Updated: Dec 31, 2020
Review by Az Sandhu
Pete Rawlinson, is Lylnalol and created this album using basically anything he could lay his hands on including phone apps, I mean it is a brave effort to go and write some tunes using your hand held device. I can feel the absolute horror from studio owners and engineers on hearing that, similar to Marty McFly on hearing that Doc had famously "made a time machine out of a Dolorian?" I can imagine them saying incredulously "what, you made a tune from a Nokia 210? a fucking 210!!"
Lynalol in the most part is not "easy listening" music. Deliberately low-fi, avant-guard proudly DIY, it is reminiscent of some of the tunes I heard coming out of my mates PC's when we used cracked versions of Fast Tracker, Fruity Loops and Reason around 1995. Happy days!
I am not sure there isn't a kick drum in the album that hasn't been heavily distorted or had the sample rate reduced to as low as possible, on top of which as warbled bass lines and filtered blips. It wouldn't be amiss to describe it as industrial, as there are a lot of choppy lines.
The best tracks on the album have vocals on them "The Money I Owe" addresses the subject of finding yourself in a place you never expected. As teenagers many of us thought we would go far, dreaming of being footballers but this tune deals with the uncomfortable realisation that the dreams didn't come true left divorced, depressed and owing cash.
"Oh Boy" is lyrically a cut-and-paste job of very recognisable lines in some very recognisable songs. It comes across as a nod to all of Lynalol's influences and there are some great ones here. I just hope no-one comes knocking for their Royalties as this one track might have Lynalol owing even more money.
The last tune "Best Left Out" really doesn't deserve that title, It's a mellowing tune to bring some calm after the preceding tunes. One of my favourites on the album. As I said earlier
"Lynalol" isn't easy to listen to but that doesn't mean you shouldn't listen, it is sonically challenging and deserves attention if you enjoy hearing how music can be intentionally messed-up. The general pattern of the album is of constant, chopped up distorted rhythms in the background, overlaid with chaotic filtered synth bleeps. A part of me wants the chaos to go at times but perhaps that would result in a lesser album.