- She’s been up on a bendy pole defying gravity in front of millions of eager Eurovision Song Contest viewers, on top of a helter-skelter like structure surrounded by monstrous rabbits at the Sydney Opera House and lording it over (nearly) all she surveyed as “The Queen” on the recent series of The Masked Singer Australia. Kate Miller Heidke has seemingly, effortlessly, hopped from one style to another, never settling for long in one genre before she’s off again, Monty Python-esque, for something completely different.

<p><span><span>- If you were feeling daunted and getting lost in the weeds of Thou’s discography, they are almost certainly not making it easy for you. Getting through their back catalogue is a mammoth task. Every time we turn around it seems a cavalcade of grime slathered doom torrents out of Baton Rogue and hits with the impact of an oak bookcase toppling on to you; you see it coming, it’s too late to move and now you acquiesce. Before <em>May Our Chambers Be Full</em>, I’d not heard anything from Emma Ruth Rundle.

<p><span><span>- I feel a bit bad for Felivand’s (ex?) partner, the one getting the kiss-off in her number, <em>Gone</em>. When Felivand sings “<em>It’s time to understand
 / That i’m not your helping hand</em>” it feels like one half of this relationship has really outgrown the other.

<p><span><span>- It seems with every trend in pop history, there has been a queer artist behind the scenes pushing boundaries. The rise of hyper-pop and the PC Music Label in the mid-2010s took the underground pop scene in a new absurdist electronic direction before finally hitting mainstream strides through <strong>Charli XCX</strong>. Enter Dorian Electra, a frequent collaborator of Charli’s who gained popularity off of their 2019 project <em>Flamboyant</em>.