Sometimes people walk out of Sarah Mary Chadwick’s shows because they deem them too depressing. There is something in Chadwick’s sparse piano playing and the languor of her voice that makes her songs sound sad even when maybe she isn’t, at least, not entirely, writes Kimberley Thomson.
Read More“Liddiard’s right: the new band’s enlarged sonic vocabulary suits his lyrics, saturated as they are with deranged technicolour allusions to everything from the titular Papuan laughing death to placenta-chewing Toorak mums and hot stuffed pizza crusts.”
Read MoreModern Convenience is a frenzied, critical observation of life under late capitalism—best witnessed live.
Read MoreIn spite of their modesty, RVG inspire feverish levels of affection from their audiences. At the launch of their album A Quality of Mercy, at the Tote last year, crowd members embraced and tears flowed.
Read MoreThe second Swampland returned with help from Emlyn Johnson, Biscotti, Spike Fuck and Marcus Whale.
Read More"At every step, looking in from outside, Total Giovanni have seemed like a deliberate project, but so much of it has been the fortuitous accidents of happy experiments."
Read More“From those of us who went prancing off to the big smoke, Smiths albums clutched tightly to our chests as we waved goodbye to the old folk, the bogans and the pub with whalebones out the front, we say thank you 3RRR — you saved our lives”.
Read MoreSwampland has begun because I think there is a place for a magazine that tells specifically Australian music stories—something that asks intelligent questions about the music that is being made here, or has been made previously, and wonders what that says about the larger context of who we are.
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