Border Breakers: 21 Australian Female Musicians You Should Know

City: Melbourne

Sounds Like: A winning blackjack hand

Must Hear: "Ninja"

Pigeons & Planes previously premiered the video for "Ninja," Banoffee's debut track, and since then she's been one of those artist that it's impossible to forget. Martha Brown, the woman behind the act, relies on '80s synths and her own songbird chirp to tell a tale of domestic love filtered through ample R&B stylings. Martha has been part of another Melbourne act, Otouto, but this is her first venture into solo work and the results are enough to reveal her whimsical, fierce creativity. The double entendres that she manages to imbue breakfast with are nothing short of brilliant, and the tipping toward break-up, anger and implied violence at the end are a complete 180 from the earlier sweet nothings that compose the first half. Clearly, Brown is just beginning to show her hand.

City: Brisbane

Sounds Like: Freight train pop

Must Hear: "Heavy"

Karydas is 19 years old but she has more ferocity than someone twice her age. A self-professed lover of experiments, her sound is a cross between the heart-on-your-sleeve orchestral pop of Florence Welch and the rumbling and rambling folk of predecessors like Joni Mitchell and Emmylou Harris. She manages to create stories that sound decidedly not of our time, but not of any time really, as they exist on a plane all their own. There's a trend toward stronger, harder sounds in the up and coming generation of female singer/songwriters—they project a sense of toughness and wildness that feels like a welcome addition to the teenage dream pop personas of Selena Gomez and her ilk. Hannah may not have a Disney channel co-sign, but her independent persona is probably a better role model for teenage girls than any that they'll find in the American pop scene.

City: Brisbane

Sounds Like: Rainforest rhythms and sugary harmonies

Must Hear: "Jungle"

Emma Louise has one of those soft, smoky voices that would sound good no matter what kind of genre she tried her hand at. It turns out that her sonic tendencies lie toward the alt pop/indie rock end of the spectrum, but she manages to get some '80s synths and folk-oriented harmonies in the mix. Given this combination, it's no real surprise that New York's storied indie label Frenchkiss signed Louise off the strength of her initial EP Full Hearts and Empty Rooms, and its single "Jungle," which hit the top of Australia's charts and earned a spot on an episode of Grey's Anatomy. A full-length record called Vs Head Vs Heart came out via the NYC label in May and Louise continues to gain new fans internationally with her tensely sweet anthems.

City: Sydney

Sounds Like: The  blues, but inspired by joy

Must Hear: "Glorious"

This girl is channeling some Zee Avi vibes, but her honeyed voice has even more soul than Avi's lazy drawl. Ngaiire wields her vocals with more power and more control, modulating up and down the notes with the skill of a naturally gifted singer—you can't teach that kind of improvisation and creative ease. She's unafraid to stray from the melody and the major notes to throw in some off-kilter tones at unexpected moments. Aside from her flawless voice, Ngaiire's lyrics delve into the human psyche with precision, just listen to the surge of joy that flows through "Glorious" below for proof.

City: Canberra

Sounds Like: Talisman songs

Must Hear: "Beware New Lover"

The haunting, urgent voice of Julia Johnson is the beating heart of her musical project, the mythically titled Julia and the Deep Sea Sirens. Though sirens were known for luring sailors to their doom, it's Julia who seems to be on the brink of danger. "Beware New Lover" warns a potential partner about the fine line between fact and fiction, especially through the rose-colored glasses of infatuation, and other tracks like "Little Surprises" indicate that Johnson is more familiar with travesties than triumphs. Still, the combination of muted strings, kicked up rhythms and her story-telling singing create songs that feel personal and expansive, exploring psychic territory with wide-eyes and crossed fingers. Her debut album Family Pets came out in February of this year and is available to stream in full here.

City: Melbourne

Sounds Like: Wood-fueled fires under the stars

Must Hear: "All the World"

Brighter Later's debut album The Wolves was released in March of this year, but it's still gaining momentum by the week like a boulder rolling down hill. The central figure of the group, Jaye Kranz, began collaborating with Virginia Bott after a stint studying the blues in New Orleans. Martha Wainwright took the duo on the road with her as an opener for the Australian leg of her tour and they received accolades from multiple national radio stations and Rolling Stone. So why are they still relatively unknown? Because these are tracks that take their time, unfolding and undulating with reverbing strings, cooed, wordless vocal motifs and slow, rolling rhythms. Spend a little time with these songs, their layers contain seemingly infinite expanses.

City: Darwin

Sounds Like: An ancient ceremonial march

Must Hear: "Let it Go"

Another group that Pigeons & Planes caught wind of before this feature, Sietta is one of the most promising duos we've heard this year, let alone from the land down under. On "Let it Go," vocalist Caiti Baker takes a song that sounds like it'll be a nice, quiet number and leads it through a powerful, climactic section of majestic proportions before it melts back into a soothing, pastoral outro. James Mangohig is Baker's production partner and he perfectly frames her soulful voice, building a backdrop of dramatic twists and turns with her vocals while sonic fireworks shoot off right and left. Keep this pair on your radar, they're teetering on the brink of blowing up.

City: Sydney

Sounds Like: New Year's Eve streamers

Must Hear: "The World is Ours"

The aptly named Catcall is a beautiful brunette pop star who mixes '80s camp with a decidedly self-aware mainstream sound. Catherine Kelleher, the woman behind the project, dabbled in punk bands before branching out on her own as the purveyor of anthemic choruses and rainbow streaks of synthesizer. Kelleher's description of her own music might be the best part about her Soundcloud page: "FUCKING POP MUSIC" it reads. That says it all. Read more about her debut album The Warmest Place here and get lost in the maniac energy of "The World is Ours" below.

City: Melbourne

Sounds Like: Honeycombed dream-pop medleys

Must Hear: "Run You Down"

Ali Barter is Australia's take on a modern country star. She cites Patsy Cline as an influence, something that's rare even for southern country singers themselves, but it seems like it's Cline's spunk that Barter is inspired by—an element that's apparent on her latest, "Run You Down." Her careening, country story-lines are tempered with dream pop sonics and a host of filtered harmonies that situate her firmly in the here and now. For instance, comparing the subdued, lovelorn "Marigold" to her rambunctious freewheeling on "Run You Down" reveals the mosaic of her sound. The interesting thing about Ali is, despite her polished, high-quality sound, she's done everything independently. After releasing an EP last year called Trip, she's currently in the middle of a kickstarter-style fundraising campaign through a site called Pozible to get enough funds to record a full-length album in an analogue studio. If you'd like to contribute to her endeavors or read more about her plans go here.

City: Melbourne

Sounds Like: Skinny-dipping in synthesizers

Must Hear: "Hurricane"

Brooke Addamo is the primary force behind the gigantic sound of Owl Eyes. Collaborating with Aria-winning producer Styalz Fuego to produce her debut album Nightswim, the 22-year-old is perfectly poised for her international breakthrough. She manages to blend the disparate influences of distinct European styles in her looming, pillowy tracks—there's the sheen of Scandinavia, the lazy luxury of French pop and even an air of disco around the edges of the record's title track. Still, it's her urgent, beckoning vocal style that cements Addamo as one to watch on the burgeoning, boundary-less electro-pop scene.

City: Perth

Sounds Like: Swan song electronica

Must Hear: "Slacks"

When she's not covering Johnny Cash and Bill Withers, Olivia Gavranich aka St. South is busy constructing her own well-worn folk songs. "Regal Wash" has a lived-in feel even upon first listen, and her tiny yet powerful alto peeks around blocks of simple acoustic strumming. She first gained an international buzz by contributing to Bon Iver's stems project, and her submission, "We Washed Texas," won in its category and will be included on the official stems release that Jagjaguwar is planning. The fact that her contribution remixed three of Justin Vernon's tracks and included her own original material is just another indicator of the innovative style she possesses. Unafraid to blend traditional acoustics with experimental sampling techniques, St. South is the natural continuation of a trend Bon Iver started, but the pupil might outstrip the master before all is said and done.

City: Melbourne

Sounds Like: A digital weeping willow

Must Hear: "Elemental"

It's rare to hear electronic music that manages to feel like a physical force, that maintains a sense of pastoral connection despite samples, synths and other digital effects. This duo though, composed of Narayana Johnson and Kalyani Mumtaz—an uncle and his niece—make music that feels as natural as a wave crashing or leaves blowing by in the wind. Their sound palette dips into jungle green rhythms and sky blue harmonies, making the entire effort feel like an outdoor experience. Papering their  tracks with claps, dubbed rhythms and strident vocals of both gender, these two are creating a swaying, electric sound that's as addicting as it is arcane.

City: Sydney

Sounds Like: A lake freezing over

Must Hear: "Wounded Love"

Previously of The Middle East—one of Australia's best-known indie folk crossover acts—Bree Tranter embarked on her own solo project after the group dissolved in 2011. Leaning away from their more acoustic vibe, Tranter has opted for an influx of electronic noise in her songs—sidled up next to her flexible, airy vocals the results are icy, luminous and emotional. Her forthcoming EP is entitled Jaws and will be out in just a few days on August 24. She worked with her former bandmates Mark Myers, Rohin Jones, Mike Haydon and Jack Saltmira of The Middle East to create the new set of songs, so despite their differences from the past, some of the soundscape will surely be familiar.

City: Brisbane

Sounds Like: Kickdrum-soprano

Must Hear: "March Over to Me"

Little Scout are no stranger to the spotlight as the group have already supported the likes of Sharon Van Etten, School of Seven Bells, The New Pornographers, and Camera Obscura on international tours. Co-signs that varied and influential only come when a band is about break out in their own right and leap into the headliner position. With fluttering harmonies and insistent drums, this Brisbane four-piece thunder through pop and rock elements with uncanny skill, blending defiance and a measure of sweetness that makes them hard to forget. Their sophomore album Are You Life will be out on September 10.

City: Melbourne

Sounds Like: Floral grunge

Must Hear: "Warm Like You"

Filled with overdubs, fuzzy guitar solos and Adalita's husky alto voice, her foray into solo work has been marked by stripped back songs that are still decidedly rock. As the frontwoman of Australia's iconic rock group Magic Dirt for nearly two decades, Adalita left her bandmates behind and the results are awesome. Drawing on the dark roots of rock and roll but not afraid to balance out the growling guitar with bright lyrics, her music strikes the perfect balance between '90s grunge and the updated sensibilities of the 2000s. Her songs manage to feel like throwbacks without ever receding into boring territory.

City: Perth

Sounds Like: A song in sedimentary layers

Must Hear: "Koto"

Perth-based multi-instrumentalist Fait lists PJ Harvey as one of her influences, and though Fait's only track "Koto" is devoid of Harvey's unmissable vocal wailing, the building tension in her music mirrors PJ's brooding style. There's plenty of shoegaze and dream pop mixed into her layered, evolving sound though, some of which is certainly brought out by the pinch-hitter production of Darren Lawson, who has worked with the likes of My Bloody Valentine, and, more recently White Lies. The two are currently in the studio hammering out Fait's debut EP and if "Koto" is anything to go off it'll be a looming mountain of sound.

City: Brisbane

Sounds Like: Naked honesty far beyond standard teenage comprehension

Must Hear: "Liar"

This girl is only 15 years old and she goes under the code-ridden moniker of Cypher. Most teenagers barely know what a cypher is, and here she is creating her own mythology. That's beside the point though, her initial track "Liar" was produced solely by her in Garageband and it sounds like it could've easily been the work of a tempered, mature singer working with a whole studio team. So far the song is available for streaming and download via the Triple J radio Unearthed chart  and on her Soundcloud which identifies her as "Faith T." Her Facebook notes that she joined on August 1, and if that's the same time she put this song on Triple J it means that she rose to the No. 5 overall spot in just over two weeks. Listen up, this sounds like the future.

City: Sydney

Sounds Like: Lullabies for adults

Must Hear: "My Baby Loves Me All the Time"

In the mess of folk and the fuss of electronic that pervades the culture of music lately it's hard to find any indie rock outliers that are still worthy of attention—but Sydney three-piece Devotional is one act that is worth noticing. There's an emphasis on guitars in the forefront of their sound, but they cite alternative country, shoegaze and even religious symbolism as influential in the subdued, nuanced music they create. In April they released a 7" that featured both "Paradise" and "My Baby Loves Me All the Time," both of which highlight their soothing, lullabye-like repetition. Drowsy but never sleepy, Devotional are dutifully crafting a batch of indie rock songs that warrant a little faith.

City: Melbourne

Sounds Like: Gossamer acapella

Must Hear: "Vision"

This Melbourne trio use only their voices to create fleshy, mesmerizing songs that have earned them a spot on the stage at the Sydney Opera House among other distinctions. Originally, Aluka didn't plan to be an acapella act, but were so fascinated by experimenting with their voices that they quickly left other instruments behind. This crushingly beautiful song "Visions" was recorded using pianos—in that the three of them sang their parts into the inner workings of three pianos—using the reverb of their voices against the strings to add a completely unique sound to the track. Hints of jazz and choral overtones lurk in the music, but it's decidedly experimental in arrangement and unfolds with a pearly precision. Their debut album Space came out in April of this year and is available here.

City: Perth

Sounds Like: Dark, gloomy opera gone electric

Must Hear: "Hollow"

Ash Hendriks, the woman behind Leure, is also part of the electronic duo Wolves at the Door, but ventured out on her own back in 2012 with the release of a full-length called Holland Sky. While both projects deal in dark, reeled-in sounds, on her own Hendriks has experimented with projecting and twisting her voice into shadows that are punctuated by stuttering beats and ominous strings. There's a classical edge to her breathy soprano though, something that evokes the looming wings of an opera hall, if samplers replaced vibrato.

City: Melbourne

Sounds Like: Disintegrating lace

Must Hear: "Crumbling to Pieces"

Lisa Salvo makes destruction sound beautiful. On her debut EP, Love and Entropy, that came out in early 2012, Salvo waltzes past trumpets, acoustic finger-picking and even close-knit harmonies to steal the show, with her melody-line front and center no matter what else is going on around it. Her lyrics are another strength, they feel conversational, like snippets of thought honed down until they contain only the exact gist of her feeling. Despite her lack of new material, Salvo remains an artist strong enough to gain international momentum whenever she chooses to put out a new record.