There’s something compelling about hearing the songs live before you hear the album. Before Megaflower showed up as a fully formed record, its crazy shapes had already blown minds in several cramped gigs on Full Flower Moon Band’s first UK and European tour. Word-of-mouth recommendations pushed spaces well past their limits, crowds edging uncharacteristically closer to the stage, jammed into the sweaty corners of spaces whose low ceilings didn’t dampen the volume. It felt like an early warning: whenever these songs finally came out on record, the band wasn’t going to stay underground for long.
Coming in hot after that extended tour, when Megaflower did arrive last summer, it dragged the Brisbane cult outfit into a spotlight…
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In countries with a bloody history, built on empire, it has long been the case that migrants, and the children of migrants, from formerly colonised countries are responsible for a disproportionate amount of cutting edge culture. In Britain, the examples are too numerous to recall; from lover’s rock and dancehall in the 80s, through to drill, grime, and… pretty much everything else.
The penultimate track on 
Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material – quite a few albums’ worth – on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston’s rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins…
Throughout The Vertical Luminous, shimmering vignettes of celestial melodies morph into unexpected shapes without concern for the verse-chorus form. While retaining a semblance of what came before on 2017’s The Unstruck Sound Centre, Paul Wilson’s new LP as 
Witches, Templars, gargoyles — all are roll called in “Town of the Castle,” a jaunty medieval pop song that plays like an overture to 
Enigmatic, prolific singer/songwriter and author known for his genre-defying work and contrary personality.
A psychonautic swirl of spoken-word slam poetry and echoey shoegaze reverberations, this classic collaboration between indie darlings Yo La Tengo and alternative pioneer 
He’s had a most curious career, has 
An expanded CD reissue of Black Rain’s 
‘Cerulean R’ is the expanded 15th anniversary reissue of first Baths record, ‘Cerulean’.
Leif swears off the ambient house of 2021’s ‘9 Airs’ and rediscovers his childhood guitar on 
After three-years in the making,