Having a hectic day and your inbox inundated with yet more album announcements at 3pm? Well take a step back and spend 4 mins with the calming tones of Luluc’s hymn like Heist.
Then read their album announcement.
Luluc to release Sculptor on July 13th on Sub Pop
Shares first single “Heist”
On July 13th, the Australian, Brooklyn based duo Luluc will release Sculptor, their gorgeous third album on Sub Pop. It includes guest appearances from J. Mascis, Aaron Dessner of The National, Jim White of the Dirty Three, Dave Nelson and Matt Ecles.
Sculptor is a confident challenge to small-town insularity, lilting yet vigilant. It’s a reflection on a common pitfall of adolescence; limitless possibility battling constant obstruction. “My own experiences as a teen were often fraught” says songwriter and vocalist Zoe Randell. “The small town I grew up in provided a great study in gossip, scandal, character assignation and the willingness of people to go along with it.” It’s a song about fighting for agency on an album that is in many ways about volition and potential; how people can navigate difficulties and opportunities to create different paths.
Sonically, the band have broadened their tonal palette following on from the successful collaboration on 2014’s Passerby, co-produced with The National’s Aaron Dessner. Multi-instrumentalist, singer and producer Steve Hassett mastered a wider spectrum of instruments to fully realize the album’s expansive and daring vision. Randell and Hassett do nearly all of the writing, recording, and producing themselves, but their vision is far from insular. Sculptor features contributions from several friends including J. Mascis, Dessner (shreds on “Kids” and programmed drums on “Heist”) and Jim White of Dirty Three (drums on “Genius”) as well as musicians Matt Eccles on drums and Dave Nelson on horns. Recording took place in Luluc’s new Brooklyn studio, which they built themselves. The new studio is volition and potential in action and even incorporates reclaimed cedar from Dessner’s iconic former Ditmas Park studio, where The National and Luluc had both lived and recorded.
That everyone has control of their own story is at the core of Sculptor. For Hassett, it’s illuminated by the last line of the title track, which is the last line of the record itself: ”‘The most beautiful, serene sculpture my hands could make, could trace, could break’. All of the songs are playing with those ideas,” he says. “Life is something you get, and you can get sidetracked for years and even destroy it, or you can remember that you’ve got some control over your life.” But listeners of Sculptor may yield some of that control, even if for a short time, to the mastery of the music itself.