#rough skies

[anamellow]

Family photo!

[void-mydarling-mylove]

Rainbows after the rain~

[anamellow]

Rough Skies!

Ex-Storm Racer and father to Easy Breeze. He quit storm racing when he received a wing injury which caused his wife to leave him for his best friend. He raised his daughter full-time and trained her to beat  his ex-friend.

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I know storm racing is probably not a thing im the mlp universe, but i think it sounds cool lol. in this case i am referring to racing in a storm and not racing a storm.

[bandcampsnoop]

7/12/26.

I'm not sure how something as "up my alley" as Spice World escaped a post when their debut LP, "There Is No I In Spice World" was released in early 2023 by Tenth Court/Meritorio Records. This is classic Aussie pop in the dolewave vein of Dick Diver/Boomgates.

Now, Rough Skies - the label run by Julian Teakle in Hobart, Tasmania is releasing the follow up LP from the Fremantle, WA based band. The Bandcamp page promises a vinyl version is coming. The two songs currently available are a bit less "dolewavy" than the debut.

Heads up, I received an email from Meritorio (many of you probably did) announcing a €10 sale on many titles, including the "There Is No I In Spice World" LP. In keeping with the Aussie theme, Girlatones, Go Get Mum, and Monnone Alone are available for the €10 price.

Go get 'em. The offer is good until the end of August.

[anamellow]

Yeah, I’m not finishing this. Here’s a family photo!

[dustedmagazine]

Cured Pink — Current Climate (Rough Skies)

Current Climate by Cured Pink

Cured Pink is a Brisbane-based post-punk-into-dub experimental outfit, headed by Andrew McClelland. The band’s last missive, 2015’s As a Four Piece, was fascinatingly hard to pin down. In my review for Dusted, I wrote, “The trick in assigning references is that Cured Pink sounds vaguely like a lot of things — the NY/Berlin art punk outfit Tonstartssbandht on the voice-heavy bits, the Fall on the more propulsive ones, dub-heavy post-punkers such as Pig Bag and the Pop Group in the echo-drugged sprawl of ‘Treated Unwell,’ fellow Aussies the Fabulous Diamonds, The English Beat, PiL, Cabaret Voltaire — at least until you listen to them side by side and then, when you do, not like any of them.”

This collection follows much the same pattern, swamping brain-rattling spoken rants with dense malaria-dreamed fever visions, where notes are shrouded in echo so thick that the rebound seems larger and realer than the music itself. McClelland’s crew is the same as last time with Stuart Busby blowing hallucinatory trumpet blasts, Mitchel Perkins thudding menacing, driving bass and Glen Schenau syncopating junk-yard percussion with manic precision.

McClelland himself spatters robotic verses, often not quite intelligible, but when emerging from the thick of it, as on “The Artist” squawking with indignation. He has a way of stuttering a line in broken bits, getting a bit of it out, backing up, starting again, getting further next time, and lurching finally to the end. Reiteration drills the sense out of the words, so that they become mainly bits of sound, for instance, “I am making things that match up, making things that match, making things that match up, making things that match…” And yet you’re haunted by the sense that there is a meaning and a narrative in there, one that flitters like a swamp light in your peripheral vision, always just out of grasp.

These tracks were recorded between 2012 and the present, suggesting that there’s some temporal, as well as personnel overlap with As a Four Piece. In any case, it’s hard to discern a trajectory from one to the other. They are equally abstract and knotty, equally physically transporting. I do find, however, that Current Climate sags towards the end, after the explosive jitters of “The New Public” and “Drone Pleasure,” it slips into a trance-y, soul-flavored groove in “Good Day on the Internet,” then gets a little snoozy with jungle-drummed, vocoder’d, endless “Sunshine,” and “Pop Up Shop.” I get the appeal of draining hot genres like dub/soul/funk of their emotional content and seeing what’s left in the grooves, but these songs go on for a long time in which nothing much happens. “Another Urban Fox” is pretty good though, in a booming, echoing, dystopic dance way, pitched somewhere between Shackleton and the Fall.  

Last summer, the blogosphere collectively went a little ape shit for Black Midi, a much younger band with a similar ranted, chanted, complexly rhythmed aesthetic. You have to wonder what the same writers would make of Cured Pink, which is in the same ballpark but wilder, weirder and with a trumpet.

Jennifer Kelly

[bandcampsnoop]

11/7/18.

The Native Cats are Chloe Alison Escott and Julian Teakle.  Two band members but so much sound.  Honestly, they are one of my highest “wish-I-could-see-them-live” bands.  I can only imagine the intensity of this music in a live format.

The Native Cats might garner comparisons to Sleaford Mods, but really, I can’t think of too many bands that sound anything like them.  As I said in a post about another Native Cats release, I’m not usually drawn to primarily bass driven music.

The Native Cats are from Hobart, Tasmania.  This 7″ is released on local label Rough Skies.  Mikey Young mastered it.

[darcharlee]

[...] you will also meet the love of your life. [...] You thought you were going to be a virgin all through college and just date around and make out a couple of times with some hotties. HA! Against your whole idea on your love life in college, you’re going to find “him” earlier than you thought. And yes, you still hate parties and big social gatherings. Just hold out, and when you meet him, you’ll know. If you don’t know, he’ll make sure you do. And don’t bother looking for an apartment after getting to California. You move in with him only a couple of months after meeting him. Don’t judge me (which is basically you!) I guess when you know, you know.