Edith Thomas Furey emerged from the fringe of the substantially overhyped Jeff Buckley-imitation-spa scene pulsing hysterically across the neon-tinged and armpit-scented open mic nights of Brisbane’s early 2010’s ‘renaissance’ as a ‘serious’ ‘music’ ‘scene’ (which seems to unfortunately continue to progress apace in perennially vapid pockets of the ‘alternative’ landscape that characterises the shunting backwater hellscape that is this.
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