Author: ellierobinson

I’m not dead (just a little burnt out)

A photo of my dog, Cadbury, a medium-sized Pitbull-Staffie cross, enjoying a little scratch on the chin during a road trip from Naarm to Warrang.

So, like… Hey.

It’s wild to me that my last post on this blog was last November – just shy of a year ago, and just shy of two weeks after I moved into my apartment with Milo. To be honest, for a good while, I did what every writer with full-time work and a regular adult schedule does eventually: I forgot I even had a blog. I think with everything else going on in my life, the idea of regularly setting time aside to maintain a curricular accessory that I didn’t need to just got squeezed out of my mind. Because as brutally short as it’s felt, 2022 has been a year. Since the last time I checked in here, I:

  • Got a new dog! He’s the big doofus you see above: a four-year-old staffie/pitty cross named Cadbury, who never fails to make me feel some type of way (whether that’s love or frustration or sheer bewilderment). He’s a big cuddly sook who loves to play and sleep and chew things, and he is not a replacement for Bruno in any way whatsoever, but he does kind of fill the Bruno-size hole I’ve had in my heart since I moved to Naarm. 
  • Changed my name! I’ve been going by Ellie to close friends since 2016, but earlier this year I bit the bullet and came out with it as the baseline thing. So yeah, my name is Ellie now – woo! I’m writing under the name Ellie Robinson, with Robinson being my mum’s maiden name. There’s a bunch of reasons for both parts, a bunch of reasons why I changed my name and a bunch of reasons why it took me six years to make it official, but this isn’t the right post to get into those. Maybe later.
  • Wrote a bunch! I’m working in the NME newsroom pretty much full-time at the moment, and writing features more regularly for them too. I’ve also shifted my role at Australian Guitar – I’m now the magazine’s editor-at-large, steering the ship on its local/in-house slate of editorial. It is technically a demotion, but… not really? It’s more money for less work and it’s a role I feel much more comfortable in; I have the freedom to write whatever I want, but I don’t have the burden of coordinating and producing an entire magazine around that. I’m super happy with the current setup.
  • Did a bunch of other stuff! I’ve made some huge strides in getting my shit together as an independent adult who is taking care of theirself and balancing their needs with their wants. I don’t know if I’m quite there yet. I think I have a long ways to go before I am the person I want to be (and the person I need to be), but I’ve been trying real damn hard and taking those scary first steps, and I’m hella proud of myself. I’ve also started collecting enamel pins, teaching myself how to play guitar (I know) and cooking a bunch.

I will admit that I’m pretty burnt out at the moment. I’m not sleeping as much as I need to be or spending as much time with Milo and Cadbury as I should be. But I’m figuring out how I can remedy that; I’m learning what my limits are and where I need to draw the line when it comes to a healthy work-life balance. I’m teaching myself that it’s okay to switch off when I need to, and that it’s not a sign of failure to admit defeat, but a sign of success to acknowledge when I’ve pushed myself too far and take a step back. I’m certainly not going to force myself to maintain a blog or a presence on social media, or really do anything that I don’t absolutely need or want to. 

I think that’s probably why most writers ditch their blogs when they hit their twenties or establish themselves with regular work and independence in their personal lives – at a certain point, a writer’s active blog no longer implies a passion for their craft, but a lack of success. Good writers don’t keep blogs because they don’t need to. They have nothing to prove or sell, they’re too busy writing “real” stories and doing “real” things. 

But that’s not true. No writer is “too good” or “too professional” to have a blog – whether that’s just for themselves, as some kind of pseudo-personal diary into which they can vomit their lingering thoughts, or as a loose portfolio-of-sorts for their professional output. I don’t give a shit if blogs stopped being trendy in 2013 – they’re cool. I have thoughts I want to express that wouldn’t fit – or make sense – to put in a feature. I have things to say that none of my editors would ever commission a story about; I have things to say that I want to say in the first person, goddammit! Sometimes I just want to ramble into the void and get shit out of my head without the pressure of needing it to read concisely or tell a straightforward narrative, or even make sense to anyone but myself. And I want to show off when I do write a cool feature for NME or Australian Guitar or whatever other publication takes an interest in my work.

Am I trying to justify, for myself, the viability of a blog? In a blog post? Violently embarrassing myself in the process? Absolutely. But that’s the great thing about having this blog to do that on: I don’t have to give a shit about that. 

So anyway, hi, my name is Ellie, I’m a 25-year-old music journalist / pop-culture writer and editor from Benkennie (Camden), currently based in Naarm (Melbourne). I write news and features for NME and lead the in-house editorial in Australian Guitar. My partner is named Milo and my dog is named Cadbury. I like road trips and music and dogs and pineapple doughnuts. I am perpetually tired and I don’t know why I’m writing any of this. 

Welcome to my blog? 

I guess?


CD Review: Tiny Little Houses – Misericorde


Band: Tiny Little Houses
Album: Misericorde
Label: Ivy League
Release: November 19th, 2021

Rating: 9/10

The tagline for Misericorde boasts that it chronicles Caleb Karvountzis’ “search for salvation through suffering”. That’s enough to lure in any emo worth their eyeliner, but what’ll keep them buckled in are the gristly, jacked‑up pop guitars, brute-force beats and razor-sharp honesty. 

Three years removed from Tiny Little Houses’ debut (2018’s Idiot Proverbs), Karvountzis has levelled up from a tinnie‑slamming sad-boy to a cosmopolitan family man. Thus – and yes, we acknowledge how cliché this is to say – it’s a notably matured album. Such is tangible in the gravity of Karvountzis’ songwriting, but even moreso in the band en bloc’s musicality: the riffs are bold, crunchy and calamitous but never grating or obnoxious, and the hooks, while buoyant and catchy, wield a striking emotional weight.

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Misericorde is set for release on November 19th, 2021 via Ivy League. Click here to pre-order.

NME news roundup: October 26th – November 4th, 2021

Hey, hi, hello!

So in the intro for the last roundup, two weeks ago, I mentioned that Milo and I were heading down to Naarm/Melbourne for a week to look at a couple of apartments (see: 18 of them). We ended up finding one that we adored – the second one we looked at, on our first day in the city – and we managed to have our application processed and approved within a day… So, uh… We live in Naarm now! Postcode 3000, baybeeeeeee!

We moved everything in yesterday. I am… Very exhausted 😅

So with that said, I’m not gonna do much of an intro this time around. But I have linked two songs from the past fortnight that I have been frothing HARD – ‘27 Club’ by Trophy Eyes and ‘Say It To My Face’ by DZ Deathrays – and the new film clip for ‘The Man Himself’ by Gang Of Youths, because it is just spellbinding.

Nevertheless, here’s everything I got up to at NME over the past couple of weeks!

TUESDAY, 26/10/21

Aminé lives the high life in jaunty new single ‘Charmander’

Between You And Me announce 2022 ‘Armageddon’ tour

Listen to Tiny Little Houses’ soul-baring new single ‘Take A Swing’

Yours Truly announce 2022 ‘Walk Over My Grave’ tour

WEDNESDAY, 27/10/21

Watch the trailer for new Brian Wilson documentary ‘Long Promised Road’

Shygirl breaks out the charm on shimmery new single ‘Cleo’

Snoop Dogg honours late mother with singalong to ‘Stand By Me’

Mayday Parade to play self-titled album in full on 2022 Australian tour

Dregg and Nerve link up for tearing new single ‘Beta Gods’

THURSDAY, 28/10/21

BENEE opens up about mental health on new single ‘Doesn’t Matter’

Jaguar Jonze returning for 2022 edition of ‘Eurovision – Australia Decides’

Trophy Eyes channel their inner stadium-rockers on anthemic new single ‘27 Club’

Listen to Columbus’ electrifying new single ‘Temporary Summer’

FRIDAY, 29/10/21

Facebook officially rebrands as Meta, outlines plans for its sprawling “metaverse”

A$AP Rocky pays tribute to A$AP Yams on smoky new single ‘Sandman’

Lastlings and Ninajirachi join 2021 Ability Fest line-up

Bad Juju celebrate the spooky season with grungy new single ‘American Halloween’

Colourblind muse on their egos with soaring new single ‘Longsleeves’

SATURDAY, 30/10/21

A$AP Ferg teams up with Pharrell Williams for bewitching new single ‘Green Juice’

Former Sony Music Australia artist Dami Im comments on label’s allegedly toxic culture: “We all knew that was going on”

Peter Garrett responds to allegations of misconduct at Sony Music Australia: “The behaviour was inexcusable”

SUNDAY, 31/10/21

Watch a group of robot dogs recreate The Rolling Stones’ iconic ‘Start Me Up’ video

Grandson teams up with Kesha and Travis Barker for uplifting new single ‘Drop Dead’

Staind’s Aaron Lewis addresses his beef with Bruce Springsteen

MONDAY, 01/11/21

Franz Ferdinand tease return and release of new material

Steve Buscemi spotted out on Halloween dressed as “How do you do, fellow kids?” meme

Bill Maher to ‘Nevermind’ baby Spencer Elden: “Stop being such a fucking baby”

Jon Bon Jovi and Bryan Adams cancel gigs after testing positive for COVID-19

TUESDAY, 02/11/21

Slash, Myles Kennedy and two Conspirators came down with COVID-19 working on new album

The War On Drugs debut two tracks from ‘I Don’t Live Here Anymore’ in Tiny Desk Concert

FX and Hulu to air documentary about Janet Jackson’s wardrobe malfunction at 2004 Super Bowl

Ruby Fields announces east coast theatre tour to launch debut album ‘Been Doin’ It For A Bit’

NSW to ease more restrictions on music venues starting next week

WEDNESDAY, 03/11/21

Listen to Black Country, New Road’s new Steve Reich-inspired single, ‘Bread Song’

Cardi B announced to host the 2021 American Music Awards

Starsailor set December release for 20th anniversary edition of ‘Love Is Here’

Spiritualized announce new album ‘Everything Was Beautiful’, share ‘Always Together With You’

Matt Edmondson on impact of rare mental health disorder cyclothymia: “Simply getting the label was life changing”

Mogwai are recruiting Glasgow fans for an upcoming film project

Live Nation to launch NFT ticket stubs

James Righton cancels sold-out London gig, promises “new music and shows coming very soon”

Joywave drop new single ‘Cyn City 2000’, detail fourth album ‘Cleanse’

Gang Of Youths blur the lines between youth and adulthood in ‘The Man Himself’ music video

Kendrick Lamar to appear on new Terrace Martin album ‘Drones’ alongside Snoop Dogg, Ty Dolla $ign and more

Rosalía announces new album ‘Motomami’ for 2022, teases first single

HBO sets release dates for new ‘Music Box’ documentaries on DMX, Juice WRLD, Alanis Morissette and more

The Cat Empire announce final show with original line-up at Bluesfest 2022

Teenage Dads drop new single ‘Piano Girl’, outline 2022 Australian tour dates

THURSDAY, 04/11/21

Boygenius to play first show in three years to fundraise for San Francisco nonprofit

Slipknot concert in Arizona paused after fans start fire in mosh pit

DZ Deathrays drop new single ‘Say It To My Face’, deluxe reissue of ‘Positive Rising: Part 2’

Spacey Jane, Pnau, Lime Cordiale lead Beyond The City line-up

Micra put the “dream” in “dream-pop” with breezy new single ‘Sunday’

CD Review: Courtney Barnett – Things Take Time, Take Time


Artist: Courtney Barnett
Album: Things Take Time, Take Time
Label: Milk! / Remote Control
Release: November 12th, 2021

Rating: 8.5/10

CB’s 2015 debut was brisk, bright and lively, like a summer’s day at the beach. Its follow-up was sharp, ripping and acerbic, like the storm that night. So, naturally, LP3 feels like the morning after: foggy and humid, debris from the wind scattered over the lawn. It’s clear Barnett is much more comfortable in her storytelling these days – the songs are reflective, inspired, and distinctly human.

Production is loose and experimental; percussive clicks and pops meld with raw, cerebral fretwork. The soundscape is overall very sparse and relaxed, letting tracks like the drowsy, pseudo-celestial “Here’s The Thing” and the groovy, buoyant and punchy (if far too short) “Take It Day By Day” really shine.

Though certainly not as immediate or memorable as Barnett’s earlier work, Things Take Time is beautiful and brilliant in many ways. 

Please note: this review is also printed in #144 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Things Take Time, Take Time is set for release on November 12th, 2021 via Milk! / Remote Control. Click here to pre-order.

CD Review: Snail Mail – Valentine


Band: Snail Mail
Album: Valentine
Label: Matador / Remote Control
Release: November 5th, 2021

Rating: 9/10

Equally as glittery as it was melancholic, Lush – the aptly titled debut from Maryland indie stalwart Snail Mail (aka Lindsey Jordan) – had a notable ‘lightning in a bottle’-esque quality. It wowed with meticulous production and conscientious songwriting, but it also shone for its blithesome looseness and brazen confidence, Jordan committing herself wholly both as a classically trained musician with an ear for technicality and a dorky queer teen living in the peak of meme culture.

Three years on, Jordan doesn’t try to recreate that magic. It would seem she isn’t so keen, either, to reinvent herself – she knows she has a niche, and she’s happy to lean into it – but there’s a clear determination to evolve and experiment. Where warm, fuzzed-out Jaguar chords laid the groundwork on Lush, they’re just one small chunk of a much broader, more vibrantly vegetated soundscape on Valentine. We open with the title track, filmy and ethereal synths flooding the mix as Jordan’s cool, honeyed rasp dances over them – until about a minute in, when she and her band erupt into a bold and emphatic chorus. 

There’s a fierce, St. Vincent-channelling swagger on “Ben Franklin”, and a dip down into the doughier, more pensive indie flair of Jordan’s early work on “Headlock”. In succession, these three tracks paint an orphic and arresting picture of the album as a whole: rich, soul-baring songwriting twined around poignant and pictorial – and above all, interesting – melodies.

But as the album continues to unwind, so too does it continue to surprise – whether it be via the folky acoustic fingerstyle and warm violin on ‘Light Blue’, heady tinges of blustery ‘90s pop on ‘Forever (Sailing)’, or subtle, smoky prongs of bass guitar on ‘Madonna’, tastefully accented by eerie stringwork and a warbling synth. Even the most zealous fans are bound to blindsided by something unpredictable – yet entirely welcomed – as not a second of Valentine feels like it was penned without the utmost care and consideration.

Jordan’s use of space is especially admirable. A track can have two guitars, a kinetic beat, strings and synths in abundance and her own dryly sung, kaleidoscopic quips, yet never feel cluttered. In fact, the record often sounds distinctly lowkey, Jordan maintaining a prudent tact throughout despite such a dense array of colours and tones at her disposal. 

This, too, is reflected boldly in her lyricisms – sharp and stormy, but delivered in such a way that makes Jordan come off as down-to-earth and reticent. She never teeters on vaudeville, but the dramatisation of her inner turmoil is always gripping and grandiose. She drums up a wealth of emotion, potent and impassioned, and makes it all look effortless in the process.

So, on Valentine, Jordan doesn’t look to recreate the magic she made with Lush; instead, she makes a whole new kind of magic – one that is endlessly more… Uh… Magical.

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Valentine is set for release on November 5th, 2021 via Matador / Remote Control. Click here to pre-order.

CD Review: Mastodon – Hushed And Grim


Band: Mastodon
Album: Hushed And Grim
Label: Reprise / Warner
Release: October 29th, 2021

Rating: 8.5/10

Whether it really makes the most of its 86-minute runtime is debatable, but immediately clear is that with Hushed And Grim, Mastodon have thrown all caution to the wind – it’s epic both in size and statue, stacked to the brim with fretwork as striking as it is sophisticated. In the six-minute “Sickle And Peace” alone, the band employ mind-boggling technicality, walloping shreddery and a truly empyrean solo.

Throughout the record at large, they expertly balance the prodigious might of their narrative prowess with the ashy bleakness of their sludge metal roots – there are stoutly cerebral moments that call for deep, contemplative reflection, but just as many moments that beckon an instinctive whipping up of the horns and thrashing of the head. It’s not a “heavy” record, per se, but it is positively intense.

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Hushed And Grim is set for release on October 29th, 2021 via Reprise / Warner. Click here to pre-order.

NME news roundup: October 12th-24th, 2021

Hey, hi, hello!

It’s feels like a whole year has passed since the last roundup! In addition to writing for the ✨New Musical Express✨ every day for the last 13 days, I’ve been apartment-hunting with Milo, enjoying all of my post-lockdown freedoms (I finally saw Shang-Chi! It was fucking sick!!!), planning a trip down to Melbourne (we leave tomorrow!), and doing a whole bunch of other little bits and pieces.

We sent Australian Guitar #145 to print last week, and this week I made my radio debut on The Faction (interviewing the legendary Keith Buckley of Every Time I Die). I even started reading a new book for the first time in like eight months (Detransition, Baby by Torrey Peters – so far, it is… harrowing). 

It’s been a hectic little while, to say the least. But it’s been great! I’m really looking forward to heading south and seeing my favourite city in the world again – and hopefully, fingers crossed, knock on wood, etc, finding an apartment there. At this stage we’re heading down for five nights, but we might end up extending that depending on what kind of luck we have with the hunt. I’m also working through the whole trip (how else am I going to afford that #citylife?) so I’m expecting next week to be even more hectic than the last couple.

The biggest drop this week was 100% the new Alex Lahey single, ‘Spike The Punch’. I am so, so stoked that she’s signed to Liberation, and I truly cannot wait to see her take over the world with LP3. I have also been absolutely adoring the new Snail Mail album, Valentine, so I’m gonna pop the title track in here too. I already know that next week’s highlight will be the Trophy Eyes song – keep an eye out on BLUNT for our ~exclusive~ interview with John about it on Thursday!

Anyway, here’s everything I got up to at NME over the past couple of weeks!

TUESDAY, 12/10/21

Bon Iver share recordings of ‘Beth/Rest’ and ‘Babys’ from their 2011 AIR Studios session

James Blake recruits Slowthai for new version of ‘Funeral’

Slash, Wolfgang Van Halen guitarist Frank Sidoris involved in “traumatic” car accident

WEDNESDAY, 13/10/21

The Kid LAROI teases collaboration with Tame Impala

Denis Handlin will keep Order of Australia honours, has QMusic award revoked

George Alice looks to the future on energised new single ‘Mid Years’

Missy Higgins and The Teskey Brothers lead new batch of SummerSalt shows for QLD and SA

THURSDAY, 14/10/21

Snail Mail joins Waxahatchee for live cover of Sheryl Crow’s ‘Strong Enough’

Kingswood, The Black Sorrows, Emma Donovan and more announced for inaugural Flavafest

Clowns announce rescheduled national tour dates to kick off in December

DMA’S share watercolour-tinted film clip for ‘Junk Truck Head Fuck’

RedHook announce 2022 ‘Bring Ya Mates’ tour, drop fan-starring ‘Sentimental Surgery’ video

Jesswar links up with Erica Banks for venomous new single ‘Bad Like Riri’

FRIDAY, 15/10/21

Billy Porter ushers in a new era with anthemic single ‘Children’

Megan Thee Stallion links up with Popeyes to launch Hottie Sauce and merch line

Le Tigre issue statement on lawsuit against Barry Mann over ‘Deceptacon’: “We just want him to leave us alone”

ARIA strips Denis Handlin of Icon Award following ‘Four Corners’ investigation

Listen to Missy Higgins’ triumphant new single ‘Edge Of Something’

SATURDAY, 16/10/21

Watch the new video for Teen Jesus And The Jean Teasers’ latest single ‘AHHHH!’

King Stingray, WAAX and more announced for 2021 Yonder Festival

Courtney Barnett and DMA’S lead 2022 Day On The Lawn lineup

Jack Botts drops ‘Live At Miami Marketta’ EP, details 2022 Australian tour

Agnes Manners team up with Deez Nuts’ JJ Peters for new take on ‘As Long As You’re Mine’

SUNDAY, 17/10/21

Watch System Of A Down perform live debut of ‘Genocidal Humanoidz’ and ‘Protect The Land’

PLANET announce debut album, ‘Information Overload’

Full Tilt locks in new dates for Sydney and Melbourne editions

Kito joins forces with Winona Oak for slinky new track ‘Skin & Bones’

MONDAY, 18/10/21

APRA AMCOS revokes Denis Handlin’s 2009 Ted Albert Award

Judas Priest’s Rob Halford reveals he was treated for prostate cancer, is now in remission

Production teaser for ‘The Flash’ shows first glimpse of Michael Keaton’s return as Batman

Daniel Craig crashes a Prince audition in surprise ‘Saturday Night Live’ cameo

Watch Robert Fripp and Toyah Willcox’s goofy Right Said Fred cover: “I’m too sexy for King Crimson”

TUESDAY, 19/10/21

The Weeknd pushes world tour back to 2022, expands to stadiums

Guided By Voices announce 34th album, ‘It’s Not Them. It Couldn’t Be Them. It Is Them!’

The Wiggles announce 18+ arena tour with original line-up

Young Thug sues apartment building for allegedly giving stranger 200 unreleased songs worth over $1million

WEDNESDAY, 20/10/21

Fall Out Boy’s Patrick Stump scores new romantic comedy, ‘Mark, Mary & Some Other People’

Listen to Fergus James’ poignant new single ‘Fall Short’

Void Of Vision drop pummelling new single ‘Vampyr’, detail first EP in ‘Chronicles’ series

Chelsea Warner dials back on luscious new single ‘It Be Like That’

Watch the dreamlike film clip for Ashwarya’s latest single, ‘Flare’

THURSDAY, 21/10/21

David Ellefson on being ousted from Megadeth: “I don’t have any sour grapes over it”

Barkaa sets December release for debut EP, ‘Blak Matriarchy’

Naomi Keyte embraces the simple joys in life with new video for ‘Greenhill’

DZ Deathrays to release 8-bit phone game ‘Dive Bar Superstars’

San Joseph balances calmness and catharsis in new film clip for ‘Everything In The Room’

FRIDAY, 22/10/21

Swedish House Mafia link up with The Weeknd for new single ‘Moth To A Flame’

Olivia Rodrigo mourns a backstabbing ex in new music video for ‘Traitor’

Between You And Me take aim at climate-denying politicians on new single ‘Change’

Greta Stanley branches out with luscious new single ‘Close Call’

Warumpi Band to release first ever collection of recordings, ‘Papunya Sessions 1982’

SATURDAY, 23/10/21

Coterie breeze through the apocalypse on blissful new single ‘Good Morning’

Biblemami launches ‘Unpleasant Adolescent’ EP with new single ‘Outsider’

FREAKCLUB make an enthralling debut with dancehall-inspired ‘Perfect’

Johnny Hunter take to a dreary London pub in new film clip for ‘Life’

SUNDAY, 24/10/21

Peach PRC gets in the Christmas spirit with buzzy new single ‘I’ve Been Bad, Santa’

Tamworth Country Music Festival confirmed to be going ahead in 2022

Missy Higgins sings her heart out in new film clip for ‘Edge Of Something’

CD Review: Every Time I Die – Radical


Band: Every Time I Die
Album: Radical
Label: Epitaph
Release: October 22nd, 2021

Rating: 8/10

In the five years since Every Time I Die dropped Low Teens, shit has, to say the very least, hit the fan. Radical concentrates those five years of social disarray and capitalistic chaos into the Buffalo group’s most vicious and evocative album yet, laden with brutally intense riffage and visceral, incendiary rage.

It’s the more artful and considered moments that stand out, though: the swampy, pared-back plucks on “Thing With Feathers” and the soaring melodies on “Post-Boredom”, for example, or the white-hot angst of closer “We Go Together”. These tracks make some of the more straightforward hardcore stompers (“Hostile Architecture”, “Distress Rehearsal”) fall a bit flat – there’s certainly some mud amongst the opals here – but to say Radical ever overstays its welcome would be patently false. 

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Radical is set for release on October 22nd, 2021 via Epitaph. Click here to pre-order.

CD Review: Thrice – Horizons / East


Band: Thrice
Album: Horizons / East
Label: Epitaph
Release: September 17th, 2021

Rating: 8/10

A sinuous odyssey through all the lustrous highs and pummelling lows of Dustin Kensrue’s psyche, there’s a gauzy, intoxicating cloudiness that lurks around every corner on Horizons / East. It ebbs and flows between a meditative calm and a baleful storminess, twining glimmers of thrashy and visceral punk-rock with the glittery, pastoral flavours of shoegaze and prog.

The rusty, shred-centric steeze of early cuts like “Scavengers” and “Summer Set Fire To The Rain” pave way for the record’s lighter and more silvery back-end to bloom; riding on the back of the blood-rushing highs of “The Dreamer”, “Robot Soft Exorcism” feels therapeutic – the calm after the storm, if you will, with a soaring and cinematic crescendo that makes the silky, dreamlike lulls of “Dandelion Wire” and “Unitive / East” all the more impactful.

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Horizons / East is out now via Epitaph. Click here to get around it.

CD Review: The Buoys – Unsolicited Advice For Your DIY Disaster


Band: The Buoys
Album: Unsolicited Advice For Your DIY Disaster
Label: Spunk
Release: October 13th, 2021

Rating: 8/10

Lacquering their youthful, sunkissed power-pop jams with lyrical barbs that shoot straight for the heart, The Buoys’ sophomore EP would feel just as much at home roaring from the PAs at next year’s Splendour In The Grass as it would through a pair of AirPods during a casual quarter-life crisis.

Zoe Catterall and Hilary Geddes’ yin-and-yang fretwork sears with a frisky, jangly grunt, contrasted wonderfully by Courtney Cunningham’s rounded and propulsive basslines. Teeming with energy even at their lowest point, the band often veer scarily close to the edge of overkill – you know what they say: if you ain’t redlining, you ain’t headlining – but they always know just when to reel it back in. Case in point: the dizzying bends and bubbly hook on slow-burner “Lie To Me”. 

Please note: this review is also printed in #145 of Australian Guitar Magazine, syndicated here because AG’s album reviews are no longer published online.

Unsolicited Advice For Your DIY Disaster is out now via Spunk. Click here to get around it.