'While it is tempting to conclude that [McComb's song] 'Jerdacuttup Man' is nothing more than an arresting allegory for McComb's own (self-imposed) exile in London ... [the song] is nevertheless imbued with an implicit understanding that evolutionary archaeology and attendant museological practices [were] developed within a prevailing discourse of colonialism ... [The song] resonates with contemporaneous indigenous struggles such as the campain to repatriate the head of Nyungar warrior Yagan - an 'artefact' ...' (177)