WELCOME

Welcome to Erazer Magazine! Born from a love of music and the arts, our aim here at Erazer is to bring you the best in new music, live reviews, album/single reviews, interviews, promotions from all over the UK!

Find out more here.

EDITORS
Editor / Photographer
JOIN US

Do you share our mutual love for all things music and the arts? Consider yourself a budding journalist, photographer or both? Do you have ideas that you’d like to turn into features? If so, drop an email to the following address and let’s discuss further.

editor@erazermag.com

La Luz

Review: La Luz – News of the Universe

In an overwhelming moment in history, there is a lot to be said for bands that can perfectly encapsulate not so much direct social commentary, but sonically, embellish both the bedlam and the bliss in one go. Step forward La Luz and their 5th album, News of the Universe; their first offering on Sub Pop records.

I personally am all for a band that has the power to simultaneously play how stressful life can feel and also perfectly distract from the reality of a Monday morning rainy train window.  None more so than lead single Strange World – a psychedelic almost menacing swagger rattler that is punctured by a melodic chorus with a mantra like chanting of “we’ll be fine, just take your time”.  The message is universal, but for guitarist and songwriter, Shana Cleveland, the song and whole album is a reflection of a deep personal crisis, recounting having her world blown to pieces by a breast cancer diagnosis two years after the birth of her son. 

I am enjoying just riding on that swirling surf-pop of sound, if the waves were a sludge of bad news and nuclear sewage. The title feels generic, but this record is anything but; the all female outfit lifting their album title from a collection of metaphysical poetry. News of the Universe marks the first appearance for drummer Audrey Johnson and the final ones from longtime La Luz members bassist Lena Simon and keyboardist Alice Sandahl, cementing the feeling that News of the Universe balances an ancient past with a celestial future.

There is rooted and earthy hope amongst darkness on this record.  Something weird looms over songs such as Poppies, like a science fiction page turner you read on an AI generated beach holiday you went on by mistake – you can’t help but plow on with nervous abandon. Whilst Dandelions has me on edge as if Cleveland is running away from her past into a misty apocalyptic abyss with swirling angelic vocals, again broken by a hazy cosmic rocket ship of sound heading for a star with no name.

I’ll Go With You slams in with an absolutely filthy riff, like it’s not showered since the water supply ran out, but catches you out once more with slow and dreamlike chamber pop vocals that harks a distant Beach House or a smattering of Connor Mockasin.  My highlight Blue Moth Cloud Shadow drips with both wavy organ hallucinations and guitar licks that could light a late night campsite fire on the moon.

La Luz flexes power in songs, but also power in production; from the performing, writing, and producing all the way through to the recording, engineering, and mastering, the record is made entirely by women. “There is something inherently and simultaneously sweet and brutal about womanhood,” says Cleveland. “That is something I hear on this record.”

Patient and rhythmic offerings on Good Luck With Your Secret or the instrumental Moon in Reverse feel welcomed amongst the chaos (the former with an endless Ray Manzarek like organ solo)  but if we didn’t have brutal chaos in your world, how could you appreciate love and nature and simple pleasures like your favourite seat next to that Monday morning rainy train window? Then news is in: You need blissful, brutal, cathartic chaos. You need this record. You need La Luz.

La Luz
4.0 rating
4/5
Total Score
Related Posts
Richard Hawley
Read More

Review: Richard Hawley – In This City They Call You Love

Fans of the sometime Pulp guitarist who have followed his solo career in the twenty ten years or so will find a Richard Hawley they are very familiar with on his new album, his ninth, In This City They Call You Love. He lays down dollops of reverb on both his voice and his guitar, sounding at times like a lower-pitched Roy Orbison or a less twangy Duane Eddy. Hawley loves his 50s and 60s ballads and he reworks a well-worn song structure, without really adding anything modern.
Seasick Steve
Read More

Review: Seasick Steve – ‘A Trip, A Stumble, A Fall Down On Your Knees’

Man, I really love Seasick Steve! I remember almost twenty years ago now when he seemed to fall, fully formed and full of gnarly, moonshine swigging cool, onto our screens on Later…It looked like he was playing a guitar that he’d accidentally reversed his truck over and was pounding his foot on a stomp box which might as well of had alligator teeth marks carved into the side. He plays it all loose and growling with heart, authenticity and rough-round-the-edges rawness that is infectious. He’s great when playing alone with his stomp box but when accompanied by the wild man that is Dan Magnusson on the drums, they are on another level.
Liam Gallagher
Read More

Liam Gallagher – The O2

Biblical, Godlike, Celestial, RnR Star, Majestical, Rasta, Lover, Lasagne, Sunshiiiiiine, C’mon – just some of the words used to describe himself and words that adorned the billboards leading up to The O2 from the tube (shoutout to Brian at Microdot for the original scribe!). I think tonight it could be said that Liam was a mixture of all these!
Lip Critic
Read More

Review: Lip Critic – Hex Dealer

I’ve longingly read about (but sadly not yet experienced) Lip Critic and their wildly frenetic live shows. The two, yes, count them…two drummers – Danny Eberle and Ilan Natter – play facing each other with vocalist Bret Kaser and Connor Kleitz on samplers in the middle. Their intense electro-punk/metal sound with a bit of dance thrown in has deservedly got them a fast army of fans and they are already the band to see before the venues get any bigger.