I already think that Frankie Cosmos can do no wrong, but throw in this ridiculously lovely cover and it’s well and truly cemented. I never really thought I’d live to see a lo-fi cover of a Kero Kero Bonito track, but boy am I glad to be here right now. The original version of ‘Fish Bowl’ is already a brilliant piece of low-key bright and sparkly PC Music-esque slow jam – more along the lines of old school Architecture in Helsinki than some of Kero Kero Bonito’s harder hitting creations. Never the less, along comes the Frankie Cosmos team, and suddenly ‘Fish Bowl’ fits into the FC catalogue perfectly. A short, organic, beautiful piece of guitar pop, that somehow shows the sadder, more poetic side of KKB. Well played Frankie, another blissful jam to tide you over until new originals.

Grab the track from your fave streaming service/whatever.


We’re thrilled to announce that our boy Brightness will be hitting the stage with Blue Mountains psych-pop darlings Cloud Control this June! The band will be heading out in support of their brand new single ‘Rainbow City’ – the first taste of new music in quite some time. Be quick, these tickets are moving quickly. In the meantime you can also catch Brightness’ official video for ‘Waltz’ below..

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HOWLER (Melb) – June 2 Tickets HERE.

OXFORD ART FACTORY (Syd) – June 3 Tickets HERE.


If you were keen to listen to the bleakest chorus of 2017, you’re 100% in luck with this one. How does “kill me now, I want to die, there’s a chance in an afterlife. I might not get let in, but at least I won’t be living” sound? Strangely enough this latest piece of gold from New Zealand’s Kane Strang is oddly fun to listen to. I think this might be his thing, depressing as f tracks that are super fun to sing along to. I’m singing along to that chorus now and kinda smiling at how dumb I must look to anyone near me. With chugging garage riffs backing Strang’s wailed vocals about how shit it is for him to date people (or for them to date him tbh) – it’s undeniably catchy stuff. Whilst I still think that “Oh So You’re Off I See” is one of the best tracks of 2017, ‘My Smile Is Extinct’ continues this great theme of self-interested, childish, can’t-take-rejection, hate-ballads. I am seriously not attacking you either Kane, whether or not these are personal stories, they are really talking to my cruel, cynical view of the world and everything within it. I love this.

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Kane Strang’s new LP, ‘Two Hearts and No Brain’ is due June 30th via Dead Oceans.


Singular juices are always a hit. Whether it be mango nectar or freshly squeezed OJ, you can prepare yourself for the familiar taste that comes shooting through the plastic (or paper/glass if you’re eco friendly) when you put straw to mouth. It is also true that the best kept secrets often lay within the unlikely blends of different spices and vegetables that can, if chosen correctly, combine to unlock a mix that can cleanse the body or boost your immune system etc. Without trying to beat this metaphor any longer, todays Fresh Juice marks the return of Seattle based indielectronic duo ODESZA with their new single Line of Sight. Helping provide that extra bit of kick, UK vocalist WYNNE and locals Mansionair have leant their vocals on the track to create a revitalising concoction which will certainly help you push through Tuesday.

Having been a little quiet over the past 18 months, Line of Sight is the perfect track to break their silence. Starting out with some barely audible vocal samples and some very heavy synths, ODESZA gradually build a really wholesome track behind WYNNE’s lead vocals. It feels as though ODESZA have taken deliberate steps to ensure their new material is notably different to what we have heard from the pair in the past. Having already crafted a really unique brand of electro pop, Line of Sight sounds cleaner and little more refined than the stuff we heard on their banger of a sophomore album, In Return. As always Mansionair come through with the goods, providing powerful back up vocals and lift Line of Sight to a new level.       

Keep up to date with ODESZA here.


I’m not going to tell you what to do, but it’d be great that before you continue with this piece – you go and check out Cende’s last single ‘Bed’ – it’s a ripper. Anyway, Cende are a really exciting Brooklyn based 4-piece – which includes Porches’ Cameron Wisch, LVL UP’s Greg Rutkin – you should start paying attention to. They are very, very good at creating emotive, break-up, make-up, ballad-y tracks that really sound nothing like what you expect them to sound like. ‘What I Want’ is a great example of this. Featuring the fucking insanely brilliant Great Kline of Frankie Cosmos, the track is a smashing duet, offering two differing angles of a relationship that is in serious trouble – yet it’s also a pounding garage number, with sharp guitars and peppered percussion. Whilst the vocals keep things the story in a  relaxed and civilised world, everything turns to shit as the track becomes a huge shambolic instrumental wall of sound. The natural climax to a track that continually builds and keeps you in until the last moment. This is big.

Grab ‘What I Want’ via all your favourite streaming services via Double Double Whammy.


Haim have kept us in suspense for a long time. After tearing through 2013 with their highly praised debut LP Days Are Gone, Haim, didn’t by any means fall off the radar, but they certainly made us wonder when we were going to hear their unique brand of pop rock again. Well the wait is over. After teasing us with a short video of the three sisters showing off their skills with the sticks, Haim have returned with a freshly squeezed track called Right Now.

You feel the rawness in this audiovisual from the get go. In one take, the camera pans through a crowded studio switching focus between all three sisters who woman their respective instruments. After a quiet piano/ vocal driven intro, a heavy guitar cuts through the track in such a way that carefully avoids disrupting the serenity but reminds us of the heavier side the trio posses. Tension builds as two of the three sisters make their way to a couple of toms and cymbals to smash out a climactic finish to a really nice track. What I love about Right Now is not only the fact that it marks the return of a really incredible band but the imperfections and mistakes that Haim ride through and leave in the recording. It gives the song character and shows the trio don’t necessarily see minor hiccups as a reason to disturb their momentum. To quote Este at the end of the recording, “that’s how you fucking do it”.            

Right Now will feature on Haim’s forthcoming LP, Something To Tell You out July 7,

Be sure to catch the sisters at Splendour if you got a ticket.


Just a quick heads up before you read on: this track isn’t for the faint hearted. Seriously, I feel like my mind is melting whilst listening to this through noise-cancelling headphones. Vessels have built themselves an empire of downtempo, textured and sprawling soundscapes over the years, but nothing can prepare you for their heaviest hitting track yet. ‘Radiart’ is seven minutes of completely window-shattering, wall of sound, monstrous post-rock infused electronica. An instrumental tech-house sounding, glitch jam that slowly but surely builds into this piece of organic insanity. You can just imagine how this would look and sound live, painfully beautiful patches, samples, synths – cords and pedals everywhere. Explosions in the Sky and Jon Hopkins would be so proud/jealous.

Grab the full-length monster above or the edit via the usual online spots. Expect a new Vessels LP is coming late 2017 via Different Recordings.


Not being overly into shoegaze but by no means being a stranger to it either, I was automatically entranced by the heavy wall of sound UK five piece, Colour Of Spring have produced on their new single Echoes. Hailing from Leeds, the quintet have established a strong reputation as a live act and are steadily growing in popularity online; sporadically popping up on up and coming playlists that extend far beyond their home country.

With a spacey ominous introduction, Echoes slowly transforms into a solemn downtempo track that details the struggles associated with coming of age. While today’s Juice does not necessarily have any standout moments musically, Echoes maintains a smooth momentum fuelled by a relaxing, heavily distorted guitar hook and a rattling drum beat. What first drew me to Colour Of Spring was the subtleties they share with fellow shogazers Slowdive. Looking forward to see what 2017 holds for these dudes.


Now that Au.Ra are tracking towards to their second LP, it seems a redundant to say that these guys used to be in beloved Sydney act, Parades. But just in case this is your introduction, these dudes used to be in Parades. Okay, anyway, ‘Applause’ is the first taste from Au.Ra since 2015 (when they released the dreadfully underrated Jane’s Lament). I first listened to this one whilst staring out into Melbourne’s CBD from a tram on the way home from work, I’m not sure why, but it was weirdly the perfect soundtrack to the experience. As I slowly panned up and across the skyscraper sprawl, the spacey, whirling synths and the drawling vocals really set a dystopian scene for me. I must say this is a bit of a builder, and really takes it’s time to make an impact – but once you hit that 3 minute mark, everything changes. What felt like shoegaze inspired melancholia, quickly became a personal anthem. You can’t help and get swept up in the continuous motion of “no it doesn’t matter” and apply it to whatever shit is going on in your life. Depressing as hell, but oddly uplifting at the same time.

Au.Ra’s sophomore LP, Cultivations, is out June 30 via Felte.


I like to tell people that I think Melbourne’s Baro is one of the best hip-hop artists in the country*. He has a history of flipping his style continuously, and also has a truly impressive live show – one that seems to take shape as something more like a Jazz Quartet than a hip-hop show. His latest single flips it again, and for a solid percentage of the track (yep, that’s right, bringing MATHS into it), Baro is backed by a chugging, rock riff (wave goodbye to those lazy hip-hop beats, kids). The live instrumentation is a lovely touch, fluid and subtle, allowing Baro to move from ballad-esque, spoken word, R&B, pop and garage-y vocals. I can’t put my finger on each change up, so I’m just gonna give up at this point and let you listen to it. Sue me, whatever, I don’t own anything worth money anyway.

Baro’s new EP, ‘Problems’ is out May 19.

*Who am I to tell anyone anything, my opinion on most things doesn’t mean shit.