Anthony Talarico and Chris Stiles have been improvising together at the Club Weld studio for neurodiverse musicians since 2014.

Since then they have collaborated with many musicians (including long-time cohort TJ Stines) and recorded astonishing tracks for Club Weld releases, such as Cats & Alleyways, Azimuth and TJACC.

We Were Made For Loving You is the duo’s first standalone release, and it is a loose web of conversational lyrics, drones, affirmations, ethereal howls and pop radio references.

Chris Stiles’ singular voice evokes John Lydon circa Metal Box/The Flowers of Romance, but defies easy categorisation.

Anthony Talarico contributes radical, expressive drums, and slyly unpredictable singing.

The sounds of the collaboration can be chaotic, but We Were Made For Loving You is approachable and inviting – the noise of life, discovery and connection.

Nicola Morton’s beautiful, naturalistic production gives the listener an unencumbered view of Stiles and Talarico’s legendary Tuesday morning jams.

"The fantastically titled 'We Were Made For Loving You' is the result of neurodiverse musicians Chris Stiles & Anthony Talarico jammin', with production from sweetheart/sound magician Nicola Morton.

This tape reminded me of a non-aligned "weird underground" D-I-Y approach to free music that caught my attention 1.5 decades ago. Be it Astral Social Club, Double Leopards, Hype Williams, or sprawled-on-the-floor era Blank Realm. Or as the presser says, "a loose web of conversational lyrics, drones, affirmations, ethereal howls and pop radio references."

This unique and highly human cassette is a great case for having a diverse cast of characters involved in music, not because of middle-class guilt, but because it creates more revelatory art. Especially in an age where those savvy to professional arts industry sensibilities have such an upper hand over those that couldn't compromise their expression if they tried." - Nic Warnock, Repressed Records


1. Talk To Me

The opening track establishes the album’s M.O; seemingly unrelated parts which fit together perfectly. In this instance, Chris Stiles’ whimsical vocal interjections and Anthony Talarico’s free associational asides ride on top of programmed drums, jazzy keys and guitar harmonics.

Talarico’s “I like to drink coffee, I like KISS also” hints about the origin of the album title.

2. Zoom Jam 1

Recorded over the internet in three different towns during the April 2020 lockdown, this skeletal improv evokes the bleak confusion of that period. Tied together insistent trumpet-sounds, this haunting piece is a great introduction to the expressive beauty of Chris Stiles’ voice.

3. Sway

Sway brings a distinctly humid atmosphere, complete with jazzy rimshots, ominous synths, whimsical vocals and half-heard conversations. Eugene Ward’s jazzy electric piano, Nicola Morton’s insistent bass complete this unique sound world, and provide the ideal backdrop for Stiles & Talarico.

4. Thunder

The opening synths briefly evoke an excessive era of southern hip hop before ‘Thunder’ rattles off into ominous, electric territory. Guest collaborator Samar Salameh contributes guest vocals and guitar which adds to the heavy atmosphere.

5. Steven

Following on from Alice Cooper, Taylor Swift and The Grateful Dead’s ‘Steven’ songs, Stiles and Talarico's contribution to the tradition is full of free-associational joy. This duet references Richie Valens, Bobby McFerrin and spring rolls, and it is again offset by Eugene Ward’s keys.
“Do not break a light…it’s dangerous.”

6. Zoom Jam 2

Another off-site jam, featuring clacking percussion from Anthony Talarico. Recorded in Epping, Merrylands, Spencer and Cattai. Despite the desolate sonics, the recording is indicative of the Club Weld studio’s love of music and will to overcome the considerable obstacles to collaboration presented by the pandemic.

7. Dawn

Stiles’ flexible, siren-like vocals are the standout of this beautiful piece of exotica. Talarico’s freeform drum explosions interrupt the droning, hypnotic mood.

8. LvM3Tndr

“Please don’t cry”. This lovely, telepathic improvisation ends the album as it started – sounding like nothing and nobody else.