![]() ![]() ![]() Concerned with a love that causes hurt, the relief is in liberation. The personal reflection of I Used To Love You is beautiful and bruising. The anxiety of youth and exploration comes through in spades. They lyrically break free on songs like Little Sharkey & The White Pointer, probably the most Smiths-esque song on the record, which feels more personal than those that turn the personal into societal. The songs are not always so tunnel-visioned in their ideas. The added effect as the song closes of a saw cracking a skull hammers it home. Turning her gaze to the Christian preachers who flood their messages into the brains of the masses, there’s an attack to the song and the delivery that powers it through as she articulates the clash of cognitive dissonance, the individual over the collective. ![]() Christian Neurosurgeon kicks up more as the band roll as one from the beginning, although still the vehicle for Romy Vager’s guitar work and that affecting voice. There’s an air of isolation in the songs, but rarely of despair as the verve and energy pulsate throughout. It’s a plea for acceptance and a message of defiance, vocalising the need to escape and, as an album opener, hits you squarely in the jaw. What do you think about me?” It’s a powerful opener and once the lyrics hook you, they have you to the end. However, there’s always the hope of youth to come that will break the prejudice. Fathers who threaten to lynch, grandmothers who fear the devil. The verses build up with intensity, but the subtle music belies the powerful message behind it: the hate and violence towards people in the LGBTQIA+ community, from both strangers on the street to families whose shame turns to hate. The light chug of Alexandra starts up the record, propped up from behind with a subtle acoustic strum as the band slowly drift in. The combination ensures that the songs are cemented in a style and sound that feels both fresh and nostalgic at the same time. Romy Vager’s guitar chimes with Johnny Marr’s classic sound as spellbinding arpeggios run amock with joy over the songs, while her voice calls to mind a young and driven Peter Perrett. The record is built around a reverb-drenched guitar that pegs their sound to the shift from 70s new wave into 80s indie. On their second album, Melbourne’s RVG have written a long lost Only Ones record and it’s fantastic. Okay, will come right out off the bat with this. All mounted cowbells feature the famous forged eye-bolt clamp assembly with oversized wing nuts that provide secure placement on 3⁄8" diameter mounting rods with only finger tightening.Melbourne’s RVG return with their second album, a shimmering garage-pop record with doses of 80s new wave that brim with urgency. All LP cowbells are crafted from premium quality steel and specially developed tooling with careful attention given to tolerance levels.ĭesigned to meet all musical needs and fit into any genre, LP has created a large variety of LP bells, each offering different pitches and sound characteristics. LP Cowbells are handmade in the USA using the same exact specifications developed by LP founder Martin Cohen over 40 years ago. All mounted cowbells feature the famous forged eye-bolt clamp assembly with oversized wing nuts that provide secure placement on 3â8" diameter mounting rods with only finger tightening. Designed to meet all musical needs and fit into any genre, LP has created a large variety of LP bells, each offering different pitches and sound characteristics.
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