Top 100 Feature

22 Nov The Top 100 Melbourne Tracks, 2011-2015

90. Kirkis – ‘Mirror’

“One of Kirkis‘ more accessible tracks, ‘Mirror’s velvet-soft vocals and warm synths hold you safely and securely as he swerves through lyrical structures and time signatures, dodging stray lasers as he leaves atmosphere. While his entire project has been brilliant to watch for all sorts of reasons, this is his most infectious and undeniable jam.” – Brandon John

89. Geoffrey O’Connor – ‘Jacqueline’

Geoffrey O’Çonnor emerged onto the scene in 2006 with his band, Crayon Fields. It was clear from the beginning that Geoffrey was a unique talent with the combination of high (yet soft) vocals, the ability to play both guitar and keyboard, and his natural knack for constructing distinctive melodies. ‘Jacqueline’ was off his 2014 album, Fan Fiction. From the outside, the song may seem to be straight out of the ’80s, but the heavy synthesisers are purely just a lick of paint, because underneath it, the core melody and its delivery could translate well in numerous genres. He’s a pop purist at heart, and a very good one.” – Marcus Rimondini

88. Scott & Charlene’s Wedding – ‘Fakin’ NYC’

“If you wanted to know the biggest difference between the music scene in New York and Melbourne, just read between the lines of ‘Fakin’ NYC’. Craig Dermody sings, “And it all just seems so stupid / how they all just want to get in / because I just want to get out / because I don’t know who the stars are.” The difference is inclusivity. There are pockets of community in New York, but they’re competitive against each other. In Melbourne, it doesn’t matter who you associate with or how silly your band name is, you’ll be given a fair chance. It’s not dog-eat-dog – artists actually support each other, and give each other the confidence to grow and perform at as many different venues as possible. Which leads to bands, such as Scott & Charlene’s Wedding, having a good natural chemistry.” – Marcus Rimondini

87. World’s End Press – ‘Spirals (Slide Away)’

“Melbourne outfit World’s End Press always know how to please, and ‘Spirals (Slide Away)’ is another fantastic track of theirs. Released in 2014, it was – and still is – a track that got me grooving with ease and flair. With funky beats and John Parkinson’s endearing vocals, it’s a track I often play when I want to be taken away on a journey. Our good buddies World’s End Press have now released a new EP, Tall Stories, and have recently finished a national tour. This track is best listened to with some comfy dancing attire and slightly tipsiness (or not, depending on when you dance the best).” – Adrienne Gyori

86. Asdasfr Bawd – ‘Nobody’

“I’ve been told a couple of times how to pronounce Asdasfr Bawd, but I’ve forgotten once again. This engaging, gibberishly-named act is Alex Clayton (a much easier name to pronounce), and his appearance out of nowhere – for me, anyway – was when I heard ‘Nobody’. Released earlier this year, it’s an experimental sensation mastered by Simon Lam, whom you might recognise from other projects such as Kllo and I’lls. ‘Nobody’ is a track that holds your attention with jarring criss-cross throbs of melodies, and I love the fact that it’s a sound that engages and hits you with a new element at each turn. Asdasfr Bawd’s EP, Underpass, will be out on 7 March 2016, so I’d recommend locking that date in your diary and keeping an eye on Asdasfr in the months to come.” – Adrienne Gyori

85. Life Is Better Blonde – ‘Mine’

Life Is Better Blonde is the perfect example of how far Melbourne has come in a few years. Nobody used to write you off based on your first few uploads. Now there’s so much competition, that your first upload better make a strong impression, and ‘Mine‘ did exactly that. The clean production, fitting use of vocal cuts and vocal versatility sounded like the work of an artist who had been around for a while. However Nathan had never even played live before releasing ‘Mine’. He has currently only released two songs, but he’s definitely a project to keep an eye on moving forward.” – Marcus Rimondini

84. Hollow Everdaze – ‘Last Laugh’

“This Melbourne band’s latest release brings a cinematic take on pop music. This seven-minute long track is filled with melodramatic and ambient build ups, upbeat jam sections, and pop choruses. It may take a few listens, but once it clicks, it is impossible not to see the musical beauty in this track. One particular moment comes with the frantic climax filled with a frenzied violin melody near the end of the song, held together by the rolling drums. Full of rich texture, Hollow Everdaze bring an emotional story of love, despair, desperation, and joy. Close your eyes, listen to this song, and you will see.” – Jasper van Daatselaar

83. Amateur Dance – ‘What I Had 2 Do’

“There’s nothing ‘amateur’ about a composition like this and, for the entirety of its dulcet piano build, nothing at all ‘dancey’. The introduction of a restrained rhythm section adds a little head-nod, the bass adding a mildly-sinister edge that balances nicely against the drifting synth, but the delicacy of it all points towards quiet reflection rather than raving. It’s a rare track indeed.” – Brandon John

82. The Grand Rapids – ‘Brian’s Got A Rubber Soul’

“I remember driving out to Newstead in country Victoria last year and ‘Brian’s Got A Rubber Soul’ suddenly started playing on my iPod. Without looking to remind myself who it was, I assumed by the song’s grand stature that it was a big international band. Unfortunately, The Grand Rapids are no longer together. ‘Brian’s Got A Rubber Soul’ would’ve attracted a larger audience for the band in any other city around the world (except maybe New York). Now the song is just a example of how deep the talent pool currently is in Melbourne.” – Marcus Rimondini

81. Tom Day – ‘Love Your Life’

Tom Day has mastered the art of making his refined talent seem so effortless and raw. ‘Love Your Life’ is an ever-evolving masterpiece. From as early as the opening thirty seconds, he’s convinced you that this is going to be track you’ll probably listen to on repeat for a while. It’s the type of song you can listen to while staring at a blank wall because its magnificence can consume you if you let it. Each additional instrument not only makes the piece evolve from a minimal to a more intricate composition, it also evokes a new feeling or triggers a new reaction. By the end of the five-minute track, you feel like you’ve been gently woken up from a beautiful dream, feeling ready to start loving your life.” – Kassie Junkeer

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