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Kult Kyss, The Wombats, Bleeding Knees Club, King IV and more for your listening pleasure.


By Alexandra Ainsworth

After a two year hiatus, Sydney-via-Gold Coast duo Bleeding Knees Club have announced that they’re gearing up to release their next record in May, with Case being the first taste of what’s to come. It’s an all-too-relatable exposé on working the ol’ nine to five, and how much it makes you want to publically drown yourself in the communal water cooler. Case is the type of track you’d expect from an early 2000s pop-punk band whose music videos are exclusively shot in suburbia with a fisheye lens at poking fun at the nuclear family. That’s not to say that Bleeding Knees Club aren’t onto something with the new track: it’s offensively catchy and the drums are an absolute stand out. It took a few spins to get me on board, but it’s definitely turned into a top-five soundtrack option should I ever find myself longboarding into a Summer sunset. 


By Ayden Measham-Pywell

Melbourne’s King IV is back and impressing us once again with verifiable banger Bump, pairing her distinct alt pop vocals against thunderous, bouncing, production to create a richly textured experience. The beat has this unique element to it that is hard to place. Almost best compared to a ball bouncing around inside a metal drum thanks to it’s shimmering reverb, it’s an impressive feat to make it sound so good. Once again, the team up between Haxx and King IV has delivered the goods. The various layering’s of vocals, and wonky structure to the track create an experience that is highly addictive, and you’ll struggle to listen to Bump without hitting repeat for the next week. 


By Michelle He

Tinny guitars, metallic synths and clever lyrics means that Lemon To A Knife Fight is effervescently Wombats, but also promises the dawn of a new era for their 5am dance party rock. The name is perfectly ridiculous and peak English humour, but I’ll be damned if I’ve never felt like I’ve been so woefully ill equipped to bring a citrus fruit as a weapon of choice. The point is, if God gives you lemons, leave them at home on knife fight Fridays. 



By Alexandra Ainsworth

With a lineup that includes (but is not limited to) Broods, Reggie Watts, Touch Sensitive, and Saro, we’re expecting some pretty impressive things from Flight Facilities’ latest single. It’s wildly ambitious, but my lord does it pay off. Gentle vocals from NZ duo Broods open the 6-minute epic. Scaling piano courtesy of classical musician Piers Lane and a sneaky spot of bass from Touch Sensitive introduces Saro, who opens a conversation between the three. At the halfway mark we’re reunited with Watts, who worked with the duo on their 2014 track Sunshine. You would expect the sharp turn of sound to be jarring, but Watts’ silky smooth vocals are kind of like hitting the soft sweet center of a Caramello Koala, which is to say, completely euphoric. These soulful tracks are the ones that Flight Facilities do best; they’re complex and full of distinct sections, tied together with simple yet effective instrumentals that blend classical with electronica and funk through first-class production and quite possibly the hand of God.


By Ayden Measham-Pywell

City Calm Down have a second album coming out next year, and have been getting pretty good at the spoiling/teasing game, releasing yet another single from the upcoming long play. This Modern Land highlights all the best parts of the Melbourne band, with Jack Bourke’s vocal work back to it’s broody peak. It’s an excellent bridge between the slightly fresher sounding last two singles, and the In a Restless House work that we’ve come to love, and connects well with material that was teased on their recent tour. City Calm Down, are once again looking looking to own it on their next release, with this track showing off both emotional vulnerability juxtaposed against the true power of the band reminding fans that City Calm Down may just be the best band around. 


By Ayden Measham-Pywell

The wait between Kult Kyss posts always feels too long,  but as soon as I Am One was released it all felt worth it. The almost future tribal sounding track is a powerful and impressive release, and bears vague similarities to the iconic work of The Knife or Fever Ray’s recent work. The piece contrasts polarizing softness with surging beats, all coupled with Rromarin’s vocals adding a distorted sense of humanity to the track. The ritualistic styling of the production creates a unique note to the track, but more importantly encourages memorability in that it is just so dang infectious. The rhythms of I am One linger on the mind long past the tracks run time, and is instantly a cause to hit play once again.