Chris Yates, Journalist

"The (Hilltop) Hoods have proven that you don’t need to be [in Sydney or Melbourne] to make things happen... I know Adelaide, I love Adelaide."

When you put this up against some of today’s biggest dubstep/bass artists, it almost sounds quaint.

The lyrics are upsetting and unclear, like the fast-fading memories of a bad dream that slip from your memory as you wake leaving you confused as to why you feel so shit.

"Someone sent me a photo or tweeted a photo of this guy with his laptop open and it said like ‘DJ A-Trak’ or someone ‘just played a killer set!’ (laughs) I was, like, you know, if you stole their laptop and you could learn how to press play on his iTunes then you could play a killer set as well."

“he was like the most good vibing, 52-year-old, sick surfing, snowboarding, five-gigs-a-week guy I have ever known. He was always dancing around the studio going, ‘More energy!’”

"It’s supposed to be bratty."

Adam Cadell, violinist for Brisbane instrumental two-piece The Scrapes, talks to Chris Yates about his unusual playing technique, his firm roots in classical music, and the end of the world.

“I was in the ambulance on the way to the hospital and I was like ‘Oh shit’ and it all came back to me," remembers Hayden Ing of being knocked out on stage. "I was like, ‘quick, turn around, turn around! I’ve gotta go back’,"

There’s no shortage of bands making dark indie at the moment, but few lately have owned the idea so masterfully and with their individuality so apparent as Howl At The Moon.