Plug-In City formed in early 2005 as Melbourne’s bloody gangland war unfolded. Their upcoming self-titled EP was recorded by Casey Rice in January 2007, at the Calculators studio in Melbourne and in Casey’s bedroom.

As the tracks were being put to tape, a heavy black sky hung over the city creating a scorching hothouse beneath. Bushfires were hammering the bounds of town and it hadn’t rained in months – people were losing their shit on crowded trams and in public spaces. In the studio the sequencer had packed it in and the heat had warped the tones of the guitars. Bass player Jez had gone missing, only to resurface three suburbs away, dishevelled and unable to explain what had happened. Even Casey seemed uneasy, and he is from Detroit.

The emerging recordings reflect the forecast of an apocalypse that threatened at the time, as transposed onto a few slamming post -disco tunes. Like an air-raid siren at an ESG gig, the sound is urgent but rhythmic. Guitars clang and writhe with echoes of the Paradise Garage and post-punk while bold vocal hooks fly out as quickly as they crept in. A 4/4 kick and disco high hats keeps the EP constantly punching forward, while old school AKAI sequences whirr and squelch beneath hypnotic bass tracks. Icy detachment squares off with inviting warmth in the Plug-In City sound.

Since forming the band have headlined shows and supported the likes of Gerling, the Juan McLean, Uffie, The Lost Valentinos, The Temper Trap, Van She, Children Collide and many many more.

The 5 track Plug-In City EP is the perfect introduction to one of the next in the firing line of burning future music that is as instant and pop as it is tomorrow and timeless.

Supported by Hot Little Hands:

Hot Little Hands – armed with two synthesizers and Wurlitzer – aren’t just a reflection of the 80’s revival scene. Insert 1950’s electronic-voodoo-swamp-blues, 1960’s garage disco. Enter some old soul, a touch of electro, four part harmonies and now you’re getting the picture.