3%
3% return with ‘Welcome 2 Country’, a sharp, necessary track that cuts through cultural noise with precision.
Driven by gritty production and gospel flourishes, Nooky and Dallas Woods unpack the deeper meaning behind the tradition, challenging surface-level discourse.
It’s powerful, rooted and unapologetically direct – exactly what you want from them.
Djanaba
Djanaba expands her world with Did We Stutter?, a collaborative companion to her debut that leans into connection, growth and creative trust.
New cut ‘Dig Us Out’ pushes her pop instincts further, blending club energy with emotional clarity.
It’s confident, communal and another step in her evolution as a boundary-breaking artist.
Body Type
Body Type are back with ‘And What Else?’, a bratty, bittersweet anthem that thrives on tension and vulnerability.
Built around call-and-response hooks and emotional push-pull, it captures the weird psychology of wanting validation while distrusting it.
It’s punchy, cathartic and marks a re-energised return for one of Australia’s sharpest post-punk outfits.
Loose Fit
Sydney’s Loose Fit stretch their sound on ‘Bittersweet Excess,’ leaning into dub textures and looser grooves without losing their edge.
It’s a more spacious, exploratory release, with Anna Langdon’s lyrics drifting into dreamlike, philosophical territory.
The result feels tougher and more fluid at once – a natural progression that opens new doors.
Greg Gould
Greg Gould’s Strings Attached (Deluxe) centres around ‘No More’, a deeply personal and confronting track responding to real-world tragedy.
Featuring Kate DeAraugo, Adam Noviello and Kween Kong, it’s both tribute and call to action.
The accompanying visuals, grounded in lived experience, make this less a song and more a necessary conversation.
media puzzle
Garage punks media puzzle keep things chaotic and fun on ‘More Horse, Less Code’, a loose, riff-driven jab at modern tech obsession.
It’s scrappy in the best way – fast, absurd and packed with personality.
There’s a sense they’re not overthinking anything here, which makes it one of their most immediate releases yet.
Sleaford Mods / The Prodigy / Aldous Harding
Sleaford Mods’ ‘Elitest G.O.A.T.’ gets a full rework from The Prodigy, turning it into a snarling, acid-drenched monster.
Aldous Harding’s airy vocal cuts through the chaos, while Liam Howlett injects pure rave energy.
It’s a proper collision of worlds — chaotic, aggressive and a reminder of how good this crossover can be.
The Lemon Twigs
The Lemon Twigs lean into bright, classic pop on ‘2 or 3’, a breezy but thoughtful cut from their upcoming album. Built on a dreamt-up chorus, it plays with insecurity and self-perception through vintage textures and sharp songwriting.
It’s effortlessly catchy, with that slightly off-kilter charm they’ve mastered over time.
Aldous Harding
Aldous Harding’s ‘Venus In The Zinnia’ continues her quietly surreal run, pairing minimal instrumentation with her unmistakable vocal delivery. There’s a strange intimacy to it, helped by longtime collaborators like John Parish.
It feels delicate but deliberate — another glimpse into an album that’s shaping up to be typically singular.
My New Band Believe
Cameron Picton’s My New Band Believe arrive with a debut that’s as ambitious as it is unpredictable. Alongside it, ‘Kick Me’ stitches together live recordings into one sprawling, shape-shifting piece.
It’s chaotic but intentional, moving through moods and ideas with a kind of dream logic that keeps you locked in throughout.
Save Happy’s Mixtape for a dose of regular new music.
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