘Drift’ once again demonstrates that Lupa is an ever-evolving, experimental artist and tbh I couldn’t be more excited about what the future - and this debut album - holds in store.

‘Drift’ starts with a yearning eeriness from Lupa’s swaying vocals, as she heartbreakingly exclaims “I’ve gone too far now, In someone else’s clothes now”. The drums rise like a heartbeat, pulsing in the back of your throat. Before you know it, you’ve been dropped 50 feet into the eye of a hurricane as the sweet vocal riffs, rolling industrial percussion and staccato raindrop synths surge into a full rave of emotion.

Drift is about feeling a nagging unhappiness with the way things are but having no idea how to make any kind of change” Lupa J explains.

‘Drift’ also has an intriguing duality, feeling like it would be appropriate for a dress-up party in a forest, or else your pitch-black room with speakers blaring (while crying of course).

Having already toured with Grimes, Sarah Blasko, Alice Glass and Tegan and Sara in her career so far, Lupa J is most definitely one of 2019’s “must watch” acts. I will most definitely be seeing you at one of her shows in the near future.

Xanza – Western Sydney has a new Bedroom Pop Princess

Photo credit – Brandon Tam

Photo credit – Brandon Tam

Watch out Western Sydney, you’ve got a new voice in bedroom pop! I present Xanza and her soothing debut ‘Stars Like Us’.

As the track starts, you’re hit with massive 90’s vibes, which remind me of that Leonardo DiCaprio movie ‘The Beach’ (the book is better, but I digress). However, the 90’s rave vibe soon melts into feelgood smooth tones, with Xanza’s angelic voice floating like whisps of cloud across the top. That is, until the tropical rains arrive and you’re dancing naked in a forest (doesn’t sound too bad, huh?).

The samples and xylophone sounds bounce together like they’re on a trampoline at 3am on a Sunday morning. The layers here are like linked puzzle pieces and highlight the producing chops of Elina Godwin. NB: Elina’s is a name that you should keep your ear to the ground for - as this is only her second foray into producing. I’ll definitely be keeping a keen eye on what comes next!

With a debut EP around the corner in November, along with some live shows, be sure to keep your ears propped up like a curious puppy if you’re an Aussie music fiend!

Moaning Lisa – Share fuzzed-out ode to self-endearment on ‘Comfortable’


After making quite the stir at BIGSOUND 2018, Canberra-based alternative-rock quartet Moaning Lisa have just unveiled their grungy, dream-laden new single ‘Comfortable’ – lifted from their forthcoming EP ‘Do You Know Enough?’ (due out on October 19 via Hysterical Records / Father/Daughter).

Floating elegantly with its steady rhythmic section, reverb-soaked guitars and sombre melodies drenched in sweet harmonies, ‘Comfortable’ hits all the right strings, including those of the heart.

Lead singer Charlotte Versegi shines a light on the theme of the song, explaining: "Comfortable was written during that in-between period of dating. It's a confident, albeit sardonic, journey from accepting to celebrating being by yourself”.

The track finds its extra gear in its soaring chorus, shining with a wall of guitars and, at times, emotively-driven, distant vocals. Additional fierce melody variations rear their head on the up-tempo bridge, before the outro winds everything down again to close out a perfectly executed rollercoaster of dynamics.

With a sense of sincerity and incredibly clever songwriting, ‘Comfortable’ is nothing short of a masterpiece set to dominate the airwaves and playlists as an anthem of summer 2018. 

Catch the band on the below festival dates over the remaining months of 2018.



Sat. September 29, 2018 – WOLLONGONG @ Yours & Owls Festival *All Ages*

Sat. September 29, 2018 – WOLLONGONG @ Yours & Owls Festival

Sat. October 20, 2018 – SYDNEY @ Go Here Go There Festival at Boogie Mountain Sat.

November 3, 2018 – BRISBANE @ Against The Grain Festival

Sat. November 17, 2018 – CANBERRA @ Spilt Milk

Sat. December 8, 2018 – ADELAIDE @ Stonecutters Festival


KAYEX – Perth-based Funk/Dance duo drop tasty treat ‘5:29’


“Dance like everyone is listening to KAYEX”
- Old Chinese Proverb

Perth-based duo KAYEX have just dropped their latest dance banger, ‘5:29’, a track packed to the brim with tight percussive grooves and the kinds of Justice-esque style bass lines that make your legs fuzzy. I’ve been a massive fan of KAYEX since they released ‘My Friends’ last March and I think these boys are on a trajectory leading somewhere very special - don’t know where that is just yet, but with a debut EP around the corner (early next year), I believe the term “the sky is the limit” fits well.

‘5:29’ starts off with some ominous gongs that sound like a mix between a Medieval town invasion bell and a computer error sample. All the sampling in ‘5:29’ has such a deft touch, making it the smooth chocolate icing on top of this layer cake of song. Around the 50-second mark, KAYEX’s trademark bass drops in, powered by enough funk to turn you into a twerking teenager yelling “shake your ass! watch yourself!” at the mirror. This is all topped off with lead singer Tom Derickx’s smooth and silky vocals, which give this track the feeling that it would work on a dance floor, or after a toke or two.

So if you’re ready to throw your hands up in the air and lose those inhibitions, KAYEX will be hitting a slew of festivals this season including Snowtunes, No Worries Festival and Your Paradise 2018. This is all off the back of an SG Lewis Australian tour and playing Listen Out last year. Don’t expect KAYEX to slow down at all though, as fresh signings with Audiopaxx for management and Select Music for bookings hint that they’re going to have anything BUT a quiet next 12 months.

What did a I tell you? Keep those spidey senses on KAYEX, you won’t want to miss this gravy train.

Click here to Listen

Imbi the girl - reveals smooth sentimental slice ‘Angel face’


Last week, Sydney-based rapper / pop artist Imbi The Girl released their stunning debut EP, ‘For Me’. Filled with five meticulously penned and produced eclectic tracks, the record is sure to bring much joy to listeners, much like previously released singles ‘Swell’, ‘V.I.P.’ and ‘Acidic’

Today, we focus on one of the newly released songs, the melancholic ‘Angel Face’ - a trip-hop, soul and electronica-infused number boasting intricate yet smooth cadences and brooding, stripped-back production and beats.

While largely poignant, the track maintains buoyancy as it ebbs and flows with Imbi’s poetic vocals, melding an intense sense of conviction with a feeling of vulnerability and compelling hooks.

‘Angel Face’ tells the story of when Imbi was craving creative release by painting, but didn’t have the means to do so – thus affecting their state of mental health.

As luck would have it, one day Imbi came across some abandoned canvases. Though already covered in thick and textured paints, Imbi tried to smooth it out for use, but was unsuccessful in their efforts to do so.

Regardless, Imbi got to work on an artwork that took them three weeks to complete. Painting over the existing textures, they still managed to create something beautiful that ended up being one of their favourite works to date.

Imbi The Girl – you’re a charmer. Always one for optimism and the view of a half-full cup.

Catch Imbi The Girl performing live at Listen Out Festival - dates below.


MELBOURNE | Saturday 23rd September @ Catani Gardens, St Kilda

PERTH | Sunday 24th September @ Western Parklands, HBF Arena, Joondalup

SYDNEY | Saturday 30th September @ Brazilian Fields, Centennial Park

BRISBANE | Sunday 1st October @ The Sporting Fields, Victoria Park