A low, distant siren stirs at the opening of “Can I Call You When The Winter’s Done?” — not the sound of danger, but the call of something inevitable coming closer. With the steady rhythm of marching footsteps, Wildersky quietly invites you into the heart of a story where time, longing, and memory weave themselves…
A muted guitar pluck floats into the air like a spark at the start of “We Friends,” and before you know it, you’re pulled into a world where the night feels young, and the people around you are the ones who matter most. Missoury, alongside Doobieboy Spliff, crafts a space that doesn’t just sound good—it…
Blasting open the EP with all the subtlety of a brick through a window, this track is pure, glorious grunge chaos wrapped in a punk sneer. From the first distorted riff, “You Were Never in Love” grabs you by the soul (and possibly your shirt collar) and yanks you straight into The Red Lite District’s…
A vinyl crackle drifts across the stereo field, and “Real Life” blooms like a Polaroid dipped in sunrise. Under the kazaizen banner, Jonny Kasai stacks Rhodes chords, tape‑warped guitar swirls, and a bassline that prowls in rubber‑soled stealth ingredients straight from a ’67 psych session, rendered with headphone‑age clarity. The first chorus doesn’t crash; it exhales, and…
Dreamland, Harry Bertora’s latest EP, isn’t just a collection of tracks it’s a sensory voyage that blends nostalgia with an intimate exploration of emotion. Released on March 28, 2025, this work finds Bertora tapping into the rich pulse of the ’80s, but through a lens that’s unmistakably his own. With over three decades of musical…
From the first shimmering note, CKH’s Superposition emerges as a rare gem in the electronic music scene, merging intellect with emotion to craft a track that feels as expansive as it does intimate. Inspired by the quantum concept of superposition, where multiple possibilities exist at once, this track plays out like an audio representation of…
Imagine stepping into a world where time slows, where the only things that matter are the shimmering synths and the vastness of space. “Satellite” by Supersonic Boy is a sonic passport to that world a track that propels you from earthbound reality to a drifting journey through stars. Opening with an ethereal blend of shimmering…
A distorted laugh flicks across the speakers, then an 8‑bit arpeggio revs like a quarter‑fed arcade cabinet the club lights haven’t even settled before “Michael Bichael” drops its first sub‑bass punch. Anti Lag, Melbourne’s resident glitch gremlin, treats restraint like a software bug: bit‑crushed snares snap, vocal chops gurgle with meme‑era mischief, and a rubber‑band bass line…
A jagged snare crack splits the dark, and “Devourer” lunges forward like a chain‑link fence yanked off its posts. Charming Scars barely a year old in Sulphur Springs lore sound neither tentative nor polite. Carter Luera’s guitar spits rust, Sal Castro’s drums pummel without mercy, and Mike Shirley’s bass rumbles like something subterranean finally surfacing for air. The opening riff…
A pick‑slide screams like a match across sandpaper, and the fuse is lit. “All Is Well In Hell” detonates with a double‑kick barrage that feels less like percussion and more like structural failure, hurling you into Ben Rankin’s purpose‑built inferno. Rankin tracked every instrument inside a suburban Canberra bedroom, yet the mix hits with festival‑stage authority: guitars roar in tectonic…
