Apparently, the best way to organise a freakishly ice cold night in this fair city of ours is to put an All Blacks Test on at the stadium. Seriously, we've had two test matches in Wellington this year, and both nights have been great nights to be inside, in yr bed, under the covers, wearing every bit of clothing you own and watching yr breath freeze before your very eyes. That said, I still dragged myself and some pals to The Mighty Mighty on this cold July 5th to catch one of my favourite bands, The Situations, who were touring around with The Quick and The Dead, and The Transistors. Due to poor road conditions trapping all three bands on top of the Rimutakas for 3 or so hours, none of the bands actually made it to the venue until 11pm, so the night was gonna be a late one, and given the on road difficulties, you could've forgiven the bands for phoning it in, so to speak. But no, they all played blinders.
First up were the Quick and The Dead, a nuggets/british invasion influenced band from Auckland. The lead singer/guitarist was an energetic lad, playing the songs within an inch of their lives, while the rhythm section was totally rock solid. The only real criticism I had was that they under use the back vocals of the bass player, cos they worked really well when deployed.
I was very excited about checking out the Transistors, having heard nothing but praise for them and managing to miss their previous Wellington gigs. And boy were they worth the wait!!!!! Easily one of the most energetic bands I've seen, they sound like early Replacements (a fact hammered home when they covered Customer off the 'Mat brilliant 1st album, Sorry Ma, Forgot To Take Out The Trash). They played their thrashy little garagey Rock and Roll tunes with such force that at one point, the drummer had to play standing up having kicked his drum stool off the back of the stage. Seriously, these guys were sooooo good, I was wondering how The Situations were gonna top this.
I need not have worried, as always The Situtations kicked some serious ass. I mean, come on, I've seen these guys more than most bands and they always blow me away. Having spent x-mas/new years playing gigs in Europe, they were tight as. Didn't recognise many songs, this time they concentrated on new material. By the sounds of the new songs, the next album is gonna be a corker, tho we're not gonna hear them for a while, as while they've finished recording, the band are probably gonna sort out a european release before even thinking about releasing it here, which is sad for me as an fan, but great news to think that the band might actually get to release stuff overseas.
Three great sets from three great bands, on a night where the odds of this happening were slim to none.
Saturday, October 11, 2008
Where we goin'....................to the city.................ISTANBUL!!!!!!!!!!!!!!!!!!!!!
After a couple of years re-living the 80s touring with her old band The Pixies, Kim Deal is back with a new Breeders album. Mountain Battles (4AD), is the bands 4th album, and as per usual, the songs are varied as anything, tho on the whole, the album is popier than 2002s Title TK. The album opens strongly with Overglazed, which is all chiming, shoegazerish guitar action, absolutely stunning. Other album highlights include Walk It Off, which is catchy as hell with a sweat bass led groove, Here No More, a country-ish tune featuring some lovely Deal sister harmonies, and Istanbul, the closest to anything off Title TK, tho with a deceptively catchy chorus. Elsewhere, the quirkiness of some of the songs leave me a little cold. German Studies (sung in German) and Regalame Esta Noche (sung in Spanish) are both guilty of this, songs that are good rather than great, relatively inoffensive tunes.
Overall, another great album from the Deal sisters, I for one am hoping we don't have to wait another 5 years for the next album.
www.breedersdigest.com
Overall, another great album from the Deal sisters, I for one am hoping we don't have to wait another 5 years for the next album.
www.breedersdigest.com
"For a singer, he's a good guitarist"
It was a Thursday, May 15th, and some mates and I headed up to the San Fran Bathhouse to sample to sonic pleasures of HDU and Bachelorette. We arrived at 10pm sharp, and were rather surprised to hear that Bachelorette had already started, it being rare for a gig in Wellington to start much before 11. Bachelorette is one lass, a guitar, some keyboards and backing tapes, with a very cool stage set up consisting of a whole bunch of old school computer monitors displaying graphics that looked like the lines on a heart monitor thingy, very much like the cover to Joy Divisions Unknown Pleasures album. The better songs were the ones that were more keyboard led, tho overall, I really enjoyed Bachelorette and will one day get around to checking out the 2(?) she's released so far on Arch Hill Recordings.
After a very short wait, High Dependency Unit made their way onto the stage and immediately set about slaying the crowd with a set that I would describe as epic, loud and awesome. Fans of the somewhat more aggressive side of HDU (songs such as El True East, Visionson, and Schalblute) were in for slim pickings tonite, as HDU concentrated on some of their longer, driftier songs (Lull, etc). Now while I love a good HDU style rave up as much as the next guy, in a live setting, I prefer it when HDU play the longer tunes that give them a chance to stretch out a little, especially when they get to play through a PA system that is up to the task, something that hasn't always been the case when HDU have played the Bathhouse. This time around it was perfect. The one aggressive tune we got, Stupormodel from new album Metamathics, was a nice change of pace, even if the band messed it up the first time and had to start it again. Highlight of the set for me was The Nation Grid and Irma Vep, played one after the other much like on the new album, amazing, powerful and as beautiful live as they are on record. It was pretty much over on the stroke of midnight, good to see bands realizing that some(most) of their fans actually have to get up in the morning for work. A great set by a band that doesn't get out nearly enough. Awesome!!!
After a very short wait, High Dependency Unit made their way onto the stage and immediately set about slaying the crowd with a set that I would describe as epic, loud and awesome. Fans of the somewhat more aggressive side of HDU (songs such as El True East, Visionson, and Schalblute) were in for slim pickings tonite, as HDU concentrated on some of their longer, driftier songs (Lull, etc). Now while I love a good HDU style rave up as much as the next guy, in a live setting, I prefer it when HDU play the longer tunes that give them a chance to stretch out a little, especially when they get to play through a PA system that is up to the task, something that hasn't always been the case when HDU have played the Bathhouse. This time around it was perfect. The one aggressive tune we got, Stupormodel from new album Metamathics, was a nice change of pace, even if the band messed it up the first time and had to start it again. Highlight of the set for me was The Nation Grid and Irma Vep, played one after the other much like on the new album, amazing, powerful and as beautiful live as they are on record. It was pretty much over on the stroke of midnight, good to see bands realizing that some(most) of their fans actually have to get up in the morning for work. A great set by a band that doesn't get out nearly enough. Awesome!!!
Saturday, August 23, 2008
I wish I was special
So Radiohead decide not to renew their contract with EMI and instead decide to release their latest album, In Rainbows, firstly as a download from their website, then as a physical release on XL Records (The vinyl is fucking sweet I have to say). So, somewhat predictably, EMI are cashing in. First off, they reissued all the EMI era CDs just in time for last christmas, but with neither bonus tracks, nor prior consultation with the band (Both of which would have been a nice touch). In the very near future, EMI are gonna re-release these same albums on vinyl (please make it tasty 180gm, please). In between these re-issues, EMI decided to do a best of, in both CD and DVD formats. The CD is not essential if yr a fan already, tho will be handy for those who didn't buy the albums or just need to plug a few gaps. What excited me most when these were announced was the DVD, which features all the videos from their EMI era singles. A few years back, Radiohead released a DVD called 7 TV Commercials, which only had the videos from The Bends and OK Computer, so having videos from before and after the period covered on that DVD was very appealing.
The early videos, while not suffering from the over familiarity of the Bends/OK Computer era vids, are fairly basic affairs. That said, Stop Whispering is a hilariously over wrought effort, the over-riding impression you get is "this is a band who wants to be massive." Non-album single "Pop Is Dead" features singer Thom Yorke being carried around in a glass coffin, tho both the video and the song suffer from not being very good.
Things start to pick up somewhat when you reach the Bends and OK Computer videos, the videos getting more adventurous. Good to see that the original "High and Dry" video was included, as it was barely shown once the US version was made.
Post OK Computer, the band went on a bit of a media anti-blitz, hence no videos for Kid A. EMI could've included the "blip-verts" but chose not to, which is a slight disappointment. The other disappointment is the lack of extras, no commentaries or anything like that. You could blame EMI, but looking at previous Radiohead DVDs, and you tend to find that "extras" cupboards are bare, so this not a new thing.
Things are restored from Amnesiac onwards, tho the videos tend to be interesting ideas for videos rather than actually being any good. That said, there are exceptions. Knives Out is a wonderful Gondry directed vid, while There There from 2003 album Hail To The Thief has an enchanting children's story book gone oh so wrong. Also worthy of a mention is the video for Push Pulk / Spinning Plates, which is basically porn fro animation nerds.
Some great videos here, but overall a somewhat disappointing release.
www.radiohead.com
The early videos, while not suffering from the over familiarity of the Bends/OK Computer era vids, are fairly basic affairs. That said, Stop Whispering is a hilariously over wrought effort, the over-riding impression you get is "this is a band who wants to be massive." Non-album single "Pop Is Dead" features singer Thom Yorke being carried around in a glass coffin, tho both the video and the song suffer from not being very good.
Things start to pick up somewhat when you reach the Bends and OK Computer videos, the videos getting more adventurous. Good to see that the original "High and Dry" video was included, as it was barely shown once the US version was made.
Post OK Computer, the band went on a bit of a media anti-blitz, hence no videos for Kid A. EMI could've included the "blip-verts" but chose not to, which is a slight disappointment. The other disappointment is the lack of extras, no commentaries or anything like that. You could blame EMI, but looking at previous Radiohead DVDs, and you tend to find that "extras" cupboards are bare, so this not a new thing.
Things are restored from Amnesiac onwards, tho the videos tend to be interesting ideas for videos rather than actually being any good. That said, there are exceptions. Knives Out is a wonderful Gondry directed vid, while There There from 2003 album Hail To The Thief has an enchanting children's story book gone oh so wrong. Also worthy of a mention is the video for Push Pulk / Spinning Plates, which is basically porn fro animation nerds.
Some great videos here, but overall a somewhat disappointing release.
www.radiohead.com
Tuesday, August 12, 2008
I was so happy, I didn't feel like me
When the Arctic Monkeys burst onto the scene a few years back in a blaze of CDRs and Myspace hype, there were those of us who were prepared to write them off before hearing a note of their music. But alas, rather than being shite like I'd hoped, they were brilliant, reminding me of John Cooper Clarke and The Fall. Two brilliant albums and a Dizzee Rascal collaboration later and its time for the Arctics lead singer, Alex Turner, to spread his wings into those most dangerous of areas, the side project zone.
So we get The Last Shadow Puppets, where Alex is joined by his good buddy Miles Kane, from The Rascals. Together, they've recorded an album called The Age Of The Understatement, released by Domino Records, also home to the Arctic Monkeys and Franz Ferdinand amongst others.
By rights, this album should suck great big donkey balls, the song writers from 2 hip young bands thinking the world needs to hear songs that weren't good enough for their main bands, or maybe trying on some new musical stylings and running with it, no matter how poorly they fit them. But no, as an album, it actually stands up. The songs remind me of those late 60s spy movie theme songs, as well as the early solo work of Scott Walker. Having heard sweet naff all of from the Rascals, I'm not sure what influences Kane is bringing to the party, but in a lot of these songs you can hear that slightly surf guitar twang that sometimes comes through in Turners playing on the Arctics.
First up on the album, you get the two singles (The Age of The Understatement, and Standing Next To Me), which set the tone nicely for the album, reminiscent of the past without making the fatal error of falling into pastiche. If I was to make one complaint, its that, while their voices work together really well, they at time blend a little too well and it can be a bit hard to distinguish who is singing what.
Side one continues with the slightly less frantic The Chamber, a nice change of pace from the earlier songs which almost threaten to overtake themselves at points, before Only The Truth rounds out side one, with a brilliant stop start arrangement. Listening to the album on vinyl (which I did), its apparent that Turner and Kane were thinking into terms of having two sides to fill, rather than a CD. This is a good thing (though not having listened to the album on CD, I'm not sure if sequencing works on that format as well), given that bands these days seem to think less in terms of "An Album" as opposed to "A collection of songs." While this can be a subtle art, a well sequenced album is a joy to listen to and its great to see bands not thinking "Oh well, who cares what order we put these songs into, they're just gonna put it on their I-Pods anyways."
My Mistakes Were Made For You opens up the 2nd side, a lovely song that reminds me of Shirley Bassey, who the Arctic covered at Glasto in 2007 (She rules in case you were wondering), before Black Plant changes things up again, some what jarringly with its angular arrangement and stabby synth action, quite possibly my favourite song on the album, if I had to pick a favourite (and I don't really wanna, so there).
The album finishes on a somewhat understated note with Time Has Come Again, all acoustic guitars and soothing vocals.
A top effort from these lads. Apparently, the are about tour this album throughout the UK with an orchestra, which I would love to see, but I doubt they'll bring it to little ol' NZ (tho one can only hope)
www.theageoftheunderstatement.com
So we get The Last Shadow Puppets, where Alex is joined by his good buddy Miles Kane, from The Rascals. Together, they've recorded an album called The Age Of The Understatement, released by Domino Records, also home to the Arctic Monkeys and Franz Ferdinand amongst others.
By rights, this album should suck great big donkey balls, the song writers from 2 hip young bands thinking the world needs to hear songs that weren't good enough for their main bands, or maybe trying on some new musical stylings and running with it, no matter how poorly they fit them. But no, as an album, it actually stands up. The songs remind me of those late 60s spy movie theme songs, as well as the early solo work of Scott Walker. Having heard sweet naff all of from the Rascals, I'm not sure what influences Kane is bringing to the party, but in a lot of these songs you can hear that slightly surf guitar twang that sometimes comes through in Turners playing on the Arctics.
First up on the album, you get the two singles (The Age of The Understatement, and Standing Next To Me), which set the tone nicely for the album, reminiscent of the past without making the fatal error of falling into pastiche. If I was to make one complaint, its that, while their voices work together really well, they at time blend a little too well and it can be a bit hard to distinguish who is singing what.
Side one continues with the slightly less frantic The Chamber, a nice change of pace from the earlier songs which almost threaten to overtake themselves at points, before Only The Truth rounds out side one, with a brilliant stop start arrangement. Listening to the album on vinyl (which I did), its apparent that Turner and Kane were thinking into terms of having two sides to fill, rather than a CD. This is a good thing (though not having listened to the album on CD, I'm not sure if sequencing works on that format as well), given that bands these days seem to think less in terms of "An Album" as opposed to "A collection of songs." While this can be a subtle art, a well sequenced album is a joy to listen to and its great to see bands not thinking "Oh well, who cares what order we put these songs into, they're just gonna put it on their I-Pods anyways."
My Mistakes Were Made For You opens up the 2nd side, a lovely song that reminds me of Shirley Bassey, who the Arctic covered at Glasto in 2007 (She rules in case you were wondering), before Black Plant changes things up again, some what jarringly with its angular arrangement and stabby synth action, quite possibly my favourite song on the album, if I had to pick a favourite (and I don't really wanna, so there).
The album finishes on a somewhat understated note with Time Has Come Again, all acoustic guitars and soothing vocals.
A top effort from these lads. Apparently, the are about tour this album throughout the UK with an orchestra, which I would love to see, but I doubt they'll bring it to little ol' NZ (tho one can only hope)
www.theageoftheunderstatement.com
Monday, August 11, 2008
Why Put The Body Where The Body Don't Wanna Go!!!!!!!!!!!!!!!!!!!
After a couple of years mourning after the anouncement of McLusky's demise, I was pretty darn excited when a good friend of mine played me a song called adeadenemyalwayssmellsgood by Future Of The Left. Why would I be excited???? Well, apart from the fact that its a fucking great song, it features 2 former members of McLusky, as well as the bassist from Jarcrew. Now I'm even happier, cos I've managed to pick up their debut album, Curses, on Too Pure.
Their sound is pretty much identical to that of McLusky's, tho on some songs (including 2nd(?) single Manchasm), the put the guitar away, and replace it with some synth action, while the final track, The Contrarian, features piano, which was apparently controversial in some of the more lunk headed corners of McLusky's fan base.
As well as retaining the signature McLusky sound (punky and nasty in the best way possible), they also retain lead singer Andy Falkous's way with a nasty sarcastic lyric and some great song titles (personal fav. Real Men Hunt In Packs).
If you were a fan of McLusky, you wont be disapointed with this album, as it's all that was great about Mclusky, only better. Check their website www.futureoftheleft.com and their myspace (there is a link form their website), which is worth it alone for some very funny blog posts from Andy Falkous.
Their sound is pretty much identical to that of McLusky's, tho on some songs (including 2nd(?) single Manchasm), the put the guitar away, and replace it with some synth action, while the final track, The Contrarian, features piano, which was apparently controversial in some of the more lunk headed corners of McLusky's fan base.
As well as retaining the signature McLusky sound (punky and nasty in the best way possible), they also retain lead singer Andy Falkous's way with a nasty sarcastic lyric and some great song titles (personal fav. Real Men Hunt In Packs).
If you were a fan of McLusky, you wont be disapointed with this album, as it's all that was great about Mclusky, only better. Check their website www.futureoftheleft.com and their myspace (there is a link form their website), which is worth it alone for some very funny blog posts from Andy Falkous.
This Raver Must Be On His Best Behavior
Sam F. Scott from Wellington indie legends Phoenix Foundation has just released his 2nd solo album with the Bunnies On Ponies, Straight Answer Machine, on Loop Recordings Aot(ear)oa. And what an album, full of songs similar to Phoenix Foundation, tho much less proggy and more understated, Pavement-esque in parts to these ears.
Much like his live band, Scott utilises some pretty well known Wellington indie types to good effect on this album, including Tom Watson and Craig Terris from Cassette, Julia Deans from Fur Patrol, Age Prior, as well as the co-production skills of Lee Prebble.
Stand out tunes include first single Llewellyn (featuring some tasty backwards guitar action), the ukulele led Black Mark, instrumental live fav Moist People (Tom Watson on trumpet!!!!!!), tho my personal favourite Raver On Probation, which features some very humourous lyrics from Sam, helped by Prebble and Prior.
Overall, a very good album, one that I would've fit into the Flying Nun catelogue in the mid 80s with no problems at all, and one that deserves to be heard far and wide. Hope fully he can carry his song writing purple patch from this and the last Phoenix Foundation album over to the next Phoenix Foundation album. If so, it will be a cracker! But until then, buy this album and crank it.
Much like his live band, Scott utilises some pretty well known Wellington indie types to good effect on this album, including Tom Watson and Craig Terris from Cassette, Julia Deans from Fur Patrol, Age Prior, as well as the co-production skills of Lee Prebble.
Stand out tunes include first single Llewellyn (featuring some tasty backwards guitar action), the ukulele led Black Mark, instrumental live fav Moist People (Tom Watson on trumpet!!!!!!), tho my personal favourite Raver On Probation, which features some very humourous lyrics from Sam, helped by Prebble and Prior.
Overall, a very good album, one that I would've fit into the Flying Nun catelogue in the mid 80s with no problems at all, and one that deserves to be heard far and wide. Hope fully he can carry his song writing purple patch from this and the last Phoenix Foundation album over to the next Phoenix Foundation album. If so, it will be a cracker! But until then, buy this album and crank it.
Not Lost But Gone Before
Saturday saw the return of the Deal sisters and their band the Breeders, playing the San Fran Bath House like they did in early 2003. This time, they are here supporting their new album, Mountain Battles, and also seem to be the hottest ticket in town after their Auckland show had to be moved to a larger venue and the Welli gig selling out with about a week to go.
I arrived too late for the support act, not sure who they were so I'm not sure if I missed out on anything special.
Shortly after 10pm, The Breeders hit the stage to a fairly rapturous applause. For the slightly oldish (ie, those of us who were fans in the 90s), it was 1995 all over again. I was very happy when Huffer from their 2002 album Title TK got an airing 2 songs in. Divine Hammer was also delivered very early in the set. As well as plugging the new album, The Breeders played a large chunk of their first two albums Pod and Last Splash, tho not enough from Title TK for my liking (I only recognised one song, the previously mentioned Huffer, tho there may have been more). Apart from too few Title TK tunes, my only other complaint was that they didn't play German Studies or Istanbul from the new album. Mind you, that is only a minor quibble, as we got great versions of Walk It Off and Overglazed, which Kim pre-faced by telling us how when they opened their Cochella set with Overglazed, they fucked it up. They played it pretty damn good this time.
Biggest cheer of the night was received for Cannonball, no shock there really.
Then after what seem too soon, but in reality was about an hour and a half, The Breeders departed the stage for good. One of the best gigs of the year so far.
I arrived too late for the support act, not sure who they were so I'm not sure if I missed out on anything special.
Shortly after 10pm, The Breeders hit the stage to a fairly rapturous applause. For the slightly oldish (ie, those of us who were fans in the 90s), it was 1995 all over again. I was very happy when Huffer from their 2002 album Title TK got an airing 2 songs in. Divine Hammer was also delivered very early in the set. As well as plugging the new album, The Breeders played a large chunk of their first two albums Pod and Last Splash, tho not enough from Title TK for my liking (I only recognised one song, the previously mentioned Huffer, tho there may have been more). Apart from too few Title TK tunes, my only other complaint was that they didn't play German Studies or Istanbul from the new album. Mind you, that is only a minor quibble, as we got great versions of Walk It Off and Overglazed, which Kim pre-faced by telling us how when they opened their Cochella set with Overglazed, they fucked it up. They played it pretty damn good this time.
Biggest cheer of the night was received for Cannonball, no shock there really.
Then after what seem too soon, but in reality was about an hour and a half, The Breeders departed the stage for good. One of the best gigs of the year so far.
Saturday, August 9, 2008
One from the archives
So, I've not written on here for an age. Plenty of stuff to review, but I'm being a slack bastard (more stuff on the way soon, promise). And after getting a bollocking for not posting anything in ages (people check this thing regularly-shucks), I thought I'd dig back through the archives of old reviews I'd done. Not a large archive really, consisting as it does of this review, and only this review. BUT, there is a kinda funny story behind how I ended up reviewing The Mint Chicks in the late, lamented, Wellington gig guide The Package.
A good friend of mine was meant to do it, but right before it was due to be handed in, he had bugger all and emailed me for some help. I was at work and had 15 minutes to kill before quiting time, so it was head down, bum up and 15 minutes later I was clicking send. My friend liked what I'd written and submitted that to The Package under my name. What you are about to read is the un-editted version (The Package cut it down a bit, not too much, and sadly I no longer have a copy of that particular edition. Thankfully Spanky still had the email I sent him years after the fact, the gig taking place around April 2005. Cheers Spanky). Enjoy
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Missed the very opening act due to my cocktail holding my attention longer than expected (sorry to whoever you were), so turned up in time to check out This Night Creeps. Equal parts punkrawk and freejazz, they warmed up the crowd just nicely with a violent display of geetar noise (how they didn't kill anyone with their gat swinging is a mystery). Totally worth checking out again.
With the crowd champing at the bit, it was time for The Mint Chicks to tear the Indigo audience a new arsehole. Jeez, how good are these blokes, haven't seen a band this energetic in a long long time, an energy level that was met and raised by the crowd, with an enthusiastic mosh pit up front. The band played a large selection from their album, F**k The Golden Youth, as well as occasionally ripping into some older stuff off their previous EPs. And how!!!!!! Kody, the singer, has such a stage presence, I'd personally like to anoint him the Roger Daltrey its OK to like, twirling the microphone within an inch of its life. After an awesome version of "F**k The Golden Youth", the Mint Chicks retreated back stage, only to receive one of the more enthusiastic calls for an encore I've heard in a while. The band returned to the stage, and after a main set that featured songs that remind this scribe of the Ramones and the Buzzcocks, The Mint Chicks belted out two Ramones covers (Blitzkrieg Bop & Now I Wanna Sniff Some Glue) and a Buzzcocks cover (Even Fallen In Love). A couple more songs, a near beaning with a full water bottle (Cheers Kody), and it was all over. One of the best local gigs I've been to in a long time. Check these guys out next time they come to this city of ours (that goes for local lads This Night Creeps also).
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So there you have it. Reading through it again, I'm happy with my first attempt at gig reviewing, tho I was in need of a fact checker, as This Night Creeps were not from Wellington (I believe they were from Hamilton). Sadly they are no longer with us, having broken up in 2006. I got to see them once more, again at Indigo (cannot remember if it had changed its name yet), again opening for The Mint Chicks, who were touring their 2nd album, the blindingly brilliant Crazy? Yes! Dumb? No! album (that was another sweet a gig too, might write about that one someday too?)
A good friend of mine was meant to do it, but right before it was due to be handed in, he had bugger all and emailed me for some help. I was at work and had 15 minutes to kill before quiting time, so it was head down, bum up and 15 minutes later I was clicking send. My friend liked what I'd written and submitted that to The Package under my name. What you are about to read is the un-editted version (The Package cut it down a bit, not too much, and sadly I no longer have a copy of that particular edition. Thankfully Spanky still had the email I sent him years after the fact, the gig taking place around April 2005. Cheers Spanky). Enjoy
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Missed the very opening act due to my cocktail holding my attention longer than expected (sorry to whoever you were), so turned up in time to check out This Night Creeps. Equal parts punkrawk and freejazz, they warmed up the crowd just nicely with a violent display of geetar noise (how they didn't kill anyone with their gat swinging is a mystery). Totally worth checking out again.
With the crowd champing at the bit, it was time for The Mint Chicks to tear the Indigo audience a new arsehole. Jeez, how good are these blokes, haven't seen a band this energetic in a long long time, an energy level that was met and raised by the crowd, with an enthusiastic mosh pit up front. The band played a large selection from their album, F**k The Golden Youth, as well as occasionally ripping into some older stuff off their previous EPs. And how!!!!!! Kody, the singer, has such a stage presence, I'd personally like to anoint him the Roger Daltrey its OK to like, twirling the microphone within an inch of its life. After an awesome version of "F**k The Golden Youth", the Mint Chicks retreated back stage, only to receive one of the more enthusiastic calls for an encore I've heard in a while. The band returned to the stage, and after a main set that featured songs that remind this scribe of the Ramones and the Buzzcocks, The Mint Chicks belted out two Ramones covers (Blitzkrieg Bop & Now I Wanna Sniff Some Glue) and a Buzzcocks cover (Even Fallen In Love). A couple more songs, a near beaning with a full water bottle (Cheers Kody), and it was all over. One of the best local gigs I've been to in a long time. Check these guys out next time they come to this city of ours (that goes for local lads This Night Creeps also).
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So there you have it. Reading through it again, I'm happy with my first attempt at gig reviewing, tho I was in need of a fact checker, as This Night Creeps were not from Wellington (I believe they were from Hamilton). Sadly they are no longer with us, having broken up in 2006. I got to see them once more, again at Indigo (cannot remember if it had changed its name yet), again opening for The Mint Chicks, who were touring their 2nd album, the blindingly brilliant Crazy? Yes! Dumb? No! album (that was another sweet a gig too, might write about that one someday too?)
Saturday, May 3, 2008
He is ninja
My mega week of gigging continued last Tuesday when Wellington was graced by the prescence of Mr Henry Rollins, former lead singer of SOA and some two bit punk group called Black Flag (Kidding on the 2-bit thing!!!!!!) At 8pm sharp, he stepped onto the Paramount stage and talked to/at us for the next 3 or so hours. He spent a lot of his time talking about his recent travels to the middle east and Pakistan. For a guy pushing 50, he certainly has more energy than I do and loves travelling to parts of the world that his government seems to think are evil. Recently, he went to Iran. He tells us a brilliant story about how the only way he could get a visa to get into Iran was to go to Dubai and apply for one there. "And you're not gonna do that now, are you Mr Rollins" said the travel agent. Wrong. The most amazing story he told was about his time in Pakistan. He happened to be there right at the time Benazir Bhutto was assasinated. His stories of seeing only men in the streets mouning her death (the women weren't allowed out) were moving to say the least, and Henry seemed to amazed to be in that part of the world during such an historic time.
The major themes touched on by Henry were basically that we should try as much as possible to stay bull shit free in our lifes and how when you look closely, things ain't always what they seem, themes that anyone familiar with his spoken word stuff will have heard many times before. Sure, he changes his stories, but the underlying themes remain constant, which is good.
Also, given that he's been involved in music for many years, he stories about music and how its affected his life are also very interesting. His story about seeing Van Halen and Ted Nugent was worth the price of admission alone.
The best thing was that, given that he talked for 3 hours, it seemed like a lot less and he never once lost our attention. He's and interesting and funny guy who has had a more interesting life than most people could ever have, and yet he's also very humble and has the ability to laugh at himself, which is a quality that I think should be admired.
All I have to say is, Mr Henry Rollins, I hope you enjoyed your first visit to Wellington and I hope you can return sooner rather than later.
The major themes touched on by Henry were basically that we should try as much as possible to stay bull shit free in our lifes and how when you look closely, things ain't always what they seem, themes that anyone familiar with his spoken word stuff will have heard many times before. Sure, he changes his stories, but the underlying themes remain constant, which is good.
Also, given that he's been involved in music for many years, he stories about music and how its affected his life are also very interesting. His story about seeing Van Halen and Ted Nugent was worth the price of admission alone.
The best thing was that, given that he talked for 3 hours, it seemed like a lot less and he never once lost our attention. He's and interesting and funny guy who has had a more interesting life than most people could ever have, and yet he's also very humble and has the ability to laugh at himself, which is a quality that I think should be admired.
All I have to say is, Mr Henry Rollins, I hope you enjoyed your first visit to Wellington and I hope you can return sooner rather than later.
Giving them a taste of kiwi
Vodafone Homegrown was put on by the same people responsible for the X-Air competition and is a day long festival of all things good and great about New Zealand music, and was held on April 26th 2008(thank god they didn't hold it during NZ Music Month). Four stages around the Frank Kitts park area of the Wellington waterfront resonated to the sound of kiwi music for the best part of 10 hours on one of those sunny autumn days Wellington excells at.
I got there nice and early and headed over the roots music stage to check out the mighty Salmonela Dub. Its weird that I've never seen these guys live before, as I've been a fan for about 10 years, and to be quite frank, I don't think that a tent in the middle of a car park was really the place to a band like them for the first time. That said, they put on an enjoyable set, though it never really crossed over into amazing teritory, tho that was more to do with the situation than anything they were doing on stage. Next time they make it to this fair city, I'll make sure I tag along to check them out in a venue more conducive to their dubby soundscapes.
I had few hours to kill before my next must see act, so I wandered around, checking out the other stages, and some of the stalls and markets that were doing business. Wandering into the rock stage, I caught a couple of songs by The Valves. Servicable rock, nothing more. They weren't bad, its just that they weren't anything special either. I soon left to find some friends and have a few brews while Cornerstone Roots provided the sound track. Its moments like this I understand why Reggae is so popular, sun, beer, good company, you cannot go to wrong.
After finishing up our drinks, it was time to head to the Indie stage to check out Wellington heroes, So So Modern. These synth happy kids usually provide one of the best shows in town, with their energetic stage prescence and their brilliantly dancible angular pop tunes. The problem was that its hard to get that across to the crowd when some thief has stolen the bottom end from yr sound!!!! Seriously, even the drums were inaudible, horible. They carried on like troupers, possibly unaware on what was assaulting the punters out front. Eventually, the sound guys got their shit together and the last few songs of their set sounded like they should.
Next up, Die! Die! Die! Now, if there another band on the planet that can make people just lose their shit as much as these guys do, I've not seen them. Seriously, within about 10 seconds of these guys starting up, a massive circle pit had formed, people turned into human projectiles and fist fights were breaking out all over the place. After a song or two, and once security at the front of the stage tripled, things calmed down. A tiny bit. Yep, it was yr typical Die! Die! Die! set, the band going for it like there was no going back, and the crowd going with them step for step. Seriously, I was wondering if any of the other bands could top them for energy and sheer commitment. We would have to wait and see.
After Die! Die! Die!, we needed food and a lie down, so too the busking stage it was. Refueled and calmed down, it was back to the Indie stage to check out the soothing goodness that is Phoenix Foundation. Having only recently decided that these guys were worth my time, they produced the perfect set to soundtrack a post near-riot calm down, especially since they've toned down some of their proggier excesses. Left early to head to the dance tent, where Minuit were about to perform.
Got there just in time to catch the end of Sunshine Sound System, they seemed cool, tho I didn't hear enough of them to get a full idea of their sound. Minuit however, were greeted like returning heroes and played the best I've ever seen them, which is high praise cos last time they knocked me for six. Ruth was her usual effevesent self, jumping around and keeping the audience from flagging, not that there was any danger of that. They played all the old favourites, and still managed to leave us wanting more, fantastic.
Back at the Indie stage, The Checks were finishing up a set of their boring as fuck plod rock. I hate The Checks. But the main event was about to begin, fresh from a few months in Portland Origon US of A, The Mint Chicks!!!!!!!!!!!!!!!!!!!!! I was interested how they would sound as a 3 piece, with their bassist opting out of the USA adventures, and didn't have to wait long to find out, as they opened with a brand new tune, all drums and bass and Kody at his microphone destoying best. Seriously, how many gigs have you been to where the lead singer kills not one, not two, but three mics during the first song. Once the first song was despatched, they were joined by their old bassist and preceded to play a greatest hits set. It was incredible and intense, I've never seen them play with such ferosity ever. The crowd, while not at Die! Die! Die! levels of shit lossage (yep, I'm making words up), were going pretty crazy too, lapping up everything the Mint Chicks threw at us. It was loud too, so loud that towards the back of the venue it was apparently unbarable, but up the front, we cared little for such quibbles. Eventually, the band left the stage and the honorary call for an encore came from the crowd, the loudest I've heard in ages. Seriously, we must have been chanting for 5 minutes straight, and I was begining to wonder if they were coming out. Eventually, they did come back out and Kody dedicated Funeral Day to a friend of his that had recently passed away, and my god it was the best version of that song I have ever heard. One more song and they left us for good. My whole body ached. Time for bed.
Overall, a great concept executed well, I for one hope this isn't the last Homegrown.
I got there nice and early and headed over the roots music stage to check out the mighty Salmonela Dub. Its weird that I've never seen these guys live before, as I've been a fan for about 10 years, and to be quite frank, I don't think that a tent in the middle of a car park was really the place to a band like them for the first time. That said, they put on an enjoyable set, though it never really crossed over into amazing teritory, tho that was more to do with the situation than anything they were doing on stage. Next time they make it to this fair city, I'll make sure I tag along to check them out in a venue more conducive to their dubby soundscapes.
I had few hours to kill before my next must see act, so I wandered around, checking out the other stages, and some of the stalls and markets that were doing business. Wandering into the rock stage, I caught a couple of songs by The Valves. Servicable rock, nothing more. They weren't bad, its just that they weren't anything special either. I soon left to find some friends and have a few brews while Cornerstone Roots provided the sound track. Its moments like this I understand why Reggae is so popular, sun, beer, good company, you cannot go to wrong.
After finishing up our drinks, it was time to head to the Indie stage to check out Wellington heroes, So So Modern. These synth happy kids usually provide one of the best shows in town, with their energetic stage prescence and their brilliantly dancible angular pop tunes. The problem was that its hard to get that across to the crowd when some thief has stolen the bottom end from yr sound!!!! Seriously, even the drums were inaudible, horible. They carried on like troupers, possibly unaware on what was assaulting the punters out front. Eventually, the sound guys got their shit together and the last few songs of their set sounded like they should.
Next up, Die! Die! Die! Now, if there another band on the planet that can make people just lose their shit as much as these guys do, I've not seen them. Seriously, within about 10 seconds of these guys starting up, a massive circle pit had formed, people turned into human projectiles and fist fights were breaking out all over the place. After a song or two, and once security at the front of the stage tripled, things calmed down. A tiny bit. Yep, it was yr typical Die! Die! Die! set, the band going for it like there was no going back, and the crowd going with them step for step. Seriously, I was wondering if any of the other bands could top them for energy and sheer commitment. We would have to wait and see.
After Die! Die! Die!, we needed food and a lie down, so too the busking stage it was. Refueled and calmed down, it was back to the Indie stage to check out the soothing goodness that is Phoenix Foundation. Having only recently decided that these guys were worth my time, they produced the perfect set to soundtrack a post near-riot calm down, especially since they've toned down some of their proggier excesses. Left early to head to the dance tent, where Minuit were about to perform.
Got there just in time to catch the end of Sunshine Sound System, they seemed cool, tho I didn't hear enough of them to get a full idea of their sound. Minuit however, were greeted like returning heroes and played the best I've ever seen them, which is high praise cos last time they knocked me for six. Ruth was her usual effevesent self, jumping around and keeping the audience from flagging, not that there was any danger of that. They played all the old favourites, and still managed to leave us wanting more, fantastic.
Back at the Indie stage, The Checks were finishing up a set of their boring as fuck plod rock. I hate The Checks. But the main event was about to begin, fresh from a few months in Portland Origon US of A, The Mint Chicks!!!!!!!!!!!!!!!!!!!!! I was interested how they would sound as a 3 piece, with their bassist opting out of the USA adventures, and didn't have to wait long to find out, as they opened with a brand new tune, all drums and bass and Kody at his microphone destoying best. Seriously, how many gigs have you been to where the lead singer kills not one, not two, but three mics during the first song. Once the first song was despatched, they were joined by their old bassist and preceded to play a greatest hits set. It was incredible and intense, I've never seen them play with such ferosity ever. The crowd, while not at Die! Die! Die! levels of shit lossage (yep, I'm making words up), were going pretty crazy too, lapping up everything the Mint Chicks threw at us. It was loud too, so loud that towards the back of the venue it was apparently unbarable, but up the front, we cared little for such quibbles. Eventually, the band left the stage and the honorary call for an encore came from the crowd, the loudest I've heard in ages. Seriously, we must have been chanting for 5 minutes straight, and I was begining to wonder if they were coming out. Eventually, they did come back out and Kody dedicated Funeral Day to a friend of his that had recently passed away, and my god it was the best version of that song I have ever heard. One more song and they left us for good. My whole body ached. Time for bed.
Overall, a great concept executed well, I for one hope this isn't the last Homegrown.
It's an awesome feeling!!!!!!!!!!!!
So, it's Anzac Day and what better way to spend at least part of yr day off than to head over to Bar Bodega and sample some original music, which is what I did.
After checking out the slightly updated decor (Bodge is under new ownership), the first band, The Wind Ups, took the stage. These kids reminded me of the more discordant end of post-punk, with synths right out of Metal Box era PIL. Also it wouldn't surprise me much if they had listened to early Sonic Youth, it had that kinda vibe to it. Were they any good? I have to admit I'm still trying to work that one out. I honestly couldn't tell if they really couldn't play, or if they were just good musicians slumming it, trying to sound as grating as possible. That said, I heard enough that I'd be tempted to see them again, if only to make my mind up about them.
Disasteradio was next, and lived up to his usual high standards. His almost slightly cheesey brand of electronic pop had the crowd going from the outset and only continued to get better as he went on. More vocals than I'd seen him do previously, but I was kinda expecting that as one of his more recent vocals, Awesome Feeling, is very vocal heavy. As well as more vocals, the was also a screen showing video images relating to each song, some of which were worth the price of admission alone. A great set, reminding me that I should drag myself out to see him more often.
Cortina have been off the scene for a wee while now, with singer Bek having adventures in Europe. So as you can imagine, there was quite a large feeling of anticipation in the room before they got underway. For me, it was the excitement of not having seen them before and also wondering if they could top the amazing set from D-rad. Now they didn't quite deliver that, but were very cool none the less. If i had to describe the sound of Cortina, it would be Irony Metal. Confused? Let me explain. You see, they use a lot of bad metal cliches, but at the same time, subverting them into something a whole lot better. It cheesy as hell, and yet at the same time it isn't, y'know. Also, not afraid of the rediculous, they had a still drummer, who sat behind the drums, keeping perfectly still, occasionally holding the bass when Bek was playing keys. One song featured a rapper, who I believe may also do time in Coco Solid, but don't quote me on that.
A good evening of local music, and a great preparation for my adventures the following day(stay tuned of more details)
After checking out the slightly updated decor (Bodge is under new ownership), the first band, The Wind Ups, took the stage. These kids reminded me of the more discordant end of post-punk, with synths right out of Metal Box era PIL. Also it wouldn't surprise me much if they had listened to early Sonic Youth, it had that kinda vibe to it. Were they any good? I have to admit I'm still trying to work that one out. I honestly couldn't tell if they really couldn't play, or if they were just good musicians slumming it, trying to sound as grating as possible. That said, I heard enough that I'd be tempted to see them again, if only to make my mind up about them.
Disasteradio was next, and lived up to his usual high standards. His almost slightly cheesey brand of electronic pop had the crowd going from the outset and only continued to get better as he went on. More vocals than I'd seen him do previously, but I was kinda expecting that as one of his more recent vocals, Awesome Feeling, is very vocal heavy. As well as more vocals, the was also a screen showing video images relating to each song, some of which were worth the price of admission alone. A great set, reminding me that I should drag myself out to see him more often.
Cortina have been off the scene for a wee while now, with singer Bek having adventures in Europe. So as you can imagine, there was quite a large feeling of anticipation in the room before they got underway. For me, it was the excitement of not having seen them before and also wondering if they could top the amazing set from D-rad. Now they didn't quite deliver that, but were very cool none the less. If i had to describe the sound of Cortina, it would be Irony Metal. Confused? Let me explain. You see, they use a lot of bad metal cliches, but at the same time, subverting them into something a whole lot better. It cheesy as hell, and yet at the same time it isn't, y'know. Also, not afraid of the rediculous, they had a still drummer, who sat behind the drums, keeping perfectly still, occasionally holding the bass when Bek was playing keys. One song featured a rapper, who I believe may also do time in Coco Solid, but don't quote me on that.
A good evening of local music, and a great preparation for my adventures the following day(stay tuned of more details)
Saturday, April 19, 2008
Are they selling spiral scratches or aural pleasure?
So, I'm up early on the weekend yet again, tho this time didn't involve last minute present shopping. No, today is International Independent Record Store Day (or something like that) and to celebrate, Wellingtons best indie record store, Slow Boat Records, got Samuel Flynn Scott from The Phoenix Foundation to play some songs off the new album from his side project, Bunnys on Ponys. While having a butchers through the racks beforehand, I somehow managed to get interviewed by National Radio about record stores and why I love them so. Very cool, gonna be on later today I think. (http://www.radionz.co.nz/national/home). (I got to big up Wires 154 album, and Wonderland Records(RIP?) )
Bunnys on Ponys were very cool, kinda chuggy indie rock similar to the Phoenix Foundation, but removed a wee bit from their more proggy electronic elements. The band features Tom Watson (HLAH, Cassette, etc) on bass and Craig Terris (Cassette, Baconfoot, etc) on drums and some guys who I didn't catch the names of on guitars/keys and backing vocals, so yep, a bit of Wellington supergroup of sorts. They only played songs off their new record, due out on Wednesday, cos they only had time to rehearse songs off the new album, but going off what they played, I'll be picking it up when I see a copy. Like I said, the songs were very chuggy indie pop, with sweet vocal harmonies, and played in fashion that was just the right side of understated. There was also a cool instrumental track where Mr Watson played trumpet, which was a treat for those of us who were fans of HLAH way back in the day. That had a fair chunk of the crowd clapping along. And, on top of that, gigs in record stores are cool.
In my time on this rock we call the Earth, I've learned that there are people that you should always be good to. There's your parents, your barkeeper(if Tim Rogers says so, then by hokey it has to be true), your friends(most of the time anyways ;-p), etc, etc, etc. If someone hasn't already added it to the list, I'd like to add Record Store people to the list of people one must always be good to.
Oh, and before I go, GO TEAM WELLINGTON!!!!!!!!!!!!!!!!!!!
Bunnys on Ponys were very cool, kinda chuggy indie rock similar to the Phoenix Foundation, but removed a wee bit from their more proggy electronic elements. The band features Tom Watson (HLAH, Cassette, etc) on bass and Craig Terris (Cassette, Baconfoot, etc) on drums and some guys who I didn't catch the names of on guitars/keys and backing vocals, so yep, a bit of Wellington supergroup of sorts. They only played songs off their new record, due out on Wednesday, cos they only had time to rehearse songs off the new album, but going off what they played, I'll be picking it up when I see a copy. Like I said, the songs were very chuggy indie pop, with sweet vocal harmonies, and played in fashion that was just the right side of understated. There was also a cool instrumental track where Mr Watson played trumpet, which was a treat for those of us who were fans of HLAH way back in the day. That had a fair chunk of the crowd clapping along. And, on top of that, gigs in record stores are cool.
In my time on this rock we call the Earth, I've learned that there are people that you should always be good to. There's your parents, your barkeeper(if Tim Rogers says so, then by hokey it has to be true), your friends(most of the time anyways ;-p), etc, etc, etc. If someone hasn't already added it to the list, I'd like to add Record Store people to the list of people one must always be good to.
Oh, and before I go, GO TEAM WELLINGTON!!!!!!!!!!!!!!!!!!!
Wednesday, April 16, 2008
pretty pictures on their record cover
There's nothing like last minute gift buying to empty yr wallet, and not necesarily on gifts for others (I bought stuff for other people too, but the whole stress of being up before midday on a weekend was too much dammit). So, I'm in a record store and while browsing, a shiny pink album cover catches my eye. What could this be? On closer inspection, I discover it's the new HDU album, Metamathics. Now, I don't know about you, but when I see a new HDU album, I don't usually leave the record store empty handed, a habit I didn't break on the weekend.
Now, the basics. Its on Shoot The Freak records, its 6 tracks long, one of which is Tunguska, which was released on an EP a while back, and Stupormodel, which was released last year on a split 7 inch with Die! Die! Die! and sounds like it too. Stupormodel is the opening track and is as aggresive as anything HDU have done before, a perfect album opener. Fur Patrols Julia Deans guests on Grace, her vocals blending in nicely with the ambient rock action being produced by our heroes. Also of note is the last track, Wish We Were Here (Floyd reference per chance?), which features a soft piano played over what sounds like a dying amplifier, which sounds a beautiful as you would expect. If I have any problems with this album, great as it is, we've kinda heard this all before for the most part from HDU, there's not a lot on the album that sounds out of left field. Now, while this still makes for a pleasurable listening experience, and will kick arse live, it would be nice if they had maybe tried some new tricks. That said, they did have the computer they were recording on die while making the album, so that could have been a contributing factor, as they are a band that view the studio almost like another instrument.
AND, they must read this blog, cos my prayers have been answered, HDU are touring in May, hitting San Fran Bath House on May 15th according to their myspace (http://www.myspace.com/highdependencyunit) , where you can also give the album a listen, tho really you wanna run, not walk, to yr local record store once you've finished reading this and buy Metamathics, trust me, you'll thank me later.
Also saw the new Portishead video the other night, for a wee tune called MachineGun. First thing they've released in 10 years and my god its sweet, very drum heavy, quite a departure, tho the video looks like they've been watching those Radiohead webcasts. They have a new album coming out at the end of the month (28th April I believe), and I for one am very excited about that (tho not as excited about the Radiohead DVD coming out in June)
Now, the basics. Its on Shoot The Freak records, its 6 tracks long, one of which is Tunguska, which was released on an EP a while back, and Stupormodel, which was released last year on a split 7 inch with Die! Die! Die! and sounds like it too. Stupormodel is the opening track and is as aggresive as anything HDU have done before, a perfect album opener. Fur Patrols Julia Deans guests on Grace, her vocals blending in nicely with the ambient rock action being produced by our heroes. Also of note is the last track, Wish We Were Here (Floyd reference per chance?), which features a soft piano played over what sounds like a dying amplifier, which sounds a beautiful as you would expect. If I have any problems with this album, great as it is, we've kinda heard this all before for the most part from HDU, there's not a lot on the album that sounds out of left field. Now, while this still makes for a pleasurable listening experience, and will kick arse live, it would be nice if they had maybe tried some new tricks. That said, they did have the computer they were recording on die while making the album, so that could have been a contributing factor, as they are a band that view the studio almost like another instrument.
AND, they must read this blog, cos my prayers have been answered, HDU are touring in May, hitting San Fran Bath House on May 15th according to their myspace (http://www.myspace.com/highdependencyunit) , where you can also give the album a listen, tho really you wanna run, not walk, to yr local record store once you've finished reading this and buy Metamathics, trust me, you'll thank me later.
Also saw the new Portishead video the other night, for a wee tune called MachineGun. First thing they've released in 10 years and my god its sweet, very drum heavy, quite a departure, tho the video looks like they've been watching those Radiohead webcasts. They have a new album coming out at the end of the month (28th April I believe), and I for one am very excited about that (tho not as excited about the Radiohead DVD coming out in June)
Monday, March 31, 2008
I Get The Spirit, But Lose The Feeling
Now, there are some bands that you hear and you know they're gonna be a big part of your life from the moment you hear 'em for the first time. For me Joy Division were one of those bands. A good friend let me borrow a compilation he had on CD, and I don't think I've been the same since, given that it was my doorway into the genre known as Post-Punk, a genre that fair gives me the willy wobbles. Fuck, I even learned to play bass while listening to their records (partly cos I didn't own any Ramones records at that point, partly cos the bass is rather prominent in most Joy Division songs).
Last night, thanks to the wonderful World Cinema Showcase, I got to see the new Joy Division doco, which was made by Grant Gee, probably most famous for making Meeting People Is Easy, a documentary about Radiohead, circa the madness that was the OK Computer album/tour/world domination thingy. Given that I really enjoyed that doco, and I really love Joy Division, this was gonna be a real no brainer, unless Gee managed to fuck it up somehow. Thankfully, this wasn't the case. The doco was well paced, plus pretty much all of the people interviewed were informative and funny. The surviving members of the band in particular were very entertaining, providing many anecdotes about the early days of the band, when they were called Warsaw and were pretty much one of those dime a dozen punk groups that sprung up in the wake of the Sex Pistols. The late Tony Wilson was amusing as always, as was Peter Saville, who designed all those great Joy Division/New Order album covers.
Sadly, there were a few key characters in the story that couldn't/didn't/wouldn't state their case. Joy Divisions manager Rob Gretton passed away in the 90s. Ian Curtis, Joy Divisions lead singer, hung himself on the eve of a US tour in 1980, an act that contributed to the aura that Joy Division carries. Oddly, Curtis's widow, Deborah, was absent from precedings, possibly due to her involvement in the Ian Curtis biopic Control, possibly due to the fact that Curtis's mistress was also interviewed for this doco, who knows.
Now, apart from the great interviews, there was also a huge chunk of great archival footage used. The audio of John Peel mistakenly playing Atmosphere at twice the normal speed, something Peel did to a lot of records throughout his broadcasting career, is probably worth the price of admission alone. Plus there was plenty of live and TV footage of Joy Division. When the DVD comes out, it will hopefully make use of this footage, presenting it uncut, thus making it a must buy DVD. One can but hope.
It was interesting, and slightly unavoidable, while watching the doco to compare and contrast this doco with Control, the Ian Curtis biopic based Deborah Curtis's book, Touching From a Distance. Control was the directorial debut for Anton Corbijn, photographer par excellance, and as such was beautifully shot. Plus, as both films prove, the story of Joy Division and Ian Curtis is a compelling one. The problem I had with Control was that there were certain aspects of the Ian Curtis legend that are well known, but were dropped into the film almost like product placements(lingering shots on the infamous "HATE" jacket and the cover of Iggy Pops "The Idiot"(reprtedly the last album Curtis listened to) in particular got my goat a touch). While both of these were refered to in the doco, they weren't made to key parts of the narritive like the seemed in Control.
That said, any problems I had with Control were minor and it works as a companion piece with Joy Division the documentary. Plus, add to these the Micheal Winterbottom directed Tony Wilson biopic 24 Hour Party People and you get a pretty good feel for the Manchester scene that produced so much great music from the late 70s, right through to the early 90s(tho' none of these film really mention The Smiths, Stone Roses, or Oasis, tho its not really in their frames of reference, particularily on the case of the Joy Division doco and Control).
Anyhoo, Joy Division, great band and and a great doco. Well worth checking out if yr a fan and even if yr not, and enjoyable viewing experience.
Last night, thanks to the wonderful World Cinema Showcase, I got to see the new Joy Division doco, which was made by Grant Gee, probably most famous for making Meeting People Is Easy, a documentary about Radiohead, circa the madness that was the OK Computer album/tour/world domination thingy. Given that I really enjoyed that doco, and I really love Joy Division, this was gonna be a real no brainer, unless Gee managed to fuck it up somehow. Thankfully, this wasn't the case. The doco was well paced, plus pretty much all of the people interviewed were informative and funny. The surviving members of the band in particular were very entertaining, providing many anecdotes about the early days of the band, when they were called Warsaw and were pretty much one of those dime a dozen punk groups that sprung up in the wake of the Sex Pistols. The late Tony Wilson was amusing as always, as was Peter Saville, who designed all those great Joy Division/New Order album covers.
Sadly, there were a few key characters in the story that couldn't/didn't/wouldn't state their case. Joy Divisions manager Rob Gretton passed away in the 90s. Ian Curtis, Joy Divisions lead singer, hung himself on the eve of a US tour in 1980, an act that contributed to the aura that Joy Division carries. Oddly, Curtis's widow, Deborah, was absent from precedings, possibly due to her involvement in the Ian Curtis biopic Control, possibly due to the fact that Curtis's mistress was also interviewed for this doco, who knows.
Now, apart from the great interviews, there was also a huge chunk of great archival footage used. The audio of John Peel mistakenly playing Atmosphere at twice the normal speed, something Peel did to a lot of records throughout his broadcasting career, is probably worth the price of admission alone. Plus there was plenty of live and TV footage of Joy Division. When the DVD comes out, it will hopefully make use of this footage, presenting it uncut, thus making it a must buy DVD. One can but hope.
It was interesting, and slightly unavoidable, while watching the doco to compare and contrast this doco with Control, the Ian Curtis biopic based Deborah Curtis's book, Touching From a Distance. Control was the directorial debut for Anton Corbijn, photographer par excellance, and as such was beautifully shot. Plus, as both films prove, the story of Joy Division and Ian Curtis is a compelling one. The problem I had with Control was that there were certain aspects of the Ian Curtis legend that are well known, but were dropped into the film almost like product placements(lingering shots on the infamous "HATE" jacket and the cover of Iggy Pops "The Idiot"(reprtedly the last album Curtis listened to) in particular got my goat a touch). While both of these were refered to in the doco, they weren't made to key parts of the narritive like the seemed in Control.
That said, any problems I had with Control were minor and it works as a companion piece with Joy Division the documentary. Plus, add to these the Micheal Winterbottom directed Tony Wilson biopic 24 Hour Party People and you get a pretty good feel for the Manchester scene that produced so much great music from the late 70s, right through to the early 90s(tho' none of these film really mention The Smiths, Stone Roses, or Oasis, tho its not really in their frames of reference, particularily on the case of the Joy Division doco and Control).
Anyhoo, Joy Division, great band and and a great doco. Well worth checking out if yr a fan and even if yr not, and enjoyable viewing experience.
Sunday, March 30, 2008
The Shifting of the Techtonic Plates and Stuff
So, last night, rainy and horrible, I turned down the chance to go look at balloons in Masterton with pals, cos I had something much better planned. Yep, Jakob have been around for 10 years (and it went sooooo fast too), and to celebrate, they've been touring our fair nation and last night, they played the San Francisco Bath House, confusingly located in Wellington(ha, I'm funny).
First band of the night was Ulcerate. I say band, it could've been one person, I dunno, I was late getting to the gig, my tardiness due to faffing around the flat watching Mean Girls (I know, but I can't help it if I think Lindsey Lohan (pre-rehab) is a wee cutie) and missed Ulcerate. I hear they were really good, so I owe them(?) a rain check.
Next band of the night, Akaname. Now these guys I enjoyed. A LOT!!!!!! I guess these guys have a background in playing metal or maybe the harder end of hardcore punk, cos they were brutal, tighter than a nuns wotsit. Reminded me a whole lot of Envy, one moment crushingly brutal, the next, crushingly beautiful. Having a 3 guitarist set-up meant that there could be plenty of high-end solo-y action, without losing any of the bottom end brutality. Plus a couple of times, they did that 3 guitarist all playing the same chord, but each slightly differently, creating that really cool droney sound that Sonic Youth do so so well. And the rhythm section were amazing as well, the drummer shifting from plain old thrahsy-thrashing to a loose jazy touch at the drop of a hat and bassist matching him, and the rest of the band, step for step. I'll be making sure to catch these guys again.
Then, Kahu. Kahu is basically the solo project for Tristan Dingemans from HDU, one of my absolutely favourite bands. The set-up was him, a guitar, a microphone, and a small betalion of pedals. Each song consisted of Tristan building loops of sound and just letting it grow and grow and grow until the sound was almost overwhelming. It was absolutely beautiful. While not a million miles away from what he does with HDU, being outside the constraints of a normal band set-up meant that Tristan could stretch out the songs a little, plus his guitar playing lends itself to a slightly more ambient approach. I almost didn't want him to stop, but alas, it had to end so we could get to the main event. Please come back soon, and bring the rest of HDU with you as well, its been too long!!!!
Jakob!!!!!!!!!! Ten years already? They basically slayed the audience, from the moment the stepped on stage to the moment they pulled stumps and retreated back stage. They played tunes from all 3 albums and were pretty much the perfect encapsulation of the 2 acts that performed prior to them, their songs having a brutal quality to them, like Akaname, and a swelling beautifulness, like Kahu. And the older material was tweeked a little to suit the newer material from Solace, an album which while treading similar ground to their previous material, showed that there was new teritory to explore, something that a lot of "post-rock"-type bands can begin to suffer from. Jakob have side-stepped this, while staying true to what made them great. After an hour or so of Jakob-y goodness, they were joined on stage by Tristan Dingemans, to play a tune from 2nd album Cale/Drew which he'd added his guitar to. This Jakob/HDU cross-over was as amazing in a live setting as it is on the album, eventually the rhythm section left the stage to a rousing applause, while the 2 guitarists continued to stretch out the ending of the song with some nice ambient, feedback-y sweetness. Then it was over.
There were video cameras on stage throughout the night and plenty of microphone throughout the venue, so I guess the gig was being recorded for something. A live album/DVD of some sort maybe. One can only hope. It was a gig worth dragging myself out into the weather to witness.
First band of the night was Ulcerate. I say band, it could've been one person, I dunno, I was late getting to the gig, my tardiness due to faffing around the flat watching Mean Girls (I know, but I can't help it if I think Lindsey Lohan (pre-rehab) is a wee cutie) and missed Ulcerate. I hear they were really good, so I owe them(?) a rain check.
Next band of the night, Akaname. Now these guys I enjoyed. A LOT!!!!!! I guess these guys have a background in playing metal or maybe the harder end of hardcore punk, cos they were brutal, tighter than a nuns wotsit. Reminded me a whole lot of Envy, one moment crushingly brutal, the next, crushingly beautiful. Having a 3 guitarist set-up meant that there could be plenty of high-end solo-y action, without losing any of the bottom end brutality. Plus a couple of times, they did that 3 guitarist all playing the same chord, but each slightly differently, creating that really cool droney sound that Sonic Youth do so so well. And the rhythm section were amazing as well, the drummer shifting from plain old thrahsy-thrashing to a loose jazy touch at the drop of a hat and bassist matching him, and the rest of the band, step for step. I'll be making sure to catch these guys again.
Then, Kahu. Kahu is basically the solo project for Tristan Dingemans from HDU, one of my absolutely favourite bands. The set-up was him, a guitar, a microphone, and a small betalion of pedals. Each song consisted of Tristan building loops of sound and just letting it grow and grow and grow until the sound was almost overwhelming. It was absolutely beautiful. While not a million miles away from what he does with HDU, being outside the constraints of a normal band set-up meant that Tristan could stretch out the songs a little, plus his guitar playing lends itself to a slightly more ambient approach. I almost didn't want him to stop, but alas, it had to end so we could get to the main event. Please come back soon, and bring the rest of HDU with you as well, its been too long!!!!
Jakob!!!!!!!!!! Ten years already? They basically slayed the audience, from the moment the stepped on stage to the moment they pulled stumps and retreated back stage. They played tunes from all 3 albums and were pretty much the perfect encapsulation of the 2 acts that performed prior to them, their songs having a brutal quality to them, like Akaname, and a swelling beautifulness, like Kahu. And the older material was tweeked a little to suit the newer material from Solace, an album which while treading similar ground to their previous material, showed that there was new teritory to explore, something that a lot of "post-rock"-type bands can begin to suffer from. Jakob have side-stepped this, while staying true to what made them great. After an hour or so of Jakob-y goodness, they were joined on stage by Tristan Dingemans, to play a tune from 2nd album Cale/Drew which he'd added his guitar to. This Jakob/HDU cross-over was as amazing in a live setting as it is on the album, eventually the rhythm section left the stage to a rousing applause, while the 2 guitarists continued to stretch out the ending of the song with some nice ambient, feedback-y sweetness. Then it was over.
There were video cameras on stage throughout the night and plenty of microphone throughout the venue, so I guess the gig was being recorded for something. A live album/DVD of some sort maybe. One can only hope. It was a gig worth dragging myself out into the weather to witness.
Sunday, March 23, 2008
rockin' the burbs y'all
So, its a Saturday night, in the middle of easter no less, and there's nothing better to than to rock on down to the mighty Westpac Stadium (or The Caketin or The Ring of Fire depending on how you like your balls) for the first night of Rock 2 Wellington, the rock festival where large numbers of bogans come out to play. It was a pretty kickass line up too, Lordi, Alice Cooper, and the worlds greatest Kiss tribute band, KISS!!!!!!!!
After a few pre-gig drinks with mates, we rocked on up, our tickets taking us into the mosh pit area right up the front. Now, thanks to taking our time with the pre-gig drinks, there was little waiting around for the opening act. Or should I say acts. Placed around the stadium where you usually sit for the sporting events were 6 guitar gods, all taking their turn to slay the amassed crowd into submission with their guitaring prowess. Yep, it was a boring as it sounds, tho' the last 2 spiced things up a bit with a feedback solo from the 1st, and guitar smash-age from the 2nd.
Once the would-be guitar gods were out of the way, it was time for our 1st band, Lordi, all the way from somewhere in Scandinavia. Now, being that these guys were a) Scandinavian, b) in costume, and c) former Eurovision song contest winners, I was pretty much expecting to hate Lordi. But, they were brilliant. They didn't take themselves too seriously, the songs, while not making wanna buy an album any time soon, were pretty cool. There were explosions on stage, and theatrics. They were just fun.
Next up were locals Sonic Alter. Now, given that a) they were local support at a "Rock" gig and b) they were playing, not on the main stage, but a tiny stage up in the grandstand to the side of the main stage, I was pretty much expecting to hate Sonic Alter. But, again, I was mistaken, these guys were pretty cool too, nothing special, but pretty servicable chuggy rock. Also, while they were playing, the crowd were entertained by a dragon shooting lasers (thanks weta), demonic looking chairleaders, and firedancers.
Next up on the main stage was Alice Cooper. Now here is a guy who has been plying his trade for nearly 40 years. Now when you consider that, you'ld think that he'd maybe tone down his show a little, given that he's getting on a bit. You could, but that would condescending as all hell. The guy was fucking incredible, he had everthing, the great songs, a kickass backing band, great stage show, awesome!!!!! I knew it was going to be a great set when 3 songs in, Alice launches into Under My Wheels, one of my favourite Cooper tunes, and one I wasn't really expecting to hear, expecially 3rd song in the set, and more especially with the reaction it got from the crowd. They (we) were so into it, every tune greeted like an old pal. All the classics, No More Mister Nice Guy, Welcome To My Nightmare, Schools Out, plus an encore featuring Poison and Elected!!! Fantastic. Plus, there were what I guess you might call dancers, acting out some of the more theatrical tunes, which are Coopers trademark. There was Alice killing a baby, escpaing a straightjacket, and late in the set, being hung from the gallows. And, best thing, the crowd bought the whole lot, Alice had us in the palm of his hand fron the moment he walked on stage. Fantastic!!!
After Alice had finished slaying us, it was time for more fire dancers, more demonic chairleaders, more laser shooting dragon action, and more local support act action. I didn't catch the name of the 2nd kiwi band, but it didn't matter cos they were rubbish. No groove at all, I would actually be shocked if they had actually met before the gig, let alone played together. I mean oragnisers, really. Were 5 Star Fallout busy? And how bad must it have been for the band to not only have the power go out and put them out of our missery, but during their set, you could hear the stage crew sound checking Gene Simmons bass. Loudly. Like drowning out the support band loud! Oh, how I laughed.
Now it was time for the main event. The stage was set, the banner at the front of the stage was falling down even before the stage anouncer greeted us with the most famous words in rock.....You wanted the best, you got the best, KISS!!!!!!!!!!!(or something to that effect) There a big boom coutesy of the fireworks, the big banner eventually came down after its ealier reluctance to stay up, a Kiss launched into Duece. There they were, Kiss. First song was brilliant, but as the banner shenanigans proved, it wasn't really gonna be their night. Paul Stanley tried all his stage banter to get the crowd going, but either the crowd were not into it, or only a handful of us had heard Kiss Alive. It wasn't like Kiss were playing poorly, far from it, they have a reputation for being a kickass live band, and as far as I was concerned, they lived up that reputation. Its just that the crowd reaction was flat, and crowd participation part of the Kiss magic, you know the whole call and response bit, the crowd hanging on Paul Stanleys every word, that kinda stuff. Yeah, things just kinda fell a bit flat. Then, Gene comes forward to do the blood spitting thing. The build up was incredible, you started to get the impression that the crowd might finally get the whole thing and cut loose, then, blugh, blood everywhere, really cool, then via the harness in his back, Gene was about to fly to the top of the stage!!!!!! Or, to about a foot and a half above the stage. Yep, it didn't work how it was meant to. Bummer. At least it worked when the attached cable to Eric Singers drum riser and lifted him to the top of the stage during the set. I should mention the pyrotechnic action. During all the climactic moments, there would be fire erupting from the stage, or some sorta fireworks going off. Very cool. Kiss do put on a very tight show, everything is timed to perfection, and despite the lack of crowd enthusiasm (they seemed to enjoy the set, just not by Kiss standards I think) and Gene's harness mishap, things were going great. (Oh, did I mention that the stadium was far from full? Don't think Rock 2 Wellington will be happening next year somehow). Next trick was Paul saying I wanted to see the folks at the back, which was funny cos the "back" of the mosh pit was about 3/4 the way from the front of the area allocated for the moshpit area, and thats me being an optimist. Undeterred by this, Paul jumps on a flying fox contraption and "flys" to the back and plays a song from a little stage on top of the sound desk, then flew back again. The less said about the acoustic version of Shandi the better (I just don't like that tune). The set finished with a great version of Rock and Roll Allnite, we got covered in mini tissues, there were more explosions, etc, and Kiss left the stage to count their money.
Now, I don't wanna give the impression I hated Kiss's set. Far from it, I had the best time. But it was just a bit flat, the crowd weren't as into it as Kiss would have liked (and it showed too). The other comedy moment was Paul leaving a line hanging for the crowd to sing, and about 3 people self conciously doing so. Pauls next words were "I heard absolutely no one!" and he seemed absolutely shocked. Great gig, flat crowd, Alice Cooper was the winner on the day, but not by much.
After a few pre-gig drinks with mates, we rocked on up, our tickets taking us into the mosh pit area right up the front. Now, thanks to taking our time with the pre-gig drinks, there was little waiting around for the opening act. Or should I say acts. Placed around the stadium where you usually sit for the sporting events were 6 guitar gods, all taking their turn to slay the amassed crowd into submission with their guitaring prowess. Yep, it was a boring as it sounds, tho' the last 2 spiced things up a bit with a feedback solo from the 1st, and guitar smash-age from the 2nd.
Once the would-be guitar gods were out of the way, it was time for our 1st band, Lordi, all the way from somewhere in Scandinavia. Now, being that these guys were a) Scandinavian, b) in costume, and c) former Eurovision song contest winners, I was pretty much expecting to hate Lordi. But, they were brilliant. They didn't take themselves too seriously, the songs, while not making wanna buy an album any time soon, were pretty cool. There were explosions on stage, and theatrics. They were just fun.
Next up were locals Sonic Alter. Now, given that a) they were local support at a "Rock" gig and b) they were playing, not on the main stage, but a tiny stage up in the grandstand to the side of the main stage, I was pretty much expecting to hate Sonic Alter. But, again, I was mistaken, these guys were pretty cool too, nothing special, but pretty servicable chuggy rock. Also, while they were playing, the crowd were entertained by a dragon shooting lasers (thanks weta), demonic looking chairleaders, and firedancers.
Next up on the main stage was Alice Cooper. Now here is a guy who has been plying his trade for nearly 40 years. Now when you consider that, you'ld think that he'd maybe tone down his show a little, given that he's getting on a bit. You could, but that would condescending as all hell. The guy was fucking incredible, he had everthing, the great songs, a kickass backing band, great stage show, awesome!!!!! I knew it was going to be a great set when 3 songs in, Alice launches into Under My Wheels, one of my favourite Cooper tunes, and one I wasn't really expecting to hear, expecially 3rd song in the set, and more especially with the reaction it got from the crowd. They (we) were so into it, every tune greeted like an old pal. All the classics, No More Mister Nice Guy, Welcome To My Nightmare, Schools Out, plus an encore featuring Poison and Elected!!! Fantastic. Plus, there were what I guess you might call dancers, acting out some of the more theatrical tunes, which are Coopers trademark. There was Alice killing a baby, escpaing a straightjacket, and late in the set, being hung from the gallows. And, best thing, the crowd bought the whole lot, Alice had us in the palm of his hand fron the moment he walked on stage. Fantastic!!!
After Alice had finished slaying us, it was time for more fire dancers, more demonic chairleaders, more laser shooting dragon action, and more local support act action. I didn't catch the name of the 2nd kiwi band, but it didn't matter cos they were rubbish. No groove at all, I would actually be shocked if they had actually met before the gig, let alone played together. I mean oragnisers, really. Were 5 Star Fallout busy? And how bad must it have been for the band to not only have the power go out and put them out of our missery, but during their set, you could hear the stage crew sound checking Gene Simmons bass. Loudly. Like drowning out the support band loud! Oh, how I laughed.
Now it was time for the main event. The stage was set, the banner at the front of the stage was falling down even before the stage anouncer greeted us with the most famous words in rock.....You wanted the best, you got the best, KISS!!!!!!!!!!!(or something to that effect) There a big boom coutesy of the fireworks, the big banner eventually came down after its ealier reluctance to stay up, a Kiss launched into Duece. There they were, Kiss. First song was brilliant, but as the banner shenanigans proved, it wasn't really gonna be their night. Paul Stanley tried all his stage banter to get the crowd going, but either the crowd were not into it, or only a handful of us had heard Kiss Alive. It wasn't like Kiss were playing poorly, far from it, they have a reputation for being a kickass live band, and as far as I was concerned, they lived up that reputation. Its just that the crowd reaction was flat, and crowd participation part of the Kiss magic, you know the whole call and response bit, the crowd hanging on Paul Stanleys every word, that kinda stuff. Yeah, things just kinda fell a bit flat. Then, Gene comes forward to do the blood spitting thing. The build up was incredible, you started to get the impression that the crowd might finally get the whole thing and cut loose, then, blugh, blood everywhere, really cool, then via the harness in his back, Gene was about to fly to the top of the stage!!!!!! Or, to about a foot and a half above the stage. Yep, it didn't work how it was meant to. Bummer. At least it worked when the attached cable to Eric Singers drum riser and lifted him to the top of the stage during the set. I should mention the pyrotechnic action. During all the climactic moments, there would be fire erupting from the stage, or some sorta fireworks going off. Very cool. Kiss do put on a very tight show, everything is timed to perfection, and despite the lack of crowd enthusiasm (they seemed to enjoy the set, just not by Kiss standards I think) and Gene's harness mishap, things were going great. (Oh, did I mention that the stadium was far from full? Don't think Rock 2 Wellington will be happening next year somehow). Next trick was Paul saying I wanted to see the folks at the back, which was funny cos the "back" of the mosh pit was about 3/4 the way from the front of the area allocated for the moshpit area, and thats me being an optimist. Undeterred by this, Paul jumps on a flying fox contraption and "flys" to the back and plays a song from a little stage on top of the sound desk, then flew back again. The less said about the acoustic version of Shandi the better (I just don't like that tune). The set finished with a great version of Rock and Roll Allnite, we got covered in mini tissues, there were more explosions, etc, and Kiss left the stage to count their money.
Now, I don't wanna give the impression I hated Kiss's set. Far from it, I had the best time. But it was just a bit flat, the crowd weren't as into it as Kiss would have liked (and it showed too). The other comedy moment was Paul leaving a line hanging for the crowd to sing, and about 3 people self conciously doing so. Pauls next words were "I heard absolutely no one!" and he seemed absolutely shocked. Great gig, flat crowd, Alice Cooper was the winner on the day, but not by much.
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