FKA twigs has confirmed that EUSEXUA Afterglow, which is not a deluxe edition of January’s EUSEXUA, will be released on November 14. today, twigs has shared the ethereal, shapeshifting first single from the sequel, ‘cheap hotel’, alongside a Jordan Hemingway-directed music video featuring the Clermont Twins. Check it out below.
The Best Music Festival Brands for Ravers Who Want to Rep EDM Culture to the Max
From dusty dancefloors to midnight light shows, festival fashion isn’t just about what you wear, it’s about what you stand for. In a world where music is more than a sound and style is more than a trend, the right gear can say everything without saying a word.
Whether you’re stomping rail-side at a bass-heavy drop or gliding through psychedelic dreamscapes, what you wear to a festival is a part of your identity.
As Armin van Buuren once said, “In the end, music remains our only constant in this world of chaos.” For the EDM faithful, repping the culture goes beyond playlists and party nights; it’s a lifestyle. These festival fashion brands bring that vibe to life, each in their own unique way. Some get close. One gets it right.
Here’s a rundown of the best music festival brands for ravers who want to represent EDM culture to the absolute max.
1. Scummy Bears: The Only Choice for Ravers Who Live Loud
If EDM is your heartbeat and festival grounds are your second home, Scummy Bears should be your first stop. This isn’t just a brand. It’s a movement.
Born from bass created for all, Scummy Bears is everything rave culture stands for: defiance, energy, and unapologetic self-expression. Since emerging from the underground in 2016, this brand has been serving up alt fashion that actually represents the crowd, not the mainstream. Think goth grit meets neon chaos, with just the right splash of absurdity.
Their drops go far beyond surface-level aesthetics. With official collaborations with artists like Sullivan King, Kompany, and Midnight T, each collection is infused with artist-driven authenticity. From pashminas wide enough to double as blankets (and soft enough to rub your face in) to mesh tops, cloaks, bodysuits, jerseys, and more, this brand doesn’t miss.
Why Ravers Love Scummy Bears:
- Premium fabrics with unisex, body-diverse fits that actually feel good.
- Artist collabs that hit harder than the mainstage bass.
- Pashminas are so wide and soft, they might replace your comfort blanket.
- Edgy, alt-inspired graphics that never water down the vibe.
- A community-first identity that embraces everyone, no gatekeeping here.
From dubstep pits to gogo glam, Scummy Bears is what you wear when you want to be the rave, not just attend it. If Daft Punk was right when they said, “Music is the soundtrack of your life,” this is the uniform for it.
2. Culture Kings: Streetwear With Festival Flair
Culture Kings is no stranger to the music scene. Best known for their streetwear roots, they’ve become a go-to for festival-goers who want bold, mainstream-friendly looks with a touch of rave-ready energy. Their drops often draw from psychedelic visuals, vintage aesthetics, and oversized silhouettes that mirror the loose, expressive nature of music festivals.
There’s no denying that Culture Kings pieces photograph well, especially under festival lighting. They offer a wide selection of vibrant fits, and their brand is popular among those who want to blend in with today’s urban-trendy aesthetic.
That said, they tend to lean more fashion-first than culture-deep. If you’re someone who “feels the energy,” as Skrillex puts it, but still prefers a TikTok-approved look, Culture Kings fits that middle ground.
3. iEDM: The Conscious Raver’s Choice
Dedicated solely to rave and EDM fashion, iEDM hits all the right notes for fans who care about the bigger picture. Their collections are handcrafted and eco-friendly, offering everything from trippy hoodies and kaleidoscopic sets to sustainable accessories that nod to underground ideals.
One of their standout points is their artist collaboration model. Unlike mass-manufactured brands, iEDM ensures that its partner creators are directly supported. This makes them a fan favorite for ravers who want their dollars to mean something.
That said, while their catalog is extensive, many of their visuals play heavily on classic rave tropes, meaning you’ll find plenty of psychedelic fractals, glow-in-the-dark details, and neon galaxy themes. It works, but it doesn’t necessarily surprise.
Still, if sustainability is your jam and you want wearable art that speaks to the EDM soul, iEDM gets a respectful nod.
4. Suspex Rave Wear: Small-Batch Style With a Conscience
Suspex is a lesser-known gem, but one that’s carving its place in the ravewear universe. This small, sustainability-forward brand specializes in exclusive, limited-run festival fashion. Think bold bodysuits, cutout tops, tie skirts, and reimagined silhouettes that blur the lines between functional and fierce.
They shine most when it comes to inclusivity and ethical production. Their values resonate deeply with the conscious corner of the rave scene, those who want their fashion to mirror their morals.
While their catalog is smaller than the rest, the pieces are crafted with care. Expect innovation over quantity. Their designs are edgy, though often less loud in print compared to larger brands. If you’re into one-of-a-kind looks that align with a mindful ethos, Suspex is worth checking out.
Conclusion: Wear the Music, Don’t Just Hear It
EDM isn’t just sound, it’s energy, identity, and rebellion wrapped in basslines and strobes. The brands you choose to wear can either echo the chaos of that world or mute it down.
Some brands ride the wave of EDM culture. Others create the wave.
Scummy Bears stands out not just for what they make, but for why they make it. They’re not trying to translate EDM into fashion; they’re speaking its native tongue. From their official artist collabs to their boundary-breaking silhouettes and unfiltered attitude, this brand lives where the beat drops hardest.
So if you’re ready to wear your culture like a second skin, the choice is obvious. Throw on your jersey, wrap up in that ridiculously soft pashmina, and hit the floor. The scene doesn’t start when the DJ plays; it starts when you show up.
Alix Holloway Celebrates Five-Year Anniversary of AH Arts Gallery in New York
AH Arts, the fine art gallery and full-service advisory firm in New York City founded by Alix Holloway, is celebrating its five-year anniversary this year with an exhibition opening in November.
Since its inception in 2020, AH Arts has established itself for its expertise, integrity, and transparency, helping art collectors navigate the complex world of Modern, Post-War, and Contemporary Art. Specializing in a bespoke curated approach, AH Arts functions as both a trusted art advisor and a private secondary market dealer. The firm’s core mission is to source the right works for each client and offer them at the best price, a process rooted in deep listening to client interests and leveraging scholarly expertise.
“Our aim is to be your most trusted and approachable resource in the industry,” says AH Arts founder, Alix Holloway. “From presentations of curated selections to extensive market analysis and targeted strategic planning, everything we do is designed to help you navigate the art world – not only when buying and selling artwork, but also by providing the ongoing support that ensures your collection maintains lasting value while in your care.”
Holloway, whose career spans almost two decades in the secondary market, notably at the renowned James Goodman Gallery, brings a rare blend of deep art historical knowledge, keen market insights, and established relationships. She is particularly adept at “uncovering hidden gems” – sourcing long sought-after works of art and skillfully negotiating on behalf of clients. Her impressive track record includes navigating transactions for works by major artists from a 1932 Picasso painting to de Koonings and Lichtensteins, to Kusama Infinity Net paintings. A graduate of New York University with a master’s degree in visual arts administration, Holloway’s commitment to integrity and professionalism safeguards collectors. AH Arts performs thorough market analysis and due diligence, illuminating an otherwise opaque industry to guide, educate, and protect clients for a meaningful and enjoyable collecting experience.
In an increasingly digital world, AH Arts champions the irreplaceable value of seeing a work of art in person and the power of one-on-one connection with a trusted advocate. Holloway speaks to Our Culture Mag about her unique exhibition program, relationship building in the art world, and creating enjoyable art collecting experiences that meet the needs of our time.
What prompted you to start AH Arts after your tenure at the James Goodman Gallery?
Alix Holloway: James Goodman was an incredible mentor and believed in supporting young art dealers. I spent 10 years at the gallery; it was a small family business and when he passed away at 90 years old in 2019, the plan was always to close. We spent 2020 methodically winding down operations. With his family’s and his estate’s full support, I began a new chapter from this historic program. The gallery wrote letters (printed and mailed letters) to all our clients encouraging them to continue to work with me. It was such an opportunity to build from that foundation. From this archive and wealth of information, I work in much the same capacity with many of the same clients buying and selling blue-chip art on the secondary market.
How did this all start as a summer passion project from 2015 to 2018?
This period was a real high point in the market, and for me, the art world began to feel overly commercial. I needed balance and partnered with a young gallerist, Celine Mo (who I still work with today), and curated two-person shows at her then Bushwick space of emerging artists. It was a great experience for me to learn the grit of exhibition programming and gain confidence as a curator. She later helped me at art fairs with James Goodman, and we both developed this deep understanding of each other’s topography. This enabled us to seamlessly work together when I opened AH Arts at our shared space at 242 West 22nd Street.
How has it grown over the years?
For me, relationships are pivotal, and nothing is more important than working with good people. It takes time to nurture, develop, and establish deep roots – so that when a client is considering selling from their collection, I am top on their call list. My manageable seasonal exhibition program complements this agenda and creates meaningful touchpoints. Over the years, I have experimented with new projects, including curating a show with Adelson Galleries in Palm Beach in 2023 and participating in Master Drawings New York uptown earlier this year. A deep love of art historical research is what drives me back to secondary market work and keeps me enthralled every day. Cultivating connoisseurship is an ongoing process.
You show art in a modern house. This shows fine art in an intimate setting. Why does this work for you, presenting art within and ‘beyond the white cube’ experience?
I adore my space – it’s a modern townhouse on a residential tree-lined block in Chelsea, not an anonymous and expansive warehouse. It was a deliberate choice. There is the ground floor gallery with a downstairs that houses the library, storage, and a small workspace. Upstairs are shared offices. There is even a beautiful private garden in the back. Since we tend to be open only by appointment (outside of two seasonal public exhibitions held in May and November during the marquee auctions), we don’t get walk-in traffic the same way like other Chelsea galleries do. Visitors arrive with clear intentions and are pleased to stay longer. When so much of the art world is reduced to PDF previews and passing art fair conversations, it’s a pleasure to engage in deeper exchanges about art, collecting, and cultural life.
Where does the magic lie in 20th century art, in your opinion? I love that it was made during an analogue era.
It is amazing the perspective and appreciation of time that having kids gives you. I had twin boys in 2021, and curated an exhibition the following Spring titled MOTHER & OTHER, inspired by depictions of women and motherhood in 20th Century Art. Motherhood is certainly a theme that goes back centuries, but one that can feel incredibly relevant. That is the magic of art – human connectivity – whether it’s historic or contemporary, great art speaks to humanity’s collective experiences.
Who are some 20th Century artists that you love showing at AH Arts? Calder comes to mind. So does Lichtenstein.
I’ve sold some incredible Alexander Calders, and we held a solo show at James Goodman Gallery in 2014. Also, from my tenure there, Roy Lichtenstein is an artist I dealt with in-depth, and am completely fascinated by. The Lichtenstein Foundation’s online catalogue raisonne is an extraordinary resource, and I cannot wait for his retrospective to open at the Whitney Museum next year. At the moment, I have a Lichtenstein sculpture and two works on paper that have been in private collections for decades. One drawing was a wedding present from the artist to the current owner in 1979, the year it was created. The other is a large to scale drawing for his monumental outdoor sculpture, the Mermaid, which resides outside the Miami Convention Center. It was a gift to the architect who advised on the structural aspects of the project, one of the artist’s first works of that scale.
Another artist I am enamored with and always thrilled to get on consignment is Rauschenberg. Every time I look at his work, I discover something new. I had a terrific 1960s transfer (one of the rubbings where he finds photographs in printed media on the street then uses a solvent to transpose the image to the paper, making a visual collage of sorts). The Rauschenberg Foundation came to closely examine the piece at the gallery, and they were able to identify the exact images from magazines at the time that had been transferred. Rauschenberg’s art was a direct response to the world around him, blurring the lines between art and life, famously stating, “I try to act in the gap between the two.” The market for his work is also quite interesting, varying dramatically based on series, period, and medium, yet consistently achieving stronger results through private galleries than at public auctions. Some works inherently perform better at auctions, while others benefit from the reflective pace of private sales.
Tell us about your exhibition program. What fall show do you have opening in November? What can we expect to see?
You will have to come to find out, or at least join my mailing list. Each public show features a range of paintings, sculptures, and works on paper from the last 100 years. Some exhibitions of new acquisitions tend to focus on an idea or cultural moment, while others draw connections across periods or media. My inventory is constantly changing, and the works in November’s exhibition will be just a selection. Currently, I have work by a few Italian Modern Masters, including Burri and Pomodoro, as well as a terrific Boetti embroidery, and paintings by Abstract Expressionists, like Gottlieb, Motherwell, and Riopelle. In terms of scale, I have a small early Rosenquist painting and a late diptych painting by the artist that measures 14 feet wide. It really runs the gamut.
What events do you have lined up for the fall?
I just hosted a pre-performance reception for a young dance company called Hivewild. I have served on their board of directors for seven years, and it is remarkable to see how they’ve grown. This September, the company performed an evening length premier for three nights of nearly sold out shows at New York Live Arts, just down the street from the gallery. Contemporary dance is a real interest of mine. I also serve on the Development Committee and co-chair the Young Leaders Circle at the Joyce Theater, which is launching an underwriting fundraising campaign this Fall for DYPTIK and their New York Debut at the Joyce. We’ll likely host something for the theater at the gallery in late October. I am always thrilled by opportunities for cross-disciplinary collaboration.
In addition to my Fall exhibition, I have been invited to speak on a few panels. I am quite involved with the alumni council for my Master’s program in Visual Arts Administration at New York University. I will be in dialogue with fellow alumni in a colloquium for current students titled Art Advising & Working with Collectors on October 10, followed by a Salon Talk forum hosted by Gallagher Insurance titled Young Innovators in the Art World on October 15. There is certainly more to come.
For more information, visit ahartsllc.com.
How Photo Booths are Shaking Up in the Instagram and TikTok Era
Events today aren’t just about rounding up the lads and lasses, they’re about making it a night people won’t stop chatting about. In the age of Instagram and TikTok reels, the humble photo booth has bounced back in style. Once a nostalgic feature in your local Tesco, arcades or at train stations, photo booths have grown into mainstays at weddings, launch parties, runway shows, and parties.
From Nostalgia to Necessity
Photo booths used to be charming, retro novelties, the kind of quirky add-on people stumbled into at their friend’s 30th birthday party. Now, they’re central to event planning. Couples book them as wedding party entertainment, while fashion brands and tech companies rock up with sleek, branded mirror booths like those offered by Supreme Photo Booths to spark social buzz. Why they’re an absolute must is ’cause they can mash the old-school with instant online action: guests leave with a physical printout and a shareable clip for their gram.
The Insta + TikTok Effect
Social media has flipped the script on how we measure event success. A packed dance floor to Mr. Brightside is mint, but an Instagram slideshow or viral TikTok can keep the buzz going indefinitely. Photo booth hire comes with custom overlays for printouts, GIFs, and boomerang-style clips—tools designed to make every guest their own content creator. In this way, photo booths no longer just snap memories; they manufacture moments designed to trend.
Style Meets Tech
Pause readers know that style is as important as experience. Modern photo booths aren’t clunky boxes shoved in a corner — they’re sleek installations with LED lighting, touchscreen interfaces, and minimalist or fully themed backdrops. Some setups even merge with virtual reality, allowing virtual props or all-in digital playgrounds. The result: a blend of fashion, technology, and culture that feels at home at any social club birthday party or high-profile event.
Why They Matter Now
As event culture shifts further toward sharing, photo booth hire has carved out its role as a hybrid entertainment and marketing instrument. For hosts, they’re more than fun — they’re a brand statement. For attendees, they’re a chance to grab their best look, make a cool story or reel on the spot, and take home a tangible piece of the night.
Album Review: Geese, ‘Getting Killed’
In the 1965 documentary Ladies and Gentlemen… Mr. Leonard Cohen, which follows the singer-songwriter around the age of 30, a TV interviewer asks what Cohen means when he says he tries to wake up in a state of grace. He describes it as “that kind of balance with which you ride the chaos that you find around you,” adding, “It’s not a matter of resolving the chaos, because there’s something arrogant and warlike about putting the world in order.” I kept thinking about his use of the word warlike as I spun Geese’s revelatory new album, Getting Killed, which wastes no time pointing to the carnage all around while spending most of it in a fervid, ludicrous freefall that fills the gaps between the bizarre chaos of 2023’s 3D Country and Cameron Winter’s solo album Heavy Metal. It rides a car with a bomb, becomes the car, becomes the road going nowhere. Until seeing that Leonard Cohen clip, I had trouble figuring out why its lawlessness felt so graceful: there’s something Godlike about it.
1. Trinidad
Geese may be positioned as young luminaries salvaging rock ‘n’ roll for the new generation, but they make one thing clear: their music is hardly effortless. Not just because they’ve proved themselves more than a group of prodigious post-punks, as Projector gave some the impression, but because they’re so quick to squander the genre’s easy tricks. In place of any kind of swaggering riff, ‘Trinidad’ staggers about, as actual geese might, portending chaos. Before repeatedly shouting the JPEGMAFIA-assisted refrain, “There’s a bomb in my car!” Cameron Winter begins by singing the words “I tried,” adding in a “so hard” as a haunted double echoes the exhaustion. The threat is a jolt of adrenaline, sharpening his pen as well as his emphatic intonation. The apocalypse is well underway: “Nothing’s been said for four and a half days/ When that light turns red I’m driving away.” Here the double swirls over Winter’s lead, panned to mirror the voices in his head, as the rest of the band gestures toward what might only be called self-implosion.
2. Cobra
If you heard ‘Taxes’ before the album’s release, its most quotable line, “There is only dance music in times of war,” will spring to mind when ‘Cobra’ comes on. Having fervently established these are times of war, Winter sings, over a woozy jangle, “Baby, let me dance away forever.” Far from joyously rebelling, though, he’s entranced with no semblance of control, stuck in eternal obedience before defiantly despairing, “You can make the cobras dance/ But not me.” The double meaning of the opening line dawns on you: “Let me dance away forever.” Dispel the curse.
3. Husbands
The album’s first substantial groove, but compare that to IDLES’ ‘Gift Horse’, another equestrian-themed track from another Kenny Beats-produced album, Tangk: This is not about how fast and muscular his horse is, about “Look at him.” It’s not about making people move, either. The punishing bass and jumbled percussion, instead, evoke just how arduous it is to get ahead, tracing the weight on the singer’s body: “There’s a horse on my back/ And I may be stomped flat/ But my loneliness is gone.” Maybe not, he concedes – maybe no amount of pressure can numb the gnawing feeling out of existence. “And if my loneliness should stay/ Well, some are holiest that way.” You’ve probably heard that rationalization from a disaffected, hard-working man in your life; unless, of course, it’s buried in your head.
4. Getting Killed
A Ukrainian choir sample stands in for everybody in the world – a cacophony over which Winter can’t hear himself talk, so he must belt out one of his most impassioned performances, treading the line between operatic and just frantic. Yet underlying it is a professed emotional bankruptcy – “I can’t even taste my own tears/ They fall into an even sadder bastard’s eyes” – that could push any lover away. The loneliness allows him to indulge in escapist tendencies that illuminate and lend credence to the album’s title: “I’m getting killed by a pretty good life.” There’s a blink-and-you’ll-miss-it cut in the middle of the track that sounds like losing your mind for a small second, then falling inconspicuously back into the rhythm of that same life that almost snapped you out.
5. Islands of Men
Guitarist Emily Green and bassist Dominic DiGesu stab at their instruments as if trying to force the truth down our throats: “You can’t keep/ Running away/ From what is real/ And what is fake,” Winter sings, accusatory but unable to extricate his own narrator from the delusion. As if literally responding to Winter’s call, the band literally stops, again, halfway through, then picks up the slow-burn, letting Winter’s poetic improvisations take the back seat while occasionally aligning in holy harmony. Instead of Winter’s voice, it’s for once the high piano notes and touches of brass that serve as harbingers of ecstasy. Not even he can outrun them.
6. 100 Horses
Unlike ‘Gift Horse’, the stomp of ‘100 Horses’ is not sleek – it’s skronked-out, trashy, borderline violent. Still, the song – even as Winter hilariously clarifies that it’s “maybe 124” – is nothing short of bombastic, getting fired up on the sarcasm and dance, two things he still has the absolute freedom to practice in times of war. “He said that I would never smile again, but not to worry,” he sings, referring to one General Smith, and you can practically see the nervous grin on his face. “For all people must stop smiling once they get what they’ve been begging for.” Some people have been begging for an album like Getting Killed, that captures the current feeling of a burning circus without sounding, for a lack of better word, cringe – Geese deliver because they’re good at cringing at the world around them while sounding absolutely serious. “We have danced for far too long and now I must change completely” is not the best marketing pitch, but it’s one hell of a closer. Grooveless Geese could still kill it.
7. Half Real
The change comes in the form of the album’s first (sort of) ballad, one that sways with the force of Winter’s idiosyncratic and humorous spirituality, contending, “You may say that our love was only half real/ But that’s only half true.” He tries to find some grace in the beatific arrangement, but a lobotomy sounds more worth it for the price. When another voice joins him in pleading to “get rid of the good times too,” you cannot doubt the heart of this record. You won’t be able to get it off your mind, either.
8. Au Pays du Cocaine
The song hews closest to the ragged lullabies of Heavy Metal, but nothing on that album was quite so emotionally or musically direct, if only to highlight its own obliviousness. When Winter’s voice shrinks to declare that he’s alright (way less convincing than the preceding “It’s alright”), you can’t help but feel the defeat, never more pronounced than when he sings, “You can change and still choose me.” The guitar line sounds like sunshine sparkling on waves, the rhythm almost like a breeze. Fake, obviously – he’s standing on a sinking boat – and the reality of his desperation is just as unassailable. He realizes he can’t run away from either, so he must believe.
9. Bow Down
The narrator must transform again: “I was a sailor and now I’m a boat/ I was a car and now I’m the road.” (On the title track, he was “a TV on the road.”) This is the band’s ragtime depiction of hell, reaching the point of mania where even the singer’s close circle sounds bemused by his self-talk, each musician going off on their own unhinged tangent.
10. Taxes
When ‘Taxes’ dropped in July, it felt like a first taste of Getting Killed’s unique lunacy. As the penultimate track on the album, it almost sounds like a comedown, a moral reckoning. Compare the way Winter sings “Now I’m in hell” on the previous song to the utter resignation with which he sentences himself there. At this point, there’s no telling what the difference is between defiance and despair, not even when he intones, “Doctor, doctor! Heal yourself!” What’s clear is that any sort of faith beyond the self has been crushed; he’s not clinging to love. “I will break my own heart from now on,” he belts, barely piecing himself together.
11. Long Island City Here I Come
Equal parts percussive workout and spiritual catharsis, ‘Long Island City Here I Come’ reveals the album’s origins as a series of jams, and you can easily imagine Geese stretching this one back out to 10 or even 20 minutes (as if they need more convergence with the world’s biggest jam band). But it’s also the sound of a band (or a frontman urging his band) pummeling towards uncertainty, through total annihilation. In a spectral vision, Winter is told “a masterpiece belongs to the dead.” Which means it belongs to the scared and nervous, who may well find home in Getting Killed.
Francis of Delirium Release New Single ‘Little Black Dress’
Francis of Delirium have returned with an explosive new single, ‘Little Black Dress’. It marks the Luxembourg band’s first new music since last year’s Lighthouse. Check it out below.
“Coming home fresh off a tour opening for bôa, playing to all these kids excited about guitar music, and heading into the Blondshell dates, I wanted to put out a song that captures the energy and messiness of playing live and being on stage,” Jana Bahrich said in a statement. “It’s a song about the anticipation of going out, the hope, the desperation, and the ultimate disappointment.”
Revisit our Artist Spotlight interview with Francis of Delirium.
SEO Battle Between Aussie Casinos And Gaming Platforms
The digital showdown in Australia’s gambling scene is heating up, and the best online casino in Australia operators are flexing their SEO muscles like never before. As punters shift from footy streams to reels and tables online, search engines have become the new battleground. Meanwhile, gaming platforms targeting similar audiences are keen to steal a slice of traffic, making the fight for visibility fierce. With players expecting fast, trustworthy experiences, being discoverable is just the start — staying at the top of search results is the real challenge.
Understanding Aussie Search Behaviour
Australian players aren’t just typing generic phrases into Google. They look for trusted sites, smooth interfaces, and games that pay out reliably. Popular searches include terms like “online casino Australia,” “real money pokies,” and “fast withdrawal online casino Australia.”
Mobile’s the big boss these days — about 65% of traffic’s rolling in from phones and tablets, so if your SEO’s not mobile-ready, you’re already on the back foot. Local flavour matters too: plenty of punters chuck in searches like “Sydney pokies online” or “Melbourne casino online,” which makes geo-targeting an absolute must.
SEO Tactics That Separate Winners from Losers
Top performers are those who combine technical skill with creative content. For instance, Betfair Australia leverages detailed blog posts reviewing pokies and table games, complete with payout rates and bonus guides, to lead organic searches.
- Keyword optimisation for pokies and table games
- Localised landing pages for Australian cities
- Schema markup for rich snippets
- Fast-loading mobile interfaces
A recent case study showed that after six months of implementing these strategies, Betfair Australia saw a 42% jump in organic traffic, proving the power of content paired with tech tweaks.
Paid vs Organic — Who Wins the Traffic Battle
Sure, paid ads can snag you quick wins, but it’s organic SEO that really locks in long-term clout. CrownBet loves to splash the cash on PPC for an instant traffic hit, while PlayAmo played the long game — pumping out blogs, slot guides, and even cheeky interactive calculators to nail down best online casino Australia real money searches. The results? PlayAmo increased leads by 25% without additional ad spend, illustrating that sustained organic visibility can outweigh short-term paid tactics.
| Platform | Paid Traffic | Organic Traffic | CTR (%) | Conversion Rate (%) |
|---|---|---|---|---|
| CrownBet | 12,500 | 8,300 | 3.1 | 4.5 |
| PlayAmo | 4,200 | 10,500 | 4.2 | 5.1 |
The table highlights that a strong organic presence can outperform a heavily paid strategy, particularly when players trust content and site usability.
Content is King, But Engagement is Queen
Creating content isn’t enough; it has to engage. Interactive guides, slot reviews, and tutorial videos are vital, especially for online casino Australia real money players.
- Step-by-step guides for new punters
- Interactive slot reviews and bonus comparisons
- Video tutorials highlighting gameplay mechanics
- Player testimonials and social proof
Data from PlayAmo’s blog section showed that adding video content increased average time on page by three minutes, keeping players more involved and improving search rankings. The result? Higher dwell time signals to Google that the site provides value, boosting SEO performance.
Technical SEO and Legal Compliance
Australian players and search engines both expect transparency. Correctly implementing online casino Australia legal standards not only protects players but also enhances search performance. HTTPS protocols, structured URLs, fast loading times, and mobile optimisation are table stakes. Casino online Australia providers show that technical compliance can reduce bounce rates by 18%, keeping players engaged and search engines happy.
Monitoring, Analytics, and Continuous Adaptation
SEO’s not a set-and-forget gig — you’ve gotta keep an eye on the numbers and tweak things whenever the algos throw a curveball. Gear like Google Search Console, Ahrefs, and SEMrush gives operators the lowdown on rankings, site health, and what the rivals are up to. Speed’s the kicker here: if you can pivot within a couple of weeks of an update, you’ll dodge the slide in visibility and keep your spot in the mix.
What Other Industries Can Teach Aussie Casinos
The scrap for eyeballs isn’t just a gambling thing — big e-commerce mobs, streamers, and travel giants are in the same boat. Amazon’s forever mucking around with layouts to squeeze out extra conversions, while Netflix keeps binge-watchers glued with pages tailored to their tastes. Over in travel, Booking.com nails it by pushing localised search terms to cut through a brutally competitive market.
Aussie casinos can pinch a few of these tricks too — tweak the UX, sharpen the personalisation, and roll out geo-targeted landing pages to stay a step ahead in the Australia online casino game.
Key takeaways for operators:
- Track both organic and paid performance
- Test interactive content to boost engagement
- Ensure full mobile optimisation and fast load times
- Comply with legal requirements for player trust
- Apply cross-industry lessons to innovate SEO strategy
This play puts the best casino online brands miles ahead — not just as spots to have a flutter, but as digital hangouts punters can actually trust. With sharp content, slick tech, and a knack for rolling with the punches, Aussie casinos and gaming platforms aren’t just hanging on in a crowded market — they’re setting themselves up to thrive.
Primavera Sound Barcelona 2026 Lineup Announced: The Cure, The xx, Doja Cat, and More
Festival lineup announcements seem to be coming early this year. Following last week’s news that Sabrina Carpenter, Karol J, and Justin Bieber would be headlining Coachella 2026, today Primavera Sound is revealing the lineup for next year’s Barcelona edition. Topping the bill are The Cure, The xx, Doja Cat, and Massive Attack, while My Bloody Valentine (!), Alex G, Slowdive, Addison Rae, Geese, Blood Orange, PinkPantheress, Kneecap, Mac DeMarco, Big Thief, Ethel Cain, Father John Misty, and Water From Your Eyes are also set to perform.
Other acts on the bill include Amaarae, Cameron Winter, Smerz, Lola Young, caroline, Marina, Little Simz, JADE, Yard Act, Knocked Loose, Skrillex, Lambrini Girls, These New Puritans, Skullcrusher, Touché Amoré, Rilo Kiley, Texas is the Reason, Panda Bear, Agriculture, Lucrecia Dalt, and Merzbow.
Ahead of a general sale starting on Tuesday (September 30), a fan sale for tickets will take place on Monday at 10am BST/11am CEST. You can register here.
Last year, Charli XCX, Chappell Roan, and Sabrina Carpenter headlined Primavera Sound. Check out our daily recaps from the festival.
Microsoft Flight Simulator 2024 Heads to PS5 with Release Date
Microsoft Flight Simulator 2024 will officially come out on PlayStation 5 later this year. The announcement was made at the PlayStation State of Play live show.
Extending the Flight Simulator Universe
Asobo Studio initially launched the aviation game on November 19, 2024. It continues the rich 43-year history of the franchise in the gaming world. It started in 1982. But this will be the first time that a title in the series is coming to PlayStation. The release also shows Microsoft’s growing trend of bringing exclusive titles to the console.
With its arrival on Sony’s PS5, the supported platforms of Microsoft Flight Simulator 2024 expand. Before the announcement, the title was only available on PC and Xbox. This move brings the game to a wider group of players.
Breathtaking Gameplay
According to Asobo Studio, the game gives players a look at having an aviation career. It pulls them in the flight experience. At the same time, it blends realistic flying mechanics with many fun activities. In particular, Pilots can go on different types of missions. Players get the chance to try aerial firefighting, medevac operations, remote cargo runs, search and rescue tasks, and more. Likewise, the main objective is to become an Airline Passenger Transport Pilot.
Aside from the main missions, there are competitive modes. Players can join in the Challenge League. There are rally races, precision landings, and low-altitude challenges. It has the biggest test for pilots.
For a more calm experience, Microsoft Flight Simulator 2024 has a creative mode. Players are not limited to fighting while flying. They can also become a World Photographer. This mode offers fun challenges. It invites players to take photos of natural views and famous spots.
VR Support and Other Details
As per a GameRant article, the PS5 version will support PlayStation VR2. It lets players fully experience the skies with virtual reality.
Microsoft Flight Simulator 2024 includes more than 150 aircraft models. The choices include light planes, jumbo jets, helicopters, and military fighters. In the trailer, the game features several planes. But the developers have not yet said how many will be available on PS5 at launch. But what is clear is the very real flight experiences in a lively world.
Early Access and Official Release Date
The developers are launching Early Access starting on December 3 for Deluxe, Premium Deluxe, and Aviator Editions.
Microsoft Flight Simulator 2024 will take off on Sony’s console on December 8. Players can pre-order now for PS5 and PS5 Pro. Every pre-order will include the Northrop T-38A Talon aircraft.
15 New Songs Out Today to Listen To: Florence + the Machine, Courting, and More
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, September 24, 2025.
Florence + the Machine – ‘One of the Greats’
Florence + the Machine have released a new song, ‘One of the Greats’, which sprawls over seven minutes in ragged, eerie, caustically humorous fashion. It’s the second single from Everybody Scream. In a statement, Florence Welch said:
I don’t really know how to explain myself with this one, it was sort of a long poem about the cost of greatness. Who gets to decide what that is? Why do I even want it? Why am I never satisfied?
I feel like I die a little bit every time I make a record, and kind of literally nearly died on the last tour. Yet I always dig myself up to try again, always trying to please that one person who doesn’t like it, or finally feel like I made something perfect and I can rest.
Early in my career, I was consistently ridiculed and derided for the bigness of my expression. I was thrust into the spotlight but also told again and again I didn’t deserve it, or that because it wasn’t to their taste it wasn’t good. So maybe this is a 15-year outpouring of frustration. But also, a lot of the lines I just left in because I thought they were funny.
Me and Bowen from IDLES wrote it in one take. He played the guitar and I just sang it straight from the page. We meant to re-record it but the first take just had this amazing energy.
Then Aaron Dessner helped us take it to a truly transcendent place. I wanted it to feel like you were disintegrating into nothing at the end. Which is sometimes what the creative process feels to me. Death and resurrection over and over.
Courting – ‘rollback freestyle’ [feat. RXK Nephew]
Courting have recruited Rochester rapper RXK Newphew for a frenetic, noisy track called ‘rollback freestyle’, from the deluxe edition of Courting’s latest album Lust for Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story.’ “Hardly just a deluxe, but an inversion – this release is an attempt to add new layers to the dual thematics of ‘Lust for Life(…)’, by twisting original songs into new beasts entirely, through either doubling up the processing, or stripping it back altogether,” Sean Murphy O’Neil explained. “Songs written in bedrooms are now opened up and collaborative, whereas songs written on stages are re-interpreted from outside perspectives. Some songs are re-performed live, in the same studio, but with a year of touring forcing them to shift and evolve.”
Chat Pile and Hayden Pedigo – ‘Demon Time’
Chat Pile and Hayden Pedigo have released ‘Demon Time’, another beguiling single from their upcoming collaborative LP In the Earth Again. “Speaking to Yeats’ widening gyre, things are falling apart,” Chat Pile’s Raygun Busch said in a press release. “Bad to worse or painful move towards something better is anyone’s guess, but we are living through a difficult time. The cycle continues forever, though. This is one of the first songs we recorded for the new record and is the wellspring from which the rest of the lyrical ideas flow.” Hayden Pedigo added: “This track feels like the gateway to the rest of the album. The calm before the storm. It might be my favorite track on the record just because it sets the tone so well. It’s eerie calm, and you know something might be coming around the corner.”
Eliza McLamb – ‘Suffering’
Eliza McLamb has dropped a poignantly self-aware track, ‘Suffering’, from her forthcoming album Good Story. “I get off on suffering/ It’s my favorite thing,” goes the chorus, “Find without it I can’t figure out the point of anything.” “I came to see suffering as a creative act — something I often wanted to feel and thus created situations where it was possible,” McLamb shared in a statement. “I realized my own role in manufacturing pain, and I wanted to play with the idea of suffering as something I sometimes chose as a willing experience.”
Bartees Strange – ‘DCWDTTY’
Bartees Strange’s ‘DCWDTTY’ is the fifth single from All Things Go: 10 Years, whose proceeds go to Jack Antonoff’s charity the Ally Coalition, and features production by Antonoff. “One of my favorite songs from people in this part of the world is ‘DC Will Do That To You’ by Smart Went Crazy,” Strange said. “Content wise this song doesn’t have much to do with theirs, other than I feel like a big part of who I am is because of DC and what I feel like it did to and for me. This song is just me, wandering through the DMV – things seen and heard in a uniquely lovely and upside down place.” It might be one of the most raucous-sounding things Antonoff has been involved in.
Sharp Pins – ‘I Don’t Have the Heart’
Kai Slater’s Sharp Pins have served up another single from their forthcoming LP Balloon Balloon Balloon. Following up ‘I Wanna Be Your Girl’ is the lonesome yet bouncy ‘I Don’t Have the Heart’.
Elias Rønnenfelt – ‘Love How It Feels’
Elias Rønnenfelt has shared a groovy, enticing track, ‘Love How It Feels’, alongside a video directed by Thinh T. Petrus Nguyen. It’s the second single from his upcoming LP Speak Daggers, following ‘USA Baby’.
Prewn – ‘My Side’
Prewn has released a haunting, numbed-out single, ‘My Side’, from the forthcoming LP System. In a statement, Izzy Hagerup is quick to explain how the track’s emotional core is rooted in the aforementioned system, calling it “a song about living in a country where the systems in place are bloated with abundance, yet we’re more isolated from community and connection to environment and each other than ever. Through this epidemic of over-consumption we lose our peace along with our compassion.”
Indigo De Souza and Mothé – ‘Serious’
Indigo De Souza is gearing up for a fall tour with Mothé, and today the two artists have teamed up for an upbeat single called ‘Serious’. “Serious is a reflection on overthinking— and trying not to!” De Souza reflected. “Reminders to myself, and from people I love, to loosen the tight grip I’m often holding internally. Life is a heavy experience, so it’s important to make time for letting loose! This song is about that moment when you decide you don’t care who’s watching, you’re just going to dance with your whole heart. It’s about trusting joy. I absolutely loved singing this song with my friend Mothé. They have such a beautiful voice and they are so fun to write with. I am grateful to have made this song with them, and really excited to hopefully sing it a few times on the tour we have coming up!”
Hannah Jadagu – ‘Gimme Time’
Hannah Jadagu has unveiled ‘Gimme Time,’ a delicate ballad off her forthcoming record Describe. The accompanying video, co-directed and edited by Jadagu and collaborator Sam Wilbert, was filmed in and around the mountains around Estes Park, Colorado.
Joyer – ‘Glare of the Beer Can’
Joyer, the East Coast indie rock duo of brothers Nick and Shane Sullivan, have shared the latest preview of their new album On The Other End of the Line…, the contemplative ‘Glare of the Beer Can’. “This song is about being reminded of someone everywhere you go,” Nick Sullivan said “It’s about seeing that person in both the good and bad things in life. It adds meaning to the mundane and enhances the beautiful things.”
Alexa Rose – ‘Anywhere, OH’
Alexa Rose wrote ‘Anywhere, OH’ – the gently swaying new single from her forthcoming album Atmosphere – about a town she stopped in for coffee while on tour, making it sound full of possibility. “I was only there for half an hour passing through, but I felt homesick when I left,” the singer-songwriter recalled. “I remember the way the colors of houses and old oaks poked out from the fog, a line of kids dressed up for Halloween, waiting to go into some church party. There’s a bittersweetness in making small talk with the person behind the coffee counter, who assumes you know about whatever local news is going on—and you just nod along, knowing you’ll likely never stop there again.”
Art School Girlfriend – ‘L.Y.A.T.T.’
Art School Girlfriend has released an affecting new song, ‘L.Y.A.T.T.’, her first new music of 2025. “L.Y.A.T.T. is about the resilience of love through times of physical or mental distance and hardship,” Polly Mackey revealed. “An unfaltering and unwavering declaration for the times when life may be taking its toll. This new music was written, recorded and produced by me in my own studio, allowing for a deeper, more reflective process and to dig into the emotional and sonic places I hadn’t yet explored.”
fanclubwallet – ‘Know You Anymore’
‘Know You Anymore’, the third single from fanclubwallet’s forthcoming sophomore album Living While Dying, was inspired by Anamanaguchi, emo guitar riffs, and Hannah Judge’s own intrusive thoughts. “Everybody dies,” she said. “How do you want to die? How do you think you’ll end up left behind by your loved ones? I don’t like thinking about this all the time, but why don’t you think about this stuff too?”
Pem – ‘m4 windy’
Pem has released a tender, airy new song, ‘m4 windy’, which is named after the motorway between London and The West Country. “I was driving on the M4 one day during that bout of gale force winds we had in early 2025,” she explained. “I was singing something to myself about a tornado and recorded a voice note of my tornado mumbles. My phone saved it as ‘m4’. I started writing when I got home and m4 windy was finished an hour later.” She added of the music video: “I reconnected with French filmmakers Camille and Juliette — aka Las Favoritas — who I first met when I was living in Paris seven years ago. Together we built an all femme-led crew. Nine of us piled into a van and drove to the countryside south of Paris to a surreal, sandy, rock park known for bouldering. We filmed through the night to create something earthy yet ephemeral, tempestuous but distant. It was so fun and the team were phenomenal.”
