200K is the debut album from Australian brothers Johnny and Matty Took — names already well established in the indie rock scene through their work with DMA’s (Johnny) and PLANET (Matty). This project, released under the name BIIG TIME, marks their first full-length collaboration, following the teaser of their musical chemistry in 2020’s standalone single “It’s You”. What’s immediately clear is that 200K is a labour of love — a collection that feels personal, unpolished in the right ways, and bursting with the raw energy of two artists finally given space to experiment together.
The album opens with “Chugging Pills”, a frenetic track that sets the tone for the album. Trademark vocal harmonies meet a wall-of-sound production style that feels urgent yet controlled. It’s a busy track, yet there is precision behind the chaos, and a hint at the explosive potential of these songs in a live setting, whetting the appetite for the duo’s upcoming UK tour.
Lead single “Bigger Than Nothing” is perhaps the best distillation of what makes BIIG TIME tick. Drawing comparisons to early 2000s alt-rock — The Dandy Warhols with a distinctly Sydney flavour — it’s a driving, catchy track that lingers long after the final note. Johnny’s distorted vocals provide grit and attitude, but it’s Matty’s smoother harmonies that make the chorus shine. “Even though I’m technically singing the lead melody,” Johnny said, “I feel like the sound of Biig Time is us singing together.” That sentiment lands especially true in the song’s final verse, where things briefly slow down: “You know I can’t find another to hold, come on and put me down slow” — a moment of softness before the band charges into a soaring finale.
In our recent interview, Johnny’s stated: “I’m quite traditional, the melodies are quite old school, traditional songwriting.” That sentiment is over tracks, “It Gets Better With You” and “Signing Out”, two love songs that have an old school feel, catchy choruses and some charmingly cheesy lyrics, such as “I’m so satisfied, I could happily die” in “Signing Out”.
Two standout tracks in the middle of the record are “Cattle in the Market”, where bright, jangly keys cut through grungy guitar textures for a striking contrast, and “Easy”, the album’s most atmospheric moment. With its long, intense intro and immersive build, it’s a track that feels tailor-made for the stage — a slow burn that’s sure to resonate in the live setting.
Many of the songs on 200K were written over the years, and demos were held because they didn’t quite fit the vibe or direction of DMAs or PLANET at that given time. “They really meant a lot to us,” Johnny told us. “We’re really proud of them… it kind of felt like the world had to see them.” One such track is “Love’s Wealth”, the album’s oldest — written over a decade ago. More of a ballad which swells from delicate to intense and back again, it encapsulates the band’s ability to blend intimacy and passion.
The album closes on a high with “I’m Feeling Alive”, a rousing, sing-along anthem that Johnny describes as “our football song” — big, bold, and full of heart. The final track, “Stole the Show”, is another rocky number that bounds along with swagger, hinting at the gritty guitar work of Elliott Smith’s early band Heatmiser. It’s a fitting closer, bookending 200K with the same urgency it began with.
Much of 200K consists of tracks that didn’t make it onto DMA’s or PLANET records for one reason or another, but that doesn’t make them castoffs. Instead, they feel like pieces that needed their own space, and together they form something both nostalgic and fresh.
It isn’t perfect, but it’s personal, loud, and lovingly crafted — most importantly, it carves out a distinct identity that stands apart from the brothers’ other bands. As Johnny put it, “It doesn’t mean [these songs] are bad… actually some of them are my favourite songs I’ve ever written. I just love that BIIG TIME is this vehicle where we can do that.” It’s a debut built on instinct, history, and heart, a celebration of two talented brothers who are finally able to collaborate officially, and the result is a record full of charm, character, and cathartic release.
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