If you’re chasing the best songs of Stonefield, you’re about to fall in love with one of Australia’s most electrifying family bands. Four sisters from a tiny rural pocket of Victoria picked up guitars, drums, and a Hammond organ and somehow channeled the fire of 1970s hard rock like they’d lived through it themselves. I still remember the first time a friend played me a Stonefield track in the car — I actually asked who the “classic rock deep cut” was, convinced it had to be some forgotten vinyl gem. It wasn’t. It was four teenage sisters from Darraweit Guim named Amy, Hannah, Sarah, and Holly Findlay, and once you know their story, every riff hits differently.
Stonefield’s catalog spans two scrappy debut EPs, four full-length studio albums, and a genuine evolution from blues-drenched garage rock into doomier, more psychedelic territory. Amy’s drumming and lead vocals anchor the band, while Hannah, Sarah, and Holly weave guitar, bass, and keys into arrangements that feel simultaneously vintage and urgent. Below, I’ve pulled together 20 tracks that trace that arc — from their 2010 debut EP through 2019’s Bent — with genuine musical insight into why each one earns its spot. For more artist deep-dives like this one, check out our full songs category archive.
Through the Clover
The title track from their November 2010 debut EP on Shock Records is where Stonefield’s identity first snapped into focus. Amy’s voice has an unusual maturity for a teenager fronting a rock band, and the arrangement leans on swirling organ lines that instantly recall late-’60s British blues rock. What strikes me most on repeat listens is the restraint in the mix — nothing is fighting for space, which let the band’s chemistry as siblings really breathe.
Foreign Lover
Before they were even called Stonefield, this song (recorded under their earlier name, Iotah) won the Triple J Unearthed competition and put four schoolgirls from rural Victoria on the national radar overnight. There’s a rawness here that’s almost documentary in feel, like you’re eavesdropping on a bedroom jam session that somehow got studio polish. It’s a fascinating listen specifically because you can hear a band still discovering its own sound in real time.
Black Water Rising
Pulled from the 2012 Bad Reality EP, this one leans hard into a Black Crowes and Led Zeppelin-style groove, and it absolutely earns the comparison. The rhythm section locks into a swampy, slow-burn pocket while the guitar tone gets appropriately filthy for the title. On headphones, you catch just how much low-end warmth producer choices gave this track — it’s built for volume, not background listening.
Bad Reality
The title cut from that same May 2012 EP is Stonefield firing on all cylinders, with vintage keyboard tones and a vocal performance from Amy that critics at the time compared to Lenny Kravitz’s swagger. Lyrically it’s about escaping a mundane, constricting reality, which feels almost poignant coming from musicians who were still teenagers balancing school with international festival tours. The bridge section in particular shows off arrangement instincts well beyond their years.
Ruby Skies
This was the breakout single from Bad Reality, and honestly, it might be the most immediately catchy thing in their early catalog. The cowbell accents give it a loose, live-band energy, and the melody sits somewhere between classic rock revivalism and genuine pop songcraft. In the car with the windows down, this track just works — it’s built for that kind of casual, sun-soaked listening.
C’mon
Opening their proper debut album Stonefield (October 2013, produced by Ian Davenport at Sing Sing Studios), “C’mon” announces a noticeably tighter, more confident band. The production has more polish than the EP years without sacrificing the grit that made their earlier work interesting. Critics at the time noted the group’s growing harmonic depth, and you can hear exactly what they meant in how the vocal layering builds through the chorus.
Love You Deserve
This track showcases a softer, more melodic side of the band without losing their rock backbone. The vocal performance carries real emotional weight, and the arrangement gives Holly and Sarah’s guitar and bass interplay room to actually be heard rather than buried under distortion. It’s one of those songs that rewards a proper listen on good headphones — the dynamics between verse and chorus are more nuanced than a casual pass through earbuds might reveal.
Put Your Curse On Me
There’s a darker, bluesier edge to this one, with lyrics that lean into mysticism and superstition in a way that fits the band’s psychedelic leanings. The guitar tone here has real bite, and the vocal delivery carries a sneer that feels genuinely lived-in rather than performed. It’s a great example of how Stonefield could write a hook without ever softening their hard rock instincts.
To the Mountains
A shorter, punchier cut off the debut record, this track moves with real urgency and doesn’t waste a second of its runtime. The chorus melody is one of the most memorable on the whole album, sitting somewhere between anthemic and understated. If you’re comparing production styles across Stonefield’s catalog, this is a useful reference point for how tightly Davenport mixed the 2013 record.
Sister
Kicking off 2016’s As Above, So Below — produced by John Lee and the record that cracked the ARIA Top 20 at number 19 — “Sister” is a genuine statement of intent. The riff is heavier, the production noticeably richer, and Amy’s vocal performance has grown into something more commanding. Given the band’s own family dynamic, the title feels almost autobiographical, which adds a layer of sincerity that elevates the whole track.
Dream
Following “Sister” on the album, this song slows the tempo and leans into a more atmospheric, psychedelic soundscape. The organ work here is gorgeous, floating underneath layered vocal harmonies that reward close listening. It’s the kind of track that genuinely benefits from a quiet room and good headphones rather than a phone speaker, since so much of its character lives in the mix’s spatial depth.
Changes
Released also as a standalone single in 2016, “Changes” balances hook-driven songwriting with the heavier, more mature instrumentation the band had developed by this point in their career. The lyrical theme of transformation and growth mirrors the band’s own evolution from teenage EP darlings into a genuinely accomplished rock outfit. It’s arguably one of the most radio-friendly moments on As Above, So Below without feeling like a compromise.
Eyes
Clocking in as one of the longer tracks on the 2016 album, “Eyes” gives the band room to stretch out instrumentally, with an extended arrangement that builds tension before releasing it in a satisfying payoff. The guitar solo section is a genuine highlight, showcasing chops that had clearly sharpened through years of relentless touring. This is a track that live audiences reportedly responded to with real intensity, and you can hear why.
Eagle
Closing out As Above, So Below at over five and a half minutes, “Eagle” is Stonefield at their most expansive and cinematic. The slow build, the layered vocal harmonies, and the eventual full-band crescendo all point to a band confidently embracing prog and psych-rock influences. As a closing statement for the album, it’s genuinely one of their most ambitious pieces of songwriting.
Delusion
Opening 2018’s Far from Earth — their first album on the Flightless label, produced by Stephen McBean of Black Mountain and mixed by Claudius Mittendorfer at Ultrasound Studios in Los Angeles — “Delusion” hits with noticeably heavier, doomier production than anything before it. Influences from Black Sabbath and Rush are audible in the riffing, and McBean’s production choices give the low end a genuinely massive weight. This track alone signals the tonal shift the whole album commits to.
Far from Earth
The title track leans into cosmic, spacey psychedelia, with production that Atwood Magazine later described as improving with age, like a fine wine you keep coming back to. The interplay between fuzzed-out guitar tones and Amy’s increasingly powerful vocal register makes this one of the most texturally rich songs in their whole catalog. On a solid pair of over-ear headphones, the stereo imaging on this track is genuinely striking — if you’re building out your listening setup, our headphones comparison guide is worth a look before you revisit this record.
Through the Storm
Released as a 7-inch single ahead of Far from Earth, this track is a genuine standout, mixing driving rhythm with a soaring, almost anthemic chorus. It’s one of the more immediate, hook-forward moments on an album that otherwise leans into slower, heavier textures. Live, this is reportedly one of the band’s most requested numbers, and it’s easy to hear why once the chorus lands.
Broken Stone
At nearly six minutes, “Broken Stone” is the longest and arguably most ambitious track on Far from Earth, unfolding through multiple distinct sections rather than a conventional verse-chorus structure. The dynamic shifts between hushed, moody passages and full-throttle riffing show real compositional confidence. This is a song that genuinely rewards patient, attentive listening rather than a quick skim.
Sleep
The lead single and album opener from 2019’s Bent, “Sleep” was described by the band’s Amy as inspired by “floating in the in-between,” and that dreamy, suspended quality comes through clearly in the production. Compared to Far from Earth, this track and the Bent album overall lean into a doomier, more ominous atmosphere, with heavier grooves that critics noted immediately upon release. It’s a genuinely haunting way to open a record.
Woman
Closing out Bent, “Woman” brings the album’s heavier, doom-leaning sound to a powerful finish, with Amy’s vocals repeatedly singled out by reviewers as a highlight of the record. The Austin Chronicle called the album a showcase of hard rock’s natural majesty and brute force, and this closer embodies exactly that description. If you’re planning to dive into the full record on the move, our earbuds comparison guide can help you find a pair that won’t flatten out those heavier low-end grooves.
Listening back across all four eras of Stonefield’s discography, what strikes me most is how genuinely they’ve earned every stylistic shift. This isn’t a band chasing trends — it’s four sisters who grew up together, toured together, and let their sound mature exactly as naturally as their musicianship did. Whether you gravitate toward the raw, teenage energy of Through the Clover or the doom-laced maturity of Bent, there’s a genuine through-line of sibling chemistry and 1970s-rooted songcraft holding it all together.
Frequently Asked Questions
Who are the members of Stonefield?
Stonefield is made up of four sisters from Darraweit Guim, Victoria: Amy Cavanagh (née Findlay) on drums and lead vocals, along with Hannah, Sarah, and Holly Findlay on guitar, bass, and keyboards. They originally performed as Iotah before renaming themselves Stonefield in 2010.
What genre is Stonefield’s music?
Stonefield plays a blend of hard rock, psychedelic rock, and stoner or doom-leaning rock, with heavy influence from 1970s acts. Their sound has gradually shifted from bluesy garage rock on their early EPs toward heavier, more atmospheric psych and doom textures on later albums like Far from Earth and Bent.
What is Stonefield’s most popular album?
As Above, So Below (2016) is generally considered their commercial breakthrough, peaking at number 19 on the Australian ARIA Albums Chart. It’s also widely regarded by fans and critics as one of their strongest and most cohesive full-length records.
Where can I hear more song breakdowns like this one?
You can browse more artist deep-dives and greatest-hits style guides in our songs category, where we regularly cover both classic acts and current releases.
What’s the best way to listen to Stonefield’s heavier tracks?
Because so much of Stonefield’s later material relies on layered guitars, deep bass grooves, and spatial production choices, a solid pair of headphones or earbuds makes a real difference. Our headphones comparison guide and earbuds comparison guide can help you find gear suited to that kind of low-end-heavy, dynamically rich rock production.