The team over at Good Manners are about to start throwing weekly parties at Boney in Melbourne’s CBD, and they kick off this Friday the 4th with World’s End Press headlining an impressive lineup. There’ll also be live performances from Planète and Catlips, as well as DJ sets from Babicka, Amateur Dance, Sam Gill, Nutrition, Breaking & Entering DJs, Good Manners DJs and Resident DJs.
It’s only $10 on the door, which is a bargain for nine hours worth of music. More details can be found here. To get people even more excited, World’s End Press recorded a mix for Good Manners, described as follows:
“This mix is mainly for daydreaming, and pottering around at home; though it does include some real belters like ‘Transition’, it has been smoothed off at the end with the singalong ‘Sukiyaki’ to take the edge off the aggressive zeal that you would otherwise be left with.”
Sounds good to us.
Good Manners Mix #7 with World’s End Press track list:
Can – Sunday Jam
Das Komplex – Nowadays
Jack J – Looking Forward To You
Dj Koze – The Spitzer Group
Galcher Lustwerk – I Neva Seen
Harvey Sutherland – Bermuda
Payfone – International Smark
The Burrell Brothers – Song Of the Siren
Recloose – Can’t Take It (Carl Craig Remix)
Timo Maas – Tantra (Tom Demac rmx)
LB Bad – I Like to Move
Perez – Le Prince Noir (Pilooski Edit)
Underground Resistance – Transition
Kyu Sakamoto – Sukiyaki
Note: Some Ripe contributors have a professional association with Good Manners, but this does not have an influence over our content.
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
World’s End Press are one of those bands that you just need to see live. Their music translates best in an avid crowd – sweat dripping from the brow, with a beer in one hand and feet eager to keep up with the fervour of the moment. But while there wasn’t necessarily any sweat involved in my meeting with members John Parkinson and Rhys Richards on the brisk but sunny September afternoon, it became quite obvious to me that these boys sweat over their art (in the best possible way) even when not on stage. They know, like any good artist, that their craft is one to be toiled over, to be allowed to evolve with passing time, to manifest itself through the blood, sweat, and tears of their creative inspiration. And so, as we sat in the Carlton North beer garden doing the classic jumper-on-jumper-off tango we Melbournians basically invented, I got to know the men behind the music; expunging once and for all the dated perception of dance music being too superficial, too repetitive, and ringing with the vapidity of disaffected youths. In fact, it may just be the opposite.
The boys from World’s End Press had just that day released their new EP, Tall Stories, and were getting ready for a quick tour around the country, trying out their new sound and perhaps prepping for the onslaught of summer gigs awaiting them. While this latest EP remains consistent with their previous work, in the way it’s highly danceable and contagiously energetic, there’s no denying the layered darkness that pervades the newer tracks, particularly ‘Love Tears‘ and ‘Tall Stories, Pt. 2‘. If we’re talking about genres, World’s End Press sound decidedly less electro-pop and much more deep house; the kind of music you’d imagine coming straight from the bowels of a summer spent inside a recording studio. Which is no surprise, given that’s exactly what happened.|
“Goodtime Studios is a very airless, windowless, concrete space,” they tell me. “And on perfect days, it was a little bit cruel.” Tall Stories emerged from the tail-end of the summer just gone, a lock-down period of refining and recording tracks that followed John’s self-confessed few weeks of attending a bunch of festivals, dancing a lot, and getting into a lot of partying.
But for John, the lead singer, the creative process is daily, ongoing, and at times can seem unfruitful. “Some days you’re going to be feeling it, and some days you’re not, but on those days when you really feel it, there’s nothing better. You’re filled with so much confidence.” Taking sounds from domestic recording environments and honing them in the studio was part of the two-month recording schedule, and the trio made use of the creative bursts; the times they felt, in their words, “a sort of natural enthusiasm that sees the song through to its completion. But you can’t plan for that.”
I ask about the kinds of things from which they draw inspiration, a question I always find interesting when it comes to creative types. Having studied fine arts, John reveals that painting is a big source of inspiration for him: “Painting is just another version of music for me. It’s not really the painting itself I like, it’s more ideas behind it, the irrational things that aren’t part of your everyday existence.” This hunger for ideas that “transcend the everyday” and “breach the mundane”, whether it arises from a dream, a painting, or an obscure Italian DJ’s Soundcloud compilation, is clearly what satiates their creative appetite and adds depth to their musical output.
Their artistic inclinations are no real surprise given John comes from a pedigree of artists – the name ‘World’s End Press’ is actually a homage to his grandmother, a woman who made arts books in the ‘70s and ‘80s using a contraption called a press. “I wanted to carry on the family name,” he says. Conflating the old with the new, their band name also alludes to the popular London pub World’s End, a place the boys deemed to be the “psychedelic epicentre of counterculture”.
World’s End Press have a longstanding relationship with dance music, and even their earliest tracks dip into the pool of deeper baselines and less ‘traditionally’ structured songs. It’s only with their more recent output, however, that they claim a more solid admittance to the genre. When I ask about their track ‘Feel City (Outskirts Dub)‘ being featured on the Cut Copy Presents: Ocean’s Apart compilation (a dance mix by Cut Copy that’s mostly made up of Australian house artists), John explains the importance of that moment. “With our history of being a pop band, we feel like there’s something we want to prove. We want to show that we’re legitimately into that kind of music as well, because I’d also love to do DJ stuff.” The band’s gradual traverse into the dance realm seems to be an organic shift, and after just one listen to the final few tracks of ‘Tall Stories’, it makes complete sense that this may be the future direction for the band.
But is there a distinct kind of “Melbourne sound”? Having toured internationally and seeming impressively au fait with both the local and international dance scene, this is a question that particularly intrigues me. “Cities and borders aren’t really as important anymore for defining sounds,” John explains. “I think it’s impossible, you’d have to be a hermit to avoid influences from other places.” The online community of listeners, made up of anonymous users and incognito fans, has undeniably created a shift in the musical landscape, and outlets like Spotify and Soundcloud have changed the ways we consume music. But that’s not to say there’s nothing to separate us at all. Something they do mention as perhaps being specific to Melbourne is the abundance of sounds springing forth at the moment, a shift that’s “not a contrived thing, people just want to hear it and want to go out and dance to it”. On top of this, the boys tell me that there’s a lot of talent in Melbourne at the moment, a lot of producers, and the keen public demand is creating a uniquely fertile time for deep house.
When I ask about the philosophy behind their music performance, their answer – like most of the answers to my questions – gives a resounding sense that they just do what comes naturally. They are driven by their intuition, by their astute understanding of how sounds work and what constitutes as good art. “I think the worst thing for us to do would be gently nodding our heads and staring at screens. We still want to be putting on a good performance for people. In that sense, the human element is always going to remain in the band.” Almost inverse to the common views of electronic music being removed and mechanical, it’s this human element that John notes as being the binding agent connecting the community. The dance music experience is defined by the visceral elements that are made truly compelling when born of authenticity and passion. And after the short but sweet meeting with two-thirds of World’s End Press, there’s no doubt in my mind that their musical motivation comes from the truest place, making them one to start watching, to continue to watch, and to keep on your musical radar. Keep making Melbourne proud, guys.
When I think of live dance bands in Melbourne that really stimulate the body and mind, the first two names that come to mind are World’s End Press and NO ZU. So what happens when the drummers of both groups come together? Well, Statueis exactly what happens.
Statue create rhythmic electronic music in the vein of artists such as Blondes, Hyetalor Factory Floor. The duo stretch ‘Tall Stories‘ into a dark, late night sprawl – one that’s a little frightening, because it’s hard to tell when it will end. At the same time, you don’t want it to.
It takes all the hook layers of the original and lets them loop freely into the unknown, highlighting the strength of the original track, while demonstrating how Statue bring a slightly different perspective to the already-crowded dance scene in Melbourne.
I’ve been waiting for a Melbourne version of those artists I mentioned earlier, and I may have found it.
‘Let Me Have Just One‘ is already the strongest and most focused piece of work I’lls have released up to this point, but watching them perform it live and extend it out with such ease and understanding of who they are right now, is exciting to witness. The video actually reminds me of this live version of ‘Couleurs‘ by M83.
Melbourne Cup weekend is always an interesting one. Aside from the regular antics about a shitload of horses running in a circle, there’s always a plethora of great shows and gigs to choose from over an epic four nights. This year was no different, and World’s End Press stood up at the Toff in Town to an assemble one of the best party lineups I have seen in a long time. As I arrived at the venue, there was a clear sense that on the final night of the long weekend, the barrel had been chased and the party was in full swing. Playing to an alarmingly sweaty crowd, Client Liaison had everything under control. The playful but intense party vibe really impressed me. The lead singer was shirtless, dripping with sweat, and hitting some incredibly confident notes. I spent the 10 minutes following the set ruing what could have been a serious revelation had I witnessed the entire set. Watch out for these guys.
After making my way through the excited crowd to the front, I observed a band I regard as a diamond in the rough of the Melbourne music scene. World’s End Press have this incredible and rare ability of connecting with a crowd, and despite playing a lot of material not yet released, the packed crowd rollicked and appreciated every subtle detail of the driving, deep and euphoric set. As the show moved on, WEP adopted a live DJ-set-non-stop vibe, with some inspired transition work leading into ‘Second Day Uptown’ before absolutely murdering with ‘Drag Me Home’, which I can’t wait to hear for myself upon it’s release.
Frontman Rhys Richards was quick to express appreciation for the warm reception after “having not played for a long, long time”. The band recently took time away from the country to make tracks on a debut LP with the guidance of DFA/Mo’ Wax legend Tim Goldsworthy. After reviewing World’s End Press at their last show in late June, I can definitely say that the excitement of releasing a debut LP is fanning the flames of the outrageously fun and technically skilled live show.
After the final song concluded (I still can’t get that piano house melody out of my head), it was up to Modular’s recently signed Otologic to bring the party home. And that they did. Spanning through a variety of genres ranging from deep house, techno and acid, the duo once again reminded us why they are Melbourne’s late night specialists. Every set is a different experience and I couldn’t recommend them more highly to anybody interested in delving into something a little more involved than your run-of-the-mill DJ set. I saw the future on Monday night.
One final thing that I will say is this – World’s End Press operate as a whole in complete synchronicity and with an unwavering passion for sharing happiness through their music. For me, this is what it’s all about. If you haven’t seen them live before, be sure to catch them at the Falls Festival in Lorne or on their next tour with Collarbones (!!). Dates below.
Falls Music & Arts Festival
Lorne (VIC) 28th Dec – 1st Jan (SOLD OUT)
Falls has got to stop. This is getting out of hand. I know it may seem as though we, here at THE RIPE, are playing favourites but I can assure you that this is not the case. Falls Festival keep impressing us with new additions to the line-up that showcase some of Melbourne’s best talent that have made it both here and overseas. I OH YOU partystarters DZ Deathrays and Bleeding Knees Club have both made the cut along with this year’s most acclaimed producer Flume and the ever etherial Elizabeth Rose. World’s End Press, Tinpan Orange and Husky are also invited to play with Cub Scouts joining them after a successful year.
DJs Ajax, Alison Wonderland, Miami Horror DJs, and Indian Summer DJs will also be there for your rug cutting pleasure. Messy Melbourne rockers King Gizzard & The Lizard Wizzard have also copped a well deserve invite. Oh, and the writers of one of the biggest Australian singles of the year, Parachute Youth, are playing also. Jeez Louise.
New Additions (Lorne Only):
Airwolf Ajax Alison Wonderland Bleeding Knees Club Cactus Channel Cassian Cub Scouts Daniel Champagne DZ Deathrays Elizabeth Rose Flume Fraser A. Gorman Grey Ghost Howlin’ Steam Train Husky Indian Summer DJs Jen Tutty & Katie Drover King Gizzard & The Lizard Wizard Miami Horror DJs Parachute Youth Peking Duk Regular John The Rechords The Trouble With Templeton Tinpan Orange Soccer Mum DJs World’s End Press
MAIN PROGRAM:Angus Stone, Ash Grunwald, Ball Park Music, Beach House, Bertie Blackman, Best Coast, Bombay Bicycle Club, Boy & Bear, Coolio, Cosmo Jarvis, DJ Nu Mark Toy Set, Django Django, First Aid Kit, Hilltop Hoods, Hot Chip, Jaguar Skills, Jinja Safari, Lisa Mitchell, Loon Lake, Matt Corby, Maxïmo Park, Millions, Oh Mercy, Rodrigo Y Gabriela, Sampology Presents A Falls Anniversary Live AV Show, San Cisco, SBTRKT Live, Sharon Van Etten, The Flaming Lips, The Hives , The Jungle Giants, The Vaccines, Totally Enormous Extinct Dinosaurs, Two Door Cinema Club.
LORNE ONLY:Airwolf, Ajax, Alison Wonderland, Bleeding Knees Club, Cactus Channel, Cassian, Cub Scouts, Daniel Champagne, DZ Deathrays, Elizabeth Rose, Flume, Fraser A. Gorman, Grey Ghost, Howlin’ Steam Train, Husky, Indian Summer DJs, Jen Tutty & Katie Drover, King Gizzard & The Lizard Wizard, Miami Horror DJs, Parachute Youth, Peking Duk, Regular John, The Rechords, The Trouble With Templeton, Tinpan Orange, Soccer Mum DJs, Willis Earl Beal, World’s End Press.
BOOGIE NIGHTS:Anna Lumb and DJ Lazer Ferrari, Chris Gill & Mohair Slim L, DJ Manchild & Russ Dewbury M, Furnace & the Fundamentals, Legs Akimbo, Muscles L, The Bamboos L & MP, The Cuban Brothers.
COMEDY:Felicity Ward, Jason Byrne L, Luke Heggie, Matt OKine, Nazeem Hussain, Ronny Chieng, Sammy J & Randy. *L = Lorne only. M= Marion Bay only. MP = Marion Bay main program. More acts to still be announced.
Friday night saw Melbourne band World’s End Press take on the Corner Hotel for the first leg of the nation-wide ‘Second day uptown’ tour in support of their latest single. The lineup for the night was immense and included support slots from Romy, Ripe favourite Ben Browning and DJ Roman Wafers. As I arrived to the venue, Browning and co were warming the stage nicely, moving through tracks from his ‘Lover Motion’ EP including “Feels Like“, crowd favourite “I Can’t Stay” and an amazing rendition of instrumental “Bullet Island” which was only hampered by the lack of sound coming from Browning’s keyboard. It was a fitting support slot, which allowed the crowd to move around and warm up to some fun and nostalgic upbeat indie pop.
Finally, it was time for the main show; the room seemed completely full of keen punters and the stage was almost in complete darkness. The multitude of drum pads and synths flashing created an intense atmosphere and sense of anticipation amongst the crowd. As Rhys, Sashi, John and Tom individually made their way onto the stage to rapturous applause, it was clear that the boys had been waiting to do their thing on home turf. Starting with “Your time will come“, it became apparent that both the band and punters had a common goal; dancing. I have had the pleasure of catching the guys a few times now, and it seems that somehow frontman Rhys Richards gets better and better every time. His soaring vocals displayed such an incredible range which really just capped off the entire ensemble. This was evident in following tracks “My salvation“, “Natural curiosity” and “Reformation Age“.
Lead single “Second Day Uptown” came halfway through the set with a fitting bass-heavy, tropical intro that worked the crowd into a frenzy even before those first recognizable keys came in. Thanking producer Dan Whitford for his hard work on the track, the boys managed to really bring a live and bouncy feel to the song, which was only helped by the superb sound. The crowd responded incredibly well to the whole set, one of the noticeable attributes of the gig was the time the band took to build up to each song and bring a unique feel to the mix of old and new which comprised the set list.
The biggest moment of the night came from a song I recall them playing at St. Kilda festival, “Drag me home“. The song’s main vocal hook ‘Is someone gonna drag me home tonight?’ had people chanting along and is a perfect example of what this band is all about; euphoric, funky and driving dance pop. I can’t wait for this to be released; it’s going to be huge!
Encore “Someone’s Daddy?” was a layered, building number which ended the show perfectly, however I was somewhat disappointed that they didn’t play “Faithful“, a sentiment which was agreed upon by a few others after the show.
One of the most enjoyable aspects of going to any World’s End Press show over the years has always been the clear passion the boys have for their music. Whilst being an incredibly tight live band and having much more than “reasonable ability”, as suggested by the lyrics of the single, it’s evident that the guys love to have a good time on stage. It was nice to see the guys exchanging ecstatic looks throughout the set and this really permeated into the crowd who gave an incredible response and created one of the best atmospheres I have experienced. This show goes down as the best gig I have seen in recent months, I can’t wait to catch the guys in a festival environment again over the summer (fingers crossed).
Hells yes! World’s End Press have really hit this one. They have popped out a fresh little tune from their upcoming debut album and it is tasty, oh so tasty. ‘Second Day Uptown’ is the title of this track and it signals good things to come. The synth punches throughout suggest serious party times and this is a song to put on repeat. It’s a little pop, it’s a little electronic and it’s a shit load of fun.
Liberation Music grabbed these guys just in time, while their crazy live shows are raved about throughout the music scene. Their vocalist, John Parkinson, has said that it is about “living in the city, assimilating and forgetting who you used to be” and they have themed it accordingly.
You can feel what Dan Whitford, from Cut Copy, chucked into this song. His presence makes the beat more infectious and catchy creating a well-rounded tune. I know it is a bold statement, but if you don’t like this song you need to have a good, hard look at yourself. This song is mad cool and I couldn’t imagine a sane person not enjoying it.
Sadly, the album release date isn’t for a awhile but this song is sure to tie any one over.