3 012 #03 1 M AY 2
SWITCH8039C
8690193AA
Friend us. Fan us. Follow us.
Last Friday Home Brew’s Tom Scott, Haz Beats and Lui Silk stormed the APN offices and laid down a gauntlet – issue #033 of VOLUME was theirs, and, with or without our blessing, they planned to use all means necessary to ensure their territorial pissings were splashed cover to cover of this week’s issue. AND HERE YOU have it this is bull del dolobore not utpat venissim zzrillametue volum quis numsan volorti ncillandip ea faci eugiam, consequ ipiscincin veliquisi etum zzriureet veraessi et, veliquisis aliqui blaortin eugiamcon henis am, commy nisi tinit lut alit utatuero euismodigna faccum accum aliscilla aliquam etumsandigna commy nostrud dit vel ut loborem diamet adiam in henit velit lut alisi. Agnim quamcor sum dolor in ullum vendigna feuguer sit ut vulluptatet vulpute tueros dunt nibh ea faci bla consent at el in heniam, sequis nummy nis nibh eugiat lor sequipi scillam, quat augiate min ut delisit adio ex eleniatie et velit at lore tis et nosto exerostie velit dolesent dunt luptat, sed dolor senim am, se magna acil ut nulputp atuercin ut er alisi blaor augiamet alit dolobor eratem velit lore vendigna feuisi tie facilla alisit, quis eratiniat praeseniam, vent prat aliquat incing er adio ex Na faciduis adip eu faccum quisi. Ex el eum dolobore velent dolutpat essequis adigna faccum in utem qui ex et nonse del iniametue duissenisi eliqui blaore molorem zzrilla conulput venim acipit aliquis eummod tisit velisit atet aciduis dolortis et alit, si bla augiam et, quisse faciliquisi tin henim dolorpero con fuzz ipsustie mod min heniscip esequam diamcortio dunt love il utatinisis aut wiscipi smodigna facipsum quam vulla sounds niamcor sequam quis autet nullutpatue conullu mmodit ut vel ullan ut wisi. Qui bla facillan velisim velit eugue magniam autem Isnt odolobor sis augiam nonsed magnibh el in ulla hilarious vel exer iliquatis dolobor erostrud tionull bloody, si.
Facebook.com/volumemag
@__volume__
EDITOR: Sam Wicks sam.wicks@volumemagazine.co.nz WEB EDITOR: Hugh Sundae hugh.sundae@nzherald.co.nz DEPARTMENT OF VOLUME SALES: Brad Morgan brad.morgan@apn.co.nz DESIGN: Xanthe Williams WRITERS: Benny Blanco, Lui Gumaka, Duncan Greive, Jessica Hansell, Haz Huavi, Hux Huavi, Sussie Huavi, Stephanie Ikinofo, Joe Nunweek, Jane Scott, Peter Scott, Tom Scott, Hugh Sundae, Aaron Yap ILLUSTRATION: Stephanie Ikinofo, Lopeti Tu’itahi PHOTOGRAPHERS: Stjohn Milgrew, Milana Radojcic AN APN PUBLICATION
TOM SCOTT’S MUM JANE SCOTT How does it feel to have your 27-year-old son still living at home? I really enjoy Tom’s company and it’s much easier to cook for two. We are a bit like ships in the night and even when we are home together he spends all his time writing in the “bat cave” he calls his bedroom. I am the boss of the TV remote though. And would you believe I still do his washing for him? Have you listened to the new Home Brew album? Tom has only played certain tracks to me ’cause he knows I don’t approve of the swearing, so, no, I haven’t listened to the album yet. I wanted to buy it through iTunes but couldn’t work out how to do it. When did you first realise your son wanted to be a musician? He was 10 when his Dad brought him a Snoop Doggy Dogg cassette tape which I threw in the bin because it had an R18 rating. I first realised Tom wanted to be a musician when he was about 15, but I refused to go along with it as I didn’t want him to be poor all of his life like all the musicians I knew. I wanted him to be an accountant… No, not really – I am actually very proud of him. How old was Tom when you took him to his first gig? He was three weeks old when his Dad played at Glastonbury with Dr John. We were backstage and I remember being in Third World’s caravan thinking the ganja smoke in here is not good for my baby! How drunk were you at the last Home Brew gig? I’d been backstage at The Powerstation with an old friend of ours who was playing with Nick Lowe – we’d been drinking free wine for hours so I was pretty drunk. Just as well because I was certainly the oldest one there. At one of their gigs at the Kings Arms I caught the T-shirt that Tom threw into the crowd – that was hard case!
In this week’s #brewtakeover issue we’ve got five copies of the new Home Brew double album and tickets to their 48-hour album release party happening this weekend to give away. Email your best hash brownie recipe to loot@volumemagazine.co.nz (you will be instantly added to our Nigerian bank-scam mailing list) for a chance to win. Chances are you’ll lose though. Life is misery. #staymiserable.
BENNY BLANCO FROM BLOCKHOUSE BAY – CORNER BOY It started in intermediate slangin’ tazzos. Then ’round sixth form that Black Seeds epidemic hit. Ma’fuckas was barbecuing everything. So I started hustling Conscious Roots complications out the boot. Reggae coloured jandals. You name it. But shit really took off when dubstep came. Kids was doing drone at home alone, nahmean? Jason Howson got his career back. Shit, I even had Coc-kroft and Ellis hollering at me for herbals. Then Mr Asia hit. Ridgey got locked. I had to pay off Toddy to take the fall, and my Kawasaki Ninja quad bike got repossessed. We all got shook. I got a legit selling chronic at a Four Square and I ain’t touched a bean since. But every now and then, Milly texts and I get that pulse through my skin calling me back to the streets...
Haz Beats’ cousin Hux Huavi recently bid Rimutaka farewell to return to his mediumsecurity hometown, Mt Eden, where he will be holidaying for a 12year lag. Visiting hours are 12–2pm Tuesday– Thursday.
PAPA’S GOT A BRAND NEW BAG…
In the last few minutes I’ve found out when my unborn son’s birthday is going to be. It’s a bit like getting an embargoed press release, but a significantly more romantic notion. Also I don’t have to pretend I don’t know about some big announcement, or maintain a poker face to a musician when I know they won’t win.
The latter of course means the reaction will be super-fast. Number one was born in the middle of the night in the UK, but back here people were just arriving at Mt Smart for the Big Day Out so congratulatory texts would come through sporadically between sets. That makes him a music festival baby, although so far he doesn’t appear to be following my snobbish tendencies. You know, being four and all. Still, I’m not sure the Facebook reaction will be that efficient. We caused much confusion by our choice of
WEIRDER STILL IS the idea that this roast-in-the-oven may end up reading these words one day to get a better understanding of the ol’ man’s postformative years. Between this column and Facebook he’d be forgiven for thinking I was actually a food writer. Of course nothing is certain. Like George Bush, I could be basing this all on flawed intelligence. He may come early. He may not even be a he. Probably is, though. The sonographer was pretty confident of that at the 20week scan. Unfortunately she was also
pretty confident at the 12-week scan and mistakenly let it slip without first asking if we wanted to know or not. We didn’t have the heart to reveal we heard her. He may be our second but he also qualifies for several firsts. First born in New Zealand. First time knowing the sex in advance. First time knowing what day he’s coming (he’s coming by c-section due to complications first time ’round, but we needn’t go into that). First time having a baby since being on Facebook.
“That makes him a music festival baby, although so far he doesn’t appear to be following my snobbish tendencies.”
wording when revealing the pregnancy, to the point where friends were even congratulating us on the birth of a child they hadn’t been told about. So this could be the last time you hear from me for a while. The big day may be down for a month from now but a lot can happen in four weeks. He could have started a band by then. If you are reading this, Hughnior, that’s just a dad joke. No pressure.
presents
DUNCAN GREIVE
NZ On Air is now eight rounds into MakingTracks, the music funding scheme established to increase diversity in local music by funding individual songs and connecting them with an audience via broadcast and digital platforms. Seven months into the initiative, NZ On Air NZ music manager Brendan Smyth talked to Duncan Greive about swinging the focus back to the song. Photography Ted Baghurst DUNCAN GREIVE: When we were recording this, I had been on the panel two days prior for the first time, which very much gave me an insight into what the new process is like. You have, I presume, been at every meeting now since the start. How do you feel it’s going? It’s six-nine months in now, right? BRENDAN SMYTH: Yeah, we’re six rounds in, so that’s just over six months into it, so we’ve done six panels and in that time we’ve worked with 41 panellists. I’ve got to say that one of the highlights of the MakingTracks reforms has been the panel system – I really, really love that engagement with a diverse range of voices
and opinions. There were people at the time that said to us, ‘You’ll never do that – you’ll never get bFM to sit in the same room as The Edge and make some sense out of it’. But in fact that has worked exactly like that. And you would have heard my little preamble at the beginning which says the one thing that unites all of us around the table – no matter what part of the spectrum we come from – is that we all love music,
and that has proved to be the case. People have strong opinions and they don’t always agree and sometimes – there’s never been a fistfight – it’s been pretty feisty sometimes, but people respect each other’s viewpoints. I’ve found that to be incredibly inspiring and energising. It’s one of the two highlights of the MakingTracks reforms. What’s the other? The other one is just the diversity of music that’s coming through. We know this because NZ On Air has to create a new account if we have a new artist come into the system. So far we’ve done 196 grants since we started on 1 July, and I think 86 of those are brand-new accounts – that’s about 44 per cent new artists, people that have never been funded before by NZ On Air, and arguably under the old regime, the old funding model, wouldn’t have been funded. So that’s a pretty inspiring thing as well – it sort of does prove that objective of trying to diversify the portfolio from a music point of view is working. ’Cause I think, as an outsider prior to Tuesday, that was the thing I found dispiriting watching the NZ On Air funding roll out round after round, year after year, was it did feel it was a little club and it was very hard to get into and it was also hard to get out. You know, the people that you’d backed you kept backing, and on one level you see the merit in that – if you believe in a project, even if it doesn’t take on the first time you go back – but I think it often had the appearance of going beyond that in the sense that an artist
presents
BRENDAN SMYTH who over the course of various albums and singles had proven that they had a negligible or non-existent or very small audience just kept getting what amounted to very significant sums of money whereas other artists, because of the nature of the criteria I suppose, weren’t getting funding. I feel like from a pure economics perspective the first $10,000 or $6000 or whatever you give someone is probably going to be the best – everything beyond that starts to feather the nest. So many new artists getting that first taste, that’s going to give them such a big fill-up to their career – I like to think that we’re going to see out of this… ’cause you’re not going to see every artist be a winner, but by backing some of these people you maybe wouldn’t or couldn’t before I think you’ll start to see really interesting results in the months and years to come, because it does take a while.
“It’s fundamentally about the song and the merits of the music – it’s hard to argue with that.” – BRENDAN SMYTH I think a couple of things about that – one, is that the old model is very much based on your airplay track record, and that was a recipe for repeating because if you did get airplay action there was a chance you would get funding again. The new model puts the emphasis back on the song way more than the old one, which was about your airplay track record and your numbers.
And I think that came through very much in the meeting where we had artists with phenomenal careers in New Zealand music who’d had number one singles within the last two or three years who just didn’t get a shot. Sometimes when you were hearing about who got votes and so on, you were like, ‘This person’s basically an institution’, when you listened to those songs they just weren’t their best work and I think that element of the team being reselected from scratch each time really
places an emphasis on bringing your best to the table, because your name doesn’t mean anything anymore and I think that’s pretty positive – that’s capitalism. It’s fundamentally about the song and the merits of the music – it’s hard to argue with that – this is about funding great songs.
Not great careers – not even great artists or hard workers or any of that stuff. It’s about funding great songs that will connect with an audience via radio, via television, via online, via the broadcast media basically. And I think that’s interesting because if an artist has one great song and that’s all they ever have, well that happens, and if that comes in front of us we should be able to say, ‘We’re putting some money down on that’. ’Cause you have no knowledge of whether that’s going to be the first of many or the last or the only. No, I wish I’d written ‘Wild Thing’! Yeah, you’d do alright – you can live off that forever. But also the nature of being a music consumer is there are certain artists where you’re all in on them and there are others where they’ve got this one song and that stays with you forever and the profundity of that relationship isn’t governed by the size of your commitment to them in terms of songs or albums – it’s just your relationship with that one piece of music. To listen to the audio of Duncan Greive and Brendan Smyth in conversation, head to nzherald.co.nz/volume – live from 2pm Tuesday. For details on NZ On Air’s MakingTracks music funding scheme, check out kiwihits.co.nz/index.php/funding. -and-coming h local artists and up Beck’s has worked wit musicians, by ed pir cial labels ins designers to create spe s and bar in le ilab ava s n bottle and the limited editio ject. pro s thi of ks are the result specially marked pac
Dominic “@ Tourettes one” Hoey Age: Old Interests: Solitude Qualities: Narcissism What do you look for in a girl? Must be willing to move to Iceland Filthyandbeautiful.com
Jonathon “@GetB an” Morris on Age: 24 Interests: Xbox and gam bling Qualities: Can complete a perfect game of Stickman Cliff Diver wh ile driving What do you look for in a girl? “She’s gotta be able to have at least two buckies without getting all weird”
William “Big Willy Wes” Pitama Age: 26 Interests: Hoes Qualities: Runs a successful independent business Life Philosophy: “Get money, fuck bitches”
Johnny “@honebegood” Hartnett Age: Forever young Interests: poetry, coffee and ’erb Qualities: Exceptionally well-groomed with a masterful use of Instagram filters Tell us something people don’t know about you: I believe in the “melting pot” theory (Johnny has had sexual relations with the entire lineup of When the Cat’s Away)
Tom “Daddy” Broome Age: 25 Interests: Drumming, innit Qualities: Still lives with ex-girlfriend – apparently she is great company Describe your perfect date: “It’d be something like the movie where that dude takes that chick on the bus, but I’d take her to my rehearsal space in Storage King
Elliot Francis Stewart Age: Immortal Interests: Paint Qualities: Recent lab test results showed negative for seven-out-of-eight STIs (despite what it may look like, Elliot is actually talented) Elliotfrancisstewart.com
Tugi “Tungz” Togiaheulu Age: Is just a number (shout out to R. Kelly) Interests: 19th century German philosophy and rugby league Qualities: It’s massive Net Worth: Bloodline to the Niuean royal throne
Each week Duncan Greive performs some low grade analysis on the week’s New Zealand Singles Chart and reviews a few new release pop singles. To submit or suggest a track for review tweet @duncangreive or email sam.wicks@volumemagazine.co.nz. SOMEBODY THAT I ALMOST KNEW
Evidently the 60,000 people who had bought ‘Somebody That I Used to Know’ prior to this week didn’t represent market saturation – there are many more unsated who read about its US triumph and dropped a couple of bucks on T-Pain some bytes. The 36-week-old single has just shot up to number two, which is fine, because it’s still a very lovely song, but nothing was going to stop Carly Rae Jepsen from her fifth straight week as our chart overlord. And with a promo visit scheduled for this week, it’s fair to assume she’ll do a few more, making ‘Call Me Maybe’ a candidate for the biggest selling single of the year. That would be a wonderful thing. Lower down T-Pain’s mad ‘Turn All the Lights On’ leaps up to number seven, while Rihanna has her 115 th top 10 hit with ‘Where Have You Been?’. Deeper in there’s some weird shit going on, novelty sounding stuff (Wallpaper.?!), and some super pop kuduro, which was the cool underground world music like five years ago. But it’s got Pitbull on it, and right now he could rap over hard house and have a hit. Oh, that’s right...
RIANZ TOP 10 NEW ZEALAND SINGLES CHART 1 Carly Rae Jepsen – ‘Call Me Maybe’
2 Gotye ft. Kimbra – ‘Somebody That I Used to Know’ 3 Fun. ft. Janelle Monae – ‘We Are Young’ 4 Nicki Minaj – ‘Starships’
5 Chris Rene – ‘Young Homie’ 6 Justin Bieber – ‘Boyfriend’
7 T-Pain ft. Ne-Yo – ‘Turn All the Lights On’ 8 Train – ‘Drive By’
9 Havana Brown – ‘We Run the Night’
10 Rihanna – ‘Where Have You Been?’
CHROMATICS – ‘Back from the Grave’ The ’80s have a strange rep. Thanks to Classic Hits and The Wedding Singer and a thousand other afterthe-fact totems, we see it as all big hair and silliness, when that’s only part of the story, albeit a pretty fun part. The early ’80s, though, saw pop music experimenting with a vigour it wouldn’t approach again for years, and with a palette broader than it ever would again. Jonny Jewel’s Chromatics have returned, after the Drive soundtrack stole their entire aesthetic (albeit with him complicit in the theft), and made a song which feels like it takes a lot from what is still so inviting about the best music of ’79–’83. Which is to say that ‘Back from the Grave’ has a bigger melody than we’ve ever heard from Jewel, while retaining that narcotic haze and brute simplicity that makes his songs so replayable. Ruth Radalet’s vocals are magnificent too, still so soft, but she gives in to populism with some “oooh-ooh-oooh-s” that don’t shatter the spell in the slightest. Jonny Jewel’s endless project, now encompassing many artists, releases and years, just keeps delivering. MAJOR LAZER FT. DIRTY PROJECTORS – ‘Get Free’ For all the nominal borderlessness of contemporary international pop music, reggae still feels like a bridge too far for most artists – either you legitimately engage with it à la Nicki Minaj/MIA, or you’re just curling a vowel-sound with all the depth of feeling of an “18 Massive Reggae Hits” compilation. I guess in some way that’s preferable to the New Zealand style, an abomination all of its own whereby 30 people in cheesecutters and goatees “jam” lustily at Barnaby Weir’s feet, acknowledging him as the inventor of Jamaican music and Marvin Gaye 2.0 in one. Aaanyway. What’s good about ‘Get Free’ is that it shows just how broad the area is, and how much room there is to explore. Here we get a feather-light sound bed, like a less abstract Arthur Russell, with Amber from Dirty Projectors locking in and clocking off as her will dictates. It’s strange, but very involving, and will play great with whisky and a late night, rather than summer and a blunt. Because it’s not just one thing, right? MAROON 5 FT. WIZ KHALIFA – ‘Payphone’ … In which Adam Levine shows his age by remembering what a payphone is, and his audience their credulity by not caring that they don’t exist anymore. Look for its sequels ‘She Broke Up With Me Via Fax’, ‘Morse Code Baby’ and ‘Deciphering These Hieroglyphics’ coming in 2015. Chumps. RITA ORA – ‘How We Do (Party)’ Notorious B.I.G. fans will be super-excited that someone’s keeping his flame alive on ‘How We Do (Party)’, which recycles ‘Party and Bullshit’ for a bridge. Psych! Of course they won’t! They’ll get mad that someone is appropriating their god for something as banal as pop music. I mean *sigh* – you’re both wrong. Biggie’s latterday fans, who keep dragging him further and further down this Rawkus Records sinkhole, where it’s all craft and respect and foundations – you’re definitely wrong. Biggie was a pop singer, he had HITS. Sure he was an amazing lyricist, but he was also as mainstream as you could be in his day – that is why he was great. And Rita Ora fans are wrong too. Because while I admire anyone who enters Eurovision, this song unfortunately sucks, so even enjoying it “for what it is” won’t work. Because what it is, is average. Which is a shame. Because I really thought, with that title, we were getting a masterpiece.
Home Brew (Young, Gifted & Broke)
MY MUM IS a real traditional lady with the standard cultural Niuean stuff and to this Sussie Huavi day still talks to me in Niuean. I got her to review the Home Brew album and her reaction was, “Do I have to listen to the whole thing?” I played her the Light side first and her first reaction to our music was a thoughtful VARIOUS ARTISTS Time to Go: The Southern Psychedelic Moment 1981-1986 (Flying Nun) Apocrypha has it that you could always spot the best and most radical early Flying Nun bands by the black-and-white cover sleeves; if it was too weird to sell, they wouldn’t waste the colour printing coin. This Bruce Russell-curated, vinyl-only comp is a thrillingly sinister celebration of those dark, arch, and doomed South Island bands. Huge yet under-appraised numbers from The Pin Group and the Victor Dimisch Band, and a couple of wonders that are new to these ears. So yeah, it’s worth a listen. NORAH JONES Little Broken Hearts (Blue Note) This is being hailed as a brave and bold departure for Norah Jones, which is critic parlance for “Oh, she got Danger Mouse to make all the bass sound like really expensive plastic” (cf: the bro from The Shins, The Black Keys). Nothing wrong with this, she has a nice voice obviously and this is less blasé and maudlin than her past work. I am very glad that we got Bic Runga instead, though. SANTIGOLD Master of My Make-Believe (Warner) Like any sensible popportunist, Santigold took the best of Karen
nod. I like to call it the “turtle”, where you just nod your head back and forth like a turtle. I think it’s ’cause I’m her son and everything I do will make her proud. She liked how everything sounded but she didn’t really get what we were trying to say in our songs. Ah well, those are our songs, Mum. So then I played her the Dark side. The first thing she said was, “What’s ‘bump?’”. I laughed and said something stupid like, “It’s what we like to do most nights we drink.” It’s hard to lie to my Mum. She reads me like a book. We skipped a few tracks through Dark and she said she didn’t know what we’re going on about. How do I get my music across to someone who doesn’t know how much work is put into something? I guess being born in Niue and coming here for a better future, she didn’t get the fact that what I’m doing is actual “art”. Her final thoughts were, O, MIA, TV on the Radio and pretty much any other decent mid-2000s crossover act you can think of – and the upshot is that she’s been left with a wide and pretty exciting toolbox for the follow-up. ‘Disparate Youth’ is one of the three best songs of the year and the rest of the album can’t hope to hit the same heights, but it’s uniformly fleet-footed and makes a virtue of its busyness rather than getting messy and overloaded. MYSTERY JETS Radlands (Rough Trade) Fourth album from UK pop-rockers shows them characteristically restless for a sound that fits – but they’ve made a move that has sunk greater UK bands before (Ride, Primal Scream) by buying wholesale into twangy Americana. What shores up Radlands is the band’s definitive lack of cool – when they try to do this po-faced it often turns into bouncy, eccentric XTC whoopalongs, and these are pretty good (‘Someone Purer’, the Minutemenchecking ‘Greatest Hits’). SKANK ATTACK Here On Out (Skank Attack) Catastrophic name and cover artwork that looks like a circa-2000 altrock album do their damndest to disguise a neat archival release from this overlooked mid-’80s Wellington post-punk trio. A very good mastering job means you could take tracks like ‘Down Around Our Ears’ and standout
“That was great,” and she had a big smile on her face as if I had just won a million dollars. Sorry Mum, if this Home Brew album doesn’t pay your mortgage off then I’ll move back home. I think she’s still a bit angry I didn’t tell her I was moving outta home. Ah well, I’m out in the big world now doing something I love and I’m still broke as shit. I’m always going to go back home to scab washing powder, toothpaste, tea towels and other household things you need when you do move out, but I’m happy that she’s happy with me doing what I love most and that’s entertaining the scumbags of the world. Overall she gave us 22 out of 11 and, like she had known we’d been giving all our music away for free, she said these exact words: “They are stupid if they don’t buy your album.” Love you Mum. Review Haz Beats’ Mum, Sussie Huavi, as told to Haz
‘Animation’ for, say, more anthemic Popstrangers songs. The substance hasn’t dated, even if some of the presentation has. DIGGY Unexpected Arrival (Atlantic) Reverend Run’s son came to prominence on an Osbournesstyle reality show based around the Simmons household, which would make this his equivalent of Jack Osbourne putting out his first heavy metal album. Total bubblegum stuff – the good news is that it’s rarely saccharine-Trilby, and doesn’t try to sound like RunD.M.C. or go on some father-son nostalgic kick. Diggy himself is pretty energetic and this makes all feel more high-stakes than it necessarily should. PENNYWISE All or Nothing (Warner) Always hated this jock-jam punk – they’re like a pretentious Offspring who didn’t have the nous to make a few comedy singles for me when I was 12 and then get out. Sticks to the band’s “original” sound (heavy power-chords, lockstep drumming, bellicose vocals) with a bracing stagnancy that runs counter to their supposed ethos. FLORENCE AND THE MACHINE MTV Unplugged (Island) I’m not even sure where this institution is aired
HAZ BEATS’ TOP FIVE YOUNG, GIFTED & BROKE HONOUR ROLL 1: GetBan – VB extraordinaire and part-time magician. Master of disappearing acts when out on the piss. 2: Lui Tui – The Don of the debating team and he’s younger than everyone in the clique. Can drink a beer in three seconds. 3: EvLove – Stance king and he’s also a DJ/horticulture teacher. 4: Lucky Lance – Raps and can also drink with his eyes closed. 5: Gibz – Bucket bong-pulling king.
anymore (probably not MTV) but it’s an okay way to fish out Florence Welch’s voice from the sterile columns of Ceremonials and give some of its songs (esp. ‘Only If for a Night’) a more restrained arrangement. It’s all a little straight, sure, but she’s ultimately a songstress, and the unplugged treatment suits her natural instrument pretty well. HALESTORM The Strange Case of… (Atlantic) Total Cody’sslugging mainstream hard-rock, with ’80s hair-metal and back-issues of Modern Drummer coursing through its veins. What makes it a little more interesting than the norm is a ferocious female vocalist who revels in talking just as much hedonistic shit as the boys while handling the mid-tempo numbers with a bit more grace. Bear in mind the norm for this sort of music is “unspeakably awful”, so don’t get your hopes up. OF MONSTERS AND MEN My Head is an Animal (Universal) Icelandic band probably wouldn’t be getting as much adulation if they weren’t Icelandic but, I mean, that’s how things go. It’s a bit wallpaper-ish but really melodic with obvious hat-tips to the first Arcade Fire and Florence albums. Will possibly get used to sell insurance to carefree young people, so get on it before that. Reviews Joe Nunweek
Over three long years of writer’s block, benefit fraud, crippling depression, simian delusion and three bastard children, Home Brew banged out a double album in the hope of nudging The Black Seeds from their number one spot on the New Zealand album charts. Here’s what it took to knock the bastard off. Text Tom Scott Photography Milana Radojcic FRIDAY 28 MAY 2010
The Rugby World Cup is coming to town and now I can’t afford to live in it. The landlord’s dumping us for a more sophisticated breed of scum and I’m moving back to suburbia. I heard Stevie wrote a couple of classic records at his Mum’s pad though. TUESDAY 2 MARCH 2010
Me and Haz got way too high on Thursday and wrote a song about being on the dole. Not really the most admirable thing we’ve ever done but for some reason it’s now number one on the bFM charts. Young Nats everywhere are competing to be the most outraged. I wonder what they think
funded their favourite Shihad album?
SUNDAY 15 AUGUST 2010
We’ve been on tour for four weeks now. The one kidney I have is functioning at Jonah Lomu level. We may have to look at adding a dialysis machine to the tech rider. Last night, in some weird ode to Mötley Crüe our drummer somehow spewed on his own cock. Piopio has left a stain in my mind that can never be removed. ‘Bad Bad Whiskey’ sounds like ‘Mysterious Girl’ to me now. TUESDAY 2 NOVEMBER 2010
I was on Police Ten 7 tonight.
FRIDAY 31 DECEMBER 2010
You ever been to Rhythm and Vines?
Fuck, I hate people.
SATURDAY 16 APRIL 2011
Smoked some datura today. Wrote a song about it. WEDNESDAY 2 MARCH 2011
She’s gone. I’m drunk.
THURSDAY 2 JUNE 2011
It was my birthday today. I ate some (16) mushrooms and then woke up beaten up in a cell with no pants, thinking I could manipulate space and time by running against it. Charge: assault on a police officer. FRIDAY 3 JUNE 2011
Checked into CADS.
MONDAY 6 JUNE 2011
Checked out of CADS.
TUESDAY 7 JUNE 2011
Someone’s putting crack in the E again. Had one of those “what am I doing with my life?” comedowns this morning. This is the third song I’ve written about killing myself this week. Trying to find a pharmacy that prescribes cyanide.
THURSDAY 29 SEPTEMBER 2011
The album’s done. We just finished recording the last track. So tomorrow I’m leaving to Southeast Asia for two months. That’s what Jay-Z would do.
SATURDAY 26 NOVEMBER 2011
Today we went to the Killing Fields and the last tiny bit of hope I had about God existing was crushed into tiny insignificant pieces. I never really knew anything about genocide before today. I always thought it was a Stallone movie. Turns out though in reality about a quarter of the population of Cambodia were slaughtered in four years for nothing at all and John Rambo didn’t do shit. My whole perspective on life has just been fucked up. Meanwhile, back home some cornball anti-Key song I wrote has everybody playing YouTube Huey P. It’s just controversial enough for my Mum to like and I’m scared that now kids are starting to feel like they’ve done
their political dash for the decade and don’t need to actually vote anymore.
SATURDAY 1 DECEMBER 2012
Landed back in Auckland. The album was supposed to be done by now. We got drunk.
SATURDAY 25 FEBRUARY 2012
@HazTweetz : she’s gone. Fuck the world #staymiserable SUNDAY 26 FEBRUARY 2012
Haz is still fucking depressed. MONDAY 23 APRIL 2012
This album is killing me. One more “beachhavenforlife subscribed to your YouTube channel” incident and I’m giving this shit up. I can’t be the mascot for teenage boozism my whole life. I’m 27 years old. How many more hands in Remuera are there left to shake? I can’t take all this shit. I just wanna write. *Reminder!! Interview: 8.30. *Voice bFM Ad: 10. *Meeting at Shooters: 11. *Work: 12-5. *Rehearsal: 6-9. Fuck. TUESDAY 24 April 2012
Today I ditched my phone along with my responsibilities, packed what I needed to clothe and medicate myself and drove as far away from “Hey, Home Brew bro!” as my gas tank would take me. I pulled in just past civilization
at Ruakaka and found a caravan park to crash at till my brain stopped spinning. The average self-esteem was more on my level there. The locals hated me like normal people do. As I sat and listened to the paint dry I thought about a gig packing shelves at the Four Square. There was a new library opening. Maybe there could be a batch with my name on it somewhere here. But who was I kidding? I can’t
“Last night, in some weird ode to Mötley Crüe our drummer somehow spewed on his own cock.”
even clean up my act let alone an oil spill in isle four. The only thing I know how to do is write and the Bream Bay News aren’t hiring. I bid Maureen at reception a nice life and headed back down highway 16 to reality.
THURSDAY 26 APRIL 2012
I got the first press of the album today! My life’s work solidified. Turns out the printers fucked it though and the Dark side was actually Now That’s What I Call Music Volume 33.
A DANGEROUS METHOD Director David Cronenberg
Starring Michael Fassbender, Viggo Mortensen, Keira Knightley ON THE SURFACE it would seem that David Cronenberg has taken another radical departure, as with A History of Violence and Eastern Promises, from his trademark bodyhorror preoccupations with A Dangerous Method. It’s refined, prim, costumed appearance would suggest a MerchantIvory bodice-ripper more than something by the Canadian auteur of such heady provocations as Videodrome and Crash. But in essence this period piece, scripted by Christopher Hampton from his play The Talking Cure, remains the same economical, exacting, austere Cronenberg we’ve always known. Whereas in the past his depictions of violence were expressed in grotesque external ruptures of the physical form, here it’s confined to the turbulence of repressed sexuality and the ideological friction that occurs when the two founding fathers of psychoanalysis come head-to-head.
A Dangerous Method is probably Cronenberg’s talkiest effort, with most of the film developing around two-person conversations. But the talk contains a cerebral charge, often stimulating, sometimes dryly funny and never boring, whether it’s centred on Karl Jung (Michael Fassbender) and his liaisons with Russian patient/ mistress/analyst-to-be Sabina Spielrein (Keira Knightley), or Jung’s back-andforth discussions with Sigmund Freud (Viggo Mortensen), whose criticism of the former’s “second-rate mysticism” drives a wedge between them. While Fassbender and Mortensen are both uniformly in check, the same can’t be said for Knightley’s bug-eyed, teeth-baring, overzealous performance, particularly in the first reel. Maybe more at home in a Ken Russell movie, it’s the only thing here that feels at odds with Cronenberg’s restrained, generally meticulous direction. Review Aaron Yap
The availability of Welcome Home, Soldier Boys (Magna Pacific) on DVD here is something of a miracle, considering once upon a time the only way you could see it was via bootlegs of a rare Japanese tape. A largely forgotten 1971 Vietnam war homecoming flick starring character actor Joe Don Baker (Walking Tall), it has a seedy, hopeless vibe and violent, downbeat ending comparable to Rolling Thunder (B-Roll #4), though it’s not quite as good. Still worth a peek for fans of the genre. Director Richard Compton later made the terrific drive-in gem Macon County Line, and writer Guerdon Trueblood the exploitation classic The Candy Snatchers.
Cronenberg’s next film, an adaptation of Don DeLillo’s 2003 novel Cosmopolis, is heading to Cannes in May for competition. Starring Robert Pattinson as a billionaire who’s trying to get across Manhattan in his limo for a haircut, the film appears to find the director returning to his vintage weirder and wilder self. Trailer: cosmopolisthefilm.com.
A prequel to ’80s cult horror Maniac Cop is in the works. Nicolas Winding Sefn (Drive) has signed on to produce it, along with original writer Larry Cohen and director William Lustig. Francis Lawrence (I Am Legend) has been hired to make Catching Fire, the Hunger Games sequel, following the exit of Gary Ross due to Lionsgate’s compressed production schedule. Disney’s studio chief Rich Ross has stepped down after less than three years in the job. “I no longer believe that the chairman role is the right professional fit for me,” he emailed his staff. The former Disney Channel exec greenlit expensive sci-fi flop John Carter, which lost the studio $200 million.
9TH MAY
Tom Scott’s dad Peter Scott had his first shot at the big league when he mimed with The Wombles on Top of the Pops on Thursday 19 December 1974 – and nearly joined Madness on the way to the filming. MY MATE ARCHIE Leggett couldn’t play Top of the Pops with The Wombles, and he asked me if I could go along and play the gig, which basically involved dressing up and miming. Here’s how that conversation went: “How much?” I asked. “30 quid,” replied Archie.
I knew the going rate was 33 quid the last time I had done a TV session, but this was Top of the Pops – TOP OF THE POPS! Archie went on: “Herbie never does them and I’ve got to take the dog to the vet.” This was it – the BIG time, courtesy
of a sick mutt. They recorded the show earlier at 2.30pm and I had a two-yearold to look after. I was a solo dad with Tom’s Mum away in India making a feature – we were Brad and Angelina, d’you know what I mean. I could have done the whole thing easy except I had a sit-down with the Nutty Boys (that’s
Peter Scott w/ musicians Kieran O’Connor and Pete Nu Peter Scott
Madness to you – 18 consecutive top 10 hits, innit). It was 12.30pm and Tom was restless. Did I say we were in a bar? I got a hip flask to go. Archie gave me a tenner up front – I thought about spending it but I didn’t. I thought I’ll make an excuse to the nutty boys…
“This was Top of the Pops – TOP OF THE POPS!”
So I drove straight to BBC Shepherds Bush, anticipating my meet with London’s “A” list, top-notch session players. My peers – I would have made it. Joy. Then who do I nearly run over on Camden High St than Lee Thompson, the sax player from Madness’ 18 consecutive top 10 hits. He said, “Scotty, we want you to join the band. ’Ere, I didn’t know you had a nipper.
What’s her name?” “It’s a boy,” I shouted back. “You blind as well as being fuckin’ tonedeaf?” Bad thing to say, really. He says, “Right, that’s why he’s necking that bottle of rum. Give it here.” I looked over at Tom. He was right. “Yeah, and you as well,” said Tom. “Oi, don’t be nicking stuff from children,” says I. “Or what?” said Lee. He had me there. “Ah screw you, Lee – I’m off to mime with a real band.” “Yeah, and who’s that?” says Lee. “THE WOMBLES!” I said. “The cheque’s in the post,” said Lee, and so was I. Know what I mean? Peter Scott is the bass player with The Jews Brothers – find them online at jewsbrothers.com.
powered by eventfinder.co.nz
NORTHLAND FRIDAY 4
The Joe Carbery Trio – Aratapu Tavern, Dargaville, 7:30pm, Free
SATURDAY 5
Jo Little – Till the Blue Skies Come Tour w/ Jared Smith – McMorrissey’s Irish Pub and Eatery, Whangarei, 9:30pm, Free
SUNDAY 6
Jo Little – Till the Blue Skies Come Tour w/ Jared Smith – The Funky Fish Restaurant, Dargaville, 2pm, Free
AUCKLAND TUESDAY 1
The Whiskey Live 2012 : The Adults w/ GF & The Trains – The Whiskey, Ponsonby, 7pm, $70 Ak Jazz & Blues Club Presents Queen City w/ Finely Tuned – Pt Chevalier RSA, Pt Chevalier, 7:30pm, $5 Heartbeat – Whangaparaoa Hall, Whangaparaoa Peninsula, 7:30pm, Free
WEDNESDAY 2
Mike Jones Acoustic Sessions – My Bar, Auckland CBD, 7:30pm, Free Chicane Duo – Sugar Bar, Newmarket, 7pm, Free Live Latin and Brazilian Music – The Mexican Cafe, Auckland CBD, 8:30pm, Free Sick Of It All and Agnostic Front – New York United Tour – Kings Arms, Newton, 8pm The Whiskey Live 2012: The Jordan Luck Band w/ Ekko Park – The Whiskey, Ponsonby, 7pm, $40
THURSDAY 3
Our:House Presents David Guetta – Vector Arena, Auckland CBD, 8pm The Whiskey Live 2012: Anika Moa w/ support Lydia Cole – The Whiskey, Ponsonby, 7pm, $60 Kiwi Singer/Songwriter Showcase – Shadows Bar, Auckland CBD, 7pm, Free The Acoustic Show Live – Dogs Bollix, Newton, 8:30pm, $5 Atmosphere w/ Live Band – Studio, Newton, 8pm, $30-$45 Back to Class – The Pony Club, Auckland CBD, 10pm, Free Jazz and Soul Live Trio – Sugar Bar, Newmarket, 7pm, Free The Latin Fire Night w/ Cuban Accent Band – Brooklyn Bar, Auckland CBD, 10pm, Free Petra Rijnbeek & Paul Voight – The Lumsden, Newmarket, 6:30pm, Free Wavves – Kings Arms, Newton, 8pm
FRIDAY 4
Boxcar Rattle, Shocking and Stunning, Ghost Wave, Cat Venom – Whammy Bar, Newton, 9:30pm, Free
2 a.m. Orchestra – Wine Cellar, Newton, 8pm, Free May the 4th Be With You – Dogs Bollix, Newton, 8pm Nocturnal Collections w GPOGP, Blood of the Innocent +Rakete – The Lucha Lounge, Newmarket, 10pm, $5 The Electric Era, Frends, Used to Apes and New Natives – Masonic Tavern, Devonport, 8pm, $5 Dairy Flat Live Blues Club – The Flaming Mudcats – Dairy Flat Community Hall, Dairy Flat, 8pm, $10-$12 Tom Rodwell & Storehouse – Grey Lynn Returned Services Club, Grey Lynn, 8pm, Free Dave Clark Revival – Warkworth RSA, Warkworth, 6:30pm, Free 2 Wheel Drive – Warkworth RSA, Warkworth, 7pm, Free JamesRAy & The Geronimo Band – Silverdale RSA, Whangaparaoa Peninsula, 7pm Kylie Austin and Trevor V. Stevens – Papakura RSA, Papakura, 6:45pm, Free The Warren Brothers at East Coast Folk Club – Senior Citizens Social Centre, Torbay, 8pm, $5-$7 Fridays at Trench Bar – Trench Bar, Auckland CBD, 10pm, Free Ponsonby Cruising Club Autumn Rhythm & Jazz – Ponsonby Cruising Club, Westhaven, 7pm, Free Chico con Tumbao – Besos Latinos Restaurant, Auckland CBD, 7:30pm, Free Crowdslayer Turns 40 – Ulcerate/BlackFate/Bulletbelt/ Carnal – Kings Arms, Newton, 8pm, Free Live Bands are Back – Slipp Inn Pub, Birkenhead, 9pm, Free The Whiskey Live 2012: The Babysitters Circus + SuperVillian – The Whiskey, Ponsonby, 7pm, $40 French Resonance – Auckland Fish Market, Auckland CBD, 5pm, Free Austin Martin – The Clare Inn, Mt Eden, 9pm, Free Tempist Fujit – Cock & Bull, Ellerslie, 9pm, Free
SATURDAY 5
The Warratahs – 25th Anniversary Tour – Masonic Tavern, Devonport, 8pm, $26 dDub Send it on Back Tour – 4:20, Newton, 9pm, $20 Deathbeam, Droszkhi & Pits – Audio Foundation, Auckland CBD, 7:30pm God Bows to Math w/ special Guests – The Lucha Lounge, Newmarket, 9pm, Free Sonic Altar and In Dread Response – Kings Arms, Newton, 8pm Tom Rodwell & Storehouse – Golden Dawn, Ponsonby, 9:30pm, Free True Legends – TV’s Original Country Music Stars – Ascension Wine Estate, Matakana, 8pm, $60-$99 BPM – Bang Past Midnight – Albany Sports Bar and Cafe,
Albany, 9pm, $5-$15 Pure Trench Bar – Trench Bar, Auckland CBD, 10pm, Free John McGough Trumpeter/ DJ – Howick RSA, Howick, 6:30pm, Free Hanimal Party – The Coda Lounge, New Lynn, 7pm, $10 French Resonance – Auckland Fish Market, Auckland CBD, 5pm, Free Jackal, Erratic Static and Special Guests – Shadows Bar, Auckland CBD, 8pm, Free Mother Motor, Broken Season, Filth Dog & Sagan’s Eye – Dogs Bollix, Newton, 8pm, $5-$10 The Riff Raff – North Harbour Sports & Country Club, Dairy Flat, 7pm, $15 The Whiskey Live 2012: The Feelers w/ support Kurt Shanks – The Whiskey, Ponsonby, 7pm, $60
SUNDAY 6
Black Dog – The Sequel – Malthouse, Greenhithe, 2pm, Free Kokomo – The Bunker, Devonport, 8pm, $15 Tony Painting & the Power – The Riverhead, Riverhead, 2pm, Free JamesRAy’s Acoustic Country Sunday – Bar Africa, North Harbour, 12pm, Free JamesRAy’s Encore Acoustic Country Sunday – Bar Africa, Highland Park, 5:30pm, Free Kylie Austin and Trevor V. Stevens – Auckland Fish Market, Auckland CBD, 1pm, Free Sandpaper Tango – Corelli’s Cafe, Devonport, 7pm, Free Nice Verdes – Sawmill Cafe, Leigh, 2pm The Thirsty Dog Folk Club features Bad Muriel – The Thirsty Dog, Newton, 3pm, $10 Chicane Duo – Bill Fish Cafe, St Marys Bay, 2pm Brazilian Night – Cosh Bar, Ponsonby, 4pm, Free Mojo – The Clare Inn, Mt Eden, 6pm, Free
MONDAY 7
Traditional Irish Music Session – The Clare Inn, Mt Eden, 7pm, Free RNZAF Auckland Base Band ft. John McGough – Bruce Mason Centre, Takapuna, 11am Viva Jazz Quartet – The Windsor Castle, Parnell, 6pm, Free
THE COROMANDEL THURSDAY 3
Jo Little – Till the Blue Skies Come Tour w/ Jared Smith – The Grange, Hahei, 8pm, Free
FRIDAY 4
Stevie Ray Vaughan 22nd Tribute – Tony Painting & the Power – Admirals Arms, Coromandel, 8:30pm, Free Jo Little – Till the Blue Skies Come Tour w/ Jared Smith – Brew Cafe, Thames, 7pm, Free
HAWKE’S BAY / GISBORNE THURSDAY 3
Smash Hits 70’s:The Hits of the New Seekers and Paper Lace – Hawke’s Bay Opera House, Hastings, 7:30pm, $65-$75
SATURDAY 5
Big Daddy Wilson Acoustic Duo – Black Barn Vineyard, Havelock North, 8pm, $22
SUNDAY 6
Big Daddy Wilson Acoustic Duo – Poverty Bay Club, Gisborne, 2pm, $15
WAIKATO
THURSDAY 3
Big Daddy Wilson Acoustic Duo – Biddy Mulligan’s Irish Pub, Hamilton, 8pm, $25
FRIDAY 4
dDub Send it on Back Tour – FLOW, Hamilton, 9pm, $20 New Blood MAYhem – MonkeyFeather, Hamilton, 10pm, Free
SATURDAY 5
Mark Laurent & Brenda Liddiard – Old School Arts Centre, Raglan, 7:30pm, $15
BAY OF PLENTY TUESDAY 1
Smash Hits 70’s:The Hits of the New Seekers and Paper Lace – Baycourt Community and Arts Centre, Tauranga, 7:30pm, $65-$75
WEDNESDAY 2
Smash Hits 70’s:The Hits of the New Seekers and Paper Lace – Civic Theatre, Rotorua, 7:30pm, $65-$75
FRIDAY 4
Big Daddy Wilson Acoustic Duo – The Belgian Bar, Rotorua, 8pm, $25
SUNDAY 6
Stella Grant – Amora Lake Resort, Rotorua, 4pm, Free
TARANAKI FRIDAY 4
The Warratahs – 25th Anniversary Tour – Kings Theatre TET, Stratford, 8pm, $30
SATURDAY 5
Smash Hits 70’s:The Hits of the New Seekers and Paper Lace – TSB Theatre – TSB Showplace, New Plymouth, 7:30pm, $65-$75
MANAWATU / WHANGANUI WEDNESDAY 2
Big Daddy Wilson Acoustic Duo – The Bent Horseshoe Cafe, Tokomaru, 8pm, $25
FRIDAY 4
RoadSide Theory & Guests –
The Royal, Palmerston North, 8:30pm Black Chrome, Bitchslap, Boss Christ & Methadonnas – The Royal, Palmerston North, 9pm, $5
Lace – The Opera House, 7:30pm, $65-$75
Tape Invasion – The Badcave, Palmerston North, 8pm
FRIDAY 4
SATURDAY 5 SUNDAY 6
Smash Hits 70’s:The Hits of the New Seekers and Paper Lace – Regent on Broadway, Palmerston North, 7:30pm, $65-$75
WELLINGTON REGION TUESDAY 1
Live Music – The Library, 5pm, Free
WEDNESDAY 2
Poppy Dust and Lorena Vera – Mighty Mighty, 9pm
THURSDAY 3
The Warratahs – 25th Anniversary Tour – Bodega, 8pm, $26 Nice Verdes – Mighty Mighty, 9pm Henpicked – Hotel Bristol, 8:30pm, Free Late Lounge: Chris Prowse – The Dowse Art Museum, Lower Hutt, 7pm, Free
FRIDAY 4
Chris Bryant – The Gasworks, 8pm, Free Huf w/ Black City Lights and iRyoko vs Siamese – Mighty Mighty, 9pm Tape Invasion – Mighty Mighty, 9pm Hot Club Sandwich & Friends – Old St Paul’s, 5:30pm, $20 NZSM Friday Lunchtime Concert: Tunes from the Lido – NZSM Concert Hall, 12pm, Free Salsadrome, Zoukarama and Tango Milonga Dance Event – Whitireia Performance Centre, 7:30pm
SATURDAY 5
The Eversons Album Release w/ Cool Rainbows (AKL) & Wet Wings – Mighty Mighty, 9pm Tommy Ill Release Party w/ Bang Bang Eche, Golden Axe – Bodega, 9pm, $10-$15 The Carlos Navae Trio – The Lido Cafe, 8:30pm, Free Mtown – Monteiths Brewery Bar, Paraparaumu, 9:00pm, Free Derrick May (Detroit USA) – Sandwiches, 11pm, $20
NELSON / TASMAN BT Groove – Sprig And Fern, Nelson, 8:30pm, Free
SATURDAY 5
Awakened Inferno + Guests – The Shark Club, Nelson, 9pm, Free
WEST COAST SATURDAY 5
Best of the West Awards – NBS Theatre, Westport, 8am
SUNDAY 6
Best of the West Awards – NBS Theatre, Westport, 8am
CANTERBURY WEDNESDAY 2
Anika Moa – Dux Live, 7:30pm, $25
THURSDAY 3
The Black Velvet Band – Becks Southern Alehouse, 8pm, Free Salsa On Thursdays – Salsa Latina Dance Studio, 8:45pm, Free Puree – Christchurch Casino, 8pm, Free
FRIDAY 4
Tono and the Finance Company Album Release – Dux Live, 8pm Division St – Becks Southern Alehouse, 9pm, Free
SATURDAY 5
Crossroads – The VenueMusicbar, 9pm, $10 Tom Lark – All Night Long Tour – darkroom, 8pm, Free Will Frost Christchurch Library Tour – Halswell Public Library, 11am, Free D’sendantz – Becks Southern Alehouse, 9pm, Free
OTAGO
SATURDAY 5
Tono and the Finance Company Album Release – The National, Dunedin, 8pm
SOUTHLAND SATURDAY 5
Just Blaze – Saints and Sinners, Invercargill, 10pm, Free
SUNDAY 6
Annah Mac – Downstage Theatre, 7pm, $26-$30 The Boptet – The Lido Cafe, 7pm, Free The Sunday Jazz Club – Public Bar & Eatery, 7:30pm, Free
MONDAY 7
Smash Hits 70’s:The Hits of the New Seekers and Paper
has teamed with Eventfinder for gig listings. To get your gig considered, go to eventfinder.co.nz and submit your show for publication. Due to space constraints, we can’t guarantee that every show will be listed.
8691422AA
DANE REYNOLDS 4-WAY STRETCH DIAMOND DOBBY™ BOARDSHORT THE BEST WAY TO GO SURFING
AQUARIUS
Scorpio
(21 January – 19 February) This week will bring you much joy but you will still inevitably die in the end. Use what little time you have to stay indoors and contemplate the impending doom of finality. Lucky colour: grey.
PISCES
(20 February – 20 March) That thing the other night, with the beads… That was gross. Really. Clean yourself up. You’re a fucking mess.
Aries
(21 March – 20 April) The new moon will show you no mercy this month. Leave your job before it eats you into emotional paralysis. Feed the cat.
(24 October – 22 November) Sadly, you are one of the only people dumb enough to believe this shit. Use this week to question why you are seeking advice from a giant predatory arthropod in the sky.
Gemini
(22 May – 21 June) The cosmos is calling you, but nobody else is. Maybe it’s too much Bruell cream. Maybe it’s your flatline sense of humour and your borderline personality disorder. Perhaps society is not your thing.
Cancer
(22 June – 23 July) You belong to a zodiac sign named after a ruthless Tarus life-eating disease. It is no (21 April – 21 May) surprise then that this Pluto is not a planet and you week will once again are not a success. remind you of a malignant You’re 44 with a rectal tumour. blog. Kill yourself. Keep your head up.
Leo
(24 July – 23 August) Not much more could go wrong now. Why not try heroin?
Virgo
(24 August – 23 September) Now that the moon is at its highest, you are menstruating.
Libra
(24 September – 23 October) You are discrete and easy to use. Don’t let silly things like selfrespect and birth control get in the way of a good time. Perfect match: anybody.
Sagittarius
(23 November – 21 December) You will relate to something vaguely familiar in an entirely coincidental way while reading this. There is a very high chance that it may or may not rain Wednesday. Better bring the washing in to be safe.
Capricorn
(22 December – 20 January) We both know that you’ve always been the lamest star sign. What are you? You look like a metrosexual unicorn. Put some socks on for fuck’s sake. You don’t know anybody with a boat.
ATMOSPHERE
LADY GAGA
WAVVES
FLIGHT OF THE CONCHORDS
Thursday 7/Friday 8/Sunday 10 June – Vector Arena, Auckland
Wednesday 2 May – San Francisco Bath House, Wellington Thursday 3 May – Studio, Auckland
Thursday 3 May – Kings Arms, Auckland
TOMMY ILL NEW HAT AND A HAIRCUT ALBUM RELEASE PARTIES Saturday 5 May w/ Bang Bang Eche, Golden Axe and DJ Marek – Bodega, Wellington Friday 11 May w/ Bang Bang Eche and Spring Break – Dux Live, Christchurch Saturday 12 May w/ Bang Bang Eche, Spring Break, Wilberforces and DJ Andrew Tidball – Kings Arms, Auckland
10 YEARS OF DIRTY – LIVE Friday 4 May w/ P-Money, Scribe, David Dallas, PNC, Frontline and special guests – Studio, Auckland
TONO AND THE FINANCE COMPANY Friday 4 May w/ T54, Miniatures and Brown – Dux Live, Christchurch Saturday 5 May w/ T54, Brown and Baby Brother – The National, Dunedin
URBANTRAMPER INTERNET FREEDOM IS LOVE ALBUM RELEASE TOUR
Thursday 10 May – DuxLive, Christchurch Friday 11 May – The National, Dunedin Saturday 12 May – Dux de Lux, Queenstown Friday 18 May – Sawmill Café, Leigh Saturday 19 May w/ Glass Owls – Tabac, Auckland Friday 25 May – Space Monster, Whanganui Saturday 26 May – Garret St, Wellington
KAISER CHIEFS Thursday 10 May – The Powerstation, Auckland
PRINCE
Wednesday 13 June – Hawke’s Bay Opera House, Hastings Thursday 14 June – Founders Theatre, Hamilton Saturday 16 June – Town Hall, Auckland Sunday 17 June – TSB Showplace, New Plymouth Tuesday 19/Wednesday 20 June – Michael Fowler Centre, Wellington Saturday 23 June – Regent Theatre, Dunedin Sunday 24 June – Events Centre, Queenstown Tuesday 26 June – CBS Canterbury Arena, Christchurch Wednesday 27 June – Trafalgar Centre, Nelson Friday 29 June/Sunday 1 July – Vector Arena, Auckland
LAWRENCE ARABIA PRESENTS: THE SPARROW Friday 13 July – St Michaels and All Angels, Christchurch Saturday 14 July – Sammy’s, Dunedin Friday 20 July – Town Hall, Auckland Saturday 21 July – The Opera House, Wellington
Friday 11/Saturday 12 May – Allphones Arena, Sydney Monday 14/Tuesday 15 May – Rod Laver Arena, Melbourne Friday 18 May – Entertainment Centre, Brisbane Wednesday 30 May – Rod Laver Arena, Melbourne
HOME BREW SPEAKEASY – 48-HOUR ALBUM RELEASE PARTY 10am Saturday 5 May–10am Monday 7 May – 330 New North Road, Kingsland, Auckland
DIMMER – THE FAREWELL SHOWS Thursday 24 May w/ Beastwars – Kings Arms, Auckland Saturday 26 May w/ Beastwars – Bodega, Wellington
LADYHAWKE Friday 13 July – San Francisco Bath House, Wellington Saturday 14 July – The Studio, Auckland
SCORE 24 HOURS RECORDING IN THE RED BULL STUDIO...
...AND A MUSIC PLANET FULL SETUP INCLUDING P.A. SYSTEM, MICS, AMPS AND DRUMKIT
RED BULL SOUND VAULT AND MUSIC PLANET ARE ON THE SEARCH FOR THE NEXT BIG THING! Let your music speak for itself as you harness the voice of your fans to win the ultimate prize and kickstart your band’s journey to the big time. To enter, register your band at www.redbullstudio.co.nz before May 11. For full Terms & Conditions visit www.redbullstudio.co.nz/soundvault