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singers Australia has ever produced. His voice is effortlessly crisp and deep with a tone not entirely unlike Matt Berninger from The National (the easiest comparison), but with so much

Schubert. Murray provides expertly timed comedic relief with deadpan quips and passionate but occasionally tone-deaf renditions of Bernstein, Gershwin and Van Morrison. In particular, his performance of Tom Waits

forgoes his cleans here. Instead, he fittingly matches an angrier, grittier and heavier tone to perfectly pair up with this band's uglier, violent hardcore/metalcore sound. I didn't even ... offering up techier, djentier prog-metal parts. All as both members utilise crisp guitar tones and some killer picking work too. Individually and in-tandem, the balance the duo strike

local scene. It all fed so effectively back into the band's melancholic tones and layered production, making their past music as gripping as it was and still

warmth of an old friend. An understated performance of Fairytales & Firesides sets the tone for the performance, and the silent rapture felt during the final few bars went

leaves a mark. He's got a penchant for simplicity, but it's his tone and way of writing that pushes past the point of simplicity and makes it super

Welcome To Hell unleashes. Etheldreda serenely reboots into an artificially intelligent future. Its hymnal tone feels like heaven but as a virtual simulation, it's an imaginary place that doesn