Lay Llamas


Heading into Nicola Giunta’s second outing for Rocket there’s a sense that the Italian artist has reached further and deeper than he has previously under the Lay Llamas moniker. Where his previous outing saw fit to ruminate in the Krautrock kiddie pool, Thuban embraces an immersive psychedelic experience, roping in African polyrhythms, snaking Thai funk, German Progressive sweat and late ‘90s UK psych-pop. The tapestry he weaves out of those pieces makes it clear that Giunta’s record shelf runs deep, and while emulating (and to some extent, yes, appropriating) these sounds can often place an artist on a precarious perch, Giunta layers his influences like samples, finding the common threads in his preferred sounds and tightening the seams until they fit snug.

Given his curatorial bent and label affiliation it should come as little surprise that there is a crossover kinship between Giunta and Goat. The bands met while playing shows together and hit it off well enough for Giunta to snag a vocal contribution from band members on “Altair,” a tack that can’t help but sound like Goat as a result. Though the album is largely Giunta’s own, having parted ways with Lay Llamas previous steady vocalist Gioele Valenti, there’s a collaborative air to the record that accentuates its patchwork quality. Aside from the aforementioned Goat drop in, Mark Stewart of The Pop Group and members of Clinic also find their way to the grooves of Thuban and Giunta makes the most of the input of his influences.

Unlike his Swedish counterparts who might take it a step too far in the cosplay department, trying on their inspirations in full regalia, Lay Llamas have created an album that’s obsessed with the cornucopia of sounds blooming from the subcontinent but crafting that interest into a collage rather than an homage. The record winds up dark and danceable, brooding, apocalyptic and shambolic. With Thuban the band has succeeded in marrying the deep crates of Andy Votel’s Finder’s Keepers label with the sound-sculpture progressive pop of The Beta Band. More than just a sum of its parts though, the record works these into a flow that’s cinematic in its approach, never sticking too hard on one particular facet of the sounds he’s clipping and arcing from pop sunrise to a danger-imbued sunset by the album’s close. Thuban elevates Lay Llamas beyond the ones to watch pile and into endless repeat bin for all time.

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