Australian visceral noisemakers, Fan Girl return with a brand new, head-spinning single in ‘Easy Now’, which marks the next step for the band and a taste of their upcoming EP, ‘8HRS’.
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Two of the most accomplished and ferocious voices in Australian music, Dallas Frasca and Sarah McLeod join forces for the stomping new single, ’Til It’s Gone’ (out now via Spank Betty Records & Community Records), ahead of their massive Green Electric Tour, which kicks off in mid-February.
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NEAV follows up on previous powerful (and hooky) single, ‘Full of Yourself’ with the empowering new track, ‘Me’ - bursting with vibrance, and catchy melodies, while loaded with sharp production and an uplifting sense of self-determination.
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Another year passes, and another 50 favourite songs counted down in The Pointies Top 50, with the 2025 #1’s announced as Sydney/Eora’s punks, FANGZ and their single, ‘Anne Marie’.
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Melbourne’s Annabelle Grace returns with her third single, ‘Fingers Crossed’ which sees the singer/songwriter shift from the melancholic throws of her previous releases, into an upbeat, guitar-driven indie-pop anthem that captures the sting of broken promises ,wrapped in a shimmering summer sound.
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Returning from a brief hiatus earlier in 2025, Melbourne’s alt-pop and quirky soundscape artist Sydney Miller re-enters the music scene in full swing with brand new single, ‘I (Don’t) Wanna Know’. The new track leads into the release of Sydney’s EP, ‘The Storm’, which will release in early 2026.
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It’s been a fast, wild few months for Maple’s Pet Dinosaur - only 14 weeks ago she was a 14 year-old singer from Newcastle with one simple goal: to release her debut single, ‘lego’ independently and convince local promoters to give her band a shot at playing live.
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Adelaide’s My Chérie breaks boundaries with her beautifully left of centre alt-pop stylings, unveiled in her most vulnerable and sonically immersive work yet in her new EP, ‘Life is Short & Life is Long’.
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Naarm/Melbourne post-punks, Great Australian Bank return with their new single (and music video), ‘Leaving’ - an upbeat energetic and optimistic track, hearkening to the past while feeling fresh.
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Heavy alt/emo rock queens, The Beautiful Monument make a strong return with a searing and deeply personal new single, ‘Dancing with the Buried’, which is out now via Greyscale Records.
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One of Australia’s best alt rock/emo heavyweights, Perth’s beloved Sly Withers have returned with a powerful new single in ‘Make My Mind Up’ - a stirring reflection on indecision, growth, and the push to keep moving forward when life feels stuck.
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Melbourne’s explosive heavy alternative rock outfit, Bad Juju bring together a healthy and chunky amalgamation of tracks in their heaviest collection yet on their new EP, ‘Simulacra’, which is out now (including vinyl issues available via Thirty Two Records).
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Adelaide’s Purée have returned with another glorious indie rock gem in ‘Someone You’d Like’, which sees the band in their finest form yet, with the upbeat release combining punchy riffs with unfiltered storytelling (an art form the four-piece do best).
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Meanjin/Brisbane’s GLVES chooses colour, softness and truth to cut through the world that often demands hardness, which is shown on her debut EP, ‘Belonging’ - which is out now.
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Melbourne-based artist, Annabelle Grace returns with soaring, emotional new indie-pop ballad, ‘Throne’, which follows on from her break-through debut single, ‘Porcelain Face’, which dropped mid-year.
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Aussie indie rock trio Moler today swipe right on raw energy and nostalgic punk with’ AI', the group’s first new music since 2019 and a deliciously raucous ride elevated by its accompanying music video.
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It’s been 6 years since Holly Cookie Baker’s previous release (the album, ‘This Is Not a Love Song’), but she has returned with an evocative new single in ‘The Winter’ - an accidental sister song to her 2017 duet, ‘The Summer’ with Tim Rogers.
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Melbourne’s genre-shifting PAXY brings a smoky but sweet nostalgic bent to her alt-pop as she emerges from the shadows with her most daring and self-aware single to date in ‘The Fool’. Blending late-night confessions with razor-sharp self-deprecating humour, PAXY delivers a tongue-in-cheek exploration of self-preservation and self-deception, wrapped in a sound that’s as bold as it is vulnerable.
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