We listen to a lot of music here at Tone Deaf HQ, and we’re the first to admit we’re perhaps a little biased towards sounds of the Australian variety. We do make the best music in the world, after all.

In honouring our favourite Aussies, we’ve once again compiled a list of the most outstanding local releases you should be listening to right now – whether they’re smaller indies acts or big-name essentials, these are the newest Australian records you should be adding to your ‘must-listen’ list.

Let’s get started.

Thy Art Is Murder – Holy War (UNFD)

Sparking irrefutable controversy concerning the original artwork of their newest full-length Holy War depicting a child suicide bomber, it’s safe to say that Sydney’s Thy Art Is Murder don’t pull any punches when it comes to arguing their beliefs.

Following 2012s breakout sophomore album Hate, Holy War focuses on “…All evil born of religious immunity, indoctrination, and ignorance” stating guitarist Andy Marsh.

CJ McMahon’s guttural screams and growls pave way for Marsh’s heaviness on his guitar, passing between technicality and heaviness. Yet it’s Lee Stanton that remains a highlight through the ferocity and blistering speed he demonstrates behind his kit, double-kick pedaling listeners into submission.

Most of the albums ten tracks are the genre staple chug-a-thon, but songs such as ‘Deliver Us To Evil’ and ‘Violent Reckoning’ remain heavier than a sack of bricks, that it’s a challenge to not nod your head along to its current. Moreover, ‘Holy War’ and ‘Emptiness’ are absolutely dripping with atmosphere, solidifying the disturbing nature of its lyrical themes.

It may be a little homogenous sounding in spots, but Holy War is dark, technical and absolutely relentless, and sets out to only further establish Thy Art Is Murder as a force to be reckoned with. (Dylan Evans)

Oh Mercy – When We Talk About Love (EMI)

Melbourne band, Oh Mercy, has gone the no-holds-barred approach for their fourth studio album When We Talk About Love.

Singer-songwriter, Alexander Gow, has created his most personal work to date and the end product is truly something to behold.

Not as saccharine as the album title suggests, the twelve tracks are littered with lyrics elicited from the darker emotions associated with romance that are hard for any of us to confront such as jealousy, desperation, desire and that pesky thing called unrequited love.

Gone are the out there flamboyant brass and drums from last album Deep Heat, and in its place are the softer melancholic tones of strings and piano, lending it a subtle beauty and maturity.

Gow’s Bob Dylan-like nasal singing style gives his lyrics a very stirring sense of honesty and vulnerability.

Singles ‘Sandy’ and ‘Without You’ are just a mere hint of what this album has to offer, with the real gems still to be discovered as you delve deeper, such as the gentle ‘Lady Eucalyptus’ and ‘Cool Water’, which is a response of sorts to 2012’s Deep Heat’s title track.

The pain and inner turmoil he sings about seems very real, so much so, you cannot help but want to envelop Gow in a comforting hug and tell him everything is going to be okay. (Amelia Cunningham)

Batpiss – Biomass (Poison City Records)

It starts with an unsettling, lurching bass that sounds like an arrhythmic heart beat played through a Boss distortion pedal. Then, a high-pitched whine begins to ring out. Less a note and more like feedback come to life. Things pretty much continue at this rate for nine head-splitting, unyielding songs and you’ll love every minute of it or die trying not to.

The latest dispatch from this Collingwood-bred punk trio was recorded over five days at Melbourne’s Cellar Sessions studios and produced by Max Ducker, who helped the band capture both the nuclear quality of the band’s infamous live performances, as well as the creepy, dirge-like quality that permeates their songwriting, which is as sharp as ever.

The lyrics deal with your typical punk fare and indeed the traditional Batpiss tropes are all here — life on the cold streets of Melbourne, the perils of domesticity, and demonic revelations — but they too exhibit the same willingness to experiment as the sonic playground of the music. (Greg Moskovitch)

Wabz – Argyle (Solitare Records)

Earlier this year we fell in love with local producer Wabz thanks to his stunning single, titled ‘Sweetwater Creek’ which was the first single off the upcoming forthcoming debut album Argyle (due out tomorrow via local label Solitare).

Since commencing the project in 2011, this Melborune producer has been a prolific (albeit somewhat concealed) operator in the local electronic scene. With an EP and numerous one-offs already to his name, Argyle is a brand new chapter in the exciting story of Wabz.

The 13 track release is a delicate electronic journey traversing many genres, from Wabz’s obvious love of UK garage and 2-step production to the lush, flowing vocal and string arrangements that pepper the LP.

Being released in a week that saw both Nicholas Jaar drop and Four Tet drop records (of sorts), Argyle proves that Wabz’s talent and ear for crafting moving and inspiring electronic music is equal to these world class producers. (Lucy Dayman)

Ben Salter – The Stars My Destination (ABC/ Universal)

With over 15 years of service in the Australian music industry, Ben Salter’s output has been nothing short of prolific. While he’s now almost five years removed from his last full-length solo effort, he’s hardly been idle. After all, this is a musician who’s appeared on over 30 albums and EPs and written over 200 songs.

In winter last year, Salter took his unrivalled experience to Prior Park, the cattle property in central Queensland where the last three Gin Club albums were recorded, accompanied by Dan Luscombe (Paul Kelly, The Drones, Courtney Barnett) and fellow Gin Club members Adrian Stoyles and Gus Agars.

Over the course of seven days, Salter went about putting together a grand, melodic, unconventional pop vision. The result is The Stars My Destination, Salter’s latest full-length debut, is not only one of the most enjoyable releases he’s put out to date, but also one of this talented songwriter’s most ambitious. (Greg Moskovitch)

Palace Of The King – White Bird/Burn The Sky (Indie/ Listenable)

Melbourne six piece Palace Of The King are getting set ready to release their debut LP White Bird/Burn The Sky out now independently. The album sees the band explore and push the sonic boundaries to explore every intricate conner of their influences to crate something both familiar but still undeniable unique.

Formed in late 2012, Palace Of The King quickly recorded a three-track demo and developed the vision of a six-piece blues-infused rock and roll band.

Cutting their teeth storming stages in every corner of Australia – alongside bands like Airbourne and The Tea Party – and priming themselves for an international assault, the time has come for Palace Of The King to take their brand of rock n’ roll abroad.

White Bird/Burn The Sky will be released via Listenable internationally and is a fantastic introduction into one of Melbourne’s most exciting blues rock bands. (Lucy Dayman)

Way Of The Eagle – White Bird/Burn The Sky (Song)

Jan Skubiszewski has been making waves with his new solo project, Way of the Eagle, for some time now. No small part of this is thanks to the star-studded lineup of collaborative partners he’s got lined up for his eagerly anticipated debut album, KODO, including the likes of Dan Sultan, Illy, Benji Lewis, and Ceeko.

The Way of the Eagle project has already churned out such hits as ‘Rattlesnake’, featuring Australian rock’s man of the hour Sultan and quickly entered the Top 10 Most Played tracks on Triple J, but the album proves that Skubiszewski’s new venture is much more than just a list of high-profile collabs.

A family affair it may be, but Skubiszewski isn’t simply laying low and hoping star power makes up for a lacklustre album. Tracks like ‘Sweet Addiction’, which bear all the hallmarks of his trademark sound — prominent horns, punchy drums, and a crooning guitar — showcases Skubiszewski’s skills in creating fresh and powerful music.  (Greg Moskovitch)

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