On their seventh album, Acid and Honey, Babe Rainbow loosen the bolts on their sun-dazed psychedelia and let rhythm take over. Written partly on a houseboat in Amsterdam and finished in Malibu, the record folds funk, dub, country-pop and soft-focus psych into the band’s familiar coastal haze, with drum machines, elastic basslines and guitars that seem to melt at the edges. The Fire Note called it “one of their strongest albums in years,” praising the way the band “fold funk and R&B into what is basically beach music,” while The Spill described it as “a solid, precise record” where every fuzzy guitar solo feels “sun-drenched and serene.”

The title track stretches past six minutes into what Atwood Magazine calls “a living, breathing track, a perfect jam,” setting the tone for a record more interested in feel than urgency. Across “Waterfall,” “Mangoes,” “Dream Gasoline” and “Polymucalsaccharide,” Babe Rainbow sound less like a band preserving psychedelic tradition than one still finding new ways to make it move.

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On Way of the World, Tina Arena takes six songs embedded deep in pop memory and pulls them apart to find something more vulnerable underneath. New Order’s “True Faith”, Depeche Mode’s “Enjoy the Silence”, Duran Duran’s “Ordinary World”, Max Q’s “Way of the World”, Frank Ocean’s “Cayendo” and “Torno Bambina” are rebuilt through prepared piano, analogue synthesis, orchestration and electronic texture rather than treated as straightforward covers.

The first glimpse, “True Faith”, is telling. Rolling Stone Australia called Arena’s version a “sweeping reimagining,” while Women in Pop praised the way it strips the New Order classic back to its “fragile heart,” describing the six-minute performance as “mesmerising.”

Produced by François Tétaz and Luke Howard and recorded primarily at Melbourne’s Synth Temple, Way of the World arrives during Arena’s 50th year in music. Rather than looking backwards, it sounds like an artist using five decades of experience to ask what familiar songs might reveal when stripped of nostalgia and sung from another life entirely.

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What began as a seven-year-old singing about his favourite bird became one of Australia’s most unlikely viral hits. Written by Miles Phillips with his producer dad Joel, “Eastern Rosellas” travelled from a family-made song to millions of social views, an ARIA Australian Singles peak of No. 5, and covers from artists including Ben Lee and Ball Park Music’s Sam Cromack. Rolling Stone Australia called it “that song you can’t get out of your head,” as its wonderfully unguarded melody spread far beyond where it began.

Now the song gets its first physical life on limited-edition 7" vinyl. Pressed in a run of just 1000 copies, the release brings together the full-band version, a stripped-back take and a karaoke version — turning a fleeting viral moment into something tangible, playable and worth keeping.

There is something almost perfect about it: a song made without calculation becoming a record people want to hold onto. Proof, perhaps, that the songs that travel furthest are sometimes the ones that begin closest to home.

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Too Dark To See is the first anthology devoted to Conway Savage’s extraordinary solo work: 24 songs spanning 1992–2010 that reveal just how much existed beyond his nearly three decades behind the piano in Nick Cave & The Bad Seeds. Initiated by Mick Harvey and assembled with Savage’s family, the collection moves through folk, country, blues and stark piano balladry, gathering songs like “Fair and Tender Ladies,” “Nothing Broken,” “Only Ghosts” and the devastating title track.

The critical response has been emphatic. Americana UK awarded it 9/10, praising music that “subtly, gently infuses itself into one’s subconscious” and describing Savage’s voice as carrying “the emotional depth of Leonard Cohen.” Uncut gave the collection 8/10, while The Quietus framed it as the work of a late Bad Seed who “cuts a dashing figure” outside the band.

What emerges is not a footnote to the Bad Seeds, but the portrait of a singular Australian songwriter: funny, bruised, tender and possessed of what Nick Cave once called a “golden voice” - music less concerned with polish than with leaving the truth of a song intact.

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NAARM/MELBOURNE-BASED NEW WAVE/POST-PUNK BAND RADIO FREE ALICE -THE BAND BEHIND MULTIPLE SELL-OUT VINYL EPS HERE AT IMPRESSED - ARE BACK WITH THEIR THIRD EPEMPTY WORDS. BBC 6 MUSIC JUST NAMED RADIO FREE ALICE THEIR NEW MUSIC FIX DAILY BREAKING ARTIST AND 'EMPTY WORDS' IS THE LATEST MARKER IN AN UNSTOPPABLE YEAR WHICH HAS SEEN RADIO FREE ALICE PLAY SIX SOLD OUT HEADLINE SHOWS IN LONDON AND A FURTHER SEVEN SHOWS AROUND THE UK AND IN IRELAND, FEATURE IN THE NME 100 AND MONSTER CHILDREN’S BRIGHT YOUNG THINGS, PERFORM ACCOMPANYING A RUNWAY SHOW AT MELBOURNE FASHION FESTIVAL, TAKE PART IN THEIR FIRST LUXURY FASHION PHOTOSHOOT WITH PRADA FOR THE COVER OF 10 MEN AUSTRALIA, BRING TWO NOMINATIONS AT THE AIR AWARDS, MAKE THEIR DEBUT AT SXSW AUSTIN, AND THEIR MUCH-TALKED-ABOUTEMPTY WORDS SINGLE TOUR ACROSS AUSTRALIA WHICH SAW THEM SELL OUT THREE NIGHT CATS BACK-TO-BACK IN NAARM AND TWO OXFORD ART FACTORIES IN SYDNEY. WITH OVER 10 MILLION STREAMS AND ALMOST 25K SOCIAL FOLLOWS.

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