NZ Musician December/January 2016

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D e c e m b e r / J a n u a r y 2016

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ILL SEMANTICS THE BROKEN HEARTBREAKERS LISA CRAWLEY VALERE FRAGILE COLOURS NO BROADCAST

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2016 NZM Studio & Label Directory

NZ MUSICIAN magazine PO Box 99-315, Newmarket 1149 Auckland New Zealand Phone: (09) 373 2572 editorial@nzmusician.co.nz

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N O . 4 D e c e m b e r / J a n u a r y 2016

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www.nzmusician.co.nz Publisher / Editor: Richard Thorne richard@nzmusician.co.nz Assistant Editor: Silke Hartung editorial@nzmusician.co.nz Advertising: Carl McWilliams editorial@nzmusician.co.nz Website Contact: web@nzmusician.co.nz Designer: Silke Hartung Pre-Press & Printing: MHP Print

Contributors JP Carroll, Myele Manzanza, Rob Burns, Amanda Mills, Savina Kim, David McLaughlin, Laura Dooney, Mal McCallum, Caitlin Smith, Briar Lawry, Oliver Clifton, Andrew Smit, Thomas Goss, Martyn Pepperell, Sammy Jay Dawson, Trevor Reekie, Darryl Kirk, Ania Glowacz, Jesse Austin, Bing Turkby, Stu Edwards, Aleisha Ward, Michael Hollywood, Greta Yeoman, Aaron Smith, Mal Smith, Anna Loveys, Kevin Downing, Joe McCallum

NZ Musician magazine is published six times a year.

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Contents and design

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Studio & Label Directory 2016 p22-27 FEATURES

REGULARS

LESSONS

Ekko Park . . . . . . . . . . . .

2

Get Yer Kit Off . . . . . . . .

4

Deep Thinking. . . . . . . .

6

The Broken Heartbreakers

10

The Lawful Truth. . . . . .

11

Guitar Cool . . . . . . . . . .

45

Lisa Crawley . . . . . . . . . .

12

Finding Your Voice . . . .

14

REVIEWS

Ill Semantics. . . . . . . . . .

19

Fresh Talent . . . . . . . . .

16

Building Blocks . . . . . .

18

Moments Like These. . .

32

Fragile Colours . . . . . . . .

28

No Broadcast . . . . . . . . .

36

Valere . . . . . . . . . . . . . . .

44

COVER

remain the property of

Ekko Park

New Zealand Musician.

Photograph by Paul Petch

All rights reserved.

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Out On The Street . . . . .

34

Fresh Cut . . . . . . . . . . .

38

Tutors’ Tutorial . . . . . . .

43

On Foreign Soil . . . . . . .

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GUITAR: Martin Dreadnought Jr .

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In the Year of our Lord Twenty and Ten The empty estates lay in waiting and ruin The young people ask ‘What would we stay here for?

Our future’s been all sold away, The New Land is calling my name’ The dole queues are long, the credit is high The talk in the street’s all the same by and by Twenty And Ten – The Broken Heartbreakers, p10

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Ekko Park

playing with words Featuring a blindfolded and gagged newspaper reader and clever use of two-colour printing on its fold out cover, Ekko Park’s new album ‘Know Hope’ looks for all money to be a statement of rock activism. Track titles such as Probable Cause, Whistleblower, Revolution Evolution reinforce that expectation, but as guitarist Joel Halstead and drummer Nick Douch tell NZM’s JP Carroll, rather than any unfortunate global politics, the album really owes its wilful, big energy to the pubs of Ireland and a sleepy Coromandel holiday township.

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here may not be a more appropriate setting to discuss the nature of Auckland rockers Ekko Park than an Irish pub located not too far from the centre of Auckland city. While the band’s Irish front man Joe Walsh was missing from the conversation, he was still present in spirit, as yarns were spun and glasses of Guinness were dealt to by drummer Nick Douch and guitarist Joel Halstead. Bassist, Callum Tong, was also absent from proceedings, likely deep in study.

Ekko Park’s cleverly titled sophomore album ‘Know Hope’ was released on 30-10-2015, two years to the day after the band’s landmark first, ‘Tomorrow, Tomorrow, Today’. Like the debut, it entered our local album charts at number five. Such synchronicities were not planned for, according to the drummer, but more organically developed on a journey that viewed opportunities as stepping stones.

“After the first album we were busy for a year and half, but kept writing,” Douch explains.

Enter the production dream team of producer Greg Haver, recording engineer Nick Poortman, and mix engineer Adrian Hall, who combined for lead single Validation that served as the first waypoint on the expedition toward ‘Know Hope’.

Validation piqued the interest of radio and fans alike mid-year, serving as a metaphorical gateway drug for the band to record their second album.

“Once we got that, we were really inspired to get the whole thing finished, we were like, ‘Crap, let’s do this,” laughs Douch.

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Momentum cannot be overstated as a driving force for Ekko Park. It is a nurturing source of energy for any group, but always having something to look forward to is what keeps this band together – jamming in the same room, developing new material, keeping an eye on the big picture. Should the right opportunity fail to present itself, Ekko Park aren’t afraid of trying to make their own luck.

“There’s never an excuse to not rehearse,” reckons Douch. “We’ll make something happen.”

Since their first album, a tour at home with I Am Giant, a tour of the UK under their own steam, international support opportunities and a NZ Music Awards’ finalist chance for Best Rock Album in 2014 have given this band every reason to believe their momentum will continue.

“We just saw the opportunity to keep going,” he laughs in explaining the release of ‘Know Hope’.

And so they did. Two of the new album tracks had their live debuts within the walls of a (genuine) Irish pub, when for many Kiwi bands, playing shows so far from home is a concept as foreign as the UK itself.

The writing process for ‘Know Hope’ was an holistic amalgamation of contributions from all comers, punctuated by an unwillingness to let a good idea die. Faking Shadows provides one example.

“We had this start for ages, like, that drum beat. Callum had a bass line, Joe had a picky intro bit, but we didn’t know where to take it. So each week we’d start jamming that, then we’d go and work on something else.Then one day we got the chorus and then it was like, ‘Oh sweet, we got it!’”

Guitarist Joel Halstead describes the collaborative process behind the song Whistleblower.

“The bridge was from another song… That was one where I had come in with a riff, and we just kept working on the song, but we couldn’t quite get it.”

“Then when we were writing Whistleblower, we had everything but a bridge,” Douch interjects.

And so, via the course of an apparent key change, the strongest riffs survive, and ‘Know Hope’ was born out of songwriting evolution. It was also born from 10 days of comparative recording isolation in a well-appointed bach in the tiny ocean beach settlement of Onemana on the Coromandel. The idea came up while recording Validation late 2014 at Roundhead Studios. Engineer Nick Poortman had a portable studio available and the band liked the idea of getting out of Auckland to zone into the album recording. “After the drum tracking was complete in early August we packed up our gear and ventured down to the Coromandel, loaded in, set up, soundproofed and locked ourselves away for 10 days.”

Nothing’s ever so easy of course. When the band and production team turned up to the house a leak had caused flooding. Handily, Poortman never travels without a dehumidifier and after the obligatory mopping up the band lived in the house for the duration; recording, cooking (mainly master chef Joe Walsh), recording, cleaning and recording.

“Our day was structured with a morning coffee run to Whangamata before getting into recording around 10am, where we would focus on guitars for the day. Then after dinner we would work on vocals. It was a great place to be, right next to the beach, there were no distractions and we were 100% focused on the music... it helped create a vibe that we wouldn’t get anywhere else,” says Douch.

Using the band’s own equipment meant the production team could get closer to the goal of making an honest, exciting record. The bach-turned-studio played its own distinctive part in creating the album’s unique energy. In counterpoint, working with now Auckland-based Welsh producer Greg Haver instilled a sense of calm on the project.

“You felt like… he knows what’s going on, he’s got it under control, just play,” Douch continues. “We all had a vision of what it might sound like… and he knew how to make that happen.

A shared vision lay in the pursuit of the band’s individuality.

“Greg wanted us to sound like us,” Halstead adds. “We just wanted to do a balls-to-the-wall Ekko album.”

Haver’s approach to the sonic direction of the record was, he says, simple – within two minutes of hearing the band rehearse for lead single Validation, he knew what he wanted.

“The band sounded great playing together and had the confidence of being on the road since the release of their first album,” says Haver.

Mix engineer Adrian Hall has plentiful credits – Alicia Keys, Black Eyed Peas and Goldfrapp among them. Haver describes his perspective and directness as refreshing, and supportive of the goal of capturing and portraying that energy present in the rehearsal room.

We live in a time of such heated dialogue over world events such as terrorism, dodgy trade agreements and the terrifying prospect of wholesale spying on the public, so it was appropriate to ask if the album’s title, ‘Know Hope’, and content, was politically driven?

Apparently not.

“There’s no concept the whole way through,” Halstead stresses.“I mean you’ve got songs written about Breaking Bad. Joe is not the new Bono.”

“The first album almost guided us into how we wanted the second album to be,” he continues, meaning the process of recording the first album helped the band identify exactly what they wanted to extract from the second. Debut album, ‘Tomorrow Tomorrow Today’ was released in late 2013. Recorded at Studio 203 and York Street with Andrew Buckton producing it made it to #15 on the nmational album chart, with lead single My Crime getting good radio support.

Faking Shadows and opener Surface Breaks were the last two songs written for the new album and Douch indicates they were also the band favourites, suggesting they might provide a direction for a next album.

The ‘Know Hope’ release happily coincided with a NZ tour support for Aussie rockers Dead Letter Circus in November, a tour shaded by disappointment with the closure of Christchurch’s Allen St Rock Club in the lead up. Looking forward the band have some activity planned across

The writing process for ‘Know Hope’ was an amalgamation of contributions from all comers, punctuated by an unwillingness to let a good idea die. the ditch, intend to return to the UK and perhaps even to dip their toes in the Asian market. Two recorded albums under their belt, and there is a sense anything is possible for Ekko Park.

“We’ve been on the same page, like, ‘We’re gonna do this’, and we kind’a just do it. We go out and make it happen,” says Douch on the band’s unified direction.

“There’s no guarantee that anything’s going to happen,” adds Halstead.

“The amount of effort that an independent band puts into something [like a record release]... so for anything to happen, it makes it all worthwhile.”

Ekko Park are keen to do their part to help rock bands coming through as well. A channel of communication with Kaipara College was formed after a student from the school messaged the band, asking if they’d be interested in helping with the preparation of their Rockquest acts.

The relationship blossomed, and saw Ekko Park’s first public show following the release of ‘Know Hope’ put on in Kaipara, in conjunction with the school, featuring five of the local high school bands in support.

In the light of the lingering aftermath of the recent terrorist attacks on Paris the album’s inevitable question has gained added pathos. Is there really k(no)w hope?

“Oh nah, there’s hope all the time, if you put your mind to it, there’s hope,” Douch answers promptly.

More introspectively, Halstead adds his angle.

“Hope’s a thing that makes everything work. You hope that shit doesn’t happen, you hope that if it does it gets sorted out, but, I dunno. I guess it depends on perspective, who’s in control of things… Hopefully, people just get their shit together.”

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Photos: Lemovision & Joon Yang

With a playing history that encompasses the diversity of French For Rabbits, Glass Vaults and The Wellington City Shake-’Em-On-Downers, Hikurangi Schavarien-Kaa has in recent years been establishing himself as one of the capital’s go-to drummers. That’s according to Myele Manzanza – and he should know, right? Myele very kindly led this interview with Hikurangi for NZM. How did you get started in music?

There was never an ‘aha!’ moment, just an ongoing desire to be involved with music somehow, which I’ve felt throughout my life.

I got my start on drums, purely because my friends’ band was short a drummer. While I never thought I’d be a real musician, and initially pursued visual arts at university, the obsession with percussion hit me hard, and stayed with me.

Who are some of your main drum/musical influences? How do you feel that their style has impacted on your own way of playing?

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My teachers. I’ve been very lucky with whom I’ve been able to study. In high school (Massey High in West Auckland) I studied with Swiss drummer Walter Mueller, and jazz/funk/latin chameleon Tim Whitehead, who helped me get my hands into shape and hone my musical and melodic senses.

When I got to Wellington after high school, I got to see a lot of incredible music: Highlights included seeing Rick Cranson in an early, acoustic trio incarnation of the Little Bushman, Richard Wise playing in a trio with Nick Tipping and James Illingworth at Sandwiches every Wednesday, and yourself, playing with Olmecha Supreme, which makes this interview all the more surreal for me. I soon got lessons with Rick, whose fiery, rolling triplet I’ve always enjoyed and tried to approximate.

He introduced me to the masters: Elvin Jones (on Coltrane's Crescent), Tony Williams (that solo on Seven Steps To Heaven!) and Max Roach (via A Study in Brown), and he set me on the path to playing jazz, by suggesting I try the foundation certificate in jazz at the NZ School of Music in Wellington While I was at the NZ School of Music, I studied with some phenomenal drummers – Lance Philip and the legendary Roger Sellers. Their wisdom has really

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stuck with me, and unlocking it is a lifelong process.

I also managed to get lessons with some fantastic local and ex-local drummers like Reuben Bradley and Mark Lockett, as well as internationals including Gregory Hutchinson, Mark Schilders, Steve Houghton, Joe LaBarbera, Jochen Rueckert, and Aussies Tim Firth and Jamie Cameron.

As for my contemporary favourites, I really enjoy almost anything that Marcus Gilmore, Nate Wood, Ari Hoenig, Jamire Williams, Justin Brown, Hutch and Jeff Ballard, touch. They blend the tradition and their own innovations, each with a distinctive, individual voice.

What gear are you using at the moment?

For rock/pop/fusion I play a Gretsch Renown Maple kit in Cherry Burst – 20x16", 14x14", 12x8" and a 14x5" snare. For jazz and acoustic music I have a Remo Gold Crown bop kit, in the same sizes but with a smaller, 18x14" bass drum. I mostly play Zildjian cymbals, with a beautiful 22" Bosphorus Traditional Master series ride cymbal I use for the more acoustic music I play, which I inherited from Richard Wise in 2010.

Who have been some of your favourite musicians / artists to work with over the years and who are you currently performing with at the moment?

One of my early favourites is City Oh Sigh – the three original members (Kate Uhe, Sarah Smythe and Catherine Henehan), all came from a classical background, which gave the music a sort of chamber ensemble feeling.

We played some wonderful, intimate shows, and my experience with that band was a real master class in sensitivity and dynamics, which I feel have become some of my top priorities as a drummer.

In terms of pop music, this year I've been playing, touring and recording with French For Rabbits (Dunedin/Chch/Wellington) and Glass Vaults (Wellington/Auckland), both of whom I absolutely love playing with. Both bands give me the opportunity to purely consider my musical role, rather than being concerned with logistics and other practical worries, so touring with them is blissful escapism. I currently play with a whole heap of groups in the jazz sphere including the Wellington Mingus Ensemble, The Wellington City Shake-'Em-On-Downers, and a lot of straight ahead jazz in various acoustic formats with a host of great local instrumentalists, mostly products of the NZSM. I also play in a couple of Brazilian and Salsa ensembles.

thought I’d see. The morning cruise through Milford Sound to the edge of the Tasman Sea is pretty life-altering.

Do you think being from NZ gives you a distinct style or perspective on your approach? Do you identify with any particular ‘school’ of drummers or artists in NZ? The country is comparatively small, which means that musicians really benefit from being generalists. Wellington especially, supports a huge number of really wonderful and versatile players, considering its size.

As for how I identify as a drummer, my musical identity is something I find to be very fluid and difficult to define. What I can do is list some of my favourite drummers from that young millennial crop (particularly from outside of Wellington), include Joe McCallum, Alex Freer, Stephen Thomas and Adam Tobeck.

They all play with exceptional precision, but with a sort of soft-edged legato which I think

exemplifies a NZ ‘style’ at its best. Seeing any of those guys play is always a deeply humbling, learning experience! `SjP73MSj7Y3SOdJBP"_jLJG

How do you approach developing your drumming technique. Do you consider technique as very important? Do you feel like your musical ideas stem from your technique, or perhaps for you it’s the idea that comes first and the technique is in service of that?

I really agree that exceptional technique – a beautifully placed note, a silky snare roll, whatever – is an art with its own innate value.

But to stop there, and value technical ability alone, can be a hollow goal. Technique should be invisible in the service of the song, and by that I mean a drummer should have the ability to play what’s required, without flexing their musical muscle any more than is necessary. It’s really nothing revolutionary – it’s about being a team player and supplying whatever is needed to bring out what other people have to offer, rather than swamping it.

Musical ideas can certainly be generated from technical investigations, and so many of my favourite Hot Licks are. But at present my biggest priority is to play, simply, cleanly, and competently – to complement and serve the bigger musical landscape.

Do you have things outside of music that feed into your approach or desire to playing the drums? Philosophical, cultural, spiritual, political, artistic or family influences etc?

If I have a philosophy, I guess it’s that being a drummer is important because of how the drum’s role connects the body to melody and harmony via rhythm. It feels central and special to me for that reason.

When a bass player and a drummer are locked together, the whole room is in the ‘pocket’, and the audience can intuitively feel this otherwise totally ephemeral thing, they can access the music on a corporeal level as well as a cerebral one. That elusive feeling is the number one priority for me, and the less thought and more intuition put towards the pursuit of this feeling, the better.

Music is a source of fulfillment, and it has shown me the world. French For Rabbits’ 2014 European tour was a highlight, particularly Brittany and Italy. Touring has also given me opportunities to explore more of NZ than I ever

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Chris Squire,

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’m making a brief return to the world of progressive rock in this issue to make a tribute to the great Yes bassist, Chris Squire (1948–2015). He died in June this year, but the number of tributes among bassists on Facebook is ongoing and there has even been a plaque in memorial to him mounted on a building in London, such was his influence.

He was another of those bassists I have often talked about who took the bass guitar into new territories from the early 1970s until his death. Yes were/are one on the most famous bands of the prog genre and Squire was an

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influence on Geddy Lee (Rush) and many other players who invented lines that were melodic and not always following the traditional role of the bass.

The line I have transcribed is from Roundabout on the 1971 Yes album, ‘Fragile’.

At the time, most bassists played with a plectrum, but Squire had an iconic sound that was produced by his customised Rickenbacker 4001, the stereo bass that I mentioned in the last issue of NZ Musician. With two channels at his disposal, he originally used two Fender Dual Showman heads with one set for slight

distortion, to produce a very individual sound that was rarely successfully emulated. (I remember as a teen buying a Rick and realising that I needed a technician to customise it as well as a second amp, and that's before Squire’s playing came into my equation!)

The Roundabout line is mainly constructed from an E Aeolian (natural minor) scale, as notated in example 1. There are two ways of fretting the line. One is notated in the tablature of Example 2, but the A/B D/E figure can also be played on strings three and two with ‘open’ strings to fret 2 on each of those strings. I saw Squire do it in the way I have notated it though.

The figure is fast and requires alternate picking (up and down strokes). It can be played with picking fingers with some practice.

The main verse line is followed by a 2/4 bar leading to an ascending A minor pentatonic figure in 4/4. In the nature of prog, this phrase is followed by yet another change in time signature, this time to 6/4 (B, A and G minims) followed by a sustained low G. Example 3 might be seen as a kind of chorus, although the song has several more sections, and the concept of a ‘chorus’ in a prog tune could be considered problematic. This section follows fours bars rest – three bars of 4/4 and one of 2/4. It is mainly constructed from a G mixolydian scale (G major with an F natural instead of an F#) and Squire really pumps this part with the drums. He playing G pedal motes with low E rising to F in each of the first three bars, and with an F# passing note leading the Bb and E in the final 2/4 bar. He repeats this four bar phrase several times with variations, before returning to the main verse part.

In later incarnations of Yes, Squire occasionally used a custom-built Wal three-neck bass, and he sang all of the high harmony parts of the Yes repertoire while playing some very complex parts. The entire ‘Yessongs’ live album is on YouTube. He was extremely inventive and, while I never met him, my UK mates who knew him say that he was a very humble, easy-going guy – my kind of rock hero. Have a great Christmas and a brilliant 2016.

(Dr. Rob Burns is an Associate Professor in Music at the University of Otago in Dunedin. As a former professional studio bassist in the UK, he performed and recorded with David Gilmour, Pete Townsend, Jerry Donahue, Isaac Hayes, Sam and Dave, James Burton, Ian Paice and Jon Lord, Eric Burdon and members of Abba. He played on the soundtracks on many UK television shows, such as Red Dwarf, Mr. Bean, Blackadder, Not the Nine O’Clock News and Alas Smith and Jones. Rob is currently a member of Dunedin bands Subject2change and The Verlaines.) ashdownmusic.com/artists/252/Robert-Burns

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The Broken Heartbreakers

Picking Up The Pieces Having settled in Melbourne for a couple of years Rachel Bailey and John Howell these days call Dunedin home, and fittingly recorded the fourth The Broken Heartbreakers’ album in the living room of drummer Jeff Harford’s North East Valley house. Amanda Mills talked with the country/folk/pop couple about just how they got to now.

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he history of The Broken Heartbreakers stretches back over 13 years to Auckland, when alt-country was not yet in vogue.

Multi-instrumentalists John Howell and Rachel Bailey formed the group, with band members over the years revolving around the duo. Howell remembers the band’s early days well.

“I was playing in an instrumental group, Salon Kingsadore,” he reminisces. “I just started writing songs that were completely different to anything I’d ever written. It was pretty country at the time, and it needed a vocalist.”

Enter singer and songwriter Rachel Bailey.

“I met Rachel… she was pretty staunch and wouldn’t have a play until she’d heard some music.”

Bailey wanted to be certain of what she was signing up for, which she did in 2002.

“We used to sit down and play. It seemed strange to be singing songs and harmonising, and bringing it down and making it more intimate,” Howell laughs.

The band have been described as country/folk, with a pop twist, something they agree with.

“There’s a lot of storytelling of modern life, which I think is folk music… [and] there’s a lot of pop hooks,” Bailey considers.

Their new (fourth) album, ‘How We Got To Now’, takes the listener on a journey through the highs and lows of Howell and Bailey’s last five years, since 2010’s ‘Wintersun’ album.

“Rachel and I went overseas, and decided we’d go to Europe and take our guitars,” Howell explains.

“We very naively thought

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that if we went over there, and were open to the universe and experiences, then things would unfold. We wouldn’t recommend that to anyone, that’s a really bad idea! You need a plan, you need to be extremely well organised, and you need funding. We had a tough time.”

The sound of The Broken Heartbreakers has evolved as band line-ups and dynamics changed.The first album from 2006,‘Everybody’s Waiting For Their Darling’ was according to the pair, very country, and sweet – “… just making songs as small and as honest as possible.”

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Their self-titled second album, (also known as ‘The Red Album’) appeared in 2007.

“That is a funny one,” Howell admits. “It was a real disappointment for me that nothing happened, because I thought… if you do something that good, people will hear it… ‘The Red Album’ is a good album.”

2010’s ‘Wintersun’ was very much a band affair, with a new line-up of Howell, Bailey, Sam Prebble, Mike Stoodley and Myles Allpress.

Balancing music and musicians was a delicate manoeuvre.

“When you’ve got a band, it’s people playing and it’s friendships, and it’s egos, and all of those things,” Bailey describes. “People feel this need to fill up the space… I love not having all the space filled up.”

Five years later, The Broken Heartbreakers are a quartet, now with Jeff Harford on drums and Richard Pickard on bass, both electric and double. It hasn’t been an easy time, as close friend Sam Prebble passed away a year ago, and is deeply missed.

“He was one of our best buddies, and he was such an incredible person,” Bailey says sadly.

Melody in H, which closes the 12-track album, strongly evokes Prebble.

“I originally wrote the song for a friend of mine who passed away six years ago… I only finished that basically while I was about to record it, and the words are definitely a nod to Sam. That was a powerful moment… it’s as much about Sam as it is about my friend. And, I know it is for some other people as well.”

Written between 2010 and 2015, and recorded over five days in early February, Howell describes ‘How We Got To Now’ as very much being himself and Bailey on a mission.

“This album is a little more indicative of what our tastes actually are.”

Former bassist Mike Stoodley came down from Auckland to engineer the recording in Harford’s living room. Howell and Bailey then recorded vocals and overdubs at their house. That work plus mixing and mastering at Stebbing took seven months to complete before the album could be self-released.

Howell admits he found the mixing process fascinating.

“Mike had remote access to our computer… and he’d go in, and you’d just see the mouse start moving, and he’d have a mix and send it back through, and we’d tweak it,” he laughs.

“That future that people would talk about 10-15 years ago, it’s actually happened now!”

The album has a political thread running through it. Howell has a clear stance, and a timely metaphor.

“Not enough bands put their flag in the sand about where they stand on things.”

The Revolution of the Wolves considers a third term National Government, while Twenty and Ten is about the Irish economic downturn that followed the growth explosion of the Celtic Tiger era.

“In 2010 we went to Ireland… right after the IMF so-called bailout,” he says. “We didn’t have any money, we turned up in Ireland, and thought that we could get work… but, that simply wasn’t an option. To be right in the middle of that really politicised me… that couldn’t but help come out in some of my songs. Twenty and Ten is about going back to Ireland, to see the devastation of the politics of austerity.”

The remainder of the album is similarly relevant to their experiences and its title.

“We can’t help but write things that are absolutely true… I don’t think we’d know how to do it any different. So, they’re very much our stories.”

Both are happy with the outcome, Bailey especially so with her vocals on Somebody Please.

“I’ve always felt that in previous recordings I haven’t quite delivered to what I know I can do, and I feel like I’ve done that on this album.”

She says there was also a desire to make the sound more interconnected than before.

“Rather than take this bunch of songs, and make it sound… cohesive in terms of arrangement, we made them serve that kind of song in the best possible way.”

Guest performers add strings, brass and group backing vocals.

“Melody in H has got this big singalong at the end, and we wanted to have lots of vocals and voices in the background,” describes Bailey.

“We asked Reb Fountain and Steve Abel, Dylan Storey, Brendan Turner and Alison Millar…

Dylan recorded it at his studio in Auckland with Mike. We also had John White, he played viola on a couple of parts, and also did some vocals for us on When You Don’t Have Your People.”

After settling in Melbourne for a couple of years, Bailey and Howell now call the music mecca of Dunedin home.

“This is home for me, I grew up here, and we really wanted our little girl to grow up here,”

“Not enough bands put their flag in the sand about where they stand on things.” – John Howell Howell explains.

For Bailey though, it was a new experience.

“We knew we wanted to come back to NZ, and we didn’t want to go back to Auckland. I’ve never lived in Dunedin before, but… I feel very at home here. I love the weather! I think it’s my Irish upbringing – I can’t handle the heat, I hate humidity. And I love big coats, so it’s a win-win for me!”

To mark the release of ‘How We Got To Now’, the band played Dunedin, Lyttelton, Wellington

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and Auckland, but now anticipate a lower profile period of songwriting.

“If people want to pay us to come and play at festivals, and ask to go and play, then we’ll do that,” Bailey adds, to Howell’s agreement.

“We’re a great band, and if people want to pay us some money and invite us somewhere, then we’re there!”

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Industry

Youth Music Mentoring Scheme planned for 2016 With a decade-long history of putting on all-ages gigs Savina Kim is something of a youth music entrepeneur. In November she announced a new music and events industry mentoring scheme called ignite. Scheduled to start with 10 ‘students’ in March 2016, Ignite is born of her drive to support the personal and professional development of young practitioners within New Zealand’s creative industries. To background ignite NZM asked Savina to first tell her own story.

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ack in 1998, as a 16-year old and a massive supporter of NZ music, it was frustrating missing out on so many local shows as an underage fan. I was tired of seeing bands announce shows, only to be left out in the cold when the inevitable R18 venue was announced.

After much disappointment, it dawned on me that I could help organise an all ages show for some of these bands – and my band could even open for them.

The only gigs we had played were at my school auditorium, a neighbouring school and Rockquest, so it was quite an undertaking. I can’t remember if the show made any money, or how helpful I really was, but do remember that the bands had a great time, got some new fans and – more important to me at the time – my friends and I were able to go!

After high school and a failed attempt at university, I decided to follow my passion for music and study at MAINZ. I developed a great foundation of knowledge and through a tutor’s recommendation, landed my first job in the music industry as a Licensing and A&R Assistant at Mushroom Music. It launched a career that has since taken me through various areas of the industry.

Even through the busiest times I’ve continued to put on all ages shows. Being now of drinking age I had access to a lot of shows and probably averaged three a week,

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but there is something special about the energy at all ages shows and I enjoyed providing opportunities for bands and for young people to discover them.

These all ages shows were a labour of love and often tested my passion. Cleaning up teenage vomit with bare hands, carrying PA equipment up flights of stairs after finding a broken lift, or losing thousands of dollars in a night. What kept me afloat were the people, some who were experiencing their first ever gig. I will never forget the amount of condensation literally dripping down the walls at the Ellen Melville Hall from a sold out show, or giving a 13-year old a leftover poster and hearing him declare that he had the ‘best night of his life’. These are the moments that make everything worthwhile. Meanwhile I learnt the importance of making lists and doing a budget!

Perhaps it was my deluded fantasy of wanting the best of everything without raising the ticket price, or my desire to run these events as a not-for-profit model with revenue split between the bands performing – but whatever it was, my steam finally ran out and after 12 years I put on my last show in 2010.

I had always provided opportunities for young people to volunteer at my shows as I loved their energy and valued their perspectives. They were, after all, my target audience. In the five years since I stopped putting on all

ages shows, I had started to notice some of them were following in my footsteps – putting on their own shows, studying and landing jobs in the industry. I realised that I was unintentionally teaching them valuable skills and inspiring them to forge their own musical paths. Last year, it all clicked: this is what is really going to help shape the music scene the way I’d always hoped for future generations. ignite was born out of this concept of supporting the personal and professional development of our young people, giving them a stepping stone to further education pathways and to discover the various careers that exist within New Zealand’s vibrant creative industries. Through the programme, we will be producing truly authentic youth events – run by young people for young people, and creating key performance opportunities for young and emerging artists. By investing in the next generation of music industry professionals with mentorship and practical experience, ignite will create a sustainable model to produce more all ages events in Auckland, and eventually nationwide.

PROGRAMME INFO ignite will engage young people aged 15-18 in Auckland with a passion for music and events in a 15-week programme starting in March 2016.

Established music industry professional will be paired up with participants to provide

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one-on-one information, advice and guidance on an ongoing basis throughout the programme.

Participants will further upskill at ignite Seminars in April, which will also be open to the public.

Participants will take part in private tours of music venues, receive practical events experience, and have access to meaningful mentor relationships.

The experience and skills learnt will be used to produce a music-based event at the end of the programme under guidance of their mentors and with the assistance of the ignite Event Fund.

One deserving participant will be awarded the ignite Scholarship to study a Diploma in Music and Event Management at MAINZ. There are 10 placements available for 2016 and there is no cost to participate in the programme. Applications open on 25 January 2016, with the programme commencing 12 March. Full programme and application information is available at www.igniteprogramme.org.nz or by contacting info@igniteprogramme.org.nz

UIF MBXGVM USVUI with David McLaughlin

Contract Basics In the last couple of Lawful Truth columns we went through the Top 10 legal tips for surviving in the NZ music industry. I’ve since received a few questions about some of the points covered in those articles and more specifically, about how contracts work. So, by way of a follow up, we’re going to dig a little deeper into some of the nuts and bolts of contracts.

Certain pieces of legislation have a big impact on the local music industry – like the Copyright Act 1994, on which the various rights in copyrightable works like songs and sound recordings are based. However the day-to-day practicalities of operating in the music industry aren’t governed by specific legislation, and so it is that the contracts people make come to form the basis of how the music industry works.

By understanding exactly how contracts work you can put yourself in a much better position to maximise the potential of your music and your activities in the industry.

A contract is a legally enforceable agreement made between at least two legal entities. A legal entity includes companies, partnerships and individuals. A contract can be made in writing or can be made orally, however, there are some instances, such as with assignments or exclusive licenses of copyright, where any contract must be in writing.

Whether it is in writing or verbal, there are certain things which a contract or the process by which the contact is made, must have to make it legally binding. Firstly there must be offer and acceptance. This means that there must actually be an offer made and there must be corresponding acceptance of the exact terms of the offer.

The law also requires something called ‘consideration’ to be present in order for a contract to be legally enforceable. Basically this means that both parties to the contract must be getting some kind of value out of it for it to be legally binding. When it comes to consideration the most common form is money.

When it is not clear what the consideration that a party is receiving in a contract you will quite often see such phrases as “…in return for the payment of one dollar, the receipt of which is acknowledged…”

For any contract to be legally enforceable it must also be clear what exactly the contract is about. So if I entered into a contract which said I will sell you my car then we may not have any problem if I only own one car. However, if I don’t own a car or I own several, then we potentially start to hit issues of uncertainty.

Another key thing to think about is when should you really insist on a written contract?

Outside of the situations such as an assignment or exclusive licence of copyright where a written contract is essential, this question

depends entirely on a number of commercial factors. Although you will generally have to make the decision yourself, as a rough rule of thumb the more important the performance of an obligation by another party is to you, or the more severe the ramifications are for you if the obligation is not performed, or you have any liability (potential or actual) to a third party under the contract, then you should insist on getting something in writing.

Written contracts are always the safest way to go. Just by having to negotiate the written terms of a contract the contracting parties can often resolve any honest misconceptions either may have about what they are actually agreeing to under the contract. Most obviously, in the event that something does go wrong later you have a clearly stated record of what was agreed.

Now, what exactly is ‘breach of contract’?

In practice there are many different ways in which a contract can be breached. These include where one party has not performed some of its obligations, or where one party has not performed their obligations entirely.

Breach of contract specifics in any situation will very much revolve around the specifics of the contract in question.

If any disputes over breach or claimed breaches of contract cannot be resolved, then ultimately the issue may end up before the courts.

Court action is a very expensive and drawn out process. More and more use is being made of what are termed alternative dispute resolution methods, such as mediation and arbitration, which you can provide for in a contract.

Although these alternative dispute resolution methods can still be expensive, they at least provide a resolution quicker than court action.

For some types of disputes there is also the ability to have the matter heard by the Disputes Tribunal, which is a very cheap service.

Remedies given in the situations where breach of contract is found, can include amongst other things the awarding of damages, or requiring the party in breach to complete their obligations under the contract.

Contracts can be very powerful tools if used appropriately and created in such a way that they are fully legally binding and their intention and subject matter is clear.

David McLaughlin is a specialist music lawyer with Auckland law firm McLaughlin Law (www. mclaughlinlaw.co.nz). He can be contacted by email at david@mclaughlinlaw.co.nz or on 09 282 4599.

Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.

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Lisa Crawley She may not readily admit it but the title of Lisa Crawley’s just-released EP, ‘Up In The Air’, provides a fair indication of where things are at for the Auckland singer/songwriter. 2015 also saw her travelling from her new Melbourne base to sound out the North American market, attending music showcase events in LA and Canada.

Laura Dooney caught up her during Lisa’s whirlwind recent NZ EP-release tour.

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isa Crawley’s a busy woman. In the middle of her tour of NZ – sharing her latest EP offering with her homeland, she’s been doing what she can do get the word out. Radio in the morning followed by an afternoon photo shoot, and an interview with NZ Musician to round out her day.

Despite that she’s still chirpy and upbeat, happy to talk about her new EP ‘Up In The Air’, and what she’s been up to since her last album, 2013’s ‘All In My Head’.

This release adds to a back catalogue of two albums and two EPs, plus a heap of collaborations with some of this country’s finest musicians. Based in Melbourne since the start of last year, it was there Crawley was introduced to producer Ryan Ritchie, who worked with her on ‘Up In The Air’.

“I wasn’t ready to record when we first met up but got in touch again a year later and we got to work!”

Ritchie has previously recorded fellow Kiwi Kimbra, who Crawley recalls gigging with when she was younger. They used Ritchie’s own studio.

“He was pretty good to work with. A lot of my songs weren’t really at the stage where I wanted them, and he helped me figure out what I wanted,” she says.

“I’d just moved to Melbourne and was still settling in, and didn’t have the songs quite ready to go, so we worked on them together a bit, just chipped away until they were ready to record.

Ryan was great in the sense that he helped me cut out a lot of ‘filler’ – little words that weren’t needing to be there, and weakened what the song was trying to say. He helped me realise that musically I felt the need to resolve chords, which isn’t always the most effective option.

“We both have quite similar strengths in terms of arranging strings and melodies, but he’s also got a background in hip hop, so it was cool to talk about beats and stuff. It worked recording at his place as we weren’t doing a rehearsed band recording all at once type of thing, it was lots of demos, then redoing takes, and from there bringing in musicians one at a

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time to add their parts.

The result is a neatly tight bunch of songs.

“We did an EP rather than a whole album just have something fresh and new to get out there, and get more established in Australia.”

Opening track Up In The Air sounds almost dark to begin, but soon begins to soar, Crawley’s yearning lyrics complemented by sumptuous strings.

“Up In The Air began with me experimenting with ideas on my laptop. I think I’d just updated Logic Audio and was playing around with chords etc. and came up with the verse chords, and from there needed an opening lyric. I think I was either about to fly or had just flown to Los Angeles so used that as a starter and went from there.’

Is There Something Wrong? the track straight after, is comparatively pared back, Crawley’s beautiful, miffed voice paired with a piano. Her voice is sweet at times, soaring at others, with a hint of melancholy sprinkled in – she says there’s a little more honesty from her this time.

“I don’t feel like I have to compensate for lyrics that might not be overly happy, by matching it with happy music, just because I was trying to cover up the lyrics.”

In the past she says, she figured if the melodies at least were happy people wouldn’t notice the sadness in her lyrical content, but with this EP it’s different.

“I’m like,‘Yip, that’s the mood I’m feeling’, and I’ll just match it.”

She’s also been more daring, perhaps a result of growing older and becoming more comfortable in her own skin.

“It’s not overly controversial at all, but for me having the word ‘mistress’ in a song for example is like, ‘Oooh that’s a bit crazy’. But it’s not, it’s challenging yourself and being open to not caring so much what other people think.”

Crawley explains her move to Australia nearly two years ago as coming as the lease on her house in Auckland, plus a few other things, were finishing up.

“I didn’t tell that many people I was leaving, I

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just thought, ‘Well, it’s time to do it now.’”

She already had a few gigs booked back here, so returned every couple of months, gradually moving her life across the Tasman.

She admits it has taken a while to settle in.

“Moving to a new country and not knowing that many people in the music industry I’ve kind of had to start over… I knew that would be the case, but it kind of reminded me how awesome the scene is in NZ, and what a great community of musicians I ended up being a part of. I still miss that. I’m not quite there in Australia, but I’m getting there more and more.

I still think it’s good for me overall. A little bit challenging, but good. I am enjoying it, [but] I don’t have the same level of work I had in NZ” She is enjoying having a much greater variety of venues and gigs to play, and the fact there are people going out to watch music every night of the week.

“There’s quite a few [venues] that have residencies, and will just have a band on say every Wednesday. You do two sets and you know you have a guarantee. As long as I don’t have to do too many weddings, because that will kill me,” she laughs.

It’s an admission that she has been performing at weddings in order to help pay the bills.

“I have a pretty healthy outlook on it. I think I’m just going to work, and just doing it, and it’s enabling me to get work for my original stuff, and session work with other artists as well. I shouldn’t knock it too much, it’s hilarious people watching.”

Amongst all this Crawley keeps looking ahead, planning her next move. She says she’ll continue live in Australia – but would like to do some shows in Europe next year as well. She used to live in London, and is keen to get back there to visit old haunts.

“I’d love to go again and play some gigs – but do you wait until you've got more of a reason to go or do you just go?” she ponders. “I don't really know what the best way is – I’ll just keep writing, and see where that takes me.”

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by Mal McCallum

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maller guitars have been grabbing themselves quite a lot of attention lately, in the particular case of this slightly under-sized Dreadnought model from Martin, largely due to the huge success of one Ed Sheeran.

When Martin’s excellent guitar clinic presenter Diane Ponzio was in NZ recently she talked about Sheeran taking Martin’s smallest, cheapest compact guitar, the LX1E travel guitar, on tour. His trip around the world turned it into an icon that millions of fans recognised, and as a result half of them seemed to want one.

Try as they might, such demand was never going to be satisfied, so Martin responded with a custom Ed Sheeran model, and also what I would consider a much better solution to the smaller guitar equation. With this model, the Dreadnought Junior, Martin have gone for something bigger than a lot of the diminutive ‘travel’ guitars, indeed a guitar that you hardly notice has been reduced in size from a full size body. This is 15/16ths in size, or about 30 mm shorter in body length than full size, and with that apparently small change it’s nicely portable.

For the rrp of $1350 it comes with a well-made Martin nylon soft bag and plenty of other likeable features – the solid hardwood neck, the fat sounding Fishman Sonitone pickup and 14-fret neck. This gives you something

very usable performance- and playing-wise, and it has that rich Martin sound off the solid spruce top. The back and sides are book matched from solid sapele, with Richlite bridge and fingerboard, an alternative to ebony that Martin has developed.

The top has Martin’s famed cross bracing structure, so there is absolutely no compromise with the construction of this guitar. The enclosed chrome tuners take care of business nicely, and the finish is a hand applied oil low sheen finish, for a nice natural wood look.

Making guitars well is something Martin have been doing for many decades.Though many might consider this a lower level guitar, the sound of the Dreadnought Junior is very recordable and usable for a top end recording session. It could as well be the guitar for a younger or smaller person to develop on, and something more established players might keep as a second guitar.

Though it isn’t so much smaller than a full-sized model, you would surely enjoy the added portability when touring or travelling with it. Among issues that are often encountered with small guitars are the neck being too flexible, and consequently going out of tune when played, and also string tension being too high. Neither of these are likely to

be a problem on Martin’s Junior, due to the solid wood neck, and the 14-fret neck. Like many other full-size guitars though, it does sound sweet when you tune them down a bit, using Drop D or D open tunings.

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I’ve posted a live clip for you to check out here on https://youtu. be/6FttNrk5xfc so you can have a quick listen. Do hit me up for any further questions (facebook.com/ malmccallum) if there’s something else you want to know.

You might think volume would be an issue with a smaller guitar, but sound is a funny thing, as we all know. This guitar has plenty of volume. One of the reasons for this is the soft low sheen finish that lets the top ‘speak’ as they say, and resonate a bit more than a guitar with the full nitro cellulose finish. This has become the norm across quite a few manufacturers, so there must be some logic to it.

Another point Ms Ponzio covered, and a lot of players might have thought about from time to time, is the difference in volume of the full dreadnought shape compared to a more normal cutaway. Martin have done a fair bit of testing and measuring of this, and the result was – not much at all.

If there was anything different with this guitar to say, a full sized D28 Martin for example, then maybe the bottom end is a little light – but not in such a way that you’d feel it was lacking. The Dreadnought Junior is also nicely in tune up the neck, so you’ll be quite happy with open strum chords that have the low drone strings ringing.

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GJOEJOH ZPVS WPJDF with Caitlin Smith

The Self-Saucing Pudding: Making Time For Your Voice How do we cope with the uncharted/unplanned day?

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ome people can account for and wisely spend every waking hour, planned well in advance. That’s not me. How can we make time for and prioritise our voices and creativity so we don’t feel overwhelmed, despairing or stuck? This column is devoted to the ways we can dedicate to singing and songcraft (especially speaking to those who’re self-employed).

It’s totally legitimate, noble and courageous to be a full-time artist/ musician/writer. Somehow though, we consider going-it-alone is a temporary phase – until a ‘real job’ comes along. We wait… until we’re discovered, picked-up, signed, or mysteriously and magically ‘find’ a band.

We presume collaborators will call us out of the blue, or a manager will luck upon us online. We can feel guilt and shame around our ‘musical-life’ choice – assuming we’ve had the guts to make it.

Hopefully, we can shed negative thoughts and behaviours and flourish into the most successful artists we’re destined to be.

Firstly, and most importantly: don’t compare yourself with anyone else, or how they operate. In terms of work ethic, I’m more a Paul Buchanan than a Jessie J. And that’s fine. There’s no right/wrong, better/worse, good/ bad. Some insist on waking at 5am for productivity. The only reason I’d be up at 5am is for international travel. I do work until 1.30am most evenings though. Be curious to find out what works best for you. Experiment.

Repeating unproductive habits and expecting positive outcomes is insane. If you find dysfunction creeping in, have a go at some of these tactics. Remember, being a singer/songwriter is a rewarding and essential pursuit. (Unfortunately, the NZ mainstream doesn’t recognise this. Rugby is the winner at the end of our day, while music is considered entertainment and commerce, rather than an art form of immense intrinsic value.)

The more sacred and significant something is to us, the more frightened and resistant we become of it. Read Steven Pressfield’s The War Of Art, or Julia Cameron’s The Artist’s Way to help work through barriers, self-sabotage, blocks and self-doubt. Time doesn’t heal, practice or write for us. Only consciously healing, practicing and writing will.

No one is telling you what to do, or checking you’ve done it. We must employ, motivate, inspire, pay and manage ourselves. Consider music your full-time job – even if you have other revenue sources. View other jobs as financing your music. Keep music front row center, rather than allowing it to be the first to get sidelined, avoided or neglected.

Be curious to find out what works best for you. Experiment. If you find dysfunction creeping in, have a go at some of these tactics.

There’s a huge amount of ground to cover as a singer/songwriter.

Especially for DIY or DIT unsigned artists like myself. Try these twisted little fire starters.

1. Give yourself challenges. A challenge needn’t be challenging. Last week I posted a favourite song each day for seven days on Facebook (and nominated friends to join in). This was a beautiful reminder of the artists and songs I love, inviting me to learn (as I did) four new songs from it. These kinds of connectivity remind us of our superpowers (as musicologists and interpreters), and of how important music is to us and others.

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2.

Write everyday. Object writing (Pat Pattison), morning pages (Julia Cameron), a poem every day, a song each week.

3. What’s good for you is good for your voice/creativity: yoga, swimming, daily warm-sups 4. Research. Read autobiographies, books on songwriting, watch/read online interviews… get lost down the rabbit-hole of Youtube, Google, TED talks, podcasts, subscribe to Sonicbids, CD Baby’s twitter-feed, Brainpickings. Do what Julia Cameron calls ‘feeding the well’.

5. Contact and collaborate with other musicians. Jam, visit, talk, have cups of tea. Play Youtubeoke – round robin choosing a track that’s sparked either by a theme or in response to what’s just been selected.

6. Go to live gigs, especially local musicians/writers. Talk to them afterwards. Hang out.

7. Impose deadlines - ain’t nobody else gonna do it. Become goal and/or project focused. Gear yourself towards festival applications, support slots, NZ Music Month, funding deadlines, album/single/ video release dates etc.

8. Put time aside to complete songs and practice. Ring-fence the time and keep it sacrosanct (no checking phone, electronic devices or social media).

9. Write down your 100 Achievements to date and 101 Wishes. This reveals what we truly value and what path we could take for our greatest fulfillment.

10. Self-define. Write different lengths of bio to remind yourself of what your essence and points of difference are. Remind yourself of what your ultimate dream is. What does it look, sound, taste, feel like?

11. Make evaluation criteria so that you know if you’re achieving what you wish. For instance; write with maximum authenticity, underrepresented viewpoints, to heal a fractured relationship, about a topic that’s silenced or suppressed, chords/harmonisations you’ve never used before, bastardised song-structures, modulate, in parts of your range you’re uncomfortable with…

12. Ask friends who’ve been through Art or Music Schools what advice they were given. Use it 13. Long walks.

14. Take care of business. Admin, invoice, booking gigs, network. Keep in contact with friends and venues in other places. Organise a tour.

Update your Facebook/website info and bio. Write a Wikipedia page for yourself… Why not?

15. Learn songs to increase your repertoire. Even if you don’t have to. If you teach, get your students to suggest songs to learn. Find out what your kids are listening to.

16. Listen to new music from outside the usual sources.

17. Blog. Think about issues, form opinions rather than staying silent and feeling as if you have nothing to say.

18. Get on the road. Even if it means just leaving the house.

19. Go to a café and write from whatever perspective you get there.

20. Rehearse. With a band, or solo. Prepare a showcase of five songs to the best of your abilities.

Balance solo creative time with connection. We’re all in this together.

I teach songwriting and singing mooshed together and am very well aware of what NOT to do, as well as these beautiful solutions. Send me an ‘e’ or come over for a cuppa tea. www.caitlinsmith.com bravecaitlin@gmail.com Fb: caitlinsmithjazz and caitlinsmithmusic

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n his endeavours managing, marketing and making his own music, Declan Ramsey is a self-described nerd, the kind to be found geeking out over gear and tour cost spreadsheets. Declan’s ‘band’, The Lucid Effect is primarily a one-man operation – with a little help from his friends at times.

“I liked the idea of it being a catch-all for all different incarnations of my music. It makes a consistent brand.”

Branding and reaching fans – both current and potential new listeners – are things that Declan pays a lot of attention to.

“Things are changing so quickly. My solution is to be everywhere: Bandcamp, Spotify, Patreon – I love their approach.”

He also sings the praises of DistroKid, a start-up that streamlines the process of hitting all the platforms needed. Stretching himself between the different online outlets has some serious benefits. While not financially helpful in the short term, Spotify he rates as essential, and he’s found that the dedicated fans really do care – and pay accordingly.

“Of all the people who purchased the EP on Bandcamp, only one paid the minimum price.”

Practicality regarding touring has also paid dividends.

“Instead of blocking out a few weeks, I stretched it out over a couple of weekends. And it was basically dive bars, minimum…”

In his hometown of New Plymouth he played in his mother’s lounge – his high school songwriting mentor Peter Jefferies opening for him.

“One of my earlier jobs was as an event organiser and gig promoter – so when I toured, I learned from other bands’ mistakes. I actually managed to break even, with a little beer money profit on top of that.” His incredibly detailed spreadsheets also helped, with breakdowns of all costs involved.

But what of the EP, ‘I Came From A Dark Place’, itself? Aside from one track (Our Great Escape, which was recorded at the NZ School of Music when Declan was studying sonic arts), the record was recorded in his Berhampore home studio – Studio Lucidette.

‘It’s not a huge set-up,” he says, before enthusiastically rattling off the current equipment set-up. “I use a Rode NT1-A condenser mic, with a Tascam US-366 interface – and a MacBook Pro running Logic.”

He says that his lyrical influences have varied considerably over time.

With “quite considerable trauma” – the unexpected death of friends, the diagnosis of nocturnal epilepsy – there has been a lot deal with, and music has provided a means of processing.

“When I first started writing songs, I imagined stories about people I saw on the street. But it’s evolved to be much more personal now.”

‘I Came From A Dark Place’ is a title that tells the record’s own story – from difficulty through to something new, something lighter – a universal experience told in a very personal way.

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dison Whitely (guitar and vocals), Fraser Hunter on drums and Tom Dennison (bass) make up Auckland surf/punk/rock/fuzz/ cockrock/garage band Heroes For Sale.

Formed by Hunter and Whitely at Green Bay High School only a week before Smokefreerockquest, the band started out as a two-piece.

“At the time we were really into The Black Keys, The Oh Sees and Ty Segall,” Hunter remembers of his and Whitely’s late high-school years.

During the filming of the duo’s video for I Wish You Knew Jim Morrison, which featured the band playing in 13 different locations (along with partial nudity, babies, ballerinas, gym bunnies, old folks and instrument destruction), they met Tom Dennison, who became the third member of the band. Released in 2014, the trio’s self-titled EP was recorded at Dennison’s house.

The band’s upcoming debut album, now expected early in 2016, was recorded under quite different circumstances. The trio travelled to Australia in September to record at the legendary Studio 301 (which has

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seen the likes of Kanye, Springsteen and Bob Dylan) as part of winning Converse’s worldwide Rubber Tracks competition. A golden opportunity they nearly missed over a communication breakdown.

“I got an email and didn’t check it cos I get tons from Converse. They emailed again and I deleted it. Then they Facebooked us, ‘Yo it’s been a week, have you got the email, are you guys keen to do this?’” Strike!

The eight tracks Heroes For Sale recorded at the Sydney studio are currently being mixed by Jonathan Pearce in Auckland.

“We won the musical lottery!” laughs Hunter.

With only two months before they were due to hit the studio, Heroes’ new tracks were written more efficiently than their previous material, with the band aiming to record a full album.

“They all pretty much start as jams. Most of our songs start out as funk or some kind of jazzy thing,” Hunter explains. “We changed our sound a little bit and sort of our inspiration and kind of our ideas behind the songs.

We’re a way better band than we used to be.”

By the sound of their latest single Eviction the trio have taken a more musically and instrumentally complex approach to songwriting, borrowing elements of surf, shoegaze and ambient music.

“Now we’re into bands like Swans and Boris. Me and Adison are really into drone and ambient music. Tom’s a jazz bassist so he listens to tons of jazz. We draw inspiration from everyone.”

The band’s been kicking around in the Auckland music scene since 2011. Whitely and Dennison also play in a couple of other projects, while Hunter hosts bFM’s Totally Wired show on Saturdays.

“I hope we go and do cool shit,” he enthuses. “I mean, it doesn’t really matter, I’m pretty chill just to be part of the Auckland scene. I think we have such a sweet scene.”

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e’ve actually known each other since about 2006 when we played shows together in Auckland as members of Save Tom’s Dog and Midnight Trio,” remembers Alex Ferrier, aka Alex Elvis, guitarist of progressive Auckland two-piece Skinny Hobos.

“We toured together in early 2008 as members of Malford and The Harlequin Academy. After that tour we lost touch for about five years when I moved to Canada and Sam [Holdom, aka Texas Holdem] moved to Dunedin. It was purely by coincidence that we reconnected, both being hired to work in the same music shop towards the end of 2013.”

Their kindred spirit soon led them to have a jam, and like their music, it was a natural progression to form a band. Audiences have noted their chemistry, the two impress with the gritty and full rock sound they produce with two instruments, fine harmonies and just how much fun they have on stage.

Their sound is big, achieved with the aid of Ferrier’s large rig, according to Holdom.

“In 2012 Alex fell in love with gear. There was a lot of hit and miss, trial and error involved, but in the end he's ended up with something that he's

truly stoked with”, Holdom reflects.

Ferrier ’s preference is for Ibanez semi-hollow guitars, played through vintage amps he customised himself, with an impressive collection of about 20 pedals of all different brands. He is constantly changing them every few weeks when he finds something else that’s cool.

A guitarist who knows his way around a drum kit, Ferrier talks positively about the fact that when presenting a new song to his bandmate, there is an instant understanding.

“He seems to know what I am thinking and plays intricate drum segments just how I imagine it.”

The two-piece drum/guitar set up is not a copy of similar bands like Royal Blood or NZ’s own Cairo Knife Fight, they insist.

“It just happened naturally before we had even heard of them”.

For Ferrier another advantage of being a duo is that it’s “very convenient” to not have to discuss potential rehearsals or gigs with more than one band member. As for the quirky band name, that’s rather tongue in cheek.

“It was one idea of many, but Skinny Hobos seemed to fit, and no, it’s not based on us, although we may look like hobos – were clearly not skinny.”

After gigging almost every weekend for the last year, the guys have recently been finishing their self-produced debut album, recording with engineer Nick Poortman at Roundhead.

“We came back a few months later and did some vocal and guitar overdubs but overall it is a live sound recording,” describes Holdom.

As motivated as they are, they admit that it be great to survive from just playing music, and maybe one day have a nice home, but in the meantime they continue in their day jobs selling musical instruments and head out at night to perform at pubs and bars. Over summer Skinny Hobos will tour the country and no doubt tempt you to take home their self-titled debut album.

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Status in the Scene

Part 2: Established Bands

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n my last article, I charted the path that it took for a breakout band to establish itself in a local scene. Now we’re going to look at the next step: what does it take for a band to maintain that status, and become a dominant player in that scene?

We all know what an established local band looks like from the outside. They gig regularly, with a dependable crowd that seems only too willing to spend more nights out than usual just to show up to most of their gigs.

Band members seem to own the stage, with a polished charisma that unites the crowd around the message of their music. They may have an album or several releases out there, with fans wearing t-shirts and plastering their stickers around town.

What does this success and profile look like from the inside? That’s difficult to precisely answer, because art is a very personal thing.

One size does not fit all – in fact, one size may not fit anyone. The forces that cause a songwriter to compose in a certain way are just as unique to them as the reasons why someone else would want to hear that song. But it’s true that while the solutions can be very different, the challenges largely remain the same.

-AINTAINING A COMMUNITY As I mentioned last time, a breakout band has to develop their audience through playing many gigs that introduce them around. They should know the lay of the land. Who are the popular acts, the great managers, the good venues and the active fans.

Forming alliances with other breaking bands is a must, and getting good credibility with established bands even more so.

These all seem like tasks off of a checklist – but flip that list over and you’ll see that what it really means is that a band has to become part of an existing community. Not only that, a band should form strong enough ties within that confusing, ever-changing group of people so that their own community develops within it. That’s really the first great truth about being established.

You are an essential part of what’s going on.

It’s not that you tell people what to think and how to act, it’s rather that your art resonates with what people need to say and do in order for life to make sense. If you’re really in touch with your audience, then the simple act of communication becomes art. All the mechanics of gigging and recording are really in service of that interaction.

4HE ART OF THE CONVERSATION This isn’t selling out, rather the opposite.

You’re having an honest conversation and the longer and more sincere the discussion, the stronger your art and your status will become.

But beware – everything that’s true about verbal conversations is also true about artistic ones. If your jokes aren’t funny, or you talk too much about how great you are (or how sorry we should all feel for poor little you), or you get stuck on something people can’t relate to, then the conversation drops off very quickly.

If you keep saying the same thing without moving forward, you can turn from local heroes into curiosities; a band that was great once but no longer that interesting. Try to avoid being that bore at a party (or on stage) who everyone knows is going to say the same thing no matter what the conversation is about. +EEPING IT FRESH This is why it’s so important to listen to your audience as much as you’d want them to listen to you. Find out what they’re thinking, and what moved them about your act. A scene is a group of interacting people; it’s not a bunch of fans and four musicians who hide in their dressing room all night. You’ll see on stage which songs have the greatest immediate impact, but that’s just the most obvious reaction. Often it’s the music with deeper meanings that keeps people coming back and makes them loyal for more than a couple of nights. The only way to find out is to talk to them.

As a breakout band, you might struggle to get bookings at first – but if you make it to established status it’s because those who run the venues saw you as part of the solution to their problems. In fact, the bands that are the most proactive in problem-solving are the ones that get booked the most often. An established band is a partner with the booker, they have to help them get more people into the venue and keep them there with a satisfying show.

Venue management have to worry about this every night, and if they do then so does the scene. Your band as a part of that scene will start to feel the realities of the situation.

Even if you’re very popular, you’ll still have slow nights and setbacks. You can’t solve everyone’s problems, much as people will eventually try to say you can. But you can find a rhythm for your own community. That’s the best way to ensure the longevity of your presence in the scene.

You’ll last longer if your appearances are at the right time, instead of all the time. You can make a bigger impact if you’re not spreading your time too thinly.

So when you grow, you grow with your audience. You relish the same victories, and suffer through the same challenges. Eventually you become a voice for what’s going on, and the more determination and inspiration you put into that voice, the more it will speak for the people around you.

4HE BALANCING ACT No matter how comfortable you get in your role as a successful local band, never forget that you’re still treading water. Your popularity can plummet overnight if a key member leaves or venue closes. You might come to see all the hassle of playing gig after gig as routine after a while, but it can still wear you down both emotionally and financially. And then there’s change: your audience might outgrow you and move on, or vice versa.

Becoming established locally means that you’ll get asked more and more to open for bands that have a much bigger profile than local hero.

Then you may well realise that local scenes are just testing grounds for bands that have wider professional ambitions. In some ways, you’re still a breakout band, but on another level, the regional or national stage. How do you make that step yourself? Tune in to the third and last episode of this Building Blocks miniseries, Touring Bands, in the next issue of NZ Musician.

&INDING THE RHYTHM Still, music is also a business. You’re limited by what is possible for the performing venues, and they have to deal with high rents, insurance costs, patrons who tank up on cheap supermarket beer before going out, and any number of other practical problems.

Thomas Goss is a producer, band coach, and composer/orchestrator with an international clientele that includes Billy Ocean, Melanie C, and Canadian jazz star Nikki Yanofsky. He is Education Composer-In-Residence for Orchestra Wellington, and his online orchestration course is available from macProVideo.

An established band is a partner with the booker, they have to help them get more people into the venue and keep them there with a satisfying show.

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Ill Semantics

an eight year break ahead of their getting back into the studio to Incredibly the story of Ill Semantics runs over more than two decades, albeit with ‘names’ of NZ hip hop, the richly titled ‘Trillogy’ is as much a record their third album. With that length of history and the association of so many ed to release an Ill Semantics album that never eventuated. document of the trio’s legacy as it is a catalogue marker for the label that was establish ’s Illegal Musik.

Martyn Pepperell talked with Mark Arona, aka MC Patriarch, the owner of Auckland

“W

e were just students studying semantics in fifth form English class,” recalls Mark Arona, aka MC Patriarch, better known as the frontman of Auckland hip hop group Ill Semantics and one of the founders of Illegal Musik. The year was 1993. At Selwyn College in east Auckland, Mark and his friends were falling in love with the lyric-heavy West Coast hip hop sound associated with rappers like Ras Kass and the extended Hieroglyphics’ artist family.

“One of the bros was like, ‘Semantics is an ill concept,’ so we just ran with it, and when we decided to start a hip hop crew we called ourselves Ill Semantics.”

A group of young Maori and Polynesian kids who existed on the edges as a minority, for Mark and his friends, hip hop was a way to, as he puts it, “…stand out and hold our own in terms of identity [at the time]…”

Falling in love with, and participating in hip hop gave them access to a network of MCs, DJs, graffiti artists and break dancers around the country, and with that a sense of a wider peer community. It also motivated them to take real advantage of the high school education system.

“Back in the day we were influenced by this crew, Urban Disturbance.

They were these [NZ] European cats, and their lyricism was outstanding.

We couldn’t even spell some of those words, so we needed to educate ourselves and get schooled up. For us, it was really important to go to school and try to learn. Just breaking the stereotypes about Polynesians was really important for us.”

Mark and his friends also drew inspiration from the rise of South Auckland’s Urban Pasifika sound. They’d sneak into clubs, and hang out with other friends and family members involved in hip hop. His cousin KD was an original member of Ill Semantics, but was also part of a pioneering rap group called Lost Tribe. Another member of Lost Tribe was Brotha D, aka Danny Leaosavaii, one of the founders of Dawn Raid Entertainment.

By 2002, Ill Semantics had refined itself from an extended crew into the trio of Mark, MC Nemesis and DMC plus ITF DJ champion DJCXL. By the end of that year Dawn Raid Entertainment had released the trio’s first album, ‘Theory of Meaning’.

That album established Ill Semantics as a hip hop group who, while studied in the MCing, DJing and production styles of American hip hop, were very much committed to reframing it through the NZ Polynesian and Maori cultures they were raised around.

Their singles would pitch South Pacific instrumentation and imagery against sounds and styles straight out of Los Angeles and New York. In an era when the authenticity of local rappers accents was often debated, Mark and Nemesis kept it 100.

“Mate, I’ve always rapped in my own accent,” Mark laughs. “At the time people were focusing on what sounded good I guess. I was more interested in not sounding dumb, and I couldn’t pronounce certain words in an American accent. Faking my accent didn’t make sense to me or resonate with me.

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“From an early age, me and my crew stood for pure NZ hip hop. It was bashed into us that hip hop was something you embraced and then made your own. We wanted to sound intelligent I guess? Hence why we went the way we did.”

It’s now 13 years since the release of ‘Theory of Meaning’.

Since 2002, Ill Semantics has extensively toured Aotearoa and Australia, releasing a second album called ‘Good Musik’ in 2006.

In 2007, they began an eight-year hiatus, the break apparently a result of Dawn Raid’s troubles and short-term liquidation around the middle of that same year.

It led Mark to connect with music promoter Hard Work, aka Eddie Bennett, and establish their label-turned lifestyle company Illegal Musik.

Mark had been running Dawn Raid’s Clientele Records imprint and acquired a taste for the industry side of things. The late 2000s was a shifting time for music in NZ. Hip hop seemed to be slowing down, and RnB was picking up.

“We were running a lot of nightclub gigs at the time,” Mark reflects. “We’d get dancers to come and do these 1-2 minute sets during the night. That was where we discovered J. Williams.”

It’s a good story. One weekend Mark and Bennett took a van load of dancers on a road trip to perform in Whangarei. They asked them what else they were doing with their lives. It turned out one of them, a young Joshua Elia Williams, could really sing.

“We turned off the radio, and he sang. He sounded so good that we nearly crashed the van,” Mark

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laughs. “We pulled over, looked at each other and said, ‘This is the future!’”

Later that week they sneaked their find into the Dawn Raid studios, recorded a demo and submitted it for funding from NZ On Air. They got the green light, and Mark used J. Williams’ music to kick off a longstanding business relationship with Warner Music NZ. It was through Williams they linked with their in-house producer

chart success, commercial hip hop and RnB was entering into an era defined by multi-platinum hit-making American and Canadian rappers and singers like Drake, Little Wayne and Nicki Minaj. Mark encouraged his artists to understand the aesthetic required to achieve radio play and sales success while still holding onto their individual identity and roots as NZ musicians.

“It wasn’t about mimicking a sound,” he says. “It was about understanding what was required in terms of dynamic to put out good music that would achieve mainstream success under that climate.”

Early in 2015, he realised that almost a decade had passed since Ill Semantics’ second album.

“It got to a point where I thought, “Shit, I’m delivering on hopes and dreams for everyone else, but what about my crew?’

People don’t realise this, but we originally set up Illegal Musik to deliver an Ill Semantics album.

That never happened, and that’s what this whole movement is based on.” While on tour with Illegal Musik rapper K.One and RnB singer Pieter T in May, he decided it had to happen.

Having been deeply involved

platform and what we’ve built over the years to promote people, while bringing things back to the aesthetic ideals Ill Semantics was originally based on – unity and community.”

In the process Ill Semantics use the album to draw a line between several different eras in local and international hip hop. It’s a line best illustrated through the album’s title. “‘Ill’ is an old school hip hop term, and in the southern states in America, that evolved into ‘trill’, which means ‘true and real’. As a crew, Ill Semantics stands for being true and real. ‘Trill’ makes sense as a word to us because everything we’ve always done had to be ill. The ‘-ogy’, as in trilogy, part of the title comes this being our third body of work in this 21-year journey. You don’t hear Nemesis on this album as much as you did on our first two, but she’s still very much part of the family.”

In line with Ill Semantics’ and Illegal Musik’s history and current sound, the album blends their early roots with club RnB, dance music and modern hip hop production, in the process attempting to acknowledge the steps and stages in their journey – while still pushing into new

“We’re just trying to bring a level of love back to our hip hop community. Whether they choose to understand it or not is up to them.”

– Mark Arona Inoke Finau, aka Nox. Coming from a band background as a guitarist himself, Nox brought a different sensibility to Illegal Musik. Rather than just making beats for artists, he would have them write a song and bring it to him. Then he would arrange music around it and produce it. As J. Williams began to score chart hits with RnB songs like Blow Your Mind, Ghetto Flower and You Got Me featuring Scribe, Illegal expanded their roster. They brought in blue-collar Masterton rapper K.One, Auckland RnB singers Erakah and Vince Harder, Wellington ‘sunshine reggae’ band Tomorrow People and pop singers like Brooke Duff. In 2012, Illegal Musik partnered with The Edge to create multi-platinum Kiwi boy band Titanium, currently doing good things in the States.

As they began to achieve

in hip hop from here and abroad for over two decades, Mark had an impressive list of contacts and friends who crossed the generations. He talked with DJCXL, Nemesis and Nox. They decided that ‘Trillogy’ was going to be about more than just them.

16 songs long, the album, features appearances from a diverse cast of rappers, singers and DJs, including Scribe, Mareko, K.One, Sikeone, Tyna, J.B, Nikki Montana, Madis, KD, Giant Killa, Sir T, Ashley Hughes, Flows and more.

A list so long that ‘Trillogy’ feels more like a compilation album showcasing Illegal Musik and friends under the Ill Semantics banner.

“Absolutely! You've hit the nail on the head there,” Mark responds.

“I can bore people with my raps and my passion, or I can use this

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territory.

When he looks around and surveys the contemporary local hip hop scene in 2015, Mark sees a lack of unity and love. Another part of the compilation feel of ‘Trillogy’ is an attempt to get back to the community vibes of 10 to 15 years ago.

“We used to collaborate within the community. We used to have the yearly hip hop summit. We don’t have that anymore,” he says. “We’re just trying to bring a level of love back to our hip hop community. Whether they choose to understand it or not is up to them.”

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Studio & Label

Directory

2 0 16

Welcome to NZ Musician’s 16th annual Studio & Label Directory.

The idea of this FREE directory is to help you, the musician, locate recording Studios in your area – and within your budget – so that you can record that gem properly before taking it to one of the many influential, independent record Labels or making it available to the world online.

The studios have been separated into geographical groupings and include both professional and project-based facilities. The record labels have been listed alphabetically and include the type of music released by the label.

NZ Musician magazine is pleased to be able to provide the many talented

musicians around the country with this comprehensive guide to having their work recorded and released – and don’t forget to send us a couple of copies for review once you have!

This directory is designed to be kept by you as a ready reference and also features on our website, www.nzmusician.co.nz Every effort was made to provide as many studios and labels as possible with the opportunity to be listed in this directory which is an annual feature of the December/January issue of the magazine. If you own a studio or label but are not included, and would like to be in future, please let us know. email: editorial@nzmusician.co.nz

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Earwig Studios

Capgun Studios Otahuhu, Auckland Ph: (09) 551 5399 or 021 023 25 666 (Connor) Email: capgunstudios@gmail.com Fb: tinyurl.com/capgunstudio Overview: Capgun Studios are an Auckland-based Recording Studio, which offers affordable rates for musicians, voice-over artists and anyone in-between.

Facilities: Our studio features an Allen & Heath GSR24M console, allowing us to record up to 24 channels simultaneously and giving us great control over both Logic X and Pro Tools 11. We run this through a 2009 Mac Pro, which is equipped with a UAD PCIe card, off which we run an extensive collection of UAD plug-ins. The control room is equipped with a pair of Yorkville YS9 8-inch monitors. Our studio consists of 4 rooms: Control Room, Amp Isolation Room, Vocal Booth and a large Live Room for drum-tracking etc. We sport a collection of fine microphones, including Blue, Rode, Shure, Sennheiser and Audix Microphones, as well as an assortment of guitars, drumkits, amplifiers and effects pedals.

Engineers: Connor Mesa, Andy Deihl and Daniel Little.

Hourly rate: $50 (contact us for EP/album packages) Booking contact: Sam Stretch - (09) 551 5399

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28 Clarence St, Devonport, Auckland.

Ph: (09) 963 2328 Email: dave@depotsound.co.nz Website: www.depotsound.co.nz Fb: www.facebook.com/depotsound Studio Manager: Dave Rhodes Overview: Depot Sound offers friendly, professional and affordable recording studios for musicians and artists of all genres. Situated in the laid-back Devonport community close to cafes and the waterfront. Specialising in recording and mixing for bands as well as composing and arranging original music for singer-songwriters. Studio One is set up for high quality multi-track recording of bands, solo artists and community groups. The control room is spacious and comfortable with a live room large enough for live band recordings and an isolation booth if needed. Studio Two is ideal for music production, editing and mixing, and just the right size for singer-songwriter and voiceover recordings.

Equipment: Pro Tools 12, Apogee Symphony, Toft ATB24 mixing console, various boutique mic pre amps. Microphones from Neumann, Gefell, AKG, Oktava, Shure, Audio-Technica and more. Check our website for full tech specs.

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41 Birkenhead Ave, Birkenhead, Auckland PO Box 34705 Birkenhead Ph: (09) 480 2219 M: 027 278 1660 Email: darren@earwig-studios.co.nz Website: www.earwig-studios.co.nz Overview: 24-track analogue studio with reverb chamber, plate and spring reverbs, Neumann U87, tape echoes, valve outboard, Hammond, piano, Rhodes, Leslie speaker, Theremin, various guitar amps.

Facilities: 2� MCI 24-track and Studer 1/2� 2-track outboard includes Focusrite, Urei LA-4 and dbx 160X, Buzz Audio, Lexicon Reverb, TL Audio and more. Fostex D5 DAT recorder, and Tascam CD RW-50CD, Allen and Heath ICE 16-track digital recorder and Soundtracs CM4400 40-channel console.

Engineer: Darren McShane Hourly rate: $60 (engineer and gst incl.)

Booking contact: Darren McShane

Studios Manuka Studios

More Core Audio

53 Waldorf Crescent, Orewa Ph: (09) 426 9533 Email: mike@manukastudios.co.nz Website: www.manukastudios.co.nz Fb: www.facebook.com/morecoreaudio Overview: Manuka Studios specialises in singer/ songwriters who don’t have their own bands. Mike McCarthy will help you arrange and produce your songs to releasequality standards.

Facilities: All the usual stuff you’d expect from a pro studio - including the latest VST technology (Vienna Symphonic Library, LA Scoring Strings, BFD, Steve Slate Drums etc) Engineer: Mike McCarthy Hourly rate: 1/2 day: $350+GST, Full day: $700+GST Booking contact: Mike McCarthy

PO Box 15-053, New Lynn, Auckland 0640 Ph: (09) 813 9242, 027 210 2725t Email: sales@morecoreaudio.co.nz Website: www.morecoreaudio.com Fb: www.facebook.com/morecoreaudio Overview: Multi-functional audio facility providing studio recording, audio mastering, band rehearsal space, CD and DVD duplication/replication.

Facilities: 15ft x 17ft control room, 15ft x 19ft live room plus booths. ProTools HD, 32-channel pro control, outboard multitrack and processing. Neumann, AKG, Shure mics. Full PA rig for band rehearsals. Client lounge and kitchen facilities.

Engineer: Jason Backhouse Hourly rate: $80 + gst negotiable Booking contact: Jason

RedRoom

Commercial Rd, Helensville, Auckland Ph: (09) 420 4570 Email: matt@redroom.co.nz Website: www.redroom.co.nz Fb: www.facebook.com/RedRoom-Studios Overview: Anaolgue digital studio, with classic out board.

Facilities: NEOTEC console, Protools, classic mics and outboard, in a creative environment, with backline options.

Engineer: TeMatera ‘Matt’ Smith or approved BYO. Hourly rate: $600 per day plus engineer. Off peak deals available

The Lab Recording Studio

537 Mt Eden Rd, Mt Eden, Auckland Ph: 09 623 3930 Mobile: 021 933 999 – Olly Email: the_lab@ihug.co.nz Website: www.labstudio.co.nz Overview: This large, discrete, multi-room space is hidden beneath the Crystal Palace Theatre on Mt Eden Rd, in what was once the most hip underground club in Auckland. Housing more than just an impressive collection of vintage musical equipment, most importantly, it’s all set up within a liberating environment, seething with noir character and with restaurants, a liquor outlet, burgers, pies and decent coffee all within stumbling distance.

The Lab is akin to a comfortable, spacious lounge crossed with a studio, a place where artists and musicians can feel at ease in a playground of instruments. The collection of gear is a mix of iconic industry standards and some custom made curiosities. Coupled with this, resident engineers Olly and Jol have the knowledge and experience to get the very best out of what is an equally impressive set up on the other side of the glass.

The large main recording room features the balanced characteristics only a polished wooden floor can bring. Music sounds good in there. A smaller isolation room is great for a super ’70s drum sound, isolating loud things, or any other application that requires as little ambience as possible. Nestled among the control room’s couches, funky lamps, and racks of outboard, is the superb vintage Neve. It’s a great place to spend the better part of a day.

Facilities: Custom vintage ’70s Neve, 2� 16-track tape machine or ProTools HD with Apogee converters. Great selection of vintage and classic mics, outboard, plate reverb, tape delay, analogue synths, Hammond organ, grand piano, stage and suitcase Rhodes and a collection of guitars, amps and drum kits. Small back rooms available for writing, editing, preproduction and robust discussion. Great sounding live room with beautiful kauri floor, lamp collection, single malt vibe and highly regarded producer/engineers.

House engineer: Olly Harmer Freelance engineers: Tom Healey, Jol Mulholland Hourly rate: $100 per hour / $1k per day. Rates include gst and house engineer. Negotiable for multi-day sessions and nice people.

Booking contact: Olly Harmer

Mob: 021 358 577 (MIchelle) or 021 172 4787 (Tyler) Email: studio@therockfactory.net Website: www.therockfactory.net/our-studio Fb: www.facebook.com/RockFactoryProduction Overview: The best quality recording studio for this price in Auckland. We help you with production, recording, mixing, additional orchestration and mastering.

Facilities: Record up to 24 inputs at one time and have as many different instrument tracks as you like in your song. We have ProTools and Logic installed, and we can do multi-track drum editing, effects, compressors, EQ and tuning. Microphone range includes Audio Technica, Sennheiser, Rode, Shure and AKG. Quested and Tannoy monitors, and a 24-channel desk.

Our studio houses quality backline including a Pearl Reference Masterworks drum kit, a Gretsch Renown all maple kit, full set of Turkish handmade Anatolian cymbals, Ziljian A Custom cymbals, Ampeg SVT Classic and SVT-VR bass rigs, Mesa Boogie, Marshall JCM900 and JCM2000 guitar amplifiers, Fender Twin, Hotrod Deville and Deluxe combos, Vox AC30, Roland keyboard amp. Nord Stage 288 and a Triton Pro-X keyboard.

We can help bands to DIY record themselves with gear choice/ set up, and after you have tracked we can help with mixing and mastering so that you can get a professional result out of your home recording. Mobile on-location recording available for larger performance groups including schools, choirs, jazz and concert bands and orchestras. Live gig recording also available.

Hourly rate: $50+gst with one of our engineers. $25+gst dry hire (if you are a freelance engineer).

2016 Special Rates: 16h per single $750+gst (must be within same week), 40hr per 3 song EP $1500 (must be within same week), 160hr per album $5000+gst (must be within a month.

Booking contact: Michelle or Tyler

Revolver Studio 53 Glenbrook-Waiuku Rd, Waiuku (opposite Cornwall Rd) Phone: (09) 235 9730, 021 267 71 43 (George) Email: George.revolverstudios@xtra.co.nz Fb: tinyurl.com/revolvernz Overview: Creative studio in rural setting, aimed to provide best value recording that we can.

Facilities: SSL console, ProTools full HDX, Neve, Studer, Neumann, Yamaha C7 Concert Grand, many collectable instruments and amps.

Hourly rate: We’re happy to discuss and plan each project, tailor-making it to fit your budget. Phone for a no obligation quote, all consultation is free.

Booking contact: George Schoushkoff

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151 Newton Rd, Newton, Auckland 1010 PO Box 37-949, Parnell, Auckland 1151 Ph: (09) 377 7600 Fax: (09) 358 5410 Email: jeremy@roundheadstudios.com Website: www.roundheadstudios.com Fb: www.facebook.com/RoundheadStudiosNZ Overview: Two individual studio facilities available to cater for all budgets and musicians. Special rates can be arranged for independent musicians.

Facilities: Studio A – World class and perfect for live band tracking.1976 Custom Neve 8088 80-Ch console with Flying Fader Automation, Studer 827 2� 24-track and an ATR 1/2� tape machine, ProTools HD6 48 I/O, Studio B – Euphonix CS2000 112-Ch digitally controlled analogue console with total recall automation, ProTools HD3 32 I/O. General: Microphones include Neumann, Coles, Telefunken, Royer, AKG. Outboard by API, Neve, GML, Urei, Alan Smart, Universal Audio, Teletronix and much more. Monitors by Augsberger, Genelec, Dynaudio, Yamaha, Avatone. Steinway grand piano plus various other pianos and keyboards.

House engineers: Jordan Stone, Scott Seabright Freelance engineers: Nick Manders, Nick Portman, Andrew Buckton. All engineers welcome.

Booking contact: Jeremy McPike

Auckland Ph: (09) 489 8243 Mob: 021 611 316 Email: info@thesoundroom.co.nz Website: www.thesoundroom.co.nz Overview: Come and record your next project with the friendly and relaxed team at The Sound Room in Auckland.

We specialise in NZ On Air grants. Check out our website for a portfolio and more about the team.

Facilities: Dedicated project studios with ProTools, Cubase and a huge amount of latest plug-ins, keys, guitars and mics.

Producers: Marshall Smith and Tom Fox Hourly rate: Please call for quote.

Booking contact: Marshall Smith

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Studios 108 – 114 Jervois Road, Herne Bay, Auckland 1011 Ph: (09) 376 2426 or 0800 506 116 Fax: (09) 378 1537 Email: info@stebbing.co.nz Website: www.stebbing.co.nz Fb: facebook.co.nz/stebbingrecording Overview: Stebbing Recording Centre offers clients a full recording, mastering and music manufacturing service. The centre encompasses four purpose-built studios, a CD and DVD manufacturing plant, music labels, a range of postproduction services, media preservation technologies and digitisation – outputting audio and video for both traditional and digital formats.

Studio Facilities: Stebbing studios offer the most unique setting in which to record and output music and audio projects in NZ. Studio one, the centre’s flagship studio is an impressive 120sq metre space that can accommodate all types of recording projects; from solo artists to 50+ piece orchestras.

Studio two is a smaller multi-function room that caters to a variety of clients, including small groups, solo artists, TV and radio commercial work, audio post production projects and restoration jobs. Studio three is the centre’s smallest purpose-built recording facility. With a compact two person voice-over booth it provides an ideal space for solo artists and audio post production projects. All studios feature Pro Tools workstations and one and two are paired with Apogee and Mytek converters.

Audio: Stebbing mix and master singles, albums and compilations for a large variety of clients and customers. They are one of few ‘Mastered for iTunes’ Providers in this country and they specialise in optimising music for digital upload. Vinyl and tape mastering and restoration services are also part of what Stebbing can offer.

Media replication: Stebbing Manufacturing Centre is NZ’s only fully-integrated replication plant – with all stages of the DVD and CD manufacturing process carried out on site. Being local; Stebbing are able to offer expert quality control, speedy turnaround times and flexibility; and with all parts of the manufacturing process being carried out under the one roof; clients can rest assured that their job is in only the safest of hands.

Post production services: The Stebbing team also offer a range of expert video and post production services from their fourth studio. These services include: optimisation of video content for output to both traditional and digital mediums, such as: DVD and Blu-ray, iTunes, YouTube, and Spotify; authoring services, video mastering, transcoding, encoding, format conversions and more.

Engineers: Steve McGough, Simon Lynch, Glen Bullen, Mauro Callejo.

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Media In Motion Studios 11B Macdonald St, Mount Manganui, Tauranga Ph: (07) 574 2212 M: 027 281 1414

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Email: info@mimstudios.co.nz Website: www.mimstudios.co.nz Fb: facebook.com/mimstudios Overview: Professional quality recording studio and rehearsal facility, with a multi-room fully isolated layout. We have a mix of vintage analogue and digital equipment.

Technical Facilities: Live room - large and lively recording space that has been acoustically treated and soundproofed and was designed primarily for recording drums but also works really well for recording full bands live as well. With plenty of space to move and a high stud ceiling, the room lends itself to a large, deep and powerful drum sound. Control room - utilizing the latest in digital recording equipment and computer technology as well as some of the best outboard rack gear around. All of this is built around the jewel in our crown, an original 1983 Trident series 70 24 x 16 analogue recording console. In the corner of the control room we have built a completely deadened large vocal booth to get a great dry vocal sound which, coupled with some of our high quality vocal mics really helps to bring a vocal performance to life.

1983 Trident Series 70 28-channel recording console.

Mic pre-amps: Ekadek Neevers (with original Neve output cards), Audient Black, Warm Audio TB12 Tone Beasts, Trident Series 70s, NRU vacuum tube mic pres (very rare), Pultec MB-1, Manley VOXBOX, Studio Electronics Pre 2 (Dual Neve clone pre-amp). EQs: Trident Series 70 (same topology as Series 80B), Audient Black EQ, Ekadek Gyrator Ten8tor, Manley VOXBOX. WARM EQP-WA (Pultec type tube EQ), Manley Massive Passive tube EQ. Dynamics: HCL Varis Stereo Vari-Mu, Warm Audio WA76s, Audient Black Compressor, Buzz Audio SOC-20 Dual Mono / Stereo - Mid Side, Empirical Labs Distressors EL8-X, Manley VOXBOX. Mics: Shures, Sennheisers, Beyer Dynamic, AKG D112, AKG C414s (stereo matched pair), Royer SF-12 Stereo Ribbon, RMS Audioworks RM47 Hand made U47 Clone, Bees Neez Arabella, Bees Neez Lulus,Violet Design Black Finger, Charter Oak E700s, Microtech Gefell UMT70S, Bottle Rockets Stage 1, Blue Mouse, Blue Dragonflys, Rode M3s, Audix.

Monitoring: Quested S8s, Quested F19 Subwoofer, Behringer S16 Headphone Multimix System with 5 personal stations.

Recording: Pro Tools HD3 with Pro Tools 10HD, Digidesign 192, Apogee Symphony I/O 24 IN / 16 Out AD/DA, Apogee AD16 X, Tascam ATR-80 24-track 2� tape recorder.

Engineers: Evan Pope, Damian Lunson, Jeff Kildare Rates: Including engineer - $80/hour + gst, $480/day + gst.

Rehearsal from $30/hour + gst

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11b King Street New Plymouth Ph: (06) 769 5055 or 0275-580-418 Website: www.kingstreet.net.nz Fb: www.facebook.com/kingstreetcreative Overview: King Street Recording Studio is configured to work with Artists and Bands that are looking to record their music to a high quality. We offer great equipment and a comfortable, creative environment. We are happy to work with projects that are partially home recorded and need to be finished and/ or mixed. With over 20 years of real engineering experience we can help you create great tracks and mix professional sounding songs.

Rates: Flexible hourly rates for Artists and Bands. Most projects with $50/hr. Please contact us for advice and to discuss budgets.

Booking contact: Dave Carnahan or info@kingstreet.net.nz

Newsong Studio Hastings Ph: (06) 876 0889 or 021 575 028 Email: newsong@actrix.co.nz Overview: Located near the city centre, with a comfortable, relaxed atmosphere. Newsong offers a range of studio services including equestrian and performance track assembly, production, mixing, mastering and CD duplication as well as live and on-location recording with ProTools. Experienced in the industry since 1990 and committed to excellence.

Facilities: ProTools with a good range of plug ins and synths, Tannoy monitors, AKG, Shure, Audio Technica, Rode and Beyer mics, Roland electric piano, Yamaha synth, electronic drums, Fender tube guitar amp. Room for all the band, large control room.

Engineer: Aaron Cash Hourly rate: $50 + GST Booking contact: Aaron Cash

The Colour Field Recording Studio Tauranga Ph: (07) 544 4847 or 027 6673737 Email: info@fragilecolours.com Website: www.fragilecolours.com Overview: The Colour Field is a comprehensive recording studio offering tracking, mixing and mastering. In addition to this, we can also offer production assistance, arrangement help and have a roster of excellent session musicians available.

Facilities: Samplitude DAW, 24:8 Soundtracs MRX console, Drawmer 1969, Joe Meek, TL Audio Tube and ART tube channels; Drawmer gates, DBX and Drawmer compression; AKG, Shure, Rode, Studio Projects SE and CAD mics; Yamaha C3 grand piano, assorted keyboards and guitars; Focusrite Liquid Mix and assorted UAD/Waves plugins; Trident HG3 monitoring.

Large control room and 54sq m live room, all set in park like grounds.

Engineer: Tim Julian Hourly rate: $60 Booking contact: Tim Julian

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84 Lombard Street, Palmerston North Ph/Fax: (06) 359 0120 Email: admin@creativesounds.org.nz Website: www.creativesounds.org.nz Overview: The Stomach is a low cost, community-focused studio with special rates for unsigned bands and experience in recording a wide range of genres, located in the lovely Palmerston North.

Facilities: ProTools HD2, Buzz Audio QSP20, SSL Alpha VHD, JLM BA4, Toft Audio EC1, Genelec monitors, Yamaha 02R96 desk. AKG, Cascade, Octava, Rode, Shure, Studio Projects microphones. Marshall, Mesa, Fender amplifiers and cabs available at no extra cost.

Engineer: Cameron Wilkes Manager: Mark Davies Hourly rate: $20/$30 un/waged Booking: Phone or email as above

Studios Levin Ph: 021 220 7199 and 021 161 0154 Website: www.tsunamisound.co.nz Email: adele@tmv.co.nz Fb: Tsunami Sound Studios Producer/Engineer: David Trail Contact: Adele McCartney Take a road trip to NZs best live rock studio, where on site accommodation for the whole band is free, the staff are friendly and the spaces roomy and creative. Heaps of client facilites in and out of the studio. Check us out on Facebook.

Large recording spaces & control room, awesome vintage analogue and digital equipment. Huge tamura console, fully automated Mackie D8B console, 96 dedicated hard disc recording tracks, 128 mixer channels. Avalons, Neumanns, Tannoys, JBLs, Urei, Masses of effects units, 88 note Korg with heaps of MIDI. See our full gear list on our webpage.

International producer/engineer with 35 years experience, can offer assistance in all aspects of recording and production, arranging, session musician and song creation. Even for singer/songwriters with no bands. Demos, singles, albums, music videos, film scores. We also offer mastering, engineering tuition, video editing, artwork and template layout. Finish a product right through to mastering or take files away for ongoing projects. Wide range of genres. Easily NZs best recording packages. Making recording affordable & professional with lots of extras. You won’t want to leave.

Email Adele or check our site for prices and info.

8FMMJOHUPO Audiosuite The Lindale Tourist Centre, Paraparaumu Ph: 027 4864060 Email: ross@audiosuite.co.nz Website: www. audiosuite.co.nz Overview: Besides recording & mixing, Ross McDermott provides production & arrangement skills second to none for songwriters & bands. Audiosuite, specialising in big warm sounding recordings.

Technical Facilities: Vintage compressors, equalizers, mics & preamps. High resolution A/D conversion. Classic mic collection. 7 metre high wooden main recording room. Great vibe.

Hourly rate: Negotiable Contact/Engineer: Ross McDermott

Matrix Digital, L1, 25 Hopper St, Wellington PO Box 24-029, Manners St, Wellington, 6142 Ph: (04) 384 3393 Email: office@matrixdigital.co.nz Website: www.matrixdigital.co.nz Overview: Matrix Digital is Wellington’s best professional recording studio. We have been recording and producing for all styles and genres of music since 1991.

Matrix Digital records and produces high quality audio for professional artists who need to deliver or promote their

works, using any electronic medium.

We achieve this by respecting our clients, listening to their needs and understanding their goals.

Facilities: Matrix Digital has a large 2103m live Studio and 1263m Control room, plus 2 isolation booths. The studio is suitable for all styles of music from Orchestral to Metal and everything in between. The studio is also equipped with a Green screen and drapes for corporate video production work and music videos.

Technical: Protools HD 11 system, 2 Yamaha O2r96 consoles, Big and small Tannoy monitors, 5.1 surround monitoring, A large collection of outboard equipment and hi-end studio microphones. Plus we have in-house Drums and Percussion, Bass and Guitar rigs for hire. Also we have an HD broadcast camera kit and lighting kit.

Head Recording and mix engineer: Phill Adams Second engineer: Blair Macdonald Facilities manager: Georgia Branham Rates: We offer a range of great deals, including full day and weekend lockout deals. Contact us directly for quotes and any special requirements you may have. For more information visit our website: www.matrixdigital.co.nz Bookings: Email office@matrixdigital.co.nz or (04) 384 3393

PO Box 6195, Marion Street, Wellington 6141 Ph: (04) 382 8892 Email: office@munki.co.nz Website: www.munki.co.nz Fb: http://tinyurl.com/munkistudio Overview: Music studio offering recording, mixing and boutique analog mastering, spearheaded by Mike Gibson, who brings 25 years of experience to the show.

Facilities: Recently relocated into the Park Road Post Productions complex we have a new dedicated mastering room and access to a number of exciting recording spaces in house and throughout Wellington.

Engineer: Mike Gibson Hourly rate: Please contact us Booking contact: Flo McNeil, flo@munki.co.nz

STL Audio Level 5, Webb House, 39 Webb Street, Wellington PO Box 27208, Marion Square, Wellington Ph: (04) 801 5602 Email: studio@stlaudio.co.nz Website: www.stlaudio.co.nz Fb: www.facebook.com/STLAudio Myspace: www.myspace.com/stlaudio Overview: Professional recording & mixing at Wellington’s only affordable first class professional recording studio. Finally a world class facility right here in Wellington.

Facilities: We have two control rooms, two vocal booths, amplifier isolation room, rehearsal space, games room, lounge and a kitchen, all of which make STL Audio one of the most creative and amazing studio spaces in NZ. Our analogue control room offers traditional analogue console mixing on the holy grail of consoles, an SSL 4000G+. Our SSL came direct from Peter Gabriel’s Real World Studio and has mixed albums

by Radiohead, Arctic Monkeys, Deep Purple, Amy Winehouse plus many more. We offer amazing rates to mix albums.

Our digital control room offers a mastering grade Dynaudio 5.1 monitoring system. This room is set up for editing, vocals, mixing and mastering. Both control rooms have a vocal booth attached,

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and have been extensively treated to create amazing acoustics.

We also have all the vintage hardware and microphones you will ever need (see website) along with house drums, guitar and bass amps, even multiple snares to choose from.

We offer full assistance in making your project a reality from producers to musicians, mastering and also mixing your project recorded at home. We have the expertise, experience and packages to suit any project, plus we specialise in being passionate about what we do.

Hourly rate: $75/hour + gst – engineer included. Dry hire available. Demo nights $250. Rehearsal space $50.

Booking contact: studio@stlaudio.co.nz or a/h 021 777 628

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8 Stanley Street, Sydenham, Christchurch 8023 Ph: (03) 366 7640 or 022 600 5292 Email: info@angelsgate.co.nz Website: www.angelsgate.co.nz Overview: “A great place to make music�. The finest in new and vintage recording equipment accompanied by producer Kevin Allison’s large collection of guitars and amplifiers. Full production services for music, voice and media.

Facilities: Large tracking rooms, grand piano on site, API anologue console, ProTools HD 2, great microphones. Mixing and mastering.

Personal attention to detail for all your recording needs.

Engineers: Kevin Allison Rate: Please contact us for our competitive rates.

Booking contact: Kevin Allison

Opawa, Christchurch Ph: 027 431 6950 E: info@riversidesound.co.nz W: www.riversidesound.co.nz Fb: www.facebook.com/RiversideSound Manager/owner: Peter Williams Producer/engineer: Ben Delany Freelance engineer: Ben Delany Studio available for hire by freelance Engineers for your own band, recording, mixing or mastering. Give Pete a call then come around and try out the live room, while our barista prepares you a coffee. We are happy to create a plan to suit whatever budget you have, including a funding strategy if applicable. Whether you want to make a demo, record a single or a full album we will provide support and helpful advice through the whole process, as well as recording, mixing and mastering. Voice over for audio books, gaming and video is also available along with jingles and radio advertising. Short recording courses available by request as well as customised Music Therapy sessions. Whatever your passion is we can provide the skill, knowledge and equipment to produce the result you want. Check out the website for all the technical info and our awesome range of mics, recording and mastering equipment

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Labels Ben Delany Mastering 17 Hewitts Road, Christchurch 8014 Ph: 021 222 2935 E: hello@bendelany.com W: www.bendelany.com Twitter: @hello_master Overview: Situated in the CBD. Custom large, acoustically designed and treated mastering space.

Technical facilities: Mastering through custom mastering console. Vinyl pre-mastering. Analogue gear by: Cranesong, HCL, BURL, Lavry, BLA, ADAM, Focal, Bettermaker, Dangerous, Mytek, etc.

Producer/engineer/booking: Ben Delany

Clevetown Studio Level 1, 278 Tuam Street, Christchurch 8011 Ph: (03) 372 9506 or 027 253 6001 E: clevetownstudios@gmail.com W: www.clevetownstudios.co.nz Overview: Clevetown Studios is a multi functional music production and music teaching studio. The studio employs 5 music teachers and 2 recording engineers. We also offer production services for musicians looking to expand their creativity.

Technical Facilities: 32 channels of recording. A good selection of microphones, amps, instruments. Everything you need to get the job done in a friendly relaxed environment Producer/engineer: Jamie Thomson, Steve Fowler Rate: $60 (excluding gst) Booking contact: Steve .

The Sitting Room Lyttelton & Christchurch city Email: tape@thesittingroom.co.nz Fb: facebook.com/thesittingroom Website: www.thesittingroom.co.nz Overview: The Sitting Room has two full studios to choose from, the now famous Lyttelton studio with views across the harbour and the newer/larger central city studio. We are the home of boutique recordings, home-brewed beer, tasty equipment, dudes with beards, wood paneling, fresh ideas, vintage amps, great gear and lots of lamps. Yessir!

Technical Facilities: A full multi-track analog and digital recording facility with access to different recording spaces. We have a wonderful selection of the best sounding equipment spanning various vintages and brands. Rather than wasting more trees by writing yet another huge list of equipment (yawn) how about we get in touch and you can see for yourself. Firm believers in making sure it’s the right ‘FIT’, there’s no need to convince you to work with us if it’s not the right fit, get in touch and get the wheels in motion.

Rate: They vary depending on choice of studio and length of bookings.

Producer/Engineers: Ben Edwards, Steven Marr, also available to be hired by free-lance engineers.

Some recent artists include: Marlon Williams, Tami Neilson, The Bats, Nadia Reid, Aldous Harding, Delaney Davidson, The Eastern, Doprah, Shunken, Nakey, Black Fox Trio, Matt Smith, Troy Kingi

For updates on this and the other NZM Directories visit:

AllGood Absolute Alternative Records PO Box 433, Silverdale, Auckland 536 Queen St, Auckland Ph: (09) 420 4570 Email: info@aaarecords.com Fb: facebook.com/AllGood-Absolute-Alternative-Records Website: www.aaarecords.com Overview: AllGood, Absolute and Alternative!

Main acts on label: Radioglo, The Hollowmen, 71 Sunset, Miss Peach and the Travelling Bones, Arrested for Slapping, The Symphony of Screams, 2 ABU’s Distribution: Digital & Physical Demos: We want to hear from you, send us your links!

Move The Crowd Records

ElevenfiftySeven Records PO Box 78266, Grey Lynn, Auckland 1245 Ph: 021 844809 Email: info@elevenfiftyseven.com Website: www.elevenfiftyseven.com Contact: Dean Cameron Types of music: Alternative, punk, hardcore, rock’n’roll.

Main acts on label: Antagonist A.D, Balance, Bleeders, Cobra Khan, Gatherer, Kitsch, Los Muertos, Nightchoir, Sticky Filth, This Night Creeps.

Demos not accepted:

PO Box 68885, Newton, Auckland Ph: (09) 374 4542 Email: movethecrowd@live.com Website: www.movethecrowd.co.nz Contact: Aaron Christie Main acts on label: Smashproof, Kidz In Space, Sid Diamond, , Ashley Hughes, Sir T, Cavell Demos accepted: Yes Distribution: Warner Music NZ

Onset Offset

97 Dunrobin St, Dunedin Email: fishrider.records@yahoo.com Website: www.fishriderrecords.com Facebook: www.facebook.com/fishriderrecords Twitter: @FishriderNZ Types of music: Literate, melodic underground pop/ postpunk/ no wave etc., mostly on vinyl and distributed worldwide Main Acts On Label: The Puddle, Opposite Sex, The Shifting Sands, The Prophet Hens, Males, Trick Mammoth, Death & The Maiden.

Distribution: Rhythmethod in NZ

PO Box 2764, Christchurch 8140 Ph: 027 617 7995 Email: onsetoffsetrecords@gmail.com, or campbell@onsetoffset.co.nz Website: www.onsetoffsetrecords.co.nz Myspace: www.myspace.com/555791470 Fb: www.facebook.com/onsetoffsetrecords Contact: Campbell McLay or Michael Brathwaite Type of music: Open and inclusive Main acts on label: Sarah Richards, Ritchie Venus, Toerag, The Riptoids, Kinesis, Rachel Grant, VIM, G.O.D., Stack Zowie, Off Tops The Head, The B/T’s, Chris Moore and the Krypton Compilation Series.

Demos accepted: Yes

Only a few releases a year. Not currently looking for new bands or unsolicited demos.

Powertool Records

Southbound Distribution Ltd

PO Box 15-731, New Lynn, Auckland Ph: (09) 827 7100 Mobile: 027 449 2587 Email: aamaitai@gmail.com Website: www.powertoolrecords.co.nz Contact: Andrew Maitai Types of music: Indie pop Main acts on label: Vorn, Brother Love, Mark Airlie, Matthew Bannister, Joed Out, Gold Medal Famous, Black Wings, Cat and Sock, Transcendental Learning Collective, Nick Raven, Come Down Kid, Mucus Kids, Jordan Reyne, Doubtful Sounds, Psychic Maps, Seeds Of Orbit and Rivers Edge Demos accepted: Yes Distribution: Powertool Records/Yellow Eye

132 Symonds St, Eden Terrace, Auckland 1010 PO Box 87-395, Meadowbank, Auckland 1742 Contact: Jeffrey Stothers Ph: (09) 578 3664 Fax: (09) 578 3662 Email: jeffrey@southbound.co.nz Website: www.southbound.co.nz Types of music: All genres

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Email: mark@illegalmusik.co.nz Website: www.illegalmusik.co.nz Fb: facebook.com/illegalmusik Twitter: @illegalmusik Contact: Mark Arona Types of music: Hip hop, RnB, pop, reggae, future music, rock.

Main acts on label: Ill Semantics, K.One, Tomorrow People, J Williams, Brooke Duff, Tyson Tyler, Nikki Montana, Three Houses Down, Mixt Frequencies, Mister Watkins, ATP, Illegal Bandits, Junipah, DJCXL. Distribution: Warner Music

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Rehearsal Facilities "VDLMBOE

#BZ PG 1MFOUZ Media In Motion

56B Barrys Point Road, (under Beaurepairs) Takapuna, Auckland PO Box 100866, NSMC Glenfield, Auckland Ph: 09 486 3316 – 0508 JAMMING Email: robbie@thebassment.co.nz or bookings@thebassment.co.nz Website: www.thebassment.co.nz Fb: /thebassment Twitter: @thebassmentnz Overview: Just two minutes from the bridge.

Open lots of hours – and easy to book online. Five rooms available with PA, mics, and backline available for hire. Secure storage available. MIDI suite/post production, kitchen, shower, drinks, easy load in with heaps of free parking. Lockouts available.

Rehearsal and pre-production recordings available – affordable rates guaranteed!

Book online. Hourly rates are on our website, or contact us to discuss your requirements.

Studio manager: Robbie 021 159 9946 (text or phone).

35 Scarborough Tce, Parnell, Auckland Email: info@creativehouse.co.nz Website: www.creativehouse.co.nz Facebook: facebook.com/CreativeHouseNZ Overview: We at Creative House provide premium rehearsal spaces, with friendly, professional staff available to assist in all your rehearsal and recording needs. All rooms are equipped with full PA set up. Creative House is conveniently located in Parnell, Auckland Central with ample parking available.

Booking contact: Danny 022 3291690

Earwig Studios

41 Birkenhead Ave, Birkenhead, Auckland PO Box 34705 Birkenhead Ph: (09) 480 2219 M: 027 278 1660 Email: darren@earwig-studios.co.nz Website: www.earwig-studios.co.nz Overview: Full amenities, vocal PA, bass bin, quad box and drum kit available.

Hourly rate: $50 for 3-5h Booking contact: Darren McShane

Stage Sound Ent. Ltd Rehearsal Studio Unit 4 - 77 Porana Rd, Glenfield, Auckland PO Box 102119, North Shore City 0745 Ph: (09) 444 8776 or 0274 857 691 Website: www.soundman.co.nz Email: paul@soundman.co.nz Overview: Modern large studio. Easy ground floor load in. Acoustically treated, Drum riser.

Powerful vocal PA, mics, stands, tape deck, CD player. Backline optional, Phone, fridge, microwave, free tea, coffee. All hours for quiet bands. Evenings and weekends for loud bands.

Hourly rate: $50 open ended week nights. $40 weekend slots.

Booking contact: Bronwyn Johansen

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84 Lombard Street, Palmerston North Ph/Fax: (06) 359 0120 Email: admin@creativesounds.org.nz Website: www.creativesounds.org.nz Overview: The Stomach is a low cost, community focused music space, with two sound treated rehearsal rooms.

Each room has: Vocal PA (Mackie ProFx12 mixer, 3 x SM58 mics, 2 x QSC KW12 speakers) 2 x 100 watt solid state guitar heads and 4x12 cabinets, 300 watt bass head and 2 x 15 cabinet, digital piano, 2 x electric guitars, a bass and five-piece drum kit with cymbals. Bring your own drum sticks and guitar leads.

Touring acts need a secure rehearsal room for the day, and quality equipment? Contact us for more information.

Hourly rate: $5 per hour Booking contact: Mark Davies

11B Macdonald St, Mount Manganui, Tauranga.

See studio listing on page 24.

8FMMJOHUPO STL Audio PO Box 27208, Marion Square, Wellington Ph: 04 8015602 Website: www.stlaudio.co.nz Email: rehearsals@stlaudio.co.nz Myspace: www.myspace.com/stlaudio Fb: www.facebook.com/STLAudio Overview: STL Audio has two large professional rehearsal spaces located in central Wellington. Because STL Audio is a professional recording studio and creative environment you are walking into the zone the moment you come in. Both rooms have a PA and vocal microphones. We have storage available and gear can be left and locked up with a secure 24 hour alarm service. Both rooms are air conditioned. Parking is free and there is a lift. We also offer discrete services for high profile artists.

Hourly rate: $50 per session Booking contact: Call or email, or a/h phone 021 777 628

Should you be here?

If you run a studio, independent label or rehearsal space and would like to be included in next year’s print NZM Studio, Label & Rehearsal Facility Directory, or would like to appear immediately in our online directory, please contact us here at NZM. dz: (09) 373 2572 via the website or by email YP editorial@nzmusician.co.nz

$ISJTUDIVSDI BeatBox 270 St Asaph Street, Christchurch 8011 PO Box 1915, Christchurch 8140 Email: info@christchurchmusic.org.nz Website: www.beatbox.nz Facebook: beatboxchch Overview: BeatBox offers three brand new acoustically treated, multi-purpose rehearsal spaces. All rooms come equipped with vocal PA systems and full backline. Conveniently located within the Christchurch CBD. Equipment available: PA, monitors, mics, drum kits, bass amps, guitar amps, strings, sticks etc.

Hourly rate: $35-45 per hour Booking contact: Deane Simmonds

The 2016 NZ Music Services Directory includes categories and listings from the beginning to the end of the music making, performance and marketing spectrum.

Available mid-January from

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Fragile Colours

Tickled Pink With a few more radio hits it could be the album story of the century – well two centuries actually, given that it was started back in 1987. Having recorded the demo tracks for an artful concept album, musician/producer Tim Julian consigned the project to a bottom drawer for over a decade.

Having blown the dust off he then spent a further decade-plus developing and refining the ideas, enlisting musicians and massaging tracks into, perhaps, his own magnum opus. Sammy Jay Dawson investigated the background to ‘Southern Utopia’.

To call Fragile Colours’ recentlyreleased album ‘Southern Utopia’ a labour of love is somewhat of an understatement. In the decades since its inception in 1987, its creator Tim Julian has slowly pieced his magnum opus together, at the same time establishing and running his own provincial studio (Colour Field) and record label (Fragile Colours Music). Beginning life as an ambitious project amongst friends, little could anyone imagine the resulting album might possibly be released 28 years later.

“Essentially the first ideas for ‘Southern Utopia’ and Fragile

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Colours all started in 1987,” Julian recalls. “I’d just left school and got stuck into a band with a friend, Fred Renata. We just sort of clicked and did a bit of writing together. It didn’t take long before we had this huge concept idea for an album – which may or may have not in, its first stages, been a bit ambitious.”

The shoulder shrug and wry smile is implicit.

Fred Renata (that’s him pictured below) has since built a huge reputation as being one of NZ’s most distinguished Maori cinematographers, going on to direct photography across all spectrum of media including music videos, commercials, television drama, documentaries and feature films. Now the owner of Tinopai Films, his recent work has included the Mount Zion movie as well as an array of Maori theme documentaries, including Street Legal, Raising The Moko and He Wawata Whaea.

“A dream is just a dream on your own, but when we dream together, things happen,” he is quoted on

the album’s liner notes.

What has surfaced in 2015 was originally planned to be a concept album documenting New Zealand’s place in the world and it’s relationship between it’s people and the land. Renata handled the lion’s share of the lyric writing, using his heritage as just one of many viewpoints on the subject. Julian readily admits to awkwardness at it having been almost three decades in the making.

“It’s almost embarrassing how long it’s taken, but I guess I was young and green,” he admits, laughing. “We recorded all the initial demos at Fred’s house, which looking back were a bit rough. We had the recording set-up in the dining room on the same table that Fred ate breakfast on, and the live room was in the lounge with some french doors in-between.”

“Fred had just made his first forays into feature film by this stage, so we wrote a letter to the Arts Council proposing that we have the album as the backdrop for a feature film. All up we weren’t asking for much, just a million dollars! We typed it all up very nicely, but never got a reply… we

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thought, ‘We’ll ask for loads that way they’ll know we’re confident we can make it back.’ That was pretty bold!”

With its lush textures, catchy hooks and proggy leanings, it’s an expansive listen. Often bringing to mind Peter Gabriel or Pink Floyd, the messages are weighted skillfully with its art.

“The name ‘Fragile Colours’ reinforces a few ideas, for example the idea that colours are fragile. If you’re down getting your pot of paint filled at Mitre 10 and they accidently put an extra couple of drops of another colour in, you see how fragile colour really is – it changes. So I think that, with most things artistic there’s fragility attached.

“After the original writing and recording period, we took a bit of a break from things due to a various family circumstances and life changes, so everything just got shelved. What started as this great idea for an album just became a cassette tape, in a self-addressed envelope. There was a blue folder along with a whole heap of notes and a letter to the Arts Council, and it just sat in the bottom draw for years gathering dust.”

Moving to Welcome Bay, Tauranga in the late ’90s, Julian opened Colour Field Studio, and eventually found time to revisit those demos for ‘Southern Utopia’.

Inevitably most of his time was spent recording other acts, but over a period of year the songs were developed to the stage of bringing in outside musicians – who now make up Fragile Colours.

“There’s a bit of an all-rounder cast playing on ‘Southern Utopia’, Julian explains. “Sean Bodley, did a lot of the guitar work on the record. He releases a lot of solo guitar albums, most recently ‘Pitch Black’ just a few months back. His arrangements and melodies are always a notch above where he was when I’ve last heard him.”

Julian himself plays bass and keys and is the album’s vocalist. It could hardly be described as a guitar album, but more guitar tracks were provided by Marion Arts, Bruce Rolands, Steve Bennett and Trevor Collings who used to work with Ardijah.

“His guitar playing is a lot more muscular than Steve’s. Steve is a real shred guy, very precise, very into Steve Vai and Joe Satriani, amazing player but two complete different styles. Brilleaux guitarist Bruce Rolands also contributed because we wanted to get that raw rock’n’roll energy, which Bruce just oozes.

“I met drummer Jed Dawkins while recording an album for X-Factor finalist Leilani Taula, who I used to teach piano. We ended up getting Jed in to do a couple of tracks. After one take I knew that I’d found the drummer for Southern Utopia, he’s just a monster.

“I did all the vocals. I’m not a natural singer and there were a lot of things I wasn’t happy with, so I had to go through and correct a lot digitally. It was nasty,” he laughs.

“There was a young girl, Kamaea Harry, who did backing vocals on Leilani Taula’s album, that I got in for backing vocals. Her voice is a nice contrast to mine – she’ll be doing the lead on the next Fragile Colours’ album instead! I recorded all the bass myself. I tried to reference players like Dee Murray who played on Elton John’s early records, and of course Geddy Lee from Rush. I wanted the drums and the bass to be really tight at the bottom end, have that classic rhythm section sound.”

From the synth-driven Hearts Behind A Wall, to the Dire Straits-esque Broken Promises, Julian’s rich production holds the entire project together. Paying homage to the era of the ’70s concept LP, ‘Southern Utopia’ is much more than the sum of its parts, drawing an overall strength from its continuity and (now quartercentury old) lyrical themes.

“Fred wrote all the words. The concept and theme of the album looks at New Zealand’s place in the world. How we relate, how we deal with things and all kinds of events that have affected us. We were one of the last countries to be found and populated, and we still have very strong ties to all parts of our backgrounds.

“For example, there’s a line in the song, New Southampton, where Fred discusses his ancestors coming over from England but also being part Maori. ‘A reflection in the mirror, I see my mother’s face. A reflection in the mirror, I see another race.’ We’re a unique wee country.

We do have a world-view that’s very different from the rest of the world, maybe it’s because we’re still such a young country or maybe it’s

If you’re down getting your pot of paint filled at Mitre 10 and they accidently put an extra couple of drops of another colour in, you see how fragile colour really is – it changes. So I think that, with most things artistic there’s fragility attached. because we have a very ‘observer’ stance.”

After the record was mixed and mastered Julian finally caught sent Renata a CD copy.

“He was gob-smacked.The end result turned out quite different to the original demos, but the vision was the same.”

Julian hopes that ‘Southern Utopia’ will prove to be the first of many future Fragile Colour releases, and promises a follow up sometime before 2043.

“We’ve had a lot of people say, “What are

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you doing guys? This is great, why did you wait so long?’ But it wouldn’t have turned out that way unless we had waited. This is just how it rolled. It is what it is because of the process.

“I guess if you take anything from our experience, if you have something you think is good, stay on it, don’t give up on it, and do it.

Even if it takes 28 years… Try not to let it, but keep at it.”

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NPNFOUT MJLF UIFTF Curated by Trevor Reekie

Chris Priestley Left to right: Andrew Dixon, Warren Sly, Robbie Laven, Phil Powers, Andrew White, Chris Priestley, Angela Fox, Cath Woodman, and Kerrin Worsfold.

Chris Priestley is a musician who has been pivotal in the Auckland folk music scene for over three decades. He is equally a business entrepreneur and culture creator. One of the founders of Real Groovy Records, he moved on to start such iconic music cafes as Java Jive and Ponsonby’s Atomic Café which became important musical hubs for aspiring singer/songwriters. Chris remains an active musician and recording artist. His 2013 album ‘Unsung Heroes (Songs and Stories from New Zealand’s Distant Past)’ and the recently released album ‘Rogue’ are well researched themes exploring our country’s folk music heritage, as well as songs written about some of New Zealand’s most colourful historical characters.

What was the occasion when this photo was taken?

It was at The Bunker (Devonport’s folk music club) in 1994 for the release concert of my first solo album, ‘Argentina to Invercargill’. The place was packed, and the post concert jamming went on into the night, until the Jameson’s ran out.

Does Aotearoa have a rich folk heritage?

Possibly the first folk song in NZ was about Davy Lowston and his band of sealers marooned on the Open Bay Islands (now Jackson Bay) in 1810, and there were many songs written and passed on since then about whalers, gold miners, swaggies and others. Many are found in early books like Shanties By The Way and NZ Folksongs, Song of a Young Country by Neil Colquhoun, and on the recordings of folk historians like Phil Garland and Mike Harding.

Folk festivals have been happening for more than 50 years with the largest in Auckland at the Kumeu Showgrounds, and my favourite being the Tahora folk festival on a farm on the Forgotten World Highway in Taranaki, which I have been attending for more than 30 years.

As a developing folk singer and songwriter – is there a sense of needing to join the dots of the past to find one’s individual voice?

Yes. I joined the dots as a singer for 30 years before becoming a songwriter, but I suggest that’s a little too long. But I did enjoy interpreting other friends’ songs on some of my earlier CDs. They would come and sing a harmony or duet on their own songs.

After many late night sessions sitting around campfires jamming at folk festivals I decided to record my first solo LP, although it wasn’t solo at all, but rather a collection of friends helping me. I had met Robbie Laven and admired his playing and asked him to help on the ‘Argentina to Invercargill’ LP. He co-produced and played many different instruments from bouzouki to gambung, plus harmonies from Angela Fox who also sings on my latest CD, some 20 years later.

The folk community has always helped each other and hardly a dollar changes hands. Most artists pay for everything themselves and very seldom do they make their money back. Crowd funding these days is a great help if you have a following or an interesting project.

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Did you suspect as a child that music was going to be a career in one form or another?

My parents always played classical music around the house (LPs and the radio), Mozart being a particular favorite. They also made me take piano lessons, which unfortunately I stopped when given the choice, and took up golf. Still, at age 8 I was a Beatle fanatic.

As a teenager I was lucky to see many great concerts. The Stones and Led Zep at Western Springs, Jethro Tull and Osibisa at the Civic, Deep Purple and many others who came out during the ’70s.

Also happening at the time were the Radio Hauraki Buck a Head concerts at His Majesty’s Theatre. I saw great NZ bands from Split Enz to Ragnarok and the Red Hot Peppers, but my favourite was Waves with their acoustic guitars and great harmonies. My conversion from rock fan to folkie began.

I started hanging out at the Poles Apart folk club where the toasted sandwiches were awful and the coffee (which came out of a large urn that had been stewing for hours) was worse, however the music was great with a concert night every weekend for invited guests and an open night on Wednesdays for beginners like myself.

There was a backroom where all the cool bluesmen hung out and played amazing blues. Glenn Crosse was my favourite and he was also the toy maker at the legendary Cook St. Market. I knew that one day I would try and create a place with great music and decent food and coffee.

Was establishing Real Groovy Records your point of entry into the music business?

I had been collecting a lot of vinyl. Folk, blues, country and more and more jazz. It was my John Coltrane habit that connected me with Chris Hart, who at the time owned the Record Exchange in K Rd. I started working for him on Thursday nights to pay my tab and we became friends.

He sold the Record Exchange and for a while we cleaned old bricks to make some extra money and eventually decided to put our record collections together and start another shop, which initially had records, valve radios, second hand books and musical instruments. We called it Notoriety and it was where the Mamata Bakery is now in Westmere

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Chris hated the name and when we moved to Mt Eden Rd we changed it to Real Groovy Records. We bought a 1966 Mercedes station wagon (ex-hearse) and started advertising for LPs etc. We moved to Queen St and even commissioned Chris Knox to animate an advert for TV, which we could only afford to play late at night during The Young Ones.

When I left I still had a large record collection but much more wide ranging in styles, quite a few old radios, a good knowledge and love of all sorts of music and many musical contacts and friends.

Why did you leave Real Groovy and what activity did you replace it with?

Chris (Hart) wanted to buy a large neon sign and mortgage both our houses, which I wasn’t keen to do. So we agreed to go our separate ways and tossed a coin to see who bought whom out.

When I left Real Groovy (in late 1985) I had a large collection of LPs and also 45s and decided to go back to the dream of creating a musical cafe. The first Java Jive was created in an old butcher’s shop on College Hill, initially with two juke-boxes (one which only played 78rpm records including Charlie Parker, Bessie Smith and Muddy Waters).

The name of the cafe was from an old Ink Spots’ song and when they came to town (one original member) they heard about the cafe and came and did a fabulous lunchtime concert.

We had Sunday folk concerts which helped draw a big crowd and eventually we had to move to a much bigger cafe to fit everyone in.

After a while the late nights became a grind, so we sold the cafe to Beaver, Paul Walker and friends who turned it into more of a rock blues venue, which also worked well.

Your cafes/ venues Java Jive and Atomic (121) both contributed to creating a musical hub for acoustic music in Auckland.

Before the Internet came along LPs and concerts were the only way of hearing acoustic music and even jazz (nothing on the radio), so the record shop was a bit of a meeting place and lots of friends were made. Face-to-face Facebook.

Later my cafes were also styled as being a place to meet and always hear great music.

The Java Jive became a bit of a hub for musicians. Mahina Tocker and Kath Tait both worked as dishwashers at different times. We also had members of the Headless Chickens and other rock musicians working as there was never enough money from music alone.

After selling the Java, I started the Atomic café/roasters but I was missing the musical gatherings. At the time some cafes had DJs (if any music at all), so I invited some of my friends to come and sit around and make music every Thursday night, while still being open to the public. Because of the high quality of music being heard by people who wouldn’t usually go to a folk club, more and more people started coming and appreciating acoustic music.

We also started a Wednesday open mic night and when someone amazing turned up I would invite them to come back to the Thursday gathering where they would meet lots of other top musos and play to a crowded cafe.

What part of your life saw you enter the folk scene and forming Acoustic Confusion?

I was asked to be part of one of the annual University Folk Club concerts at the Maidment Theatre and after hearing Julian McKean and Denny Stanway harmonising together I asked them to join me on a couple of Crosby Stills’ numbers. We thought it sounded pretty damn good so we decided to form a band with my flatmate Brendon Power joining us to add his amazing harmonica skills.

Julian started writing some great songs and we also covered songs of friends. With the help of Real Groovy we made an LP called ‘Hazy Days’, partly paid for by pre-selling – which raised $1500 – enough for all the recording costs in those days. This was RGR 001. We were invited to play at Auckland, Wellington and Dunedin folk festivals and were part of a new movement of contemporary songwriters performing original NZ songs.

I then organised a compilation LP called ‘Auckland Acoustics’ which showcased a lot of our fellow Auckland songwriters including Mahinarangi Tocker, Wayne Gillespie, Chris Thompson, Kath Tait and more. We raised the money by doing a concert at the Freemans Bay Community Hall, which was packed, and then did another concert.

In all the years I owned and ran cafes I collected and performed mainly NZ songs but never had time to write songs. There was always an excuse not to, as I always had a cafe or business to put my inspiration into. It wasn’t until I moved to Dunedin and had no cafes to run that I finally put my mind to it and started writing songs.

‘Unsung Heroes’ and ‘Rogue’ show you have a great folk musician’s ear for our local history. How do you research the material?

I started with a song about Darling Jennie the magician after watching my wife Felicity dancing in a show loosely based on Jennie’s life traveling around NZ in the 1860s. I wondered why I hadn’t heard of her and how many other colourful characters might have been around.

I discovered the website papers past, a digital collection of NZ newspapers between 1839 and 1948, free and online, and also visited libraries, museums and second hand bookshops in my hunt for more interesting unsung heroes, rogues and rebels, with the idea of writing songs about them so more people could learn about our rich history.

For my ‘Unsung Heroes’ CD I decided to finish with a song about my dad’s war story, which I only heard about not long before he died. Like many soldiers he was reluctant to talk about it. The song was based on the three telegrams I found addressed to my nana from the Prime Minister’s office. The first stating, ‘Your son is missing in action’, the second a year later saying he was injured and a prisoner of war, and the third (another year later) saying he had escaped and was on a plane headed for England.

After hearing the whole story of his war years I can only imagine my nana’s emotions and though I spent many hours as a child sitting on my nana’s verandah playing Scrabble and chatting, the war was never talked about. My dad never talked about it until not long before

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he died when, fortunately he wrote it all down for me, which helped explain why he liked to spend hours on his own peacefully carving birds. He also loved watching old westerns where the heroes never die.

Many songs have been written about NZ’s past but usually in a much older traditional style and I thought it would be useful to take a more contemporary approach. Having been experimenting with different capos (shortened and using the tuning dadgad) together and in different places, I was able to get some unusual voicings for my fingerpicking style.

Add to that Nigel Gavin and his 7-string Laurie Williams’ handcrafted guitar, played like only Nigel can, the songs end up with a sound of their own. I had been a bit reluctant to sing songs with Kiwi names in my earlier years, as it evoked memories of Taumaranui on the Main Trunk Line and Tea in Te Kuiti and I was trying to be a ‘modern folkie’. Luckily I got older and wiser and realised it is important and fun to add NZ place names.

Though my CDs are available online, it is only good for promotion, as almost no money makes it back to me. The idea of having a booklet with newspaper clippings and photos seems to help me sell a lot more through Marbecks and at gigs. I was also very lucky to have a patron for my latest CD who liked the project and wanted to help get it out to a wider audience.

Radio NZ is also producing a series with Peter Elliot reading the news clips followed by the songs and I even got paid for it!

Who would you consider made the biggest impression on you and why?

It is the NZ songwriters who have inspired me the most. Paul Metsers, Dave Hollis, Chris Thompson, Mark Laurent, Kath Tait, Lorina Harding, Mahinarangi Tocker and many many more. Seeing and hearing the amazing singing and harmonies of the Ink Spots was also a performance to remember.

What are five personal favourite records that never fail to brighten your day?

The Fruit Tree by Nick Drake (actually a three CD box but I couldn’t choose which one I like the best); Waves’ self-titled LP on Direction Records, JB Lenoir ‘Alabama Blues’,;‘Blue’ by Joni Mitchell,‘The Koln Concert’ by Keith Jarrett,‘Into The Purple Valley’ by Ry Cooder, ‘On The Brink Of It’ by Vince Jones. Actually it’s impossible to narrow down to 5. Thousands to choose from...

What’s the best book about music that you’ve read?

Straight Life by Art Pepper or, for a bit of Kiwi musical history (pre-pop), Faces in the Firelight

by Phil Garland.

The best advice you ever got was...?

Frank Winter told me to stop singing to myself. SING OUT! Or no one will hear what you have to say. >"39,SSLY3SOd3G_J`KU_J9`gM9n

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No Broadcast

Designed to rock Christchurch trio No Broadcast have slowly but surely been building a strong following for their inspired vision of indie post rock, one that is coloured by their willingness to experiment with their sound. Nothing is off the table, especially if there is a chance it could make things sonically bigger or more interesting. Singer Josh Braden and comparitive newcomer bassist Kieran Colina spoke about their new sophomore album, ‘The Blueprint’, with NZM’s Darryl Kirk.

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o Broadcast have a fearlessness when embracing new textures and songwriting approaches, something that has mapped their evolution. Each release has become more refined, more focused in finding the sonic and lyrical heart of their tunes.

At times bombastic, at others crunching and terrifying, there is underlying a sense of melodic fluidity and a precision born of dedication and a love of music.

The line-up of the Christchurch trio has remained largely stable since their inception as Anthesiac in 2007. Originally comprised of Josh Braden (vocals, guitar), Sam Hood (bass) and Chris Self on drums, their only and recent change has been Kieran Colina taking over bass duties – along with the name change ahead of the release of their first album.

“Chris, our drummer, and I put the band together at school,” remembers Josh. “We had similar interests in music. We had classes together and just started jamming, so it was a high school band.”

The trio have expanded their vision in the eight years since with national tours and supports for the likes of Die! Die! Die!, Beastwars, An Emerald City and Mountaineater. Likened to some of the greats, names being tossed around include Tool, The Cure and Muse. Josh sees their main influence as much closer to home, citing HDU as being the obvious, and one that has been talked about before.

“For me a big one is the Deftones, and another is Sonic Youth,” counters Kieran.

Those influences might inform but don’t

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take over a band in control of their songwriting, skilled at production and prepared to work on every aspect of their shared vision for the band.

The new album follows their self-titled and self-released 2014 album debut.

“Our songwriting has changed, the sounds have got cleaner, crisper and more refined,” Josh analyses. “The older material was more raucous and less focused in places. Regarding tones and structures of the songs, we’ve introduced softer elements but at the same time it still has those heavier sounds from our previous records. This album is a more diverse beast with some songs being more pop than things we’ve done before, but they have our signature on it.”

‘The Blueprint’, their new seven-track album, has both epic qualities and intimate moments.

The band characterise the recording process as an extension of an ongoing experiment.

“We did the drums at my work. I work in a rug workshop, it's like an art gallery for rugs,” tells Josh.

“We recorded the drums in the big main workspace,” Kieran elaborates. “We put mics all around the room – that’s a technique I learned when I was working at Quicksand Studios.

Another thing we did which might have started at York Street was we had a couple of mics right down on the floor. It sounded awesome, it gives you that big sound.”

After they had captured the drums at Dilana Rugs the recording returned to a spare room in Josh’s to do the guitars and bass.

“There were mics everywhere. It was over the winter, so there was lots of red wine and

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experiments going on, it was a lot of fun,” he laughs, before Kieran elaborates.

“Some of it wasn’t even intentional. Josh was playing with an E-bow, and the battery went flat, and it started making these weird, very strange sounds like a Geiger counter.”

They also did a field recording at the Tannery, a boutique shopping precinct in the redeveloping Christchurch, as Kieran explains.

“We just rocked in there and asked if we could set up some mics. It was a real spur of the moment thing. We said to ourselves, ‘We need a piano, where is a piano? There is one at the Tannery. Let’s go ask them.’ That was a lot of fun, the cafes and shops were all still open, and people were talking and so on, but it adds a bit of an ambience at the start of the album.”

“It so happened that the piano was in tune, which was nice,” Josh smiles.

Although there were some early difficulties with the mixing and mastering end of the production, the band eventually brought in Chris Graham, who had worked at the since-closed Quicksand, and who they’d had dealings before. The band are very happy with the final result, the self-released album titled ‘The Blueprint’ drops in December, with release gigs planned in Christchurch and Dunedin.

No Broadcast are also heading to Melbourne for a series of shows in January and planning a nationwide NZ tour for the autumn months next year.

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JULIAN TEMPLE BAND: Ceiling In The Sky Dunedin’s Julian Temple Band remain one of that city’s most loved alt-rock/pop bands, with a superb live reputation. With four previous albums to cement their status, it’s here with number five that they may have finally found their breakthrough. Easy listening without being boring, and intense without being heavy, ‘Ceiling In The Sky’ instead feels more as an intimately recorded live album, a fly-on-the-wall snapshot of the band at their best. Good Golly sounds post-Brit pop with added gravel, whilst Rest My Bones could be counted amongst the recent indie-country trend. The band have no problem crossing genres, instead serve their own songcraft, carefully applying anything that meets their purpose. Featuring Julian Temple on guitars and vocals, Paul McMillian (bass and electric guitar plus vox), Alex Vaatstra (violin, viola and piano) and Paul McLennanKissel on drums, the 14 songs were recorded and mixed by Mike Holland at Albany Street Studios. The production works to the band’s strengths, leaving the songwriting to shine through. Vaatstra’s string-work has never sounded so eerie nor epic, whilst Temple’s voice only keeps improving, adding a touch of delta blues to whatever mood they pursue. From Springsteen-esque classic rock (Burning Sun), laid-back jazzy indie-chill (The Voyeur) or song-story epics (Wishing Well), there’s a dizzying array of moods and textures on offer here. Scores of bands would kill to have the songwriting talents of Temple, and it’s about time his band got the credit they so rightly deserve. s 3AMMY *AY $AWSON

4(% %4%2.!, 3%! 4HE %TERNAL 3EA There is no doubt that this Tauranga band is serious about their music and career – and it’s time to sit up and take notice. From the quality of the recording, to the songwriting and playing, to the album artwork... it’s a class act all the way. A solid rock metal trio with Mark Wright on guitar, vocals, synths and programming (as well as writing all the songs, bar a high quality cover of Home By The Sea – yes, that old Genesis classic), Simon Power on drums, and bass by Jared Dykes. Cited influences are, among others, Deftones, Tool and A Perfect Circle, but you can throw all that away and just treat it as an entry point. This album is very good. The Eternal Sea have their own vibe, their own piece of the musical earth, a confidence and competency that demands attention. There’s a ‘concept’ that runs through this album, it’s almost a metal version of The Porcupine Tree, and that is indeed a compliment. Vampyre, Eve’s Bite, Transhumanism, No P, Chemtrails, Home By The Sea –13 quality tracks, and you’re left wanting more. How many albums can you say that about? s !NIA 'LOWACZ

7(!4 ./)39 #!43 ! $IFFERENT /CEAN

In May 2013, Wellington country/folk/rock four-piece What Noisy Cats started to record their debut album, finishing it earlier in 2015. Taking up where their self-titled 2011 EP left off, the band have developed their sound, recycling standout tracks Meet Me In Montauk and Finest Clothes for the album. ‘A Different Ocean’ may has country and folk elements, but the album is rooted in established rock sensibilities, veering between softer acoustic-based numbers and harder, rockier sounds. The band even dabble with dream pop atmospherics on the airy In The Morning, which seems a little out of place, but provides an interesting diversion. Leaping around within the alt-rock genre, the album does have a consistency of sound, aided by Luke Marlowe’s lead vocals.

The album is bookended by tracks that belie the band’s energy. Opener Little Lies starts quietly, building to a wall of vocals and guitars, while the rather gentle, subdued title track ends the album almost on a (pleasurable) downer. What Noisy Cats have created an album Ì >ÌÊ}À ÜÃ]Ê> `ÊÀiÛi> ÃÊ ÌÃÊV >À ÃÊ ÀiÊ> `Ê ÀiÊÜ Ì ÊiÛiÀÞÊ ÃÌi °ÊU !MANDA -ILLS

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,!52%. +).' )NSCAPE It’s not often that you come across an album that feels purposefully put together, with each track there for a reason. Lauren King’s debut ‘Inscape’ is a collection of orchestral ambient pieces that weave and interlock with one another, through a bed of texture. Recorded, produced and mixed by herself, with a little assistance from Rhian Sheehan, King has been working on this album for the last year and a half. With additional instruments performed by Ilja Gray (drums), Barbara King (piano) Lisa Tagaloa (bass) and strings by The Elios String Quartet, King manages to instill a feeling of hope and wonder with this collection of pieces. From the emotional climax of Dusk, to the shimmerings of Sunrise you can hear her background in short film composition. Inscape is the inner nature of a person shown by a work of art, and after listening to this album, you feel as if you know something greater, and more profound about Lauren }°ÊUÊ*ESSE !USTIN

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‘Southern Utopia’ is a pop album with many shapes – ambient, rock, country and folk all working together. Underneath it could be forged in Nashville or London, but it lives right here in Tauranga.

What strikes you is the consistency of the writing and performances. The album starts with the synth-heavy intro of Broken Promises. As things progress the guitars become more prevalent, eventually arriving at duet Sometimes We Forget which is a highlight. The album is really the work of producer and Colour Field Studio owner Tim Julian, but intriguingly had its origins with demos recorded in the mid ’80s by then lyricist (and now highly regarded cinematographer) Fred Renata.

After a decade on the shelf the songs have had another decade of Julian’s occasional attention, over that time pulling in some talented friends including Sean Bodley on guitar, Jed Dawkins on drums and Kamaea Harry on bvs to flesh out the vision. There are some new country moments that are done with finesse and to my mind uniquely, an overdrive pedal set pretty high. The themes running through the songs are as varied as the instrumentation guiding their way, disenchantment, love and politics all feature. ‘Southern Utopia’ has had an unusually long gestation, and this seems to be to its benefit. The songs are diverse but anchored by a thematic sound. Sometimes pure pop, at other points downbeat, then reflective, then anthemic but always coherent within the sonic framework that has been established. This very worthy album is full of melody and great craft. It is many things but has a voice and range of colours unique to itself. s $ARRYL +IRK

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Freddy Fudd Pucker is “a one-boy band who plays a form of folk/ thrash”. He sounds like a faster version of the Drive-By Truckers in places, or perhaps a better comparison would be Frank Turner.

This album, recorded in Berlin where Tom (or possibly Bill) Young has been living for a few years, arrives inside one of the coolest packaging comics you’ll ever see. Originally from Dunedin, he plays almost everything on the songs, excepting a couple of drum tracks and a bit of singing. He has created a collection of songs that are driving, energetic and melodic, with something to appeal to everyone.

Young has a great singing voice, and really puts some guts into it. This music is a lot more accessible than his previous outings, easy to clap and sing along to. His lyrics are chock-full of imagery, and if that isn’t enough, the accompanying comic has actual images for your to feast your eyes on while listening. Wait, Young drew all the art himself too? This annoyingly talented Fudd Pucker deserves our attention. A bit of quick Facebook stalking reveals that FFP is currently touring in the US. If this release is any measure, he should be doing very well over there. s "ING 4URKBY

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(/0%4/5. "2/7. "URNING &USE If ever a band lived up to the funkiness of their name, Hopetoun Brown is it. The brainchild of Supergroove’s horn section – Tim Stewart and Nick Atkinson – ‘Burning Fuse’ is their debut album, and as you would imagine, full of the sounds that made them so recognisable in Supergroove. The album was recorded at The Sitting Room in Lyttelton and Auckland studio The Lab. Fellow Supergroover Karl Stevens provided Road Runner Rocks but the rest were written by the duo. The songs are a joy to listen to, often soulful but for the most upbeat, with contagious rhythms. As with many horn-based albums, jazz is a strong element, and Knitted Into My Bones and instrumental The Melter are fine examples, while a funky swagger makes The Demanding Blues a dance-floor offering. ‘Burning Fuse’ is energetic, with passionate performances. Clearly a labour of love, Atkinson and Stewart have thrown themselves full force into Hopetoun Brown and it shows. Clearly the duo believe in what they do. s !MANDA -ILLS

4(% "/" ,!:!2 34/29 3ELF ,OATHING *OE Almost entirely instrumental, this one is in a category of its own – and one not often trod in these parts –the ‘math/progressive rock’ category. An acquired taste to be sure, but not one bereft of humour. There are several paths to go down, but let’s backtrack just a little bit. The four-piece hail from Christchurch. Core members are Chris Jago who plays a very full drum kit, and Matt Deacon who plays guitar plus ‘all sorts of stuff’, plus did the mixing and mastering. Influences would be the likes of Frank Zappa and Mr Bungle, but these guys have their own shtick and concept. 2007 saw a 6-track EP called ‘The Silence Of Perez De Cuellar’, 22 minutes of polarising content.

May 2012 let ‘Space Roots’ upon the world – 19 tracks over 39 minutes, which would be heading into Fantomas territory. Along with a piece of Pink Floyd, there are some eerie vocals on Ezekiel II, the second-to-last of this seven track release, which provide relief and contrast. It’s not for me to try and spell out and decipher this music, it’s about the listener’s iÝ« À>Ì °Ê ÌiÀÊ>ÌÊÞ ÕÀÊ Ü Ê` ÃVÀiÌ °ÊUÊ!NIA 'LOWACZ

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North Auckland trio Shady Brain Farm are best described as an eerie blend of ska and dub reggae that could break out into The Strokes-like proto hip coolness, with Dick Dale giving them a hand up at any moment. These guys are not content with sticking to the rules. There are moments you think Straitjacket Fits are applying some undue influence from beyond the grave, only to be confronted with a ’90s art punk vibe. It’s confusing, but in the best possible way. The rhythm section of drummer Paul Taylor and Chris Vaughan on bass does a great job switching this way and that. I keep coming back to the idea that despite their improbable name this band has something of the essence of the great mod band The Jam. This EP is a visceral, kick out the jams coupled with some doubt and confusion lyrically. The music and lyrics are thought out and with a distinctly NZ take on throwing down a spiralling lead break. The backline stands up to whatever Ben Furniss’ guitar throws at them. Melodically there is the right amount of light and shade. Their next album, if anything like this, should be a cracker. s $ARRYL +IRK

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MidweekTonic land at the top of my list of 2015 for diversity and innovation. The Auckland three-piece have dropped album that is an energetic melting pot of styles. Self-tagged as alt/rock, rock and acoustic rock, ‘Running Out Of Time’ is all of that and more.

Flick Of A Switch avoids any predictability and throws the listener in new directions with an energetic arrangement. “Ballads, boogie and barbaric” sums up what is on offer. The band are as comfortable sitting in a waltz as they are riffing like Black Sabbath, with plenty of eyebrow-raising guitar solos. Bassist Andrew Burt’s vocals, while edgy, explore his full range freely and expressively. Both the production and album sleeve presentation are top class, reinforcing the fact that the band take themselves seriously, and listeners after intrigue and inspiration should do the same. For a fresh and diverse new ÃÌi ]ʼ,Õ }Ê"ÕÌÊ"vÊ/ i½Ê ÃÊÞ ÕÀÊ `Üii / V°ÊUÊ3TU %DWARDS

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0(), "2/!$(5234 15).4%4 0ANACEA The third part of jazz pianist Phil Broadhurst’s ‘dedication’ trilogy of albums (the others being 2011’s ‘Delayed Reaction’ and ‘Flaubert’s Dance’ from two years later), ‘Panacea’ is as much a reflection on Broadhust’s musical journey as it is dedicatory.

Recorded in early 2015 by Steve Garden of Rattle Records, it features Roger Manins on tenor saxophone, Mike Booth, trumpet and flugelhorn, Olivier Holland on bass, Cameron Sangster drums, with guest guitarist Neil Watson. As we have come to expect from Broadhurst’s work the album is thoughtful and elegant, an exploration of influences past and present. As he points out in the liner notes these influences are often unconscious at the time of composition- and sometimes only pointed out by other people after the fact. The title track Panacea is dedicated to legendary guitarist Martin Winch (who passed away in 2011) with whom Broadhurst frequently worked. The name comes from the band that Broadhurst and Winch co-led in the 1970s. As is fitting the track is imbued with fusion vibes, and almost ’70s style horn lines, which are twisted slightly by a minor intonation giving it a plaintive sound. Booth and Manins blend wonderfully here – as they do everywhere else on the album – and Holland and Sangster ably support Broadhurst in maintaining the groove. Neil Watson’s features, Inverted and Knee Lever (this title referring to an action on his pedal steel guitar), are wonderful showcases of his solo and ensemble work as he slips into this quintet effortlessly. Several other tracks aside from Panacea involve dedications, but of particular local significance is Absent Friends. This elegiac piece was dedicated to members of the NZ jazz community who have passed away in recent Þi>ÀÃ]Ê> `Ê ÃÊLi>ÕÌ vÕ ÊÌÀ LÕÌiÊÌ ÊÌ ÃiÊ > ÞÊÌ> i ÌðÊU !LEISHA 7ARD

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Officially, ‘Rising’ is album number four from the collective previously known as Batucada Sound Machine, or BSM. But it’s also a first for the group while wearing a shiny new B2KDA badge. Such is the fluid nature of this ever-evolving 10-piece-plus ensemble, it’s quite remarkable how many of these tunes stay faithful to the modus operandi and work of all previous BSM line-ups. And that’s a good thing – a proven formula that works. If B2KDA does manage to set out its own stall under the new guise, then pure unadulterated funk remains very much at its heart – see tunes like the single, Can’t Give You (What You’re Asking For), and The Greatest Step. There’s also a crossover into bass and brass-heavy dub territories, with king-size slabs of electro (I’m A Physicist), ska (Same Old Thing), and world music flavours (Por La Noche). Such is the diversity on offer, ‘Rising’ appeals as being almost completely borderless in its widescreen vision, a hybrid of international sounds blending together in the name of a funky dance party. Which is hardly surprising given that the album was recorded and pieced together at five or six different locations across the globe, places as far flung and diverse as Berlin, Singapore, Dunedin, and umm, Blockhouse Bay. The finishing touches were added in the studio of Sola Rosa’s Andrew Spraggon, with the end result being a light and breezy album crammed full of fresh summery vibes. s -ICHAEL (OLLYWOOD

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‘Sour Cream Is An Underrated Condiment’ may be my record title of the year. The MAINZ music students’ band music may not be for the faint-heated, but if you’re game for a bit of cursing and corporate finger-pointing then it’s a delightful, often raucous time.

There’s some serious power behind all elements of the instrumentation – drums, guitar and bass meld well and the frequently shouted vocals manage to keep pace with the frenetic sound. The six-track EP is bookended with Auckland and Auckland Transport, both of which have plenty to say about the city and its foibles. There’s a self-awareness that keeps things fun. The EP opens with drummer Curtis yelling, “Are you ready to rock?! We’re Frankie Snake Hands and this one’s for all the cute ladies out there!” Average Guy pairs bland hobbies with ramped up sex and drug references, in a tongue-in-cheek look at masculine culture – sung by a female. Second-to-last track Sebastian is a standout. A killer bass line supports a song made up of nonsense Spanish: “Mi abuela, mi escuela, tu eres una aspiradora”, for example, translates as “My grandmother, my school, you are a vacuum cleaner.” It adds extra fun to the record, with the same slick skills. s "RIAR ,AWRY

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!.$2%7 ,!+).' 4HE %MPIRE #ITY 3ONGS OF 7ELLINGTON Wellingtonian Andrew Laking has been a prolific folk musician in Ireland for over a decade, touring with his band Garda (performing 1500+ shows). On his return he decided to tell the story of his hometown. The result is this charming collection of acousticbased folk tales casting a light on Wellington from the 19th century to recent times.

Acoustic guitar, piano, and gentle, cooing backing vocals accompany Laking’s urgent folk tunes, with orchestral arrangements providing an authentic point of reference – these songs could be of the time in which they are set. Mayor George Troup is a good exemplar: the trumpet (played by Toby Laing) references both jazz and brass bands, two contemporary styles of music. The loveliest piece is Wahine, a beautiful piano elegy (played by Norman Meehan) for the 1968 shipwreck. An impressive cast of players includes Riki Gooch on drums, Justin Firefly (guitar) and Bret McKenzie’s bvs. Mention must also be made of the packaging, the CD is accompanied by a book of printed lyrics and evocative paintings by Bob Kerr. A concept beautifully conceived and captured. s !MANDA -ILLS

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With a distinct world music flavour to the recording, it was no surprise to read of David Feehan’s journey to Cuba researching material for this album. Previously a vocalist for the Rodger Fox Jazz Orchestra, Feehan is a seasoned musician and educator in the Wellington music scene and his fourth full length solo release enjoys the product of his experience. ‘Cuatro’ is predominantly a collection of his favourite covers, but does include three of his own compositions. Steely Dan’s Pretzel Logic is respectfully delivered with authenticity, while Here I Am, a deep cut from Dragon’s ‘Bondi Road’ album, also stays true to the original. Guitarist Andy Mauafua shines throughout, never more so than on the album opener In The Rain. With a tight jazz ensemble behind him, intelligent arrangements and a soulful crooning style not dissimilar to Boz Scaggs, Feehan’s ‘Cuatro’ is the perfect destination for the jazz and world music listeners. s 3TU %DWARDS

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The Lucid Effect’s first EP, released in 2012, was entitled ‘Shakes & Shivers’ and utilised only vocals and guitar. EP number two from Wellington’s Declan Ramsay heralds a more expansive acoustic sound, despite the evidently introspective title. With its deep and carefully woven lyrics this home-made four track EP is still very much focused on his gentle tenor voice and strummed guitar – but as the tracks progress this base is built upon with electronic assistance. Collidescope with the lyric, “I shake as you shiver”, harks back to the earlier EP. It’s a haunting track that would perhaps be better served with a title less dependent on the written-out pun. Third track Our Great Escape seems to bring the EP to an elegant pinnacle of arrangement – until the final track, Lullabies. A gorgeous crescendo of a song, with birdsong, glockenspiel and snare providing a new soundscape from the get-go, Lullabies’ mellow start gradually builds until all of a sudden (but perfectly naturally) it’s a sweetly powerful climax that belies the title of the track. A surprise delight all round, it’s all over in just 14 minutes. s "RIAR ,AWRY

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Jimi Hendrix, 10CC, Bob Marley and The Beatles walk into a bar in Dunedin and start jamming. Not quite, but Left Or Right are about as close to that as you’re gonna find. Effortlessly mashing elements of blues, rock, psychedelia, reggae and pop, it’s enough to have you hooked from the very start. ‘Trippy’ is the third release from Left Or Right, and having spent eight years in the scene now, the genremashing from these seasoned musicians/songwriters is exceptional, seemingly effortless and ultimately unique. A distinct flavour that leaves your taste buds tingling with nuggety goodness. Recorded at NZMIC Albany Street Studio by Mike Holland, and mastered in Oz at Turtlerock Mastering, the production quality matches the songwriting. Crafted to perfection, and encapsulating the sound of the variously-referenced old masters to a tee.

A thoroughly enjoyable album from start to finish, with eight tracks over half an hour just i Õ} ÊÌ Ê i>ÛiÊÞ ÕÊÃ>Ì Ãv i`ÊÞiÌÊÃÌ ÊÜ> Ì }Ê Ài°ÊUÊ!ARON 3MITH

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Following up 2014’s ‘Balance’, Sean Bodley’s fourth album sees the Tauranga local polishing his sound and instrumentation, without sacrificing his virtuosity. Easily his most impressive to date, Bodley’s skills as not only a guitarist, but as a songwriter/ composer, continues to grow. Paying obvious tribute to the likes of Eric Johnson, Steve Vai and Joe Satriani, Bodley skillfully weighs a wide array of moods.

Easily his most impressive listen to date, tracks such as Fresh Bones and Shifting Sands of The Sahara find Bodley firmly rooted in the metal tradition while, A Drifters Tale sees him experiment with acoustic instruments and folky flourishes. Recorded by Bodley and Tim Julian at The Colour Field Recording Studio in Tauranga, ‘Pitchblack’ features Bodley on various guitars, banjo and bass, plus drum, synth and orchestral programming. Ian Clark helps on bass and Julian adds organ and piano, with all 14 tracks composed by Bodley.

Inevitably Bodley’s songwriting skills sometimes take a backseat to an all-out shred-fest, but ultimately it’s his non-guitar instrumentation and interplay between backing instruments that gives ‘Pitchblack’ its charm. Fusion fans look elsewhere, but fans of post-metal rock guitar will find plenty for repeat listens here. Explosive riffs, fret-board burning licks and impressive compositions are the order of the day. s 3AMMY *AY $AWSON

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Hard rock is a limited commodity in Aotearoa, we’re a pretty indie bunch. When bands like Shihad, HLAH or Beastwars come along, we tend to get pretty excited. Auckland's Hunt the Witch give you that same feeling. The aggressive guitar end of punk and indie rock both get a sly nod here while the Auckland four-piece explore territory familiar to the Deftones and Black Sabbath, pulling in just the right amount of texture and dynamic with touches alluding to a deep knowledge not only of the metal scene but other guitar genres. Recorded and mixed at Roundhead by Jordan Stone, the crowning moment is the EP’s title track. Lyrically it is a tale of armageddon, personal and universal.

Driven by some inspired drumming from Jason Peters (ex Pumpkinhead), the guitars are tight in and pushed hard. Suspending the bass against the guitar is a hallmark of the way this band operates, achieving a bigger sonic architecture with the band’s sympathetic interplay. Dressed with admirable restraint by Sam Whitley’s vocals, the five songs are hard out but coloured with lead breaks and middle eights of imagination and exhilaration, always taking you to a new place. s $ARRYL +IRK

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The second album Wellington jazz ensemble The Jac was recorded

by Thom O’Connor and Michael Bell at Christchurch’s Orange Studios in April this year. As a follow up to their fantastic 2014 debut ‘Nerve’ it does not disappoint. From the opening track Sons of Thunder (by Callum Allardice) ‘The Green Hour’ takes listeners on a spine tingling, rollicking, journey that expands and surpasses the earlier work. While compact at only seven tracks, they have allowed themselves to stretch out this time with tracks averaging at over 10 minutes, allowing the band to explore different textures, rhythms, and harmonies as well as giving the soloists room to really take flight. It also helps the listener to discover the individual musical personalities as well as how they work

as an ensemble, and it’s great to hear lengthy solos throughout the album from everyone involved. Most of the compositions are by alto saxophonist Jake Baxendale and guitarist Allerdice, but there is one by pianist Daniel Millward titled Anomaly. I hope we get more compositions from Millward in the future as this is an intriguing counterpoint to the others’ works, while still harmonious to their ideals and the sound that the band has created as a unit. The playing is incredibly tight, effortlessly moving between ensemble and solo elements, horns and rhythm and back again. While the music they create is melodically and harmonically complex, it is also fantastically listenable, with sing-able melodies and great grooves. This is a must-have for any fan of NZ ensemble jazz. s !LEISHA 7ARD

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If the tunes found on this debut EP are anything to go by, then Host Club look set for a big future. Coming to us straight out of Western Springs High School, as recent regional Rockquest finalists and yet veterans of Auckland’s vibrant all-ages scene, Host Club’s most immediate and obvious point of difference is the very distinctive baritone of lead vocalist Finn Dalbeth. It’s a voice that defies his teenage years, underpinned by the type of energetic and quirky indie rock more readily associated with a much older generation. As such, this music should appeal not only to the band’s own demographic, but also to those of us raised on the eccentricities and foibles of ’80s pop. ‘Gymkhana’ was recorded and mixed by Karl Apao of Soundkard Productions. While each of the four tracks here offer up something slightly different, it’s the brooding tension and heavy vibe found on Miscellania, the closer and single, that showcases the Auckland four-piece at its very best. Whisper it, lest we place a hex, but these guys might deserve some watching. s -ICHAEL (OLLYWOOD

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‘Firefly’ is the debut album of Christchurch composer Glen Wagstaff along with the Christchurch-based Symposium Jazz Orchestra. The SJO was formed in 2007 and features a core of graduates and faculty from CPIT’s Jazz School. Featuring all original compositions by Wagstaff, ‘Firefly’ was recorded by Michael Bell at Orange Studios in Christchurch in late 2014. You can certainly hear how modern American big band writing has influenced Wagstaff, the album places emphasis on big, lush harmonies that ripple right across the orchestra. And it is a rich palette to work with.

A 19-piece orchestra (plus guests Roger Manins on tenor sax and Ellen Barry on wordless vocals) is not something that jazz composers get to work with every day. This is not an album that grabs you by the ears, but rather seduces you into the music. The work by the musicians (including Wagstaff on guitar) is technically superb – fantastically tight in the sectional and cross-sectional work (kudos to conductor Tom Rainey there) and excellent solo lines right across the board. Wagstaff’s orchestrations make the most of individual players’ abilities and how they work with others in the band. The mixing (done at Free Energy Device Studios in Sydney) and mastering by Michael Lynch are excellent, showcasing the SJO as individual lines as well as a marvellous whole. Anyone interested in jazz orchestration and Kiwi big bands should really go and buy this album now. s !LEISHA 7ARD

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!..! 6!. 2)%, #OOKING 5P ! 3ONG Following up her 2014 country album ‘Whistle and Hum’, Anna Van Riel’s latest musical offering combines kids, cooking and a whole lot of upbeat ukelele tunes, accumulating in a 15-track album. The crowdfunded album – which has an optional accompanying ukelele songbook and cookbook – signals a change from the Lake Hawea-based songwriter’s previous ‘grown-up’ albums, moving into the growing market of Kiwi songwriters turned children-entertainers. Full of kid-friendly dancing tunes, including title track Cooking Up A Song, and plenty of actions to undertake in Waiata A Ringa The Action Song and Rockabilly Waterwheel, the album is one that could get the whole family boogie-ing. Apart from the happy sounds of ukulele, it also includes plenty of wonderful sound effects including an extremely well-used kazoo and children’s laughter.

‘Cooking Up A Song’ was recorded, mixed and mastered by Danny Fairley, who also played ukulele, guitar, bass, keys and percussion on the record. While probably not on your average Kiwi music fan’s list, for any folk/country fans who are also parents this will be a fun addition to the family CD collection. s 'RETA 9EOMAN

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The Chris Mason-Battley Group have gone the distance with ‘Dialogos’. They have not just adapted some of John Psathas’ suites, but more re-imagined them, telling a new story. The quartet of Mason-Battley on saxophones and EWI, David Lines (piano), Sam Giles (bass) and Stephen Thomas (drums and loops), have, as Psathas describes it, continued ‘the composing process’. Fragment: Dialogos takes inspiration from ‘View From Olympus’ being harmonically and dynamically quite similar, yet differing in terms of colour with a more mellow and soothing score.

Psathas’ suite Songs For Simon, originally written for piano and tape, take more of percussive direction with Demonic Thesis: Dialogos beginning rhythmically frenetic and settling in a drum and bass-like pattern, and Drum Dances, Pt. 4: Dialogos ending in an intense, expressive climax. While also re-inventing the Calenture Suite and Inferno (also from ‘View from Olympus’), the Chris Mason-Battley Group have effectively re-composed some of Psathas’ defining works in a way that is fresh and inspiring. s *ESSE !USTIN

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Pol Nicholson has been busy. Unmistakeably Scottish, the singer/ songwriter and guitarist is based in Queenstown, fronting rock group Freefall, party band Mojo, and punk group Silkworm, as well as creating this debut solo album. Nicholson wrote, arranged and produced all the tracks – his finger-picked guitar and gentle voice the dominant instruments. Embellished with the saxophone of Nigel Hirst, Mark Wilson on piano and Sam Beach on drums, this acoustic-based soft pop album is middle of the road in terms of production, sound and style. Easy on the ear, it glides over the listener without leaving a lasting impression. While the melodies on Kept Horizons and Oh, Confrontational Self are pretty, the lyrics are predictable and the production plain.

Opening track (Learn To) Let Go has something different, a saxophone break that takes the song back into retro 1980s AOR pop-rock. The title track, In Motion and Free Fall all clip along charmingly, with but overall there’s little here to excite newcomers to his music. s !MANDA -ILLS

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We haven’t heard from him in a long while but Derek Lind has a rich and lengthy history of album releases, his own and as guitarist for others’, largely grouped under the banner of Christian music. ‘Solo’ is his seventh. The title and the almost brutal intimacy of the cover photo both directly reflect on this double album’s content, written as it was following the untimely death of his wife of 35 years. This is an album of sadness and pain, of coping with enormous personal grief and of finding a way through emotional turmoil. As deeply personal as it is, Lind’s experience and polished songwriting skills deftly avoid it being maudlin or selfishly introspective. His voice has gained gravel, which, along with the somehow elegiac everyday observations (bringing the washing in, school finishing for summer etc.) brings John Prine to mind. Actually Prine gets

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name checked (along with Mac Wiseman) on track two, the quite sublime The Only Song I Got. Wiseman earned a reputation as ‘the voice with a heart’, which is precisely what ‘Solo’ provides. Other fine musicians and long time friends helping out on this all-acoustic recording include drummer Kevin Adair, Guy Wishart (guitar and banjo), Hammond expert Alan Brown and Glenn Ross Campbell on his lap-steel. Jordan Stone oversaw the two-day recording session at Roundhead that produced the 16 tracks mastered by Steve Garden.

The circumstances of this exceptional crowd-funded work, released on the second anniversary of his wife’s passing, can’t bear repetition, but we can hope that with it Lind will find a new lease of musical life. ‘Solo’ is a superb release. s 0EDRO 3ANTOS

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With lyrics adapted from work by some of NZ’s most noteworthy poets, this is a really intriguing listening experience. It can be quite strange to hear words you know by heart, or close to it – for me, James K. Baxter’s High Country Weather and Hone Tuwhare’s Rain in particular. But it’s the best kind of strange because the music that Meehan, Griffin and Chisholm have created is utterly beautiful. It’s a record that should be equally at home in the music library of a jazz aficionado as a poetry buff – because it will open up something new for both listeners. In Bill Manhire’s liner notes, he writes about poetry’s earliest days, when it was song, and the ways that the trio have ably interpreted the source material. All three performers are extraordinarily talented, there’s no question about it. Hannah Griffin’s vocals have just the right balance between crisp diction and decadent tone. Norman Meehan’s jazz piano is elegant and powerful, while Hayden Chisholm’s sax is wistful and evocative. Further your local poetry and jazz education in the best possible way. s "RIAR ,AWRY

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With some form of synchronicity, Waiheke Island’s blues/country unit Aaron Carpenter and the Revelators pleasingly ended up in my CD player on the morning of its release. Stylistically there is much blues as there is country, folk and roots, the four track EP a good representation of the band’s musical vision. Carpenter’s canny vocal phrasing and the serene backing vocals carry the listener through a storyline of heartbreak, isolation and rebellion. The opening guitar line hints of Tom Petty’s Mary Jane’s Last Dance but soon grows into so much more. Stranger is a reflective ballad of a lonely soul featuring some smooth rhythm guitar playing. Carpenter knows how to deliver a hook in a chorus, as evidenced in The Hardest Thing. The EP’s wildcard is closing track Pony that hints more at psychobilly. Each track has great momentum and collectively this is a nice package of well-arranged songs. s 3TU %DWARDS

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Hailing from west Auckland, Violet Highway’s debut EP has everything you could want from a group of pop-rockin’ westies, and even a touch of bluesy soul for those wanting a little more. The Jacqui Rimmer- (vocals and guitar) fronted trio has an almost ’90s pop rock kind of style, with lots of catchy riffs and lyrics spread throughout to get you grooving. My only frustration with this album is that the guitar tracks are often a little too loud in the mix, making it hard to hear a lot of the bvs and sometimes even Rimmer’s spiky lead vocals. Track three, Desire, would have to be the stand out, telling its story in a bluesy fashion, while keeping your head moving along with the steady bass of Ant Deane, and James Munro’s spacious drumming. Recorded in three different locations (including Soundkard Productions and Capgun Studios), mastering was handled by Reuben Rowntree. If these five tracks are just a try out we should all look v Ü>À`ÊÌ ÊÃii }Ê6 iÌÊ } Ü>ÞÊ}À Ü }Ê> `Ê «À Û }ÊÜ Ì ÊÌ i°ÊUÊ!ARON 3MITH To submit your album or EP for review in Fresh-Cut, please send TWO copies along with a brief bio to NZ Musician, PO Box 99-315, Newmarket, Auckland 1149. It must be available for sale and only CDs provided with completed artwork are forwarded for review.

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UIF UVUPSTµ UVUPSJBMT Is Power Absolute?

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ometimes as musicians we just expect things to work and to work properly. I plug in my gear and it should just go.

But, unfortunately, this is not always the case.

After all the time, effort and money we spend on getting everything ready for the gig, not everything goes to plan when we get there. It worked perfectly in rehearsal or prep but not on the gig. What gives?

With a lot of modern instruments there is an electronic component and quite possibly a computer involved. As soon as these elements are added the likelihood of problems is greatly increased. Obviously we want the extra capabilities that these devices offer, but it can be very embarrassing if they fail during performance.

There often seems to be an element of chance involved.

I play electronic keyboards and use Mainstage as an audio source and mixer. I love the versatility and sound quality that these devices offer but have had technical problems on several occasions. They may be minor such as patches not loading correctly, or they can be quite catastrophic, for example loosing playback or the audio card distorting.

What’s worse is it never seems to be the same thing twice.

Obviously, something is wrong, but what could it be? There are a lot of variables to consider. Incompatibilities between the software – perhaps a plug-in isn’t compatible

by Mal Smith

with the operating system. Maybe it’s the hardware that has an issue. Maybe it’s both.

Damn it, it worked perfectly before, what’s different now?

It is possible that it’s none of those things.

Let’s go back to the beginning of the signal chain. Electronic instruments need electricity.

Painfully obvious, I know. We just expect that there won’t be issues with power supply. It will always be 240 Volts at 50 Hertz. Or will it?

The power is not as clean or as consistent as we expect it to be. As the figure shows there are often peaks and troughs in the supply, which we are blissfully unaware of. We expect the black line but may get the red one.

issue.

So what’s the answer? One option is a power conditioner or UPS (Uninterruptable Power Supply). These used to be quite expensive but have reduced in price to the point where you can get one for a couple of hundred dollars or less, and they are available from computer and appliance stores.

These devices don’t just reduce the spikes but also are able to boost up the supply when there is a trough. This means a clean and consistent supply of power to your sensitive electronics. They can do this because they include a battery (unfortunately usually quite large and heavy). Some also allow connection to your PC via USB and may have the ability to shut it down safely if there a power cut.

If you decide to go down this path then choosing the right UPS is relatively simple.

Find out how much power your equipment draws. A laptop may require around 50W, the average keyboard workstation around 35W. This information is usually available in the manual or maybe on the device itself.

Add the requirements together. I personally doubled this figure and then added a bit more headroom.

If you use electronics then it may be worth considering a UPS, you’ll enjoy the music even more and it will take one variable out of the ‘WTF is wrong now?’ equation.

These fluctuations can have a dramatic effect on the performance of electronics. They may not cause complete failure, maybe just a small glitch. Perhaps however these glitches will add to each other and compound any

Mal Smith has been a lecturer at SAE Institute in Parnell for the past 15 years. He also mans the keys for Auckland band The Blue Jaffas. You can contact him at m.smith@sae.edu

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Valere

Knowing me Knowing You Shana Llorando, it seems, has a winning way. 2015 has seen her complete a BMus (Popular Music) degree, just a few months after winning the year’s University of Auckland Songwriter of the Year award. No small achievement but that wasn’t her first such title. Back in 2009 she won the university’s Songwriting Competition for Secondary Students and followed that in 2010 with an AMP People’s Choice Scholarship. Becoming better known as Valere, under which name she plies her own increasingly confident brand of electronic RnB, she talked with Anna Loveys about her upcoming second EP release.

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he walls of Auckland University’s Kenneth Myers Centre practice rooms have seen many private moments, or moments shared with songwriters putting their ideas into something for beyond the impressive brick walls. They include those of a local, upcoming electro-RnB artist Shana Llorando (Valere). Together we sit on a quiet Sunday morning, taking shelter from the rain outside and catching up in one of the practice rooms on the building’s top floor. All of the lights are out and the place is unusually abandoned.

“It’s on the way to being released”, Shana beams, as she settles into her seat. “The greatest challenge this year has been actually mustering up the courage to make this and go in this musical direction. I was planning to take a break from my own music to figure things out, but these songs just organically came about, and it felt like the right time to record and release them.”

She’s talking about her forthcoming new EP, ‘Blue’, which is nearly ready a year after an independent debut titled ‘Weary Eyes’. “‘Blue’ for me, is about home,” she explains.

At the end of 2014, Shana took a trip back to her native homeland, the Philippines. She came back refreshed and inspired.

“It was just a big reboot – learning about my roots again. It gave me a different perspective and helped me realise you don’t have to do stuff alone.

‘Blue’ is about that, and figuring out you have people that will help you.”

Across five tracks the EP explores issues related to identity, belonging, nostalgia, growing up, and discovering a deeper sense of belonging.

“The title track was written on a little boat when we were island hopping in a place called Bohol, back home. It’s somewhat an answer to Wayside, which talks about doing things on my own and ‘swimming’, but all I really needed to do, to find myself, was float… Blue speaks of my desire to be re-immersed in a bigger identity, other than my ‘self’.”

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Now aged 21, Shana moved to New Zealand in 2001 with her family from Cebu City, the bustling capital of the Philippines’ Cebu province.

Settling in East Tamaki she went to Sancta Maria College, which saw the beginnings of her early songwriting.

“My parents decided to move here so we could get a better and more recognised education. Totally thankful for their brave decision – that’s one of the reasons I work hard, to make their sacrifices worth it. Besides my faith, my biggest influences have been the strong women in my family, like my Mum and my grandmothers, just for their attitude towards life and their resilience.”

Working hard still, Shana wrote, recorded and produced the tracks on what will be her second EP, with a little input from some close friends and fellow artists.

“Most of it I produced myself, but I did work with Elena Šilji – she did guitars for a couple of the tracks, and I had Liz Keall and Brayden Jeffrey on backing vocals. They wrote the first track [Wayside] with me. It was a co-write! That was a cool experience. Also having produced it myself – I wanted to see what I could do as a producer and I’m pretty happy with what came about.”

Her own favourites on the EP include the bold title track and Know Me. “That is about how loved ones are the most important things in life.

This was the biggest lesson I learnt when I went back home, that no matter what happened my family would always be there, and that was all that mattered.”

Countering that, her trip home and subsequent return to NZ brought out a new sense of personal vulnerability in Shana’s new work, one never before shared.

“The whole idea of vulnerability is tied into my home country anyway.

Before the trip I tried to suppress that side of me and be something I wasn’t. I

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HVJUBS DPPM HVJUBS DPPM with Kevin Downing

Escaping Mediocrity

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any music teachers will have students coming in who say they want to be great players, but have no idea how to be great, or how to even get there. Many students cite the popular research showing that if you study something for 15 minutes a day you can be become an expert after a certain time frame, or the research that states you can become an expert after only 10,000 hours of training. Those types of stats might work in other areas of life, but not in music.

Most guitarists play for enjoyment, i.e. they play for fun after work and on the weekends. That shouldn’t stop you from trying to be the best you can possibly be with the time you have available. So what might be stopping you from achieving things at a high level? I believe it comes from two areas.

1. Many people have never achieved anything of a significantly high level in their lives so don’t know the path to get there. By a significantly high level, I mean in school, work, sport, music or arts etc., preferably at an international level. Likewise many who have achieved at such high levels don’t know how to pass the knowledge on to others.

2. Parents these days often involve their children in too many extra curricular activities. They might have music after school on Monday followed by karate, then on Tuesday it is swimming followed by dancing, etc. When a kid or teenager’s whole week is swallowed up like this, it teaches them to be mediocre at everything, while not allowing them to achieve any single activity at a high level.

After work or school activities normally include either a sport or an art, but you can’t hope to achieve both at a high level simply because both are very time consuming activities.

Now you might well argue that because you have a job, family, mortgage, etc., you don’t need to have a ‘let’s achieve at the highest level’ mindset. But many of my students who play for fun do play at a top level.

What many guitar students don’t realise is that it doesn’t take that much extra effort to play like a professional, or to even play with the world’s top professionals. You have most probably heard how sports people play in pro am tournaments? Well musicians do to, but in a slightly different way.

don’t know if other Philippinos agree but they’re quite vocal about their feelings. That’s how I grew up, and I love that about my country and the people there. It’s not just exclusive to us of course. But the whole ‘home’ idea – embracing that side of me – I don’t want to hide who I am because that’s not being honest.”

Having just completed her final semester at University of Auckland, Shana happily looks back on where her music started.

“I listen to a lot of RnB,” she admits, lighting up as we bond over Jo-Jo and various other 2000’s RnB artists. “It’s hard to name all the artists who have influenced me, because my sound has changed over the years and I listened to many different people. But I would say my go-to has been Lauryn Hill, just for her authenticity and consciousness when it comes to her writing, her flow, and her heart.

“I listened to a lot of pop too – I was a pop kid. I wanted to be Britney Spears, like straight up! But the Philippines – we’re a ballad country – we really put our hearts on our sleeves. I listened to a lot of that stuff from my parents.”

While her listening game was strong as

If you want to be a great guitarist playing at high levels then I suggest you get rid of some of the other activities that consume your time and concentrate on one area that you are truly passionate about. I often use a triangle to demonstrate this idea, which I call the Bermuda Triangle.

As you know there are three sides to every triangle and if one side is missing, then there is no triangle. It is the same if you want to be a high achiever at anything. To begin you need to have a passion to do something. Something that really gets you going, that you can’t stop thinking about, or put down for very long. That passion must generate a desire to learn all you can and to be able to perform it at a high level.

Commitment is the other side of the triangle. Commitment means that you will stick to whatever it is you need to do to achieve whatever it is you want to do, through good and bad times. This is the stuff that all the top bands have had to get them through the hard times ie. The Beatles, Rolling Stones, etc.

Having a great teacher/mentor completes the triangle. By having a great teacher/mentor means you can get a long the path a lot quicker than you could by yourself, and means you don’t have to reinvent the wheel along the way. Just like the All Blacks have coaches, musicians can have their coaches to.

If one of the pieces that make the triangle is missing, then you will go down the middle of it into the depths of the unknown, never to be heard of again – just like the real Bermuda Triangle.

There are many average guitar players in New Zealand, but you don’t have to be as you already have the potential to get to the next level if you want it bad enough. Just remember that if you focus on one thing with passion (in our case, guitar), make the commitment, and find a great teacher/mentor, you will do very well in your musical endeavours.

Kevin Downing is a professional guitarist, teacher, and author. He can be contacted through his website at www.guitar.co.nz or PO Box 4586, Palmerston North 4442. Tel (06) 357 0057

a 00’s kid, her songwriting took force as she soaked up the sounds around her.

“I wrote bits and pieces when I was 12, but wrote my first full song when I was 16 on the ukulele.”

That partnership continued until the singer/ songwriter came to explore electronic mediums.

The last four years have been a time for experimentation in style and sound aesthetic. Proof positive that she has by now developed her own artistic sound, she was named winner of this year’s University of Auckland Songwriter of the Year award. In what’s been a big year she identifies it as being her proudest moment.

“There have been heaps of things, but winning Songwriter of the Year this year would probably take the cake. Not because of the competition itself, but because it felt like I had come full circle, since the competition was what inspired me to do the degree in the first place.”

It’s difficult to comprehend that I’m talking to the same person I saw on stage that night at the Songwriter of the Year competition. She is polite, down to earth, humble and quietly reserved – when performing, her presence

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becomes the size of the room she is filling.

Her voice in falsetto creates soul-stirring chills, especially when she closes her eyes and lets it go. Ruby Walsh and Elena Šilji , both artists in their own right, perform as her bodyguardesque wing women, and together they create a powerful sound and statement.

Skin and Bone (which will be on the EP) has already seen support from Philippino stations, along with an eerily stunning video clip directed

by Miguel Efondo, with help from Stefanee Chua. The song itself was inspired by Shana’s favourite comic book couple, Nightwing and Oracle, and dances around the thought process of “feeling unworthy to be loved and closing off from people, but being loved and pursued anyway”.

That may just prove to be a suitably apt metaphor for the kind of situation an internationally successful music artist named Valere might find herself in in the future, sometime after the April release of her ‘Blue’ EP perhaps.

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Joe McCallum has been the regular drummer guy in the wave of popularly alternative musicians who have emerged from Christchurchâ&#x20AC;&#x2122;s port city in recent years. As musician, songwriter and producer Delaney Davidson is a figurehead of the â&#x20AC;&#x2DC;Lyttelton soundâ&#x20AC;&#x2122;, but additionally has a life on the roads and small stages of Europe. Joe joined Delaney and partner Nicole Garcia for a one month tour promoting DDâ&#x20AC;&#x2122;s latest â&#x20AC;&#x2DC;Lucky Guyâ&#x20AC;&#x2122; album. He more than generously offered NZM this internet cafĂŠ run down of events.

Delaney Davidson â&#x20AC;&#x201C; 2015 Lucky Guy / Manos Del Chango European Tour

Munich â&#x20AC;&#x201C; November 3 Iâ&#x20AC;&#x2122;ve been in Munich for less that two hours and Iâ&#x20AC;&#x2122;m playing some strange old drums alongside my host Eviâ&#x20AC;&#x2122;s John Lee Hooker inspired guitar. His old wood floor apartment is filled with vintage radios, amps, records and sits above a bar overlooking the street. He has an extensive record collection and an Alex von Schlippenbach, Paul Lovens and Evan Parker flyer on the notice board.

Tonight Delaney Davidson and Nicole Garcia will join us after celebrating Halloween in Switzerland. They have picked up the Peugeot wagon with French number plates that is to be our voiture around Europe for the month of November. Twenty five shows across Germany, Holland, Belgium, Austria, Switzerland and Italy, ending up out east in Croatia and Serbia.

On stage Nicole plays an old Yamaha keyboard playing an organ sound, with a smaller keyboard for the bass. She also sings in Spanish and joins Delanay for a few killer duets. Delaney has his classic one man show set up, amp with a DI box to boost the low end on his tiny Vox amp.

In Nicole's new song Patos Locos he cranks out an octave pedal to give a slurred, crunched up bass sound along with a scratched guiro sounding

loop. We have been toying with the idea of using loops and used the rehearsal and first show to try out some ideas, borrowing a friendâ&#x20AC;&#x2122;s amp and buying a signal splitter. Without consistent on-stage monitoring or using headphones we ended up ditching the concept, just using it for two of our new songs. Delaney found some other atmospheric places to put it in the show. I love playing a string of shows and seeing how the music and peoplesâ&#x20AC;&#x2122; playing develops over time.

Frankfurt to Freiburg to Bern â&#x20AC;&#x201C; November 4 I have been hearing about Delaneyâ&#x20AC;&#x2122;s collapsible drum kit in Europe for a number of years and itâ&#x20AC;&#x2122;s a beauty. Handmade in ZĂźrich in the 1960s I get comments from nearly every seasoned sound guy on the tour saying they have never seen anything like it. Some call it the â&#x20AC;&#x2DC;babushka (Russian doll) kitâ&#x20AC;&#x2122;. The bass drum splits in half around the middle when you undo the small latches and there is a nice interlocking groove to help it fit together.

Inside the bass drum you find the floor tom. Open this in half and out comes the rack tom. In an old purpose-built suitcase is the shallow snare drum. There are some calf skins and some Remo Ambassadors and with a bit of work it starts to tune up well.

Bern to Vienna to Leipzig â&#x20AC;&#x201C; November 9 We put in a huge amount of hours driving on the highways. Occasionally getting a bit loopy, we sing and enjoy the radio of the country we happen to be passing through. To get to Leipzig from Vienna we drove the length of the Czech Republic. As soon as we hit the Czech border the beautifully groomed highways of the EU stop and our GPS starts taking us through small towns. Pragueâ&#x20AC;&#x2122;s old town teases us as we drive through at speed.

Thatâ&#x20AC;&#x2122;s the thing about being on tour, youâ&#x20AC;&#x2122;re in all these places but you rarely get to see the sights properly.

In Leipzig we walk through an arch into the dimly lit alleyway to get to the venue and I recognise a face. Kiwi singer Will Wood comes up and gives us all a big cuddle. He happens to have a night off on the same night as our gig. Heâ&#x20AC;&#x2122;s done over 80 shows in a few months and is looking forward to getting back to NZ for the summer and to record a new album in Lyttelton.

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The Leipzig club is an old punk squat, still running from 1990s when an abandoned East German factory building was turned into a music venue and creative space. We played on the first floor in a large, dark concrete room with grime and band stickers on every surface.

Up three flights of wide concrete stairs was a kitchen where the anarchist, punk, vegan volunteers who keep the place running cooked us a delicious meal.

Berlin – November 13 The set list gets refined each show.

We have been playing a mix of stuff from ‘Lucky Guy’, new Manos del Chango songs and a few covers like Johnny Dowd’s First There Was, and Latin Simone by the Gorillaz.

Most of our shows are in rock’n’roll venues that have been running a while. Talking to people after the Berlin gig I happen across some girls who are from the same tumbleweed part of Germany my great grandad is from, and ask why my parents would ever take me there to visit.

Doing the nightly ritual of loading up the van with gear one girl asks me, “Did you hear about Paris?” They read out the headlines from their phone, hostages taken at a concert and attacks at a café with serious casualties. We are all shocked and the French lady who came from Paris earlier that day gets on her phone to start getting in touch with friends.

Eindhoven to Rotterdam to Cologne to Brussels – November 14 As we drive into Brussels we see soldiers with large guns standing outside official buildings and patrolling the streets with police. Some streets are closed and it’s hard to navigate. It’s getting dark by 4:30pm and everything is starting to feel a bit heavy. We play a show opening for Shannon and the Clams at Madame Moustache. The show is well received but it seems other bands’ tours and shows are starting to be cancelled.

Crossing the border back in Germany from Belgium we are stopped at a checkpoint in a rest area by German police, again with large guns.

We wind down the window and in German are asked our nationality and intentions.

Delaney replies in his Swiss German, “Two New Zealanders and an American, we play music.”

He is then asked something else and responds, “Err, Mexican folk music mixed with blues…”

The officer gives us back our passports and sends us on our way with a smile.

Martigny to Paris to Valence to Italy – November 22 From Belgium we head to Martigny in Switzerland to play a show with the legendary Swiss punk act Reverend Beat Man and The Monsters (of Voodoo Rhythm Records).

Post the Paris attacks we have been following the news and keeping in touch with the venue about our show. Sitting down with the Monsters at breakfast on the morning of our drive to Paris we had a talk about heading that way. It was strange having a conversation about doing a gig in the same suburb as the attacks, with all the crazy media and government warnings

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coming out. We rang people we knew in Paris and talked it out as a band. The decision was made to go.

We loaded in and sound checked at the basement venue in Paris then headed out for some dinner. It’s the first time I’ve ever taken a peek at where the nearest exit is when showing up to a gig. Like counting the rows of seats to the exit row on a plane.

We have a great turn out, they really got into the show. Some people we know still stayed away and the general feeling in Paris was pretty edgy.

Rijeka to Belgrade – December 1 Four great gigs in Italy and we head further east for our last shows. We pass the city of Trieste and arrive in Rijeka, Coatia. The music venue and hotel are on 1930s boat, moored to the docks. We get a huge welcome and the promoter says he has been waiting six years for Delaney to come through this way.

At the Serbian boarder we have to show a special letter sent to us by the promoter to give to the customs officers. It allows us passage with our instruments as there are restrictions on imports.

The last night of the tour in Belgrade and we are treated to a real wholesome and hearty eastern European home cooked meal by the mother of the promoter. All the people and we have met along the way have contributed to the making the tour a special time for the three of us. We have driven 10,000km in one month played 24 shows, eaten a lot of cheese, bread, cured, meat and schnitzel. Hvala. s *OE -C#ALLUM

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NZ MUSIC S E RV I C E S DIRECTORY 2016

Edition

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