LULU'S OCTOBER 18 NEWSLETTER
Here is the October 2018 Newsletter, emailed at the start of the month to our mailing list and sent hard copy with all instore orders.
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Featured in this newsletter:
V/A – Nihon No Wave 2LP (Mecanica Records) [UPDATE: SOLD OUT)
DOKKIRI! Japanese Indie Music 1976-1989: A history And Guide by David Hopkins [UPDATE: SOLD OUT)
Gaseneta Wasteland by Osato Toshiharu [UPDATE: SOLD OUT)
The Sun Ra Arkestra of Marsupial Punk. Songs with ideas which seem to either finish about as quickly as they begin, or push their luck more than an unwanted houseguest stomping laps around your living quarters. Either way - this record fucks. Reminiscent of the “weird” aspects of the early wave catchers of American (everywhere except the East Coast though) hardcore punk bands with a decidedly not-too-inner-suburban Australian spritz. Jam on this you wonk.
V/A – Nihon No Wave 2LP (Mecanica Records)
Anyone who’s read Dokkiri will be familiar with the explosion of experimental, new wave, and post-punk bands from late 1970s // early 80s Japan. All at once countless freaks got their hands on cheap synths and recording equipment, busted out one tape or maybe a flexi before dissolving back into the muck. Almost entirely kept secret from the rest of the world, NIHON NO WAVE is an attempt to dredge some of these projects back up and give outsiders a glimpse into what was going on during this incredibly fertile period. Featuring nine different bands, mostly centred around Osaka and Tokyo, the compilation is a must for those looking to broaden their understanding of the Japanese underground past Keiji Haino and LRD. Limited to 525 copies with full-colour sleeves in hand-sewn, silk screened synthetic paper pouch.
A collection of this criminally sick band’s cuts on 12”. Somehow merging 60’s guitar love/hate with some kind of love/hate punk vibe worked wonders for these jerks (editor’s note: I’m not sure if they were jerks). Their recorded output ranged from short bursts of hardcore bummer to catchy, sunny basement grooves which do last more than a couple of minutes. This band always felt like they had a lazy or lackadaisical feel to their rhythms and guitar lines but don’t let that fool you because it’s energetic as hell – it’s either well balanced or not at all, but it’s constantly kept us coming back for more! It’s all downhill from here. Oh, that’s good.
Following two excellent singles, J@ke Robertson finally gets serious with the ALIEN NOSEJOB solo series with this, his debut LP. While those two stuck relatively close to the rock’n’jerk’n’pop that we’ve come to enjoy over the various bands Jake has been a part of, this LP is a whole new beast (alien?). Taking a notable step to the side, off the path, and into the brush, this album sees Robertson flirting with calypso and goofy pop. It rules. We finally have our punk Paraiso, and who better to bring it to us than the man who brought us other Fox Network Specials such as “The Five Fabulous Weeks of the Chevy Chase Show”.
Dimly lit and dramatique, for sure. Ritual drumming and a sternly played bass guitar provide the backbone for the most part, leaving just enough room for the vocals to croon and brood before more violent outbursts. And the guitars sound like Les Pauls, which is cool. Bloodletter are powerful live band, and elements of that are captured here - it’s a decidedly staunch approach to goth vibes, and seemingly informed as much by heavy metal music as the usual post punk prophets of the 80’s. A cover by The Wipers’ Doom Town is a very, very fitting bone in the casket here.
The shoes, baby! Killer. This two song 7” feels like a full album condensed into a record that can be listened to in the time it takes watch an 80’s horror film trailer (but you don’t watch a trailer on repeat even after you’ve finished it for the fourth time) Fruity Funhouse is the exhausted mourning/morning and thanksgiving which come after a serious tab, man, and it’s a weird time to be spinning these sorta tunes. Totally works but, because why not? I Saw The Devil Again is where the excitement really begins and may gods & devils alike have mercy on the soul who can’t groove to this. The intro is a stellar example of a strong take on old ideas, and the rhythm change which follows is glory and splendour. Actually, there are rhythm changes all throughout the song which never get old, and still take me aback upon twenty +plus spins. The change at the end will change you, like that tab last night, man.
Public Bath Press:
Lulu’s is proud to be stocking the complete catalogue of Japanese independent publishing house PUBLIC BATH PRESS. Run by David Hopkins, a gaijin living in Japan since the 1970s, the imprint offers unparalleled insight into the world of underground Japanese music beyond anything ever published in English up until this point. The continuation of his now legendary PUBLIC BATH RECORDS, Hopkins has either written or translated every item in the PUBLIC BATH PRESS catalogue, with an excellent eye for both cultural significance and entertainment value. Some highlights include;
DOKKIRI! Japanese Indie Music 1976-1989: A history And Guide by David Hopkins
FINALLY RESTOCKED! An essential tome to be cherished. Keep it on the top shelf alongside your copy of Kings Way and the King James. Comes with a Lulu's curated mixtape of some of the bands featured, but try as we might we barely scratched the surface of the goldmine. One to be read with a notepad and life savings on hand. Highest recommendation.
Gaseneta Wasteland by Osato Toshiharu
Osato Toshiharu's memoir/novel of the origins of Tokyo's most uncompromising punk band, Gaseneta. Crowned Termbo’s Book of the Year 2K17. An extremely thoughtful and at times hilarious reflection on the infancy of Tokyo's underground movement. Absolutely gripping read, and well worth the heapings of praise it has received. Includes a boot tape of the four best takes of Gaseneta’s only four songs.
In the 1990s, when Boredoms-mania was at its peak, Boredom’s guitarist Yamamoto Seiichi was asked by Guitar Magazine to write a regular column. Soon to become a legendary and bewildering fixture of the magazine, the bulk of this book is the cream of those columns, alongside other writing, photographs, fiction, reminiscences, poetry, and visual art. Includes an exclusive career spanning CD that chops n screws both previously released and unheard material into a new, entirely unique beast.
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