‘YES’ is a high-energy track that finds A.B. Original addressing the importance of the upcoming Indigenous Voice Referendum and the changes it could lead to in the future. Alongside DJ Total Eclipse and Marlon, Trials and Briggs approach the topic with the swagger we’ve come to love them for, utilizing their stern voices for good, while letting rampant raps that are bound to get you bumping your head.

“I got new energy, I got some clarity” IJALE spits on his new single ‘OR WHAT’. It’s evident as the song progresses, as his voice is confident, seamlessly switching between raps and soothing melodies in every passage. The production is cinematic, mixing atmospheric synths with the boom-clap of urgent drum patterns that propel the track forward. Voldy appears here for the second verse, matching IJALE’s focus with his own frenzy. This track foreshadows a new chapter for the Melbourne rapper/producer, and we can’t wait to hear what comes next.

There are parts of the production of ‘Lalaland’ that sound like Keygen music. Fitting, as the track is absolutely cracked. An assortment of different synths appear like sirens throughout, contrasted with the mortar blasts of bass that occupy the low end. Vocally, 1300 are 1300-ing, unleashing fast-paced rap flurries and ear-catching refrains.

Ashli starts off ‘Brand New Feelings’ softly singing “My ex is dead to me, and I didn’t even show at his funeral“. It immediately lets you know what type of time she’s on, using this track to pay homage to the fact that she’s transitioned into the next chapter of her life, moving on from the adversity of the past. This culminates in an R&B cut that builds slowly into a feeling of serenity and is carried by the singer’s howling voice and undeniable passion, which reverberates throughout the mix.

Upon clicking on this track, you’ll immediately gravitate to JACOTÉNE’s soulful voice. It is dense, with emotion causing strains to appear in her cadence. The production plays an understated role here, with simple but satisfying basslines and drum lines keeping the track moving. It enhances JACOTÉNE’s presence, which hypnotically draws you into this powerful cut.

‘Me & U’ is an afrobeat ballad. Jangly guitars accompany the Nigerian singer’s gentle warbles, leading you into a state of ecstasy. Percussion flutters in the background, giving the track a dance-ready tempo to get down to. The end result is a song that encapsulates the feeling of love in the club.

‘Paid’ is 2 minutes of elite hip-hop penmanship. Walkerboy and T Breezy go back and forth with slick lines and infectious flows, barely taking a moment to take a break. They both utilise a low-key delivery style here, which compliments the glossiness of UTILITY’s production and makes it seem like rapping comes easy to them. It’s a quick-hitting banger.

MAXINE sounds triumphant on ‘Better Off Dead’. The track thrives in its retro-futuristic production, which pairs new wave synths with some bellowing sub bass. Guitars pop in here and there to enhance the emotion found in her melodies, which are yearning as she documents the complications of romance. It’s catchy and solidifies MAXINE as someone to keep on your radar.

‘CLUB AGAIN’ emulates the feeling of being at the function. It has the celebratory energy of a night out, thanks to the blasting 808s that make this track bounce. Moody keys feel like the moment you chill for a second, before disappearing into the smoke of the dancefloor.

This new Manu Crooks song is perfect for the warm weather season. Vibrant keys loop in the background, as Manu flexes his melodic chops. He uses this track to reflect on the adversities he’s overcome, adding depth to the celebratory sounds of this cut. Jamaican singer Kranium appears here, infusing the song with some ear-catching dancehall elements and his signature mellow cadence. ‘More’ is another great example of Manu’s evolution, as he continues to create bangers with a backbone of personal growth.