@checkcheckau

checkcheckau has been a member of Linktree for 1 year and joined in February 2025. The social media accounts linked to from checkcheckau are: • Facebook • Instagram • TikTok • YouTube • Website Besides social media accounts, checkcheckau has populated their site with: • The return of Bluetile Lounge: 'We just wanted to be like the bands we loved' • A guide to all the artists touring Australia in 2025 • Gallery: Pitch Music & Arts, March 6-10 2026 • All the artists on tour in Australia: August 2025 • Golden Plains review – finding joy in the interstices • Several of the world’s most interesting musicians will perform at Unsound Adelaide 2025 • Australian music media is horny for Spotify • Now or Never 2025 program: DJ Python, Marie Davidson + more • The Streets review - laddish melancholy rendered as musical theatre • Listen to our playlists on Spotify • Pulp review – Sheffield band's music feels more relevant than ever • -TOPIA at Abbotsford Convent is built to surprise • 'I fucken loved it' - all the highlights at Pulp's show in Melbourne • All the artists on tour in Australia in September 2025 • Getting close to POiSON GiRL FRiEND • Win tickets to Now or Never 2025: DJ Python, Marie Davidson + more • The good, romantic and freaky at Spasta’s Valentine’s Day party • All the artists touring Australia in July 2025 • The soft glow of Maria Somerville's Luster • All the artists touring Australia in June 2025 • Cameron Winter review – woozy tension and unbelievable simplicity • All the artists on tour in Australia: May 2025 • Alex G review - two titanic hours of chaos • Win tickets to RISING: Melbourne 2025 • The Necks: mad harmony and tortuous invention • RISING: Day Tripper giveaway • Local Woman: 'I'm creating my own pop paradigm' • Nubya Garcia review – vanguard saxophonist provides the thrills • Ecstatic Underworld headline set caps off inaugural New Year's at the Bowl festival • Herbie Hancock review – buddhist musings and playful bravura from jazz legend • 'We certainly weren't showing off': Essendon Airport on their minimalist masterpiece 'Sonic Investigations (Of the Trivial)' • Air review – style and low-key sensuality from French duo in Melbourne • Meredith Music Festival review – the full spectrum of emotions on a Supernatural weekend • All the artists touring Australia in April 2025 • Perfume Genius review – one of the world's best live performers • A guide to every artist touring Australia in 2025 • Jeremy Dower on his new album of minimal techno and faux jazz • All the songs on Billie Eilish's 2025 Australian tour setlist • Dr Sure's Unusual Practice reject fascism on new single 'No Pigs' • Here are the playing times for Golden Plains 2025 • Maggie Tra explores displacement and belonging on Cyclo Theory • WITCH look back on their legacy: 'We didn't realise it was Zamrock' • Sharon Van Etten & the Attachment Theory review – big and small, all at once • Kacey Musgraves at the Opera House – confetti cannons and an old-fashioned good time • Sharon Van Etten embraces change with The Attachment Theory • How birdwatching, The Terminator and Scotch eggs influenced screensaver’s Three Lens Approach • Does the Australian Music Prize want to decontextualise music? • Can't Stop It! is the definitive Australian post-punk compilation • Nina Protocol has a radical proposal for a fairer streaming economy • Harvest Rock musicians plant native seedlings in Pakapakanthi • Why does every man in a band in Australia look the same? • A gradual taking off, revealing – Cate Le Bon’s Michelangelo Dying • Here's the lineup for Golden Plains 2026 • A short history of Finding Figaro • Finding Figaro's 9th birthday: sunshine and dance music • Jazz-trained electronic collagist L Lewis on his new record Intervals • Earthly and unearthly delights at second annual -TOPIA festival • CADENA is breaking the stereotype of a Latin American arts & culture festival • If Spotify really cares about Australian music then why the culture of fear? • Liz Pelly confirms what we already know: Spotify friggin’ stinks • Underworld, I Hate Models, Ben Böhmer announce Carriageworks shows • Hatchie on her new album 'Liquorice': 'I just care less about what others think' • The world is ready for the ingenuous, broken songs of Guy Blackman • DJ Python shows utter contempt for the continuous mix DJ format • Birdsnake take their downtempo electronica underwater • Laurel Halo & Leila Bordreuil evoke a landscape in permanent flux • Tyler, The Creator review – a blockbuster show couched in contradiction • Hannah McKittrick: 'In a city, we remember that we are beautiful together' • All the music festivals in Australia in 2025/26 • Meredith Music Festival 2025 lineup: TV On the Radio, Pa Salieu + more • Emily Wurramara: 'It's so important to tell people how you feel' • Bumpy loses track of time on her new single 'Cosy Comfy' • The best new Mexican music: Mengers, Luisa Almaguer, Vanessa Zamora + more • Dick Diver review – the inner north equivalent of the Oasis reunion • RONA. returns with ‘Show Me’: ‘I wanted the next body of work to say something really important’ • Sarah Blasko on her first two albums: 'I didn’t really know what I was doing' • Phoebe Rings' Ben Locke on band breakups and depression • CLAMM: 'I used to think that I didn’t care about politics' • Unsound Adelaide review – music to make you feel • Spasta review – nothing but good times at winter dance party • Through all the twists and bends: Killing Heidi on 25 years of Reflector • All I wanna do is have some fun - on pop music nostalgia and comfort listening • Is Dark Mofo the most exciting event on the cultural calendar? • Picture a conversation between one person: an interview with Alabaster DePlume • The best Australian music of May – Ela Stiles, Maggie Tra + more • Day Tripper review – RISING's dial-turning festival within a festival • DIIV review – heavy guitars and existential doom in Melbourne • Jessica Pratt review – aural bliss is over too soon in Melbourne • Mount Kimbie review – band brings Melbourne crowd to the brink of catharsis • Supergrass review – I Should Coco anniversary tour comes to Melbourne • Beth Gibbons review – emotional immediacy at Melbourne's Rising • Ichiko Aoba review – Japanese musician enchants in Melbourne • Trackwork founder UTILITY on Vv Pete and artistic risk-taking • ANOHNI’s Opera House show was a furious, heartbreaking night of mourning • The Lemonheads review – electric, sugar-rush niceness in Sydney • Western Sydney R&B artist SAHXL: “I’m not trying to sound like no one” • Sigur Rós & the MSO review – introspection and psychedelia at Melbourne's Hamer Hall • Npcede review – hard beats and disgraceful noise at Phoenix Central Park • Simon Barker and Hinano Fujisaki take inspiration from cicadas • Slowdive review – UK shoegazers are more than a nostalgia act • Teether & Kuya Neil's YEARN IV is the great Australian rap album • The best Australian music of April 2025 – sina, Sleep D + more • HTRK review – band creates mystic closeness at Melbourne's Forum • Five years of Music In Exile – Australia’s only not-for-profit record label and registered charity • The best Australian music of 2025 (so far) • Head Gap studios burned down but they're determined to rebuild • Toto, Christopher Cross review – yacht rock revival in Melbourne • Golden Plains review – there’s no place like the Meredith Supernatural Amphitheatre • MJ Lenderman review – North Carolina songwriter has it all • Magic Music review – jazz, Japanese and Persian music at Phoenix Central Park • Billie Eilish review – mania and messy fun on popstar’s first night in Melbourne • Kutcha Edwards review – songs of sorrow and survival