The YEAH I KNOW IT SUCKS Podcast – volume 1

Oh my goodness! Our amazing Johan Nederpel had an excellent idea; a yikis Podcast. It has nothing to do with smoking pot or a cast, or maybe in some way it does.. in any case when he was ill the sucker KN wanted to surprise him and tadaa: the Podcast has been born! It’s gender neutral and for sure is a true beauty!

For this episode we are simply testing out the water, dipping our intoxicated toes in a world of all over the place music that
we have recently covered, discovered or perhaps are soon to discover!

This one is dipped in songs, folklore, singing voices, sniffs of punk, pleasant bit of rain, some cat on a electric pole and even the right amount of alien sounds; a nice get together and surprisingly listenable! Oh gosh, no need to brag but We have excellent taste! And you are invited to swim in it, because we love you!

here is the playlist for this first testing out episode, along with some links regarding their presence on our humble blog! please do check out the artists and their music as that’s what matters most!

Pancake Promises – Start-Up

YIKIS music Review:

Furchick – Eating fish and chips with Kate at the beach

YIKIS music Review:

YIKIS Furchick interview:

Rita Braga – lalala

YIKIS music Review:

some sneaked in (toxic chicken – friendly friends)

Atsuko Kamura – Cave 洞窟

YIKIS music Review:

Jodie Lowther – the cat collects

YIKIS music Review:

boycalledcrow – Birds

YIKIS music Review:

Djanan Turan & The Egg – Feels Right

YIKIS music Review:

YIKIS Interview with Djanan Turan:

Sarah Schonert – Penguin Party

YIKIS music Review:

tujuh kuda – Avenue Road

YIKIS music Review:

Naked Sweatshop – Energy Break

YIKIS music Review:

de YanKees – Yodelodelo

YIKIS Live gig review:

Bloom de Wilde – Soul Siren

YIKIS music Review:

YIKIS Interview with Bloom de Wilde:

origami repetika – mighty lilbumble bee

YIKIS music Review:

Pettaluck – Beer and Coffee

YIKIS music Review:

YIKIS Interview with Pettaluck:


YIKIS music Review:

YIKIS Interview with the Bordellos:

Total E.T. – S-P-C – Pt.1

YIKIS interview with the alien sound producer:

Charmaine Lee – CHUK

YIKIS music Review:

Jude Cowan Montague – Cat on a Power Line

Kevin Busby – Petunia-Liebling MacPumpkin – Bright Light City (Cars and Monorails mix)

YIKIS music Review:

SIKSA – Odpowiedzialno�›ć II (G.Y.L.)

YIKIS music Review:

YIKIS interview with Siksa:

More info and other interesting bits: oh… that’s here! Amazing!


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Knut – Nyctaphonia

Artist: Knut
Title: Nyctaphonia
Keywords: world ambient electronic experimental indienetlabel noise Coimbra
Label: Enough Records

Hello again! Here are some words that probably form sentences in the hope to describe this new release by Knut on a label that releases stuff you can’t get enough from. Shall we walk you through? Don’t worry it’s not really walking, but just reading. Perhaps a little bit of scrolling. You can do it!

This starts with ‘seasides’ which is not to be confused with different sides of seeing, but clearly hoping to recall the memories of being or visiting some seasides. I don’t know if you have been around seasides lately, but the ones that I’ve visited in England haven’t been as nice as this music. Somehow they love to place arcade machines all over the place, along with ice cream parlours and fun fairs. Maybe I’ve visited the wrong seasides, but the ones sketched in this bit of music aren’t of the hectic kind, but more like a nostalgic flow to a time in which arcade machines might possible not have been invented, ice-cream parlours did not exist yet and fun fairs had been a mainland thing. These seasides over here are just a nice place to chill out, the only weird thing is that there seems to be no sign of seagulls or the sound of a sea… maybe I didn’t listen well enough!

Oh well, I guess missing out on seagulls and the overly used of the waves of a sea can be missed with relaxing sounds like this. Besides there is more for the ears to wonder about. Like this track called ‘Nothing Lost’ which is all so steamy and misty, as if we are walking around inside a warm cloud of intensive drone that would be either great on stage to camouflage the trick behind a magic trick or perhaps would be not out of place when meeting it while you drive your car through these automatic car wash thingies.

‘Either Way’ so far as that I’m concerned, this album seems to be one that is easily digestible and very listenable, especially when you set your mind to deal with the experimental stuff. A track that is called either way simply hangs out in nothingness while also giving us the sound that reminds me of some kind of modern type of electric razor. A tool that not only can deal with your sideburns but also makes you slip a little bit more comfortable in the hairdressers seat.

Than its up to a track named ‘Gloria’ to top and rule this collection of music. It’s a bit cooler, a bit more intensive too, as if the higher pitches level of the electric razor had been blasting in the air free from the burden of dealing with people’s hair. Before pictures of fantasy will appear the track had already left the premises of fantasy land, a theme that seems to be consistent with all the tracks in here. They aren’t terribly shot but go down so comfortable and quick that you (or I in this case) wished that they where all a bit longer. But oh well, there is always the replay option to sort us out.

Still, maybe in subconsciousness the artist must have felt something similar too as the next track titled ‘sleep’ is indeed longer. 6:65 to be precise, clearly avoiding the legendary triple six mark. The length might still be too short to listen to it in style while using it as the kind of ambiance to sleep on. It’s a hissy drone, warm and venomous like a rattling snake and a humming refrigerator combined. A little power nap while listening would be an ideal option to go for, probably leaving any listeners completely revitalised at the end.

There is ‘Despite’ at the end, which goes more for the grounding sound of flashy flushedness, spraying water thingies, perhaps the act of cleaning vinyl with a sponge while at the same time providing this sound of warm melodicness at the bottom of it all. This to me was the nicest of them all, just because it became so unexpectedly trippy and clearly did have the right time length to speak to the imagination. At a certain time I swear to see birds, wild life and a pretty place full of heart while listening to this track. I was sad when it stopped but happy to be able to give you a link and pass it on:

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Enjoyable Music Vs. Cornhole Crucifixion – Enjoyable Cornhole

Artists: Enjoyable Music Vs. Cornhole Crucifixion
Title: Enjoyable Cornhole
Keywords: experimental grindcore harsh noise noise noisecore noisegrind cybergrind digital grindcore Berlin
Label: Low Life High Volume

Oh, how enjoyable! A combo of insane hyperactive music and noise! Toss us a binbag of madness, add the nervous breakdown of a jazz spirit on acid along with the mad drums of a metal maniac and the tooting toots of a annoying football supporter! Enjoyable enjoyment will spice up your employment (or in case of the opposite:) your unemployment! Make it crazy, do it as if you are unleashing a bunch of excited baby cats in a room full of plastic children keyboards and watch the sheer enjoyment roll out with your very own eyes! It’s a great concept & a greater idea to record it all & publish it on your nearest bandcamp account! Simply because this amount of joy needs to be spread out, not on a slice of bread but deep in your ears to dance around with the wax!

But don’t worry if you are afraid of overdosing on too much enjoyable music, as there is also the bits and bites of Cornhole Crucifixion, which sounds like a wealth of diarrhoea recorded from up close in a wealthy dose of action. Here and there it has nice breaks, unexpected stops, plays and pause moments to elevate the case into something better than just a flow of shit; turning it into a glitchy flow of mechanic sounding disruptive liquid noise poop.

It’s an odd combo this duo of slapstick hyper music enjoyment and the noisier shit show, it’s hard to figure out what is turning the combo of these two into a digestible listenable sensation? Is the enjoyable music really ‘enjoyable’? Is the Cornhole Crucifixion really that shitty? Somehow the two of them are balancing each other out, making it a tolerable album to anyone that is capable of enjoying a bowel movement and a hot smelly mess. Both of them have an certain rushy feel and vibe to them, as if it’s made while having a nervous breakdown or somehow is created to give its fancy listeners a reason to get triggered into having one.

Even though enjoyable music is definitely music orientated you might prefer the noisier sound of Cornhole Crucifixion as somehow that one is strangely coming across as less info to digest with our heads than the mega all-over-the-place cockiness of the music that is out and about for our lunatic’s kind of enjoyment. But than at other times, when the flushes of poop are too much the enjoyable music bits happily jump in to feed us a fancy meal of creative craziness to balance it all out. In any case this odd duo feels like a friendship between a clown and a acrobat and it’s not sure who is who! Don’t know if a solo endeavour of each of them would be doable without decaying on the spot, but as a combo they can go down in history as the noisier manic underground version of legends like Laurel and Hardy, Tom & Jerry or Ren & Stimpy.

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Dexter Dine – Self Assembly

Artist: Dexter Dine
Title: Self Assembly
Keywords: electronic experimental ambient electroacoustic indie max msp New York

It’s Dexter Dine time! I don’t know what that means but I for sure like typing it! But to find out what it is, it’s fair game to plunge our ears into the music of indeed nobody less than Dexter Dine. You won’t regret doing so, and if you are one of these people who does regret.. than geez, better start to unclog your ears as this album is beautiful. It is also very hard to define, which is also good but makes it always hard for your sincere nitwit reviewer to put something into writing. But I can assure you (plus also the elephant that had been standing in the reviewers room) that it’s absolutely gorgeous material.

Why it is so special? Why is it worth checking out above all other things that will pop up on your day today? I guess the answer not only need to underline how beautiful the music is, but also how it is feeding us with mellow laid back original melodies in the great combination of what my ears think are field-recordings. Funny thing is why it is generally called field recordings as if you hear the first bit of the music it’s more as if we are standing in a lake. I guess lake-recordings just doesn’t sound so good on paper.

It doesn’t matter that much as it’s mainly the mellow music itself that makes this album stand out, it’s experimental but also comforting the traditionalists of actually letting melodies slip through. They do give a general feel of listening to drone-like environments, but than created by mellow melodic happenings. I told you that it was hard to explain, to describe or to spell it all out for you. But listening to it will for sure be the trick to answer all your possible questionable questions about how this album is sounding like & also explain why it is so difficult for a clown like me to pinpoint it down into an easy bit of a description that’s easy to understand and swallow.

It’s just one of those wonderful created albums that are playful and not afraid to challenge experimenting with and within music. Don’t think of a mad professor at work or a doctor Frankenstein assembling a monster; but more of a kind hearted musician that has also a love for sounds & a knowhow how to use sampled recordings into musical instruments as well. Odd recordings of voices get twisted, wrapped turned upside down or inside out to form a palette of audio paints to be nicely merge with the more tonal sounds and melodic behaviours in this adventurous, yet very chilled out listening sensation. Even if things sometimes might poke into a shadowy realm, the warm light of a balanced sanity always seems to stir these experiments towards the comfort zone. There we hang nicely to dry out our wet opinions, relax, chill and be solidly impressed by what Dexter Dine time has meant to all of us. An original combo of sound manipulation & infiltration with pure music design, something for an entertaining session of easy listening. There I said it; a description that’s short and sensible, just like all those micro one sentence reviews written by the biggies in the field! (Of lake!) Hooray!

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Søren Høi – Musha Shugyo

Artist: Søren Høi
Title: Musha Shugyo
Keywords: experimental metal electroacoustic improvisation noise noise rock Copenhagen

We know that for most people the Monday is the hardest day of the week, but we have a cure that will definitely get you through it. It is of course this album of loudness, of noise and breaks, of deafening sounds and rambling bombastic fantasticalness that will give way to your inner fantasies of shredding your annoying colleagues on the work floor within the realm of the audio. No one gets hurt, but oh it will be so satisfying! No more voices of them will penetrate your skull as long as you have tucked your head into here into this fanatical sounding experimental cases of what I’d call ‘happy noise’.

There is no darkness here, no bad ego or nightmare material (not for you at least!) as it would be the ideal soundtrack to imagine the annoyances of the Monday delightfully being wiped out through these wild tracks that happily poke your spot of imagination. If you work in a boring factory doing repetitive things – you will easily imagine the entire machinery going up in smoke. If you are stuck with a bunch of annoying colleagues at some desk it will be easy to see them dangling upside down from a six floor window; these experimental noisy works have this potency to serve you all these kind of special satisfying fantasy moments that might play out all in your head, but just needed that soundtrack to really push your imagination into the right direction.

It’s easy to imagine your worst enemies being tucked into a shredder while listening to Tetsuo, or those annoyances being lobotomised through electrodes, chopped in half with the help of a electric chainsaw, being flattened by a freak accident that seems to be very satisfying to witness in the realm of your own head. It’s easy to imagine an entire team of mad boxers accidentally mistaken the bossy bosses of today as boxing balls when this noise is playing and doing its thing. It might be dangerous to hear with the thought police of the future around, but as long as technology isn’t invading yet; it is safe to say that all these images that thanks to these tracks are thrown into our heads are psychopathic and sick, but they are all oh so satisfying & in the end it’s just in our heads so all the poor colleagues, bosses and perhaps even employees that are on your nerves today will be helped too; you won’t go berserk throwing your frustration at them, plus you might actually become in a generous good mood towards them. I mean why would you not laugh or smile when an annoying colleague wants to borrow a pen of yours while you just visually saw this person being tossed upside down in the nearest toilet bowl?

It’s harmless good fun when it’s all done with this mind triggering music, in combo with the crazy world that happens within your own head. These noises are fun and funny, even nice at times. Sometimes it’s simply killing them with kindness. Bonus points go to the wonderful artwork, which also functions as the perfect camouflage for when a colleague walks by while wandering why you have this odd looking smirk on your face. Nobody would expect that behind this ‘fish’ you are catered 1000 ways of wiping out the annoyances of the day. Wether it is loudness, fun or rather a chilled out case of drowning noise that liquidises its enemies slow and softly; it’s guaranteed a mystery for anyone that can’t hear what you will hear with this wonderful artwork as its cover.

Wether you are in need for loud breaks, noisy industrial, distorted ramblings, happy making cuckoo material, chilled out tournaments, hammers being hammered, beatings being beaten or any other elaborate extravagant joyful noises; this album does the trick! The Monday will be brightly lid thanks to this, so when times get tough and you almost can’t handle reality anymore; put this on your head and feel instant gratification! You will get through it!

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Music reviews by Bonsai Faku , the Haiku Reviewer (volume 1)

Artist: Rölling Stëins
reviewer: Bonsai Faku , the Haiku Reviewer

Goat herds on acid
Yodel echoes aliens
Anybody there?

Artist: Marxoxo
Title: Wonderwall (oasis cover)
reviewer: Bonsai Faku , the Haiku Reviewer

But why i wonder
Homo mirror monobrow

artist: Alvin Dahn
title: Don’t Throw Your Dreams Away
reviewer: Bonsai Faku , the Haiku Reviewer

Man size choir boy
Drifting in and out of
Leaves me bewildered

Artist: The Dead Heads
Title: God Grant
reviewer: Bonsai Faku , the Haiku Reviewer

Kick slap whack bam crunch
Here they come with hats and dicks
And i quite like it

Artist: Totally Fucking Gay
Title: sex in the butt can be quite painfull
reviewer: Bonsai Faku , the Haiku Reviewer

If my arse had ears
It would insert some buttplugs:

Artist: James Quall
Title: The World Got Taken Over By Billionaire Scum
reviewer: Bonsai Faku , the Haiku Reviewer

You know he is right
As the ferriswheel goes round
We’re all crusty clowns

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An interview with Pettaluck

Today we have something special for you: an interview with Pettaluck! Yes indeed it is our lucky day as such a thing doesn’t happen every day. If for whatever reason you don’t know or perhaps had never heard of Pettaluck, do not worry as this interview might hopefully help out a lot!

Hi Pettaluck, so nice to meet you! Thank you for popping over at our humble blog. Hope you can make yourself a bit at home over here… what is your preferred drink of choice?

Pettaluck: Elderflower cordial please.

Interviewer KN (on the left) and guest Pettaluck (on the right) with cups of tea

My very first natural question that jumps straight to my mind is what does your name Pettaluck stands for? I’m also curious about its origins?

Pettaluck: It means being alone, together. My mother in law was in hospital and they wrote Pettaluck above her head, but it isn’t her name. They still operated on her and fixed her up. Sometimes people can fix you without having a clue who you are. It’s not always easy to connect to others but maybe you don’t always need to, not in the ways we imagine. People can have a profound effect on us without ever knowing it. I have very deep feelings of loneliness a lot of the time, but it’s something inside me which is hard for others to fix. Sometimes it’s OK to just feel lonely alongside someone else.

Are you from the Southend on sea area? Is your music typical for this area?

Pettaluck: I don’t think it’s typical for anywhere but we do have a very active and creative scene here. I was born locally and haven’t strayed far. I guess there is a ‘Southend sound’ because there are a handful of people who seem to pop up in every band, it’s like there is the ultimate condensed version of that band waiting to happen one day. But I say that based on people my age. There are many younger artists doing new things and I don’t get to hear them often enough. There is also a long and rich history of both punk and jazz here. We are close enough to London to get inspired by things happening there but far away enough to make our own rules. We have always had good venues too which helps. A large number for the size of the town and there are shows almost every night, often 2 or 3 even midweek.

A punk looking out over the beach of Southend on Sea

Do you remember the moment in which you decided to make music? Was there a specific instrument that tickled your fancy?

Pettaluck: It’s always just been part of who I was. Songs come into my head and harrass me until I can get them out again. I used to sing out of the car window on long journeys when I was a kid so no-one could hear me. Our school was very serious about music so recorder was compulsory and then I moved onto flute because it seemed glamorous and shiny. My mum discouraged me from very girly pretty things and the flute was the first time I really struck out from that and wanted something feminine.

Does music run in your family?

Pettaluck: Not especially, no. Only downwards. My son is obsessed. His imaginary friend is the You tuber Andrew Huang who makes songs using household objects. He also practises the drums for an hour a day and can name all sorts of obscure instruments. He’s made me some loops for my next EP. He is 3.

Does music ruin your family? I mean I have traumas of being tortured by an overdose of the carpenters by my dad… how is it in your family? Are they supportive?

Pettaluck: My parents don’t know I’ve released an album, my girlfriend hasn’t heard it, but my kid knows all the drum parts and sings it walking down the street so that’s enough for me. I grew up mostly listening to the Beatles, Vangelis, Elton John, Meatloaf and Kate Bush. I have a horrible feeling it shows. My parents took me to a lot of concerts and bought my instruments so I’m not complaining.

Pettaluck as a child listening to music

Do you have any artists that you gain inspiration from? If so? Who are they?

Pettaluck: Not specifically, I’m a magpie, I try to suss out the appeal of every artist and make sense of it. I am constantly collecting and learning. I like anything which is new to me. There were a few bits on the album that were directly inspired from others but funnily enough they all got edited out along the way.

Pettaluck is a magpie

Do you write all your music out? Score wise or is it memory based?

Pettaluck: It was all improvised on the recording apart from some of the lyrics so neither, until I needed to play a gig and recruited some friends to make the best sense of it they could. Brian actually turned it into score because he is the studious type but I would never have the patience for that. I sometimes write down a list of letter names and hope that will be enough.

Pettaluck doing a wonderful gig at Culture as a Dare

You have just released an album named “Pass” through wrieuw recordings on tape and as a digital download. What does the album title stands for?

Pettaluck: It marked the end of a long period of time when I was trying to meet other people’s standards and expectations. Both in creating music and also taking lots of exams, and in my private life. Also my partner was trying to navigate the minefield that is being trans in the UK right now. It’s not easy. So it’s ‘Pass’ like passing a test, or ‘passing’ as who ‘they’ want you to be, but also like saying ‘I pass’ and refusing to be part of things, and ‘pass’ like a document which allows you to go to new places.

Click the cover art to check out Pass

What did you wanted to convey with your album? Is there a secret message within it?

Pettaluck: Ha no secret message, it’s just about identity really and coming to terms with being very fortunate but still finding some things painful. It’s a thing I wrestle with, like how can I complain about anything at all when people are starving or being murdered, but of course you do need to talk about difficult things sometimes regardless or you explode. I think my lyrics are pretty direct and not at all mysterious! There are a few references which I don’t think people will notice, they are there just for me really. The first track is called ‘Second Hand Shoes’ and that’s a nod to ‘Second Hand Blues’, the opener on the classic Fleetwood Mac album Rumours. That was a little joke to myself when I was making the album and wanted it to be the greatest thing ever, a little tease to keep me humble. Also the cover is very significant to me, I painted it on a very sad and hopeless day but I only let myself use happy colours, so it reframed the anger and frustration into something positive. And the gold stars on the artwork are a reference to the gross lesbian slang of a ‘gold star’ being a woman who has never slept with a man, Also of course to get a gold star from anyone means you have conformed to their standards in some way so it’s all wrapped up in there.

Pettaluck showing us Fleetwood Mac’s ‘rumours’ album

Your music is honestly to me something that sounds very musical and also very much all over the place: From experimental to pop, cabaret to field recordings. You seemingly combined all kind of elements and managed to bring it together as one. It comes across to me like like an sonic adventure more than a collection of sing & songwriter kind of songs. How did the tunes on your album got born and evolve in the work that it is today?

Pettaluck: Some of these songs date back to being on tour with Lost Harbours in 2012, Little bits from before then even, so they have had a long time to twist and change in my head. They have bent to accommodate which instruments I have, what I can actually achieve in my home studio, and then finally when I took them to John Hannon to mix and master. He made a few important changes while staying very loyal to the original feel. The opener changed a great deal, it was a big 6/8 rock thing, but on my budget it just didn’t work. Blind was a straight forward grunge number to start with but it just felt corny. Fox had sitar and violin but I just couldn’t make that gel. I think all of the changes resulted in something better. Of course recording the parts as improv in one or two takes also meant I had interesting sounds to work with which I hadn’t expected. And a lot came down to how rubbish I am at playing power chords on the guitar. I’m happiest with Beer and Coffee and that didn’t evolve at all, neither did Get Undressed. Stiff Upper Lip was a full on REM style pastiche with mandolin but then I got carried away with the woodwinds! It’s the only track I’m not 100% happy with. It’s an older version of me I don’t need anymore.

I think your music can easily be imagined as a theatre show, do you have any plans to perform your music in a play form? Or perhaps do something like that in the future?

Pettaluck: God no, in my previous band Ten Tigers I was quite visual with costumes and puppets but I don’t see the world through my eyes at all, everything is sounds to me, all my memories and the things I imagine and plan. Also the stories are all from different times and places, I don’t think they would make a good narrative. I did start writing a Eurovision musical once but I think that would still only exist as an imagined soundtrack to a play which never happens.

What about the instruments on the album? Did you play them all?

Pettaluck: Yes, although my friend Justin read out the lyrics for the secret track at the end for me, and I stole the Budapest metro field recording off a bandmate’s dictaphone because I’d failed to record it myself when we were there.

Pettaluck playing a balloon

Are you by any chance classically schooled?

Pettaluck: I suppose, although that sounds grander than it was. I had woodwind lessons with a private teacher as a kid. I’m now a music teacher myself. I took some exams and played some classical music in kid’s orchestras. Also did some jazz workshops. I was fortunate that my parents could fund those things and see the value in it but I think the whole ‘classically trained’ thing puts people in boxes based solely on how much money someone was willing to throw at them. Humans are hard wired to learn from everything and everyone around us and we need to celebrate that. I class myself as classically trained but with an outsider aesthetic and enjoy playing with the tensions that creates. Too many rules and absolutes makes you lazy.

See what too many rules did to this poor lion

If you wanted to give your listeners something (a feeling perhaps) while listening to your album; what would it be?

Pettaluck: Well, it makes me very happy, and I want to share that. I don’t write the happiest songs, but I think the music does things that make you smile. I want to pleasantly surprise people.

A smiling listener of Pass by Pettaluck

Are your songs personal diary bits or are they stories that had sprung from the colorful imagination?

Pettaluck: Oh it’s all hideous oversharing. It never occurred to me to make things up.

Where and how did you record the album?

Pettaluck: In my shed on a digital 24 track desk with trad sliders. Little tweaks were on the laptop, like creating the skateboard loop on Muscle Shell and adding some of the effects on the secret track. The sounds on Fox are just a DD6 pedal. It was mixed and mastered on computer by John Hannon at No Recordings, I tried to mix it using the analog desk but could only get so far. My girlfriend can get great mixes on it but you need to be a real sound engineer to utilise it properly and I was too close to the project to mix it anyway.

As pass has been released on tape, could you explain why tape is the audio storage format that suits your album the most?

Pettaluck: It was all I could afford! I mean it also has the intimate aspect of most people listening to it on a walkman but….. it was mostly a costs decision. I do love the packaging though. I’m a massive fan of lo-fi DIY music but honestly it’s harder work to sound or look lo fi than hi fi these days because even the most basic tech is so good.

The wonderful Pettaluck ‘pass’ tapes!

How would you describe yourself musically?

Pettaluck: Maximal. Shameless. Niave. Restless. Sadly none of those are filters on Spotify.

If you have to describe Pass in colors and smells, what would it be?

Pettaluck: orange both smell and colour.

Do you have anything that you want the world to know? A little shoutout maybe?

Pettaluck: I’m also in two bands, Lost Harbours who play doomy experimental folk and are mostly based in Latvia, and Rock Garden of Chandigarh who are currently recording our first album, a reimagined soundtrack to the French/Czech film La Planete Sauvage, so please everyone do investigate those. I am the least interesting member of Rock Garden. I also want to mention that Diana Collier who played at the Southend gig you saw has her own solo record out soon and Fran who played flute for me that night has an album of folk songs sung with her mum Belinda Kempster available now, both works are stunning.

What are the plans for Pettaluck in the near future?

Pettaluck: I have a session coming up on Resonance FM October 26th and a couple of gigs, the plan is for two Eps before the next album and hopefully a free Christmas download. I have a name and some imagery ready for the new album and I want it to feature a lot more string instruments as they got overlooked on this one. I think the next EP will be released as a zine.

Thank you very much for doing this interview. It is greatly appreciated and I hope it was as much fun for you as it was for me and the readers at home.

Pettaluck waving to the reviewer KN who is flying out to fight climate change

please check out Pettaluck’s Pass over here:

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