Amaya Laucirica’s second single “Road to Us,” taken from her forthcoming album The Blue Hour, is a slow-burning masterpiece—introspective, textural, and emotionally piercing. Produced by James Cecil (Architecture in Helsinki), the track wraps listeners in layers of lush guitar, subtle drum programming, and Laucirica’s unmistakably ethereal vocals. But it’s the emotional core of the song that truly resonates: a tender examination of how love evolves when the chaos of travel and creative freedom gives way to the steadier rhythms of parenthood and domesticity.
“Where is the road to us?” she asks, not with resentment but with reverence, her voice drifting like memory across a richly woven sonic landscape. This is a song built not on grand declarations but on the quiet, universal ache of change.
The accompanying video, shot by Adalita and edited by Geoffrey O’Connor, is a moving visual extension of the song’s themes. Traversing Melbourne’s iconic cityscapes and winding toward the golden hour glow of Cape Paterson’s beach, the clip beautifully captures the emotional push and pull between past and present. With its cinematic palette and meditative pacing, it feels like a love letter to shared histories and the search for renewal.
“Road to Us” cements Laucirica’s gift for crafting deeply personal songs that feel timeless. With The Blue Hour set for release later this year, this single offers a vivid and moving preview of what promises to be her most intimate and expansive work to date.
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Jessie Monk’s new album Mis O’ The Mountains is a lush, layered journey through myth, loss, and transformation. We caught up with the Naarm-based artist to dive into the stories, symbols, and sounds behind the record — from orca dreams to reversed vocals, cosmic giggles to collective grief.
This album feels super personal and mythic at the same time—how did the story of Mis first come into your life, and what made you want to tell it through music? I found the myth by chance, listening to a podcast on grief by This Jungian Life. They were referencing Sharon Blackie’s book If Women Rose Rooted, and the resonance I felt with the myth was deeply moving. I never intended to write an album that followed the arc of that story — I was just writing through my own grieving process. But at some point, I realised I was writing Mis’ story, because I was living it. I had songs for every chapter, because I’d been through every chapter. Discovering the myth gave the music a home — a vast cosmos for the album to exist and be created within. The first track, “The Dream,” is such an evocative opener. What was it like turning that surreal, emotional dream into sound? That would be a great question for Brian Trahan, who produced the track and is largely responsible for its manifestation. The foundation came from an improvisation by Fabiana Striffler (violin) and Paul Santner (piano), based on a motif from “Gold Flowers.” They were improvising around the concept of a soul leaving the body — something free from space and time. Later, when I listened back, one excerpt struck me as having the same essence as a dream I’d had the night before my father’s passing. In that dream, I was in a room with my brother, with huge windows. The room came loose from the ground, and as we braced ourselves, it began flying through the sky. We knew something significant was coming. Brian added a layer of tape manipulation that perfectly captures that surreal feeling. My favourite part of the track is a reversed tape loop of me reciting “Metamorphosising,” which appears later on the record. There’s a sense of flying, falling, and transformation throughout the album. Was that intentional? That’s such a beautiful reflection. I definitely contemplated all of those themes, but I didn’t build the album structurally around them — so it’s special to hear they come through. There’s an interdimensional relationship running through the whole record — between dreams, the waking world, the underworld, the afterlife. And of course, one of the core themes is metamorphosis. So it makes sense that those feelings would show up in the music. “I Was An Eagle” was inspired by a dream about swimming with orcas. Do you often write from dreams? I love writing from dream images. I’m drawn to symbols and ideas that offer many refractions. If something comes from a dream, an old poem, or a myth, chances are it’s alive — or dormant — in the collective subconscious. It resonates in obscure ways and touches deeper parts of ourselves. Take the image of being an orca, or being the sea. It’s non-rational, but everyone will have their own unique experience of it. That gives the song a kind of vastness. “I Agree” is a real shift — playful, groovy, even a cheeky Irish whistle solo! Was that one fun to record? It was so much fun. And we needed it! So much of the album is heavy and vulnerable, which is powerful — but “I Agree” was a reprieve. It gave us joy during rehearsals and it’s that kind of moment at gigs too. A chance to connect with the playfulness of music, and the cosmic giggle of it all.
The “Gold Flowers” video is visually stunning. What was it like seeing that vision come to life? That shoot was one of those rare, magical creative processes. I honestly can’t tell you how it happened — just the right people, with the right talents and enthusiasm, coming together effortlessly. I love that it’s grounded in the land, like the myth it’s based on, but also dreamlike and abstract. You used actual voice notes from your dad in “Metamorphosing/Bardo Thodol I.” How did that feel? It was deeply emotional. As soon as those voice notes went in, it became viscerally moving. For a while, I couldn’t listen to it without crying. I spent months on the fence about whether it was the right way to honour him. I couldn’t speak at his funeral — it was too much, too soon. But I wanted to create a shrine of sorts, something to honour his life and death. These Bardo Thodol tracks are the sonic equivalent of placing his photo on an altar. The album gets wild and experimental in parts — tape manipulation, reversed vocals, rich textures. Did that sonic world evolve in the studio, or did you always have that vision? I did go in with that vision. The emotional and spiritual content demanded it. I’d been listening to albums like False Lankum and Spirit of Eden, and getting into Butoh movement and magical realism in art and literature. The myth itself is obscure, bizarre — mythical. So we had to go there sonically. That said, many ideas evolved in the studio too. The tape manipulation in “Metamorphosising,” for instance, was a piece of Brian Trahan’s genius that emerged organically. 
You worked with some fantastic musicians on this project. What was the best part of collaborating with them?
It’s pure magic. These musicians are the album. I’m a very collaborative artist — partly out of necessity, but also because I’m so faithful to the idea of creating something with as many refractions as possible. By handing over arrangement to folks like Paul, Fabi, Conor, Max, and Brian, I’m inviting their entire creative cosmos into the story. What makes this ensemble work is that we all share a love for both beauty and dissonance. If we linger too long in the beautiful, someone will bring in something strange. And if we go too deep into the experimental, someone will return with something heartbreakingly lovely. That balance is what makes it magical. Now that Mis O’ The Mountains is out in the world, what do you hope listeners take away from it? It feels like hubris to assume anyone will feel anything at all. But my hope is that this album can be a place where all facets of grief are reflected — a space for people moving through grief to feel seen. And maybe, through the character of Mis, to feel like someone is walking with them, holding up their feet and guiding them, no matter how strange or dark the road may seem. Mis O’ The Mountains is out now on all streaming platforms. Dive in, and let yourself be carried — by dreams, myth, and the soaring voice of Jessie Monk.  Sunflower Bean's Mortal Primetime isn’t just another chapter in the band's story—it's a reclamation. After a three-year hiatus punctuated by personal upheaval, side projects, and the threat of dissolution, the trio has returned with a record that pulses with urgency, vulnerability, and the unmistakable feeling of a band fighting for its future. This is the sound of survival. Self-produced for the first time, the album has a tactile, almost handmade quality that lends depth and authenticity to its sonic ambition. Working with mixer Caesar Edmunds (The Killers, Wet Leg) and engineer Sarah Tudzin (Illuminati Hotties, Boygenius), Sunflower Bean create a lush, expansive soundscape that blends dreamy psychedelia, muscular alternative rock, and the shimmering melancholy of 70s AOR. It’s as much Rumours as it is The Bends. Opener "Champagne Taste" is a sly, satirical send-up of material desire with glam-rock strut and a crispness that sets the tone: nothing here is half-hearted. Julia Cumming’s vocal work is sharp and expressive, particularly on "Nothing Romantic", where she turns the sting of emotional disillusionment into a rallying cry, carried by a surging bassline and searing guitars. Mid-album standout "Look What You’ve Done To Me" feels almost Springsteen-esque in its storytelling: a heartland rock track dipped in dream-pop glitter. But it's "There’s A Part I Can’t Get Back" that truly devastates—a stripped-back ballad that captures the ache of personal loss, of time slipped through fingers. It’s one of the most tender and raw moments in the band’s discography.
The record closes with "Sunshine", a track that somehow encapsulates the full arc of the album—bittersweet, hopeful, and defiantly radiant. It’s not a naïve optimism, but the kind that comes only after reckoning with chaos and clawing one’s way through. Mortal Primetime is the sound of a band not just surviving but thriving. It’s emotionally intelligent, sonically rich, and deeply human. Sunflower Bean have fought for this moment—and they’ve won. 
Jessie Monk’s latest single, “I Agree,” is a delightfully layered offering—equal parts philosophical musing, musical theatre, and jazz-folk jam session. It’s the newest taste of her upcoming album Mis O’ The Mountains, and it continues to prove that Monk is one of the rare songwriters who can approach depth with levity, and seriousness with a sense of play.
The song opens with a lyrical nod to Rainer Maria Rilke’s The Book of Hours—"Am I a falcon? A storm or a great song?"—an existential question wrapped in melody. But rather than dwell in existential gloom, Monk spins the inquiry into something light and expansive. Her delivery is cheeky and breezy, carried by a Bossa Nova groove that dances just enough to keep listeners on their toes. It’s a testament to Monk’s gift: to write about transformation, loss, and surrender without becoming heavy-handed or indulgent. Musically, “I Agree” is a textural playground. The instrumentation is tight but full of surprises—violin lines from Fabiana Striffler that weave in and out with expressive flair; warm, grounded bass from Paul Santner; and the playful pulse of Max Andrzejewski’s drums. The harmonic shifts and rhythmic left-turns (particularly the off-kilter, train-like feel in the second verse) echo the song’s central theme: life’s rhythms are never quite predictable, but they are always purposeful. A standout moment—and one that truly captures the whimsical spirit of the track—is the Irish whistle solo performed by Conor Conningham. Played on an unusually large whistle in B-flat (a jazz-friendly key), the solo adds both charm and weight to the bridge, like a moment of breath in an already soaring track. Backing vocals from Striffler, Santner, and Conningham give the song a communal, almost celebratory feel, rounded out by the audible joy of giggles and handclaps from the studio. Recorded live at Butterama Studio, “I Agree” captures the synergy of a band genuinely enjoying each other’s presence—and that energy radiates through the speakers. It’s a celebration of surrender, of saying yes to the chaos, of embracing the cycle of death and rebirth with both reverence and a wink. As a prelude to Mis O’ The Mountains—an album inspired by the Celtic myth of Mis, and its themes of grief, transformation, and healing—this single is the perfect overture. It reminds us that there is beauty in not knowing, joy in letting go, and power in simply agreeing.  Momma’s latest album, Welcome To My Blue Sky, is a thrilling continuation of the band’s rapid ascent, solidifying their place as one of the most exciting rock acts of the moment. The follow-up to their critically acclaimed Household Name, this new record builds on the grungy foundations of their past work while incorporating a heightened sense of melodic clarity and emotional weight. Recorded largely live at Brooklyn’s Studio G, the album benefits from a raw, unfiltered energy that brings each track to life. Bandmate Aron Kobayashi Ritch once again takes the helm as producer, crafting a sound that feels both urgent and polished, while drummer Preston Fulks injects a dynamic, driving pulse that keeps the momentum surging forward. Each of the twelve tracks is a masterclass in balancing heavy distortion with pop sensibilities, a blend that has become Momma’s signature. Thematically, Welcome To My Blue Sky captures a period of transition—a summer filled with highs and lows, as co-founders Etta Friedman and Allegra Weingarten describe it, a time of "parallel chaos." That duality is felt in every note, from the electrifying opener “Sincerely” to the introspective closer “My Old Street.” Lead single “I Want You (Fever)” exemplifies the album’s blend of sharp songwriting and infectious hooks, its jagged guitars and anthemic chorus making it an undeniable standout. Tracks like “Stay All Summer” and “New Friend” capture the nostalgia and bittersweet beauty of fleeting moments, while “Bottle Blonde” and “Take Me With You” explore the anxieties that come with change.
Momma’s rise has been nothing short of meteoric. Their US TV debut on Jimmy Kimmel Live! introduced them to a national audience, and their upcoming headlining tour is already seeing sold-out shows in major cities. With performances set for Primavera Sound in both Barcelona and Porto, as well as Outbreak Festival in the UK, the band is poised to take their momentum global. Ultimately, Welcome To My Blue Sky is an album that embodies movement—both sonic and emotional. It’s about growing pains, fleeting connections, and the electric charge of uncertainty. As Momma continues their ascent, this record serves as both a reflection of where they’ve been and a bold declaration of where they’re headed next.  The wait is over—after almost a decade away from the stage, The Beards are back! Australia’s most iconic (and only) beard-centric rock band is reuniting for a strictly limited run of one-night-only shows in Brisbane, Sydney, Melbourne, and Adelaide this August and September.
Formed in 2005 with a singular mission—to champion the glory of facial hair--The Beards grew from an eccentric concept into a cult phenomenon. Across four albums and countless sold-out shows spanning Australia, Europe, North America, and New Zealand, the band became renowned for their elite musicianship, riotous live performances, and unwavering commitment to singing about beards. Their accolades include two ARIA Award nominations, a spot in triple j’s Hottest 100, and even a performance at the World Beard and Moustache Championships. Speaking on their return, frontman Johann Beardraven says: “We assumed we’d said everything there was to say about beards. Turns out, we hadn’t even come close.” Fans can expect all the classics—including No Beard No Good, You Should Consider Having Sex with a Bearded Man, and If Your Dad Doesn’t Have a Beard, You’ve Got Two Mums—delivered with the band’s signature humour, infectious energy, and serious musical chops. Don’t miss your chance to witness the return of Australia’s most follically-obsessed rock band. Secure your tickets now—preferably before shaving. TOUR DATES:🧔♂️ Friday 29th August – The Triffid, Brisbane 🧔♂️ Saturday 30th August – The Metro, Sydney 🧔♂️ Friday 5th September – The Corner Hotel, Melbourne 🧔♂️ Saturday 6th September – The Gov, Adelaide  Amaya Laucirica is back and has delivered a profoundly moving piece with her latest single, "Now or Never." Known for her signature blend of dreamy pop, rock, and psychedelia, Laucirica crafts a sonic world that is both intimate and expansive. At its core, "Now or Never" mediates love, commitment, and future uncertainties. The track effortlessly captures the highs and lows of long-term relationships, addressing the fear of change while embracing the need to move forward. The chorus serves as both a comfort and a call to action: "And this feeling it won’t last forever. And this feeling will subside." Produced by James Cecil (Architecture in Helsinki), the track weaves lush orchestral arrangements, pulsating electronic beats, and shimmering synths. Laucirica’s ethereal vocals float effortlessly above the instrumentation, creating a beautifully layered, nostalgic and forward-looking soundscape. Laucirica’s impressive career, spanning albums like Rituals and performances at international festivals such as Primavera Sound and Dark Mofo, proves she is an artist committed to pushing her craft. "Now or Never" is a testament to her evolution—delicate yet powerful, melancholic yet hopeful. With her upcoming shows at The Vanguard in Sydney (March 27) and The Retreat Hotel in Brunswick (March 30), fans can experience her evocative sound in an intimate setting. Laucirica has once again reminded us why she remains a vital force in Australia’s music landscape. "Now or Never" is available now on all streaming platforms.
 Sunflower Bean have always been a band that thrives on reinvention, and their latest single, "Nothing Romantic," is a testament to their ever-evolving sound. A striking follow-up to "Champagne Taste," this track leans into a bold, anthemic energy reminiscent of classic rock powerhouses like Heart and Pat Benatar. Propelled by soaring power chords, shimmering piano courtesy of Roger Joseph Manning Jr., and Julia Cumming's commanding vocals, "Nothing Romantic" is a fist-in-the-air rock anthem that refuses to wallow in self-destruction. Lyrically, the song dismantles the myth of the tortured artist, offering a refreshing perspective on creativity as something that can thrive without suffering. The accompanying video takes viewers on the road with the band, capturing the contrast between the euphoria of live performance and the solitude of life in transit. The tension between connection and isolation mirrors the song’s themes, making "Nothing Romantic" a deeply personal yet universally resonant anthem. With their upcoming album Mortal Primetime shaping up to be their most ambitious project yet, Sunflower Bean prove they’re still at the peak of their creative powers—on their own terms.  Jessie Monk’s double single release, ‘A Constellation of Voices’ and ‘O’ My Love,’ is a breathtaking introduction to her forthcoming album, Mis O’ The Mountains. With one foot in myth and the other in raw personal experience, these tracks weave a deeply immersive sonic and narrative tapestry.
‘A Constellation of Voices’ is a thunderous, emotionally charged piece that encapsulates grief in its most primal form. Written in the wake of Monk’s father’s passing, the song was composed amidst the natural surroundings of the Birrarung Marr in Naarm, and its instrumentation reflects the tumult of loss. The live recording crackles with electricity, as if the musicians are conjuring something beyond themselves. Thunderous percussion from Max Andrzejewski, eerie violin from Fabiana Striffler, and corrosive saxophone lines from Conor Cunningham swirl together, mirroring the unpredictable waves of mourning. Brian Trahan’s post-production wizardry heightens the song’s otherworldly quality, layering whispers and haunting delay effects to pull the listener deeper into Monk’s underworld. On the other side of the coin, ‘O’ My Love’ is a tender, cinematic ballad—an ethereal love song that radiates warmth and transformation. The track tells the story of Dubh Rois, a gentle harpist who soothes the monstrous Mis with music, a metaphor for the power of love and art to heal. Unlike the raw, stormy nature of ‘A Constellation of Voices,’ ‘O’ My Love’ is delicately arranged, with producer Brian Trahan crafting sweeping symphonic strings reminiscent of golden-era orchestras. The flute, violin, contrabass, and piano coalesce into a dreamlike reverie, evoking a timeless romanticism. Together, these songs present two sides of Monk’s artistic universe: darkness and light, despair and hope. They hint at an album that will be as expansive as it is intimate, as mythic as it is deeply personal.  Following the shimmering indie-rock of Ohio All The Time, Momma’s second single from their upcoming album Welcome to My Blue Sky (out April 4 via Lucky Number) shifts gears into something darker, more feverish. I Want You (Fever) is the sound of desire spiralling into obsession—blistering, hypnotic, and utterly addictive. The Brooklyn quartet locks into a tight groove from the jump, with jagged, swirling guitars and a relentless rhythm section backing Etta Friedman and Allegra Weingarten’s signature vocal interplay. The track builds tension with each verse before exploding into a chorus that feels as dizzying as the emotions it captures. There’s a manic push-and-pull, mirroring the song’s theme of longing for someone emotionally unavailable but still within reach. “It’s pining after someone, but there’s also some confidence knowing that that person wants to be with you,” the band explains. That sense of self-awareness sets the track apart—it’s not just about yearning but revelling in the mess of it all. With Welcome to My Blue Sky, Momma is shaping up to deliver their most emotionally charged and sonically ambitious record yet. Suppose I Want You (Fever) is any indication. In that case, this album will be a thrilling deep dive into the highs and lows of desire, heartbreak, and self-discovery—proof that Momma is pushing their sound to exhilarating new heights. |
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