<p><span><span><em>- </em>You would be hard pressed to find someone who is more “all over it” than Brisbane’s Megan Washington. Given her trajectory across the last decade has gone through jazz, blues, roots and indie-pop, her fourth album <em>Batflowers</em> shouldn’t display any missteps or unsure direction; and it doesn’t. Along with that, Washington has pulled the whole album’s look together herself, right down to the art direction, photography, hand-assembled animation, even the A&amp;R.

<p><span><span>- I will happily die on the metaphorical hill of proclaiming -in a <strong>Louis Farrakan </strong>kind of fashion- that Private Function<strong> </strong>are the single best punk band in the country, if not the world, at the time of this review. Their reign of terror cracked open with two bombastic, barn-burning tapes, a little prelude nestled away in those as to what their debut album would be called…and then came through with an album title homage to the Rad Metal Dads and Their Music Piracy Sads.

<p><span><span>- After over forty years in the business of making electronic-punk-noise, Scattered Order is</span></span><span><span> a group still overflowing with new ideas. All that was contained in the primordial soup of their early discography has evolved with endless intricacy through ages and albums, but it all feels contemporaneously summarised on their new record, <em>Everything Happened In The Beginning</em>.

<p><span><span>- Historically, Bright Eyes have eschewed pigeonholing by continually releasing drastically disparate albums. Over their critically-acclaimed career, they’ve made orchestral, electronic, rock, and folk albums, but despite their inability to stick to a genre, they have always managed to make an album that is, somehow, quintessentially Bright Eyes. While the sobriquet Bright Eyes was formerly synonymous with <strong>Conner Oberst</strong> himself, they are in fact a band of three key elements.