A journal of longform Australian music journalism and photography.
The Melbourne-based musician’s latest record So Pure melds dark-wave intensity, pop performance and intimate reflections on grief and loss | April 2019
Throughout her third solo album Native Tongue, Mojo Juju uses personal storytelling to confront larger ideas on resilience, racism and truth | September 2018
The editors of Swampland and Difficult Fun jointly consider the musician’s determined embrace of the melancholic | July 2018
Throughout Tropical Fuck Storm’s A Laughing Death in Meatspace, Gareth Liddiard’s technicolour lyrics toy with ideas of our digital-driven demise | May 2018
The debut album from MOD CON is a frenzied, critical observation of life under late capitalism—best witnessed live | April 2018
For three nights in February, RVG graced Melbourne’s Old Bar ahead of their trip to America | February 2018
The second Swampland was welcomed into the world at the Curtin, with help from Emlyn Johnson, Biscotti, Spike Fuck and Marcus Whale | April 2017
As Melbourne disco-freaks Total Giovanni prepare to take the Supernatural Amphitheatre for the second time Jake Cleland remembers the band’s first triumphant Golden Plains appearance | March 2017
Keeping a community radio station on air for forty years hasn’t been easy, but Melbourne’s Triple R has endured. An exhibition at the State Library of Victoria celebrates the station’s history | January 2017
A note on the origin of Swampland | July 2016
Swampland acknowledges that our publication is made on the stolen lands of the Wurundjeri peoples of the Kulin nation.
We pay our respects to their Elders past, present, and emerging. We acknowledge that sovereignty has never been ceded.