Australian alt-rock outfit The Great Emu War Casualties have released their new EP, Mal du Siècle, alongside its infectious focus track Groovy. The five-track collection finds the Melbourne-based band pushing their sound into fresh territory, swapping some of the introspection of their debut album for a more outward-looking, energetic and playfully unpredictable approach.
The Great Emu War Casualties
The EP takes its title from a 19th-century French expression meaning sickness of the century, describing a sense of universal ennui that feels particularly relevant in 2026. Yet, rather than surrendering to the mood, The Great Emu War Casualties respond with a collection that embraces movement, melody and an irreverent sense of humour.
At the centre of the release is Groovy, arguably one of the band’s most joyous tracks to date. Built around driving, motorik rhythms and an instantly memorable synth motif, the song combines the laconic lead vocals of Joe Jackson with the cool, understated backing vocals of Saskia Clapton. Its lyrics balance self-deprecation with surreal observations of everyday suburban life, delivering an unconventional reflection on the difficulty of changing one’s ways.
Jackson explains: “When I say ‘Groovy’ I am Mike Myers as Austin Powers in my head. This song is about both the desire to and inability to change. Honesty and its difficulty. There is something toxic inside of these 3 minutes in it, hence the Liz Taylor bridge cameo.”
The track’s playful energy is characteristic of the band’s approach, with its catchy refrain disguising a more complicated undercurrent. Jackson’s opening declaration – that his days of being a dick are over, before immediately admitting he has forgotten about groovy – sets the tone for a song that finds humour in the contradictions of human behaviour.
Alongside the previously released Cold Food Ave, the EP features three further new tracks that demonstrate the band’s willingness to move between styles without losing their identity. Opener Genie combines dance-punk rhythms with a psychedelic edge, driven by the pounding percussion of Nepalese drummer Bibek Tamang. PFA takes a more relaxed, Balearic-inspired alt-indie route, before its laid-back atmosphere is disrupted by heavier beats. Closing track Disco brings the collection to an irresistible finish, drawing together the band’s melodic instincts and dancefloor-ready sensibilities.
The EP was recorded following an ambitious journey from Melbourne to California, with the band travelling to a studio situated between Joshua Tree and Yucca Valley, overlooking the Mojave Desert. They enlisted producer Alex Newport, the English-born, US-based musician and Grammy-nominated collaborator whose previous work includes Bloc Party and At The Drive-In.
The change of surroundings played a significant role in shaping the record. Following the release of their debut album, Public Sweetheart No. 1, the band wanted to create something that would not simply sound like a continuation of that earlier work. The acoustic guitar largely disappeared from the arrangements, with drum machines also finding their way into the recording process.
Jackson says: “We approached Mal du Siecle off the back of releasing the Public Sweetheart No.1 album with an aim of making a record that doesn’t sound like it’s from the same band. Aside from one verse in one song, the acoustic guitar is out. There’s a drum machine in there in places too. Instead of writing the whole thing in a Melbourne bedroom we put a lot of it together in a Californian desert. Public Sweetheart No.1 was a very introverted record whereas Mal du Siecle is attempting to make sense of the world around it. Predictably failing but also that might be part of the point.”
That shift in perspective gives Mal du Siècle a noticeably different character. Where Public Sweetheart No. 1 looked inward, the new EP turns its attention towards the wider world, responding to its absurdities and uncertainties with sharp observations, infectious rhythms and an irrepressible sense of fun.
Formed around a British, Australian and Nepalese line-up, The Great Emu War Casualties have steadily developed an underground following in their Australian home city before attracting wider attention with their debut album. Their latest release takes the band’s multi-genre approach further, combining indie rock, dance-punk, psychedelia and electronic textures into a collection that feels both adventurous and immediately accessible.
With Mal du Siècle now available, The Great Emu War Casualties are opening another chapter in their evolution, proving that even a record inspired by the sickness of the century can deliver a welcome dose of musical escapism.
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