Album Review: Mozart's Mini-Mart by Go-Kart Mozart

"Go-Kart Mozart are eminently bookable," we're told in the liner notes to fourth album Mozart's Mini-Mart, along with the necessary contact details, "for live dates – births – marriage – deaths – bar mitzvahs – sea cruises – war zones etc. " Lawrence, there, only too happy to seize a promotional opportunity. His last dispatch – 2012's On The Hot Dog Streets – coincided, fairly poignantly, with the release of Paul Kelly's alternately hilarious and gut-wrenching Lawrence of Belgravia.

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In a career full of surprises, left turns, and decisions that anyone looking to have a successful career in music might regard as self-destructive at best, Go-Kart Mozart is Lawrence's crowning achievement in that regard, and the third Go-Kart Mozart album is the weirdest, wildest, and most confusing album he's done under that name yet. After the (very) relative straightforwardness of 2012's On the Hot Dog Streets, where Lawrence and his mates (including right-hand man Terry Miles, aka K-Tel) appeared to be tethered to reality in a way many people could understand, Mozart's Mini-Mart blows the top off of musical sanity like the cap off a shaken-up bottle of soda pop. Over the course of 35 minutes, Lawrence and crew dish out a dizzying array of corny pop styles, cheesy sounds, and vintage keys while covering a similarly wide range of topics including televised executions, zipless sex, pop celebrity, and that old chestnut, depression.

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Well, here it is. Seventeen slabs of Lawrence absurdity, clasped in a gorgeously garish sleeve, effectively mirroring the eccentricities herein. From a distance, I have followed Lawrence of Belgravia, through staple guises - Felt, Denim and several outings for Go-Kart Mozart. But even the kind of uber-fans that Lawrence has always attracted must admit something here.

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