Maybe it's possible that Augie March are one of those bands that could only have emerged from Melbourne. It's a certain kind of art-rock posture, a bookish demeanour, an introspective gaze, and a tenderness for fleeting, precious moments that too much steady northern sun would burn away. A stint of touring with Something For Kate has given them a sense of humour and a soldier's sense of inner strength. Battles hard fought with larger audiences and the line and grind of the road have erased a mopey, introverted stage presence, replaced by a strength and quiet confidence that comes from understanding the platform as a strange mix of public sanctuary and privilege, a space that is both earned and deserved, and recognising the responsibility that goes along with it. Stand tall young men, and be proud of the work that brought you to this point!

Although beards are always a highly questionable facial accessory, the careless flannel shirts of recent memory have been swapped for attire more suited of a band of the calibre of Augie March. Their second EP, Waltz, led by the utterly enchanting lullaby "Asleep In Perfection," is brave in its delicate, swoony, stormy moods. Glenn Richards is blossoming into a fascinating songwriter, unusually articulate (thought I previously felt him to be earnestly wordy) and capable of conveying complex emotions and resonant stories with grace and sincerity. His glorious choirboy vocals have a soaring quality that captivates even easily distracted, mostly uni-student audiences like this. Left to mature at their own pace, Augie March may well produce an important, maybe even classic debut album.

By Lauren Zoric in Juice Magazine