The punishment of luxury is in the air for all to see. And it’s ugly now, and it’s getting worse every day. Hey! Hey! Hey!
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Category: Record
Listen, mate, life has surface noise.
We Lost The Sea: Triumph & Disaster (2019).
The band started off pretty firmly in the metal genre, but transmogrified into something that is a cross between math rock and metal, like a love-child of 65daysofstatic and Dream Theater.
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Jeffrey Lewis & The Voltage: “LPs.” I feel seen.
If the year was from the ’80s it was guaranteed to totally suck.
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Tears for Fears, Rule The World: Greatest Hits (2017)
This eighteen-month late review of Tears for Fears latest compilation, released in November 2017, absolutely has to be done, for reasons of aesthetic duty if nothing else.
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Martin Rev on “Suicide” by Suicide.
Dangerous Minds interviews Martin Rev, going through the recording process for the first Suicide album.
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Record non-reviews: Cloud, Even As We Speak, Frog (2017, 2019).
Trying to write sensible things to describe music is way too much like work. Here are things from the pile that I’ve been enjoying. Press the play buttons and make up some adjectives yourself.
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Records: Nero Bellum, Am I Dead Yet?, O.R.k. (2019).
Mary Byker being precisely the right amount of too clever for his own good is a pleasing surprise when clearing down the review pile.
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Records: Cortez (2018), Statiqbloom, various goths (2019).
The review pile is full of alternative buttrock industrial.
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Records: The Be Positives, Boy Harsher (2019).
Some new pre-punk pop-rock, and a remixed favourite.
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Severed Heads: If I’ve Told You Once I’ve Told You A 1,000 Times (1987).
From the cellulose nitrate days of music video.
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Records: Gang of Four, Lindy Vision (2019).
Andy Gill’s Gang of One turns out to be a good band making good records. And new Lindy Vision is always a delight.
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Boy Harsher: Careful (2019).
Darkwave disco. I’ve been hanging out for this one, and I’m thoroughly delighted. You will be too.
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Gary Numan: Savage (Songs from A Broken World) (2017).
For those most familiar with the classic synth-pop Gary Numan, this will be quite different. For those who have followed Numan in the past thirty years this is not a surprise.
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Mono: Nowhere Now Here (2019).
Tell you what I love about Steve Albini recordings: the drums.
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Records: Nora Roy, Laibach (2018).
An indie singer-songwriter and the return of an old favourite with a slab of excellence.
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Records: Frog, Keen On Keys, Metal Disco (2018).
Metal Disco is today’s pleasant surprise winner.
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Records: Dew, Irk, Transmaniacon featuring Lydia Lunch and Maya Berlin (2018).
Dew and Irk are both remarkable finds and produce the correct horrible racket, though the loved one compared Irk to a sack of hammers falling down stairs.
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Records: Nosound, Trash Deity, a Cabaret Voltaire tribute (2018).
Popular US industrial music has always tended less Throbbing Gristle and more alternative buttrock.
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I ran the Perth indie record charts, from 1989 to 1991. Corruption! Manipulation! Propaganda!
An excuse to get Perth bands into a published record chart, so they’d get some publicity and could use it in their marketing. And to propagandise Australian indie to the masses. Includes THE HITS OF 1989!
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Records: The Rolling Stones, Deerful, Benjamin Shaw (2016, 2018).
A party that everyone’s been looking forward to for weeks. They seem to be having a wonderful time.
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Lords of Acid: Pretty In Kink (2018).
Everyone’s familiar with Lords of Acid at a basic level, right? Dark electronic erotica? Techno songs about fucking? It’s all very nineties. Pretty in Kink was released in May 2018 but still puts out the oldschool LoA vibe.
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Blacklab: Under The Strawberry Moon 2.0 (2018).
Hey, are you interested in letting a couple of women from Osaka just completely melt your fucking brain? If so I have found the album for you.
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The Twinkles: We Come Along (2018).
A 10 song album that is everything you’ve been looking for if you’re sad that The Vandals haven’t had a full length release since 2004.
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Reviews: Aboleth, Zanias (2016, 2018).
Writing about music is the most ridiculous notion, and the review pile is only getting larger. So I’ll give just embedding players and mumbling something a go. This works for me, and that’s the important thing.
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Pastoratet: THLM (2018).
A nice combo of hardcore and surf punk, it’s got a mellow, melodic feel that edges toward pop-punk but brings in just a tiny bit of metal to keep an edge to the sound.
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Reviews: Marsy, Dot Dash (2018).
Yeah, putting a Bandcamp embed into reviews is clearly the right thing.
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Interview: Gina Cimmelli — My Little Lies (2018).
A brilliant five-track indie pop EP. And my first musician interview in a couple of decades.
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Limb: Saboteurs of the Sun (2018).
Excellent fare for people who really enjoy Tolkein. A supernatural tone and a solid pounding that most anyone who likes heavy prog will appreciate.
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rosewater: Love Bomb, rosewater AKA (2018).
Both little works have great songs on them but Love Bomb is mind-blowingly perfect. Clark and Brooke’s voices and guitars blend into a sweet, grungy, fun sound.
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Stelliferous: Canine Familiar (2018).
Ugh, it’s actually irritating how much I like this record. It’s like a white noise machine for ADHD.
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