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If you've been paying attention to the Australian music scene in recent years, there's a good chance you may have come across the enigmatic majesty that is Our Carlson.

Having got his start in the hardcore world over two decades ago, Carlson has spent the past few years cementing himself as a commanding figure within the world of electronic music, describing his work as "trauma doof from The Peoples Poet."

In 2021, his 'A Bit Much' EP gave punters a taste of what was to come, with passionate lyricism and stellar compositions fast winning over audiences. Meanwhile, 2023's follow-up, 'A Bit 2 Much,' continued the trend, and gave us a further taste of what was still to come.

This year, he's released the full-length record, 'OC Spray,' a collection of nine tracks that showcase his musical diversity and myriad lyrical focuses. Alongside doof beats and eclectic production, you can even find elements of hyperpop and raw, stark vulnerability. It's a hell of a record, and one you definitely need to hear.

Alongside the recorded music, however, Carlson also uses his position to champion the causes that matter. Whether it's the likes of calling out strobes at shows, or campaigning for Indigenous rights, a free Palestine, or the rights of the LGBTQI+ community, Carlson is a man with many focuses at any given time.

This week, I was lucky enough to catch up with him again and have a chat about the new record, and everything that's gone on over these past few years.

Anyway, have a listen to Our Carlson's 'OC Spray,' have a listen to our chat, buy a ticket to his current tour, and I’ll see you at the end of the episode for some general housekeeping.

Ask anyone, and there's a good chance that many Australian music fans will describe Gareth Liddiard as one of the pillars of this country's music scene.

For Liddiard, his musical career began back in the '90s, entering this creative world alongside the formation of The Drones, who are often regarded one of Australia's most revered bands. Alongside numerous albums and myriad live performances, The Drones took home awards like the inaugural Australian Music Prize, while 'Shark Fin Blues' was voted the best Australian song by contemporary songwriters.

While The Drones would enter a hiatus of sorts in 2016, Liddiard has kept at it, forming Tropical Fuck Storm the following year. Since then, that's been his main project, though he's also dabbled with Springtime alongside luminaries Chris Abrahams and Jim White.

Weird, discordant, and ever-arresting, Tropical Fuck Storm this year released 'Fairyland Codex,' their fourth studio album, and first full-length record since 2021. It's a stellar album, and one they're about to head out on the road to support with an Australian tour.

This week, I was lucky enough to speak to Gareth Liddiard once again, funnily enough, just a day after 'Fairyland Codex' nabbed a spot as a finalist for the Australian Music Prize.

Anyway, have a listen to Tropical Fuck Storm's 'Fairyland Codex,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the past few years now, I've been watching Newcastle outfit dust rise through the ranks, ticking achievements off their bucket lists as if it's no big deal.

I've eagerly watched them since I wrote their very first piece of press back in 2021, premiering their first single, and manifesting good things for them. Since then, it's been stunning to see them continuously drop stellar pieces of incendiary post-punk, deliver amazing live shows, and even find themselves supporting names like Interpol, Bloc Party, and more.

Needless to say, it's always great to see a band such as dust reaching huge heights and continuing to represent Australian music on the global stage.

This month, the group unleashed their long-awaited debut album, 'Sky Is Falling.' If you've not listened to it yet, you're undoubtedly in for a treat, with dust showing themselves as one of the most exciting groups in Australia today.

This week, I was lucky enough to speak to vocalists and guitarists Gabriel Stove and Justin Teale from dust about their rise to fame and the release of their amazing debut album.

Anyway, have a listen to dust's 'Sky Is Falling,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're a fan of music from the '90s, or just the indie-rock genre in general, then the chances are probably pretty much perfect that you're aware of The Lemonheads.

First formed in Boston back in 1986, the group has been fronted by Evan Dando since its earliest days, with Dando being the driving force (and only original remember) since 1989.

The Lemonheads rose to widespread prominence in the early '90s thanks to records like 'It's A Shame About Ray' and 'Come On Feel The Lemonheads,' with the former being largely written in Australia when Dando became good friends with Smudge's Tom Morgan.

Though The Lemonheads would split back in 1997, they've been an active presence again since 2005, with a self-titled record arriving in 2006. Since then, there's been a few archival releases and reissues, while the brilliant 'Varshons' cover albums arrived in 2009 and 2019.

However, earlier this year, it was announced that The Lemonheads would finally be releasing their first new record of original material since 2006. Titled 'Love Chant,' it's a brilliant record that any self-respecting music fan needs to listen to immediately.

News of the record also brought with it a return to Australia for The Lemonheads, who played their first local shows in the country since 2019 back in May. A massive return for a group who are effectively honorary Australians these days, I was lucky enough to get the chance to catch up with Dando while he was in the country, visiting him in his hotel room for his first local interview, just hours after he landed in the country.

If you know me, then you'd likely know how stoked I was to have this opportunity to chat to a figure in the musical world whose legacy has been immensely impactful. But as expected, it was a bit of a wildcard experience, with Dando also giving this podcast its first live performance of… well, anything to date. We also had a couple of technical issues but it works out fairly well, I feel.

Anyway, have a listen to The Lemonheads' 'Love Chant,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Since 2021, New South Wales quartet The Rions have been rising stars in Australia's eclectic music scene.

First forming in year seven back in 2016 and releasing a few singles at the start of this decade, The Rions rose to fame four years ago when they were announced as the winners of triple j's Unearthed High competition.

Winning the esteemed prize despite being unable to promote their work too strongly thanks to the ongoing pandemic, the group remained determined to keep on creating, releasing further singles and then a pair of EPs across 2023 and 2024.

Now, we come to 2025 where they've finally arrived at the release of their debut album, 'Everything Every Single Day.' A stellar release from the (still comparatively) young group, it shows The Rions operating at their best, forging ahead as they continue to craft enticing music and bring it around the world.

Oh, and I say the world given that their profile has risen so dramatically that they've now been performing an impressive run of dates throughout the UK and Europe alongside Australia, with further shows in these regions set to take place very soon.

This week, I was lucky enough to have a chat with drummer Tom Partington and guitarist Harley Wilson for the podcast.

Anyway, have a listen to The Rions' 'Everything Every Single Day,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For decades now, Dave Graney has been one of the most important names in the world of Australian music.

First making his appearance in the music world in the late '70s, the South Australian-born Graney found wider fame as a member of The Moodists with partner Clare Moore, with the group's influential post-punk sound seeing them based in London as their profile grew.

Following the band's split, Graney and Moore pivoted by way of forming Dave Graney 'N' The Coral Snakes. An eclectic project which lasted for around a decade, it ended up being one of Graney's most popular undertakings, resulting in myriad acclaimed records and even a famous ARIA Award for Male Artist Of The Year.

That win was off the back of the brilliant album, 'The Soft 'n' Sexy Sound,' which – while actually the lowest-charting of all charting Coral Snakes albums – helped mark Graney's name in the history books with indelible ink.

Though other projects would follow over the years (including The Dave Graney Show, The Royal Dave Graney Show, The Lurid Yellow Mist, solo work and others), this year, the Coral Snakes are hitting the road to give 'The Soft 'n' Sexy Sound' its well-deserved 30th anniversary treatment. 

Frankly, I'd be heading along just to hear one of Australia's greatest songs, 'Rock 'N' Roll Is Where I Hide,' in the live setting.

This week, I was lucky enough to have a chat with Dave for the podcast. It was actually supposed to be both him and Clare on the call, but she had to pull out at the last minute, so I'll be sure to catch her another time.

Anyway, have a listen to Dave Graney 'N' The Coral Snakes' 'The Soft 'n' Sexy Sound,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For well over a decade now, Jacob Banks has been enchanting listeners the world over with his immersive blend of soul and R&B. 

Rising to prominence following his success in a music competition in 2012, Banks quickly became a hot ticket, scoring plenty of airplay thanks to his early singles, including collaborative singles with the likes of Wretch 32 and Chase & Status.

Singles soon turned to EPs, and by the end of 2018, he'd released his debut album after signing to Interscope the year prior. Alongside myriad appearances on TV soundtracks and video games, Banks has continued writing, recording, and releasing stellar music at every turn. 

Last year, he kicked things off with the release of 'Yonder,' a three-part series of EPs that arrived over the coming months and were eventually compiled as a full album just a few months ago.

If you've not yet heard Jacob Banks, I recommend giving Yonder a spin so as to allow yourself the chance to witness just what this amazing musician is capable of when operating at his full capability.

Next month, Banks will return to Australia for his second solo tour, with shows scheduled for Melbourne, Brisbane, Sydney, and also an appearance at the Wanderer Festival in New South Wales.

But before that tour kicks off, this week I was lucky enough to be joined by Jacob Banks for a quick chat about how he's less of a musician and more of a storyteller – regardless of the medium.

Anyway, have a listen to Jacob Banks' 'Yonder,' buy a ticket to his upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the past five years now, Los Angeles has been home to the alt-rock/pop-punk outfit Beauty School Dropout. 

Initially being formed as a solo project from Colie Hutzler while still performing as part of the group Strangefaces, the project soon expanded with the membership of Brent 'Beepus' Burdett and Bardo Novotny. 

Swiftly, the group found themselves surrounded by a strong stable of supporters, including the likes of Blink-182's Mark Hoppus and Fall Out Boy's Pete Wentz, who cemented their belief in the group by signing them to the Verswire label.

In these past five years, it's been a dizzying rise to fame for the group. Alongside two albums – including 2022's 'We Made Plans & God Laughed' and 2023's 'Ready To Eat' – Beauty School Dropout have been touring relentlessly, playing with a list of bands that any music fan would give their right arm to support.

Today, the band release their third album, 'Where Did All The Butterflies Go?.' As you might expect, it's another solid piece of work, capturing their raw energy and inimitable ability to craft some amazing songs that will undoubtedly see them going far.

This week, I was lucky enough to have a brief chat with Beepus, Colie, and Bardo ahead of the new record, while they were out on tour. As a result, the audio quality is a bit rough at some points, but look, if you don't mind, then neither do I.

Anyway, have a listen to Beauty School Dropout's 'Where Did All The Butterflies Go?,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've been listening to this podcast over the last year and a half, then you'd probably be aware of how much I love to shine a light on artists from Adelaide.

Maybe it's my biased nature due to being from Adelaide, or maybe there's something in the water there, but whatever the case, I reckon one Adelaide act you need to hear right now is none other than Kurralta Park.

Named for the Adelaide suburb of the same name, Kurralta Park are an impressive mix of indie-rock and emo that is wholly unique in the way that it captures emotion and filters it through a lens of true sincerity in how the music is crafted and performed.

Initially beginning as a solo project for Bindi McCallum, Kurralta Park has since expanded into a three-piece, and just a matter of days ago, they released their debut album, 'Powell Place.'

If you're someone who enjoys music with raw power, honest songwriting, and an impassioned delivery, then I think you need to find yourself listening to Kurralta Park right away.

This week, I was lucky enough to have a brief chat with Bindi about the project's launch and its journey to now. 

Anyway, have a listen to Kurralta Park's 'Powell Place,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're looking for an artist to give your attention to this year, I humbly and assertively request that it be MUDRAT.

MUDRAT is a project that has been going officially since December 2023, with a string of releases arriving in that first year, including the likes of 'I HATE RICH CUNTS,' 'WE DESPISE THE BOURGEOISIE,' and 'YEAR OF THE RAT.'

Judging by the titles alone, you can probably ascertain that social justice is a key component to the MUDRAT experience, with tracks such as 'YOU DON'T CARE ABOUT POOR PEOPLE' helping to cement that notion.

Following an impressive rise to fame, including plenty of live shows and even a support for the likes of Denzel Curry, this month sees MUDRAT releasing the 'Social Cohesion' album.

A brilliant and vital piece of music that speaks to contemporary topics ranging from Indigenous rights, race, social injustice, war, and myriad other matters, I'm of the belief it's one of the best Australian releases you will hear this year.

This week, I was lucky enough to be joined by Sean Thompson for a chat about the MUDRAT project, how it came to be, and the importance of speaking when you know your voice will add something to the wider conversation.

Anyway, have a listen to MUDRAT's 'Social Cohesion,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For over 15 years now, the worlds of emo, indie, and post-hardcore have been home to the ever-enjoyable The World Is A Beautiful Place & I Am No Longer Afraid To Die.

If you're anything like me, you might have been intrigued by the group's often unmanageable name, but once you checked them out, you were struck by their inimitable approach to music, with an expertly-crafted blending of power, emotion, and technical prowess.

An eclectic band whose surprises are as plentiful as their talents, they've undergone a number of lineup changes over the years, releasing myriad EPs and splits alongside a modest collection of albums.

Their fourth record, 'Illusory Walls,' arrived in 2021 and after four long years of waiting, fans have this week received a new LP by way of the brilliant 'Dreams Of Being Dust.'

As always, it's immersive and impactful, pairing raw emotion with blistering works of musical brilliance that leave you feeling a little bit stunned. In case you can't tell, I really liked this album.

This week, I was lucky enough to have a brief chat with guitarists Chris Teti and Anthony Gesa ahead of the new record's arrival.

Anyway, have a listen to The World Is A Beautiful Place & I Am No Longer Afraid To Die's 'Dreams Of Being Dust,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's probably fair to say that the world of rock music wouldn't look how it does today without a band like The Runaways.

Formed in 1975, the group's all-female lineup was a breath of fresh air on the male-dominated scene, with debut single "Cherry Bomb" and their self-titled album arriving in 1976 to strong acclaim, despite not being a smash on the charts.

Ultimately, The Runaways only existed for a few short years, but their influence was immense, informing countless other bands in the genre, and serving as proof that the music scene need not be filled with the same male performers.

For half of The Runaways' life, vocalist Cherie Currie was up the front. Having joined the group at just 15, it was her iconic voice that helped lead the charge and cemented The Runaways' place in history.

But her career doesn't start and end with The Runaways, she's been a solo musician, an actress, and for the past 25 years, a chainsaw artist. To say she's a woman of many talents is putting it lightly.

This year, Cherie visits Australia for her second tour of the country, with this visit also set to be her last, having announced a decision to retire from the world of touring.

This week, I was lucky enough to have a brief chat with Cherie about her influence, legacy, and her upcoming tour.

Anyway, have a listen to The Runaways' brilliant discography, buy a ticket to Cherie's tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When you think about Australian music, it's a little hard not to think about Davey Lane. That might sound grandiose, but given he's spent more than 25 years as a guitarist for local legends You Am I, it's hard to classify him any other way.

Joining the already-established outfit at just the age of 18, Lane swiftly found himself as part of Aussie music royalty, eventually going on to be part of ARIA Award-winning releases and countless revered live shows.

He's also stretched his musical wings with his other band, The Pictures, and since 2013, he's been releasing solo gear as well. While last year's brilliantly-titled cover album, 'How To Make Davey, Vol. 1,' was one of my favourite records of 2024, this year, Lane is back with another album, this time called 'Finally, A Party Record.'

Feeling like a love letter to classic '70s rock, it's a testament to his anachronistic place within the world of Australian music, but for those listening close, it's not exactly a party record in the strictest sense. It's a little bit deep, it's a little bit powerful, and it's a great example of Lane's many and varied talents.

This week, I was lucky enough to have a brief chat with Davey Lane about his musical journey, and his latest record. Just a quick warning, Davey was out and about when we had the chat, so there's a couple of audio drop-outs here and there, but if you don't mind, then neither do I.

Anyway, have a listen to Davey Lane's 'Finally, A Party Record' when it arrives next week, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Hello and welcome to Trusty Chords, the podcast which aims to celebrate music and those that create it.

For the past 25 years, Brisbane's Halfway have operated as one of those well-kept secrets that often feels as though only a select few know about.

Of course, with ARIA, APRA, and AIR Award nominations (and a win the latter category), along with three Queensland Music Awards, it's fair to say that their reputation and creativity has managed to transcend the categorisation of well-kept secret and become one of those groups with a passionate fanbase.

Formed out of the likes of Queensland outfit St. Jude, Halfway emerged in 2000 and swiftly became a band who demanded your attention. With immersive musicianship and arresting songwriting, it didn't take long for their profile to grow and for the albums to emerge.

This year, Halfway returned with their first new album in three years, 'The Styx.' Once again, it's a stellar release from the sprawling outfit, with the record's lyrical themes serving as something of a concept album. 

Along with repeated tales of characters often overlooked by the wider world, and a luscious musical backing, it's a record that I really recommend you spend some time with – both passively and actively, so as to get the full experience.

This week, I was lucky enough to chat with Halfway's John Busby about his musical journey, and the story of the group's latest record.

Anyway, have a listen to Halfway's 'The Styx,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For a few decades now, one of Australia's greatest unsung musical heroes has been none other than Bryan Estepa. 

Born in the Philippines before moving to Australia as a child, Bryan has had a storied career as a musician, performing in bands such as Swivel and Hazey Jane before turning his attention toward solo gear.

That solo gear first took form under the moniker Adeline before he decided to use his real name around 20 years ago.

Since then, he's been a prolific artist, writing and recording frequently, and releasing myriad albums in recent decades.

For those playing at home, the last time Bryan released a full-length album was back in 2019, with 'Sometimes I Just Don't Know' arriving before an EP called 'Back To The Middle' in 2021. But fast-forward to this year, and Bryan is back with another record called 'I See It Now.'

It's an exceptional piece of work, drenched with clever songwriting, power-pop sensibilities, and an immense sense of passion. Truly, it's something worth your time.

I've been following Bryan for many years now, but this week, I was lucky enough to finally have a chat with the great man about his musical career and that new album of his.

Anyway, have a listen to Bryan Estepa's 'I See It Now,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Cast your mind back 20 years and you might be taken right back to a moment in time where one of the most exciting Australian bands out there on the scene was none other than End Of Fashion.

Formed in Perth by Justin Burford, who was at the time a member of The Sleepy Jackson, End Of Fashion found itself slowly finding fame thanks to constant airplay on triple j, and by the time 2005 rolled around, the group were readying their debut album.

I can speak from experience when I tell you that it was pretty hard to ignore the stark black and yellow colour scheme of the band's debut album and singles, and equally hard was it to overlook singles such as 'O Yeah' and 'The Game.'

ARIA Award winners with loads of potential, End Of Fashion unveiled a few new albums over the coming years, but ultimately went a bit silent in the following years. However, there have been a few singles since 2020, and this year, the group will be putting out their self-titled debut on vinyl and hitting the road for a national headline tour.

Speaking as someone who actually saw End Of Fashion back in 2006 as part of my first 'real' concert experience, I can't tell you how excited this makes folks like myself.

As you might be able to gather by this point, I was lucky enough to be joined by the musical mastermind that is End Of Fashion's Justin Burford this week. And yes, I certainly did ask if he remembers that 2006 gig.

Anyway, have a listen to End Of Fashion's back catalogue (and their self-titled debut), buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you know me (or simply listen to the podcast – both are very good options), then you'd likely know how much I like to surround myself with musicians I both enjoy and respect. Frankly, with that in mind, I reckon you can't go past someone like Ashlea Jaye.

A lifelong lover of music and a self-described theatre kid, Ashlea has been a supporter of music for as long as I've known her. If you're from Adelaide, you might know her from her time hosting the Peripheral Noise show on Three D Radio, or you might know her from musical groups such as Twin Decoy or Left On Seen.

It's the latter which might jog your memory the most, with the duo (which also comprises Will Adam) releasing some stellar music in recent years. Whether it's the killer debut single "Life Support," their cover of SZA's "Kill Bill," or their brilliant 'Wilted' EP from this year, you can't go wrong.

Alongside that though, Ashlea is also a huge supporter and advocate for those with disabilities both in and out of the music scene. An AuDHD, disabled artist, creative, musician, singer, and writer who juggles so much in her day to day, the fact that July was Disability Pride Month felt like an immensely fitting time for us to speak.

Also, because it's the month in which Left On Seen will play a stellar hometown show as part of Fangz' album launch tour. It's also going to be a special one, but I'll let Ashlea tell you why that is…

Oh, in case you couldn't tell, Ashlea is my guest on this week's podcast! Needless to say, I'm always happy to use this podcast to showcase musicians who I call friends, and this was a great opportunity for Ashlea and myself to just nerd out for… a long time.

Anyway, have a listen to Left On Seen's back catalogue, buy a ticket to their upcoming show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Ever since they released their debut single back in 2019, Queensland alt-rockers Cardboard Cutouts have been determined to keep themselves moving. 

Whether it's trying new things on the writing or recording front, or simply looking towards myriad artists for inspiration, it's easy to see they're a group who aren't happy to stay in one lane.

Indeed, these past few years have seen the group slowly grow and evolve with each and every release, with EPs such as 'Weekends' and 'Patchwork' now giving way to their debut album, 'Politics & Footy Tips.'

An impressive piece of work for the group, it's a record built upon combined decades of musical appreciation, and clearly focused on the shuffle feature. With each and every track feeling like its own little world, so too does the music ebb and flow, showcasing their varying musical approaches and their associated talent.

What I'm trying to say is that it's a corker of a record that's worth your time.

This week, Eliot Argus of Cardboard Cutouts was kind enough to join me for a far-reaching chat where we discussed everything from rockabilly bands to Norwegian black metal (though the latter one might have been me).

Anyway, have a listen to Cardboard Cutouts' 'Politics & Footy Tips,' buy a ticket to their tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For a few years now, the Australian music industry has been home to a band whose current iteration has roots spanning back decades.

In the early '90s, the Sydney scene featured an indie-rock trio dubbed The Templebears. Issuing three releases across as many years, the group never released a debut album, ultimately splitting around 1992.

Its members would soon find themselves playing in bands such as Big Heavy Stuff and Atticus, before eventually re-emerging as The Templebears around 15 years ago.

Fast-forward to 2019, and those same members were still playing together, but this time they'd adopted the name The Electorate to represent their new sonic focus. That trio would release their debut album, 'You Don't Have Time To Stay Lost', in 2020, and I highly recommend it if you've got the time.

Now in 2025, they're back once again with a second record, this time called 'By Design'. Like its predecessor, it's exceptional, with a bit of growth and musical evolution on display.

This week, I was lucky enough to chat to Josh Morris of The Electorate to discuss the band's history and its journey from conception to dissolution, and from reformation onwards to rebirth.

Anyway, have a listen to The Electorate's 'By Design', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're someone who likes their music a little bit dreamy, a little bit hazy, and a whole lot of brilliant, then you need to point your peepers toward New Zealand, where Auckland's Phoebe Rings have been providing just that for some years now. 

Initially beginning as something of a solo project for Crystal Choi, it swiftly expanded, bringing together a group of stellar artists to form what we now know today as Phoebe Rings.

Of course, if you look a bit closely, you might recognise some of the artists in the mix. While Simeon Kavanagh-Vincent has performed with Princess Chelsea, Alex Freer has served as a member of Tiny Ruins, and Benjamin Locke's name can be found over myriad New Zealand releases.

After releasing a debut EP a few years back, the group slowly worked toward the next logical step, debut album 'Aseurai.' If you've listened to it, then you'd already know just how amazing it is, and if you've not listened to it, then maybe check it out before you listen to me ramble for the next hour.

Either way, Crystal and Simeon were kind enough to join me for a chat this week, and I can't thank them enough for their time and their wonderful insights. 

Anyway, have a listen to Phoebe Rings' 'Aseurai', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Are you someone who likes their music with a bit of energy and a bit of fun? Then let me point you towards Bakers Eddy.

Formed in Wellington, New Zealand when its members were still quite young, the group found itself crafting a pop-punk sound and issuing a few tracks and an EP before heading west and relocating to Melbourne, Australia.

Since 2017, Bakers Eddy have been an Australian band in location only, with the group's profile consistently rising ahead of their debut album, 'Love Boredom Bicycles,' in 2022. And rightly so – it's a solid record and one that definitely shows the level of passion and skill they bring to their craft.

Since then though, things had been a bit quiet, with the group largely remaining silent on the recording front until this year. That's not to say they've been taking it easy – with appearances both at home and abroad, there's been plenty of activity, but we didn't get new music until the singles from their latest EP, 'I'm Doing Better.'

A solid release that really captures the band's maturity and their growth as songwriters and people, it's a record that's certainly worth your time.

To celebrate its release, I was lucky enough to have a chat with Ciarann Babbington from the band about their history, and everything that has led up to the new EP.

Anyway, have a listen to Bakers Eddy's 'I'm Doing Better,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For over 20 years now, music-lovers of the world have been lucky enough to exist within the same timeline as The Spill Canvas.

Formed by Nick Thomas back in 2001, the group rose to fame throughout the decade, with their work equally being categorised as alternative rock, emo, pop rock, and more.

Thanks to releases like the 'Denial Feels So Good' EP, 'One Fell Swoop,' and 'No Really, I'm Fine,' the group managed to make a name for themselves as one of the finest groups in the genre.

Of course, they've never exactly had the mainstream success that some of their counterparts have had, but I'll be damned if they don't deserve as much – if not more – kudos than many other of their contemporaries.

This July, The Spill Canvas make their way down to Australia for the first time, touring in support of the 20th anniversary of 'One Fell Swoop.' They'll also be joined by The Juliana Theory, who are themselves celebrating 25 years of the 'Emotion Is Dead' album.

No matter how you slice it, a good time will be had by all.

This week, I was lucky enough to be joined by Nick Thomas, who was kind enough to put up with my fanaticism of the band while I asked some probing questions.

Anyway, have a listen to The Spill Canvas' 'One Fell Swoop,' buy a ticket to their tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When it comes to explaining Private Function in just a few short paragraphs, there's a lot of difficulty at play. 

After all, they're a Melbourne punk outfit who have been around for close to a decade now, pumping out blistering tunes while employing a visceral sense of humour as they use their platform to succeed in the rock world while simultaneously turning the genre back on itself and laughing at it.

Over the years, they've released albums like their Metallica-referencing debut 'St. Anger' and '370HSSV 0773H,' which was banned in South Australia due to its scratch-off competition cover.

Alongside that, they've released myriad vinyl variants and even issued records filled with bags of speed and members' own urine. Needless to say, they don't do things by halves.

This month, they release their fourth album, which is titled '¯\_(ツ)_/¯.' In an effort to make life difficult for folks like me, that's the shrug emoji and it's pretty much unpronounceable. However, it does come with an official title, but that title is included within the thousands of individual album covers included on the album artwork.

I've interviewed Private Function numerous times over the years, but to get to the bottom of this new record, I decided to call up vocalist Chris Penney and catch up with him to record an episode of the podcast. As always, it's a little bit intriguing, a little bit weird, and a little bit on-brand for fans of Private Function.

Anyway, I strongly urge you to check out Private Function's new album '¯\_(ツ)_/¯,' and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Anyone who knows me knows that I love a good lyricist, and then that means you should definitely know the great Craig Finn.

For the uninitiated, Craig was the man behind the likes of Lifter Puller, and following their split in 2000, he moved from Minneapolis to New York City and, well, didn't do much. That was, until he formed The Hold Steady after being inspired by the likes of Drive-By Truckers.

If you've not yet listened to The Hold Steady, then you need to do me a favour – turn off this podcast and go and listen to them right now. Of course, if you're already across their stellar discography you'd know the sort of power and impact that their performance style, and Craig's stunning lyricism, brings to the table.

While it's just been a couple of years between records for The Hold Steady, Craig has remained active as ever, issuing the exceptional 'Always Been' album only a few weeks ago. It's certainly one that you need to hear right away.

This week, I was lucky enough to be joined by Craig for a wonderful chat about his musical history and latest solo record.

Anyway, have a listen to Craig Finn's 'Always Been,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're someone who hasn't yet listened to Propagandhi, then I'm sure you're about to have the time of your life as you discover their eclectic and celebrated discography.

Forming in Canada back in 1986, they've been a going concern for close to four decades now, though it wasn't until 1993 that they released their first album. 

After a few years, they released 2001's 'Today's Empires, Tomorrow's Ashes,' which is often considered to be a seminal record in the world of political punk music. Personally, it's an album that I fell in love with thanks to its lyrical focus and high-energy intensity, and I've been a fan ever since. 

But that's not the peak of their career, by far, because as the years have gone on, Propagandhi have occasionally returned with a new record, reminding us of just how amazing and important their work is.

This year, they returned with 'At Peace,' their eighth record and their first in as many years. Needless to say, it's a special moment for punk fans the world over when Propagandhi returns.

This week, I was lucky enough to have a wonderful chat with the group's vocalist and guitarist, the legendary Chris Hannah. For someone as ferocious as Chris is on the live stage, it's hard to imagine someone as reserved, thoughtful, and wonderful as a guest, and I'm truly grateful for him to join the podcast.

Anyway, have a listen to Propagandhi's 'At Peace,' cross your fingers for their live return, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For 15 years now, Canadian outfit PUP have been defying the concept that their name stands for a Pathetic Use of Potential and have been proving all and sundry wrong as they travel around the world with their unique blend of alt-rock and punk.

Formed in 2010 as Topanga, PUP issued their self-titled album in 2013, with 'The Dream Is Over' following just a few years later. Records like 'Morbid Stuff' and 'The Unravelling Of PUPTheBand' have since cemented their status as consistent, reliable purveyors of stellar music, and their live shows have cemented them as favourites amongst lovers of the genre.

This year, May 2nd, to be precise, PUP release their fifth album, 'Who Will Look After The Dogs?'. As I usually say, it's a brilliant record, and it's one that is undeniably worth your time. Things get even better too, because in just a few short months, they'll be back visiting Australia as part of their global tour plans.

This week, I was lucky enough to be joined by PUP guitarist Steve Sladkowski, who was kind enough to talk about music for far longer than we were supposed to. In honour of his appearance, we're also briefly rebranding the podcast in honour of PUP's 2022 song 'Four Chords.' (Not really, but hey, I'd be remiss not to take the opportunity!)

Anyway, I strongly urge you to check out PUP's 'Who Will Look After The Dogs?', and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There’s no denying the fact that Adelaide is just one of those cities that can’t help itself but breed amazing bands. Sure, you can look at groups like The Angels, Cold Chisel, and more, but why not look at groups like Stolen Youth, The Rivalry, Sleeptalker, and Dick Wolf?

They’re also amazing bands, and for the trainspotters amongst us, you might recognise that those bands have one constant thread, and that’s Jesse Coulter. Jesse’s been in the music scene for a good number of years now, whether it’s up the front of bands or behind the scenes, but at every turn he’s in charge of quality.

One of the most prominent projects he’s been associated with is none other than Grenadiers, a three-piece rock outfit which formed in 2009 and released three records over the ensuing eight years.

Following a lineup change in those formative years, Grenadiers released their second album ‘Summer’ in 2015, and it was a little bit of a corker. It got them some decent attention, and even nabbed them a spot on triple j’s Like A Version series.

After their third album, ‘Find Something You Love And Let It Kill You,’ Grenadiers went a little bit quiet, and in fact, they’ve not actually played a show since 2019. But that’s all about to change this May, because Grenadiers are hitting the Crown & Anchor in Adelaide for a ten-year celebration of ‘Summer’ on May 3rd.

It’s likely the last time you’ll see them, so I figured now was the time to have a chat with Jesse about the band.

But before we get into it, I strongly urge you to buy a ticket to Grenadiers’ upcoming gig, and once you’re done doing that, pop ‘Summer’ on the stereo, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re anything like me, the name Killing Heidi was one that was synonymous with the Australian music scene at the turn of the millennium.

Formed in regional Victoria by siblings Ella and Jesse Hooper, Killing Heidi first rose to fame as part of triple j’s Unearthed series, with the track ‘Kettle’ featuring a newly-teenaged Ella on vocals. This promise that triple j saw soon exploded in 1999, with tracks such as ‘Weir’ and ‘Mascara’ serving as an indicator of what was to come on their debut album, ‘Reflector.’

‘Reflector’ was a monster success, becoming the fastest-selling album in Australian music history at the time of its release, and winning the band four ARIA awards, including Best Group and Best Rock Album.

A few more albums followed in the years after, but then it all went quiet on the Killing Heidi front. While the Hoopers are still immensely active (Ella can be seen frequently in the media world), it was only close to a decade ago that Killing Heidi themselves became active again. 

Now, after years of shows, the band are hitting the road this year to mark 25 years of ‘Reflector.’ They’ve not only announced a 25th anniversary reissue, but they’re hitting stages around the country to play the record in full. Put simply, if you were a Killing Heidi diehard like me, then you won’t want to miss this.

Recently, I was lucky enough to be joined by Ella and Jesse for a chat, and truly, I can’t thank them enough for the pleasure.

So before we get into it, I strongly urge you to buy a ticket to Killing Heidi’s upcoming gigs, and once you’re done doing that, pop ‘Reflector’ on the stereo, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There was a period of time in the early ‘00s when one of the most exciting bands in the game was Canada’s own Death From Above.

Well, that’s what they were called at first, but by the time they released their debut album ‘You’re A Woman, I’m A Machine,’ Sebastien Grainger and Jesse F. Keeler had lengthened their name to Death From Above 1979 due to a lawsuit.

But that didn’t detract from that album becoming a ferocious piece of work, with tracks like 'Romantic Rights,' 'Blood On Our Hands,' and 'Black History Month' being considered classics by all fans of the dance-punk and alt-rock genre spectrum.

In 2006 though, the group split, and fans wondered what the future may hold. While Grainger launched his solo career and worked with other bands, Keeler served as one half of electronic duo MSTRKRFT.

But in 2011, they were back together, and we’ve since received three new albums from the band, with 2021’s ‘Is 4 Lovers’ being their last to date.

More recently, they’ve been a little busy touring the world as part of the anniversary of their debut album, playing the record in full in the process. Now this month, they’re visiting Australia for the first time in years to bring the stellar tracks to local audiences.

To celebrate, I was lucky enough to have a brief chat with Jesse F. Keeler about the record and the band’s history, though he quickly abandoned our time constraints and we just kept it pretty casual.

Anyway, I strongly urge you to check out Death From Above 1979’s ‘You’re A Woman, I’m A Machine,’ grab a ticket to their upcoming tour, and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When it comes to Damian Cowell, the only word that accurately sums up his career is ‘prolific.’

A staple of the Melbourne music scene for close to five decades now, Cowell has been involved in more bands than I’ve had hot dinners. On the prehistoric side of things, there’s bands such as Tall Stories and I Can Run, and then there’s a rather well-known group called TISM. 

That’s probably the band he’s best known for, with the group’s anonymous, pseudonymous members releasing six albums, and nabbing two ARIA Awards across their initial 22-year span. They also boast one of the most passionate fanbases in Australian music history as well, and when the group announced an unexpected reunion in 2022, fans ensured it resulted in some of the band’s best-attended gigs of their career.

But we’re not here to focus on just TISM – in fact, we barely do in our chat – because Cowell has also been a member of Root!, The DC3, and has been the eponymous frontman of Damian Cowell’s Disco Machine. Currently, he’s one half of The Arseless Chaps, a new duo formed with comedian Tony Martin that promises to operate in the same vein as names like Groove Armada, Daft Punk, The Presets, and Barlow & Chambers. (Well, maybe not the last one.)

I’ve had a few chats with Damian over the years, and recently, he was kind enough to agree to a lengthy discussion about his career and myriad projects ahead of The Arseless Chaps’ upcoming tour of Australia.

So before we get into it, I strongly urge you to buy a ticket to The Arseless Chaps’ upcoming gigs, and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For about 15 years now, Adelaide has been home to a stellar outfit called Raccoon City.

Though not exactly trailblazers of the screamo and post-hardcore genre in the city, for a while, they were arguably one of the most prominent, setting themselves apart as a leading figure within those circles at a time when the genre du jour was a breezy indie-rock.

Personally, Raccoon City were one of those groups that became rather formative for me during the time I would find myself at gigs in Adelaide. They were a constant presence, played intensely arresting live shows, and became a favourite of mine and others that I knew.

After releasing their debut album ‘Nightlife’ in 2014, Raccoon City existed for about another year or so before putting things on ice for a while. All the while, folks like myself hoped that a return was inevitable, and thankfully in the midst of COVID the group did indeed return, this time with a stellar new record called ‘For Nobody, Nowhere’.

It was the sound of a group having evolved. After all, their lineup had shifted somewhat (to actually include a friend I went to school with), and their music felt bolder, more adventurous, and more mature. Fast-forward another couple of years, and this year they’ve returned again with new album ‘FUGUE’.

Once again, it’s a truly impeccable album and one that – if you’re a big fan of emotive vocals, crushing compositions, and passionate performances – you definitely need to listen to.

At the front of the band is Levi Cooper, the vocalist of Raccoon City, which he co-founded with brother Dylan. Over the years, he’s been in a number of bands – a number likely too big to truly do justice to. But this week, he’s managed to find the time to have a chat to me about his most notable band ahead of their new record.

Frankly, it’s just great to have more folks with South Australian accents on the podcast.

Anyway, I strongly urge you to check out Raccoon City’s ‘FUGUE’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you don’t recognise the name Kingsley Hall, then I want you to stop what you’re doing right now and do a bit of musical research.

For most, Kingsley’s name would be recognisable thanks to his role up the front of English outfit The Chapman Family, where he was better known as Kingsley Chapman. Though relatively unknown down here in Australia, their successes were notable (after all, they played the likes of Glastonbury and even boasted IDLES as a support act), though they split around 2013.

In recent years though, you’ve been able to find Kingsley up the front of Benefits, a noisy outfit which pairs harsh musical elements with Kingsley’s impassioned, politically-relevant, stream-of-consciousness lyrics. In fact, they resonated with me so much that their debut record, Nails, was my album of the year in 2023. Considering I listened to hundreds of records that year, it’s no mean feat.

But their music isn’t for everyone. It’s confronting, it’s harsh, it’s angular, and at times it’s a little hard to digest. But that’s part of the appeal.

Now, Benefits have pared down to a duo, with Kingsley joined by Robbie Major to present as a ferocious two-piece which still pack the same amount of energy and ferocity despite the much more economical format.

Today, they release their second album, ‘Constant Noise’, and it is an absolutely stunning piece of work. To some, it might feel like they’ve pulled back on the throttle a little bit when it comes to being a confronting record, but the energy is still there, the anger still palpable, and the visceral effect it has upon you as a listener is still as real as ever.

As I mention in the early part of our chat, when I started this podcast, Kingsley was one of the names I’d had right at the top of my list in terms of dream guests. Heck, I followed The Chapman Family quite a bit in their final years, and I’ve paid attention to everything he’s done since, so it’s no surprise I wanted to dive deep into his musical past.

So Kingsley was kind enough to join me for a chat recently, and despite our attempts to keep it short and snappy, it ended up being a long one – and that’s with all the editing he advised me to do.

Anyway, I strongly urge you to check out Benefits’ new album ‘Constant Noise’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I’m going to hazard a guess that even if the name Barry Adamson isn’t one you recognise right off the bat, you’re definitely aware of his contributions to the world of music.

At the age of 19, Barry found himself joining the nascent Magazine as his first band, with wayward Buzzcocks vocalist Howard Devoto recruiting him for the new band. An influential presence in the world of post-punk, the group's short tenure resulted in a handful of well-regarded albums before they split in the early '80s. 

Soon, Barry found himself briefly playing with The Birthday Party, before frontman Nick Cave recruited him for his eponymous new band, Nick Cave & The Bad Seeds. After a few years and albums there, Adamson found himself again embarking upon a new musical journey, with a solo career kicking off with 1989’s ‘Moss Side Story.’

Even then, his career doesn’t peter out there either, because soon enough he was working as a composer as well, working on film soundtracks from time to time, including the likes of David Lynch’s ‘Lost Highway.’

Throughout it all though, he’s never stopped being busy, and even in between reunions with Magazine and The Bad Seeds, he continues to make solo albums, with ‘Cut To Black’ arriving as his latest record just last year.

In only a matter of days, Barry will be down in Australia once more for a tour of the country, and by all accounts, I wouldn’t miss it if I were you.

This week, Barry was kind enough to join me for a chat to discuss his beginning in the world of music, and how he got to where he finds himself today.

But in the meantime, I strongly urge you to check out Barry Adamson’s ‘Cut To Black,’ and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re on the cutting edge of music, then you would be aware that there is a band hailing from unceded Kaurna Country (that is to say, the South Australian capital of Adelaide) that is one you definitely need to know.

That band is Street Legal, a group whose sound might be rooted in the romanticism of ‘80s sonics and nostalgia, but heavily progressive, and boasting an approach to their music which is cutting edge, forceful, and – above all – a lot of fun.

Having first made their recorded debut in 2020, a number of tracks have arrived in recent years, with the likes of ‘Hair Today, Gone Tomorrow’ and ‘Modern Ruins’ preceding the release of their debut EP, ‘Bruxism’. Released just last month, ‘Bruxism’ is a wonderful collection of tracks which showcases just what it is that makes Street Legal so special.

If you’re someone who wants their music to be moving, to be impactful, and to be ultimately intriguing, then Street Legal are the band for you. But if you also want something that feels familiar, and with inspiration taken from some of the musical greats, then Street Legal is the band for you.

I’ve actually been paying attention to the Street Legal story for a few years now because I’ve known frontman Matthew Hayward for quite a while now, having gotten to know him thanks to his work in the Adelaide music scene back in the day.

As you can expect, it wasn’t exactly too difficult to coax Matt to appear as my guest on this week’s podcast, where I spent the whole time gushing about how much I really love Street Legal’s debut EP.

If you're in New South Wales, Victoria, or South Australia this April, then you should definitely head along to catch Street Legal on their ‘Bruxism’ national tour.

But in the meantime, I strongly urge you to check out Street Legal’s debut EP, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re anything like me, then the chances are good you’ve been spending the past few years eagerly awaiting a full-length return from Hachiku.

Started as the musical project of Anika Ostendorf just under a decade ago, Hachiku rose to fame as part of the beloved Milk! Records stable, with a handful of releases preceding the arrival of her debut album, 2020’s ‘I’ll Probably Be Asleep’.

Again, if you’re anything like me, you probably listened to that album and truly fell in love with it. After all, how can you not? It’s got Anika’s masterful musical approach towards dream-pop, indie dance, and much more combining to craft something truly special.

However, for those eagerly awaiting a follow-up soon after, well, there was a bit of a wait – almost four years in fact – before Hachiku returned with new singles. Thankfully, it was all in the lead-up to a new album, with ‘The Joys Of Being Pure At Heart’ arriving today, on February 28th.

It’s a stellar album, full of that exuberant, immersive dreamy indie-pop style that has won Anika and her musical collaborators so much praise.

Of course, there’s no time to rest on those laurels, because Hachiku will be hitting the road almost immediately, with dates in the US, Australia, and Europe scheduled to keep them all busy for the next few months.

Thankfully, before things got too hectic, Anika was kind enough to join the podcast this week for a chat, and I couldn’t be more grateful.

Anyway, I strongly urge you to check out Hachiku’s latest album, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’ve not yet heard of Kristin Hersh, well, I envy you because she has a rather storied career ready for you to dive into. 

Having first formed Throwing Muses alongside her stepsister Tanya Donelly in the early ‘80s, the group swiftly became an impressive musical force, with records arriving via the influential 4AD label.

In 1991, Donelly left the group to form Belly (having co-founded The Breeders just a few years earlier), and Throwing Muses continued as a trio. By 1994, Hersh had kicked off a solo career, and in 1997, Throwing Muses disbanded and she went on to focus on her prolific solo work.

By the early ‘00s, she’d become a little bit busy to say the least. More solo albums followed, Throwing Muses reformed, and she’d even begun a new band called 50 Foot Wave. For Kristin, downtime is not something that she does, because it wasn’t long before she became an author as well.

I feel like I need a bit of a diagram just to help sum up how impressively prolific Kristin really is.

But let’s fast-forward a few years, because in 2025, Throwing Muses are back with a new album, with ‘Moonlight Concessions’ arriving as their first new record in five years. It’ll actually release on March 14th, when Kristin is in Australia as part of yet another tour of the country.

Somehow, her busy schedule allowed her to join this humble little podcast for a chat ahead of what will soon become another full year of music, touring, and songwriting.

Anyway, I strongly urge you to check out Kristin Hersh’s extensive back catalogue (and the new Throwing Muses album when it arrives next month), and once you’re done giving those a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re a music fan from Melbourne, the chances are pretty good you’ve heard of Beth Seymour. By her own admission, it’s a name you might not be quite familiar with just yet. After all, as she says; new name, new her, new era.

But for years, Beth has been a vital part of the Melbourne music scene, with an irresistible combination of earnest lyricism, power-pop melodies, and a punk attitude resulting in a sound that is – for folks like myself, at least – impossible to ignore.

You might have caught Beth making music as part of La Famiglia, or even as part of the burgeoning Hormones. Now, you’re likely getting ready to experience Beth as a solo artist all over again, with her new era officially kicking off today thanks to a new solo single.

It’s been a little while since we last heard from Beth, and in that time, quite a bit has changed. She came out as transgender, continued to work as a prolific musician, and has now reintroduced herself to the world with new single ‘Medication’.

Backed by faithful backing band The Lizzies, ‘Medication’ is one of those songs that is truly arresting. It’s hard to not be moved by the honest, heartfelt lyrics, the raw performance, and the acoustic instrumentation which allows you to connect with it on such a deeper level. Give it a listen, and if you’re not a fan, I’ll… well, be very surprised.

This week, Beth was kind enough to join me for a chat which is one of the longest this podcast has seen to date. If you like a couple of music nerds talking about songwriting, power pop, and more, you are well-catered to this week.

Anyway, I strongly urge you to check out Beth’s new single ‘Medication’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’ve ever thought, “There just aren’t enough rock and roll bands out there who make me want to release my pent-up energy,” then you need to set your sights towards New Zealand and check out The D4.

Around the turn of the century, The D4 were one of the more prominent rock outfits emerging from New Zealand, with debut album ‘6Twenty’ arriving as an all-killer, no filler example of what the band do best.

Before long, they were a bit of a sensation around the world, with the group even managing to make their way onto US TV with a spot on the ‘Late Show With David Letterman’… though famously, Letterman himself was off that night.

Following a few more years of shows and music, The D4 called it quits around 2006, waving goodbye with their ‘Out Of My Head’ album the year prior.

Since then, members have gone on to other projects, with vocalist and guitarist Jimmy Christmas forming the likes of Luger Boa and Jet Generations.

A few years ago, The D4 got back together for some shows, making their way down to Australia in 2023 (where my band actually supported them in Melbourne), and now, they’re coming back again for a run of east coast shows.

This week, Jimmy was kind enough to join me on the podcast to chat about the band’s history and their rise to fame.

Anyway, I strongly urge you to check out The D4’s exceptional back catalogue, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There’s a lot of bands out there who manage to craft music that is as emotional as it is poignant, but I feel there are few who get quite the same reaction to their work that Melbourne’s Slowly Slowly does.

If you’ve been listening to Australian music over the last decade, then I’m pretty sure you would’ve heard them at some point.

First formed in 2015, Slowly Slowly released their first album in 2016, but soon turned heads thanks to 2018's ‘St. Leonards’ after they signed to the UNFD label. 2020's ‘Race Car Blues’ hit #7 on the Aussie charts, and 2022's ‘Daisy Chain’ increased that by two. 

They've played amazing shows both at home and abroad, and they've crafted some truly inspired songs. Whether it's the upbeat catharsis of songs like 'Blueprint', or catchy cuts like 'Jellyfish' (the two tracks I use to turn people into fans of the band), there's really nothing they can't do. Pop on some Slowly Slowly and let yourself just get lost in the mesmerising mix of beauty, power, and raw talent that their music showcases.

Now, in 2025, they’ve unveiled their latest record, ‘Forgiving Spree’. Like everything else they’ve done, it’s top-shelf quality that you simply can’t turn away from. Even more impressive, it’s such a brilliant record that comes barely a year on from singer and songwriter Ben Stewart’s ‘Pushing Daylight’ solo album.

Needless to say, they’re a talented group, and this week, Ben was kind enough to join me on the podcast to chat about the band and their latest record.

Anyway, I strongly urge you to check out Slowly Slowly’s ‘Forgiving Spree’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

By his own admission, James Curd isn’t exactly a household name. However, the chances are pretty good that you’ve been exposed to his work at some point over the years.

Having launched his musical career back in Chicago in the ‘90s, James rose to fame as part of the group Greenskeepers, which managed to find a bit of widespread fame thanks to songs like ‘Lotion’. If you found yourself listening to triple j back in 2004, then the 'Silence Of The Lambs'-inspired ‘Lotion’ is one that you probably remember very well.

But apart from that, James is pretty prolific. See, he’s also made plenty of music for the Grand Theft Auto series as well. I’m going to guess you might have heard of that one. 

But it doesn’t end there either, because in addition to scoring other projects, his name can be found as part of other musical endeavours as well, including Favored Nations, Tone Brigade, and Holy Models. Additionally, he’s also part of Modern Living, which is something of a full-circle moment given that the other half of the band is the Greenskeepers’ Mark Share.

Together, they’ve been making plenty of amazing music, working with names like Josh Pyke, Jordi James from San Cisco, DRAMA, Nick Littlemore, and more to craft something that I think you really need to hear.

These days, James is still a globe-trotting musician, though he’s based in Adelaide, South Australia, meaning that all these Australian collaborations are making a lot more sense.

James was kind enough to join me for the podcast this week, and I can’t thank him enough for taking the time.

So, I strongly urge you to check out Modern Living’s new material, bump some classic Greenskeepers gear, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When it comes to the ‘Australian alternative rock scene’, it’s pretty hard to look past the likes of Screamfeeder.

After all, they’ve been around for over 30 years now, and whenever anyone imagines an Australian alternative band, it’s a band like Screamfeeder they’re thinking of.

Loud, melodic, critically-acclaimed, and commercially-overlooked, Screamfeeder commands an intense fanbase, and you'd be hard-pressed to find anyone with a bad word to say about them.

While records like 1996’s ‘Kitten Licks’ are a brilliant example of the sort of music that both Screamfeedr and Australia were putting out, albums like ‘Flour’, ‘Burn Out Your Name’, ‘Fill Yourself With Music’, and ‘Rocks On The Soul’ are firm favourites as well.

In the 2000s however, Screamfeeder remained a little bit quiet, and though the band never broke up, Tim, Kellie, Dean, and Darek, weren’t really doing a whole heap, with other musical projects filling that void.

In 2017, they returned with a new album – their first in 14 years – and in 2022, they released their latest record, ‘Five Rooms’. More recently, however, they’ve been surprisingly busy. After all, there’s been loads of amazing shows, there’s been a book on ‘Kitten Licks’ by authors Ben Green and Ian Rogers, and Tim and Kellie even have ‘The Ending Goes On Forever’ podcast.

But that’s not all, because now Screamfeeder are also readying the ‘Demolition’ compilation; 100 demo recordings from between 1992 and 2022. Don’t get too keen, however, because Tim warns you it’s “all filler, no killer” – even for diehard Screamfeeder fans.

But you know what? I could talk about Screamfeeder for hours, or Tim could do that for me. Thankfully, he’s on hand to do so because he’s my guest on this week’s episode. Fortunate, eh?

Anyway, I strongly urge you to check out Screamfeeder’s brilliant discography, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you were to ask me my opinion on the greatest Australian bands of all time, The Fauves would be found pretty close to the pointy end of things. 

I’m sure I’m not alone in that assertion either, after all, they’ve been around for 36 years now, constantly and consistently performing as one of the country’s most underrated and underappreciated groups.

You won’t be finding them performing headline dates in arenas, and you won’t often find their albums on the ARIA charts, but their songwriting is impeccable, their hooks unmatchable, their live shows astounding, and their self-aware humour is as self-deprecating as it comes.

For casual fans, The Fauves are probably best known for songs like ‘Dogs Are The Best People’ and ‘Self Abuser’ from their 1996 album ‘Future Spa’, which was nominated for Best Adult Alternative Album at the ARIA Awards in 1997. For fans, their back catalogue is a rich one full of 13 albums, EPs, singles, and B-sides that are better than most band’s hits. 

For me, The Fauves are a band I could talk about for hours and never even begin to scratch the surface of what makes them one of the greatest Australian bands of all time.

Luckily, this week I was able to talk to someone else who knows The Fauves quite well; guitarist and vocalist Andrew Cox. 

Why was I talking to Coxy? Well, The Fauves are currently on the road with Custard in support of their latest album, ‘Tropical Strength’, which arrived earlier this month. It’s a stellar record full of the classic Fauves songwriting and musicianship which makes you evoke lyrics from one of their earlier tracks as you say, “crank it up, I really like this bit; fuck that riff sounds really sick”.

Anyway, I strongly urge you to check out The Fauves’ ‘Tropical Strength’ while you’re reading through old copies of their ‘Shred’ magazine, grab a ticket to see them live, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I don’t know about you, but when I try to describe Andy Bull, I have a hard time. After all, to simply call him a musician feels like it’s not going far enough. 

Sure, he’s released a handful of EPs and albums over the years (including 2014’s ‘Sea Of Approval’) and he’s shared plenty of wonderful songs, such as 'Dog' (with Lisa Mitchell), 'Baby I Am Nobody Now', 'Talk Too Much', and much more, but it feels like he’s a little more accomplished than just a regular artist.

Then again, he’s also won an Encouragement Award at the 2014 Vanda & Young Global Songwriting Competition for ‘Baby I Am Nobody Now’, he’s been nominated for four ARIA Awards, and his work on Netflix children’s musical ‘Beatbugs’ has won seven US Daytime Emmy Awards.

Still, it feels like he goes beyond that scope. He’s also a stellar performer, and he’s a relentless creative as well. In fact, that creativity has recently manifested a new record by way of ‘Collapse In Bliss’. It's full of that soulful, introspective pop sound he's known for, but it's a gorgeous release.

Add in the fact he made it over the course of 40 nights this year, and that it's a wholly solo endeavour (save for a resurfaced demo penned by Andy and late Deep Sea Arcade musician Nick Weaver), and you’ve got a record you can’t go past.

So maybe when I say that Andy Bull feels hard to describe, well you can probably see where I’m coming from. So I decided to put it to Andy, largely since he’s my guest on the podcast this week.

As always, it was a wonderful chat, though by his own admission, he wasn’t being ironic when he penned that song ‘Talk Too Much’.

Anyway, I strongly urge you to check out Andy Bull’s ‘Collapse In Bliss’ album, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For lovers of Australian music, the name Jamie Hutchings would be a familiar one. 

Most notably, he’s known as the frontman of Sydney rock outfit Bluebottle Kiss, who lasted for 14 years and issued a raft of amazing records before their split in 2007. They’ve been called “Arguably Australia's most idiosyncratic guitar band,” and their music is arguably not as marketable as critics would like it to be, but Jamie isn’t exactly someone who puts that high on his list of priorities.

Since Bluebottle Kiss split, he’s continued with a number of projects, including a solo career, work with Infinity Broke, The Tall Grass, and more. When you put it to Jamie, he’s relatively humble, but prolific doesn’t begin to cut it.

Just a couple of years ago, the local music world welcomed Bluebottle Kiss back into the world with open arms, with a series of reunion shows taking place around the country. As someone who was at their Melbourne show, I can tell you now that it was a wonderful experience I’d recommend to anyone.

This week, Bluebottle Kiss hit the road to launch a brief tour with Brisbane’s own Screamfeeder, playing shows in Sydney, Melbourne, and Brisbane. If I were you, I’d head along, but that’s just me talking out loud.

Anyway, Jamie Hutchings is my guest this week, so I strongly urge you to check out the band’s impressive back catalogue, buy a ticket to their shows, and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re someone with a fondness for indie music, then the chances are good that your life has been touched in some way by Mac McCaughan.

On one hand, he’s known as the vocalist for the likes of North Carolina band Superchunk, whose very output feels like the blueprint for any aspiring indie rock band of the ‘90s. Then, he’s been the head of groups like Portastatic, and played in the likes of Bricks, Seam, Go Back Snowball, and much, much more.

However, if none of those names seem familiar, then you might know Mac because of his role as a co-founder of the great Merge Records alongside Superchunk bandmate Laura Ballance.

Together, they helped make Merge into one of the greatest record labels to have ever existed. I can’t even begin to tell you how many iconic bands are part of the Merge stable. 

Arcade Fire, Caribou, Lambchop, The Magnetic Fields, the Mountain Goats, Spoon, Sugar, Archers Of Loaf, and the great Neutral Milk Hotel. I'm not even scratching the surface here, by the way. 

In fact, one of the greatest live experiences I've ever had was a Merge records lineup, when M. Ward and Superchunk performed in Melbourne in support of Neutral Milk Hotel. I'll never forget that night as long as I live.

On that topic though, this December sees Superchunk returning to Australia for the first time since that aforementioned tour back in 2013, and celebrating 30 years of the ‘Foolish’ album. Since that last tour, they’ve released records like ‘What A Time To Be Alive’, and ‘Wild Loneliness’, and needless to say, fans like me couldn't be more excited to see them on our shores again.

If you can’t tell, the wonderful Mac McCaughan is my guest this week, and I’m immensely grateful to be able to say that sentence.

Anyway, check out Superchunk’s ‘Wild Loneliness’ as a reminder of their recent efforts (then check out their wider discography), grab a ticket to catch them live, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I think it’s fair to say that my music taste would not be what it is without Dave McCormack. 

Hailing from Brisbane, McCormack is the prolific musician best known as the frontman for beloved alt-rock outfit Custaro… uh, Custard.

Together, the group are best known for classic tracks like 'Apartment', 'Girls Like That (Don't Go For Guys Like Us)', and 'Music Is Crap', along with other exceptional tunes such as 'Hit Song', 'Nice Bird', 'Ringo (I Feel Like)', 'Anatomically Correct', and... well just about the whole discography.

Burning bright in the ‘90s thanks to albums like ‘Wisenheimer’, ‘We Have The Technology’, and ‘Loverama’, Custard even nabbed an ARIA Award, influenced me immensely as a music fan, and then split up in 2000.

Following the split, Dave added onto his list of groups – which had already included Who’s Gerald?, Static Exhale; C.O.W., Miami, and others to go solo, along with playing with groups such as The Titanics and The Polaroids. There’s plenty of other bands too, but we’ve not got that much time.

In 2009, Custard reformed, with sporadic performances ultimately resulting in a new album in 2015. Since then, more records have arrived, and now, this month has seen Custard issue their fourth post-reunion album, ‘Suburban Curtains’.

Oh, and if you’re not a music fan – firstly, what are you doing here, then? – you might recognise the Dave McCormack name from his work as the voice of Bandit on the immensely-popular TV show ‘Bluey’. No, not the one with Lucky Grills, but the other one, with the cartoon blue heelers.

In case you can’t tell, Dave McCormack is my guest today, and I truly couldn’t be happier to have his charming self on the podcast.

Anyway, I strongly urge you to check out Custard’s ‘Suburban Curtains’ album, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you found yourself listening to the so-called ‘alternative music’ coming out of Australia across the late ‘90s and early ‘00s, then you very well might have listened to Machine Gun Fellatio.

As their name might indicate, controversy was a bit of a staple for the group throughout their career, but another thing that was a constant was the quality of their music.

Firstly, it’s worth pointing out that Machine Gun Fellatio are an interesting, yet very accomplished band. By the time that they made their debut in 1997, members such as Pinky Beecroft and Chit Chat Von Loopin Stab had already collaborated with the likes of The Whitlams in the writing of their iconic ARIA Award-winning song, ‘No Aphrodisiac’.

For Machine Gun Fellatio – which also comprised members such as Bryan Ferrysexual, 3kShort, The Widow Jones, KK Juggy, and Loveshark – they found their way onto the alternative scene with triple j-friendly tracks like ‘Isaac Or Fuzz’, or the expletive-laden ‘Mutha Fukka On A Motorcycle’. But they also backed it up with heartfelt tracks, too. 

‘Unsent Letter’, the closing track to their debut album, 2000’s ‘Bring It On!’, is undeniably beautiful (and worthy of being called one of the country’s greatest songs), as is the tender ‘All Of Them Ladies’, the opener to their 2002 album ‘Paging Mr. Strike’ (which was called the 175th best Australian album of all time by Rolling Stone Australia a few years back). 

But still, their fun and frivolity was on full display, and while their high-energy songs hit the charts, so too did their nudity-laden live shows – which accompanied massive names like KISS, Robbie Williams, Primus, and Duran Duran – often generate headlines and controversy. 

Sadly, in 2005, Machine Gun Fellatio called it quits following their ‘On Ice’ album the previous year. Most of its members remained busy in the world of music, however, and after years of silence, this year brought with it the news that the group would be reforming for a series of live shows as part of TISM’s ‘Death To Art’ tour.

This week, the wonderful Glenn Dormand, otherwise known as Chit Chat Von Loopin Stab, joins the podcast for a chat, just days after Machine Gun Fellatio made their live return with a secret show in Newcastle.

This recording was a little bit of a strange one given that an unexpected interview – my first with him – took place only 20 minutes before we spoke, meaning that this is the second time I was speaking with Chit Chat within an hour – which is not something that often happens. 

Anyway, I strongly urge you to check out Machine Gun Fellatio’s discography, and once you’re done giving that a spin, grab a ticket to see them live, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’ve been listening to music over the last decade, then the name ILUKA might be one you’ve come across. After all, when you give even a cursory listen to her music, it’s easy to see why her profile has been rising so rapidly in recent years.

Born in Australia but now based in America, ILUKA grew up playing music, with this love being fostered by classic names like Stevie Nicks and Janis Joplin – all of which are names often used in descriptors of her own music.

But her music is far beyond derivative; it’s born out of a soul background and filtered through a pop lens that results in an inimitable, timeless quality that leaves ILUKA with a reputation as an artist who is impossible to ignore.

In 2022, she released her debut album, ‘Queen Of Turbulent Hearts’, which arrived after years of singles and EPs. Now based in Los Angeles, she’s been entering her new era with the release of plenty of fresh singles. Now, she’s gearing up to release a lot more amazing music in the near future, so keep your eye out, because if you don’t yet know her, ILUKA’s is one name you’ll be hearing plenty of.

This week, the wonderful ILUKA is my guest, and she was a true dream to chat to – a great example of a musician doing everything they can to achieve their dreams and make the most of every opportunity that comes her way.

I strongly urge you to check out ILUKA’s latest batch of new music, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It’s the standard story that any band goes through. You’re watching a David Lynch adaptation of a Frank Herbert novel when you decide to name your band after a word you heard during the film, only to misspell it, and before you know it, you’re one of the most successful bands to ever come out of New Zealand.

Of course, if you recognised the story I just told you, then you’re either Shihad’s Jon Toogood, or someone else I really want to have on this podcast. But in the case of the latter, Jon helped to form the band now known as Shihad back in high school in Wellington alongside longtime friend and drummer Tom Larkin.

Forming the band officially in 1988, the group released their first album, ‘Churn’, in 1993, with ten more albums following to date. For those keeping score at home, only one of them has peaked outside of the New Zealand top ten, and only one album since 1999’s ‘The General Electric’ hasn’t peaked at #1 on the chart. To put it simply, if you’re a Kiwi or an Aussie, Shihad are a bit of a big deal.

They’ve not always been known as Shihad though. There was that brief period of time when they adopted the name Pacifier, releasing a self-titled album which has since recently been reclaimed by Shihad as ‘The Pacifier Album’.

Outside of Shihad though, Jon’s also been the head of another project dubbed The Adults, which has explored a few different styles and genres across the two albums they’ve released.

Now though, Jon is doing things in a solo capacity with his debut solo album, ‘Last Of The Lonely Gods’. It's a special record, an introspective collection of songs borne out of a tumultuous period for Jon which included familial loss and a global pandemic which made the process all the harder.

In typical fashion, it’s a wonderful listen that you need to hear, and one which Jon is excited to tell you about in today’s episode.

That’s how I segue into urging you to check out Jon Toogood’s ‘Last Of The Lonely Gods’, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For as long as I’ve loved music, I’ve loved that sort of music that connects with people for so many different reasons. When I was in my teenage years, I discovered a Sydney band called Tonight Alive, who managed to find themselves as one of the more prominent purveyors of pop-punk out of Australia.

Across four amazing albums over the span of seven years, Tonight Alive found themselves dishing out songs that were heavy yet sweet, and fun yet serious, offering fans the world over (including a strong following in the famously hard-to-crack American market) something special with which they could resonate.

Following the release of 2018’s ‘Underworld’, Tonight Alive decided to pull back a little bit, announcing something of a hiatus while they worked on their mental and physical health. After a brief return in 2020, the world was treated to one of its members doing something new and unique.

Yes, in 2022, vocalist Jenna McDougall announced the launch of her Hevenshe project. Not quite a side project and more of a new way in which she could focus her musical efforts, Hevenshe has since boasted a full EP by way of 2023’s ‘Wild Wild Heart’, and now – amidst new shows from Tonight Alive – has seen a new single by way of ‘Essential’.

As you may have guessed, the wonderful Jenna McDougall is my guest this week, and she was an absolute dream to speak to.

So, I strongly urge you to check out Hevenshe’s ‘Essential’, bump some classic Tonight Alive, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.