- I really don't mean the following as an insult, but it’s difficult to imagine The Letter String Quartet without a collaborator. Their angular and skeletal creations demand someone to come along and lay something soothing over the raw, bare bones. The thoughtful and often playfully eerie presence of Marita Dyson is a balm here, on this dusty, historical song cycle that is also their debut album.

<p><span><span>- <strong>Lewis Day</strong>, aka Tornado Wallace, has just released an EP / mini-album titled <em>Midnight Mania</em> on Optimo Music. His first release for the label, the Berlin-based, Melbourne producer / DJ came into my awareness with the excellent <em>Lonely Planet</em> album. In addition he’s put out numerous 12”s on the likes of <strong>Beats In Space</strong>, <strong>Second Ciecle</strong>, <strong>ESP Institute</strong> and <strong>Animals Dancing</strong>.

- I remember, from when I was much younger and rather poorly informed, listening to a Chelsea Wolfe record from the height of her neofolk period and thinking “where’s the metal?” Danish artist Amalie Bruun, the woman behind the Myrkur moniker, has evoked that question throughout her entire career, though she has much less reason to than Wolfe. Her blending of folk -a folk so trad you can’t really call it neofolk- with black metal, is very individual and uncompromisingly disparate. 

<p>- The impact of a serious injury can have a profound influence on musicians. For many independent artists, injuries have led to preemptive career endings. In the case of Vancouver based post-punk musician Bryce Cloghesy however, a life-threatening tear of his brachial nerve led to a process of deep self-reflection and the eventual creation of his solo avant-garde project, Military Genius. Now Military Genius has unveiled a debut record Deep Web, out now via Unheard of Hope.</p>

<p><span><span>- It’s difficult to pin down the balance between the slow, loping hip hop beats and more free-wheeling jazz elements of Melbourne producer’s On-Ly’s work. Otherwise known as <strong>Joshua Smeltink</strong>, one thing is certain about him here: space has invaded on his latest LP, <em>Broth</em>, the first for up-and-coming jazzy beats powerhouse <strong>La Sape</strong>.

- A Google search, the online and modern day medium of “they say” quips and proverbs, will tell you that first impressions last. When thinking back to a 2017 visit to The Bearded Lady I’d be inclined to agree. Excited and in attendance for a mixed bill to see Julia Why? on a Brisbane visit and all-time favourite Scraps, the sets from them, Bad Bangers and Collapsicon all stellar and disparate, however it was the opening group, Star Slushy, who lingered longest on my mind.

<p><span><span>- <strong>Chapter Music</strong> has recently released a collection of previously unsuch archival music from Use No Hooks. Originating in Melbourne, this compilation of the group's output spans the years 1979-1983. Emerging from the Little Bands scene there, the collection touches on elements of new wave, Downtown NY-funk, jazz and dub.</span></span></p>

<p><span><span>- With influences ranging from the disco tinged pop of <strong>Madonna</strong>, to the industrial fury of <strong>Kim Gordon</strong>’s <em>No Home Record</em>, <em>MY WORLD</em>, the debut EP from Melbourne based producer Loughie, is like looking into an antique kaleidoscope. It’s a little rough around the edges sometimes, but that's something that just enhances the DIY appeal of Loughie’s androgynous, horror-pop.</span></span></p>