![]() Palaces balances the two impulses, filled with plenty of glitch-pop recalling his biggest hits, splintered between more challenging tracks, from the industrial Get U and Only Fans to the gentle piano of Jasper’s Song and the gorgeous, spacious title track, featuring Gorillaz frontman Damon Albarn. – Giselle Au-Nhien Nguyen Flume – PalacesĪfter the magnitude of his first two albums, Harley Streten went left with his 2019 mixtape, steering away from festival-ready EDM drops in favour of more experimental electronica. If you get a chance to catch Body Type live in 2023, take it – these songs are even better in the flesh. The distinctive personalities of the band’s three songwriters shine through in these 11 songs, which flit from tender contemplation to righteous fury (The Charm takes aim at condescending music industry bros). This sharp, cerebral collection takes its cues from literature, film and life: the tracks The Brood and Sex & Rage are named for David Cronenberg and Eve Babitz’s works, respectively. Nothing thrilled me aurally as much this year as the long-awaited debut album from this Sydney post-punk quartet. Read more: The Chats: Get Fucked review – Brisbane’s reprobate punks trade novelty for longevity Body Type – Everything is Dangerous but Nothing’s Surprising They’ve lost original guitarist Josh Price, and he took a little of the Chats’ good humour with him, but replacement Josh Hardy has turned the Chats into a tougher-sounding unit, in it for the long haul. ![]() It didn’t stop them packing venues around Australia and across the US and Europe, with audiences treated to a white-hot live act. – Jared Richards The Chats – Get FuckedĪfter the viral success of early singles Pub Feed ( covered by the Wiggles) and Smoko (also covered by Wet Leg), the blunt title of this ferocious second album by the Chats all but ensured there would be no invitation back to the Today Show. You can chew on the mixtape’s cerebral elements or just sweat it out, though either way Wilson’s dense production rewards repeat listens. Inspired loosely by “Nature 2.0” – an utopian ideal where nature evolves with the help of technology – Second Nature is a flex of glitchy, industrial pop that builds its own unpredictable world while remaining danceable and fun. With her debut mixtape, Ninajirachi – AKA producer and DJ Nina Wilson - cements a singular sound, steadily formed since releasing her first track as a teenager in 2017. ‘A flex of glitchy, industrial pop’: Ninajirachi’s debut album was inspired by ‘Nature 2.0’. Read more: Hatchie: Giving the World Away review – newfound confidence “I used to think that this was something I could die for / I hate admitting to myself that I was never sure,” she confesses on Quicksand, the album’s lead single and best track, looking outwards towards an expansive, if chaotic, future. On her second album as Hatchie, she moves beyond the motion blur of shoegaze, honing her primal anxieties until they come into sharp, confronting focus. In her earlier singles, Harriette Pilbeam’s eyes were firmly affixed to the floor, making the kind of fuzzy swooners which always concealed a serrated sliver of self-doubt beneath treacly declarations of love. – Nick Buckley Hatchie – Giving the World Away Written and recorded over a blistering six days, and fusing steely and defiant trap, neon-hued R&B and car boot-rattling Cali’ funk, it includes arguably the year’s finest vocal performance on Tread Light – a one-take, goosebump-inducing tour de force in which Keith stares down his own mortality following his cousin Knox’s death, one of many recent family losses. The Bowraville-raised Gumbaynggirr man stares down his ambition, ego and grief, and emerges newly vulnerable. Tasman Keith’s debut album follows the rapper into the gauntlet of pressure and self-loathing that awaited him offstage each night of Midnight Oil’s 2021 Makarrata Live tour.
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