A rock song with the seatbelt on. This sounds like Harry Styles covering something off a latter-day Kings of Leon record. It's very safe and clean and light, but that's probably the intention so in that regard it works well enough.

Jimi has been one of the most underrated producers and beatmakers in Australia for a very long time. I'm hoping that the Kuya James project will allow that to change, and this dude finally gets the attention he deserves. His work is meticulous, impeccably crafted and consistently engaging - it's all about immersing yourself in a place entirely different to your own and going with it. Serina's vocals are lush, the zither (is it a zither?) sample is hypnotic and that sub-bass work brings the exact sting in the tail that the song needs. Big love to my big brother on this new voyage - great things are ahead.

There is a lot to like here. Julia's vocals are perfectly matched to Duan and Rob's production work, and the dynamics at play lift this from the potential trappings that come with chill-out and downtempo music. A very easy, very pleasant listening experience.

This is played very competently, there isn't a foot out of place and it's one of the most concise, tidy rock songs I've heard in a while... so why is it that I feel next to nothing when I hear this? There's no urgency here, there's no grand statement to be made with the lyrics and the execution ultimately feels unremarkable. This is a sandwich with the crusts cut off - the taste is still there, but it feels entirely too safe.

This is fine. It's entirely serviceable. It's adequate. It's very clear what you're going for, and it's done respectfully enough. The issue is that there are literally hundreds of bands across Australia doing the exact same thing. What do you plan on doing to make people care about Starve over all of them? What is going to make them want to go out of their way to see you? What is something you can offer other bands cannot? These are things you should genuinely be considering going ahead.

Okay, let's look at the positives here: That's a tasty riff. Y'all must have been on that good kush when that bad boy came together. Instrumentally, this is really strong. My sole reservation is with the vocals - you either need to go full Crowbar and just howl the house down, or you need to give this the Cro-Mags treatment. The soft, semi-spoken vocals aren't gonna cut it. Go hard or don't go at all - seriously, this could absolutely work as an instrumental.

If your dad is into The Mark Of Cain or Blacklevel Embassy or anything else that's mean, muscly and working class, and he reckons "they don't make 'em like this anymore," send him Plovers' way. He might not trust them, being millennials and all, but this is burly noise-rock with much more brawn than you might have anticipated.

I was intrigued by the opening here, as it reminded me of Ray Of Light by Madonna and the chord progression reminded me of the guys in Eliza & The Delusionals. I think there's a solid structure of a pop-rock hit here, the only problem lies in the vocals. They're all head and no heart - it feels like machismo where it's really not required. I would have taken it in a different direction myself. Something to work on, anyway. Gosh, you kids are young. You'll figure it out.

A little alt-country shuffle with a nu-folk swing and a couple of cheeky Easter eggs via lifting the chorus medley of The Lumineers' "Ho Hey" and the hook of Damien Rice's "Rootless Tree." In that respect, "L.I." feels like a mosaic - it's made up of a lot of other artworks, but when you take a step back and look at it in its own right it's a beautiful creation as well.