<p><span><span>- Rolo Tomassi<strong> </strong>are constantly evolving between records. That may seem like a reductive statement but having followed the Sheffield Group for over ten years at this stage of the game, it's one I'm prepared to back. Each time a new record is released, it feels like a conversation with an old friend who you catch up with every once and a while. Something new has happened for them and you can’t help but beam with pride because of how they’re doing.

<p><span><span><span>- Gabriella Cohen returns with a new full-length, infused with her signature blues-rocking and also that subversive ability to visit all sorts of styles without you even realising. Unassumingly self-released -I mean, it’s not the time to be making big industry moves, is it?- it just might be the time, however, to throw off the smothering blanket of the last couple of years and be </span><em>Blue No More</em><span>.</span></span></span></p>

<p><span><span><span>- Taking a step back from the increasingly prolific output of Australian noise-pop artist Katie Dey, it’s actually kind of crazy to hear the difference between her earliest, hyper-experimental, jagged, digital storms of destroyed pop and what now, in many ways, is recognisably the sound of a singer-songwriter. Dey’s music is so integral to her being that such a change speaks to profound changes in herself.