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On This City’s Electric, the latest single from Melbourne’s Edit the Empire, there’s a sense of the band reaching back through the annals of music history while firmly planting their feet in the present. The track, a re-release, carries the weight of a narrative that’s been fermenting since the band’s inception in 2016, yet it avoids the trap of nostalgia, offering instead a glimpse into the soul of a band that’s maturing like a fine wine. The song is a confluence of raw, kinetic energy and a refined indie-pop sensibility. It’s here that Patrick Clark’s lyricism, introspective and laden with a certain gravitas, intersects with the robust, over-driven guitars and infectious choruses that have become the band’s hallmark. This isn’t just a track; it’s a statement, one that speaks to the journey of a band evolving from underground darlings to a group with a deeper, more sophisticated musical vocabulary. Reflecting on their journey, the seismic impact of their 2017 self-titled EP becomes apparent. It was a masterclass in live performance, a raw showcase of what was to come. The subsequent collaboration in 2019 with Andrew ‘Idge’ Hehir and Simon Pearlman was less about a change in direction and more about honing their craft, as evidenced in the critically acclaimed singles Ray of Light and the original This City’s Electric, both mixed and mastered with finesse by Aaron Dobos. Confronted with the challenges of lockdowns, Edit the Empire’s response was not to retreat but to innovate. Their live studio session, released on YouTube and streaming platforms, was a testament not only to their adaptability but also to their commitment to their audience and to the integrity of their work. As we stand in 2024, with the band eyeing a record deal, This City’s Electric re-emerges not as a relic but as a beacon of their continuous pursuit of musical evolution. The track does not scream for attention; rather, it commands respect. This isn’t just indie pop; it’s a mature, thoughtful exploration of what it means to be a band in an era that often favours the fleeting over the substantial.
