We’ve been curiously following the progression of Ella Thompson since her days with The Bamboos, then Dorsal Fins and her solo music, which produced the very underrated track ‘Taller‘. Ella has been without a doubt one of the most talented singers in Australia this decade, always leaving you feeling like she’s just one song away from really breaking out big. Her most recent project GL with Graeme Pogson (one third of Harvey Sutherland) has produced her most hook-filled body of work so far. The consistency of GL leads me to believe that the duo have real staying power, more evident than ever in their most recent track ‘Reflect‘. Not only is it GL’s strongest work to date, but arguably Australia’s song of the year — or one that’ll at least place very high on our end of year Top 100 list.
‘Reflect’ is like a classic episode of The Simpsons, it sounds like multiple great ideas tightly woven seamlessly together. Most ordinary songs dream of having just 1 of the many hooks in ‘Reflect’. I always say an artist is in great form when it feels like they’re in total control, just messing with the audience and making them beg for more, while dazzling in their own world. That’s exactly the feeling I get during ‘Reflect’, as though there may have been more brilliant ideas in the studio, but they decided to cap the song at just under 8 minutes and save some of those ideas for other tracks. So instead of the ’80s retro novelty wearing off from GL, I think they’re in fact transcending into their own new world around the corner, or at least I hope.
Ella Thompson will be performing a GL track with The EG Allstars Band at TheAge Music Victoria Awards After Party on the 22nd of November. To get you excited Ella has sent us five of her favourite 2017 songs from Australia and New Zealand (so far), of which three artists are fittingly Victorian. The lineup also includes Harvey Sutherland & Bermuda, Gold Class, Cable Ties and more!
Here’s a link to the tickets: Click Here
Nai Palm – ‘Homebody’
“This song broke my heart on first listen. So beautiful to hear Nai’s voice intimately like this. The lyrics are stunning, I love songs that don’t give it away until the last line. This song is my favourite from the tremendous new album Needle Paw.”
Aldous Harding – ‘Elation’
“Aldous is a class act. She tells and we listen. We listen because we need this right now. Storytelling at its finest and most unique.”
Saskwatch – ‘Fortress’
“With a sea of new artists coming on the scene every year, let us appreciate the artists that are KILLING it on album four! ‘Fortress’ is one of my favourites from Saskwatch’s new album Manual Override, fitted out with lush arrangements and a close vocal by queen Nkechi Anele — may the band continue to ride!”
Kaiit – ‘2000 n Somethin’
“When undeniable talent appears the rivers make way. I love this chiller song from Kaiit, reminiscent of Aaliyah, Jill Scott and Soulquerians vibe. Her energy is inspiring, I can’t wait to see where she’s heading.”
Jonti ft. Sampa The Great – ‘Island Rose’
“Have been waiting for Jonti’s new album Tokorats for a loooooong time and gosh it is good. He is bringing the joy back to electronic music, uplifting and hard hitting. Two of the best innovators in Hip-Hop team up on this song..Sampa The Great almighty! What a year of incredible music she has had.”
Since premiering Chelsea Bleach‘s debut single ‘Public Safety‘ last year, we’ve been curiously following their progress. Tonight they finally launch their debut EP Decent Connections at The Tote in Collingwood, with support from Cable Ties, Kandere, Palm Springs and DJ Sov Trax.
I like to describe them as garage IPM (intelligent punk music), because they’re more diplomatic than pure force with their punkness. If 2016 only saw them testing the waters, then with this EP in 2017 they’re doing a full on knee splash bomb.
Each member of the band has contributed a track from another Melbourne-based act for their take on Trading Tunes.
GL – ‘Number One’
“GL is definitely in my top 10 list of Melbourne bands. This is such a fun dance track, and I could listen to Ella Thompson’s angelic vocals all day. Just a warning – the bouncy bass, catchy vocals and sparkly synths will probably be stuck in your head for days. I love this quirky video with it’s amazing colour coordination and visual composition.”
Various Asses – ‘Down, Down’
“I really love the vibes on the whole Locion release by Various Asses but this track is a standout for me. I love the heavy bass and variety of samples in the track. I find it’s always stuck in my head. I was lucky enough to catch Various Asses live for the first time recently and it was such an incredible experience it truly blew my mind. Raquel (from VA) is also the drummer in one of my fave bands Palm Springs and to be honest, I think she’s a musical genius.”
Huntly – ‘Please’
“The first time hearing this song was during a live performance. It’s got a full energy, great groove and relatable lyrics. This recording does not let you down on that front. From the quirky keys at the start, to the catchy melodies, this song has to be a fave of mine. I would be lying if I said I don’t sing and boogie to it every time I hear it. A great track from a fantastic Melbourne band.”
RVG – ‘That’s All’
“RVG are my favourite band in Melbourne right now and I love everything about this song. It evokes emotions in me every time I hear it, regardless of the fact that I’ve listened to it a ridiculous amount of times. Keep an eye out for their new album this year, and if you haven’t seen them play live you are missing out.”
Friendships – ‘Paradise’
“Off their debut Album Nullarbor 1988-1989 , Friendship‘s ‘Paradise‘ is some seriously hard-hitting techno — like a punch in the guts in a really good way. This whole album is stellar in my opinion, but if you haven’t caught Friendships live yet then make it a New Years resolution – as an audio visual duo their music is meant for the stage. Totally terrifying and unique, with strong characterisation and spoken word elements. I’m so psyched for what they’ll bring out next.”
Paradise Music Festival returned for its fourth year with a stellar line-up and more features, venues and fun for both their loyal patrons and new additions. From an offering of espresso martinis to luxurious camping abodes, the team behind Paradise stepped up their offerings this year in line with the growth of the festival as a whole. Even the cold weather and misty-to-almost-sightless nights could do nothing to dampen the spirit that lives on in the unique Paradise crowd, who traverse Lake Mountain Alpine Resort annually for one sublime weekend in November.
Our team was there with you on the hill, watching as day turned into night, then onto clubland and the sheer fantastic mayhem that the artists and atmosphere creates. So here’s our review, reflections and right of passage to say that Paradise was, yet again, an unchallenged success in the Victorian festival hierarchy – and as usual we cannot WAIT until next year.
It’s liberating to be able to confidently say – to whichever group you’re spending time with – ‘I’m going to head to the stage now for a dance’, knowing that you will be safe and enjoy yourself following your feet. Paradise felt like a weekend of being surrounded by friends – my friends, friends of friends, or potential new friends. There were countless times where, unaware of the inherent corniness, I’d have to interrupt a friend and point out the sunset, sunrise or frosty sky that made the festival feel like the interior of an innately Australian snow globe.
Among the excitement and stress that goes into the preparation of leaving for a camping festival, it is both a necessary and solemn reality check to start the festival with a Welcome to Country. I would also like to acknowledge here that Paradise is held on land which was stolen from its traditional owners, the Taungurung people.
Hi-Tec Emotions started their set with such power and vitality, I felt like they blew open the expectations for the music we could expect to hear during the weekend. They widened our eyes and opened our ears. Acts that followed flowed so neatly, each bringing their own air to the stage.
Sui Zhen’s sound has evolved over the years in such a natural and exciting way. She has never compromised her musical identity, throughout its evolution. It was such a warm and delightful experience seeing her perform. So much of her came through her sound and stage presence – every audience member was feeling the energy of their music and bopping and rolling hips.
I hadn’t listened to much Julia Jacklin before Paradise, but seeing her live proved she lives up to the recent hype surrounding her music. Before we know it, she’ll be globally known and we will think, gosh we were so lucky to see her at play so beautifully on Friday night at Paradise 2016.
Gabriella Cohen’s set too was a journey through an array of different senses, which was what made the final part of it feel so magical. What started as quite a minimal and acoustic performance (with only a few people on stage) ended up bursting with people and friends jamming on stage and involving the audience.
I am so excited for the future of Fortunes.. Their set was so fresh and so smooth. Both Fortunes. and Baro, who followed, interacted dynamically with the audience. Baro, along with his new live band, had a set up which was striking and inviting. GL, despite the bare stage, wasted no space during her set. Her liveliness was absolutely contagious. Harvey Sutherland’s sound instils such a rare feeling of musical love in me and experiencing it live just amplifies that sensation.
Simona Castricum was the perfect act to open Clubland. Her set gave me this feeling I have occasionally (often at festivals or events that require a certain amount of prior preparation). The feeling when you realise you’ve been having heaps of fun and that is what you are supposed to be doing; you go to a festival to enjoy yourself and you become too carefree to remember that that’s the objective of the entire weekend. The space set everyone free from the cold. There were so many clothing items on the floor. I accidentally lost my jacket for the night behind a locker and nearly got stuck between a deep and tight gap between a locker and a wall trying to fish it out.
Clubland felt like a new club every time a new act started (despite hearing Jamie XX’s record played in full between sets) – the tailored visuals switched the vibe up really well. I loved Ocdantar’s visuals especially. They added a new plane to his music in such a tasteful way. Couture was an act I was eager to see because I believe it might have been the last opportunity to see them live as both members are now following other artistic pursuits. While Simon Lam is currently abroad touring with Kllo, Hamish Mitchell held the room well. Planéte’s sets never fail to inspire me. He always makes me feel especially proud to be from Melbourne – a feeling which Paradise as a festival amplifies as well.
At Paradise I had a lot of moments accepting my own fun, both alone and with friends, without seeking validation or doing things I didn’t want to do. A lot of other festivals have an undercurrent of pressure to be loud, or to be having the ‘most’ fun – and to broadcast that fact to the rest of the attendees. While I did feel free to be expressive at Paradise, there was no pressure to be anything in particular. Just an unspoken respect and acceptance between the crowd and performers alike to act however you felt like acting, dance however you felt like dancing, and embrace Paradise for its ability to make you feel free.
The beauty of a chill-ridden fest is that you don’t awake from your slumber with the familiar rasp of horror, in a sun-filled tent which suddenly resembles a satanic sauna. No, instead you are woken up by the ramblings of tent friends, or the rustle of passers by. You’re given time to adjust, rather than having to scramble for fresh air and general respiratory release.
I personally find the first moment of exit from the tent one of life’s great joys. Primarily due to the great unknown of what may be happening underneath the main gazebo of the sprawling camp site. It seems, that at 11.30 am, several of my Paradise mates have decided it’s time for Espresso Martinis. I wish I could say I had the foresight not to get involved so early, however curiosity got the better of me, and I was on board.
We sipped intermittently, with the sound of Huntly floating through the campsite. Their jilted pop has never quite grasped me, however they did provide a lovely soundtrack to that Espresso hit.
The moment of note to kick start the day was always going to be Alice Ivy. The bopping barista has taken to the ladder of the Australian music scene with great authority in 2016, climbing with real purpose as the year has progressed. Her set had people shifting from their best impersonations of sedated souls, to moving with a bit more purpose. There’s something quite homely about her stage presence, it all seems so unabashed and joyous. It’s pretty nice seeing a musician have fun, but maybe I’m stuck in an alternate world with that mentality.
The sun began to shine, and the consequences were felt by many. A combo of hallucinogens and sunburn trickled through the crowd, leading to some truly hilarious facial expressions. It seemed a more than adequate backdrop to the performance of Saatsuma who, although still finding a cohesive sound, held some gorgeous sweeping melodies. Harmonies are undoubtedly Saatsuma’s strength, with both Memphis Kelly and sister Maddy Kelly showcasing their vocal range on more than one occasion.
I love Terrible Truths, but as is the case with festivals, I done fucked up and missed them. I bought a Bedroom Suck hat to make up for that though. I lost it twenty minutes later. They sounded great from the campsite.
It wouldn’t be a day two review if we weren’t to mention the creeping sense of fatigue. Keeping with the theme of “bands growing exponentially over 12 months” how FREAKING GOOD IS RAINBOW CHAN?
There’s this real sense of urgency and confidence in her stage show. It has shades of arrogance, so much bounce, and it is just god damn infectious. The juxtaposition of the power of Rainbow Chan’s ball of energy and my second day festival fatigue was real. We grooved for the first half, atop the rock 50 metres back, however by no fault of anyone, we found ourselves back on the slant, sipping away once again.
Krakatau blew my brain to pieces at Meredith 2 years back. Never had a sleepless night and relentless sunburn brought such joy. It’s difficult to pin down their style with clarity, as it seems forever changing. Without trying to genre-fy, I feel it leans most toward jazz and free form, however the tightness of their performance is seriously mind boggling. It was a joy watching the blissfully ignorant lay eyes upon this set for the first time. So many left in awe, of what was a commanding performance. It seems to be said numerous times each year, but scarcely have I seen a band more suited to the setting, not to mention set time.
With the exploits of the day prior having officially taking their toll, I snuck away back to my camp site for a late arvo nap. Timing was poor, and I missed Miles Brown. A past writer for the site had it pinned as ‘set of the festival’, and I do love a good Theremin.
Luckily, I was shaken awake somewhere in the early stages of friendships. I’ve always been a little ashamed of my inability to feel the same way about friendships as so many of my colleagues. It’s not that I’ve ever disliked them, they just haven’t really connected with me yet (wankerism #32). The last half of their set at Paradise was glorious. It was theatrical, it was heavy, it was near impossible to dance to. It felt abrasive, but not for the sake of being abrasive, and Nic Brown has unabashed stone-faced charisma. ‘When Feel Like Killing, I Murder’, with a little interlude monologue. Frighteningly powerful.
Being the band that, in many ways, sold me the ticket, I couldn’t help but feel a flurry of nerves as I waited for Gold Class to arrive. Would they disappoint me a la Chilli Peppers at BDO ’13, or would they triumph in the manner of Dizzee Rascal circa BDO ’10? Only time would tell.
Although they haven’t expressly vocalised it, I feel that strength of live performances must be a significant category in Paradise’s booking process. To one who had never seen Gold Class perform live, they were perhaps unusually placed on the lineup, in their rock-centric manner. However, Adam Curley’s mean, disaffected presence on-stage coupled with Evan Purdey and Jon Shub storming about the stage makes for a serious live show, one that is so gloriously separate to the remainder of the fest. Curley’s style does lean towards the glory days of post-punk, without seeming overly derivative, and ‘Life As A Gun‘ is a steamer of a live track.
With mulled wine and consistent shit talking on the menu for the remainder of the night, I found myself surrounded by shivering bodies at the makeshift bar. It’s quite a redeeming feature of Paradise, to note that there is no demographic here. Perhaps it’s different at 5am in clubland, but right now I feel as though all worlds of musical musings have collected under one tent, to talk trash about very little. I hear conversations of Modern Family, Thirsty Merc, and a list of things that should be brought back in 2017. I learnt that planking is ready for a triumphant return, and strangely felt completely at home.
Photo by Sarah Chavdaroska
Music venues around Melbourne house some of the best local and international acts. We’ve compiled our top five picks for gigs this week so you don’t miss out. Be a part of one of the best live music cities in the world, and check out some of our favourite artists and venues.
|Thursday, 8th September||Buy Tickets|
GODS are bringing their psychedelic rock to The Toff on Thursday, using the night to further fund their upcoming debut EP.
RAThammock are playing support as are the beautiful boys of Greeves, who will be preforming some of their new tunes.
|Thursday, 8th September||Buy Tickets|
Northeast Party House are playing at 170 Russell, on the tour for their new record ‘Dare‘ (out this Friday).
Joining them are Polish Club, Twinsy and Osaka, hot off the release of their new single ‘Weights‘.
|Friday, 9th September||Buy Tickets|
Animals Dancing and Crown Ruler are presenting Larry Heard aka MR Fingers in his first ever show in Australia, and second since his return to live shows.
Gigi Masin and Gaussian Curve are also playing on the night at the Melbourne Town Hall, so if you have the means and opportunity you would be crazy not to jump on tickets ASAP.
|Saturday, 10th September||SOLD OUT|
Dreamy party-time dance duo GL are touring their debut album, Touch, around the country at the moment.
They are playing at Howler with Totally Mild and Venus II for the Melbourne leg on Saturday night.
|Sunday, 11th September||Tickets on the door|
Ciggie Sunday is back at the Gasometer this Sunday with Ciggiespiracy.
Tunes will be coming from Tomsk, Service Desk, Max Matthews, Runsthevoodoodown and VJ Isaac Christie for the grand total of $0.
Head down early.
Without a doubt 2015 has been the best year in the history of Australian music. The amount of quality tracks and artists that we couldn’t fit into this list was astounding.
What’s particularly exciting is the fact that most of these artists are new, which makes the prospect of putting together next year’s list seem even more daunting.
We would like to thank all the artists for making the music, the readers who share our site’s content, the writers who contributed this year, and everyone else who makes the Australian music scene extremely enjoyable to be a part of in our own small way.
Let’s do it all again in 2016.
100. Knightlife – ‘Solstice’
99. LUCIANBLOMKAMP – ‘From Afar’
98. Jess Ribeiro – ‘Kill it Yourself’
97. Oisima – ‘Take Your Time’
96. Flamingo Jones – ‘Skinny D.I.P.’
95. The Ocean Party – ‘Black Blood’
94. Cleopold – ‘Down In Flames’
93. Harvey Sutherland – ‘That’s The Fact, Jack’
92. Cool Sounds – ‘Control’
91. Bad//Dreems – ‘Hiding To Nothing’
90. Total Giovanni – ‘Paradise’
89. Woollen Kits – ‘Girl With Heart’
88. Zone Out – ‘Inside’
87. Frances Fox – ‘Jake The Flake’
86. Low Lux – ‘Rivers Roll’
85. Redspencer – ‘Ride It Out’
84. Abelard – ‘I’m OK For Now’
83. SMILE – ‘Boundless Plains To Share’
82. Snowy Nasdaq & Snowy Life – ‘Ironic Life’
81. Fraser A. Gorman – ‘Blues Run The Game’
I can say with confidence that, over the past few years, Ripe has become one of the best local sources of new music – especially so in our home town of Melbourne, which has proven itself to be an amazing source of talent. As we relaunch the site with a renewed focus on covering the best Australian music, we felt it was about time we shared our thoughts on the artists and tracks from our hometown that have provided the soundtrack to our time on the scene, and who have influenced our tastes going forward.
We started from 2011 for several reasons. While we officially launched in 2012, we were kicking around as a humble Tumblr blog in 2011. We also feel that there was a distinct shift in the Melbourne music community around that time, and that the intervening five-year period has been a very productive time for local artists. I think the sheer variety present in this list, even within our distinct area of coverage, shows why we’re so enamoured with our neck of the woods.
I’d just like to take the opportunity to thank everyone who has worked to make Melbourne music what it is, as well as the artists behind these 100 songs and all the others we’ve enjoyed. I’d especially like to thank everyone who’s followed or contributed to Ripe over the years, and helped us to carve out our own tiny corner of the music press. We’re still committed to giving whatever small nudge we can to emerging artists, and we’re looking forward to collaborating with more and more people along the way.
Thanks everyone, hope you enjoy our list. – Brandon
Top 100 compiled by Marcus Rimondini, Huw Nolan, Brandon John, and all of our contributors. Edited by Michelle Doan.
Contributors: Alex Gleeson, Marcus Rimondini, Matt Bladin, Kassie Junkeer, Sam Chesbrough, Joshua Butler, Leah Phillips, Alana Scully, Ryan Saar, James McNiece, Jasper van Daatselaar, Ollie Leonard, Steph Studniberg, Michelle Doan, Brandon John
100. Broadway Sounds – ‘Sing It Again’
“No other artist brings the amount of colour, vivacity, or vibrancy to the Melbourne music scene like Broadway Sounds. Their sound is bursting with life, their live shows leave you sweaty, and their video clips are irresistibly crazy. ‘Sing It Again’ makes me aware of the fact that Broadway Sounds have established a unique and distinct sound that I’ve grown to crave. You won’t be able to sit or stand still while listening to this, so make sure you’ve got sufficient dancing space for this one.” – Kassie Junkeer
99. Crepes – ‘Ain’t Horrible’
“As the first single off their debut EP Cold Summers, Crepes bring a fresh take on Melbourne slacker pop with ‘Ain’t Horrible’. This stripped-back track outlines the band’s songwriting ability, with nothing to hide from. The absence of any core guitar parts is what makes this tune, homing in on the original keyboard lines from Jackson Dahlenburg and the smooth, beautifully effortless vocals of Tim Karmouche. It’s this combination of vocals and keys that defines Crepes’ sound and makes them stand out as one of the most exciting Melbourne guitar pop bands in 2015.” – Jasper van Daatselaar
98. Love Migrate – Plagued Are All My Thoughts
“The unsettling vocal quivers of main man, Eddie Alexander, combined with a minimalistic drone soundscape have crafted a song (and album) that is simultaneously magical, delicate, brooding, unsettling, and peaceful. A host of musicians on this record are now probably better known for their other projects (King Gizzard & The Lizard Wizard, The Murlocs), but this album is a stunning example of the group’s versatility. Now, three years on, the band has just released a new EP called Shimmer Through The Night – certainly worthy of a listen for fans of this record.” – Leah Phillips
97. Peter Bibby – ‘Hates My Boozin’
“In the hazy world of Australian guitar pop, there is something of a barrenness in regard to easily identifiable voices. Sure, there’s Courtney, and before her Paul Kelly, but more often than not, the focus has been firmly planted upon the ‘slacker’ guitar tones, or the ‘Australian’ style with which the song is constructed. ‘Hates My Boozin’ is the first track in a while from this genre that has floored me, in its purity and authenticity. Bibby’s drawl makes him sound like an alcohol-fuelled poet. We need more of this shit.” – Alex Gleeson
96. Sex On Toast – ‘Takin’ Over’
“A slap in the face from the synthesiser and you’re onto a good thing. ‘Sex On Toast’, as the name suggests, is a tasty sensual party on acid (if you’ve seen them live, you wouldn’t disagree). This song is nothing short of their best work to date. Sprightly, energetic, sassy, and funky grooves galore earned this track a spot on our list.” – Leah Phillips
95. Sleep D – ‘The Magic Arpet Ride’
“Often when I listen to tracks with heavy arpeggio, I feel myself being carried through the song. So I was just stoked that our beloved Sleep D, founder of what is now a staple Melbourne record label, Butter Sessions, encapsulated this vision in his title. Sonically, he takes it to a whole new world (#Aladdin) of rolling magical arps and swirling cosmic planes. The hard-hitting pulse and warping whooshes make it an adventurous and somewhat turbulent ride at times, while the magical arps maintain a smooth undertone. It’s the sort of melodically artistic track you never want to end, because of the abundant amount of sound realms of which you warp in and out.” – Kassie Junkeer
94. Contrast – ‘Pipe Dreams’
“By the start of 2015, the shoegaze revival in Australia had grown large enough to the point where a day and night event called Roogaze 2015 was held at The Tote in Melbourne. Right in the thick of this lineup was the fundamentally sound band Contrast. While many of these shoegaze revivalists don’t necessarily reinvent the genre, they don’t disgrace it either. ‘Pipe Dreams’ was the opening track off their very solid EP, Less Than Zero. Rather than drown itself in self-pity with heavy reverb and nostalgic lyrics, ‘Pipe Dreams’ is on the front foot from the get-go, like bands such as Swervedriver or Spaceman 3. Every backing vocal, guitar distortion and drum fill is perfectly placed into position. You couldn’t re-record a better version of ‘Pipe Dreams’.” – Marcus Rimondini
93. Terrible Truths – ‘False Hope’
“‘False Hope’ was released through Bedroom Suck Records’ 2014 double LP compilation, 5 years of Bedroom Suck Records. A standout on this 27-track release, Terrible Truths pack their psych-punk goodness into 1:59 minutes. The three-piece from Adelaide do the simple things so well in this track: defined tones, catchy riffs, and headbanging pace. When these elements are combined, it’s impossible not to jump around the room. It’s that kind of track. Defined by Rani Rose’s short and sharp vocal sections, this is one of those tunes that you find yourself playing over and over. It’s short, but it’s great. So great.” – Jasper van Daatselaar
92. ScotDrakula – ‘O’Clock’
“There’s something in this barnstorming hoedown that contorts my facial structure into positions of intimidating joy. Three-piece ScotDrak’ know how to throw a party in a live context, and this is the first track that truly exhibits this in a recorded setting.” – Alex Gleeson
91. Milwaukee Banks – ‘Pluto Bounce’
“This Melbourne hip-hop duo, Edo and Dyl Thomas, have been on the music scene for a while – producing, writing, and making some pretty solid beats. ‘Pluto Bounce’, the 2013 track that showcases their rhythmic prowess and creative lyrics, may be one of their earlier pieces, but is an entirely fitting choice for number 91 on our list. The undulating tempo and smooth base make it perfect easy listening, and stamp Melbourne as being one of the true hotspots for the development of RnB and hip-hop genres.” – Alana Scully
12 Sep Trading Tunes with GL
GL are a retro alt-pop duo from Melbourne with Ella Thompson on vocals and Graeme Pogson providing the backing production. Ella has been a vocal hook machine for a few years in other projects such as The Bamboos, Dorsal Fins and her solo work, while Graeme is equally as important in GL’s chemistry, his crisp, detailed array of sounds really making every song pop.
In the past year the duo have dropped three instantly catchy singles: ‘Won’t You See‘, ‘What Happened To Us?‘ and ‘Take Me Back‘. While we wait to hear new material from GL, the duo have sent over some song recommendations for Trading Tunes.
1. Sugarz – ‘City of light’
“I loved the sound of this immediately, the drums are great and the sound is perfect. Very good EP by the Sugarz/Benny Badge combo.”