Jay Gleeson used to run rampant at the helm of Between The Devil & The Deep, one of the most underrated heavy bands this country has produced in the last 20 years. Having this terrifying fella out front again is such a rush, and it packs the exact kind of punch you'd expect. Really looking forward to seeing what comes next.

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.

"Well, that certainly didn't go the way I thought it was going to." - Me, more than once, listening to this song.

This is a very curious case indeed. The vocals sit somewhere between Missy Higgins and Amy Shark, the opening guitar is pure emo-revival before it gets given the M Phazes production treatment. Oh, and then the bass and kick chorus suddenly turns this into "Attention" by Charlie Puth?

I had to listen to this twice to wrap my head around it, and I don't think I'm entirely there even after that. This is a very ambitious song, it's definitely coming in the wake of acts like G Flip and there's a throughline one can attach the narrative to. I think with a few tweaks of the arrangement, this could be a high rotation song. I'm already curious, so consider my interest piqued.

Yeah, this is fucking COOL man. Stevie's got some sass on her, that snare has some serious crack to it and I can feel that bass-line in my chest. This one gets downright mean at points, and that's exactly the kind of vibe that you want. Roots-rock revival for 2020? Why not!

This feels really underdeveloped. I understand that it's trying to soundtrack a hangover, but the dragging rhythm and lackadaisical delivery doesn't warrant any intrigue or investment. It feels more like a poor Horrorshow impression than something singular or identifying. There's ability present, it's just not being realised the way that it should be.

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.

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.

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.