Yashica Launching Affordable Answer to Fujifilm in FX-D Camera
By Jacob Osborn - News
Published: 13 June 2025 |Last Updated: 10 June 2025
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The name Yashica may ring a bell as the Japanese camera and equipment brand that ceased production back in 2005, but after a Hong Kong-based company purchased the trademark rights a few years later and brought the business back from the brink. The 2017 launch of the Y35 DigiFilm camera combined digital technology and an analog-style design, and peopel clearly liked it, as the camera raised over $1.2 million on Kickstarter and paved the way for future models.
And now you're more or less up to speed as we introduce Yashica's latest endeavour: the new FX-D camera series.
Currently raising funds on Kickstarter – where it's soared well past its initial goal – the FX-D series continues a trend set forth not just by the rebooted Yashica but also brands like Fujifilm. While digital at heart, each camera in the range generates authentic film simulation photography and video. Users can alternate between various modes with ease as they replicate an assortment of analog aesthetics. A digital shooting mode is likewise available, thereby bringing owners the best of all worlds.
Yashica FX-D Camera | Image: Yashica
Want to capture images in black and white? There's a mode for that. Or maybe you want to shoot video in the granular style of 1970s cinema? There's a mode for that as well. There are six unique film simulation modes overall, allowing you to explore and create as you develop a personal style. Meanwhile, the camera's physical design language takes cues from pre-existing Yashica models like the FX-3, but with plenty of modern touch-ups.
The FX-D series runs the gamut of modern specs across its relatively small range. At the most affordable end of the spectrum is the FX-D 100, which includes a 13MP sensor and goes out to everyday creators. A notch above that is the FX-D 300, a 50MP high-resolution camera that offers more functionality and flexibility. And if only the best model will suffice, there's the FX-D S300. It takes the professional-grade features of the FX-D 300 and throws in an OLED Electronic Viewfinder (EVF) to heed customer demand.
Ultimately, you might think of Yashica's FX-D camera series as a tactile way to render analog-style effects without dealing with the headaches of traditional analog photography (film processing, etc). Call it your smartphone filters on steroids if you will, but some people still crave a more tactile experience. Will you get a relatively similar – if not far superior – experience with a quality Fujifilm camera? Perhaps, but the price point will be much higher. Here you get (arguably) comparable performance for a fraction of the price, especially when you take advantage of those early bird specials.
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Toyota chairman Akio Toyoda has reinforced his company's commitment to prioritising hybrid vehicles (HEVs) over battery-electric vehicles (EVs or BEVs), outlining that hybrids are its ideal way forward in terms of reducing total CO2 emissions. Speaking through an interpreter in a recent interview with Automotive News, Toyoda-san said Toyota is as committed to reducing the environmental impact of cars as any other brand, but has adopted a cost- and time-effective way to go about reducing its carbon emissions. "When the term 'carbon neutrality' started to become popular and we started to hear about it, we set our target as a company saying that for us, the enemy is carbon," he said. "The way that we thought about it was that we're not going to contribute to achieving carbon neutrality just by building BEVs, but we have to focus on things that we can do now so that, immediately, we can reduce CO2 from the air. Hundreds of new car deals are available through CarExpert right now. Get the experts on your side and score a great deal. Browse now. "We looked at ourselves [and asked] 'what can we do with the things that we have to contribute to carbon neutrality?' That was the base of how we made our decision in those times, and that has not changed now, and will not change for the future." Toyoda-san is referring to the widespread rollout of hybrid vehicles, which dominate the Japanese brand's current model range. Toyota is credited with creating the first mass-produced hybrid car in the late 1990s, and has continued to develop the technology to the market-leading status it holds today. The company's passenger car lineup is now dominated by hybrids, evidenced by the Japanese brand's Australian axing of all petrol versions of cars that offer hybrid options in 2024. Hybrids continue to play a significant role in Toyota's global efforts too, not least in its home country. Toyoda-san claims that over the past five years, the focus on hybrids played a larger role in reducing Japanese CO2 emissions than EVs. Above: Toyota Hybrid range "If you can check the data for each country about the CO2 emission situation for the past five years, it's going to be very clear," Toyoda-san said. "For Japan, we had this weapon of hybrid vehicles, so with the hybrid vehicles, we were able to reduce 23 per cent of CO2 emissions in the same [time], and it was the only country that was able to achieve that." Toyoda-san added that his company has produced and delivered upwards of 27 million hybrids to date, and claimed that figure was "equivalent to nine million BEVs in terms of the contribution to carbon neutrality". "The hybrids that we made and sold had the same impact as nine million BEVs on the road, but if we were to make nine million BEVs in [Japan] it would have actually increased the CO2 emissions, not reduced, because we are relying on thermal powerplants." Despite that, Toyoda-san reaffirmed that HEVs aren't the only way forward, pointing to Toyota's continued development of internal combustion petrol and diesel engines (ICEs), as well as EVs, plug-in hybrids (PHEVs) and hydrogen fuel-cell electric vehicles (FCEVs). Toyota recently revealed the next-generation RAV4 mid-size SUV (above), which will be the brand's first PHEV in Australia. The Mirai FCEV is currently being used by corporate fleets and government partners locally via very limited leases, too. The Japanese auto giant is also part of an alliance with Subaru and Mazda to develop lower-emission ICEs into the future. "I think we shouldn't just focus on [BEV] … but we should look at all the options that we have and work in all directions," Toyoda-san said. "That will be similar to thinking as a person of the planet, not just from one perspective, but thinking about the whole planet, and then we can think about the various options and take the movements to reduce CO2 as much as possible. "I believe if everyone can support this way of thinking, it will be for the benefit of all the stakeholders too." MORE: Toyota RAV4, Corolla, Camry, Corolla Cross, Kluger go hybrid-only in AustraliaMORE: 2026 Toyota RAV4 gets fresh design, tech plus PHEV power for AustraliaMORE: Toyota, Mazda and Subaru commit to petrol power with new enginesMORE: Everything Toyota Content originally sourced from: Toyota chairman Akio Toyoda has reinforced his company's commitment to prioritising hybrid vehicles (HEVs) over battery-electric vehicles (EVs or BEVs), outlining that hybrids are its ideal way forward in terms of reducing total CO2 emissions. Speaking through an interpreter in a recent interview with Automotive News, Toyoda-san said Toyota is as committed to reducing the environmental impact of cars as any other brand, but has adopted a cost- and time-effective way to go about reducing its carbon emissions. "When the term 'carbon neutrality' started to become popular and we started to hear about it, we set our target as a company saying that for us, the enemy is carbon," he said. "The way that we thought about it was that we're not going to contribute to achieving carbon neutrality just by building BEVs, but we have to focus on things that we can do now so that, immediately, we can reduce CO2 from the air. Hundreds of new car deals are available through CarExpert right now. Get the experts on your side and score a great deal. Browse now. "We looked at ourselves [and asked] 'what can we do with the things that we have to contribute to carbon neutrality?' That was the base of how we made our decision in those times, and that has not changed now, and will not change for the future." Toyoda-san is referring to the widespread rollout of hybrid vehicles, which dominate the Japanese brand's current model range. Toyota is credited with creating the first mass-produced hybrid car in the late 1990s, and has continued to develop the technology to the market-leading status it holds today. The company's passenger car lineup is now dominated by hybrids, evidenced by the Japanese brand's Australian axing of all petrol versions of cars that offer hybrid options in 2024. Hybrids continue to play a significant role in Toyota's global efforts too, not least in its home country. Toyoda-san claims that over the past five years, the focus on hybrids played a larger role in reducing Japanese CO2 emissions than EVs. Above: Toyota Hybrid range "If you can check the data for each country about the CO2 emission situation for the past five years, it's going to be very clear," Toyoda-san said. "For Japan, we had this weapon of hybrid vehicles, so with the hybrid vehicles, we were able to reduce 23 per cent of CO2 emissions in the same [time], and it was the only country that was able to achieve that." Toyoda-san added that his company has produced and delivered upwards of 27 million hybrids to date, and claimed that figure was "equivalent to nine million BEVs in terms of the contribution to carbon neutrality". "The hybrids that we made and sold had the same impact as nine million BEVs on the road, but if we were to make nine million BEVs in [Japan] it would have actually increased the CO2 emissions, not reduced, because we are relying on thermal powerplants." Despite that, Toyoda-san reaffirmed that HEVs aren't the only way forward, pointing to Toyota's continued development of internal combustion petrol and diesel engines (ICEs), as well as EVs, plug-in hybrids (PHEVs) and hydrogen fuel-cell electric vehicles (FCEVs). Toyota recently revealed the next-generation RAV4 mid-size SUV (above), which will be the brand's first PHEV in Australia. The Mirai FCEV is currently being used by corporate fleets and government partners locally via very limited leases, too. The Japanese auto giant is also part of an alliance with Subaru and Mazda to develop lower-emission ICEs into the future. "I think we shouldn't just focus on [BEV] … but we should look at all the options that we have and work in all directions," Toyoda-san said. "That will be similar to thinking as a person of the planet, not just from one perspective, but thinking about the whole planet, and then we can think about the various options and take the movements to reduce CO2 as much as possible. "I believe if everyone can support this way of thinking, it will be for the benefit of all the stakeholders too." MORE: Toyota RAV4, Corolla, Camry, Corolla Cross, Kluger go hybrid-only in AustraliaMORE: 2026 Toyota RAV4 gets fresh design, tech plus PHEV power for AustraliaMORE: Toyota, Mazda and Subaru commit to petrol power with new enginesMORE: Everything Toyota Content originally sourced from: Toyota chairman Akio Toyoda has reinforced his company's commitment to prioritising hybrid vehicles (HEVs) over battery-electric vehicles (EVs or BEVs), outlining that hybrids are its ideal way forward in terms of reducing total CO2 emissions. Speaking through an interpreter in a recent interview with Automotive News, Toyoda-san said Toyota is as committed to reducing the environmental impact of cars as any other brand, but has adopted a cost- and time-effective way to go about reducing its carbon emissions. "When the term 'carbon neutrality' started to become popular and we started to hear about it, we set our target as a company saying that for us, the enemy is carbon," he said. "The way that we thought about it was that we're not going to contribute to achieving carbon neutrality just by building BEVs, but we have to focus on things that we can do now so that, immediately, we can reduce CO2 from the air. Hundreds of new car deals are available through CarExpert right now. Get the experts on your side and score a great deal. Browse now. "We looked at ourselves [and asked] 'what can we do with the things that we have to contribute to carbon neutrality?' That was the base of how we made our decision in those times, and that has not changed now, and will not change for the future." Toyoda-san is referring to the widespread rollout of hybrid vehicles, which dominate the Japanese brand's current model range. Toyota is credited with creating the first mass-produced hybrid car in the late 1990s, and has continued to develop the technology to the market-leading status it holds today. The company's passenger car lineup is now dominated by hybrids, evidenced by the Japanese brand's Australian axing of all petrol versions of cars that offer hybrid options in 2024. Hybrids continue to play a significant role in Toyota's global efforts too, not least in its home country. Toyoda-san claims that over the past five years, the focus on hybrids played a larger role in reducing Japanese CO2 emissions than EVs. Above: Toyota Hybrid range "If you can check the data for each country about the CO2 emission situation for the past five years, it's going to be very clear," Toyoda-san said. "For Japan, we had this weapon of hybrid vehicles, so with the hybrid vehicles, we were able to reduce 23 per cent of CO2 emissions in the same [time], and it was the only country that was able to achieve that." Toyoda-san added that his company has produced and delivered upwards of 27 million hybrids to date, and claimed that figure was "equivalent to nine million BEVs in terms of the contribution to carbon neutrality". "The hybrids that we made and sold had the same impact as nine million BEVs on the road, but if we were to make nine million BEVs in [Japan] it would have actually increased the CO2 emissions, not reduced, because we are relying on thermal powerplants." Despite that, Toyoda-san reaffirmed that HEVs aren't the only way forward, pointing to Toyota's continued development of internal combustion petrol and diesel engines (ICEs), as well as EVs, plug-in hybrids (PHEVs) and hydrogen fuel-cell electric vehicles (FCEVs). Toyota recently revealed the next-generation RAV4 mid-size SUV (above), which will be the brand's first PHEV in Australia. The Mirai FCEV is currently being used by corporate fleets and government partners locally via very limited leases, too. The Japanese auto giant is also part of an alliance with Subaru and Mazda to develop lower-emission ICEs into the future. "I think we shouldn't just focus on [BEV] … but we should look at all the options that we have and work in all directions," Toyoda-san said. "That will be similar to thinking as a person of the planet, not just from one perspective, but thinking about the whole planet, and then we can think about the various options and take the movements to reduce CO2 as much as possible. "I believe if everyone can support this way of thinking, it will be for the benefit of all the stakeholders too." MORE: Toyota RAV4, Corolla, Camry, Corolla Cross, Kluger go hybrid-only in AustraliaMORE: 2026 Toyota RAV4 gets fresh design, tech plus PHEV power for AustraliaMORE: Toyota, Mazda and Subaru commit to petrol power with new enginesMORE: Everything Toyota Content originally sourced from: Toyota chairman Akio Toyoda has reinforced his company's commitment to prioritising hybrid vehicles (HEVs) over battery-electric vehicles (EVs or BEVs), outlining that hybrids are its ideal way forward in terms of reducing total CO2 emissions. Speaking through an interpreter in a recent interview with Automotive News, Toyoda-san said Toyota is as committed to reducing the environmental impact of cars as any other brand, but has adopted a cost- and time-effective way to go about reducing its carbon emissions. "When the term 'carbon neutrality' started to become popular and we started to hear about it, we set our target as a company saying that for us, the enemy is carbon," he said. "The way that we thought about it was that we're not going to contribute to achieving carbon neutrality just by building BEVs, but we have to focus on things that we can do now so that, immediately, we can reduce CO2 from the air. Hundreds of new car deals are available through CarExpert right now. Get the experts on your side and score a great deal. Browse now. "We looked at ourselves [and asked] 'what can we do with the things that we have to contribute to carbon neutrality?' That was the base of how we made our decision in those times, and that has not changed now, and will not change for the future." Toyoda-san is referring to the widespread rollout of hybrid vehicles, which dominate the Japanese brand's current model range. Toyota is credited with creating the first mass-produced hybrid car in the late 1990s, and has continued to develop the technology to the market-leading status it holds today. The company's passenger car lineup is now dominated by hybrids, evidenced by the Japanese brand's Australian axing of all petrol versions of cars that offer hybrid options in 2024. Hybrids continue to play a significant role in Toyota's global efforts too, not least in its home country. Toyoda-san claims that over the past five years, the focus on hybrids played a larger role in reducing Japanese CO2 emissions than EVs. Above: Toyota Hybrid range "If you can check the data for each country about the CO2 emission situation for the past five years, it's going to be very clear," Toyoda-san said. "For Japan, we had this weapon of hybrid vehicles, so with the hybrid vehicles, we were able to reduce 23 per cent of CO2 emissions in the same [time], and it was the only country that was able to achieve that." Toyoda-san added that his company has produced and delivered upwards of 27 million hybrids to date, and claimed that figure was "equivalent to nine million BEVs in terms of the contribution to carbon neutrality". "The hybrids that we made and sold had the same impact as nine million BEVs on the road, but if we were to make nine million BEVs in [Japan] it would have actually increased the CO2 emissions, not reduced, because we are relying on thermal powerplants." Despite that, Toyoda-san reaffirmed that HEVs aren't the only way forward, pointing to Toyota's continued development of internal combustion petrol and diesel engines (ICEs), as well as EVs, plug-in hybrids (PHEVs) and hydrogen fuel-cell electric vehicles (FCEVs). Toyota recently revealed the next-generation RAV4 mid-size SUV (above), which will be the brand's first PHEV in Australia. The Mirai FCEV is currently being used by corporate fleets and government partners locally via very limited leases, too. The Japanese auto giant is also part of an alliance with Subaru and Mazda to develop lower-emission ICEs into the future. "I think we shouldn't just focus on [BEV] … but we should look at all the options that we have and work in all directions," Toyoda-san said. "That will be similar to thinking as a person of the planet, not just from one perspective, but thinking about the whole planet, and then we can think about the various options and take the movements to reduce CO2 as much as possible. "I believe if everyone can support this way of thinking, it will be for the benefit of all the stakeholders too." MORE: Toyota RAV4, Corolla, Camry, Corolla Cross, Kluger go hybrid-only in AustraliaMORE: 2026 Toyota RAV4 gets fresh design, tech plus PHEV power for AustraliaMORE: Toyota, Mazda and Subaru commit to petrol power with new enginesMORE: Everything Toyota Content originally sourced from:
The Advertiser
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Standing firm on Aussie talent in the streaming era
Making it onto a popular Spotify playlist is huge for country musician Sara Storer, who is releasing her eighth solo album. But she puts it down to sheer luck. "You just cross your fingers - you rely on someone to like your music, to get on a playlist that could be heard by millions," she says. This is the kind of scale musicians need to even start making money from recordings in the streaming era. Even solid numbers from Storer's mostly Australian audience don't translate to a viable income. A recent snapshot of the listening habits of Australian music fans show the shift to streaming has resulted in playlists that are dominated by pop from the US and Britain. While Australians say they love local music, only one in three fans will actively look for new songs by Australian artists, research by federal music development and funding agency Music Australia shows. And of the top 10,000 artists streamed in Australia during 2024, eight per cent were Australian while more than half were from the US, according to entertainment analytics firm Luminate. These are sobering figures but Darwin-based Storer has high hopes for her album titled Worth Your Love, which is being released at the end of June. "This album is a big deal for me," she says. "The songs on it, I just can't wait for everyone to hear the new music. "I feel like this is me getting back into the music industry." It's an industry that has completely transformed since Storer started out, teaching music and singing her own songs by the campfire at outback stations in the remote Northern Territory. When her first album Chasing Buffalo was released in 2001, listeners would hear Storer's tunes on the radio, she made money selling CDs, and her record label had money to spend. More than two decades later, the mother of four boys has to rely on touring to make a living. It's something she describes as a rollercoaster of variable ticket sales and festival slots that often don't eventuate. She wonders about the streaming playlists and radio stations that default to imported tunes, when she believes Australian music is top notch. "People can mock it and say we sound feral or put us down like we're second grade but I love the way Aussies sound," she says. She name checks John Williamson, Paul Kelly and Missy Higgins - each one an authentic storyteller, just like Storer. But a US sub-genre known as bro-country, with lyrics about women, whiskey, pick-up trucks and cowboy boots, is currently in vogue instead, she says. As she prepares to embark on a national tour in July, Storer hopes a more authentic brand of country will soon have a resurgence. "Especially older generations, they're not going to want to hear bro-country," she says. "They're going to be starved for someone singing Aussie stories." As for the future of the industry, Storer is putting her faith in the calibre and originality of Australian music. "At the end of the day it's about the quality of the songs, being true to yourself as an artist, because that's what really shines through," she says. "If you sound like everyone else, it's boring and you'll just get skipped." Making it onto a popular Spotify playlist is huge for country musician Sara Storer, who is releasing her eighth solo album. But she puts it down to sheer luck. "You just cross your fingers - you rely on someone to like your music, to get on a playlist that could be heard by millions," she says. This is the kind of scale musicians need to even start making money from recordings in the streaming era. Even solid numbers from Storer's mostly Australian audience don't translate to a viable income. A recent snapshot of the listening habits of Australian music fans show the shift to streaming has resulted in playlists that are dominated by pop from the US and Britain. While Australians say they love local music, only one in three fans will actively look for new songs by Australian artists, research by federal music development and funding agency Music Australia shows. And of the top 10,000 artists streamed in Australia during 2024, eight per cent were Australian while more than half were from the US, according to entertainment analytics firm Luminate. These are sobering figures but Darwin-based Storer has high hopes for her album titled Worth Your Love, which is being released at the end of June. "This album is a big deal for me," she says. "The songs on it, I just can't wait for everyone to hear the new music. "I feel like this is me getting back into the music industry." It's an industry that has completely transformed since Storer started out, teaching music and singing her own songs by the campfire at outback stations in the remote Northern Territory. When her first album Chasing Buffalo was released in 2001, listeners would hear Storer's tunes on the radio, she made money selling CDs, and her record label had money to spend. More than two decades later, the mother of four boys has to rely on touring to make a living. It's something she describes as a rollercoaster of variable ticket sales and festival slots that often don't eventuate. She wonders about the streaming playlists and radio stations that default to imported tunes, when she believes Australian music is top notch. "People can mock it and say we sound feral or put us down like we're second grade but I love the way Aussies sound," she says. She name checks John Williamson, Paul Kelly and Missy Higgins - each one an authentic storyteller, just like Storer. But a US sub-genre known as bro-country, with lyrics about women, whiskey, pick-up trucks and cowboy boots, is currently in vogue instead, she says. As she prepares to embark on a national tour in July, Storer hopes a more authentic brand of country will soon have a resurgence. "Especially older generations, they're not going to want to hear bro-country," she says. "They're going to be starved for someone singing Aussie stories." As for the future of the industry, Storer is putting her faith in the calibre and originality of Australian music. "At the end of the day it's about the quality of the songs, being true to yourself as an artist, because that's what really shines through," she says. "If you sound like everyone else, it's boring and you'll just get skipped." Making it onto a popular Spotify playlist is huge for country musician Sara Storer, who is releasing her eighth solo album. But she puts it down to sheer luck. "You just cross your fingers - you rely on someone to like your music, to get on a playlist that could be heard by millions," she says. This is the kind of scale musicians need to even start making money from recordings in the streaming era. Even solid numbers from Storer's mostly Australian audience don't translate to a viable income. A recent snapshot of the listening habits of Australian music fans show the shift to streaming has resulted in playlists that are dominated by pop from the US and Britain. While Australians say they love local music, only one in three fans will actively look for new songs by Australian artists, research by federal music development and funding agency Music Australia shows. And of the top 10,000 artists streamed in Australia during 2024, eight per cent were Australian while more than half were from the US, according to entertainment analytics firm Luminate. These are sobering figures but Darwin-based Storer has high hopes for her album titled Worth Your Love, which is being released at the end of June. "This album is a big deal for me," she says. "The songs on it, I just can't wait for everyone to hear the new music. "I feel like this is me getting back into the music industry." It's an industry that has completely transformed since Storer started out, teaching music and singing her own songs by the campfire at outback stations in the remote Northern Territory. When her first album Chasing Buffalo was released in 2001, listeners would hear Storer's tunes on the radio, she made money selling CDs, and her record label had money to spend. More than two decades later, the mother of four boys has to rely on touring to make a living. It's something she describes as a rollercoaster of variable ticket sales and festival slots that often don't eventuate. She wonders about the streaming playlists and radio stations that default to imported tunes, when she believes Australian music is top notch. "People can mock it and say we sound feral or put us down like we're second grade but I love the way Aussies sound," she says. She name checks John Williamson, Paul Kelly and Missy Higgins - each one an authentic storyteller, just like Storer. But a US sub-genre known as bro-country, with lyrics about women, whiskey, pick-up trucks and cowboy boots, is currently in vogue instead, she says. As she prepares to embark on a national tour in July, Storer hopes a more authentic brand of country will soon have a resurgence. "Especially older generations, they're not going to want to hear bro-country," she says. "They're going to be starved for someone singing Aussie stories." As for the future of the industry, Storer is putting her faith in the calibre and originality of Australian music. "At the end of the day it's about the quality of the songs, being true to yourself as an artist, because that's what really shines through," she says. "If you sound like everyone else, it's boring and you'll just get skipped." Making it onto a popular Spotify playlist is huge for country musician Sara Storer, who is releasing her eighth solo album. But she puts it down to sheer luck. "You just cross your fingers - you rely on someone to like your music, to get on a playlist that could be heard by millions," she says. This is the kind of scale musicians need to even start making money from recordings in the streaming era. Even solid numbers from Storer's mostly Australian audience don't translate to a viable income. A recent snapshot of the listening habits of Australian music fans show the shift to streaming has resulted in playlists that are dominated by pop from the US and Britain. While Australians say they love local music, only one in three fans will actively look for new songs by Australian artists, research by federal music development and funding agency Music Australia shows. And of the top 10,000 artists streamed in Australia during 2024, eight per cent were Australian while more than half were from the US, according to entertainment analytics firm Luminate. These are sobering figures but Darwin-based Storer has high hopes for her album titled Worth Your Love, which is being released at the end of June. "This album is a big deal for me," she says. "The songs on it, I just can't wait for everyone to hear the new music. "I feel like this is me getting back into the music industry." It's an industry that has completely transformed since Storer started out, teaching music and singing her own songs by the campfire at outback stations in the remote Northern Territory. When her first album Chasing Buffalo was released in 2001, listeners would hear Storer's tunes on the radio, she made money selling CDs, and her record label had money to spend. More than two decades later, the mother of four boys has to rely on touring to make a living. It's something she describes as a rollercoaster of variable ticket sales and festival slots that often don't eventuate. She wonders about the streaming playlists and radio stations that default to imported tunes, when she believes Australian music is top notch. "People can mock it and say we sound feral or put us down like we're second grade but I love the way Aussies sound," she says. She name checks John Williamson, Paul Kelly and Missy Higgins - each one an authentic storyteller, just like Storer. But a US sub-genre known as bro-country, with lyrics about women, whiskey, pick-up trucks and cowboy boots, is currently in vogue instead, she says. As she prepares to embark on a national tour in July, Storer hopes a more authentic brand of country will soon have a resurgence. "Especially older generations, they're not going to want to hear bro-country," she says. "They're going to be starved for someone singing Aussie stories." As for the future of the industry, Storer is putting her faith in the calibre and originality of Australian music. "At the end of the day it's about the quality of the songs, being true to yourself as an artist, because that's what really shines through," she says. "If you sound like everyone else, it's boring and you'll just get skipped."
Perth Now
6 hours ago
- Perth Now
Standing firm on Aussie talent in the streaming era
Making it onto a popular Spotify playlist is huge for country musician Sara Storer, who is releasing her eighth solo album. But she puts it down to sheer luck. "You just cross your fingers - you rely on someone to like your music, to get on a playlist that could be heard by millions," she says. This is the kind of scale musicians need to even start making money from recordings in the streaming era. Even solid numbers from Storer's mostly Australian audience don't translate to a viable income. A recent snapshot of the listening habits of Australian music fans show the shift to streaming has resulted in playlists that are dominated by pop from the US and Britain. While Australians say they love local music, only one in three fans will actively look for new songs by Australian artists, research by federal music development and funding agency Music Australia shows. And of the top 10,000 artists streamed in Australia during 2024, eight per cent were Australian while more than half were from the US, according to entertainment analytics firm Luminate. These are sobering figures but Darwin-based Storer has high hopes for her album titled Worth Your Love, which is being released at the end of June. "This album is a big deal for me," she says. "The songs on it, I just can't wait for everyone to hear the new music. "I feel like this is me getting back into the music industry." It's an industry that has completely transformed since Storer started out, teaching music and singing her own songs by the campfire at outback stations in the remote Northern Territory. When her first album Chasing Buffalo was released in 2001, listeners would hear Storer's tunes on the radio, she made money selling CDs, and her record label had money to spend. More than two decades later, the mother of four boys has to rely on touring to make a living. It's something she describes as a rollercoaster of variable ticket sales and festival slots that often don't eventuate. She wonders about the streaming playlists and radio stations that default to imported tunes, when she believes Australian music is top notch. "People can mock it and say we sound feral or put us down like we're second grade but I love the way Aussies sound," she says. She name checks John Williamson, Paul Kelly and Missy Higgins - each one an authentic storyteller, just like Storer. But a US sub-genre known as bro-country, with lyrics about women, whiskey, pick-up trucks and cowboy boots, is currently in vogue instead, she says. As she prepares to embark on a national tour in July, Storer hopes a more authentic brand of country will soon have a resurgence. "Especially older generations, they're not going to want to hear bro-country," she says. "They're going to be starved for someone singing Aussie stories." As for the future of the industry, Storer is putting her faith in the calibre and originality of Australian music. "At the end of the day it's about the quality of the songs, being true to yourself as an artist, because that's what really shines through," she says. "If you sound like everyone else, it's boring and you'll just get skipped."
