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  • Live Review & Gallery: Simple Plan and The Offspring ignite Qudos Bank Arena in a full-throttle punk resurrection 11.05.2025

    It’s a Sunday night in Sydney, but inside Qudos Bank Arena it feels like the start of a long weekend. As I’m walking through Olympic Park, I pass a pub where “Song 2” and “Smells Like Teen Spirit” are being blasted so loud they’re echoing off the side of Accor Stadium — it’s clear: tonight is going to be big.

    Simple Plan are first on stage, taking their cue from pop culture royalty — the Star Wars theme soundtracking their entrance. The crowd roars. Lead singer Pierre Bouvier beams: they were here last year and they’re thrilled to be back, especially because they “love the accents.” Then comes a question that lights up the room: “Who wants to go to the beach with Simple Plan?” Cue “Summer Paradise”, and suddenly massive beach balls bounce across the pit. “I can’t believe we get to come to Australia and get to watch them play with our balls,” Bouvier laughs.

    They dive into “What’s New Scooby Doo” and a parade of Scooby Doos flood the stage in a scene that’s as surreal as it is joyous. Bouvier reflects on their Aussie connection, telling us they’ve been coming here since 2002, playing alongside Green Day and The All-American Rejects, and that even though they’re Canadian, they’ve always felt at home here. That sense of belonging powers them through “Where I Belong.”

    When “I’m Just a Kid” hits, Bouvier notes the song is now 23 years old — “it can drink in every country in the world.” In a moment of chaos, drummer Chuck Comeau swaps places with Bouvier and takes to the crowd, crowd-surfing as if 2005 never ended. They wrap with “Perfect”, which, on a night like this, kind of is.



    As their set ends, a giant blimp begins circling the arena ceiling, flashing The Offspring’s logo, hyping up the already buzzing crowd. Then it fades, the lights drop — and the familiar crackle of AC/DC’s “Thunderstruck” tears through the room.



    The Offspring burst on stage and launch into “Come Out and Play” without missing a beat. They barely pause for breath, thrashing through hit after hit. It’s almost impossible to keep track — a medley of snippets, from “Smoke on the Water” to a searing rendition of “Back in Black”, makes this feel less like a setlist and more like a jukebox on fire.

    The new additions — Todd Morse on bass, Brandon Pertzborn on drums, and Jonah Nimoy on guitar, keys and congas — fit in perfectly, locking in behind Dexter and Noodles like they’ve been here all along. At one point, they rip through a raucous version of “Blitzkrieg Bop”, with giant holographic skeletons flashing on each side of the stage like a dystopian Day of the Dead.

    After a thunderous drum solo, the lights go black. A kid in earmuffs turns to his dad and says, “Where is the light?” Actually, there are a lot of kids here tonight — seven, eight years old, discovering punk rock for the first time through the lens of their parents’ nostalgia.

    When they return, Dexter takes a moment, sipping from a drink and offering a simple, heartfelt “Cheers.” He sits at the piano and delivers a stripped-back, emotional version of “Gone Away”. “Loved ones are the lights in our lives,” he says, asking everyone to light up their phones for someone special. The arena glows in tribute — and then, just as suddenly, the band launches into the original version, fireworks of sound, stage lights and catharsis.

    Suddenly, the beach balls are back, the crowd bouncing them wildly as “Why Don’t You Get a Job?” and “Pretty Fly (For a White Guy)” get rolled out — the cartoon graphics from Americana bursting on the video screen in time with every beat.

    They close with “The Kids Aren’t Alright”, and it’s a reminder: pop punk never really dies — it just waits for nights like this.

    And while Sydney gets the riot tonight, the Supercharged Worldwide in ’25 tour now heads into its final run: two huge shows in Brisbane to close it all out. If tonight’s any indication, Queensland better buckle up.

    OFFSPRING/SIMPLE PLAN NEXT SHOWS

    WEDNESDAY 14 MAY 2025 – ENTERTAINMENT CENTRE, BRISBANE SOLD OUT!
    THURSDAY 15 MAY 2025 – ENTERTAINMENT CENTRE, BRISBANE NEW SHOW!

    Head HERE for ticketing information.

  • News: The witches are coming: Burning Witches launch their Australian tour this month

    The cauldron is bubbling, the riffs are razor-sharp, and the leather is laced — Burning Witches are about to scorch Australian soil for the first time ever. Kicking off on 22 May, the Swiss heavy metal coven are bringing their spellbinding brew of ‘80s-inspired shred and power metal fury to stages across the country. Formed in 2015 by axe-wielding mastermind Romana Kalkuhl, the band — now a powerhouse five-piece featuring vocalist Laura Guldemond, bassist Jeanine Grob, drummer Lala Frischknecht and ex-Iron Maidens shredder Courtney Cox — are on a mission to ignite a new wave of metal madness.

    Known for channelling the theatrical energy of Judas Priest and Iron Maiden with a touch of hellfire, Burning Witches don’t just honour metal’s past — they set it ablaze with sky-splitting solos and banshee vocals that could summon the dead. Their debut Australian run promises molten riffs, denim, spikes, and a whole lot of headbanging.

    Australian Tour Dates:
    THUR 22 MAY – SYDNEY – MANNING
    FRI 23 MAY – MELBOURNE – CROXTON
    SAT 24 MAY – BRISBANE – CROWBAR

    Head HERE for ticketing information.

  • News: Zweng Releases New Album ‘Toronto Tapes’

    Indie-rock solo artist Zweng unveils his new album Toronto Tapes, a fuzzy, reimagined covers from collection of tracks released via Precision Pressing.

    Bringing a vintage aura thanks to with elements of psychedelia and indie, the album brings infectious and varied soundscapes throughout. From the boxy and darker version of Oasis’ ‘(It’s Good) To Be Free’, to the buoyant indie-surf feel rework of Ramones’ ‘Goodbye To You’, the album wastes no time showcasing Zweng’s enigmatic sound-crafting.

    Recorded at Kensington Sound Studios with producer Will Schollar, Toronto Tapes represents Zweng’s first body of work since committing to a sober lifestyle and rediscovering his creative identity. Marking a return to authentic artistic expression, the album merges emotionally charged reinterpretations of classics by The Pretenders, Billy Joel, A-ha, and Ozzy Osbourne with compelling original compositions. Through the album, Zweng aims to transform familiar songs into intimate reflections on transformation, loss, and healing.

    “The album is my first step back toward an authentic life,” says Zweng. “I had veered away from my dreams and paid the price emotionally and spiritually. These recordings are reminders of the moment I chose to come back to myself.”

    Though Toronto Tapes is deeply personal, Zweng’s story carries the weight of a wider narrative, a portrait of an artist who has navigated the extremes of the music industry and come out with a deeper commitment to truth.

    Listen below:

  • Album Review: Arjuna Oakes – ‘While I’m Distracted’: a lush, sophisticated contemporary pop soundscape, rich in soul-jazz understanding.

    Even if you’ve picked up on any of singer-songwriter/pianist Arjuna Oakes’s previous offerings, it’s unlikely you would have predicted the scale and ambition of his debut album ‘While I’m Distracted’. Not that the New Zealander’s earlier EP’s lacked flare or impact. His first release ‘The Watcher’ from 2019 stirred things around with its exquisite blend of sultry soul-jazz which led to LA Indie label Innovative Leisure snapping up the much-praised follow ups ‘First Nights’ and ‘Final Days’. Here was a lush new voice making eclectic pop without fear or boundaries, laying the foundations which underpin the ‘While I’m Distracted’ soundscape.

    The debut album has seen the London-based Oakes switch to that city’s very own Albert’s Favourites as a new home although his close collaborator Serebii (aka Callum Mower), producer, beat-maker and sounding board on those first EP’s, remains a crucial contributor. Oakes and Mower have a friendship made way back as session players, touring Aotearoa in a surf-rock band. From this world of twang and tom-toms they’ve intriguingly evolved into a partnership which makes singular music that skirts easy definition. ‘While I’m Distracted’ therefore feels like a culmination of their phase one and a signpost to their next destination, a voluminous, unabridged double album of soul-jazz seeking excellence where layers of electronica, soundtrack grandeur, smooth funk and even post rock shadows converge.

    It’s an expansive proposition from the get go, the space age ambience of So I don’t Forget granulating softly into a gently padding house piano pad and looping choral shivers. This leads you onto the immense, shimmering beauty of Nothings Gonna Fill You Up, where Oakes’s low-key vocal entry is spine tingling. It’s a steamy, night streets/lost love epic, nu-soul dream music with emotional, quivering strings, subtly propulsive beats and wafting sax curls. A cut that’s in sync with Axelrod sonic dramas.

    There’s certainly no limit to Arjuna Oakes’s musical topology. No Joke gushes with ideas, a song which takes any tangent it pleases. Beginning almost vaudevillian on a Tom Waits down-beat trudge, Oakes’s voice slides between a crooner’s warble and a more scuffed and edgy earthiness. The song takes surprising twists from hazy trip-hop to sassy r n b, and onto a nu-jazz swing. “Take me to that fateful day it all changed for me” Oakes sings as the synths get spooky and the track descends into an eerie Serpent With Feet conclusion. Then there’s Before It’s All Over where the reversed beats slap and jangling guitars crank up into a rootsy Fat Possum/ Black Keys work out, with the added cloak of 4AD sub-gothic voices to throw you off any over-familiar scent.

    Such quirky experimentation and delicate disruption also fills Pocket Full Of Paranoia, disturbing the broken beats and old soul hook with bubbling psychedelic loops while Harrison Scholes burbling bass cranks up the desperation. “All the shit that I devour holds a gun up to my head” Oakes tells us in an urgent falsetto. It’s a reminder of the lyrical depth and insightfulness which is fundamental to his work. Oakes is digging into identity, loss, separation, hope and isolation in his song-writing with a natural voice in place of faux-poetry. Perhaps this is most striking in the more pared back tunes like the bravely honest ballad Lay Low, where he admits “I am cursed with the weight of a dream I will never find”, or on the raw exposure of the acoustic Get Me Some Grief.

    Of course, it wouldn’t be an Arjuna Oakes recording without some warming jazz-toned vibes. Catch Me sees him following a more familiar song structure, comfortable in that cosmic soul-jazz vibe he’s developed with co-producer Serebii. Meanwhile The Love That I Feel redresses a sultry bossa into a contemporary, typically nu-London sound with smoochy sax, slippery warm toned guitar and some cascading keyboard fluency echoing Ezra’s Joe Armon-Jones. Oakes also brings the funk with an easy going pazzaz. Motel has one eye on Thundercat and the other on Defunkt with its nimble bass fills, clenched horn stabs, angular melody and a pin-sharp guitar break from Jo Jenkins.

    ‘While I’m Distracted’ may on the surface feel weighty but it never sounds self-indulgent. There’s very little filler here. Even I Am Alive, a power ballad with all the usual ingredients, gets elevated by a stark lyrical bite. “I check for a pulse so I know I’ll survive” and “so much is lost to the hollow screams” are snippets which remind you that Oakes is chasing a different moment. Ultimately though this is an album of shifting highlights: the astonishing vocal expression of the intimate No-one; the infectious rolling closer Mallet Groove where Oakes and band stretch out before drifting off symphonically; and the elegant completeness of Won’t Let This World Break My Heart, all synth arpeggios, restless rhythms and a Cinematic Orchestra dreaminess.

    Arjuna Oakes has made a massive leap with ‘While I’m Distracted’ but it’s a set which comes across as being significant without drowning in self-importance. In interviews he’s said that he wants his music to “ask questions rather than give answers”. Well here’s an album that will keep you inquisitive and involved for a long time to come…

    [bandcamp width=100% height=120 album=1143255900 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=2554980307]

    Get your copy of ‘While I’m Distracted‘ by Arjuna Oakes from your local record store or direct from Albert’s Favourites HERE

  • News: Nature TV Find Harmony In Heartbreak On Dazzling Debut Album ‘Unlucky For Some’

    Brighton’s self-described “door to door heartbreak salesmen” Nature TV have released their highly anticipated debut album Unlucky For Some, out today via Heist or Hit.

    Known for nurturing left-field talent like Her’s and Westside Cowboy, the label provides a fitting home for Nature TV’s hazy, heart-led blend of neo-soul and indie-pop. The 13-track album is a warm, wistful journey through jangling guitar tones, silky grooves, and aching melodies that feel equally suited to sunset drives or solitary mornings.

    From the opening chords of ‘One Step Forward’ through to the closing notes of ‘Subtle Treasures’, the album glows with a soft confidence. Tracks like ‘Helpless & Hoping’ wrap melancholic lyrics around shimmering production, while ‘Simple Dog’ and ‘Staying for the Weekend’ explore life’s quieter, more contemplative moments with a touch of breezy cool. Produced by longtime collaborator Solo Major, the record finds a sweet spot between live-band warmth and studio sheen, with layered instrumentation and emotive vocals at the core of every song.

    Nature TV—comprised of Guy Bangham (guitar, vocals), Josh Eriskin (bass), and James Hunt (lead guitar, backing vocals), with studio drums from Zal Jones—have drawn comparisons to the likes of Whitney, The Internet, and Real Estate. Already renowned for their live performances, Nature TV are set to bring Unlucky For Some to fans around the world with an international run of dates. Following an appearance at The Alt Escape Brighton, their US headline tour begins in New York City at Berlin on September 5th.

    With Unlucky For Some, Nature TV deliver a debut that’s both intimate and musically rich, weaving personal stories with lush, sun-soaked production. It’s an album made for long walks, quiet nights, and anyone who finds comfort in beautifully crafted, emotionally rich pop. For a band already known for their sincerity and melodic instincts, this is a debut that cements their promise—and sets the stage for an exciting chapter to come.

    Listen below:

  • RHYME & Dopegirl Zhane Shares Provocative New Single ‘You Wanna F*** Me’

    RHYME has released a provocative new single titled You Wanna Fuck Me, a bold reinterpretation of Akon’s 2006 hit I Wanna Fuck You. Reframing the track from a female perspective, the NYC-based artist teams up with Dopegirl Zhane’ and producer-remixer NAØ to create a powerful anthem that blends club-ready energy with a message of empowerment. The release follows RHYME’s recent spotlight moment at Coachella, where her track CRUSH was featured in a surprise set by Sara Landry and Amelie Lenske.

    The new single channels heavy electronic beats, a blood-pumping bassline, and layered melodic swirls designed for both festival mainstages and late-night techno rooms. Originally built around Akon’s hook, the track faced sample clearance issues, even with the involvement of Akon’s son. In response, the iconic line was re-recorded by Dopegirl Zhane’ herself, further reinforcing the track’s emphasis on female agency and artistic independence.

    Alternate versions of the track offer a sultry R&B twist, combining bouncing bass with rich vocal textures and a feministic edge. The track also features a Japanese-language verse from RHYME, referencing her decade spent living in Asia, and drawing on her bilingual spoken-word style. It’s a multi-layered release that challenges industry norms and reclaims a once male-dominated narrative through a confident, empowered lens.

    “This track holds significance for me as I’m passionate about promoting a feminine perspective and shifting the narrative. I aimed to create a counterpart to the original song, much like a sequel, but infused with feminine energy. My vision is for this song to be played in every strip club like ever! I want this song to be added to every intimate setting playlist for it to empower women to express their full sexual capacity, feel desired, wanted, and in control,” says RHYME.

    Dopegirl Zhane’ adds, “This song is more than just a track, it’s a symbol of trusting your path and honouring the connections that come from following your instincts. The energy, the message, and the vibe all came together naturally. Flipping this record from a woman’s point of view was important to us. It gave the song a bold, fresh perspective. After stepping back for a moment, this release feels like a reintroduction to the start of something bigger.”

    Listen below:

  • News: Amos Ender Unveil Debut Album ‘Into The World of Man’

    Amos Ender have officially unveiled their debut album, Into The World of Man, marking a significant milestone for the rising New York City-based rock duo. The 8 track release comes after years of development, live experimentation, and artistic evolution—offering fans a raw, immersive entry into the band’s creative universe.

    The 8-track record opens with the explosive single Red Suitcase, previously released and now recontextualized as the album’s powerful lead-in. It sets the tone with searing guitar riffs and intense percussion, embodying the group’s hard-hitting style. The rest of the album follows suit, weaving introspective lyrics through driving rock anthems and highlighting Amos Ender’s ability to combine narrative depth with high-energy instrumentation. A carefully placed interlude adds another dimension, serving as a moment of reflection amid the sonic momentum.

    Amos Ender is led by frontman Joshua Klevorn, who originally began the project solo before forming the full lineup after meeting co-member AJ at a local burger restaurant. What began as a solo effort soon grew into a collaborative partnership that took shape in rehearsal studios and small venues across New York. The band honed their identity through countless live shows, gradually gaining attention for their theatrical stage presence and emotionally charged performances.

    In a statement reflecting on the album’s creation, Klevorn said:
    “Into The World Of Man was initially born out of a few rushed demo releases made under self-imposed pressure to ‘just get some music out there.’ However, it didn’t take more than a handful of shows before I realized these tracks still needed work — a lot of work.

    Much of what was still in my head whenever I heard these songs had not made its way into their performance. Parts that seemed great in the studio fell flat before an audience. And there was no overarching narrative that could begin to tie all the disparate ideas together.

    Five years (and dozens of revisions) later, I am proud to release Into The World of Man. Propelled by the beginning themes of Amos Ender’s history and relentlessly restructured to match the level of theatrics and emotion I strove for in every live performance, this album offers a glimpse of what Amos Ender might become if given the chance to tell his tale.”

    Blending influences from classic rock, alternative, and indie, the album serves as both a culmination of the band’s formative years and a statement of intent. With Into The World of Man, Amos Ender now looks to extend their reach far beyond the NYC scene.

    Listen below:

  • News: Eden Cami Shares new Single ‘If You Want’

    Eden Cami returns after a three-year hiatus with the release of her new single If You Want, offering a first glimpse of her upcoming debut EP set for release in 2025.

    The track showcases Cami’s musical versatility, opening with well placed synth work around the elegant and chilled central vocal before introducing a rhythmic bassline, restrained guitar and layers of ethereal tones. Pop-leaning melodies delivered in both English and Arabic, the track carries an alternative undercurrent despite its alt-pop feel. The result is a vibrant, emotionally driven single that balances introspection with danceable energy and ultimately feels like 90s chillout-pop with a fresh and airy modern touch.

    Lyrically inspired by the poetry of 13th-century mystic Rumi, the song intertwines Western instrumentation with Eastern philosophies, creating a layered, genre-spanning soundscape. The themes of determination and personal growth are carried throughout, echoing the challenges and transformation Cami has experienced in her own life.

    “I’ve always been captivated by poetry, especially how so much meaning can be distilled into just a few lines. The first time I encountered a translation of Rumi’s poem, it was in Arabic, and it immediately resonated with me. It felt like exactly what I needed to hear at that point in my life. Now, as I release this song after a long break, it feels even more relevant. I was excited to discover an English translation of the poem, and somehow, almost magically, the words in both languages seemed to merge effortlessly with a melody that had been playing in my mind for some time,” says Cami.

    Now based in Berlin, Cami’s path into music has been anything but conventional. Raised in a patriarchal society, she faced early pushback for pursuing a creative career. After undergoing vocal surgery at 18 and temporarily losing her ability to speak, she slowly rebuilt her voice and sense of artistic identity. She performed with classical choirs, a pop-rock covers band, and eventually formed a jazz quartet before relocating to Germany in 2014.

    Since then, she has performed at various venues and festivals across Europe, gradually establishing her solo presence. She released her debut single in 2019, followed by several eclectic tracks that have steadily grown her audience. With If You Want, Cami marks a confident return, setting the tone for the upcoming EP.

  • News: Blue w3rD Returns With Bold New EP ‘Gods Amongst Men’

    Philadelphia-based Blue w3rD returns with the new EP Gods Amongst Men.

    Spanning nine tracks, the project delivers a compelling mix of elegant alternative musicality with a blend of lo-fi electronics, well worked sampling and live instrumentation to create track with depth and beauty under the sharp lyricism and elegant rap flow.

    From the stripped piano, distant vintage hisses, lo-fi beat and field recordings of the opening title track, to the neo-soul, psychedelic feel of ‘Hibiscus Blue’, to the vinyl crack and elegant sampling of ‘No Enfafa Mas’ the album offers some inventive and musically rich backdrops for the restless, fast paced, emotive rapping that Blue w3rD delivers effortlessly above.

    Far from a conventional drop, Gods Amongst Men arrives as a multidisciplinary effort. Each track is accompanied by a visual art piece created by Blue himself, presented collectively in a digital album magazine. With production by Kayin, the EP marries sample-driven instrumentation and experimental flair, establishing itself as both a musical statement and a work of visual expression.

    Blue explains: “‘Gods Amongst Men’ brings supreme lyricism and sample-driven instrumentation. To me, this is fine art: hip-hop and spirit rap, blending the essence of street knowledge and spirituality to present an exploration expressed through beats and rhymes.

    Within the project, each song is married to an art piece with song lyrics in the form of a digital album magazine. All of the art was made by me, with the beats courtesy of Kayin”.

    Listen below:

    [bandcamp width=350 height=470 album=4085796295 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

  • EP Review: Cie – Adventures II

    Cie embarks on a new sonic expedition with ‘Adventures II‘, the successor to the original journey, continuing the musical quest with great intensity and energy. As the music begins, ‘Reichenstein‘ rises on the horizon like a majestic mountain peak, growing ever more imposing as you draw closer. Upon arrival, the towering presence of the castle welcomes you with its raw power. The beat pulses like a force of nature, its multi-layered rhythms and vibrant sounds pulling every dance enthusiast into its depths, much like an adventurer scaling the heights of the mountain itself.

    The journey continues through the mystic halls of the castle, leading to ‘Der Turm‘. Here, hypnotic synths scale the tower’s heights, while deep pulsating basses push against every wall.

    From there, the mountain ‘Stenzelberg‘ comes into view, casting its groovy shadows ahead as the next stop on the adventure. Upon reaching the summit, you are immediately drawn into the mountain’s spell by the power of its percussive sounds. But the journey doesn’t end there – deep within the winding gorges, Mar io awaits, leading you through hidden corners and secret paths of the mountain with his powerful remix, finally releasing the soul of the mountain.

    Four electrifying tracks – perfect companions for any club adventure – are ready to carry you on your own journey. Vinyl only.

    Verdict Deep rolling lush beats lead the way on ‘Adventures II‘, and are the solid foundation that everything is set upon throughout the EP. The three originals are pure minimal techno bliss that build the percussive layers perfectly while the deep bass and staccato synth grooves hold the flow. ‘Mar io‘ is on remix duties and ends the show in style with an acid drenched remix that kicks. In short, a solid follow up to its’ predecessor ‘Adventures‘, and once again CIE doesn’t disappoint.

    Track List:

    • Cie – Reichenstein
    • Cie – Der Turm
    • Cie – Stenzelberg
    • Cie – Stenzelberg (Mar io Remix)

    Out April 4th @ https://formnterra.bandcamp.com/