SAD, BUT STILL RAD

There aren’t enough pages in this whole magazine to cover everything there is to know about Cry Club. In two absolutely stacked years of back to back bangers, the kaleidoscopic Melbourne via Wollongong pop duo have proved three things to be true:

1. They can make virtually any vibe gel effortlessly with their fantastical fusion of synth and shred – from molten, math-inflicted punk chaos (“Robert Smith”) to deep, smoke-soaked club house (“DFTM”), to shimmery, ‘90s-channeling acoustic balladry (“Lighters”) and everything in-between.

2. They don’t need a room full of songwriters or a billion-dollar budget to make pop music capable of rivalling the biggest names out there. Their forthcoming debut full-length was recorded on one guitar – a slightly dodgy homemade Jazzmaster that rifflord Jonathon Tooke built at 17, no less – on a budget that would make you think the