by ladie | Tuesday, July 1
Graney/Moore and Co let rip on an album that sounds like a soundtrack to a crazy cruise ship voyage, reads somewhere between Kafka and Kerouac in its abstract hilarity and poignant realism andmoving from Barry White-esque (You Had To Be Drunk) to early Bowie on a big acid bender (Only Passin' Through) and stopping at every milestone along the road to craziness.
Less of a journeying album and more like a snapshot of one wild night, We Wuz Curious certainly doesn't betray what the title hints at. It takes a stab at nihilism, doomsday-ism, fascism, futurism and fatalism, all with tongue firmly in cheek and with true commitment to artistic statement. Whether I have hit the nail on the head with any of these -ism's remains to be seen as each song meanders, turning back on itself, corkscrewing and scratching its head before reaching some semblance of an end. The verdict? Well, I'm still clueless, but I'm smiling.
There were a few highlights for me though!
Let's Kill God Again, the single from the album, and most certainly the easiest and catchiest listen, for some reasons reminds me of Parliament and Funkadelic. It's fun AND it's dark. Who woulda thought?
I Like To Be Haunted takes on the mantle of the Walrus of Love where You Had To Be Drunk left it at the started of the album. Though it certainly doesn't carry any of the trademark sexy of White's music, it grooves similarly, marrying itself in a way also to the Beastie Boys 'The In Sound From Way Out).
Punk Dies is all out hilarious. See the following lyric excerpt:
"Real punks live on cough medicine
They weren't built to last
You've had too many square meals, man
We can't see your bones
The final track Crime and Underwear (and again I'm guessing at the cerebral flow here) digs at the way our culture seems to be drawn to the trivial and superficial things in life, while often glancing over heavier issues with token and fleeting sympathy/empathy.
Backing the curl and rasp of Dave Graney's ever-present voice is a band that fortunately understands the intent of the songs. The Lurid Yellow Mist, as a whole, run with and rejoice in the music.
It's a heavy trip, right? Sort of. They make it very fun, very funny and all the time avoid being pigeonholed (except maybe for being completely and steadfastly left field).
The Dwarf- Online magazine July 2008

WE WUZ CURIOUS - The Lurid Yellow Mist Featuring Dave Graney and Clare Moore (Illustrious Artists/Fuse)
Chances at this stage of the game are that you'll either be curious or have your switch flipped permanently to "Off". If it's the latter it's a pity because Graney, Moore and Co continue to come up with interesting ways to work outside the straight-up rock idiom, doing it very much on their own terms.
So there. I said it. It's not Rock. Well maybe just a bit. Mostly it's a mix of lounge pop, psych-funk, jazz and outright weirdness, all blended in a cocktail shaker of lyrical intrigue. In fact, Dave Graney's words are so ironic that he risks giving Socrates a run for his philosophical money.
Whether it's in the stinging "Punk Dies" ("Real punks go down fast...real punks life on cough medicine") or the reflective "I Needed Someone To Find Me" where he muses he could have "paid more attention to my major mask", it's an autobiographical outing for Dave Graney. The Lurid Mist, his band of four years, is up to the task and in perfect sympathy. They're all seasoned players bringing a tremendous amount of skill and musical input to the party but for me, it's the bass-playing of Surrealist Stu Thomas and drumming of Clare Moore that deserves the spotlight. Unobtrusive but masters of their groove, they lay an impeccable bedrock.
If the "major mask" was the persona that fronted The Coral Snakes, the long-serving Graney band that produced an Australian mega-charting album like "You Wanna Be There But You Don't Wanna Travel", who's doing the talking these days? There's probably scope for a thesis or two there. Who calls a song with a title like "Let's Kill God Again" a "crowd pleasing radio single"? And releases it just in time for Australia being invaded by 200,000 Catholic "pilgrims" for World Youth Day? I'm anticipating the traffic chaos that's about to grip Sydney and praying it was deliberate.
"I'm In The Future Now" and "Let's Kill God Again" almost present the band as the Choral (sic) Snakes with big choruses and lush feels. Production was undertaken at Melbourne's Sing Sing Studios so you know it sounds great.
"Bring My Liar" couples a gentle Moore-Graney harmony refrain to a big bassline and jazzy guitar and keys, while Sir David spins a self-referential lyrical web over seven--plus minutes
"We Wuz Curious" goes all sorts of places. "Junk Time" sounds like Soft Cell electro-pop and stands apart from the wah-wah funk of "I Like To Be Haunted". While there's not much of the driving rock of Graney at his commercial peak, there's no reason the bulk of his audience from those days shouldn't pick up on this. The intellect and humour that was always inherent is shining even brighter. Europe might be the place to take this (The Lurid Yellow Mist are fresh from a jaunt through those parts supporting Nick Cave) in the immediate future. - The Barman -

"Album is fucking KILLER... (no filler)
Are you fucking with me?
LOVE from BA"
Barry Adamson


If I asked you, out of any artist in the world, who was going to put out a record that combined the soul funk of classic era Sly Stone with perverse wigged out lyrics, who would you choose? Your five seconds are up and the glorious answer is Dave Graney and The Lurid Yellow Mist. This is a stunning, weird, trip to a strange land. Capturing your ears from the second she starts it’s the sound of a band finding something new. Dave and wife Clare Moore have been pushing for this sonic revelation for a while now and they’ve finally hit on it with this amazing record. Reinvention is tough when you’ve been going for almost thirty years. People want to stick you in a box, label it and move on. That seemed to have happened with Dave over the last few years. But the man is built of sturdier stuff. He flies above the expectations cast upon him and digs his own idiosyncratic patch. Sometimes that patch connects and sometimes it confounds. This time around it’s going to slay you. The music is incredible… multi layered and beautifully played, it twists and turns to many unexpected places but rather than disorientate, it delights you with its playfulness. A new kind of jazz, soul psych. It’s heard to perfection on genius track Lets Kill God Again. A tour de force of bug eyed arranging and killer lyrics. You get lost in it. You remember what music is for. To take you somewhere. Lift you out of the mundane world for a few minutes. Connect you to something bigger. Other standouts on a uniformly strong album include, Punk Dies, I Come from the Clouds, Junk Time(footy talk taken somewhere wild!) and Bring Me a Liar. But it’s all good and here’s why. Stuart Perera, Stu Thomas and Mark Fitzgibbon are amazing musicians and they deliver great performances on all these songs. A great band playing together with style and intuition. Dave’s lyrics tell funny, sad and caustic stories...he hasn’t pulled out stuff like this since Night Of The Wolverine(one of this country’s best albums). And, as always, his secret weapon is his better half. Clare Moore is a national treasure. A godhead drummer who also arranges, she adds freaked out Italian horror movie sounds on vibes, keys, percussion and vocals. A unique and visionary talent, the woman deserves props of the highest order. Get this record. It’s from another world.
Ben Michaels- Rhythms magazine

Love your new album too, although Crime and Underwear has so much of a hold on my tiny mind right now that I'm finding it hard to focus on the album as a whole just yet. As a song in itself it shares this exceedingly rare quality with both parts of Night of the Wolverine (among others) which is that it's coming from a clear and calm and reflective place, with humour and all these great turns of phrase, and yet it's still utterly devastating, more so than a hundred songs about saying goodbye to your woman for the last time. If I had to describe exactly what it is about your music that I'm trying to apply to what I do myself that'd probably be it. To hold oneself back from being grim and miserable just for the sake of it but still write the songs that hurt. Men, It Can Be Done!
Peter Escott
"the music is complex. references zip by like chord changes do in other people's music. myriad textures float you on clouds to the sky to bask in the light, then chords dark enough to drag you into the earth do just that. all underpinned by a groove tricks you into thinking you're standing in the one spot. the music here has two functions, to be the staging, props, sound effects and action in the play that is taking place here... and secondly, to be the red herring that tricks you into thinking these are just weirdos dreamt up by a fertile imagination and not something closer to home. if you lose yourself in this music you just might find yourself in it." 
Kim Salmon
"Your album is marvellous, evocative of Lalo Schifrin's very rich early 70s patch - and a bit Sketches Of Spain but with better lyrics. Brendan Gallagher"
“ ‘We Wuz Curious’ is high drama, high gloss  blue-eyed soul music processed  through a wah-wah pedal and a dictionary.  I dig it.”
Stephen Cummings

We Wuz Curious - The Lurid Yellow Mist
Illustrious Artists/Fuse
In an era where playing the wobble-board secures you a spot in the ARIA Music Hall of Fame, or where being a soapie star (or being married to one) entitles you to spray yourself all over the “pop” charts, Dave Graney and Clare Moore stand-out as being some of the few remaining musicians who are interested in putting out decent records.Graney and Moore have been dishing out rock’n’roll to Australian audiences since the late 70s as integral members of bands such as The Moodists. In the 1990’s Dave was crowned “King of Pop”, which made a nice change from the usual (unworthy) recipients. Graney and Moore's latest offering under the guise of The Lurid Yellow Mist - "We Wuz Curious" - is a strong album which delves into a range of genres including funkified jazz, post-punk and electro.
The opening track, 'You Had to Be Drunk', has a late 70's sound library quality to it, with watery, dreamy keyboards remniscient of Ramsey Lewis' better efforts of the decade and wah-wah infused guitar. Coupled with Dave's beat poet-style delivery, 'You Had to Be Drunk' makes for a nice, eaaaaasy introdction to the album. The next track sees Dave singing 'I Come From the Clouds'; a blues-meets-jazz style track. 'Lets Kill God Again' is a driving, poweful tune which leaves me hoping that it will cause as much controversy as when the Beatles declared themselves more popular that Christ in 1966. I totally dug on the strangeness of 'Junk Time', which is a primitive electronica track composed by Clare Moore. Other standouts on the album include 'I Like to be Haunted' (a loungey groove) and 'Punk Dies' (a funky but sarcastic jab at punk pretenders).The press release for "We Wuz Curious" states that it is "fresh and strange"... and it is....thank god. I can rest easy in the knowledge that unlike the rest of Aussie rock stars these days, The Lurid Yellow Mist wont be teaming up with Paul Mac to collaborate on any dance remixes. Let's here it for intelligent, groovy music.DJ Emma Peel.

We Wuz Curious - The Lurid Yellow Mist feat. Dave Graney & Clare Moore
AH, he's a true enigma, that Dave Graney. Over a 30-odd year career, he and long-time collaborator Clare Moore have made an artform out of reinvention.
Starting out in a punk band in Mount Gambier in the late-70s, the pair has retained that fierce DIY aesthetic while mining the best and worst of music to create their own unique sound.
The first single from We Wuz Curious, their 20th album release, is a strong case in point.
Titled Let's Kill God Again, it is a soul-funk-jazz trip, with the catchiest of all perverse choruses delivered in Graney's highest falsetto.
Tightly arranged and lushly produced thanks to Melbourne's Sing Sing Studio, it is likely to thrill everyone bar the World Youth Day pilgrims.
Sharing an intelligent and oft-humorous bent that is seen in the likes of Ween, Graney, Moore and band, The Lurid Yellow Mist aims to confound and avoid pigeonholing.
After touring Europe supporting Nick Cave, Graney is playing Warrnambool tonight in support of We Wuz Curious.
The record opens with You Had To Be Drunk, with Graney adopting his alluring lounge-bar croon over a slowly snaking funk groove.
Junk Time, a weird and nihilistic look at killing the clock, is haunting electro-pop that adds to the dark mood by fighting itself for direction.
I Like To Be Haunted is Graney at his playful best over a tightly-wound, soulful, wah-wah groove, his breathy plea documents what really moves him.
I'm In the Future Now, co-written by bass player Stu Thomas, is a ready-made radio cut, with Graney feeling the heady rush of leaving all his troubles behind.
But with jazzy shifting keys, Motown-like bass and a slashing classic guitar solo, it is the sound of the best parts of the past.
Bring Me My Liar hilariously quotes former US Defence Secretary Donald Rumsfeld's `there are known unknowns' speech.
Over a loping, jazz-tinged groove, it menacingly asks `are you f***king with me?'
There is little of the harder rock that saw Triple J champion Graney, but its pretty much all here - funk, soul, blues, jazz and lounge-pop, garnished with a knowing nod of cheese.
On his 20th album, the self-described King of Pop live ups to his claim to remain ahead of the pack. It is a grand, defiantly left-field and consistently strong record. It has me very curious for more for one of Australia's great talents.
SHANE FOWLES on 28/08/2008
Warrnambool Standard




Press for You've been in my mind 2012

Press for Rock'n'roll is where I hide 2011

Press for SUPERMODIFIED 2010

Press for Knock Yourself Out 2009

notices 4 Keepin it unreal 2006



notices 4 Hashish and Liquor 2005

notices 4 the brother who lived 2003