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.
is a very eclectic folk singer who originally called Brandon, Manitoba, Canada home, though he now resides in Groningen, Netherlands. He sent me a note asking me to listen to his sketches, and I’m quite pleased that I took him up on his offer.
This isn’t a proper album per se, but home recordings he did, as these are home recordings, but in the spirit of hearing demos by artists like Nick Drake, Peter Hammill (I’m very partial to Van Der Graaf Generator) or even Warren Zevon (Graham covers Roland The Headless Thompson Gunner), it’s great hearing raw, unaffected singing and playing. No tricks, no studio gadgetry, just a chap with his guitar. I’m curious to see how he sounds in studio. His sketches lead me to think that the material will sound quite good.
Benjamin Finney’s work has been reviewed on our blog in the past, as he’s really a fine guitarist, but it finally dawned on me whose work seems to influence and inform his playing. John Fahey. No doubt about it. He has the American primitive sound mastered so well that he’s able to mold it however he wishes. Fahey was utterly brilliant at that. Expect Benjamin to have that same legacy one of these days.
It’s not everyday you come across Afghan experimental music recorded in the Arizona heat. Myrrors vocalist/guitarist N.R. Safi had composed these tracks as mere impressions (expect a Volume 2 to be released shortly), but the quality of these pieces stand out. These could hold their own with the best of 1980’s cassette culture. A brilliant debut, though Safi is planning to do a properly recorded album sometime soon, adding to his psychedelic CV.
Z Tapes continues to put out wonderfully emotive indie music, whether it’s of the bedroom pop variety or something straight-up weird. They rarely, if ever, seem to fail with their releases. All credit should go to Filip Zemcik for his near-perfect curation abilities.
fuvk are a emo/indie-pop band out of Austin, Texas who please greatly with music that is pleasing to the ear, but not fluffy or boring. The tape recordings were a bit unsettling to hear, and they add a bit of spark to an already good EP’s worth of tuneage.
Rắn Cạp Đuôi Collective are Ho Chi Minh City’s finest experimental group. Their sound reminds me of the lo-fi bedroom vibe Xpressway Records in New Zealand had. Think of projects run by Roy Montgomery, like Dadamah, to get an idea of how wonderfully drony this material is.
A real tragedy. Sparklehorse, led by Mark Linkous, were indie rock darlings, collaborating and touring with artists as wide-ranging as Fennesz and Radiohead. Unfortunately, Linkous also suffered with drug addiction and ensuing health problems for years, and took his life in 2010.
Shimmery and lo-fi are words that normally shouldn’t go well together. In the hands of New Zealand guitarist Roy Montgomery and members of the Philadelphia-based Bardo Pond, the description fits perfectly.
You can read more about Hash Jar Tempo here via Wikipedia.
Despite the odd spelling change, Billy Childish is still producing fine music. This is an instrumental track from 2013, courtesy of Damaged Goods Records.