You came here to find out if Crownplay is worth your time. Fair enough. Here’s the short pitch: sign up, try a couple of marquee titles like Money Train 4 and Lightning Roulette, and see how your luck sits today. If that sounds like your kind of arvo, jump in via Crownplay and have a crack — responsibly, of course.
Why players in Australia keep circling back
Crownplay doesn’t waffle. The lobby loads fast, the search works, and the games open without fuss. You get pokies by the truckload, live tables that don’t feel like a ghost town, and promos that show real numbers. If you’ve ever bounced between casinos that talk big but pay slow, this one feels refreshingly… normal. In a good way. Money Train 4 is here for high-octane spins, while Lightning Roulette brings that cheeky multiplier sweat to every round.
Now, a quick note on what sits behind the brand. Crownplay states a gaming license under ALSI with number ALSI-154206028-FL2. Good to know, and good to have pinned.
Pokies and tables worth your time
No need to trawl through thousands of tiles to find a keeper. Start here:
Money Train 4 (Relax Gaming) — bonus rounds stack features quickly; the “persistent” symbols can drag a ho-hum spin into something wild.
Starburst (NetEnt) — simple, bright, fast. Great when you just want clean spins.
Legacy of Dead (Play’n GO) — classic “expanders” setup; book-style fans feel right at home.
Live side? Lightning Roulette adds boosted multipliers without turning the table into chaos; Crazy Time pulls the crowd if you like game-show energy; Adventures Beyond Wonderland Live leans whimsical but pays straight; Gravity Blackjack keeps hands moving at a brisk clip. None of this feels dusty — the streams are crisp, and peak-hour tables are lively.
You’ll also see engagement bits tucked into the menu — Bonus Crab, Challenges, Tournaments, and a VIP Shop — that add little side quests while you play.
Bonuses that actually spell out the deal
Welcome offers get thrown around a lot. Here, you can aim for a package up to A$4,500 + 350 free spins across early deposits. The wagering is the clear part: 35× on deposit + bonus for the cash component, and 40× on free spins. Free spins usually drop in batches; a minimum deposit around A$30 is common; and during wagering you’ll want to cap the bet at about A$7.50 to stay inside the rules. None of that is shocking, but spelling it out now saves grief later.
Ongoing perks pop up during the week. A recurring Weekend Reload can reach A$1,050 + 50 free spins with a qualifying deposit window. Live-casino cashback often sits at 25% up to A$300 with a light 1× turnover, claimed via chat. There’s also a rolling free-spins drop when you top up within the stated days. Terms rotate, but the pattern holds: set amounts, clear timeframes, and standard wagering.
If you like tracking progress, the tournaments tab gets busy. Prize pools change, and the formats range from leaderboard laddering on pokies to streak-based challenges on live tables. Check the dates in the promo card and skim the scoring rules before you opt in — two minutes well spent.
Payments made for Aussie habits
Bank cards work. So do POLi and PayID for quick local deposits, which is handy when you don’t want to muck around. E-wallets (Skrill, Neteller, MiFinity, Jeton) and vouchers like Paysafecard are on the menu, plus a crypto lane if that’s your thing. Minimums tend to start near A$30. Withdrawals move fastest with e-wallets and crypto; cards and bank transfers take longer, as usual. Keep verification ready so the first cashout doesn’t stall.
Here’s the quick snapshot before you hit the cashier:
Method
Typical Min Deposit
Payout Timing (typical)
Good To Know
POLi / PayID
A$30
Same day
Local rails; simple for Aussie banks
Visa / Mastercard
A$30
1–3 business days
Use the same card for smoother KYC
Skrill / Neteller / MiFinity / Jeton
A$30
Same day
Fastest route once verified
Paysafecard
A$30
—
Deposit only; pair with e-wallet for cashouts
Crypto (BTC/ETH/USDT/USDC, etc.)
A$30–A$50
Same day
On-chain speed varies by network
These rails keep the friction low for everyday play. If you swap methods later, run a quick ID check first — it keeps payouts tidy.
License and player safeguards
Crownplay cites the license ALSI-154206028-FL2 under the ALSI framework. Put simply: there’s a number, there’s a registrar, and there’s a process to list authorised URLs. If you’re the belt-and-braces type, bookmark the public register and look up the site you’re using. Support runs 24/7 live chat, plus email for anything that needs attachments. Set loss limits, cool-off timers, and break reminders in the account tools if you like guardrails.
A few smart habits before you spin
Keep the max bet rule in mind while a bonus is active — that A$7.50 cap matters. Not every game contributes the same to wagering; pokies do the heavy lifting, while table and live titles usually contribute less or sit out entirely. And if you plan on chasing tournaments, check the participating games list so your spins actually score. These are small things, but they keep your play tidy and your balance moving the way you expect.
FAQ
Is Crownplay legit in Australia?
Crownplay lists license number ALSI-154206028-FL2 under ALSI. Players in Australia can also check authorised URLs on the public register and play with standard account tools like limits, reality checks, and 24/7 live chat for help.
What Crownplay bonus should you start with?
Most new players go for the welcome package: up to A$4,500 + 350 free spins split across early deposits. Expect 35× on deposit + bonus for the cash part and 40× on spins, with a minimum deposit around A$30. If live tables are your thing, watch for weekly cashback — handy on a streaky run.
Which Crownplay payment option pays out fastest?
E-wallets and crypto. Once verified, same-day payouts are common; bank cards and transfers take longer. POLi and PayID are great for quick top-ups from Australian banks.
What games should you try first at Crownplay?
Start with Money Train 4 if you want feature-rich spins, and Lightning Roulette if you’re keen on live action with multipliers. Starburst and Legacy of Dead are reliable warm-ups. If you like showy live formats, peek at Crazy Time or Adventures Beyond Wonderland Live.
Keen to try something new without faffing about? Here’s the pitch: sign up to Raging Bull casino, take a spin on “Elvis Frog in Vegas” or settle in for a few crisp hands of blackjack, and see if it clicks. If you want a quick peek before the arvo gets away from you, tap the anchor and suss it out: Raging Bulls casino. Your call, but don’t leave it for “later” again.
First impressions that actually matter
No fluff here. The lobby loads fast, the layout makes sense, and the games open cleanly on mobile. The theme leans classic—more casino, less cartoon—so you can find what you want without a treasure hunt. Slots at the front, table games a tap away, and video poker tucked in neatly. For a brand that’s been around the traps, it still feels tidy and modern enough to keep you clicking.
Games you’ll actually play
Slots first, because that’s where most of the action happens. Expect familiar titles with proper bonus rounds and a few progressives sprinkled in. If you like character-led slots, “Elvis Frog in Vegas” is pure cheek—steady hit rate, boppy soundtrack, and the sort of feature round that grabs attention on the couch with the footy on mute. Prefer something more straightforward? Classic three-reelers are on hand for quick sessions, and they don’t muck about with rules that read like a tax form. Table-game fans get the staples—blackjack, roulette (American and European), baccarat—with rules and odds that don’t try to trick you with oddball side bets. The catalogue skews toward RealTime Gaming standards, which means reliable math models and no-nonsense lobbies.
Before picking your first game, a few crowd-pleasers to try:
Elvis Frog in Vegas (slots): cheeky theme, upbeat pace, bonus feature that lands often enough to keep spirits up.
Jacks or Better (video poker): clear paytable, easy to learn, perfect for short tactical bursts.
Blackjack (multi-hand): fast dealing, simple UI, and you can ramp stakes without fiddly menus.
If those feel right, you’re off. If not, the lobby has depth; a few spins or hands will tell you where your groove sits.
Bonuses with clear numbers (not vague promises)
Here’s the meat and potatoes. Raging Bull casino lines up a tiered welcome across your first few deposits, plus ongoing freebies for regulars. You won’t need a spreadsheet to keep track, but it helps to know the key numbers so you don’t miss value.
Before the table, two quick notes. First, deposit minimums for bonus eligibility generally start at AUD $30. Second, wagering varies by coupon, so skim the coupon box before you click “redeem.” Nothing sneaky—just read the tile like you’d read a café menu.
Offer (example)
Code(s)
What you get
Wagering
Min deposit
1st step
BIGGERISBETTER
150% match + 25 FS on eligible slots
30×
AUD $30
2nd step
BIGGERISBETTER
200% match + 30 FS on eligible slots
30×
AUD $30
3rd step
SMART250 or MIGHTY250
250% match (up to AUD $2,500) + 50 FS
10×
AUD $30
That sequence sets you up for a solid first week. Regulars get daily free spins (14 per day once activated with a deposit), weekly cashback credited on Mondays, and a VIP ladder that bumps perks like higher withdrawal ceilings and tailored offers as you climb. It’s the kind of “turn up and get something” loop that rewards consistency without twisting your arm.
If you like the finer print: no-deposit promos (when they appear) usually carry 40× wagering for slots and cap withdrawals to the face value of the bonus unless stated otherwise. Slot-focused deposit coupons tend not to stack—redeem, play it through, then move to the next. Simple rhythm.
Banking for Aussies (in plain language)
Deposits: stick to Visa/Mastercard debit, Neosurf vouchers, or crypto if that’s your style. All run in AUD, hit the balance fast, and don’t require gymnastics. Neosurf stays popular with Australian players who want quick, cash-based top-ups without sharing bank details.
Withdrawals: the dependable path is bank transfer or crypto. Expect a 48-hour processing window before funds move, which is standard in the scene, and a typical weekly cash-out ceiling of around AUD $2,500 for most accounts (VIP tiers can go higher). Have your ID and proof of address ready before your first withdrawal; get verified early and the next payout is much smoother. Think of it like setting up two-factor on day one—five minutes now, no headaches later.
Needing a framework? Here’s a quick, human-sized flow:
Make your first deposit → pick a bonus (if you want one) → play → request a payout → finish KYC → next time you cash out, it’s basically rinse-and-repeat without the admin. No dramas.
Promos that turn up on schedule
If you enjoy a routine, the Monday cashback becomes a small ritual; it lands based on your prior week and softens the edges of a cold run. Loyal players climb through Bronze → Silver → Gold → Platinum → Raging Bull, where perks expand: more personalised deals, quicker comp earn, and faster cash-out consideration. There’s also a refer-a-mate setup: you send a friend, they deposit, both sides get a little nudge in bonus credit. Keep it within your actual mates—no need to turn the group chat into a marketing list.
Mobile, support, and the “10-minute break” test
The site passes the phone test. Load times stay snappy on 4G, and sessions resume cleanly after a quick message check. Live chat gets the job done for everyday stuff like “which games count toward this coupon?” and “has my KYC ticked over yet?” If you’re the type who plays in short bursts—train into the city, coffee line, half an episode—Raging Bulls casino fits that pattern without nagging banners every five seconds.
Who’s this actually for?
If your idea of a good session is picking a couple of slots, a steady blackjack shoe, and banking out when you’re up, this is squarely in your lane. The promos favour steady play over once-off swings, the banking is straightforward for Australian accounts, and the catalogue doesn’t bury you in fluff. Some days you’ll chase features; other days it’s five hands and done. That’s the point—your pace, your rules.
FAQ
Is Raging Bull safe for Australian players?
Raging Bull runs a mature platform with standard verification and payout flows. Read the live coupon and cashier notes before each session so you’re playing the exact terms you intend. That small habit keeps things simple.
What bonuses can you get at Raging Bull without guesswork?
The tiered welcome covers three early deposits, mixing percentage matches with free spins, and ongoing offers include daily spins and weekly cashback. Wagering sits around 30× on the early steps, with a 10× figure attached to the larger third-step match noted above.
How fast are withdrawals at Raging Bull?
Processing typically runs up to 48 hours before the transfer, with AUD $2,500 as a standard weekly withdrawal ceiling for most accounts. Verified profiles and higher VIP tiers can see faster handling and larger limits.
What games does Raging Bull actually offer?
Expect a focused mix of video slots, classic three-reelers, progressives, blackjack, roulette, baccarat, video poker, keno, and scratch cards. It’s a tight catalogue that covers the usual favourites without endless scrolling.
Which payment methods work best for Aussies at Raging Bull?
For quick deposits: Visa/Mastercard debit, Neosurf, and crypto. For payouts: bank transfer and crypto are the straightest paths. Keep everything in AUD and you’re sweet.
The name for it may be new, but the look itself is timeless. French girl style hearkens back to 1960s icons like the British singer Jane Birkin, who was embraced by Parisians despite not having been born there. But it’s in vogue today as well. You might also hear it called things like Parisian style or simply French style. French women have always been considered stylish, but how can you follow in their footsteps?
The Basics
The basic idea behind this approach to fashion is minimalism paired with classic clothing choices. However, there are a few more elements to it. The clothes tend to be loose fitting. Colors are neutral or muted. Less is more. Your look should appear to be effortless. Accessories are few and well chosen. This is not the look for fast fashionistas. You may pay more for the individual pieces that you purchase to achieve this kind of look, but you’ll also keep them forever. In addition, you need fewer items in your wardrobe. Quality over quantity is key here and wardrobe versatility is important. With a few basic pieces, you can make several different outfits.
The Natural Look
Natural is the way to go here. You can wear makeup, but it should be minimal. The same goes for hair, which should look more artless than elaborate. Striving for a natural look doesn’t mean not taking care of yourself. The aesthetic is a healthy one. If you’re intrigued by this look but you’re someone who enjoys cosmetics and other beauty treatments, you don’t have to give those up. Instead, consider shifting your focus. Instead of getting a manicure, you might want to consider visiting a med spa for a facial. Maybe you just need a day of relaxation.
Paying for Personal Upgrades
You might want to consider brightening your smile with some dental work. One of the challenges you may encounter is how to pay for these types of services, which can cost more than your whole new wardrobe put together. Insurance coverage seems to grow more complex by the year, and healthcare costs aren’t getting any cheaper. You can review a guide that discusses patient payment plan options. These might involve third-party or in-house financing. Flexible patient payment plans can mean that there’s widespread access to procedures and treatments, while providers can count on cash flow.
Wardrobe Ideas
There are a few items that need to be part of every wardrobe that is aiming for this look. Two of the foundational elements are a pair of comfortable jeans and a simple t-shirt. The jeans should be on the loose side and may be straight leg, wide leg, or cropped. A plain white t-shirt is the most classic choice, but other colors and styles work as well. Another popular type of shirt is a Breton or similar type of striped shirt. Besides these stripes, most clothes in this aesthetic tend to be solid colored instead of patterned although the occasional pattern would not go amiss, particularly if everything else in the outfit is solid. In fact, scarves are often used for accents, and if you’re working off Birkin’s look, they can even be worn as belts. Sundresses are another place where patterns might turn up.
A loose white blouse is another essential element. This blouse can be in a number of different styles, from a preppier, more tailored look, to something looser and more romantic. Cardigans, jackets and all kinds of outerwear, including trench coats, are also in. For shoes, think simple, as with everything else. Ballet flats, white sneakers and tailored boots are all popular choices. In summer, espadrilles pair well with sundresses or jeans. Everyone has heard of the classic little black dress, and a version of that is welcome in this particular wardrobe as well. You could also wear miniskirts. For mini dresses, think sheath rather than something more form fitting.
As for bathing suits, bikinis may have originated in France, but a one piece is more in line with this aesthetic. Square neck, black, or white one pieces or classic bikinis, if you must wear a two piece, are good choices. Popular patterns include stripes, gingham checks, and polka dots. You could easily assemble a capsule wardrobe without spending much money and add onto it over time. When it’s French girl style, don’t be afraid to shop in thrift stores to find your look. A little bohemian chic complements this approach.
Accessories
The classic accessory and handbag choice is the straw bag. However, if you prefer a crossbody bag or the straw bag doesn’t suit you for some other reason, look for styles that demonstrate the same simple or minimalist but quality approach. An elegant leather bag might be one choice, and if it’s a little battered, that’s okay. You could also carry a tote bag. Look for neutral colors. You don’t want whatever you’re wearing to be outshone by what you’re carrying. Practicality is the watchword here.
If several pounds of bangles and necklaces and rings are your thing, this might not be the style for you. French girl style isn’t accessory free, but you wouldn’t call it heavy on the accessories either. As mentioned above, a scarf is a popular choice. Practicality is the way to go here as well. Think sunglasses, preferably black or perhaps tortoiseshell, and leather belts. Gold hoops or other simple earrings help give your look a bit of polish. You could also wear a small or simple ring, necklace or a bracelet or two as long as you don’t overdo it.
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 Thursday, October 9, 2025.
Lande Hekt – ‘Favourite Pair of Shoes’
Lande Hekt has announced a new album, Lucky Now, arriving January 30 on Tapete. It’s led by the jangly and irresistible ‘Favourite Pair of Shows’, whose dreamy harmony vocals really jump out. “I wrote this song when I was listening to a lot of The Bats and The Chills, it probably sounds nothing like any of that Flying Nun stuff but that was what was inspiring me at the time,” Hekt explained. “Despite the lines that lean towards despair, I think this is quite a hopeful song. It’s about rising out of a pit of hopelessness and doing something really positive. The song features my old friend and longtime collaborator Samuel Bedford. We first sang together when we were 16, we recorded a song together for his folk solo project, then we were in an indie rock band together when we were 21 called Selfish Son. Sam sang on my song Kitchen in 2020 and now he sings on this song and Coming Home. Each of these collaborations are 5 years apart which is tidy.”
Kelly Lee Owens – ‘ASCEND’
Kelly Lee Owens has announced a new EP, Kelly, which leans into more abrasive club sounds compared to last year’s Dreamscape. “This EP is about embodying sound and those collective, physical experiences we only really have in clubs or at music events,” Owens said in a statement. “Sonically, it’s very visceral. I’ve been drawn to sounds that sit on the edge: ominous, uneasy, sometimes even uncomfortable. That’s just where I’ve been emotionally, and I think the world reflects that too. There’s this constant push and pull between wanting to rise above the chaos, and sometimes, willingly sinking into it.” It’s led by the nervy, thumping new single ‘ASCEND’.
oklou – ‘viscus’ [feat. FKA twigs]
oklou has teamed up with FKA twigs for ‘viscus’, a poignant, billowing track from the deluxe edition of choke enough that arose from a conversation about stomach pain. “I kind of go through all of these sources of anxiety and talk about my body as a conflicting relationship,” oklou said.
Ouri – ‘Paris’ [feat. Oli XL]
Ouri has teamed up with Swedish producer Oli XL for ‘Paris’, a refracted dance tune that will appear on the Montreal-based artist’s upcoming album Daisy Cutter. “‘Paris’ is an ode to my younger self growing up in this city,” Ouri reflected. “I was both trying to fit in and also trying on a bolder lifestyle, as I realized that the classical cellist life was not the right suit for me. Being 14 going to sleep at sunrise in one of the most beautiful cities is forever printed on my retina. Oli XL joined on this track and it became the ultimate time-traveling song for me/my favorite on the album.”
The Orchestra (For Now) – ‘Deplore You / Farmers Market’
The Orchestra (For Now) have released ‘Deplore You / Farmers Market’, a remarkably intimate piece from the London septet. It’s lifted from their Plan 76 EP, which drops on Halloween. I missed their explosive last single ‘Hattrick’, but they’ve really got my attention now. “It’s a front facing reckoning that explores ambition and fatigue, and the strains of failure and minor success,” the band said of the track. “Deplore You / Farmers Market is one of our most direct songs, so we thought stripping back and exposing ourselves was the right call, letting the song breathe; it’s an experiment in restraint, right up until we can’t keep it in.”
SUPERWORLD – ‘Locked Room’
San Jose-based math rock/screamo outfit SUPERWORLD have dropped a frenetic new single, ‘Locked Room’. They laid it down with producer Jack Shirley. “Jack pulled a great performance out of the band,” vocalist Brandon Holder commented. “The lyrics are personal, and the vocals were a one-take performance. We knew when we heard it back that it didn’t need a second go.”
Midlake – ‘The Calling’
Midlake have released a new single, ‘The Calling’, from their upcoming full-length A Bridge to Far. “I really liked where we landed with ‘The Calling,'” singer/guitarist Eric Pulido remarked. “A driving vibe that opens up nicely with the horn section Jesse and Sam devised so perfectly. Lyrically, the song has to do with my own struggle with applying myself towards a given effort; denying or embracing that which we were made to do.”
oklou has detailed the deluxe edition of her latest album choke enough. It arrives October 30 on Because Music/True Panther, and it features four new songs, including the just-unveiled FKA twigs collaboration ‘viscus’, which refracts and intermingles their voices in striking ways. Check it out via the Gil Gharbi-directed video below.
“I kind of go through all of these sources of anxiety and talk about my body as a conflicting relationship,” oklou said in a statement about the track, which arose from a HighSnobiety conversation between the pair about their struggles with stomach pain. twigs remarked, “We’ll write a song about being a tummyache queen!”
oklou also guests on PinkPantheress’ Fancy That remix album, which lands tomorrow. Next month, FKA twigs will release EUSEXUA Afterglow, her second album of 2025.
The Antlers’ new album, Blight, widens the scope of Peter Silberman’s songwriting by reckoning with environmental catastrophe, taking cues from a range of science fiction media. But it begins in a homey place: the unsparing intimacy of Silberman’s voice, admitting to the ways he’s contributing to the destruction by simply going about his day, the way you might be when you first press play on the record: having a meal, ordering it. If you have mourned with the psychological devastation of 2009’s Hospice or 2011’s Burst Apart, it is disarming and powerful to hear his soulful whisper carrying the same weight in this conceptual framework. Though when Blight spirals toward a series of ambiguous apocalyptic events, it once again feels not conceptual but psychological, the sound of ecological anxiety – corrosive, wordless, outstretched – turning what could be a familiarly delicate (by the Antlers’ standards) listen into an eerily fragile one. “Will we be forgiven?” Silberman sings towards the end, accompanied by a faint keyboard as if the we is already out of the picture. “Should there come a great flood to drown out our decisions?”
We caught up with the Antlers’ Peter Silberman to talk about The Leftovers, Arthur C. Clark, the Flaming Lips’ The Soft Bulletin, and other inspirations behind their new album Blight.
The TV show The Leftovers
There’s a few things about that show that influenced the record. The premise of the show, at least in the beginning, is that on just a random day, 2% of the world’s population vanishes into thin air. Everything kind of starts there, and it’s about the after-effects of that. It’s a show with a lot of ambiguity. They never really explain why that happened, what it meant, but there’s a lot of debate within the show about what it meant, why it happened, and how to proceed from there. There are a lot of spiritual and philosophical questions around that, the way that it affected people, the way it changed people. Musically, there’s some inspiration from The Leftovers. The score is this very beautiful piano theme that returns over and over again. I think at one point, I had learned it on piano, and then I started kind of riffing on it, and came up with these other short piano compositions that were inspired by that. ‘Something in the Air’ and the last track, ‘They Lost All of Us’, came out of that period.
But thematically, ‘Something in the Air’ being about a sudden disastrous event that catches everybody off guard, and it’s never really named, but it’s described, and the way that it’s described leaves ambiguity as to what actually happened. And then ‘Deactivate’ is essentially about a sort of an apocalyptic event, and a lot of the description that is in that song, about people suddenly disappearing and dogs running around without someone walking them – that’s really inspired by The Leftovers. It’s the first scene of the show, and they return to it a few different times, but showing this moment when suddenly people just disappeared, and suddenly cars are driving without drivers in them, and it’s a very powerful image. ‘Deactivate’ is more tied into AI and virtual worlds, uploading consciousness, things like that, which is not really what The Leftovers is about, but I think there’s some inspiration there. And then the last track on the record, ‘They Lost All of Us’, the title is actually from a monologue towards the end of the series that Carrie Coon delivers. It’s one of those monologues that is powerful because it’s somebody explaining something without the show showing it to you. And it forces you to use your imagination, but their description is so vivid that you see exactly what they’re talking about in your mind.
The Leftovers had a lot of questions of how to proceed with life after something so horrible, so disturbing, and philosophically confusing happens. How do we carry on? And that’s a lot of what this record ultimately gets to: How do we live with ourselves, knowing what we’re doing to the planet, the environment, and its creatures, and ultimately to ourselves?
It’s interesting that the show begins with this ambiguous, apocalyptic event, whereas in Blight it’s kind of in the middle. Was that an intentional decision?
I really felt like it was important to reach that gradually. In order for the point of the record to get across, it had to start from a really ordinary place of questioning your choices as just a person who’s shopping and eating and participating in society. That, to me, felt like that was a good way to really underline the central questions around the record, to not start off in a place of science fiction and imagination. Part of what I wanted to accomplish with the record was almost emulating the experience of spinning out about some of these questions. You know, you’ve thrown out a piece of plastic, and then you start wondering to yourself, what happens to it? Does it matter? Maybe it does matter, because it just sits there in a landfill, and what happens when millions and millions of people are throwing their plastic into a landfill, and it’s just sitting there, and what went into making this thing? There is this snowball effect going from, “Here’s what I did, here’s all the thoughts that I have about it, and here’s where my mind goes.” It goes to the most extremes eventually.
Twin Peaks: The Return Part 8
I think that episode does stand apart from the rest of the series, because it really almost felt like a film in itself. As a refresher, that’s the episode that – [laughs] well, a lot a lot happens in it, but it’s this long, almost like a Terrence Malik sequence, seeming like it’s going back to the genesis of the entire universe. I’m not even sure if it’s supposed to be the creation of the universe – it’s David Lynch, so it’s ambiguous – but what I took from it was that it was trying to trace back to the creation of the evil that permeates that whole world. There’s this long abstract sequence that culminates in the explosion of the first atomic bomb, one of the atomic tests in New Mexico. It comes as a surprise when it happens, after this long, slowly paced sequence of imaages where you’re not exactly sure where or when in time that you are, and some of it is much more visual and almost ambient. And then it culminates with this explosion, and the evil was seemingly born out of that.
‘Deactivate’ is where that episode made its way into the record. Specifically, the moment at the end of the track – there’s this dreamy transition where it sounds as if you’re ascending to heaven, and it’s very pretty, skittery electronics and looping vocals. It sounds like this blissful arrival, and it’s followed by this sound of doom.
This rumbling.
Yeah. It sounds weirdly digital – it doesn’t sound like an explosion exactly, it sounds like something else, and there’s a click that happens that kind of changes the whole texture of the sound. I think in creating that sound, I was thinking of that atomic explosion in Twin Peaks, but I didn’t want it to sound like an explosion, I wanted it to sound like something we’ve never heard of before. A kind of extinction event that is entirely new – in the context of the record, it might be about consciousness being uploaded, and then that being shut off, and what that sounds like.
How did you get to that sound?
It was intensely compressed synth manipulation that was fed through a bunch of hardware to give it this unusual quality – this deep, not a tone exactly, but a noise, that is then subject to whatever glitches and sonic abnormalities happen when you’re slamming something with compression, and the noise floor rises because of however the gate is working. It’s a little technical, but it’s essentially trying to create the sound I was hearing in my head using a synth and a compressor and a couple other things.
Childhood’s End and 2001: A Space Odyssey by Arthur C. Clark
The premise of Childhood’s End book is that an advanced alien race comes to Earth and takes control of Earth in a benevolent way. The book was written in the ‘50s, so it’s very Cold War, nuclear arms race-coded, but the alien race is saying, “Humanity, you are on the verge of wiping each other out, so we’re gonna take control here, and we’re gonna run the show to keep you from killing yourselves, and this is all so that we can help you survive to the next era of your existence.” And then a bunch of other stuff happens, and it’s not quite as benevolent.
I think this idea of a world on the edge, and a world that’s kind of not aware of how close to the brink it is, was something I was thinking about a lot while working on the record. In ‘Deactivate’, there is this sort of intelligence that comes and says, “We’re going to we’re gonna lift you out of this mess,” except, in the case of ‘Deactivate’, it’s an artificial intelligence. It gives the impression of being benevolent and looking out for our best interests, but halfway through the song, there’s a doubled voice that comes in, which is this other intelligence, and I wrote it to sound like a sales pitch. It’s like a startup pitching you on their great new technology.
“Eternity in betaware.”
Yeah, exactly. And then what follows is that doom sound at the end, which kind of speaks for itself. Pulling a bit of that premise from Childhood’s End, and then 2001 as well. That transition sequence in ‘Deactivate’ was sort of my version of the Stargate sequence in 2001. It didn’t turn out exactly as I was imagining it to, because I think that’s what happens: You have an idea in your head, and then you work on it and it turns into something slightly different.
Part of what drew me to the lyricism in ‘Deactivate’ is the irony of how this intelligence betrays the risks of what it’s pitching – “losing your treasury of memory, your tendency for reverie,” these indisposable things it would know nothing about.
That’s how it feels, sometimes, when you see pitches of companies or different AI models that are talking about all the ways they’re going to make life easier for you, and if you’re a person that appreciates analog life, work, and creaticity at all, it can feel like they’re saying to you, “Don’t waste your time expressing yourself. That takes up too much of your day. What you want to be doing is nothing, and have somebody else creating for you, and somebody else thinking for you.” So yeah, there is an irony in there that almost feels like they don’t realize what they’re saying.
The Cake Tree in the Ruins by Akiyuki Nosaka
He wasn’t an author I was familiar with. I was given the book as a gift by my mother-in-law, and it just broke my heart right away. Every story is really emotionally hard to read, but they’re written almost like they’re children’s stories. They all revolve around this period, basically in post-World War II Japan. But the very end of the war, and in some cases, where the news had not yet reached Japan that the war was over. A lot of it takes place in the wreckage of different villages and cities, and it’s talking a lot about this post-apocalyptic landscape and the people and the animals in it. All the innocence, basically. It’s very visceral, and it’s graphic, and it’s things that are hard to face about the cost of war, a lot of the collateral damage around it. The way that it was written was so moving, it really didn’t sugarcoat anything. It’s very direct in a lot of ways, and it had a really strong effect on me when I was reading it. I think that really made its way into songs like ‘Carnage’ and ‘Calamity’, really just facing these things head on.
When did you consider this unflinching portrayal of non-human suffering to be an important part of the album? What was your thinking around the language you were going to use?
Pretty soon into the process, it felt like the only way to talk about this stuff in a way that was maybe going to actually reach people was to be very direct and graphic and detailed about it. I think that there are a lot of phrases and terminology around these issues that we’ve almost gotten too used to hearing. Even the words “climate change,” at least in this country, it’s a very divisive term, and probably half the country dismisses it as not a real thing. For the other half, we’re also not exactly even sure what we’re talking about when we’re talking about climate change. And same goes with pollution, same goes with even consumerism, which is a word that I’ve been kind of reluctant to use in talking about this record, but it’s the one I keep coming back to. It’s almost like jargon.
I felt like for the sake of the message of this record and what I was trying to get across with these songs, the details were what was going to make the difference, because they create an image that you then see in your mind and can be hard to shake. ‘Carnage’ is talking about these different instances of accidental animal cruelty, and for me, when I had seen some of that, I can’t erase the image from my mind. And it changes the way I think about the creatures I’m sharing space with. As opposed to more general ideas about, you know, animals losing habitats – you can say something about that, and it’s almost a little too vague. But I think getting into the specifics and the details is what has more of an effect. I think that goes for the environment, for pollution and contamination, too. You can present a lot of data about things like contamination, but if you can point to details of something anecdotal, it’s the kind of thing that sticks with you and maybe creates a lasting feeling of urgency about the problem.
It also raises the question of, where do you draw the line between incidental and intentional? If you create an image in your mind, is there a degree of separation that makes it less impactful than seeing the damage in front og you? I’m curious if thinking about these questions in the context of the record had a palpable effect in your life outside of it.
I think it solidified a growing awareness that I had been developing over the last several years, a growing sensitivity to a lot of these issues, other living creatures, the environment, and my own impact on it. I think that had been growing already. This record was an expression of that change in my own consciousness about it. Once the record was finished, I don’t think it answered any questions for me, but it solidified it as sort of the torch that I was gonna carry for a little while now. Because now I’m gonna go out and I’m gonna talk about it, and I’m gonna stand behind this work and the message of the work, and it makes it so that there’s no shying away from it.
I’m cautious in asking, because a lot of artists would like to make a record like Blight and not necessarily want to carry that torch.
I’m a bit nervous to do it. I’m doing my best to do my research so that I can talk about this stuff articulately. The record is a commitment to doing something about it, because I think I came out of it, and part of the record is about this, like, “Can I do anything, or is everything hopeless?” I still don’t really know the answer to the question, but I think putting the record out there and talking about it is a first step for me.
The World-Ending Fire by Wendell Berry
This book does seem like maybe one bit of research, a tool for articulating some of these ideas.
I’m actually still reading that collection and have been for a couple years. I’m moving through it slowly. It’s a collection of essays, so it’s not necessarily about one thing, but I think what made its way into the record is Wendell Berry talking about local ecosystems. The way that they change over time, the way that they are either degraded or restored over generations experiencing the history of a place in its woods, in its wildlife corridors, in the quality of the soil. He gets very down into the weeds with it, but he talks about soil health, he’s talking about decisions that farmers or developers made 100 years ago that are still impacting the health of the land. I don’t know that we always think about those things, but there’s this record that exists in the places where we live that is also continuing to be written. The simplest way of putting it is: The decisions that are made now, and the decisions that were made a long time ago, continue to affect things now and into the future. Ultimately the point being what goes around comes around, and these choices will come back to haunt us eventually – if they haven’t already.
The song ‘Pour’ feels like a direct expression of that.
Yeah, I think that that song came out of reading him and getting to know a local environment, and living there long enough to watch it change, to see the cumulative effects of the sort of ordinary things that happen there: cutting down patches of forest, or in the case of the ‘Pour’, this repeated dumping of chemicals. How that affects the groundwater, the drinking water, and the people who live in this neighborhood who don’t even realize this is happening.
I know you recorded most of the record in your home studio in upstate New York. How would you describe the changes to your environment that you’re witnessing every day, but also over a period of years?
My wife and I have been living in this house we’re in now for a little over five years, which is a good amount of time to be in a place to get to know it and to watch it change. It’s a really beautiful area, and I feel like I’ve really gotten to know the land really well. The biggest change I’ve noticed is patches of forest behind the house on a neighboring property being cut down. It’s an ongoing project that’s been happening for a long time. There’s a farmer who lives up the hill from us who owns all of that land, and he’s been cutting down these woods and making a road through the woods for his vehicles to get through to the hayfields. It’s complicated, I guess. On the very basic level, I feel a sense of ownership over this land, and it’s not mine. But I feel this connection to it, having spent so much time in it, and I have to remind myself that it’s his. But that also flies in the face of, you know, you can’t really own the land. Nobody owns the land, but in this society, we have a system in place to allow us to believe that we own the environment.
I get attached to the present state of things, and to see so much forest get cut down to build a road, just as an example – as you develop awareness of how ecosystems work, your awareness shifts from the bigger creatures that are displaced, which are sort of easy to have feelings toward, but there’s so much more life happening in a forest. To even become sensitive to insect life, plant life, these things that we often think of as, “Well, you can’t move through life trying to not step on every ant that you see.” But I find myself asking, why not? Doesn’t mean that I abide by that, because it’s impossible, and every step you take, something is beneath your feet, at least if you’re walking on grass or walking in the woods. People can’t help but have some kind of destructive impact, I guess. But for me, it’s hard to see all that happening and not think about the death, the displacement and the destruction, the way that it’s disrupting the ecosystem.
But then I also remind myself that every road was built this way. Every road was built by knocking something down to make way for it, and that’s part of how our society has come to exist, and how I am even here able to appreciate nature, is that a road brought me here, and that road came about from some kind of deforestation. I don’t know what to do with that all the time. There’s this inclination, I think, to be like, “Let’s stop all the development now, let’s stop all the deforestation now, we have enough.” And I’d like to believe that’s true, but I don’t think it really works that way. I guess there are trade-offs that are made, like clearing land to put up solar panels or windmills. Some people would argue it’s not worth the cost, ut if it’s for the sake of renewable energy, then maybe it is. I don’t know. I wish I had some answers. [laughs] But this is the human contradiction: How do we survive without destroying what we depend on?
The Soft Bulletin by The Flaming Lips
What made you go back to that record?
That record has been one of my favorite records since I was a teenager. I probably first heard it 25 years ago, and I’ve never really found anything like it, even though I think there’s lots of records that were influenced by and borrowed from it. Sonically, I think it’s the fullest expression of something. I think it’s really adventurous and unusual. The combination of these smashed drums and sweeping orchestras and almost nothing in between – there is other instrumentation, there is a band there, but it really is focusing on these two major elements, the instrumentation is shifting throughout the whole record. I think that that fed into Blight a lot. Stylistically, it’s changing throughout the course of it, and aesthetically it’s changing. I think there’s something in that record that doesn’t feel calculated. The experiments are not precious – they’re fun sonic experiments, full of weird glitchiness, rough around the edges, and kind of messy. It’s been an influence for me for a long time, but I don’t always let the extremes of that in, the feelings of something that is distorted to the point where it feels like it’s maybe falling apart or degraded.
That record also has a sequence that makes a lot of sense in an intuitive way. You’re not necessarily following along with a story that is threaded throughout, but there is a trajectory the whole time, and it does feel like it’s touching on both the small and bigger philosophical questions. It’s just a record with a ton of heart.
In general, what is your relationship now to many of these formative indie rock records? How often do you revisit them?
It depends, and sometimes it depends on what I’m working on. For this record, I did find myself returning to a lot of these records that I listened to a lot in high school that were foundational records for me when I first started making my own records. Things that I aspired to, or just things that blew my mind open at the time. At that time in my life, it was so exciting to have norms be challenged. When I was growing up, there was something comforting about hearing people making unexpected music, music that broke norms but wasn’t so abstract that it was difficult. That sort of gateway effect of: Here’s songs that you can grab onto, but they’re presented in an unusual way. It requires. a bit of participation from you to to really sink your teeth into them and to understand them. The Soft Bulletin was one of those for me, and so was Yoshimi, and Kid A and Amnesiac and OK Computer. I could understand them, but they were nothing I’d ever heard before, and they made a lot of other music that I had been listening to up until that point feel extremely normal by comparison, and not that interesting. It just changed my notions of what was possible.
Double Negative by Low
That record evokes a tech-doomed dystopia, but in this really ambient, uneasy way. It was abstract, but a lot of people attached this feeling to it.
I remember when I first heard it and then continued listening to it and getting to know it, it sounded and felt like the current moment. Even if it wasn’t overtly speaking about it, it just had a texture to it, an attitude and a disposition that felt dystopian, the way that it feels to be alive and aware of the world right now. This confused, disoriented, doom-ridden panic. And that’s coupled with the production style, which is extremely compressed and disorienting and sounds strange. Those extremes are, I think, what makes it powerful.
I went into Blight really wanting to carry that torch. It didn’t happen in the same way. I thought I was expecting to make something as blown out and as chopped-up, and ultimately I made a record that sounds more like me than them, but I was very inspired by it. They’ve been one of my favorite bands for a very long time, and I loved how they would make records that sounded very homey and warm, and then the next record, like Drums and Guns, would be so strange and current and relevant and kind of scary. And then the next record might be another sweet record, another kind record, and then the one after that will be a totally different kind of left turn. They always kept you guessing, and it was always good. Double Negative was one of those that makes you excited to make your own record, to conduct your own experiments, and to lean into that darkness and see what comes out of it.
BJ Burton’s production is a foundational part of that record, and I hear the influence of that kind of vocal processing on Blight’s title track and ‘Pour’.
Yeah, definitely. I started doing some vocal processing on this seriesofsingles that I made before Blight, and I carried that into this record. I thought this was gonna end up being a more heavily vocally processed record, and I ended up just choosing to do it in a handful of moments, using a harmonizer where you’re basically creating harmonies of your own voice, but you’re playing them on the keyboard. They’re MIDI MIDI-controlled harmonies, which is a process I learned about from working on this Wild Pink record a few years ago, because he was doing that with a lot of his songs as a kind of drop shadow against his vocals. It was something I had heard before, but I didn’t know how people did it, and he explained it to me. Then I got my own gear, and I started doing it.
It’s that, plus passing them through lots of lots of hardware and filters and things like that. To me, they ended up being used symbolically on the record to represent the duality of having a digital virtual self running alongside your actual self, and how that is becoming increasingly the way things are for most of us. We don’t know what that will look like in the future, and if one will come to dominate the other, this sort of facsimile of ourselves that is somewhere living in the uncanny valley. But I ultimately decided that I didn’t want the entire record to utilize that, because there needed to be some contrast between the human and the hybrid.
This interview has been edited and condensed for clarity and length.
Kelly Lee Owens has announced a new EP, Kelly, which will arrive on November 21 via dh2. The club-oriented effort, which follows last year’s Dreamscape, is led by the nervy, thumping new single ‘ASCEND’. Check it out below.
“This EP is about embodying sound and those collective, physical experiences we only really have in clubs or at music events,” Owens said in a statement. “Sonically, it’s very visceral. I’ve been drawn to sounds that sit on the edge: ominous, uneasy, sometimes even uncomfortable. That’s just where I’ve been emotionally, and I think the world reflects that too. There’s this constant push and pull between wanting to rise above the chaos, and sometimes, willingly sinking into it.”
Kelly EP Cover Artwork:
Kelly EP Tracklist:
1. Ascend
2. 132 Techno
3. Descend
4. Lose Your Head
Gaming has a massive impact on society as a whole, whether it becomes a route of employment or just an extremely passionate hobby, the multi billion-dollar industry has had plenty of influence on millions of people’s lives. Since video games first came into fashion, way before the time of slingo casino slot games, they have continuously developed and evolved. Some games become so popular and create such a big community that they infiltrate the wider world, not just the gaming community, so today, we will be taking a look at some of the biggest video game franchises of the 21st century.
Call of Duty
Call of Duty, often referred to as COD, is arguably the biggest global gaming franchise of all time. Published by Activision in 2003, Call of Duty quickly became a classic in the gaming industry with its innovative 1st person shooter that was unlike any other titles on the market. The gameplay was groundbreaking, and the potential to grow the game as a result of loyal and dedicated fans straight from its market debut was extremely uncommon. Individual game series inside the Call of Duty title appeal to more players, with Black Ops, Modern Warfare, and Warzone being their most popular.
The franchise has not slowed down either when it comes to players and fanbase, selling over 425 million units over the past 20 years. The COVID-19 pandemic saw Call of Duty grow to unexpected levels with Warzone taking over the market, much like their original releases in the early 2000s. Fans are obsessed with collectable items, the storyline, and even the competitive scene of Call of Duty, expanding it beyond the gaming industry and becoming a recognizable, worldwide name.
Grand Theft Auto
The release of Grand Theft Auto III in 2001 was just the beginning for sandbox games’ development in the future, not to mention the rapid rise to being one of America’s top selling video games. The Grand Theft Auto series parodies American culture that is often seen in TV and films, taking a range of characters and allowing players to play out their lives in a campaign mode, or choose to complete missions as their own character in the online mode. The ability to play solo, play with friends, or play in lobbies with others made for a very popular format that somewhat brought together the GTA community.
As a result of the nature of the game, lots of controversy had been drawn towards it, but this didn’t stop the growth. During the 20th century, a few titles have been released on top of GTA III, such as GTA Vice City, GTA San Andreas, GTA IV, GTA V, and soon to be released, GTA VI. With over 405 million units sold, a tight community amongst players has been built, making it one of the most successful video game franchises of the 21st century.
Minecraft
Despite being released much later than the previous two titles on this list, Minecraft has arguably had the biggest cultural impact on the world of any other game franchise to date. Introduced to the market in 2011 by Mojang Studios, Minecraft is a block themed sandbox game that allows players to survive a unique world, building whatever they can imagine, while also defeating a few bosses on the way. The different modes, consisting of creative and survival, paired with online capabilities, are one of the reasons the game thrives, allowing friends to collaborate on different worlds.
Minecraft sent shockwaves around the world and stimulated a variety of products, such as plushies, Legos, and even action figures. The game also inspired a new wave of influencers that built careers and online fame that shone a light on the possibilities gaming could bring. In 2025, the Minecraft Movie took the world by storm, transforming gaming into a global image, something that wasn’t too common in the industry.
Fortnite
More recently, Fortnite Battle Royale took the world by storm, dominating the gaming scene for many years since its release in 2017. Developed by Epic Games, Fortnite captivated millions through its weekly, community based updates and storyline that progressed throughout the ‘seasons’, causing big social media and online publicity. The unique twist of being able to build in a battle royale game, as well as the free to play aspect, only makes money from providing players the opportunity to purchase a ‘battle pass’ or item shop cosmetics. The ability to play multiplayer online with friends allowed players to bond, which is the main reason the game became so successful.
The number of updates kept people on their toes and built a new structure of how free to play games can be profitable. The game sent shockwaves around the world, creating a competitive scene, including a World Cup, building careers for hundreds of influencers, and even shifting what people looked for in a game. Products and in-game cosmetics have generated over $20 billion, making it one of the most successful game franchises of the 21st century.
The iGaming industry comprises a variety of slot developers that specialise in their unique ways. Some development studios specialise in a specific niche within the industry, while others opt to cover a broader range. SpinPlay Games has a full focus on slot games and has yet to dabble in the online live casino market.
SpinPlay Games is a relatively new entrant in the iGaming industry, having been founded in 2020. Since their inception, they have released over 60 slot games, featuring a diverse range of themes and mechanics. In their time in the industry, they have achieved a notable reputation as one of the most promising slot developers. They have achieved this reputation due to the cutting-edge game mechanics and the attention to detail in their designs, which create an overall entertaining gaming experience.
3 Lucky Rainbows
3 Lucky Rainbows is an online slot game released by SpinPlay Games in 2022. The 3 Lucky Rainbow slot game features an Irish theme, which is expressed in the visuals throughout gameplay. Additionally, this slot release features a range of bonus features that gamers may encounter during play. By combining the bonus features and visuals of the game, Spin Play Games has created an overall enjoyable gaming experience.
The gameplay in the 3 Lucky Rainbows slot takes place in a marshy landscape that evokes a sense of mystery and charm. The background features a range of small hills packed with mushrooms, shamrocks, and other plants. To further complement the Irish slots theme, SpinPlay has incorporated three unique pots of gold with rainbows shooting out from them.
As mentioned, the 3 Lucky Rainbows slot game has implemented a range of bonus features, including Free Spins, Mystery symbols, Wild symbols, and Jackpots.
Wild Link Zeus
SpinPlay Games released the Wild Link Zeus slot game to screens in 2022. As the title of the slot suggests, the gameplay of the Wild Link Zeus slot is based around the Ancient Greek god, Zeus. The theme of the Ancient Greeks is well represented in this slot game, especially as the slot takes place at Mount Olympus. Alongside the visuals that express this slot theme, SpinPlay has also incorporated a range of bonus features that players may encounter.
In the background of the Wild Link Zeus slot, the temple at the summit of Mount Olympus is visible, a notable image from Greek mythology culture. The background comprises a range of clouds, which is particularly fitting considering Zeus is the god of sky and thunder.
SpinPlay Games has once again incorporated bonus features in this title, including Free Spins, Cash Collect, Multiplier, and Wild symbols.
Amazing Link Apollo’s Fortunes
This title is an instalment in the notable Amazing Link series, which has amassed great popularity in the developers’ slot catalogue. There are numerous slot games in the series, each featuring a unique theme that complements the gameplay. This release draws inspiration from the Ancient Greek god Apollo and influences the slot’s visuals to match that theme. SpinPlay Games has also incorporated a range of bonus features in this slot game, elevating the gameplay experience.
The gameplay in the Amazing Link Apollo’s Fortunes slot is set amidst the peaks of Mount Olympus. The backdrop features a range of Ancient Greek infrastructure reminiscent of a detailed temple. Adding to the atmosphere of the slot, SpinPlay has incorporated a steep drop below the playgrid, evoking a sense of mystery.
The bonus features that players may encounter in this slot game are the Free Spins feature, Expanding symbols, Jackpots, Respins, and Wild symbols.
9 Blazing Diamonds
In this release, SpinPlay has incorporated a classic slots theme, which is expressed in the simplistic yet effective visuals. The title was released in 2021 and is one of the best releases from SpinPlay since its inception. The release offers a unique blend of classic slot themes, alongside modernised bonus features.
The 9 Blazing Diamonds slot has drawn inspiration from other classic-themed slot games in its visuals, including the red backdrop, which is utilised by many releases in the genre. The red background features intricate patterns, and a large wheel is partially visible on the left side.
The wheel in view is one of many bonus features in the 9 Blazing Diamonds slot, with other features including Free Spins, Multipliers, and the Wild symbol.
Final Thoughts
SpinPlay is a unique online slot development studio that was founded in 2020. The US-based developers have made major inroads into the competitive iGaming industry since their inception, thanks to their cutting-edge game mechanics. Alongside their innovative game mechanics, SpinPlay Games has incorporated detailed visuals that effectively convey specific themes, elevating the gameplay.
Responsible Gaming
When playing these slot games, it is essential to gamble responsibly and bet only what you can afford to lose.
The gaming industry is one of the most expensive in the world and is dominant across all 4 corners of the globe. Gaming has grown beyond your standard casual player enjoying a sandbox game and has developed into a career possibility when it comes to competitive gaming. While some players prefer casual gaming or exploring different genres, many now aspire to compete in their favorite games, reflecting a growing trend toward competitive play. There are plenty of teams, old and new, dominating in different games, but when it comes to the competitive industry as a whole, who is the top performer?
BoyleSports, home of Jackpot Slots, has revealed the top performing esports teams of the 2020s.
5. G2 eSports
Founded in Berlin, Germany, in 2014, G2 eSports has divisions in almost every main competitive game title you can imagine, from Fortnite to Counter Strike and even Rocket League, seeing most of its success in League of Legends. Since 2020, G2 have won the Blast Premier World Final, beating the favourites Liquid 2-0 in CSGO. They continue to dominate in League of Legends and CSGO, as well as strong performances in Valorant, Rocket League and Rainbow Six Siege. The titles in Valorant are yet to come, but they became the first American team to qualify for the VCT Masters Tokyo. In 2020, they were awarded eSports organisation of the year as a result of the successes in that year, but as of 2025, they have yet to reclaim their status as the number one in the competitive scene.
4. T1 eSports
T1 is a huge company in South Korea, providing not just an eSports team but also men’s and women’s football and handball teams. In terms of eSports, the 2004 founded organisation has built a global reputation as a dominant force in the competitive scene of League of Legends and, more recently, Valorant. They were originally introduced as a competitor in StarCraft, but are more known in recent years for the success they have found in League of Legends. Since 2020, they have been crowned LCK Spring Split champions in both 2020 and 2022. They even took this success into the 2023 and 2024 LOL Championships, winning back to back titles. Their most recent title came in 2025, where they managed to overcome G2, taking home the Valorant Champions Tour in Bangkok.
3. Natus Vincere
Natus Vincere is one of the top Counter-Strike Global Offensive teams in the industry, dominating ever since they were founded in 2009. The Ukrainian based organisation has claimed championships in CSGO, CSGO 2 and Dota 2, with plenty of other titles throughout the years, many of them coming in the 2020s. They started off in the 2020s with a bang, winning the IEM Katowice, Poland. This set them up perfectly for 2021, where they were able to take home the PGL Major and the Intel Grand Slam Season III. They reclaimed their PGL Major title in 2024 in Copenhagen, the first of 4 victories. They then went on to win the ESL Pro Season, reclaim the IEM title in Rio, and win the most prestigious eSports World Cup. Natus Vincere shows absolutely no sign of slowing down, with plenty more opportunities to come in 2026.
2. Sentinels
Despite being one of the newer organisations in the eSports industry, Sentinels has seen success like no other in the less than 10 years they have been active. Going into the 2020s, Sentinels were in the perfect position to become one of the biggest eSports teams in the industry with Bugha’s Fortnite World Cup victory in 2019, bringing plenty of media attention and new talent. After Bugha went on to win an FNCS, they began to focus on other games, with Valorant being number 1. In 2021, Sentinels were able to claim the VCT Stage 2 Masters in Iceland, later winning the VCT North America Stage 1 masters, dominating around the world. It wasn’t until 2023 that they claimed their next major title, securing the AVL title, with their latest VCT title coming a year later in 2024 in the Spanish capital of Madrid.
1. Team Liquid
Team Liquid show no signs of slowing down. They have been a dominant force not only throughout the 2020s so far, but ever since their formation in 2000. The catalogue of games that they have competed in championships for is endless, with divisions that have taken over the competitive scene of whatever game it may be. Their roster has featured some massive names in all games that they have played, with members winning smaller individual tournaments. In terms of Major tournaments since 2020, Dota 2 and League of Legends have seen their main success. In 2020, Team Liquid took home the ESL One, defeating a dominant Natus Vincere. This set them up for success in the decade, with the Dota 2 International and the Elite League Season 2 being won in 2024. In the same year, they were able to win the League of Legends LCS Spring Playoffs, capping off a very successful year.
