Totally Unicorn: “Who doesn’t want to see a bunch of pasty white boys in their thirties trying to be sexy?”

Totally Unicorn. Credit: Luke Henery
(Image credit: Luke Henery)

You’ll never quite remember your first time seeing Totally Unicorn live – chalk it down to intoxication, or all the crowd-surfers’ boots you’ll cop to the noggin – but there’ll always be a lingering sense that it was one of the best goddamn sets you’ve ever seen a band play. And you’ll be right: infectious is the sheer visceral intensity of frontman Drew Gardner, both vocally and in his movement, thrashing around the stage (and in the crowd) like Satan himself is trying to burst free from his stomach. Mesmerising is Aaron Streatfeild, battering away at his fretboard on grisly, guttural riffs like his strings owe him money – not to say the least about his and drummer Adam Myers’ pure disregard for traditional time signatures. 

For their third album, High Spirits//Low Life – crafted in the time of COVID-19, when the prospects of taking to a stage were no less than dismal – Totally Unicorn took a step back and honed in more on how their songs sounded through headphones, rather than amp stacks. It’s something they’d always endeavoured to do, Streatfeild tells Australian Guitar, but with more time, more money and more turmoil to mine for great songwriting, they were able to pull it off without a hitch.

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…

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