Get our yer knife ‘n’ fork ‘n’ Tabasco sauce, because it’s time to chow down on a lovely little meal of new Aussie music.

First up, Vance Joy. The man’s third studio album is apparently well on the way, and as such he’s deemed it fitting to serve us Don’t Fade, which is as far from the jaunty Riptide as we’ve heard the Melburnian venture. We can’t wait to hear how far he wades into this water, because it’s absolutely gorgeous.

Here’s what old mate himself had to say:

“I wrote Don’t Fade with my friend and frequent songwriting partner Dave Bassett toward the end of 2019. It came as a surprise, and felt like a special discovery. I like writing about that feeling of timelessness you get when you’re with someone you love. When we came to produce the song, I had the great fortune to work with Take a Daytrip, Edwin White and David Longstreth (of Dirty Projectors). Writing this song was the starting point for my new album. I knew I was on a path somewhere once this song came along.”

He’s also just announced dates for his The Long Way Home tour, which stretches across September and November, and hits every Oz state. Get details for that right here.

Meanwhile, Luke Steele isn’t letting nascent DREAMS bandmate Daniel Johns hog the whole of 2022 with solo record news. He’s just announced his own album Listen To The Water, and dropped its first track, Common Man.

The song was written at Luke Steele’s Eccentric Farm, the name Steele gave to the six acres of pristine land (with a log cabin and a lake) that he bought when ants infested his LA pad. He didn’t even go for a viewing, apparently. “It was the start of a wild ride,” he’s said, “leaving this affluent LA neighborhood and heading to a small highway town in Northern California where bears became neighbors and bats were dusk time invaders. For us, it was polar opposites.”

The new album will be out May 13, and Steele is pumped for you to hear it. “You don’t make a record for no one to hear,” he’s said. “I want people to be captivated by it. In a way it’s a life story. You want them to hear the mistakes, the wisdom, the failure but also the glory.”

Your favourite ebullient anarchists Body Type have revealed they’ve been freshly signed to Poison City (whose owner Andrew Hayden describes the four-piece as “a magical blend of soulful indie-rock and fierce angular-pop that feels urgent and relevant to these modern times”), their debut album is on the way, and its very first single is ready for your perusal! What an utter treat.

Sex & Rage is named for and inspired by Eve Babitz’s 1979 novel Sex & Rage: Advice to Young Ladies Eager for a Good Time and it really is a damn good time. Not just sonically, but visually too, with director Madeline Purdy describing the concept thusly:

“We wanted to show an overabundance of unorthodox, freakish human beauty, but have it stop before total chaos. The strict confines of an audition room setting tinged every character with an inherent yearning to be liked by their audience. The clip had to show that sex and rage are inherent in every human being, but create different characters of us all. Despite that, we’re all on the same stage, singing the same song.”

The album’s called Everything is Dangerous But Nothing’s Surprising, and it’s out May 20. Meanwhile, the gals are also doing a handful of dates across March and April! Get deets for those here.

Next up, those sweet twins of aural glory, Cosmo’s Midnight.

The bros haven’t rested on their laurels since their Best Dance Release nom at the ARIAs a couple months ago (for Yesteryear). Now they’ve lifted the cloche on Can’t Do Without (My Baby), the lusciousness of which was built around a sample from Tommy Tate’s sweet 1968 soul track I Can’t Do Enough For You Baby.

In the twins’ hands, the sample turns into a sublime, Gerling-era joy, which is an apt description because it turns out they were going for that 2000 feel:

“It’s strange how people can be nostalgic for eras they’ve never experienced,” the guys said. “For Can’t Do Without (My Baby) we wanted to capture the feel of coming of age at the turn of the millennium (even though we were just lil babies at the time) when house music was in its golden age. It was celebratory and ecstatic, which is something we really try to bring out in our tunes. This song is really a celebration of that, which feels especially poignant to us, as we all emerge from 24 months of self reflection, isolation and anxiety.”