LULU'S NOVEMBER 2020 NEWSLETTER
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Exciting times! Big news of the month is that we're FINALLY able to open the store. Believe it or not Melbourne seems to have well and truly gotten a handle on this flu, and so long as we play it relatively safe we should be able to have you all over to visit before too long.
That being the case, we're flat out at the moment getting it all ready for you. We've gotten a HEAP of new stock in over the past few weeks, both outta the Australian underground and abroad, and are busy filling the racks to the brim with incredible stuff.
Stay safe, love you all, see you soon. xx
ALONGSIDE THE REVIEWED RELEASES, LULU’S HAS BEEN ENTHUSIASTICALLY CONSUMING THE FOLLOWING;
~ FACELESS BURIAL “SPECIATION” LP (ME SACO UN OJO)
~ SMARTS “WHO NEEDS SMARTS ANYWAY” LP (ANTI-FADE)
~ V/A “KILLED BY JOHN PEEL” LP (VATICAN RADIO)
~ NKDX “LIVE IN LECCE” CS (NKDX SELF-RELEASED)
~ PHEW “VERTICAL JAMMING” CS (DISCIPLES)
ASTARON - "ASTARON" LP
1984-1989 Viennese electronic duo (made up of Angie Mörth and Martina Aichhorn) created earfquaking freqhz for freqhz. Brutalism x Primitivism. These recordings generally reside between the realms of so-raw-it's-almost-punk electronica in a rather urban guerilla chic German city basement way that you might expect of said time and place, and the Niconian cold, and sweet and bitter lands wherest live tales of love, lore & yore, or the truly chilling hag-took-your-children-and-you're-trapped-in-a-fairytale-nightmare folkcraft of Aghast. Highly recommended if you have any interest whatsoever in early industrial music, post punk theatric performatism, feelings of unease and terror, or heavy and cold atmospheres so thick it'll make your soul burn slow.
ECTOPLASM - “DEMO” CS
Old Lulus pals at Urticaria Records (bonjour, Frenchies!) have been steadily releasing wild cassettes since forming the label earlier in this year-that-shall-not-be-named and Ectoplasm's demo is my favourite thing to come out of the label so far. It’s exactly the kind of driving, simple, hyper aggressive hardcore that makes me miss live shows more than anything. The whole tape is a rejoice in sheer and unbridled violence set to pound-dog bass, tom tom drum drum, and harsh, grating guitar. Somehow this band from Nantes, France have managed to sound like it crawled straight out of the fine city of Sydney's sludge, and fits oddly perfectly alongside Oily Boys, Robber, Rapid Dye et al. If you're listening, whoever the god of this music is (editor: it's Pig Champion, but he's dead) more bands like this please and thank you.
MOUSSE / TREVOR - "NORTHSTAR / DARRON" 7"
Yummmmmmmmmmm, Butter Sessions smooshes Lulu's house favourites Mousse and Trevor together to create a flavour combo that works so perfectly you wonder why you hadn't thought to try it before.
The A features more of what we've come to love from Mousse; a house groove whipped silky sweet and paired beautifully with ice cold flourishes and anime film samples. A fitting follow up to the fantastic Bungalow Classics 12".
The flip has Trevor in uncharacteristically (relatively speaking) un-unhinged mode, in a track that harkens back to his earlier tape experiments under various aliases. Staggering breakbeats become the anchor for a frantic track that flits between soaring electro and gitched outburst. Twisted just right.
All comes housed in a gorgeous duel colour silk screened sleeve designed by J. Vinciguerra himself. Molto bene, chef kiss, ect.
THE GREEN CHILD - “SHIMMERING BASSET” LP/CS
Upset The Rhythm / Hobbies Galore
The Green Child and their undeniable charms are once again asking you to lend your ears and have a real nice time together. Despite a breadth of textures and tones throughout, M. Young’s restraint does wonders for the compositional interplay as Raven’s voice sits so comfortably with each moment and idea that it’s honestly hard to resist. There’s a retro feeling that is rather uncanny and hard to pin down, but I am left with a distinct impression that these tunes would be right at home in a Black Mirror episode set in the 1980’s; demure tenderness, personal darkness, social flamboyance, burgeoning technological waves and all the rest of it. This latest collation of melody is overall more simple and effective than their debut, the only thing which seems more complex is their understanding of how to glide into your head and stay there.
KATO DAVID HOPKINS - "RUMORS OF NOIZU: HIJOKAIDAN AND THE ROAD TO 2ND DAMASCUS" BOOK
Public Bath Press
In his first authored work since the almighty DOKKIRI, Kato David Hopkins dives into the genesis of the notoriously deep and secretive Japanese Noise scene with RUMORS OF NOIZU. Through extensive interviews, and his own knowledge as a first-hand observer, Hopkins provides a roadmap for heretofore totally uncharted territory in the history of extreme sonic exploration. Featuring the likes of Merzbow, Hijokaidan and Hanatarash alongside a bevy of lesser known freaks, Rumors Of Noizu compiles anecdotes and memories alongside flyers and photographs from the time, in an attempt to contextualize what is perhaps the most bewildering music scene in the history of the modern underground. Lulu's is proud to be stocking Rumors of Noizu, alongside the entirety of the Public Bath Press catalogue.
CIVIC – “RADIANT EYE” 7”
Civic blast through an original piece (three minutes on the nose) and a perfectly executed cover, as they are want to do, and they’re back with a bang. The vitality in their performance makes Civic hard to ignore. The thick, slightly buzzy and blown sound on this 45 (yes, it is 45RPM!) is the perfect outfight for these songs, stepping onto your turntable dressed to kill. They’re a perfect example of a group who found their swagger and have marched steadily onward at pace ever since, looking neither left nor right lest they lose focus and stumble. Having found their own sound and how to more comfortably squeeze influences, experimentation and expand horizons, there’s no signs of slowing down. Radiant Eye hits like an early days Michigan-cum-Brisbane punk rock explosion but it’s clear these cats are more than a throwback or nostalgia trip. Keep your eye peeled and make time for Civic.
HEKÁTĒ - "ΜΈΡΕΣ ΟΡΓΉΣ [DAYS OF WRATH]" LP
La Vida Es Un Mus
This one is a journey to the night. And there you’ll find many things. Confronting, comforting, tormenting, empowering. The familiar, even recycled, Post Punk & Death Rock sounds found among Days Of Wrath are appropriate given the long and storied history of the Goddess of the Underworld and Her many faces and roles through the centuries. Even while She may appear frightening, She is also here to guide and help those who seek. Her patronage of and personification through this Athens group works the way it was always going to work; a sharp-tongued and fierce display of the feminine gaze.
NIGHTMARE - “GIVE NOTICE OF NIGHTMARE” LP
La Familia / Farewell Records
Nightmare’s debut LP is as cool as any great Japanese HC record. Not to mention anyone who shamelessly tried to sound like a good Japanese HC band (and I know for a fact that a lot of bands look to this record as a Bible, but I’m not naming names because that is a fool’s game!) Rest assured; this is fantastic punk music. It’s quick, mad, rocking, anthemic, protestant, noisy, and better than most.
In a nutcase; it sounds like Poison Idea’s early material with the added notion that punk songs should last longer and be more satisfying than your man in bed. Skip the history lesson. Buy this album. Can you dig it? Of course you fucking can!
SUPER-X - “SUPER-X” LP
'Super-X’s debut album opens with harsh noise in the form of ‘MEL’. Named after Melbourne’s airport code, it provides the soundtrack to the anxiety and confusion I experienced the first couple times I passed thru Tullamarine without my mummy - via Pulse Demon-era Merzbow strokes and swirls of off-white noise. There’s a second or two that hints this aural assault is produced by the humble guitar, as a couple contorted notes ring through the mix. ‘Terminus’ not only has guitar, but a rhythm section and vocals as well. Oh wait this is a song! A muscularly minimal droning jam sees the track out, and along with the Stooge-y two note riff that makes up the skeleton of following number ‘One Cut’, we discover some of Super-X’s key influences on the record. Again, the song erupts into a jam, this time complete with some wah-wah work that sounds like John Squire doing his best Ron Asheton impression; which i guess is basically Spacemen 3 anyway. ‘Circle Form’ opens with some noodling that maybe resembles something of a riff - but properly takes form as it’s bolstered by some primal pummeling on the drums. ‘Turn To Black’, which marks the midway point of the project, unleashes my latent record executive/mogul persona. This is the hit single! The riff swings its big nuts around - sophisticated in its savagery like all great punk and rock n roll in general. Ne ne ne ne ne ne ne ne DUN DOW etc. The vocals here are cocksure and snotty, and they stand out more than they did earlier. The following two tracks cleanse the palate, ‘Txl’ with its borderline ethereal ambience and ‘Sjj’ with some weirdo sample. Or at least i hope it’s a sample...The lyrics on ‘Without Love’ take us ‘down into the woods’, although the stomping instrumental evokes a drunken amphetamine strut down Smith street. Penultimate cut ‘Could’ve Been’ boasts some rudimentary rhyming couplets which are comparable to that penned by Marcus of proto-post-punk contemporaries The UV Race. However, where Marcus’ words teeter on the edge of naive, endearing the listener, Super-X channels the nihilistic aggression of Iggy on the first Stooges album. The acoustic guitar that ends the track cements it as a comedown of sorts. However, the album is hit with one last jolt of energy, in what is a bracing and ultimately definitive statement of all that came before, with ‘Xx’. The song is about ‘hav(ing) fun’, ‘com(ing) undone’ etc., and the closing couple minutes of soft noise wash over like trickling piss down the alley behind the pub.'