If you’ve been paying attention to the close-knit Sydney DIY scene for the past few years then Mope City are probably on your radar. The three piece of Sam Wilkinson, Amaya Yang and Matt Neville also share their time in Day Ravies, Snotty Babies and King Tears Mortuary among others, and in this project create dense, chorus-laden downer-pop. With two self-released cassette EPs and a 7” on the excellent Tenth Court label already circulating, they’re preparing to release their first LP Petri Dish (also on Tenth Court).

“Untapped Utility” is the first single off that record, and gives a glimpse into a change in sound between this and previous releases. The band has moved away from the lower fidelity, thinner sound of earlier tracks to something distinctly full and rich. The duel-vocals or Neville and Yang remain, as do the cutting guitar lines; it’s all just bigger this time around.

We had a talk to Matt Neville about the band, and the new track.

Noisey: “Untapped Utility” marks a pretty distinct switch in style for you guys; the song writing is consistent with your earlier releases, but everything sounds cleaner and much bigger.
Matt Neville: I’ve always wanted to make each release different. I’ve probably said this before but I really admire people who make each release sound different and interesting (Underground Lovers, Lilys etc.)

Different production methods and processes can really add a lot to a record too. With this we did a lot of recording at home as opposed to doing it all with our friend Pete [Beringer, who recorded the 7”]. This gave us time to sit around, think too much and record overdub after overdub. So I guess that contributed to the “larger” more textural side of the record.

Having too much time to do stuff can actually send you a little insane though.

You are active in other projects with each other; does the band allow you to explore ideas that maybe wouldn’t suit Day Ravies or Snotty Babies?
Actually its the other way around; for me anyway. Mope City has always been my primary outlet for songs, and when I have something that I am having trouble with or doesn’t quite fit with Mope we will try to work it into a Ravies song. Day Ravies is more of a collaborative process in that way. Those guys are great songwriters and can usually iron out a kink pretty well.

The opening line is “you always poke the parts that hurt, it’s a treat”. Similarly, the song seems to revel in constructing a sullen sound around the skeleton of a pop song. Is this contradiction a theme that you guys are actively exploring?
I think that’s just the way it comes out. We’re not trying to be ironic or anything like that. There are themes that may be considered sullen but I think (as with most music), within the shit fight of noise there is a shiny little pop song.

Mope City’s debut LP ‘Petri-Dish’ is out November 6 through Tenth Court.

Sam Eckardt is a Melbourne writer. Follow him @sjeckhardt