"I grew up listening to lyricists, so I always thought the lyrics were important and something I really tried to focus on. I really don’t want to sell people short when it comes to the lyrics.”

"It’s pretty strange, it’s like we’ve made a fun record about dying."

“I can’t afford no sample clearances, I’m still living with my momma and I’m poor."

"I kind of had an epiphany during doing that last album that our funny songs are the ones that are most popular with the audience."

"It’s the first record we’d ever made in our home space, and the first album we’d ever made by ourselves with no outside engineer or producer, so it felt really good."

“When people say ‘soul survivor’, I used to take that for granted until after I got sick and was able to come back. I now have a lot more respect for that title.”

"Age, looks, gender – it doesn’t matter, and as long you always have something important to say and do, it never will."

"We can’t be fucked dealing with the whole, like, pay 30 bucks an hour, Melbourne-style parking – it’s fucking shit. We just go, ‘Fuck, I’m just gonna park over here’."

"‘Oh, haven’t we moved on? Haven’t we got more civilised than we were in 1971?’And then to go, ‘Well no, we haven’t’."

"All the shows were so big, you know? Fifty thousand up, you know, festivals, people banging stuff, girls throwing bikinis on stage."

"When terrible things happen it takes you to a place where you wouldn’t usually go to. If someone sticks a knife in your back and says ‘die bitch’ – as an artist you’re going to write about it."

“We all knew each other from as far back as the late ‘90s and we thought why not do a project for fun – and Vigilante was born. It was pretty simple, really.”

“What you hear on an Eluveitie record is what you get on at an Eluveitie show."

“It’s sad because a lot of young boys don’t have someone to teach them the responsibilities, to show them what it takes to care for family and become self-sufficient."

“We were sort of frustrated at the time from a lack of interest in our work in terms of galleries and things like that."

"You don’t ever really expect to be working on stuff like that, when do you think that Doctor Who would be running around on Sydney buildings? You don’t expect that to happen, but it does, and it’s pretty kitsch and it’ll be fun.”

“Some of the compositions were inspired by different authors, different books."

It was due to this that tracks like Boy and Atlas Eyes failed to really lift off the ground.

While still self conscious (Orton stopped a phone camera saying ‘this can’t be forever, just for now’) oldies She Cries Your Name, Pass in Time and Stolen Car were given new life, while contemporary stuff like Dawn Chorus and Mystery also impressed.

Individuals grieve in different ways, but performing ought to be cathartic for Deftones right now, particularly when in front of such an exuberant, receptive audience.

Local Natives are great because they know what they’re good at and they do it very well indeed.

As she finished her set with lead single, Royals, it was clear we were watching more than just a star in the making; we were witnessing the coronation of new music royalty.

He isn’t content to belt out the hits - he has relevant, angry things to say about today - damned are the crowd if they’re not down with hearing them.

Kaki King is one of contemporary music’s great talents.

Afrika Bambaataa created a harmonious and grooving atmosphere that really brought the small audience and the onstage crew together.

Justine Keating

Pete Laurie

Natasha Lee

Matt MacMaster

James d'Apice

Ross Clelland

Sevana Ohandjanian

Matt MacMaster

Darren Collins

Justine Keating

Andrew McDonald

Andrew McDonald

Lorin Reid

Alias Ruby Blade is a fantastic and confronting film, well worth checking out at its encore screening at ACMI on Sunday 2 June.