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The addition of Nell Grant on saxophone made previously murky reference points plainly obvious: Exek are the progeny of a Melbourne scene that established itself around Dave Chesworth and Philip Brophy’s Innocent record label of the 1980s and its greatest offering, Essendon Airport’s Palimpsest LP (1981). But Exek dared to abandon the pop and funk tropes of the early Australian new wave scene reaching out to German post-punk of the same era. Wolski’s songwriting is akin to that of the records put out by Hannover’s No Fun Records and Hamburg’s Zickzack, channeling the droll lyricism of The 39 Clocks and saturated with self-deprecating Attitude.
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