After the February release of her sophomore album Crushing, Julia Jacklin played to a sold-out crowd at iconic Melbourne venue The Forum Theatre whilst on her first national tour for 2019. Having recently moved to Melbourne, and on her last tour selling out two Corner Hotel gigs, she is clearly loved in her new home-town.
In the venue, the audience’s adoration was evidenced throughout the night – gentle humming and singing in the background of every tune. Nevertheless, Jacklin still seems surprised by her fame: “I’m struck by the absurdity of what I’m doing. I’m just playing guitar on a stage with my friends.”
And that is exactly what she does. Jacklin’s live show doesn’t rely on any distractions or tricks. Instead, her performance is one that is understated yet immense. The instrumentals are sparse and restrained, but powerful in the way they fill the space. This allows Jacklin’s voice to be the centrepiece, and the acoustics are clear enough to showcase her skills as a classically trained vocalist.
Her music is the perfect fit for a venue this size or smaller: its lyrics are intimate and thoughtful, reflective in nature and tending towards self-examination. With the Forum’s cerulean-blue ceiling lit to imitate the evening sky, the overall effect is breathtaking and powerful. This was felt particularly moments before ‘When the Family Flies in‘ as Jacklin recounted for the audience the loss of a friend, and to whom the song was dedicated – “this song isn’t pleasant at all.”
However, the entire evening was punctuated with more moments of humour than seriousness. Not long after this sombre moment she gave a shout out to “Ryan The Sound Guy”, recalling a time when they had a night out which ended with her waking up, covered in fries. She is everyone’s secret spirit animal.
Stories aside though, Jacklin’s music is immersive and captivating, uniting her audience as one big-love-entity. As the night came to an end, with her eyes closed, head rocking back to the sky, crowd singing along to ‘Motherland‘ and hearing “And oh I’m good, I think I’m good; Will I be great, will I be great?”… well, we believe the evidence is clear that Julia Jacklin is and always will be “Great”.
Paradise Music Festival returned for its fourth year with a stellar line-up and more features, venues and fun for both their loyal patrons and new additions. From an offering of espresso martinis to luxurious camping abodes, the team behind Paradise stepped up their offerings this year in line with the growth of the festival as a whole. Even the cold weather and misty-to-almost-sightless nights could do nothing to dampen the spirit that lives on in the unique Paradise crowd, who traverse Lake Mountain Alpine Resort annually for one sublime weekend in November.
Our team was there with you on the hill, watching as day turned into night, then onto clubland and the sheer fantastic mayhem that the artists and atmosphere creates. So here’s our review, reflections and right of passage to say that Paradise was, yet again, an unchallenged success in the Victorian festival hierarchy – and as usual we cannot WAIT until next year.
It’s liberating to be able to confidently say – to whichever group you’re spending time with – ‘I’m going to head to the stage now for a dance’, knowing that you will be safe and enjoy yourself following your feet. Paradise felt like a weekend of being surrounded by friends – my friends, friends of friends, or potential new friends. There were countless times where, unaware of the inherent corniness, I’d have to interrupt a friend and point out the sunset, sunrise or frosty sky that made the festival feel like the interior of an innately Australian snow globe.
Among the excitement and stress that goes into the preparation of leaving for a camping festival, it is both a necessary and solemn reality check to start the festival with a Welcome to Country. I would also like to acknowledge here that Paradise is held on land which was stolen from its traditional owners, the Taungurung people.
Hi-Tec Emotions started their set with such power and vitality, I felt like they blew open the expectations for the music we could expect to hear during the weekend. They widened our eyes and opened our ears. Acts that followed flowed so neatly, each bringing their own air to the stage.
Sui Zhen’s sound has evolved over the years in such a natural and exciting way. She has never compromised her musical identity, throughout its evolution. It was such a warm and delightful experience seeing her perform. So much of her came through her sound and stage presence – every audience member was feeling the energy of their music and bopping and rolling hips.
I hadn’t listened to much Julia Jacklin before Paradise, but seeing her live proved she lives up to the recent hype surrounding her music. Before we know it, she’ll be globally known and we will think, gosh we were so lucky to see her at play so beautifully on Friday night at Paradise 2016.
Gabriella Cohen’s set too was a journey through an array of different senses, which was what made the final part of it feel so magical. What started as quite a minimal and acoustic performance (with only a few people on stage) ended up bursting with people and friends jamming on stage and involving the audience.
I am so excited for the future of Fortunes.. Their set was so fresh and so smooth. Both Fortunes. and Baro, who followed, interacted dynamically with the audience. Baro, along with his new live band, had a set up which was striking and inviting. GL, despite the bare stage, wasted no space during her set. Her liveliness was absolutely contagious. Harvey Sutherland’s sound instils such a rare feeling of musical love in me and experiencing it live just amplifies that sensation.
Simona Castricum was the perfect act to open Clubland. Her set gave me this feeling I have occasionally (often at festivals or events that require a certain amount of prior preparation). The feeling when you realise you’ve been having heaps of fun and that is what you are supposed to be doing; you go to a festival to enjoy yourself and you become too carefree to remember that that’s the objective of the entire weekend. The space set everyone free from the cold. There were so many clothing items on the floor. I accidentally lost my jacket for the night behind a locker and nearly got stuck between a deep and tight gap between a locker and a wall trying to fish it out.
Clubland felt like a new club every time a new act started (despite hearing Jamie XX’s record played in full between sets) – the tailored visuals switched the vibe up really well. I loved Ocdantar’s visuals especially. They added a new plane to his music in such a tasteful way. Couture was an act I was eager to see because I believe it might have been the last opportunity to see them live as both members are now following other artistic pursuits. While Simon Lam is currently abroad touring with Kllo, Hamish Mitchell held the room well. Planéte’s sets never fail to inspire me. He always makes me feel especially proud to be from Melbourne – a feeling which Paradise as a festival amplifies as well.
At Paradise I had a lot of moments accepting my own fun, both alone and with friends, without seeking validation or doing things I didn’t want to do. A lot of other festivals have an undercurrent of pressure to be loud, or to be having the ‘most’ fun – and to broadcast that fact to the rest of the attendees. While I did feel free to be expressive at Paradise, there was no pressure to be anything in particular. Just an unspoken respect and acceptance between the crowd and performers alike to act however you felt like acting, dance however you felt like dancing, and embrace Paradise for its ability to make you feel free.
The beauty of a chill-ridden fest is that you don’t awake from your slumber with the familiar rasp of horror, in a sun-filled tent which suddenly resembles a satanic sauna. No, instead you are woken up by the ramblings of tent friends, or the rustle of passers by. You’re given time to adjust, rather than having to scramble for fresh air and general respiratory release.
I personally find the first moment of exit from the tent one of life’s great joys. Primarily due to the great unknown of what may be happening underneath the main gazebo of the sprawling camp site. It seems, that at 11.30 am, several of my Paradise mates have decided it’s time for Espresso Martinis. I wish I could say I had the foresight not to get involved so early, however curiosity got the better of me, and I was on board.
We sipped intermittently, with the sound of Huntly floating through the campsite. Their jilted pop has never quite grasped me, however they did provide a lovely soundtrack to that Espresso hit.
The moment of note to kick start the day was always going to be Alice Ivy. The bopping barista has taken to the ladder of the Australian music scene with great authority in 2016, climbing with real purpose as the year has progressed. Her set had people shifting from their best impersonations of sedated souls, to moving with a bit more purpose. There’s something quite homely about her stage presence, it all seems so unabashed and joyous. It’s pretty nice seeing a musician have fun, but maybe I’m stuck in an alternate world with that mentality.
The sun began to shine, and the consequences were felt by many. A combo of hallucinogens and sunburn trickled through the crowd, leading to some truly hilarious facial expressions. It seemed a more than adequate backdrop to the performance of Saatsuma who, although still finding a cohesive sound, held some gorgeous sweeping melodies. Harmonies are undoubtedly Saatsuma’s strength, with both Memphis Kelly and sister Maddy Kelly showcasing their vocal range on more than one occasion.
I love Terrible Truths, but as is the case with festivals, I done fucked up and missed them. I bought a Bedroom Suck hat to make up for that though. I lost it twenty minutes later. They sounded great from the campsite.
It wouldn’t be a day two review if we weren’t to mention the creeping sense of fatigue. Keeping with the theme of “bands growing exponentially over 12 months” how FREAKING GOOD IS RAINBOW CHAN?
There’s this real sense of urgency and confidence in her stage show. It has shades of arrogance, so much bounce, and it is just god damn infectious. The juxtaposition of the power of Rainbow Chan’s ball of energy and my second day festival fatigue was real. We grooved for the first half, atop the rock 50 metres back, however by no fault of anyone, we found ourselves back on the slant, sipping away once again.
Krakatau blew my brain to pieces at Meredith 2 years back. Never had a sleepless night and relentless sunburn brought such joy. It’s difficult to pin down their style with clarity, as it seems forever changing. Without trying to genre-fy, I feel it leans most toward jazz and free form, however the tightness of their performance is seriously mind boggling. It was a joy watching the blissfully ignorant lay eyes upon this set for the first time. So many left in awe, of what was a commanding performance. It seems to be said numerous times each year, but scarcely have I seen a band more suited to the setting, not to mention set time.
With the exploits of the day prior having officially taking their toll, I snuck away back to my camp site for a late arvo nap. Timing was poor, and I missed Miles Brown. A past writer for the site had it pinned as ‘set of the festival’, and I do love a good Theremin.
Luckily, I was shaken awake somewhere in the early stages of friendships. I’ve always been a little ashamed of my inability to feel the same way about friendships as so many of my colleagues. It’s not that I’ve ever disliked them, they just haven’t really connected with me yet (wankerism #32). The last half of their set at Paradise was glorious. It was theatrical, it was heavy, it was near impossible to dance to. It felt abrasive, but not for the sake of being abrasive, and Nic Brown has unabashed stone-faced charisma. ‘When Feel Like Killing, I Murder’, with a little interlude monologue. Frighteningly powerful.
Being the band that, in many ways, sold me the ticket, I couldn’t help but feel a flurry of nerves as I waited for Gold Class to arrive. Would they disappoint me a la Chilli Peppers at BDO ’13, or would they triumph in the manner of Dizzee Rascal circa BDO ’10? Only time would tell.
Although they haven’t expressly vocalised it, I feel that strength of live performances must be a significant category in Paradise’s booking process. To one who had never seen Gold Class perform live, they were perhaps unusually placed on the lineup, in their rock-centric manner. However, Adam Curley’s mean, disaffected presence on-stage coupled with Evan Purdey and Jon Shub storming about the stage makes for a serious live show, one that is so gloriously separate to the remainder of the fest. Curley’s style does lean towards the glory days of post-punk, without seeming overly derivative, and ‘Life As A Gun‘ is a steamer of a live track.
With mulled wine and consistent shit talking on the menu for the remainder of the night, I found myself surrounded by shivering bodies at the makeshift bar. It’s quite a redeeming feature of Paradise, to note that there is no demographic here. Perhaps it’s different at 5am in clubland, but right now I feel as though all worlds of musical musings have collected under one tent, to talk trash about very little. I hear conversations of Modern Family, Thirsty Merc, and a list of things that should be brought back in 2017. I learnt that planking is ready for a triumphant return, and strangely felt completely at home.
It’s been a brilliant breakout year for Julia Jacklin, one that has made her a must-have inclusion for festival line-ups this summer. Her band Phantastic Furniture caught our attention at the end of last year with the song ‘Gap Year‘. Though it was obvious that Julia had serious talent as the lead vocalist, few would’ve guessed that she would record what is, in my opinion, the best Australian debut album of 2016.
In between international tours and an upcoming Australian tour, we caught up with her in Melbourne to ask her where exactly she came from, how she got signed internationally before being signed in Australia, an update on Phantastic Furniture and why she’s so eager to start on the second album already.
Marcus Rimondini: You left the Blue Mountains after High School?
Julia Jacklin: Yeah that’s when I moved to the city, but for my last two years of high school I was in the city everyday, because I went to school in Sydney. So I traveled like 2 hours back and forth every day. It was a performing arts high school. Then I moved to the city when I was 18.
When did you finish University?
I finished University in 2014. I had a gap year after school and went to South America for a while and then I came back and was at University for 4.5 years, flipping around between degrees.
Where are you based now in Sydney?
I live in a share-house in Glebe. I’ve lived in the share-house for 4.5 years. I live in like the garage out the back and it’s really good because the rent is super cheap for Sydney. I’m not willing to give [it] up, even though I’m always away.
Can you practice in this garage?
Yeah. It’s two levels and it’s nice to have a bit of a home base when I’m away so much. It’s nice to sleep in the same bed.
Who are the housemates?
Thomas Stephens and Eddie Boyd, my guitarist and my drummer both live in the house as well.
You don’t get on each others nerves?
It’s pretty interesting. I just spent the last month touring with Tom my drummer. Where we were sharing a room, sharing a tour van, and we play in two bands together, he plays bass in Phantastic Furniture. So yeah, we’re very close now *laughs*.
What’s the latest with Phantastic Furniture?
We finished an EP, we are just waiting, just because I’ve been away for a lot. It’s hard with Phantastic, because everyone in the band has their own solo project and everyone’s super dedicated to their solo project. I think that’s what makes us a great band, because we all bring our own songwriting elements to it. It’s a great band to be in. You wish you had time for everything in your life, but then you realise, especially with the nature of being a musician these days, where you have to tour relentlessly in order to get your music out there. It makes it hard to manage a couple bands. So yeah, I’ll finish this album cycle and tour that, and then early next year release the first single off our EP and tour that in my time off.
When exactly did you record your album?
It was recorded July, August last year.
At what point were you approached about waiting to release this album?
So I recorded thinking that I would just release it independently in a couple months, but then I went to a gig in Sydney and I ran into this guy Alastair Burns, who is my manager now. He manages Marlon Williams and I had toured with Marlon the year before. He was like “oh, just send me the record and let’s just see, blah, blah, blah”. Then he was like “yeah okay, let’s just hold on to it and see what happens”. But then it was kind of SXSW, [at] which I got the record deals and figured out when I was going to release it.
Who did you sign with?
My label in the US is Polyvinyl Records, based in Illinois and they’re great. Transgressive in the UK and they were the first label to come on board, they came to like every show at SXSW, and they’re just like super young, excited and work super hard.
Did you pick up both of these at SXSW?
Just Transgressive, then Polyvinyl was after and Liberation here was the last one.
It’s rare to land international label deals before domestic deals.
I think it’s worked out for me. I think in Australia people can get tall poppy syndrome a bit. I feel like getting success overseas first, meant that people took me more seriously here. I think that happened with Courtney Barnett as well, she got big in the US and everyone was like “sick, we’ll listen to her music now”. I’m glad I did it this way, it feels right to me.
At this point you must be really keen on the second album. Have you written down songs or ideas?
I’ve been writing a lot on tour. I found that environment was very productive for me in a weird way. for a while I struggling to figured out what I wanted to say for the second album. I was like “I’ve covered love and loss, what else is there to sing about?” *laughs*. You just feel a little bit like, I don’t want to make endless records about me singing about my issues. On this tour I’ve been away for two months, and I started writing more and thinking about more themes. It’s just a case of trying to figure out where the hell I’m going to slot it in time wise. I don’t to leave it too long, because I feel like the second record is like this horrible weight on people’s shoulders the longer you leave it.
Will you look to write about more external themes?
I’m not sure. I’m still writing about myself, but the themes aren’t necessarily about self doubt. It’s more about growing into a woman, and the difficulties that arise from that.
Do you think that allows the second album to be a little more varied?
Yeah. I think for your first record, I wasn’t going into [it] thinking “I want it to sound like this”, with this great idea conceptually of what it needed to be. It was more that I had these songs, I wanted to record them and do them justice. Whereas I feel for the second record, I feel more established and secure as an artist, and now I can think more about what I want the record to sound like as a whole, what kind of statement I want to make.
Do you have some songs penned down, that you’re keen on in particular?
Yes. I have three solid, solid ones. That I’m very excited to record.
You said in another interview that you weren’t entirely satisfied with the debut album, what aspect were you referring too?
I think it’s just the nature of this whole industry. You create something at a point in your life, and then you have go through a year of hype. To get to the point where people are actually going to listen to that record. And in this last year, I’ve done more to do with music than I ever have in my life, between like touring and learning. I feel so different to how I felt back then. Now I have to promote this record and talk about it like I just made it, but I made it before I had any contact with the industry or had any idea how this worked. I didn’t entirely know who I was as an artist or what kind of record I wanted to make. I’m happy with the way it is, because I made it at a time of life and it’s a good snapshot of that time, but it is hard to present it now and be like “this is me right now”.
So it wasn’t so much the actual recording itself?
Yeah. I mean I’ve heard artists talk about regretting their first album, but I don’t want to disrespect my 24 year old self. Who went to all the effort to make that record and record it the way she wanted to at the time. I don’t regret it, I’m just a different person now, I feel like I’ve grown and I’ll pull all of that in to the next record. *laughs* And I’ll probably have the same thoughts when releasing that, but I think I’ll release the second album quicker, it won’t take a year of trying to build up hype, because people will already know who I am, I guess.
The debut LP was recorded in New Zealand. What’s your ideal location for the second album?
I guess it would come down to who I am working with, because I don’t really know who I’m going to work with on the second one, but I did really like going away. I know not everybody can do that, but for me, just living in a small town, where it’s just me and my producer pretty much for three weeks. There’s something really, really nice about. Especially (now I’m going to sound like a grandpa) in this day and age, when you feel this constant need to check your phone all the time. Check in with the rest of the world. I feel like if I was at home in Sydney and I was just going about my day to day life and looking at my phone every two seconds. It would hard to immerse myself in the recording process, so I’d love to be able to just switch off and focus on that. Even now I’m getting the first reviews I’ve ever gotten of my music and it can really mess you up, even if it’s a good review, you’re reading this thing that some stranger thinks about you and you start questioning your own creative output.
I have a lot more empathy towards other musicians now. I remember you’d read a review in your local thing and it would give something like three stars and you’d just immediately go “Oh well, I won’t bother listening to that” or something. You forget that, that person has probably poured two years of their life, all their savings and all their emotional energy into that record. To then only have like one person listen to it, once over and it give three stars.
What are the touring plans for next year?
Most of my next year is booked up with tours. I haven’t really looked at it, just people keep telling me that, that’s my schedule and I’m trying not to think about it. Lots of UK and Europe touring.
Before all of that, do you know much about Paradise Music Festival?
Not entirely, I’ve just heard that it’s really great and beautiful.
It’s a shame that you’re playing another gig the next day and can’t hang around.
That’s just the way it is, isn’t it, like I used to think “I hope one day I become a musician, because I don’t want to keep going to music festivals and not playing them”, because I just get really itchy feet. But now that I’m playing festivals, I realise that you can’t actually enjoy the festivals. *laughs* You just breeze in, play your set and then you have to go. I think Laneway Festival will be really good for hanging around, because it’s the same crew and musicians going to every city, and you’ve just got your one set.
Julia Jacklin is a singer-songwriter from Sydney who caught our attention last month with the single ‘Pool Party‘. ‘Pool Party’ even found itself sitting up at #1 on our Australian Ripe Chart one week. Not a bad start from a relatively unknown artist in Australia, but with constant comparisons Angel Olsen and Sharon Van Ettern, Julia Jacklin’s future appears very bright.
She recently flew over to SXSW with her band and received strong feedback from the US media. Later this month she’ll be touring Brisbane, Sydney, Melbourne and Adelaide. Next month she flies out to the UK, but before these shows, have a listen below to songs that inspire her to write songs.
Radiohead – ‘Idioteque’
“This was a big game changer for me. It was the first Radiohead song I heard and I remember the moment so clearly. I would have been about 12 at the time and in that phase of still listening to my parents music, but then also trying to figure out what I liked through So Fresh and R’n’B compilation CD’s. I was at my neighbours house and it came on the speakers and I remember stopping mid conversation and running to the iPod to see who it was.”
Joanna Newsom – ‘Emily’
“That same neighbour showed me Joanna Newsom when I was a teen and I really hated it, didn’t get it at all. It wasn’t until about five years later and a friend was playing her on a car trip and it all made sense. It’s just a blissful 12 minuntes. There is some phrasing gold in there, the way she says, “cold compressor”. I’m in awe of how she writes songs I don’t get it and I like not understanding.”
Leonard Cohen – ‘Suzanne’
“This is probably one of my favourite songs of all time if not number one. I try to not listen to it too much in case I get over it. But it just really moves me. The guitar line, the lyrics, everything about it. I love the way he says “and she feeds you tea and oranges” to me it sounds he was about to burp, but decided to keep the take. I think it’s one of the most beautiful things I’ve ever heard.”
Willy Mason – ‘Restless Fugitive’
“I listened to this song a lot during the recording of my album. I’m always trying to write something like this. It just coasts along, cruising for a beautiful six and a half minutes. But it keeps you right there. Gillian Welch and Kurt Vile do that really well too. I don’t think I’ve written a good one yet.”
Aldous Harding – ‘I’m So Sorry’
“This song was only released a couple of weeks ago. I haven’t written a full song in a little while with finishing the record and being pretty busy. I was stuck in traffic and it just killed me. Made me want to get out of the car and try and write something, anything! Her music just hits me right in the chest. The way she says, “milk” made me cry.”
Ripe’s Australian Chart is our weekly rotation of the best new music by Australian artists released in the last month. With so much great local music coming out at the moment, we’ve got a huge pile of 40 tracks in this week’s playlist.
We start at #39 with another track from the Brisbane record label Tenth Court, giving the label now three tracks in the chart. This time we have ‘Sunshine Song‘ by Sydney2000 off their new untitled six track EP. If you dig gritty, lo-fi garage rock then dig into Tenth Court’s catalog. Next we skip down to #28 with ‘Everyday‘ by Edward Vanzet from Melbourne. Edward is the younger brother of Jack Vanzet A.K.A. Thrupence. ‘Everyday’ is the titled track off a new four track EP and Washed Out fans will find it’s calm pacing, very comforting.
Galapagoose from Melbourne makes a return at #26 with ‘Free By One‘. It’s not clear if it’s a new single or what the context of the song is from, but if you dig the rhythmic patterns of Footwork music and the more spaced out moments of Flying Lotus. Then ‘Free By One’ will interest you. We stay in Melbourne at #21 for the pioneers of jazz-gaze – Cool Sounds. In-jokes aside, ‘In Blue Skies‘ will feature on their forthcoming debut album Dance Moveson Deaf Ambitions. ‘In Blue Skies’ is perfectly seasoned for Autumn with its nostalgic lust wanting to save a relationship about to end.
At #16 Sampa The Great has teamed up with Remi for ‘For Good‘. It’s the first single from Remi’s forthcoming album Divas and Demons, but it’s Sampa The Great who continues to steal the show. Her verse doesn’t kick in until the back half of the track, but it’s worth staying tuned for. She’s growing into a showstopper, who everyone is going to want to collaborate with and I’m not talking about just in Australia. The Murlocs are back and slide into #11 with ‘Young Blindness‘ off their latest 11 track album of the same name. ‘Young Blindness’ maintains the consistent standards set by the country-psych band and comes with a video-clip resembling an animation you’d find in the trippy Adult Swim series Off The Air. Next month the Melbourne band are touring Sydney, Melbourne, Adelaide, Perth and Fremantle.
Black Cab jump into the top ten with ‘Uniforms‘ at #9. You may have witnessed the dark-electronic Melbourne band at the recent Golden Plains festival. ‘Uniforms’ has heavy roots in ’80s music, but the Perturbator-esque, trance-state synths played by Mikey Young are too euphoric to turn away from. The trio are playing their ‘Uniforms’ single launches in both Melbourne and Sydney in May.
The track of the week however belongs to White Lodge from the Gold Coast with ‘Bella-Union Creep‘ at #3. White Lodge follow in the footsteps of Rolling Blackouts Coastal Fever with that carefree, hair to the wind, simultaneously loose in nature and yet tight in garage rock execution. Throw in that bridge section switch up and wicked guitar solo and ‘Bella-Union Creep’ is a flat-out jam. Can someone please bring this band down to Melbourne immediately.
40. Bent – ‘Skeleton Man’
Uploaded: February 29th | Last Week: #40
39. Sydney2000 – ‘Sunshine Song’
Uploaded: March 17th
38. Tourist Dollars – ‘Horse Girl’
Uploaded: February 29th | Last Week: #39
37. Mope City — ‘Letterbomb’
Uploaded: March 9th | Last Week: #37
36. Spookyland — ‘Big Head’
Uploaded: March 10th | Last Week: #36
35. Wireheads – ‘Arrive Alive’
Uploaded: March 14th | Last Week: #35
34. Blake Gilray – ‘Guru Glock (Preview)’
Uploaded: March 1st | Last Week: #34
33. Ariela Jacobs – ‘Lost’
Uploaded: February 29th | Last Week: #33
32. Milwaukee Banks – ‘Reincarnated’
Uploaded: February 24th | Last Week: #32
31. Lucianblomkamp – ‘The Overman’
Uploaded: February 24th | Last Week: #31
30. Arvo Tanty – ‘Forget This Mourning’
Uploaded: February 26th | Last Week: #30
29. Gonzo Jones – ‘Misty Dreams’
Uploaded: March 8th | Last Week: #29
28. Edward Vanzet – ‘Everyday’
Uploaded: March 13th
27. The Pretty Littles – ‘Pride’
Uploaded: March 23rd | Last Week: #28
26. Galapagoose – ‘Free By One’
Uploaded: February 28th
25. A.M. Limonata – ‘After Midnight Special’
Uploaded: February 28th | Last Week: #27
24. Tiny Little Houses – ‘You Tore Out My Heart (Anatole Remix)’
Uploaded: March 2nd | Last Week: #25
23. Smile – ‘Old Boys’
Uploaded: March 9th | Last Week: #24
22. Bad Vision – ‘Goons’
Uploaded: February 29th | Last Week: #22
21. Cool Sounds – ‘In Blue Skies’
Uploaded: March 17th
20. Antony & Cleopatra – ‘Love Is A Lonely Dancer (Amateur Dance Remix)’
Uploaded: March 12th | Last Week: #21
19. The Goon Sax ‘Up To Anything’
Uploaded: February 24th | Last Week: #20
18. Nasty Mars – ‘Sundaynight’
Uploaded: March 11th | Last Week: #19
17. Tiny Little Houses – ‘Milo Tin’
Uploaded: March 13th | Last Week: #18
16. Remi ft. Sampa The Great – ‘For Good’
Uploaded: March 16th
15. Rainbow Chan – ‘Nest’
Uploaded: March 3rd | Last Week: #17
14. Mall Grab – ‘Down’
Uploaded: February 29th | Last Week: #16
13. Hoodlem – ‘4 Real’
Uploaded: March 11th | Last Week: #14
12. Loose Tooth – ‘Sherry’
Uploaded: March 4th | Last Week: #13
11. The Murlocs – ‘Young Blindness’
Uploaded: March 15th
10. The Goods ft. Unkle H – ‘Only One’
Uploaded: March 11th | Last Week: #11
9. Black Cab – ‘Uniforms’
Uploaded: March 9th
8. Summer Flake – ‘Wine Won’t Wash Away’
Uploaded: February 27th | Last Week: #9
7. Ciggie Witch – ‘Meet Me In The Middle’
Uploaded: March 2nd | Last Week: #8
6. SHOUSE – ‘Support Structure’
Uploaded: February 24th | Last Week: #7
5. King Gizzard & The Lizard Wizard – ‘Gamma Knife’