Live Review: World's End Press

2 July 2012 | 7:06 pm | Gerard Wilson

Lead man John Parkinson skips around the stage, often raising his arms like a composer as he belts out the vocals.

Melbourne four-piece World's End Press have hit the road to celebrate the release of their latest EP, Second Day Uptown. The title track is laden with plenty of sweet synth action and will feature on their forthcoming debut album. It's also gone under the knife in the studio and the scorching re-rubs by Bell Towers, Slow Hands and Psycemagik are well worth a listen. Needless to say the first show of their tour is shaping up to be a cracker.

DJ Roman Wafers (AKA mister Bell Towers himself) is driving the wheels of steel as we walk into the Corner Bandroom. He peppers the crowd with disco-infused cuts before support act Ben Browning (and band) grace the stage. Blending guitar, synths, congas, bass and drums, the Cut Copy bassist's new venture has an almost tropical sound to it perhaps best demonstrated by the track, I Can't Stay. Put simply, their set is ace.

In their wake, Wafers spins some more wax before the curtain is drawn back and World's End Press emerge. After a quick crowd acknowledgement, it's straight down to disco-dancing business. Head bobs at the back of the room develop steadily into fully-fledged jumping at the front as the boys unleash. Lead man John Parkinson skips around the stage, often raising his arms like a composer as he belts out the vocals. And as for the man on his left, bassist slash drum-pad maestro Sashi Dharann, well, let's just say the boy can move.

The Cut Copy connection resurfaces as Parkinson gives props to Dan Whitford for his contribution on their new track, Second Day Uptown. A suspenseful introduction sets the platform for the infectious bass hook to kick in and, when it does, it's on. These guys always give 110% for their live shows and tonight is no exception as their grooves take control of this eager audience. Parkinson's call of last song is almost still ringing out of the speakers when the foursome re-emerge for one last waltz.

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It's a tight performance by all accounts, from the energy onstage to the roaring applause. Sure, they didn't drop Faithful or their cheeky cover of West End Girls, which have really set shows alight in the past, but this was about showcasing their new material and it certainly paints a bright picture of what lies within that elusive first album.