Top 100 Feature

22 Nov The Top 100 Melbourne Tracks, 2011-2015

40. Lowtide – ‘Wedding Ring’

“If you’ve seen Lowtide live, you’ll know they like to be buried not just in reverb, but thick amounts of smoke machine. ‘Wedding Ring’, off their eponymous debut LP in 2014, provides features reverb that’s as thick as the smoke they favour in live performances, and is almost claustrophobic, yet its chorus contains a slight clear opening in all the denseness, when Giles Simon and Lucy Buckeridge sing, “Be my wedding ring,” Which is how many modern marriages seem to be these days: ticking time bombs, full of doubts, but as long as you’re wearing a wedding ring, there’s a glimmer of hope. At least that’s how Lowtide appear to see it.” – Marcus Rimondini

39. Total Control – ‘Safety Net’

“A dark and explosive synth that chimes in like a hurricane, post-punk guitars, cracking drums, and dreamy percussion: Total Control’s ‘Safety Net’ sounds exactly like walking past a funeral on a freezing winter’s day. Comprised of Melbourne indie rock royalty (Eddy Current Suppression Ring and Dick Diver, to name a couple), ‘Safety Net’ sees the band ditch the pulsating-synth punk sound of their debut in favour of an ’80s gothic-rock-meets-new-wave style.” – James McNiece

38. Hiatus Kaiyote – ‘Shaolin Monk Motherfunk’

‘Shaolin Monk Motherfunk’ arrived on Hiatus Kaiyote‘s second album, Choose Your Weapon, and I’ll just put it out there: it’s a pretty sick tune. The first minute is filled with this otherworldly, aggressively-futuristic sound, before a sudden-yet-gentle transition into Nai Palm’s strong and stunning soul vocals. We’re treated to vocal layering, an addictive rhythm, a huge amount of personality, and a smattering of futuristic synth that provides that signature Hiatus flavour to soul music. This self-described “multi-dimensional, polyrhythmic gangster shit” would pair incredibly well with your favourite dark corner of a bar, whisky in hand.” – Michelle Doan

37. The Smith Street Band – Young Drunk

“Acoustic punk can go awfully, awfully wrong. It can feel whiny, unimaginative, and infuriatingly dull. ‘Young Drunk’ feels as close to an anthem as Smith Street Band will ever get. It’s impossible to listen to it without imagining the band’s cult following ruining their vocal chords to the chorus as Will stands back, beaming his blue collar smile. ‘Young Drunk’ is so much more than acoustic punk.” – Alex Gleeson

36. Coober Pedy University Band – ‘Kookaburra’

“Kookies. What can be said about this track that hasn’t already been said? Phenomenal. Sublime. Quintessentially Australian? Released under the pseudonym of Coober Pedy University Band (aka Tom Moore and Tornado Wallace of Animals Dancing), ‘Kookaburra’ rose to fame/notoriety for being perhaps one of the most mental tracks to be released from our continent. This track has literally every Australian stereotype you could imagine. Didgeridoo? Check. Clapping sticks? Check. A manic kookaburra? Double check.” – Sam Chesbrough

35. ScotDrakula – ‘Break Me Up’

“During the closing track of ScotDrakula’s self-titled debut LP, vocalist and guitarist Matt Neumann calmly states, “If you’re going to shoot at me / Make sure you shoot straight.” More often than not, Matt knows exactly what he wants and the limits of ScotDrakula. ‘Break Me Up’ embodies all the group member’s strengths, without any of them pushing too far.” – Marcus Rimondini

34. Free Time – ‘Nothin But Nice’

“Over the past four years, there’s not one song that I’ve played more than ‘Nothin But Nice’. The lead singer is Dion Nania, who played in Scott & Charlene’s Wedding’s band and was a founding member of Panel Of Judges before that; Dion’s been an integral part of the Melbourne music scene since 1998. ‘Nothin But Nice’ has everything you can ask for in a jangly garage rock song, from the collection of striking guitar riffs, to the gentle verses, to the multitude of memorable lyrics such as, “Don’t do me that way”, “I’ve got a little theory / But no one wants to hear it”, and “You want to settle down / You want to be free / You want to hit the town / You want to be with me / It never matches up.” The song even finishes with an elegant, drifting keyboard melody, because apparently the song hadn’t yet supplied enough highlights.” – Marcus Rimondini

33. LUCIANBLOMKAMP – ‘Help Me Out’

“‘The track that in many ways put Lucian on people’s radar, ‘Help Me Out’, taken from his debut album Post-Nature, was a hypnotic earworm that grew with every listen. The track’s slowly building vocal line and bass grow throughout the early sections of the song to give way to rising, progressive synth lines that eventually open up into a pounding arpeggio. This dramatic change is just one of many that keeps ‘Help Me Out’ interesting throughout its entire length. The strangest of these changes is perhaps a disjointed saxophone solo midway that turns the momentum of the track on its head. The song was released with an equally impressive video, directed and edited by Max Walter, which depict the struggles of mental illness. The frenzied nature of the song sits perfectly with the themes explored.” – Matt Bladin

32. Big Scary – ‘Twin Rivers’

“‘Twin Rivers’ is so incredibly textural, building layer after layer, all the while allowing Tom Iansek’s lush, golden vocals to remain as the central focus. The track flits from genre to genre, somehow maintaining clarity through to its powerful conclusion. Simply sublime.” – Alex Gleeson

31. Flyying Colours – ‘Wavygravy’

“Opening with a hypnotic loop and abruptly broken by exploding guitars (a direct nod to ’90s shoegaze), ‘Wavygravy’ sees Flyying Colours at their peak. The melancholic vocals flirt with the style of legendary Aussie band, The Church, and blends them with the dreamy, stripped-back aesthetic of Beach House to create a dark-sounding, fuzzy shoegaze track which simultaneously glimmers with optimism.” – James McNiece

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