LULU'S MAY 2023 NEWSLETTER
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OPTIC NERVE - "ANGEL NUMBERS" LP <COMING SOON!>
RUDIMENTARY PENI 'CACOPHONY' LP
TERRY "CALL ME TERRY" LP
May newsletter. Best read whilst on a night walk down dark street. Stop under street light to strain your eyes and learn about the modern Australian underground hustle.
Huge influx of dope records this month. We are most excited about our local mates Terry putting out a new LP - split between states and stronger than ever.
For those with a taste for the horrific and mutilated, check out the Rudimentary Peni Cacophany LP reissue. New box arrived from global sensation La Vida Es Un Mus Discos. Including new releases by Sial, Tarrega '91, Dolly Mixture, Rudimentary Peni, Organised Chaos, Alternative, Tiikeri, No Defences and restocks of Total Control, L.O.T.I.O.N., Rat Cage, Oily Boys, Disclose, Lumpy & The Dumpers, Nog Watt, Hitler SS/Tampax, Taqbir, S.H.I.T., Blazing Eye, Straightjacket Nation. Unfortunately we didn't get the new Home Front LP but we will!!
From Peni to Terry, we will NEVER let you down.
If you prefer your music streamed to minimise possessions and have no clutter in your apartment, but your wardrobe is feeling paltry, we've got you. The days are shorter, the hoods are up. Lulu's present the now CLASSIC Jimmy Neumann design now on 100% more hood. Grab the wurld by the U.
From music to fashion, we will NEVER let you down.
If you hate music and clothing but you like to read, then a reminder that the new issue of MULCH is out. Australia's only poet.
From books to music to fashion, we will NEVER let you down.
If you hate all of the above, stay tuned: coming soon is a unique Lulu's / Stone Island collaboration, new territory for both companies: a new videogame based thousands of years in the future, the quest to create musical instruments on a harsh unforgiving alien moon, crafted from the internal organs of malevolent beasts, only the most hardcore will survive.
Ä.I.D.S. - "THE ROAD TO NUCLEAR HOLOCAUST" LP
It's incredible that a new band has captured the old sound so well. Total 1984 protest punk, simple and raw and oozing with spirit (the band is named after a riot). Spain is holding a brightly lit torch for punk music right now and let's hope that it never dims because there is certainly room in the world for more of this.
Thirty-three minutes and thirty-three seconds.
Angel Numbers revels in found meaning; clues glimpsed and truths held deeply. It is a treatise on the spiritual act of defiance - defiance of state, of obligation, of self. It positions these acts and ones of supreme, divine self-love - towering steeply over any possible retaliation. Unstoppable in its single-minded commitment to the power of that act of love. But it also speaks to the retaliation. Of the ways in which silence is enforced upon us. It mourns those lost in the acts of defiance and self-love. It aches and spits and claws at that immense grief, giving it space and voice and room to breathe and be seen. It is ours to hold, collectively. Angel Numbers also offers that space, an invitation to connect and hold together. Angel Numbers, like all the best art, is a spell. It implicates you in its invocation. And it offers rewards to those willing.
RP took a wild stumble out of the raw power of Death Church, which although frantic and frenetic and certainly distinctive, could be somewhat safely played at a party with friend while drinking something, mmmm, let's say oxidised, a bit of minerality. A Jura.
Indeed, from the popular wine and hardcore podcast Rudimentary Pinot, hosted by Diat's Josh Neutron, we can hear this amusing exchange with his guest, the actor Ryan Gosling:
JN: We established last week that Death Church was best listened to when drinking Jura, what do you think of Cacophony?
RG: Dense with sinister touches, sour and sweet at the same time, completely inconsistent sip to sip. I think something of the natural wine world, something that tastes like someone squeezed the mop they use to clean the floors of a winery into your cup.
JN: Mixed with a little sharp, potent urine?
RG: Unforgettable, excruciating.
JN: This record is sure to destabilise you. Weird, and horrifying!
Point is, there's no way you'd listen to 'Cacophony' at a gathering, with guests, no matter how late it is and how many lines you have inhaled. This is for private rituals testing the limits of your sanity. Every song ends with a sudden crash, like the band passed out from exhaustion, malnutrition, terror, and then immediately a sound collage of voices takes over babbling nursery rhymes, sea shanties, olde towne tavern drinking songs, HP Lovecraft alternative histories. It's perverse and manic and, of course, it's brilliant, but it isn't SOCIAL punk. This is something more toward a band like GISM - a band that sought to push the limits of the form, and establish something truly ghastly, gruesome, grotesque. Highly recommended along with the rest of their catalogue, a truly brilliant and unique band.
(Fish Island Records)
"Channthy was not just a singer. She represented the dichotomy of a country where, amidst the bright lights, we still have unimaginable and inescapable problems of poverty, education, income disparity, and women's rights. Channthy's story of a poor, rural girl who made it in the big city to become an international star." A special thing happens when A-Go-Go style garage burners are played by groups from Southeast Asia. There's a long history of this concoction blowing other takes out of the water. I don't know what it is, but it is and it's undeniable. Combine that fervent, highly grooved out energy with a Motown studio and you've got a damn godly thing on your hands. This album was previously released under the name 'Whiskey Cambodia', here presented with an updated layout in a heavy gatefold sleeve with some great photographs. If tracks like Dance Twist, Rom Rom Rom and When Are You Free don't make you feel alive, then maybe you aren't.
More rompin' Oi! anthems from the French clean-shaves RIXE. Originally recorded in 2018 for a promo tape, this time they're rockin' a phaser - adding a dizzy dimension to the repetitive nature of their signature pogo sound and it works more than a 7-hour day that's for sure. If you're buying a RIXE record, you know what you're getting. You're getting the business.
From Talkhouse interview with DX and Amy / Al from Terry about their new LP!
Daniel: Call Me Terry is my favorite Terry record, I think.
Al: Hell yeah.
Daniel: I think what you’ve done here is just astounding. There’s so much there that fascinates me, and you’ve really summed up everything that you’ve done so far. But it’s just so wild to listen to so many amazing ideas. In the first song — is it “Miracles”? When that bass line comes in—
Amy Hill: [Enters the frame.] Speaking of bass—
Daniel: Here we go! Did you did you listen to that Marty Robbins song that I sent you? “Don’t Worry About Me.”
Amy: I don’t remember, it was ages ago.
Daniel: No, it was quite recently. But I think the story is that, as they were recording the song, they were carrying the bass amp into the recording studio and someone tripped and dropped it on the ground. Then they plugged it in and they go to play it — I mean, the myth is that he only played it when they were recording, which sounds like complete bullshit. Like, no one just plugs in a dropped bass amp and just, like, rips it. But anyway, what comes out is this extremely wild, kind of fuzzy and strange sounding bass. And it reminded me of that “Miracles” bass. What is going on there?
Amy: [Laughs.] I think you’d actually have to ask Al that. Did you write that? I have a real weird time, because often with songs that Al and I write, I forget if I wrote part of it. Because I will write it, but then I literally am such a feeble-minded person that Al will play it for a while and I’ll be like, “Oh, I like that, What’s that?” And he’s like, “Oh, you wrote that.” So I get very confused about what’s going on, on just a general daily basis. And I also forget songs very easily. I literally can’t even think of how “Miracles” goes right now.
Al: That works for me to plagiarize a lot of your stuff, because I can remember it. “Yeah, I wrote this amazing riff.”
Amy: I would not know.
Al: I think when it comes in, it’s also with the clave. It’s got the low clave.
Amy: Yeah. We were playing around a lot with different kind of sounds for the bass end in the songs.I think often with Terry, there might be a sound that we’ll be like, “Oh, I really like that sound in this particular song,” but we can never quite get it, but it always turns into something else. And sometimes it ends up being quite dark, I find — like I thought that song ended up sounding quite dark and insane.
Al: I’m remember now: one of the influences with the clave was “Nutbush City Limits.”
Al: Yeah. I was like, “This song is going to sound like ‘Nutbush.’ I can’t believe we’re writing a pop song like ‘Nutbush City Limits’”. And then by the time it came out, it was with the horns, the clave, the organ that Xanthe put on, Zephyr’s kind of cowpunk drums. It was insane.
Amy: And then it’s thematically to do with [former Australian Prime Minister] Scott Morrison’s kind of… I don’t want to say it’s “insane,” but…
Al: It’s, like, deranged.
Daniel: “Deranged” is the word that you used on the record, I think.
Amy: But I think we both quite like slightly odd sounds, like things that maybe are a little bit off-sounding, or maybe a bit too high end, and we tend to sometimes overlay those things onto Terry songs, because we like the mayhem of it.
Al: I think that’s always probably been something with Terry, because except for I’m Terry, we’ve pretty much recorded everything ourselves. And even with I’m Terry, we just did so many stupid overdubs.
Amy: And we’re all yes men, so it’s like someone will do something completely mental sounding and we’re just like, “Yes, more!” There’s no one that’s seriously concerned about what a song is going to end up like, because we just all like the process so much. Then I think in the end, they just kind of turn into these kind of oddities. And we all really like that.
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