Dylan Stewart, Journalist

Despite Girls Like Us being their debut record, the passion inherent in each song is obvious – the direction steady and the drum beat relentless. Someone please get them to Australia and let them pillage us in person.

The Stepkids leave the hearts and souls wide open. An impressive offering.

From dark verses to soaring choruses, The 1975 doesn’t get any points for originality, but is fuelled with undeniable passion and artistic vision.

While there’s enough here to warrant many repeat listens, word on the street is Money’s live shows are something else altogether.

The record is as immediate as it’s nostalgic; perfect for a road trip with your old man or toking one on the front porch of a summer’s evening.

There’s something very disturbed about Glow, but for all its viciousness and passion, it’s clear that Jackson, with the help of his Computerband, is a visionary artist who derives pleasure from the aural assault he delivers.

The next time the sun comes out, play Paracosm. Let it wash over you. Let it cleanse your soul.

In a shameless attempt to buff out the length of their set (“we were told off in Sydney for not playing long enough” – not a great move) they fail miserably in trying to inspire a crowd rendition of Advance Australia Fair.

When they rip into Blink 182’s Dammit, it’s like it is the first time the song’s ever been played. Sweaty and sober, it’s an awesome way to finish a killer gig.