Rory Lampitt (Guitars/Vocals/Synth) and Erin Taylor (Drums/Samples) were two shoegaze kids thrust into the pounding bass of Berlin’s club scene, and in the dying breath of that hazy summer they formed Warmth Crashes In. Forging the epic beauty of Spiritualized with the grooves of The Chemical Brothers, they left with the city with a recording and a mission.
On their return to Melbourne they recruited Dan Myles (bass), then got straight on stage for a successful residency at The Tote. Together they developed a sound “like My Bloody Valentine covering the Top Gun soundtrack” (ToneDeaf) , and over the year they’ve played with some of Melbourne’s best local acts including New Gods, Nick Allbrook (Pond), Flyying Colours and Hollow Everdaze.
Warmth Crashes In recently recorded their debut EP, World Driving Champion with renowned producer Anna Laverty (Cut Copy, Nick Cave and the Bad Seeds) and first single ‘Take The Edge Off’ is an instant hit of industrial pop.
Have a read of the band describing each track on the most excellent EP.
Turbo Morris
We made the loop for this song with a load of pedals and a synth on a Wednesday night in my basement. Then we just put thumping bass guitar playing one note across the whole song with a repeating guitar lick. It sounded so good we just left it like that without vocals. We love it because it sits somewhere between dance music and rock without being corny, and that’s exactly what we’re trying to do. It took all of about 4 minutes in the rehearsal room. It’s still our favourite song to play live.
Leave It All Behind
We originally didn’t plan on recording it for the record, but our producer Anna Laverty saw something in it. We shortened it and neatened it up and now it’s one of our favourites. This track is just the live band straight up. We always try to have a few songs which don’t have any electronics as it’s important to us to have aspects of our performance which we can improvise with to keep things unpredictable and exciting.
Run
This track is probably the darkest of all our tracks. I would love to hear someone with a really rough and dark voice sing this song. That’s the sound I was going for. I wish we could get someone like Steve Earl to do the vocals. It has one big thumping bass drum loop throughout the whole song, it’s definitely a song to drive to at night with the windows open. We used the original 70s Moog in Sing Sing to play the bass line, it took about half an hour to warm up and then we had to play the notes on different keys to get it in tune. I’m glad we did though; almost broken instruments always seem to sound the best.
Take The Edge Off
Another song with a loop from beginning to end. It has electronic and live drums weaving in and out of each other. We struggled to make them sound cohesive for a while until our producer Anna smoothed it all out. I think this track was the third song we ever wrote as a band, which makes it the oldest from the record. It probably represents where we have been musically heading. I was told the other night that it’s a great track to study to, so there you go.
The band release the EP Friday November 15 on 10” vinyl and digitally. They’ll launch it live November 30 at Melbourne’s Boney alongside Pretty City, who’ll also be launching their new EP.
