For ten years Melbourne’s Spike Fuck has existed more as a messy myth than an artist –
sporadic works forever poised on the precipice of triumph, rumours of death or insanity and
so on. Spike’s foray into music in 2015 served a cultural fantasy, not by any overarching
sense of ambition, but rather a would-be, cosplay pop star arrested by his own devices and
whose melancholy wove through unlikely cultural circles. His sole body of work, The
Smackwave EP (Partisan Records), addressed themes as literal as the title suggests: drug
use, gender identity, religion and existentialism. Soon after its release, Spike was swept up
in the
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