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19 Apr Six Times The Charm – By the Meadow 2019


Words by James McNeice // Photos by Sarah Chavdaroska


If there was one phrase that was the unprecedented focus of the weekend it was “Oh my gosh, its so cold!’

As a thrifty boutique festival that’s soon to put Bambra Bowl on the map, By the Meadow returned for its sixth year running. Despite the rogue temperamental weather, its few hundred-odd partygoers still ventured out with raincoats, scarves and beanies to battle a cocktail of rain, sun, rain, icy wind, rain, hail, and some more rain. I knew little else about what to expect besides a dedicated crowd of reoccurring punters and an emu that frequented the perimeter of the grounds, namely an entertaining opportunity for people watching.


As I rocked up after dark still munching on lukewarm maccas (the Friday evening road trip staple), everything was breezy – no lines (not even at the toilets!), easy to follow instructions and a straight forward camping area. But in the few short minutes it took for me to pitch my pop-up tent, Mother Nature unleashed a preview of the icy wind and continuous rain that would unfortunately plague By the Meadow for pretty much its entirety.

As the thought sunk in that the only choice was to go hard or go home, I thought “fuck it,” grabbed a beer and headed to the where the action was. As I shivered my way down to the festival’s one and only stage, I could thankfully feel a sense of community flourishing – we were all in this together.


My first encounter was Melbourne based urban music guru Thando, who was getting things heated with her finger clicking soulful bops. In the midst of her set it became instantly apparent that standing deep inside the crowd was going to be the best source of warmth for the night. Next up, murmurmur‘s dreamy psychedelia shone like a sonic daydream of light, playing a tight set of articulately produced tracks. Yet the party didn’t truly start until The Vasco Era’s cheery opening song, an ode to the Elvis Presley classic ‘Can’t Help Falling in Love‘. The cover spawned a wholesome and hearty sing-along frenzy before Vocalist Syd O’Neil abruptly shifted gears, morphing the set into their noisy post-hardcore brand of mosh pit ready punk that had people shaking their bums and banging their heads. For someone who was not familiar with this act, it was a golden shocker to see this incredibly fun and joyous transition at the beginning of their set. It was also huge to see half of the festival suddenly going nuts – whether this was in the name of rock’n’roll or an exciting excuse to stay warm.


Bringing the stage to a close at a sensible 12.20am was Zeitgeist Freedom Energy Exchange whose aesthetic of psychedelic visuals and deep-house-played-live was not only mesmerising but the most thought inducing set I have seen in a long while. There were many times I would fall into a deep hypnotic state, bopping my head and staring in a haze at the quartet – loving every moment of the music. It was the soundtrack for a million epiphanies at once, and just like that, night #1 had come to a close.

From that point forward, there were three options left – head back to your campsite to be rained on, the movie theatre showing back to back movies with sound, or join the renegade UE Boom party which emerged in a nearby shelter dome. Thanks to hearing a drunkenly sung version of Madonna’s ‘Like a Prayer’ wailing in the distance we politely opted for the latter. As we joined in on the sing-a-long, our mystery DJ’s role of selecting the next banger became one of immense pressure. The party’s population had just about tripled before the song had even finished. Thankfully they delivered, and after a few more tunes we decided to be sensible and hit the hay at the reasonable time of 2am.


Saturday morning kicked off with the inviting sound of light rain pattering on the tent top. Thank god, we had woken up dry. One coffee and a bowl of poorly executed Sultana Bran later, we found ourselves doing the morning admin by the car. As our Marie Kondo inspired campsite consisted of two fold-out chairs and nothing else, it quickly became our prime chill out zone, heater and all, where many front-seat tinnies were sunk in-between sets.

We got our shit together right in time to catch Hobson’s Bay Coast Guard in the early afternoon. Miraculously, the rain had fittingly cleared, and out came the most euphoric ray of sun that had ever hit my skin, perfect for the band’s progressive jam-sesh brand of indie surf rock. They kicked off the set with their ten-minute self titled track, which worked seamlessly alongside a unique harmonising blend of yell-y yet pop vocals that rode the sun-kissed twangy rhythms like a wave. If you haven’t had a chance to see these guys (whose debut album dropped literally a few days before the festival) then tack it on your to-do list. Hopefully next time we can see them as the Ronald McDonald quartet they intended to play as.


Brisbane’s Clea unluckily battled the relentless return of grim weather, particularly coming head to head with a seemingly never-ending gust of icy wind. Yet she still managed to lay down her lax chilled-out indie pop with a hint of mild psych. Her set was a haze of bliss, her vocals wistfully flowing through the nearby hills, like a solid glass of mulled wine by the indoor wood fire.

As the fierce rains reached their climax throughout the late arvo, watching the stage from the Marquee bar almost became a necessity, particularly for the people like myself who foolishly forgot to pack thermals. I sunk an espresso martini and kicked back to The Goon Sax, a band from Brisbane who could easily pretend to be from Brunswick and nobody would question them. Their fuzzy classically Brisbane indie rock was a perfect fit for that soon-to-be-dark evening piss-up vibe.

Another cocktail later and the marquee bar became a hideout for what felt like half the festival, and then the Sunset act began. This makeshift busking-like set had the whole tent at its capacity– whether this was initially planned for the main stage or not is a question that has gone unanswered. The band played an ode to Irish folk with some woodwind thrown in, reminiscent of something in between a cheery Christmas Day party in the trenches during the war and your cool Uncle’s 40th birthday party. It was this particular set that encapsulated what By the Meadow seemed to be aiming for – a communal, no shits given festival where you come across the same faces again and again as one big festival family.


As the rain had settled in for the night, Western Sydney’s Lauren brought a pumped-up set full of electro hip-hop bangers, at one point announcing that “this one is for the people who wanna fuuuck!” As a stark correlation, The Seven Ups followed, playing a largely instrumental set of groovy funk that commanded festival goers to dance. Headline act The Murlocs hit the stage in the midst of the fog which brought people out from under the covers to get up close and personal for their lively thriving set, aided with enough energy to direct a workout routine and an abundance of harmonica solos. Frontman Ambrose Kenny-Smith ended each track with a signature yelp of ‘YOOO!’ to keep things amped up, and at one point indulge in a hands-in-the-air call and response of the Backstreet Boys classic ‘Everybody (Backstreet’s Back)‘.

The night ended with subsequent trips between the stage and the movie theatre, where a screening of Die Hard drew in a surprisingly large number of people, as DJ Harvey Sutherland and Roza Terenzi pumped out thumping beats until the icy depths of rural 4am.


If you’re looking to make the move from other big league festivals then By the Meadow should be atop your list. The weekend felt like a once in a lifetime party your mate decided to sneakily throw on their farm while their parents were out of town. Rather than creating an atmosphere of competitive cliques that can easily be picked up in bigger festivals, By the Meadow felt always welcoming and never pretentious. People were there to see music; people were there to drink and dance and have a blast with their mates, and how these musicians managed to play dope sets in the freezing cold without their hands frosting over was a feat in itself. You’ll be sure to find me at next year’s festival, sporting a heavy rain jacket and new gumboots.


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gizzfest-4

14 Dec Definitely Weird, Definitely Worth It – Gizzfest Adelaide 2016


Words by Marcus Rimondini // Photos by Tobias Willis


I’m not exactly sure why we decided to drive 10 hours (including a stop for lunch in the Grampians) to check out Gizzfest in Adelaide. All I know is that the Gizzfest in Melbourne the weekend prior clashed with Paradise Music Festival — which I consider an unmissable experience. After all, I thought, Gizzfest is just a showcase of psychedelic bands that I’ve seen before and a couple of new, small, dancey Captured Tracks artists. In fact, it was that contrast of styles and the subsequent crowd responses between the two genres that I found to be potentially fascinating. That, and the fact that Adelaide’s crowd demographic was a mystery to me, led me to believe it would be amazing for people-watching — and it turned out even better than I could’ve imagined.

There are a few reasons why venturing to Adelaide for an evening festival is rather easy and pleasant. For starters, traffic when driving in and around town is never an issue. Despite Adelaide being perhaps not the most exciting city in the world, it’s severely under appreciated when it comes to beauty — leafy parks, and tree-lined streets. Also, Adelaide is always near the top when it comes to ‘most liveable,’ which generally means it’s easy to buy whatever you’ve forgotten, or park your car most places without the fear of it being broken into. You can relax knowing that the city is fairly predictable — things just work. Also, securing a great Air BnB close to the venue was easy.

 

As for the festival location – the Thebarton Theatre – well, there are positives and negatives.

One positive was the building itself, which is quite beautiful. Think a longer hall version of The Forum. It has a large outside smoking area, plenty of space to move around and the sound is solid from the back of the hall. The negatives were that the outside stage was inside a shipping container — which is awesome if you can manage to squeeze inside, but otherwise it’s limited to 25-30 people. The side stage inside was also kind of awkward. Perhaps because the stage itself was only 50cm off the ground, so unless you were right up the front it was too hard to see from any further distance — meaning most of the crowd either gave up, sat in the stands or went outside between the main stage sets.

While the sound was solid at the back of the hall, if you committed to the front, the wide speaker stacks blew the sound right past you, leaving you to hear more of a muffled sound from the bands fold-back monitors. Overall, the Thebarton Theatre was the right size for the event itself, just the layout needed tweaking.

 

As for all of the psychedelic bands on the main stage, Mild High Club is always a chilled way to start a festival. Think a slightly more psychedelic version of Real Estate. The Murlocs are a less adventurous version of King Gizzard and The Lizard Wizard, with a touch of country harmonica, leaving them middling between the more recent mild sounds of Thee Oh Sees and standard ScotDrakula. Although the last song, which is a new song, carried a little more oomph and felt inspired.

 

White Fence perhaps had the most diversity out of all the psychedelic bands, with their clearer story telling, something rare in psychedelic music. White Fence also mix up their song structures and arrangement approaches rather tactfully, without straying questionably too far outside of their limitations. Their performance kept you engaged from start to finish, with the highlight being a super tight, large breakout jam in the middle of the set. It’s easy to see why White Fence are well respected around the world. Pond was almost painful to watch, as the lovely guys Nick Allbrook and Jay Watson lived out their ‘80s glam rock, hard riffing fantasies. If I were 13 I may have enjoyed their set. Let’s be honest though, if they weren’t associated with the well respected Tame Impala, they wouldn’t be half as popular.

 

King Gizzard and The Lizard Wizard again proved why they are one of the most impressive live bands in the world right now. After the release of the endlessly looping LP Nonagon Infinity, their sets have developed a more cohesive flow to them in contrast with those of a few years ago. You can see the modest confidence in the faces of each band member — they know they’ve finally nailed the King Gizzard sound with Nonagon Infinity. They closed their set with their newest song, ‘Rattlesnake’, which was followed by a round of ‘one more song!’ for quite a while by the rowdy crowd. Which brings me to the most interesting topic of the Gizzfest Adelaide experience — the crowd. And I’m not referring to the hilarious moment when Boulevards went crowd surfing and somehow managed to kick Joey Walker’s microphone into his face.

On Instagram someone under the hashtag #gizzfest posted the scene from The Simpsons where a nonchalant early ‘90s grunge crowd is swaying to The Smashing Pumpkins, and that almost summed it up perfectly. The clothes were baggy, the crowd was young and restless, and the people were ready to ‘rock’. There were a few who dressed closer to the early ‘70s, but generally the crowd was a time-warp that I have nothing against, but a few other issues did concern me.

One was the general lack of diversity. I’m not sure if that’s just the Adelaide scene in general, but the crowd was 95% white and about 75% male. Which for an Australian city in 2016 – is disappointing. A factor for this could’ve been the fact that there wasn’t one female performing all day, and that’s poor form by King Gizzard. They had a few playing at the Melbourne show, so surely they could’ve found one female artist in Adelaide to join the line-up. The majority male crowd made the heavy moshing during King Gizzard feel aggressive, more like a heavy-metal concert rather than a friendly psychedelic gig. King Gizzard at least tried to add dance music to the line-up with Dinner and Boulevards, but unfortunately that didn’t really add more of a dance party vibe to the festival. More unfortunately, the crowd didn’t react or interact particularly well with those two artists, who by far ranked among the most entertaining.

 

People stood at the back of the hall with their arms crossed during Boulevards, almost in protest against dancing. Dinner at least managed to draw a slightly larger audience, and that’s because he was by far the most memorable performer I’ve seen in awhile. He’s an unusual and refreshing signing for the Brooklyn label Captured Tracks, who generally sign reverb bands. Boulevards is a one man show artist reminiscent of a funnier John Maus, and he conducted the crowd like a Dan Deacon live set. The highlight was a two minute span where he told the crowd to sit on the floor, then joined them to serenade and sing lying down on his back.

Maybe cross genre appreciation isn’t as big in Adelaide, a city which doesn’t exactly host a myriad of electronic events. One person I spoke to outside said that people in Adelaide drive to Falls Festivals in Victoria for New Years, because they don’t have any options locally.

Props to King Gizzard and The Lizard Wizard for attempting a touring semi-festival format that’s a little different. It’s never an easy task to pull together lower income festivals, especially when you’re planning on recording and releasing four albums in 2017. I think Dinner summed up the Adelaide Gizzfest the best, when he stated that it felt like “the world’s weirdest school dance”. It was definitely weird, but definitely worth it!

 


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Rainbow Serpent 2016-2

22 Mar Ripe’s Australian Chart (22/3/16)

Ripe’s Australian Chart is our weekly rotation of the best new music by Australian artists released in the last month. With so much great local music coming out at the moment, we’ve got a huge pile of 40 tracks in this week’s playlist.

We start at #39 with another track from the Brisbane record label Tenth Court, giving the label now three tracks in the chart. This time we have ‘Sunshine Song‘ by Sydney2000 off their new untitled six track EP. If you dig gritty, lo-fi garage rock then dig into Tenth Court’s catalog. Next we skip down to #28 with ‘Everyday‘ by Edward Vanzet from Melbourne. Edward is the younger brother of Jack Vanzet A.K.A. Thrupence. ‘Everyday’ is the titled track off a new four track EP and Washed Out fans will find it’s calm pacing, very comforting.

Galapagoose from Melbourne makes a return at #26 with ‘Free By One‘. It’s not clear if it’s a new single or what the context of the song is from, but if you dig the rhythmic patterns of Footwork music and the more spaced out moments of Flying Lotus. Then ‘Free By One’ will interest you. We stay in Melbourne at #21 for the pioneers of jazz-gaze – Cool Sounds. In-jokes aside, ‘In Blue Skies‘ will feature on their forthcoming debut album Dance Moves on Deaf Ambitions. ‘In Blue Skies’ is perfectly seasoned for Autumn with its nostalgic lust wanting to save a relationship about to end.

At #16 Sampa The Great has teamed up with Remi for ‘For Good‘. It’s the first single from Remi’s forthcoming album Divas and Demons, but it’s Sampa The Great who continues to steal the show. Her verse doesn’t kick in until the back half of the track, but it’s worth staying tuned for. She’s growing into a showstopper, who everyone is going to want to collaborate with and I’m not talking about just in Australia. The Murlocs are back and slide into #11 with ‘Young Blindness‘ off their latest 11 track album of the same name. ‘Young Blindness’ maintains the consistent standards set by the country-psych band and comes with a video-clip resembling an animation you’d find in the trippy Adult Swim series Off The Air. Next month the Melbourne band are touring Sydney, Melbourne, Adelaide, Perth and Fremantle.

Black Cab jump into the top ten with ‘Uniforms‘ at #9. You may have witnessed the dark-electronic Melbourne band at the recent Golden Plains festival. ‘Uniforms’ has heavy roots in ’80s music, but the Perturbator-esque, trance-state synths played by Mikey Young are too euphoric to turn away from. The trio are playing their ‘Uniforms’ single launches in both Melbourne and Sydney in May.

The track of the week however belongs to White Lodge from the Gold Coast with ‘Bella-Union Creep‘ at #3. White Lodge follow in the footsteps of Rolling Blackouts Coastal Fever with that carefree, hair to the wind, simultaneously loose in nature and yet tight in garage rock execution. Throw in that bridge section switch up and wicked guitar solo and ‘Bella-Union Creep’ is a flat-out jam. Can someone please bring this band down to Melbourne immediately.


40. Bent – ‘Skeleton Man’

Uploaded: February 29th | Last Week: #40


39. Sydney2000 – ‘Sunshine Song’

Uploaded: March 17th


38. Tourist Dollars – ‘Horse Girl’

Uploaded: February 29th | Last Week: #39


37. Mope City — ‘Letterbomb’

Uploaded: March 9th | Last Week: #37


36. Spookyland — ‘Big Head’

Uploaded: March 10th | Last Week: #36


35. Wireheads – ‘Arrive Alive’

Uploaded: March 14th | Last Week: #35


34. Blake Gilray – ‘Guru Glock (Preview)’

Uploaded: March 1st | Last Week: #34


33. Ariela Jacobs – ‘Lost’

Uploaded: February 29th | Last Week: #33


32. Milwaukee Banks – ‘Reincarnated’

Uploaded: February 24th | Last Week: #32


31. Lucianblomkamp – ‘The Overman’

Uploaded: February 24th | Last Week: #31


30. Arvo Tanty – ‘Forget This Mourning’

Uploaded: February 26th | Last Week: #30


29. Gonzo Jones – ‘Misty Dreams’

Uploaded: March 8th | Last Week: #29


28. Edward Vanzet – ‘Everyday’

Uploaded: March 13th


27. The Pretty Littles – ‘Pride’

Uploaded: March 23rd | Last Week: #28


26. Galapagoose – ‘Free By One’

Uploaded: February 28th


25. A.M. Limonata – ‘After Midnight Special’

Uploaded: February 28th | Last Week: #27


24. Tiny Little Houses – ‘You Tore Out My Heart (Anatole Remix)’

Uploaded: March 2nd | Last Week: #25


23. Smile – ‘Old Boys’

Uploaded: March 9th | Last Week: #24


22. Bad Vision – ‘Goons’

Uploaded: February 29th | Last Week: #22


21. Cool Sounds – ‘In Blue Skies’

Uploaded: March 17th


20. Antony & Cleopatra – ‘Love Is A Lonely Dancer (Amateur Dance Remix)’

Uploaded: March 12th | Last Week: #21


19. The Goon Sax ‘Up To Anything’

Uploaded: February 24th | Last Week: #20


18. Nasty Mars – ‘Sundaynight’

Uploaded: March 11th | Last Week: #19


17. Tiny Little Houses – ‘Milo Tin’

Uploaded: March 13th | Last Week: #18


16. Remi ft. Sampa The Great – ‘For Good’

Uploaded: March 16th


15. Rainbow Chan – ‘Nest’

Uploaded: March 3rd | Last Week: #17


14. Mall Grab – ‘Down’

Uploaded: February 29th | Last Week: #16


13. Hoodlem – ‘4 Real’

Uploaded: March 11th | Last Week: #14


12. Loose Tooth – ‘Sherry’

Uploaded: March 4th | Last Week: #13


11. The Murlocs – ‘Young Blindness’

Uploaded: March 15th


10. The Goods ft. Unkle H – ‘Only One’

Uploaded: March 11th | Last Week: #11


9. Black Cab – ‘Uniforms’

Uploaded: March 9th


8. Summer Flake – ‘Wine Won’t Wash Away’

Uploaded: February 27th | Last Week: #9


7. Ciggie Witch – ‘Meet Me In The Middle’

Uploaded: March 2nd | Last Week: #8


6. SHOUSE – ‘Support Structure’

Uploaded: February 24th | Last Week: #7


5. King Gizzard & The Lizard Wizard – ‘Gamma Knife’

Uploaded: March 8th | Last Week: #5


4. Asdasfr Bawd – ‘Underpass’

Uploaded: March 12th | Last Week: #4


3. White Lodge – ‘Bella-Union Creep’

Uploaded: March 15th


2. Jamal Amir – ‘Got Something’

Uploaded: February 29th | Last Week: #3


1. Julia Jacklin – ‘Pool Party’

Uploaded: March 7th | Last Week: #2

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Top 100 Feature

22 Nov The Top 100 Melbourne Tracks, 2011-2015

 

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

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03 Sep TOP 20 TRACKS FOR THIS WEEK

It’s that time again where we showcase our favourite 20 songs for the week. There’s a good mix of local music alongside new tracks from around the world. Click the links below to play or stream the playlist on any page within THE RIPE.

In no particular order:

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13 Aug TOP 20 TRACKS FOR THIS WEEK

Presenting THE RIPE’s favourite 20 songs for the third week of August 2012. Click to play or stream the playlist on any page within the site.

1. BEAR MOUNTAIN – Two Step
2. THE KITE MACHINE – The Crook And The Skank
3. THE NEIGHBOURHOOD – Sweater Weather
4. DARK ARTS – Heart Strings
5. THNKR – Breathe Slow
6. DAN CROLL – From Nowhere
7. GROUP RHODA – At the Dark
8. BROCK TYLER -Don’t Break Your Heart
9. TIN LION – Indigo
10. GOTYE – Eyes Wide Open (Yeasayer Remix)
11. THE SEA AND CAKE – On and on
12. DAUGHTER – Smother
13. BLONDFIRE – Waves
14. FUTURECOP! – Till Eternity (i Miss You)
15. PEAKING LIGHTS – Beautiful Son
16. ANDREW CROWE – Run
17. ALUNAGEORGE – Your Drums, Your Love
18. SLEEP DECADE – Bicycle
19. DEAD OCEANS – Close Remix (Beat Connection)
20. ELECTRIC YOUTH – The Best Thing

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10 May WAVVES @ The Corner Hotel – 9/5/12

It was fucking cold outside, but warm and toasty in the summery explosion of the Wavves gig at The Corner Hotel. Wavves were supported by Melburnians The Murlocs and the Sydney-siders Sures, and it was cray-zeee.

Wavves have a different sound from the norm. They have this stoner/rock/beach vibe and they don’t copy anyone. And they carry an air about them like they just don’t give a shit what anyone thinks and they will play whatever songs they want. Bands that do this run the risk of looking like a bunch of arrogant wankers. But boy do Wavves pull it off, they pull a huge crowd, and they put on a bloody good show.

However, despite them being pretty awesome now, it is probably hard to find a band with a rockier start than that of Wavves. To be frank it is probably the fault of Nathan Williams, the band’s longest standing member (and founder). Reports say that he is a pretty grumpy dude and the continuous stream of band mates kinda confirms it. They have finally settled as a comfortable bunch of stoner band mates. And let’s thank the gods that they found each other.

The double hit of “King of the Beach“, followed by “Idiot” was like a splash of ice cold water to the face. As I scrape my jaw up from the floor I notice how much the has started buzzing. And then they played “I Wanna Meet Dave Grohl“. Three songs in and every member of the audience was fully into the gig. Guys were crowd surfing, girls were on shoulders and the mosh pit had grown to two thirds of The Corner’s capacity.

From where I was standing I couldn’t see Jacob Cooper on drums, but boy could I feel him. His job in the band is pretty full on, smashing himself into the music almost with the intensity of Joey Jordison from Slipknot. Even though Cooper is an amazing musician I have to admit that Stephan Pope is just the best. Seriously good. The very least you could say for Pope is that he is energetic. This guy is up, down and all around, busting his gut for a crowd reaction. And he got it. This guy, halfway through the set, vomits all over himself, makes a joke of it and then continues to skull beers. You might say that’s gross, I might reply with he’s a legend! He’s just a big ol’boof head, shaking his long curly mop all over the place. I couldn’t help but watch him the whole set.

Williams got angry at some guy in the crowd who he proceeded to call him a “meathead.” Following this they so appropriately played “Bug“, a cute little hate-filled tune that insults “burnt out zombies” because they are “a drag on everyone.” I mean, if someone sung that to me I would be pretty horrified but hey, if it isn’t being sung to you directly it’s hard to not totally love it. During this song some dude ran onto the stage and leaped off into the crowd, signalling the crazy level that this gig had risen to.

Post Acid” was arguably their loudest and rowdiest song of the night with the chorus perforating your eardrums with their intense up tempo bursts. You knew from the second they started this song with the killer guitar attack that it was going to be mental. There was an intense amount of pushing and shoving but that only made it better. I can only assume that a lot of the crowd members knew a little too much about their “post acid” selves.

As Wavves left the stage and the curtain was drawn the crowd stood chanting, hoping for another song. Everyone stood there until all of the lights were switched on and the filler music turned on. We received no such luck. Cleverly, Wavves finished on a high, leaving the crowd salivating for more. As everyone left The Corner it looked like most of the guys had been swimming. Each person who peeled themselves from the mosh pit was dripping with sweat: a sign that their next gig will be just as memorable.

REVIEW BY ELYSE MOORE

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