February has been quite busy for me, so I've fallen a little behind on listening to music. That said, there's been some real heavy hitters from Mitski, a raunchy comeback for Peaches, as well as some gems from homegrown Aussie musicians such as Donny Benet and Telenova.

Let's dive in!

IL Basso - Donny Benet

Right on time for Valentine's Day, the enigmatic Donny Benet is back with another cheeky album inspired by 70s jazz fusion. This time, however, it's an instrumental record, made with the intention of demonstrating how dynamic and flexible the bass is as an instrument.

Donny Benet is one of the most brilliant Australian musicians on the scene and I couldn't recommend his discography enough if you're looking for bass-driven music with a nice retro touch, blending synthpop, jazz, funk, and disco with his unique sense of larrikinism.

I'd rather leave this album to your imaginations, because Il Basso is a wonderful album to fill the space in your home, something you can come home to at the end of the day. You don't necessarily need to focus on the music, but if you, you'll be rewarded with the hidden intricacies and Donny Benet's skill as a bassist.

I found myself most enamored by three tracks in particular. Horses is up-beat and energetic, driven by an impeccably groovy bassline, you know this is one that will become a crowd pleaser if it makes it onto the setlist for the upcoming tour.Midnight Appointment, on the other hand, showcases Donny Benet's more sensual, romantic side, this time without his usual tongue-in lyrics. Winter Sunset brings the album to a brilliant, cinematic finale - it's rich, imaginative, and I find myself coming back to listen to to it on repeat.

Donny Benet is touring USA right now before returning to Australia in May/June. If you have the chance, get yourself a ticket to see him, you really won't regret it.

BOTH SIDES - NCT JNJM

When it comes to NCT, all you need is one sample and a dream.

NCT JNJM is NCT's latest sub-unit debut, consisting of NCT Dream rappers Jeno and Jaemin. Almost immediately, I can see why these two work well together: their natural chemistry is extremely infectuious, and you can tell they're having fun with this concept.

The title track wasn't quite what I expected but I found it growing on me despite the tinny production. BOTH SIDES is upbeat, campy and ridiculously catchy. It feels remniscient of 2010s party music where everyone felt optimistic and joyful, and there's nothing wrong with that, especially at a time where the world feels a little oppressive - something light and embracing of self-positivity goes a long way!

I.D.O.L is a straightforward boy group track and could easily be an NCT Dream b-side. That said, it felt a little underwhelming for me, but it would be interesting to see a live stage for it. I.D.O.L could've easily been the title track, but I'm glad they went with BOTH SIDES instead as it's punchier and a better fit for introducing JNJM as a unit.

HASHTAG was the highlight of the EP for me and once again. This song feels like a true rnb throwback, with a viscerally unappealing and irritating beat to boot, counterbalanced by a strong vocal performance. I was surprised by how much I enjoyed this song.

Closing out the ep is sexier, a UK-garage inspired track which sounds like it belongs on a Pinkpantheress remix album. It feels rather unexpected on an otherwise hip-hop focused EP, but it's short 'n' spicy in a great way.

In a way, the EP being a grower for me feels so true to NCT as a whole, as a lot of their songs don't instantly click for me, regardless of whichever unit is performing - the only exception to this being WayV, the first NCT unit I ever got into. Still, this makes it exciting to revisit NCT's catalogue as I'll often find myself drawn to songs I didn't originally appreciate.

Overall, BOTH SIDES is a great debut EP, even if it isn't particularly 'groundbreaking', it doesn't need to be - it's playful, cohesive, and celebrates JNJM's strengths in rap and hip-hop.

No Lube So Rude - Peaches

It's a brand new Peaches album: it's raunchy, loud, outrageous, horny, and ridiculous. If you're expecting to hear anything else, then you've simply come to the wrong place.

Honestly, thank fuck for Peaches. Whenever people talk about energetic live performers, and they don't bring up Peaches, they simply don't know what they're talking about. I'm sure if someone put on this album without knowing who she was, I doubt they would accurately guess her age.

There's a reason why Peaches is one of the most enduring queer icons of all time, and a pioneer in electroclash and industrial music. This album couldn't come at a better time when queer folk are targeted and punished for creating unapologetically explicit artwork. Though the lyrics are cheeky, Peaches doesn't shy away from more serious topics such as sexual identity and bodily autonomy.

She really got a laugh out of me on so many lyrics, but "all you nepo babies need a wet nap" especially made me cackle. Panna Cotta Delight is one of my favourite tracks on the album and it could honestly pass as an NCT-127 title track: it's a song that literally no one else can pull off, and no one else would want to try pull it off.

Although No Lube So Rude didn't quite measure up to the hype I had in my head for it, it still defied my expectations and I can tell a lot of these tracks are going to become staples in clubs.

Honestly, I can see this album becoming a grower for me.

The Warning - Telenova

This is easily the best album that has released this month. Telenova are, in my eyes, one of the most underrated gems in Australia's indie alt-pop scene, which is honestly wild considering they're a bit of a supergroup, consisting of Joshua Moriarty from Miami Horror, Edward Quinn from Slum Sociable and frontwoman Angeline Armstrong.

I first discovered them when they opened for St. Vincent a few years ago and was blown away by how atmospheric and cohesive they sounded live. I'm not quite sure how to describe Telenova's sound, but their songs fuse elements of down-tempo electronica, synth-pop and 90s trip-hop.

The Warning is the trio's strongest release to date, with strong undercurrents of anxiety and claustrophobia lingering throughout each song. Angeline Armstrong's lyrics are thought-provoking, and her voice is incredibly powerful and emotive.

I'd recommend Telenova to anyone who loves art-pop infused bands such as Portishead, Massive Attack and Chairlift, or some of Australia's experimental electronic acts such as Miami Horror (well, of course!), The Avalanches, and Peach PRC - whilst not remotely similar to these artists, I've found a strong overlap in the home crowd for each of these fanbases!

Telenova are touring Australia at the moment, so if you live here, do yourself a favour and get yourself some tickets to their show. They sound even better live, and they have a strong emphasis on their visual aesthetics and presentation, creating a cinematic live show.

You won't regret it!

What You Want - Angèle (feat. Justice)

Well, I fear it's true that Justice cannot make a song with a woman artist without drowning out her vocals AND make it bang unless it's Uffie.

This was really disappointing overall. Considering the samples they used, I was expecting something a little more hype, and was quite unfamiliar with who Angèle was. As I've learned she's remarkably bland and that's all there is, and Justice's 'Chorus' ended up sounding incredibly generic and boring, turning into one of those straight to H&M stores EDM beats.

Thankfully it's not the worst song released this year so far, but I can see myself forgetting about this entirely within a few weeks.

Deadline - Blackpink

Speaking of worst music released this year so far...at first I thought Katseye's Internet Girl would gladly take that crown for the remainder of the year, until I listened to brand new Blackpink and realised they have a solid competitor.

I'd honestly be deeply embarrassed if I were a fan of Blackpink. You'd think a senior girl group would be capable of something more than shouting a tongue twister in an empty chamber and hearing their voices richocet off the walls but alas that's what they've done once again, and it's equally pathetic as it is boring.

Between the phoned in live performances, music videos filled with AI and having both Dr Luke and Diplo as producers on Deadline, there's really nothing remotely positive to say here other than YG is atrocious. Just disband please!

Nothing’s About to Happen to Me - Mitski

After Mitski surprise dropped the single "Where's My Phone?" on us, seemingly out of nowhere, I knew I might finally be on board for her brand new album.

I used to adore Mitski having discovered her as a teenager, but I wasn't a fan of Be The Cowboy and grew tired of her music around that time. Whilst I don't expect nor want her to rehash the likes of Lush, Puberty 2, and Bury Me At Makeout Creek, I was hoping for a return to a more intimate, stripped back album.

Nothing's About To Happen To Me thankfully finds the right the balance between new and old Mitski. As always, her lyrics are viscerally relatable and emotionally devastating as a result. I'm sure there's a lot to unpack on this album, but I think I'll save that for another day.

I can imagine some folks might feel quite disappointed with how mellow this album feels, but I think I'll Change For You is going to end up being one of the best songs released all year, and it certainyl deserves a place in Mitski's hall of fame. I'd honestly love to hear her do more lounge/bossa nova style music someday.

I also enjoyed That White Cat, which reminded me of PJ Harvey's early music, whilst Lightning really scratches the itch for those who miss the noiser, slacker-rock style music from her early career.

Overall, it's a solid album and whilst it isn't aiming to be bold and daring, I'm glad I found myself enjoying a new Mitski record after so long!