We’ve had the pleasure of reviewing the work of Lalić before (in December of 2019, in fact), but this new release showcases them diving deeper into post-punk. This release sounds like touches of a The Sound, Suicide (without the reliance of electronics), and even bands like Berlin, though far less polished (and this is to the album’s benefit).
Another choice record.
Z Tapes always produces charming, simple surprises. This one comes in the form of Australian/Serbian troupe Lalić, whose album reminds me of what demos of early Railway Children, Movement-era New Order and maybe something a tape collection inside the Postcard Records post box might sound like. Worthy.
The more I hear doomjazz artists, the more enthralled I become with the genre. It sounds as though jazz-noir combines well with a nearly ambient aesthetic. Our latest case-in-point are the Australian group Vainoras and the altar of the drill. This release appeared out of nowhere last night, and it has had my ears perked up ever since.
There is a mellow, spacious, yet creepy vibe flowing throughout the album. It’s not unnecessarily noisy at all, which makes the experience much more pleasant. This is music to think and fume to.
Rainbow Chan released what has to be one of the most freakishly charming releases I’ve heard in a while. Think of someone as innovative as Björk, but far more experimental. From her Bandcamp website:
Rainbow’s latest EP Long Vacation singlehandedly places her among the most innovative composers and musicians on the scene right now. More Dirty Projectors than J-Pop, Chan isn’t afraid to mix textures and sounds that lie far outside mainstream familiarity—weirdly warped bells, floating, dissonant flutes and her own voice mixed and mashed into its own mosaic of shattered parts.
A new compilation showcases some of the city’s exciting new talent.
via A Brief Introduction to Melbourne’s Jazz and Soul Scene — Bandcamp Daily
Marty Willson-Piper is the former guitarist of The Church. Though I’m bummed he left the band, he’s still making some rather solid music these days.
As good as The Stooges‘ version was, this cover by Australia’s Radio Birdman, legends themselves, blows the original out of the water. Rob Younger just had the voice and the howl to make this into a vicious slab of vinyl.
Every time I go to Skopje, there is always someone who asks why on Earth I’d bother to come and stay such long periods of time in what they feel is an insignificant city in the heart of the Balkans. You can thank this song, the disc it came on, and a friendship with Gorazd Capovski and Ilija Stojanovski, for this.
I had worked at Tone Casualties records as an A&R Manager, and came across this disc while at my evening job, buying weird music for Aron’s Records (RIP). I had passed through what was then Yugoslavia a few years past, and knew a bit about Macedonian music, but the combination of goth/darkwave and an ethnic, Byzantine sound, came as a huge revelation. I never, in a million years, thought Love Will Tear Us Apart would sound perfect with bagpipes. A pleasant surprise which still strikes a chord after 20 years.
If any of my friends have any information on this Australian band (I found nothing but a Discogs entry for It Flew Away, surprisingly), I’d love to learn more. The music is somewhat Floydian, and very groove-oriented.
Very sad news to report, though it’s surely made its way throughout the progressive and pyschedelic rock communities. Daevid Allen, the beloved founder of Gong and member of Soft Machine, is suffering from neck cancer. He has decided to forego any more treatment, and has six months to live.
A strange factoid to pass on: when I worked at a local record shop in Los Angeles, the actor Sherman Hemsley (George Jefferson of ‘The Jeffersons‘ TV series) was a client of mine. He had the strangest and most interesting taste in music, and was particularly fond of progressive rock. I was told some years later that it was he who had spent a good sum of money to bring Daevid and company out to the United States for a tour.
What strange bedfellows those two made.
© P. Robinson 2004-2022
Iberian record label since 2012.
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