World's End Press pop the cork in celebration of their self-titled debut album. Produced by Tim Goldsworthy (Hercules & Love Affair, Massive Attack, The Rapture), the ambitious one hour journey worms through uplifting house driven bangers, glassy-eyed 5am club excursions and stadium-sized singles. Brilliantly complemented by this vibing mixtape.
The band wheel their manic live disco around the country in support of the release, including a Melbourne launch at the Corner Hotel on December 6 with Movement. Hometown fans can also see them play a free show tomorrow night (October 11, 7pm) at Topman's Chapel Street store for Friday Night Live.
Read on as we discuss their kinship with Cut Copy, Prince and drunk poetry.
How does it feel to finally have an album out after all of these years?
Holding and looking at the physical album is a really cool feeling; like a great big mental mess we've been making over the last years has finally been tidied up, vacuum sealed and stored in a safe place.
A debut full-length that stretches over an hour is a challenge for short attention spans. What motivated you to go against the grain?
Tracking at an old studio for three weeks was heaps of fun and we had no hesitation extending any section that lent itself to extending. We wanted to make an album with depth and shape. I think it's really interesting when you can listen to a whole lot of music of contrasting tempos and moods and a single picture of a band begins to emerge.
You guys started off as more of a psychedelic band. Can you identify a turning point for the new direction and sound of WEP as we know it today?
At one point we were drummer-less for a while and we ended up programming beats for a live show. For the first time ever we saw the audience getting loose and uninhibited. It was pretty surprising as we were sure this was a compromised show. The machine beats (particularly the kick) had a really obvious effect on people, it seemed a lot easier for them to let go, and then there was the thought "well it's really fun to play show with an audience like this". So the dance thing worked it's way in.
'Drag Me Home' is wasted poetry at its finest - "It's tragic, maybe so. I'm fucked up, all alone. Is someone gonna drag me home tonight". Did you write that on a burger napkin at 5AM?
Yes. I have many burger napkins all neatly stacked in the studio according to subject matter.
WEP has very close ties with Cut Copy - you've toured Australia and the US together, Dan Whitford produced your 'Second Day Uptown' single and John has just contributed vocals to the latest Cutters record from Nile Delta. What are the foundations of this brotherhood?
We first met Dan when us and Cut Copy were on the Laneway tour together a few years back and soon discovered that he and the other guys were exceptionally fine gentlemen. Not long after that I got a call from Dan about doing vocals for a track with Joel Dickson (Nile Delta). And that really began the ongoing Cut Copy/Cutters/WEP romance. We've been doing stuff together since.
How did this mixtape come together? Where did most of the music come from? Were you all involved?
We all chose a bunch of songs each to keep it democratic and then Rhys put it all together. There's a few odd combinations in there (Miles Davis going into a Minimal Wave cut for example) but we like odd combinations.
Top 5 Prince album cuts?
'Pop Life' - On top of a lot of things Prince is also incredible at harmonic chord progressions.
'Let's Work' - 'Dirty Mind' and 'Controversy' is my favourite Prince era for this week.
'I Feel For You' - debatable whether Chaka Khan and Rufus do it better.
'Erotic City' - a b-side though, does it count?
'Let's Go Crazy' - I love the evangelising at the start. Not sure if he was door knocking at this stage.
What would be the most likely reason for you guys breaking up?
Sashi disagreeing with my choice in Prince album cuts.
Thursday 14 November - Goodgod, Sydney (tickets)
Saturday 23 November - Valley Fiesta, Brisbane
Friday 6 December - Corner Hotel, Melbourne (tickets)
Saturday 7 December - Plus One @ Rhino Room, Adelaide (tickets)
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