Belly Up Records/EMI
Jez Mead’s approach is a simple one. The lead track on this, his first EP with major label distribution, consists of Mead on vocals and guitar, and one violin.
Country music has often got a bad rap, but with almost every two-bit indie artist wanting to steal a bit of the country limelight via feel or instrumentation, it can’t be all bad.
4AD/Remote Control Records
The enduring quality of Brooklyn-based indie rock quintet The National’s previous releases, 2005’s Alligator and 2007’s Boxer, means that whether they like it or not, High Violet comes burdened with heavy expectation.
Suckers began life as a band that would jump on stage before and after the performances of their friends MGMT and Yeasayer.
Thirsty Merc’s third studio album, Mousetrap Heart is a great effort by the Dubbo band, not quite reaching the heights of previous albums, but still sure to appeal to fans.
Listening to this album in the night brings ideas of clouds and floating away. You’re not sure if it should be the soundtrack to your nightmares or your trippy dreams.
Holed up in a cabin in the Blue Mountains for almost two months, Sydney artist Ernest Ellis wrote most of his stunning debut album Hunting, a left-field take on pop music which draws inspiration from both classic and modern literature.
Three records in and Deez Nuts has not only become one of Australian hardcore’s biggest money earners, but also the scene’s biggest joke.
Trent Reznor is God. Yes, this is a completely self-indulgent statement, but considering his track record, it is hard not to be swept up in the whole fan-girl/boy movement that is associated with Reznor.
It’s been four years since audacious glam-pop stalwarts Scissor Sisters’ last musical excursion, but while Ta Dah, this album’s predecessor, had a title which masked a downbeat mood, Night Work always feels like dancing.