Formed in 2006, The Kiss That Took A Trip is the brainchild of M.D. Trello, the sole member and admitted factotum of the project. Thirty In Twenty is designed not just as a celebratory retrospective, but as a roadmap illustrating how the project’s music has mutated over the years—evolving from highly experimental, instrumental ambient post-rock into streamlined, electronica-tingled alternative pop/rock.

The double album features the absolute best of the project’s output, alongside exciting new additions:

• 3 Brand New Tracks: “We are what we protect,” “Forevermore,” and “Mimosa.”

• 2 Complete Reworkings: “Three girls” and “Vanilla killer.”

• 2 Remixed Tunes: “Amplification of the senses” and “Stock footage.”

• 23 Remastered Fan Favorites: Including the quirky, highly acclaimed cover of Q Lazzarus’s “Goodbye horses.”

The album’s rollout was spearheaded by the nostalgic piano ballad “We are what we protect,” followed by the official lead single and accompanying video for “Forevermore,” which launched on March 18th.

Operating entirely outside the conventional music industry, The Kiss That Took A Trip maintains a strict and unapologetic rulebook: completely independent, computer-based production (while vehemently rejecting the “electronic music” tag), zero live performances, and a commitment to Creative Commons, free-of-charge digital music. Trello champions a “pay only if you wish” model, prioritizing a consistent, lasting music catalog with high replay value over quick consumption. Furthermore, amidst the advent of AI, the project strictly spells out its stance in favor of human-crafted artistry.

“In an era obsessed with instant hooks and tidy playlists, The Kiss That Took A Trip remains a glorious anomaly.” — Chris Bound, Horror Vacui Review

Blending melody, atmosphere, drone, and dissonance, Trello’s signature sound will appeal to fans of The Church, Cibo Matto, Blonde Redhead, Depeche Mode, Mogwai, and Godspeed You! Black Emperor.

“I Can Feel Your Heartbeat” starts out innocently enough with a spacey atmosphere and a steady beat, with dreamy vocals floating on top, but then they get washed out, and some kind of psychedelia-infused big band breaks in for a musical intermission that certainly grabbed my attention. Though the song is brief, I think the intent was to suddenly make you aware of your own heartbeat, and it certainly did that for me.

The title track doesn’t hold any punches and immediately engages in odd harmonic shenanigans for the Western ear. All the usual suspects are here: reversed sounds pull us towards the vocal lines while distorted, washed-out textures create an otherworldly feel, so in that sense it succeeds in being sonically evocative without the narrative being totally obscured by the vocals.

Musically, “Where Language Ends” is an interesting experiment because a rhythmic and melodic motif is held the entire time. The reason why it’s interesting, though, is that it’s fairly complex, unlike motifs that are typically used in this fashion, and despite that, your brain kind of filters it out and follows the main melody anyway. In a way, that is where language ends, because this particular arrangement communicates something unspoken purely because of that gap in focus it creates in your mind.

Not Here Not There is the kind of record that resists easy summarizing, which is clearly by design. Beckmann has spent years building a private mythology around Mortal Prophets, and this album continues that project with confidence. The decision to step back from vocal duties entirely is an interesting one, and it pays off; McGraw and Mars bring a detached vulnerability to the material that gives it room to breathe in a way that a more assertive vocal presence might not have allowed. The result is a collection that feels simultaneously intimate and remote, personal and cosmic. It won’t be for everyone, and it knows that, which is part of what makes it worth your time if you’re inclined toward music that operates at the edges of pop structure rather than its center. Beckmann is still chasing signals through fog here, and the chase remains compelling.

Betty Moon is back in motion with a fresh wave of new music. The alt pop mainstay has announced Strangely Beautiful, a six track EP arriving April 17 and her first original release since Cosmicoma in 2021. Leading the rollout is “Want Me To,” a sleek, attitude driven single that channels the same bold energy that made her a standout during the 90s alternative scene.

Blending raw rock elements with shimmering electropop and touches of soul, “Want Me To” hits that sweet spot between retro influence and modern polish. It is another example of Moon’s ability to reinvent her sound while staying true to the confident, genre bending style that defines her work. That versatility has helped her music land in shows like Californication, Dexter, and The Walking Dead, while continuing to resonate with listeners worldwide.

Strangely Beautiful keeps Moon firmly in the driver’s seat, continuing the independent path she carved out with her Evolver Music imprint after her early success in Canada and time on A&M Records. The upcoming EP is expected to dive deeper emotionally, pairing her signature edge with a more reflective tone centered on growth and transformation. “Want Me To” is out now, with the full project arriving next month.

Musically, the drum machine sound associated with 90s electronica works incredibly well for creating a moody atmosphere here. It brings the melancholy to a completely different level and with a completely different flavor than if they went for a halftime post-rock kind of thing with the rhythm section. That choice brings the urgency of the line “It’s the last chance to see you smile” to the forefront in a way that feels right. The guitar riffs complement the vocals without taking up too much space, which gives the vocals the breathing room the song needs to land.

The subject matter is as raw as it gets – grief, regret, the things you didn’t say while you still could. Rothschild’s quote about it is straightforward and honest: the song is his way of saying what he didn’t get to say while she was still here. That kind of specificity is what separates a song about loss from a song about his loss, and “Mother Please Forgive Me” is clearly the latter. With the full album still coming, this is a meaningful marker of where Caligula are headed.

Don’t miss watching Caligula on

• Saturday 23 May – The Old Bar, Melbourne
• Saturday 6 June – Waywards, Sydney

A fascinating, slow burning amalgam of electronica, indie, and experimental music that touches on historical themes while sounding straight out of a science fiction film. Lekursi is a Blackpool-based musician who prides himself with his deep connection to his ancestral roots, and with the little public information that he’s shared about himself, and with ‘Amarna Letters’ being deeply steeped in ancient Egyptian mythology and history, it would be safe to assume that he has Egyptian roots in a way.

‘Amarna Letters’ is based on Akhenaten’s Amarna Tablets, recounting Egypt’s most eccentric pharaoh’s religious revolution that revolved around the sun. The song revolves around a melancholic and brooding 2 chord movement, encased in mystical synth melodies and layers of immersive electronica. The pads, Lekursi’s accessible vocals, the interesting ebb and flow of various instrumental interludes, all make ‘Amarna Letters’ a quirky and memorable short listen, designed to leave a lasting impression.

Lekursi’s brand new drop got us excited for what the blossoming artist has in store. History-meets-mythology is a treasure trove of fascinating musical ideas, and Lekursi seems to be here for it all.

From the very start, “Slowcoach” sets the tone: a swaggering beat and a chopped-up guitar riff that unfurls into a chorus built for communal singalongs. It’s a slacker anthem turned inside out, urging us to slow down in a world that won’t stop rushing. The follow-up, “On The Right Track,” brings a smoother sway, soulful in its groove yet breezy enough to sink into on repeat.

Things get stranger, and sharper, on “I Think I’m Headed For A Breakdown.” Equal parts existential confession and tongue-in-cheek parody, the track marries sticky hooks with absurdist sampling, making personal chaos sound almost celebratory.

Next is “Keep On (I’ll Sleep When I’m Dead)” with pure momentum, a brass-driven burst of restless energy with its “time is money” refrain hammering home the grind. Closer “All Out Of Time” winds things down without losing the pulse, mixing harmonica, organ grit, and lyrical playfulness in a way that feels both nostalgic and slyly futuristic.

What makes Southern Fried so compelling is its balance of humor and heart. Bott’s project doesn’t just recycle influences like Beck or The Avalanches, it warps them into something lived-in, quirky, and alive. Each track offers hidden textures and unexpected turns, rewarding close listening while keeping things effortlessly fun.

With BBC Introducing, Apple Music, and tastemakers already backing the project, Messy Eater feels poised to stretch far beyond cult curiosity. Southern Fried is a statement of intent: clever, catchy, and impossible to pigeonhole. Such a feast of sounds that lingers long after the last bite!

Opening with a pulsating rhythm that feels like the heartbeat of the underworld, “Necromantic” quickly sets the stage for a tale steeped in grief and yearning. The synths weave an intricate web of eerie melodies, while the driving beat creates a hypnotic energy that’s both melancholic and electrifying. The vocals alternate between ethereal whispers and powerful laments, adding emotional depth to the spectral soundscape.

Thematically, the song explores an otherworldly encounter in a graveyard, where love, loss, and the pull of the unknown collide. Its narrative of unfinished business and longing is heightened by rich production that balances stark minimalism with dense, immersive layers. Each note and lyric contributes to an atmosphere that is as emotionally charged as it is irresistibly danceable.

“Necromantic” showcases Twice Dark’s talent for merging the raw emotion of goth with the intricate textures of electronic music. It’s a track that lures you in with its dark beauty and keeps you there with its irresistible groove. Whether you’re a fan of gothic ballads or industrial club anthems, this release will leave you fascinated.

With this electrifying single, Twice Dark offers a tantalizing preview of their upcoming album, Telekinetic. If “Necromantic” is any indication, listeners are, for sure, in for an unforgettable journey through the shadows!

“The Machine” itself is a very artistic representation of that topic, mixing between human vocals and electronic elements in the musical production, shedding light on that contrast within itself…what the band did was both artistic and philosophical on a very high level.

The sounds of the arpeggio synthesizers with the soaring vocals really makes you think and feel on a higher plane…you’re not enjoying some great musical production, it’s thought provoking, making you think about the current state of humanity that we live in.

“The Machine” is an audio movie…if that makes sense…I’ll tell you why.

It’s got a story, a progression, an emotional arc and a message…how can it be just another song? it is surely not!

This is an experience that stimulates both the heart and mind…whether from the topic it tackles or from the excellent musical composition and production values…all the elements in “The Machine” are there for a purpose.

…and this is the message of art to the world, is to make you think while you feel, then decide as a human being that experiences both the logical and the emotional.

Andrea Pizzo and the Purple Mice manage to steal the show with their single “The Machine”, whatever angle you look at this song, you’ll see something new and unique…”The Machine” will be included in the next album of The Purple

Mice, “Transhumanity”, which explores the relationship between human beings and technology. This is going to be epic.

We wish all the best to the brilliant group and can’t wait to hear more of their unique artistic and musical style. Cheers!

On RESULTS, Ellery, a singer, songwriter, and multi-instrumentalist from the city of Mystic, Connecticut, is taking the character of a generation X kid somewhere in American suburbia, sharing stories led by his character, his character’s brother, and their family and home lives. Charming and simple, Twinings’s peculiar songwriting is neatly aligned with his descriptive lyrics that can often sound bizarrely private, and told in an almost spoken fashion, there’s something adorably unnerving about the album’s storytelling techniques. 

The lyrics don’t take the spotlight from the music though, even if it might be the heavier side of the balance of RESULTS. Most of the album’s compositions are intricate and non-linear, and the usage of barebones guitar, bass, and even drum sounds, a mystique is spun around most of the songs on RESULTS that make them easy to reminisce over, remembering our childhoods and stories from our own homes. 

Among the album’s standouts are the outstanding starter ‘SIXTH OF JANUARY’. An apt introduction to the sound of the album’s, on a few steroids. The song introduces us to the jangly beats and Twinings distinctive performance style. With deep lyrical content about patriotism and national crisis, and an open sound to the bass and the sparkling guitars, ‘SIXTH OF JANUARY’ is a memorable, rich introduction, even if it is not as musically direct and accessible as most other offerings on the album. One more sublime offering is ‘DUSTY SPRINGFIELD’S RECORD COLLECTION’. Musical, groovy, and inviting, this cut retells parts of the story of the titular star’s life, one of the 60s most easily recognizable voices. The lyrics, which showcase the stark contrast between lifestyles now and then, are imaginative and confrontational. The open-ended music has a pull to it, thanks to the simplistic composition and mix. 

‘DEAFENING’ is another stunner that sounds trippy with its phased guitars and reverb-laden atmospheres. More personal memories pouring from Twinings mouth, this time describes an incident of parental abuse, are almost surreal to listen to with such a dreamy backing. ‘S. B. BUTLER’ is a spacey affair that’s loaded with a throbbing, alien guitar texture, pit against some of the album’s most serene rhythm strums, creating a contrast that’s a total sensory pleasure. ‘WHAT’S GONNA SET YOU FREE’ is another acoustic stunner with a sloppy, sleepy groove and a post-pop sound that is straight out of the nineties. The unfamiliar chord voicings also play a major role in amplifying the alien, breezy sound on most of the album’s songs.

Talented at creating lush soundscapes, whether it be by word or by music, Ellery Twining successfully weaves together another endlessly special album of personal songs that all sound equally loved and calculated, with each showcasing a different lyrical approach that pours into the familiar pot of family drama. From throbbing guitars to wailing string arrangements, Twining shines musically just as much as lyrically, bringing forth one exceedingly crisp offering of post-pop. 

He began his professional music career in the 90’s, but his love for music grew with him in his teen years till this very day. Cos, the multi-talented musician, dropped his first alum in 2002 and the second in 2016, and he recently released the third album, “Grace,” in October 2021.

“Grace” contains 11 tracks, each with its own story, sensation, and rich musical composition. The album is a work of art with an unrivaled sound, fusing Alt-Rock, Prog-Rock, Neo-Prog, and 80’s style. There’s no one single like the other, both instrumentally and vocally, with an impressive variety and many colors that demonstrate how much “Cos” is a genuine, skilled musician.

The opening track, “The Greatest Gift,” is as warm as a cozy blanket on the coldest nights. It starts off smoothly with some soothing piano notes that sound like a kid’s lullaby, and soon the intro develops to have some dreamy vibes that work well with the velvet vocals. The melody is bright, and the chorus is touching and full of love. In the second part, the alt-rock sound takes over with the guitars’ superb riffs. The song progresses unexpectedly throughout the nine minutes, leaving you with full enjoyment, heartfelt sentiments about parenthood, and zero seconds of boredom.

“Gina” has a neo-prog and alt-rock blend with 80’s influences, which makes you feel like you’ve gone back in time to an 80’s disco, dancing beneath a large colourful disco ball. The vocals are bursting with life, and the lyrics are relatable to anyone who has blown their chances. The title track, “Grace,” is a solo piano piece that is restful, soulful, and indeed as the title says, graceful. It’s the kind of song that makes you close your eyes while listening to it and let it take you to your favorite place.

Resurrection Part 1 and 2 is a one-of-a-kind storytelling in which part 1 boosts some hard rock tunes and portrays what abusing a partner in a relationship feels like, while part 2 has soft solo piano and takes the story to the part where the victim is finally able to heal and resurrect. “Resurrection Part 1” has edgy vibes with its prog-rock, killer guitars, and powerful vocals. It progresses incredibly well, and the arrangement is flawless. Despite its edgy, dark atmosphere, the second part has some light and bright vibes. “Resurrection Part 2” features the rising star Jessie Wagner on vocals with her gentle, silky voice. It’s poignant, with the solo piano and the poetic lyrics portraying the break-free.

“Salt Hay” sets a jazzy mood with atmospheric percussion, astonishing piano, and charming, resonating vocals. The sax was a pleasant addition, and the entire progression is quite mastered. A dream-like ambiance with cordial vocals and soft piano notes in “Wanderlust.” It gives the feeling of taking off on a magical journey, with the lyrics drawing the desired destination’s map and the music playing the fuel role.

The album closes off with some sedative guitar chords in the short instrumental piece, “Resurrection Coda.”

Listen to “Grace” below and enjoy your unique, graceful experience.