<p><span><span>- “<em>I was safe but restless in Brisbane</em>”, said the man behind Lite Fails; time to create some ambient music, then! Composer, historian and archival explorer <strong>Henry Reese </strong>has been quite an agile explorer of Australia’s early, recorded audio heritage. His work to date, as far as I’m aware, has been more of a historical excavation, rather than composition: digging up both the written records and the forgotten shellac that contains the earliest echoes of an audible Australia.

<p><span><span><span><span><span><span>- If it was possible for engineers and scientists to harness pure amounts of stoked-ness and in turn convert it into a useful energy source, my output in the lead up to Prophetʼs new record, well it would have easily filled up Elonʼs battery in South Australia many times over. 2018ʼs <em>Wanna Be Your Man</em> had me buzzing more than a four-year-old on an afternoonʼs worth of red cordial. </span></span></span></span></span></span></p>

<p><span><span>- Tame Impala’s fourth studio album <em>The Slow Rush</em> landed today. An album examining time and the curious relationship we have with it; our nostalgia for the past and anxiety about the future. Since the release of 2015’s <em>Currents</em> <strong>Kevin Parker</strong> has headlined Coachella, sold out international stadiums, collaborated with artists from <strong>Lady Gaga </strong>to <strong>ASAP Rocky</strong> and well-and-truly become a household name.

<p><span><span>- There exists a murky, decrepit space in Australian music for a breed of punk that can only be described as pure filth. Characterised by shouted, barely discernible vocals, fuzzy guitars meeting shrill budget keys, and garage production values, it sounds sort of like the 240 pixel club of the Australian music scene.