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LP
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GONE 194LP
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"Less than twelve months on from the triumphant rock 'n' roll record that was Stained Glass, Australia's most tasteful sonic culinary artiste Jake Robertson serves up The Derivative Sounds Of, another platter in his never-ending, ever-extending Alien Nosejob banquet. Since initially firing out similar flavors on his first offering, Alien Nosejob has conquered the challenges of disco, hardcore, new wave, rock and roll (all drowned in his characteristically sweet sense of humor) before finally returning back to his musical roots: the jangly, adolescent feel of 1960s garage. After one of Robertson's first bands, The Frowning Clouds, reunited for a few shows in September 2022, he found himself digging up old songs and riffs from the period, some spanning back to as early as 2006 and up until around 2012. This record features many of those song ideas -- some reworked, some rewritten, some exactly the same. All together now as one hot package. Leaning into his musical tastes from the Clouds' period of existence, Robertson digs up inspiration in some teenage staples: The Troggs, Mike Furber, the under-appreciated bands that make up the Shutdown '66/Back From The Grave compilations, without overdoing the sugar, salt, MSG, whatever one wants to call it. This record was recorded by Robertson all by his lonesome over a weekend in his garage. There's no paisley shirts, no skinny-ties, no winkle-pickers, no slim-fit suits and no haircuts -- just Robertson and his 1964 MacBook Pro. Garage rock revival is a sound that's often overdone, drenched in nostalgia and small-minded attitudes, but this album is not just a throwback to the sounds of yesterday. It doesn't belong with the golden oldies or the usual garage resuscitations. Goner Records is proud to present, The Derivative Sounds Of, the sixth piece of Alien Nosejob's eternal buffet and the 'all you can eat' of record titles."
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LP
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DRUNKEN 117C-LP
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New version/2023 repress on green vinyl. "You'd think Jake Robertson would already have his hands full playing in the likes of Ausmuteants, Leather Towel, School Damage, Drug Sweat, et al. But no, evidently there's always time for one more thoroughly wracked project, and Alien Nosejob's focus is as kaleidoscopically scattershot as you'd expect from a man with such a short attention span. Just to confirm: yes, that's a good thing. From the off, we glide through the Coneheads-style Devocore of 'Television Sets' before romping through the jangling lo-fi pop of 'Weight Of The World', which skips and mopes while making like The Clean setting light to their parents' carpet with a magnifying glass. There's also charmingly scruffy soul-pop, chugging sci-fi slop-punk, straight-up college rock balladry and much, much more. But these aren't sketches or tossed-off genre exercises. They're bona fide works of consummate skill that resonate sincerely and effortlessly. Essentially, each song sounds like a challenge to the one that follows, a cry of 'step the fuck up'; Suddenly Everything Is Twice As Loud is a treasure trove of mini-masterpieces. Rough as fuck mini-masterpieces, sure, recorded with a cheap drum machine and guitars that sound like rusty drills cutting through power cables, but mini-masterpieces nonetheless. When venerable doyens of the pop establishment make albums of such eclectic scope and genuine songwriting talent, they get called geniuses. When punk-as-fuck wiseguys like Robertson pull it off, words like 'maverick' get tossed around. Rest assured, his Alien Nosejob project covers both angles. This second album is an instant classic that deserves to be heard far beyond the underground -- but if it isn't, who cares? He's probably playing in another seven bands already by the time you read this. I've not heard them yet either, but I can tell you they're all fucking amazing. Just buy this record and join the cult." --Will Fitzpatrick
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LP
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DRUNKEN 117LP
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"You'd think Jake Robertson would already have his hands full playing in the likes of Ausmuteants, Leather Towel, School Damage, Drug Sweat, et al. But no, evidently there's always time for one more thoroughly wracked project, and Alien Nosejob's focus is as kaleidoscopically scattershot as you'd expect from a man with such a short attention span. Just to confirm: yes, that's a good thing. From the off, we glide through the Coneheads-style Devocore of 'Television Sets' before romping through the jangling lo-fi pop of 'Weight Of The World', which skips and mopes while making like The Clean setting light to their parents' carpet with a magnifying glass. There's also charmingly scruffy soul-pop, chugging sci-fi slop-punk, straight-up college rock balladry and much, much more. But these aren't sketches or tossed-off genre exercises. They're bona fide works of consummate skill that resonate sincerely and effortlessly. Essentially, each song sounds like a challenge to the one that follows, a cry of 'step the fuck up'; Suddenly Everything Is Twice As Loud is a treasure trove of mini-masterpieces. Rough as fuck mini-masterpieces, sure, recorded with a cheap drum machine and guitars that sound like rusty drills cutting through power cables, but mini-masterpieces nonetheless. When venerable doyens of the pop establishment make albums of such eclectic scope and genuine songwriting talent, they get called geniuses. When punk-as-fuck wiseguys like Robertson pull it off, words like 'maverick' get tossed around. Rest assured, his Alien Nosejob project covers both angles. This second album is an instant classic that deserves to be heard far beyond the underground -- but if it isn't, who cares? He's probably playing in another seven bands already by the time you read this. I've not heard them yet either, but I can tell you they're all fucking amazing. Just buy this record and join the cult." --Will Fitzpatrick
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