Friday, 28 September 2007

REVIEW: Worn Villain

WORN VILLAIN
VALVE
THURSDAY 27 SEPTEMBER
Words and Photo's by Charlette Hannah



Worn Villain totally rocked my socks off on Thursday night at Valve. From the very first song they had me hooked, with their pounding drums, and melodic, dynamic guitaring. On the second song the bass player put his bass down and took the mic. I was impressed that the band managed to keep the full tight sound even without the bass underneath. I got a bit frustrated with that song though - the primal screaming doesn't really do it for me, and I wish metal bands could be loud and sing powerfully without the screaming. Having said that, they do the screaming thing very well.

The music was unpredictable and very dynamic. The drums were forceful and solid, and the bassist and guitarist switched between instruments and vocals with equal fluency. According to a friend who is more familiar with this style of music than me, they sound like a mix between Shellac and early Metallica in their instrumentation.

I feel I have to make a note about Blair, the Valve sound engineer - again, proving himself to be one of the best around. Not only does he mix a wicked sound, at one point the bass player's strap came off, and as he knelt down to continue playing, Blair got up on stage and fixed it for him so he could stand up and resume the dual vocals. Credit to Worn Villain is due of course, for not pausing for even a second and letting up on their assault - the drummer threw away a stick, the bass player lost his strap, and you wouldn't have even noticed aurally.

All in all, the music was original and powerful. I loved it, and it's not even my usual kind of thing. Worn Villain appear to be a mostly instrumental band, which is unusual, but suited me fine, as I turned off a bit during the growling vocals. The last song was my favourite, it was powerful and absolutely beautiful in a slightly disconcerting way.

If you like quality heavy rock/metal, I would definitely recommend checking these guys out. I think if they brought in some more melodic vocals (ie. Tool, System of a Down) they could have a much broader appeal.

myspace.com/wornvillain

ALBUM REVIEW: Heads I Win, Tails You Lose

HEADS I WIN, TAILS YOU LOSE
GOOD LAIKA

Words by Lucy Wyatt

Will the waves of beautiful music ever calm in Wellington? Listening to Good Laika’s debut album the answer has to be not likely. Heads I Win, Tails You Lose is a melancholy masterpiece. The warmth and honesty of these tracks are delivered like an old friend taking their seat next to you in your local, cozy drinking hole on a blustery Saturday afternoon. Their soulful, folky and heartfelt sound is fluid throughout the album. Fires, Keep Burning has a thoroughly laid back and mellow vibe, strumming along with a beautiful softness. The pace changes with Advertisement For A Pacemaker, the build up is deliberately moderated, not going too far, but fast enough for a good dance. Short, and remarkably sweet, Pretty Little Girl Of Mine mischievously rock and rolls along, vocals really ranging here with a sunny vibe, playing along together with the cheeky bass. The twinkle in this five-piece band’s eye took five years to capture, but why rush such a timeless and compelling sound.

REVIEW: Pisces

PISCES
ACOUSTIC LOUNGE
SAN FRANCISCO BATHHOUSE
WEDNESDAY 26 SEPTEMBER
Words and Photo's by Charlette Hannah



Guitarist/singer Martin started the show with his back to the audience - a brave move. Picking the guitar strings, he then launched into a rich and interesting full band song. With Martin providing ample guitar instrumentation, and backing from a varied and competent rhythm section, Pisces were a great listen right from the start.

I have to admit that I couldn't find anything on the web about the band, so I don't know their full names, or the spellings of them. If anyone would like to help out with that information, it'd be much appreciated!

Backing singer Carly had a beautiful soulful voice, with a lovely trill and easy feeling to it. The tambourine got a little boring, but it did add another dimension to the percussion. She took the lead on a fantastic acoustic rock 'n roll number - Jimmy Jones I think it was called. It was great to hear the harmonies between her and Martin. She smiled the whole way through, nice to see someone really enjoying being on stage.

The upbeat pop/rock had slight country tones, and the performance was dynamic. The songs were instantly catchy, and with the laid back drumming, powerful guitar and great bass tones, Pisces were an entertaining and pleasant listen for a Wednesday evening.

Thursday, 27 September 2007

REVIEW: OdESSA and The Thomas Oliver Band

OdESSA
THE THOMAS OLIVER BAND
SAN FRANCISCO BATHHOUSE
FRIDAY 21 SEPTEMBER
Words by Peter Baillie
Photo's by Sheryn Simpson

Matt Pender

Paul Mouncey

Dan Ryland

Matthew 'Puba' Swain

The Thomas Oliver Band

Expectations were high on Friday night - after a long wait, OdESSA's much anticipated second album was ready for release and they wanted to celebrate it in style. A good portion of Wellington decided to join them.

OdESSA has become a local legend with their feverish, high-octane performances coupled with fantastic tunes and beats that you can't help but dance to. Their album 'The Prize' finally manages to capture the energy and polish of their live show in a studio album.

With so much expectation for the headliners, the Thomas Oliver Band took to the stage with no fanfare- not that stage fright is a problem for a young man who opened for Eric Clapton at the Mission Estate concert earlier this year!

It only took a minute for the crowd to get right into their performance, and each song ramped up the excitement from there. A three piece comprising Thomas (guitar and vocal), Steven (electric and upright bass) and Tom (drums), they made effortless changes through folk, pop, rock, soul, slow blues and country. Closing with the show-stopper 'All I Can Say', Thomas led the band through a medley of 'Cocaine' by JJ Cale and 'Ground On Down' by Ben Harper before snapping back to their own song to close the set. They left the stage to rapturous - and justified - applause, with many new fans.

OdESSA has played hundreds of shows in the last 5 years (I've been to almost all of them!) but obviously wanted to make this one special. Usually playing as a four-piece, they were joined this evening by a female vocalist, percussionist and keyboard player.

Concentrating on numbers from the new album, each band member excelled. Laying a ferocious beat that belies the scaled-down drumkit, Matthew 'Puba' Swain gave unstoppable groove to each number. Paul Mouncey on bass laid down fantastic lines that complemented everyone else's performance, and blew the crowd away with a bass solo that most guitarists wouldn't have a hope of replicating. Dan Ryland, the new guitarist, threw off melodic lead breaks and gentle acoustic numbers with equal ease.

Above all, Matt Pender, the ultimate frontman, blessed with athletic dancing, a fantastic voice and unbreakable stage presence. His dancing turned the crowd into a wild, sweaty yet good-natured mosh pit. The crowd danced, jumped, clapped, sang and yelled for more.

This was undoubtedly one of the most enjoyable gigs I've been to, and it's a wonderful thing that two bands should have the courage to play a wide variety of styles and be so warmly received by everyone present. Out of five stars, this gig gets a Milky Way.

REVIEW: OdESSA

OdESSA
SAN FRANCISCO BATHHOUSE
FRIDAY 21 SEPTEMBER
Words by Lucy Wyatt

Sensational, captivating and hugely entertaining were amongst the words that sprung to mind as OdESSA left the stage at The San Francisco Bathouse last Friday night. Promoting their second album, The Prize, this band really knows how to put on a bloody good show. Pender is a star, totally at home on the stage. A talent that it can be argued, you are only born with. He’s definitely up there with the best of them, and with a sound that both elates and physically moves you; it looks like OdESSA’s prize is a winner. The crowd were certainly hungry to hear their fresh sound.

The tracks from the new album were welcomed enthusiastically, matching the crowds dancing. It was busy, but not too busy to prevent you from expressing your desire to dance to such new delights as Bleeder, an obvious future anthem. Vastly fused music, hitting on such diversity as the blues, rock and funky-pop, it’s extremely inspiring to hear and watch. Expressing their personalities; two donning suits, one in a T and one in a shirt, their infectious energy bursts off the stage onto the dance floor. The glitter balls should have been spinning as the crowd got deeply immersed in the groove.

Pulling the old and faithful out of the bag, Promises Promises, proved that Ryland, the latest member, has totally found his feet within the band, his guitar work smooth and confident. Is That You Calling, heard the drumbeat revving up the pace, getting the crowd jumping around. The lyrics always unveil a depth within the band’s heart. The formula is positively sealed; take a charismatic, animated front man, add 3 fellow talented musicians and finish off with beautifully written and produced tracks. As Pender says, they are a “classic band” and for sure this was a classically, dazzling performance.

www.myspace.com/odessamusic

Tuesday, 25 September 2007

REVIEW: Changeling

CHANGELING
THE ADELAIDE
FRIDAY 21 SEPTEMBER
Words by Charlette Hannah
Photo's by Matt Walsh


Not many bands these days seem to have the guts to begin a set with a blistering guitar solo before moving into a song. However, newcomers Changeling did just that, bringing to mind great instrumental bands such as Led Zeppelin. For a debut gig, this three-piece had a helluva stage presence, and quite a unique sound in these times dominated by indie pop/rock. Not to say I don't like indie pop/rock, because I do, but it's nice to have a change. I kind of think they would fit in well with those late 70's bands - Led Zeppelin, Cream and the like.

With Julian van der Krogt's blues/rock riffs, solid and interesting bass from Jamie Hughes, and hard hitting drums from Hans Weston, Changeling are a forceful live act. Julian was singing live on stage for the first time - there were a few shaky notes, but overall I was more than impressed with his rich deep voice.

Like any new act, they do need a bit of polishing and tightening up, the sound was slightly messy, but they have the raw energy and quality of songs that make a great live band. They were well received by the crowd with whoops from the audience, and a patron even singing a riff after they finished playing. I think we can expect a lot more to come from these guys.

myspace.com/changelingband

GIGS: 27 September - 3 October

THURSDAY 27 SEPTEMBER

- Sandwiches
Clubtronika.

- Valve
Infrared, Changeling, Worn Villain, Moana Ete and The Chaperones. 9pm $5.

- The Adelaide
The Riff Rats, Waste Management, Richard and The Hadlees. 8pm.

- Happy
Music and Artists Social Club
Nomadic Snails, Knife Party, Ningizzida, Nine Signals. 8pm $5.

- Havana
Swiss Mistress.

FRIDAY 28 SEPTEMBER

- The Adelaide
Knife Fight, The Wrongdoings, The Windup, Heavy Turkey. 10pm $5.

- San Francisco Bathhouse
NZ Red Cross - A Concert For Darfur
Rhythm African Band, Sam Manzanza, The Pleasures, Darren Watson Blues Band, Olmecha Supreme, Batucada Sound Machine, Jonathan Crayford, Myele Manzanza, UHP. Tickets $10 presales from Red Cross, $15 on the door.

- Sandwiches
Samurai Music - Geoff Presha.

- Bar Bodega
The Situations.

- Happy
The Bitter Brothers.

SATURDAY 29 SEPTEMBER

- Sandwiches
Aural Trash, Greg Churchill, Angela Fisken.

- The Adelaide
Liquid Lounge.

- Happy
Malevolence, Black Boned Angel, Skuldom. 8pm $10.

- Wesley Centre (Taranaki St)
Craftwerk, Little Pictures, Kitten Et Me, End Of The Day Faery, Seth & Merle Feat. The Acid Test. 5 - 9pm Free.

- Havana
Sons of Puha.

- Valve
Nort, Scoria, Gunt, El Schlong. 10pm $5.

- Old Studio 9
Take Down Lucy, The Lucky Strikes, MissGuided Youth, The Philosophers. 7.30pm All Ages $5.

- Bar Bodega
The Gin Club, The Shot Band, Little Bob.

- Subnine
Twisted? 10pm Tickets $15 presales from Cosmic Corner and Real Groovy, $20 on the door.

SUNDAY 30 SEPTEMBER

- The Matterhorn
The Skins, Money-D, The Yeabsley Key, Lisa Tomlins. 8:30pm.

MONDAY 1 OCTOBER

Are YOU playing in Wellington? Remember to send your gig listings through to charlette (at) wellingtonlivemusic.com by Monday to have them listed here.

TUESDAY 2 OCTOBER

- Bar Bodega
Beats and Bubbles

WEDNESDAY 3 OCTOBER

- The Paramount
Tim Beals and Rosy Tin Teacaddy. 8.30pm Gold coin entry.

- San Francisco Bathhouse
Acoustic Lounge. 6 - 8pm Free.

Monday, 24 September 2007

REVIEW: Infrared

INFRARED
THE ADELAIDE
FRIDAY 21 SEPTEMBER
Words by Jim Kyak Jr
Photos by Hans Weston


If you could make it through the doors of the Adelaide last Friday night and bare the intense fire of noise created by Infrared, then you might have noticed this was their EP release, and they weren’t going let you get out of the joint without knowing about it.

Steve Davey (vocals & bass), Carl Green (guitar), and Ben Payne (drums) unleashed a 100% proof concoction of visceral high energy rock/punk. Steve has some strong pipes inside him and is matched well by Carl’s creative wall of sound guitar playing and Ben’s tight and energetic drumming.

Only slight quibble is that the sound level could have come down a notch so that I didn’t get waxy fingers, but that said, music like this is meant to be loud. Infrared aren’t background music. This was a tight and energetic set by the Wellington three-some and I strongly recommend you catch them around town on one of their many local EP tour dates.

myspace.com/infraredmusic

Sunday, 23 September 2007

REVIEW: White Night

WHITE NIGHT
THE ADELAIDE
FRIDAY 21 SEPTEMBER
Words and Photo's by Charlette Hannah



It was a night of hard rock at The Adelaide on Friday night, and for me, the standout performance came from White Night. From the first upbeat ska-like rock song, with the singer Mat Lear throwing himself round the stage, their energy was infectious, and the music followed suit.

White Night's tight beats were overlaid Mat's smooth, powerful vocals. Mat has a great voice, one of the best male vocals I've heard for a while. Each band member really moved with the song. Mark Traveller's sometime pounding, sometimes tricky drum beats were perfectly complemented by Steve Hitchcock on the bass. With guitar coming from Mat and Dave Ralph, White Night have a wicked live sound.

The dynamics were loud without being obnoxiously overdriven, and pulled back without losing the flow. The songs were catchy, and reminded me somewhat of Sublime, but rockier. I'm already addicted to their songs 620 and Rainman (on their myspace).

Saturday, 22 September 2007

REVIEW: Achilles Botes

ACHILLES BOTES
THE MIGHTY MIGHTY
THURSDAY 20 SEPTEMBER
Words and Photo by Charlette Hannah


It's only the second time I've seen Achilles Botes perform live, but his songs seem familiar already. He's definitely one of the more interesting solo acts, with his loop and various other pedals, slide and layered rhythms.

Achilles has a tuneful voice with a bit of a rock edge, and his songs are very catchy. He ranges from melodious folk to upbeat rock. He even threw in a Greek song.

The word that springs to mind when thinking about his song is earnest. Not a 'nice try dear' kind of earnest, but an open, honest, sincere kind of authenticity. It's a pleasure to watch.

Visit myspace.com/achillesbotes
Earlier review

REVIEW: White Swan Black Swan

WHITE SWAN BLACK SWAN
THE MIGHTY MIGHTY
THURSDAY 20 SEPTEMBER
Words and Photo's by Charlette Hannah


Sonya Waters

Ben Howe

With ethereal guitar and melodious, driving piano, the indie/country duo of White Swan Black Swan were a real treat to the ears on Thursday night. Singer Sonya Waters started off the set with her beautiful Cyndi Lauper-like voice - mature and powerful, yet with a slight childish lilt.

The songs had lovely circular melodies, with gently epic guitar playing, and with the piano as driving instrument, it made a nice contrast to the standard guitar focused rock.

Sonya and Ben Howe switched lead vocals - Sonya's songs were White Swan and Ben's Black Swan. Ben also had great voice, although not quite as standout as Sonja's. It was nice to have the variety in the lead vocals, as well as hear their occasional harmonies. At one point Sonja played a song with a lovely French feel with Ben providing some percussion.

It was over too soon - I hope they come back to Wellington with the full band before too long.

Saturday, 15 September 2007

REVIEW: Tim Beveridge

TIM BEVERIDGE with
RUSS GARCIA
THE OPERA HOUSE
SATURDAY 15 SEPTEMBER
Words by Charlette Hannah

It was an unusual music experience for me this Saturday. My neighbour popped over at four in the afternoon with some tickets for Tim Beveridge, saying she'd had one beer too many, and didn't quite feel up to it. So they were mine. For someone who is used to standing up, loud talking, sometimes dodgy sound systems, and a wide range of professionalism, it was actually rather nice to dress up a little and join the baby boomers for a seated, orchestrated concert.

Tim Beveridge is a pretty average looking guy, but wow can he sing. It's no wonder the legendary Russ Garcia came out of semi-retirement to work with him. Russ credited 'my music, and beautiful young Italian wife' for still being on stage at the age of 91. Ninety-one! It was cool to be part of the audience for a man who has worked with artists such as Ella Fitzgerald and Louis Armstrong.

The instrumentation and singing was, of course, flawless. Tim seemed a little wooden in the first half, but relaxed and improved dramatically in the second half. His humourous side came out when performing a Tom Lehrer song 'When You Are Old and Grey', as well as a satire of the Catholic Church. As well as performing many great classics, such as New York, New York, The Lady Is A Tramp and Bad Leroy Brown, he quite amusingly did the Loveboat theme.

Guest singer Sarah Bradley from Good Morning was slightly less impressive vocally, although she does have a lovely voice. But she has one helluva sassy attitude and is a great performer. The duets of Summertime and When I Fall In Love were a high point of the show.

The backing Neophonic Orchestra were superb, both as a whole, and as individual soloists.

It was a lovely evening, although I did find myself longing for rock in a bar by the end!

REVIEW: Timothy Blackman

TIMOTHY BLACKMAN
HAPPY BAR
FRIDAY 14 SEPTEMBER
Words and Photo by Charlette Hannah


Arriving from Auckland just in time for his gig with Matthew Holleman, ex-Wellingtonian Timothy Blackman strode up on stage with his strapping frame and small guitar, and proceeded to tune with a pitch pipe. I decided I liked him. Sometimes people get so bogged down with fancy equipment and the professional image that it takes someone like Tim to come along and remind us what it's about. Which is music of course. But it's also about having fun and connecting with people, and this is something Tim does pretty darn well.

It wasn't a case of non-stop banter, but I still got an impression of strong humour, and someone who was there to have fun rather than sell CD's. Some of the guitaring was pretty simple, but it was more than made up for by his powerful voice. Vocal delivery was interesting; after one unusual song he admitted "got a bit silly there". Tim is certainly not your standard singer/songwriter.

All in all, it was tuneful and interesting, and a pleasure to watch.

Visit myspace.com/timothyblackman

Thursday, 13 September 2007

EP REVIEW: Barefoot In The Sand

BAREFOOT IN THE SAND EP
Words by Charlette Hannah

Inside This Room begins the self titled EP from Barefoot In The Sand. Starting with a funky drum beat, this upbeat and catchy song is a good introduction to the Barefoot sound. From the rich deep vocals of lead singer Jenn Shelton to the creative yet unobtrusive guitar of Blair Pedersen, these guys have a tight sound which retains a live feeling on this recording.

Recorded, mixed and mastered in twelve hours at Wellington MusicWorks, this EP is full of harmonies and every song has it's own solid groove. Eye On The Lead, the second song, was stuck in my head for hours. With upbeat reggae and funk flavours, this is the ideal sort of music to stick on your car stereo on the way to the beach.

The songs are allowed to breathe, with spacious production, and each part is crystal clear. Track five, With You, is a more mellow, thoughtful song, and continues to showcase Jenn Shelton's amazing voice. Selfish, track three, demonstrates Hamish Maude's soulful and funky bass playing, while drummer Jeremy Hantler remains solid all the way through, although my favourite drum part has to be the first song. I'm a sucker for those toms.

With six tracks altogether, the Barefoot In The Sand EP is a catchy, accessible and smooth listen.
Visit myspace.com/barefootband.

Tuesday, 11 September 2007

GIGS: 13 - 19 September

THURSDAY 13 SEPTEMBER

- The Adelaide
Nine Signals, Sleepy Demons, Vorn. Gold Coin entry, doors 8pm, start 9.30pm.

- Sandwiches
The Versionaries.

- Happy
Fantasy Donaldson.

- Havana
Otis.

- San Francisco Bathhouse
Furious Lovers - Hip Hop Karaoke.

FRIDAY 14 SEPTEMBER

- Old Studio 9
Infrared, Worn Villian, Riverblind, MissGuided Youth. 7.30pm $5 All Ages.

- Sandwiches
Future Funk 2007 Part 2
State Of Mind, JMC, Sal, DDog. 11pm $20 presales and on door.

- The Mighty Mighty
The Unscene, Alphabeathead, Tommy Ill.

- Zeal
The War Within. All Ages.

- Happy
Timothy Blackman, Matthew Holleman. 7.30 - 9.30.

- Lembas Cafe
Splash (Michelle Scullion, David Leith and Eoin Williams). 7.30 - 10.30pm $10.

SATURDAY 15 SEPTEMBER

- Bodega
A Low Hum presents
Craftwerk Pre Party, Thought Creature, Get Set Play, Little Pictures, Snowfield, The Enright House. 9pm $10.

- Old Studio 9
DJ Shan. All Ages.

- The Adelaide
DonkeyPunk, Alison Lake, Nine Signals. 9pm $10.

- Sandwiches
Inland Knights.

- Happy
Dial, Cut Off Yours Hands, Colonel Mustard.

- The Matterhorn
Ginger Brown. 12am free.

- Havana
Bad Girl Brown.

- Subnine
Crank. 10pm - 6am $20.

- San Francisco Bathhouse
Atomic.

SUNDAY 16 SEPTEMBER

- The Matterhorn
The Skins, Money-D, The Yeabsley Key, Lisa Tomlins. 8.30pm.

MONDAY 17 SEPTEMBER

Are YOU playing in Wellington? Remember to send your gig listings through to charlette (at) wellingtonlivemusic.com by Monday to have them listed here.

TUESDAY 18 SEPTEMBER

- Havana
Roberto Rodriguez.

- Bodega
Beats and Bubbles.

WEDNESDAY 19 SEPTEMBER

- The Mighty Mighty
Barry Saunders, Samuel Flynn Scott, Julia Deans.

REVIEW: Cornerstone Roots

CORNERSTONE ROOTS
SAN FRANCISCO BATHHOUSE
FRIDAY 7TH SEPTEMBER
Words by Lucy Wyatt

The vibe was right and the crowd were perfectly warmed up by The Midnights’ reggae fusion - enjoying the tight ska and jazzy shake up. Clearly another great night was in store for the San Francisco Bathhouse. Cornerstone Roots took to the stage with great presence, ready to educate the crowd with the delights from their new album Free Yourself. With the addition of 2 soulful backing singers, the masters of reggae roots were emulating a friendly and positive buzz. The dance floor wasn’t packed out, allowing those there to express themselves without restriction. Like the new album the audience could really free themselves - always nice with such mellow and skanking music.

Each song projecting messages on a political, environmental and spiritual tip - the fresh songs were met with approval and respect. Tracks such as Forward Movement, have an uplifting vibe with funky keys, keeping the crowd happy. Home offers an upbeat ska vibe, enticing the crowd to bounce along. Steppers atmospheric, dubby instrumental jamming, got plenty of heads nodding along to the immersed bass and echoing effect. The old favourites from the widely embraced album Soul Revolution, went down a treat. Soundsplash was met with sunny smiles, encouraging it’s dub undercurrent. The catchy lyrics in Lovers got everyone moving – mashing up the dance floor, horns blazing.

Such honest music produces a really honest crowd. No frills, no pretence - just there to groove with a smile fixed on your face. With a bluesy air, this is really a sophisticated fusion of reggae roots, bound together by their charismatic front man Brian McMillan. The depth and warmth of Cornerstone Roots’ second album demonstrates that they are seriously here to stay - a solid, grounding band. Spreading their sound globally, already being recognised in Australia, Japan, USA and Brazil, with this amount of spirit it’s going to be a positive journey ahead. Here’s to Cornerstone Roots’ getting the worldwide respect they deserve.

Thursday, 6 September 2007

INTERVIEW: Robin Hinkley

Good Laika have just released their debut album, Heads I Win, Tails You Lose. Singer Robin Hinkley talks to Charlette Hannah the day before their album release.

Charlette Hannah: You’re releasing your debut album this week how does it feel to have reached that milestone?

Robin Hinkley: We’re not quite there yet. It’s Thursday, and we haven’t quite made it to Thursday yet. I’m really excited about it. We were talking about how we felt it was our birthday or wedding or something. We’ve been working towards it for such a long time. It’s been really busy, that’s all I can say about it. It doesn’t seem quite real yet.

CH: Who did you work with on the recording and production?

RH: We recorded it at Nick McGowan’s studio in Island Bay, Island Bay Studio’s. We went into the studio to record a song for a video, because someone offered to make a video for us, but we had no recordings for it. So we set the whole thing up so we could record it, and we tried recording three songs, but we thought we’re going into a studio, might as well record an album. That felt really cool, it felt cool not planning it in-depth before we went into the studio. We spent about two to three days actually recording. We all played together, quite a live kind of feel. So yeah, he did a good job of it, the mixing of it, and we had it mastered by Mike Gibson at Trident Studio’s.

CH: Good Laika have been together for a number of years now, why has it taken this long to put out your first release?

RH: Good question. I think part of the reason is that we’ve all been doing other things. I’m a teacher, Matthew’s a teacher of music, so is Ricky, Ricky’s had his other musical projects like the Boomshack band, Nic Marshall’s just one of the busiest people I’ve ever met, and Jason Fa’afoi is always out of town. So it’s been quite hard for us to find the time to get together. Also, at the beginning, when we first got together, which was probably about 5 years ago, embarrassingly, we kind of lacked a bit of impetus, we didn’t quite gel, I think. The thing that kind of kicked us into action, started something new for us, was when we made a trip to Waitare beach, and we spent a weekend playing and drinking wine by the beach, and it was just a magical time for us.

CH: How did the band come together, how did you all find each other?

RH: It was Ricky, the drummer, who really started things. I didn’t really know him very well, played a bit of indoor soccer with him, and he had seen my other band play a couple of times, and he was keen to do some songs and music with me. So he approached me and said do you want to do some music, I’ve got some other friends who’d be keen to do music with. Jason was the next person he approached, as he’d worked with Jason on What Now in Christchurch. So we played together. I think Jason knew Nic Marshall, and it just kind of grew from there. But yeah, it was Ricky who started it all, and he wanted to get more into songwriting as well, which drummers are not usually inclined to do.

CH: Who writes the songs in the band? Is it a communal effort?

RH: It’s quite a shared thing, yeah. On this album Jason’s written a couple of songs and I’ve worked with Ricky on a couple and written some of my own. So it all kind of evolved. And even if one of us brings a song which is complete, we usually draft it together, which keeps us all interested I guess.

CH: So where does the album name, Heads I Win, Tails You Lose come from?

RH: It’s a phrase that stuck in my mind actually, and it seems to sum up one aspect of the album. It sounds kind of jovial and fairly happy and throwaway, but when you think about the meaning of it it’s got this sinister or melancholic undertone. It was quite hard working out what the album felt like, where it was coming from. ‘Cause parts of it seem warm and friendly and cosy, and other parts seems kind of a bit eerie.

CH: Have you played many gigs?

RH: No, that’s the thing, we’ve played probably about five times now, live. Our first gig was something with Blink, The Low Hum guy, he set up an acoustic, sort of stripped back live show with a few bands, so we played with that first. We recorded with a friend of Ricky’s, but we’ve left those recordings behind a bit. It’s only started happening in terms of live performances in the last few months really.

CH: Any plans for a tour?

RH: Yeah. Because we’re all working, we have to call going away for a few weekends in a row a tour. We’re going up to Auckland early next month and then the following weekend we’re going down to Christchurch and Dunedin.

CH: How has being a Wellington band shaped your sound and career?

RH: That’s a hard one to answer, because I’ve never been in an Auckland band or a Christchurch band or Dunedin band. The different bands that we’ve interacted with, the musicians we’ve bumped into have influenced us. Bands like The Phoenix Foundation have been very supportive of us, and Age Pryor as well. It does feel like there’s a bit of a community that have sort of helped us, and also influenced us musically as well.

CH: What’s in the future for Good Laika?

RH: Well. We’re gonna play a whole lot more I think. We’ve already started talking about what our next recording’s going to be. But we need to not jump too far ahead, we need to give this album it’s dues. We’d really like as many people to hear this as possible, because we think it’s worth hearing.

CH: Do you plan to go international?

RH: We’re trying to keep things organic. The whole intent behind our recordings was to have us all play together, having it all feel right, and anything that happens in terms of who hears our music and where we go as a band hopefully will happen in that same way so that it grows from something real, and we’re not going to try and throw ourselves out there without having grown locally first.

myspace.com/goodlaika

(Photo by Rosie Morgan)

Wednesday, 5 September 2007

GIGS: 6 - 12 September

THURSDAY 6 SEPTEMBER

- Valve
Smelter, Fanucman, This Charming Mystery. Doors 9pm, start 9.45pm $5.

FRIDAY 7 SEPTEMBER

- San Francisco Bathhouse
Cornerstone Roots. $20 presales $25 on the night.


- Old Studio 9
Cross Eyed Mary,
Far From Fiction, SDR. 7.30pm $5 All Ages.

- Bodega
Jaggedy Ann, Slipping Tongue.

- The Adelaide
Urbantramper and 10,000 Times Glorious.

- Happy
The Dilettantes, Rocket To The Moon + guests. $5.

SATURDAY 8 SEPTEMBER

- The Adelaide
The Strolling Bones.

- Happy
The Septembers, Bonanza. 9pm $10.

- Valve
Kitsch, Cobra Khan, Strangers.

- Bluenote Bar
The Dilettantes, The Postures, Disco Skull. $5

- The Mighty Mighty
Phony Bone,
Tommy Ill, Peneloping, The Wicks. Doors 8pm, start 9pm $10.

- Old Studio 9
The Philosophers,
The Pinkertons, Far From Fiction. Doors 7. 30 $5 All Ages.

SUNDAY 9 SEPTEMBER

- Old Studio 9
Acoustic Afternoon -all musicians and poets welcome. 2pm - 5pm All Ages $5 non performers.

MONDAY 10 SEPTEMBER

- San Francisco Bathhouse
Napalm Death, Backyard Burial, Dial, Graymalkin. $53 presales from Ticketek 7.30pm R18.

TUESDAY 11 SEPTEMBER

- Havana
Carlos Navarette.

WEDNESDAY 12 SEPTEMBER

- San Francisco Bathhouse
Acoustic Lounge. 6pm - 8pm free.

- Happy
Noel Meeks.

Are YOU playing in Wellington?
Remember to send your gig listings through to charlette (at) wellingtonlivemusic.com by Monday to have them listed here.

Tuesday, 4 September 2007

INTERVIEW: Flip Grater

In 2006, Flip Grater released her debut album Cage For A Song, under her own record label, Maiden NZ. As part of her solo release tour, she gathered recipes from friends, venues, and audience members all over the country, and compiled them along with a tour diary. The Cookbook Tour is a charming and interesting book, filled with simple recipes, and Flip is currently touring to promote the release of the book. Playing at The Mighty Mighty in Wellington, she caught up with Charlette Hannah for a chat before the gig.

Charlette Hannah: Did you know you would write the cookbook before you did the Cage For A Song tour?

Flip Grater: Yes, absolutely. I knew about it before I put the album out. The idea for the tour came about I think in June or July last year, 2006, whilst my album was in production. And I knew it was going to be coming out in August, knew I was going to be touring in August for the album, and I just wanted to find an interesting way to do that tour. It wasn’t just another album tour. And that’s what we came up with.

CH: Did it make the tour more enjoyable having to talk to people to acquire recipes, or would you have done that anyway?

FG: It definitely made it more interesting. I purposely went on the tour by myself because that’s when you end up talking to more people. You stick to your comfort zone a bit when you’re traveling with others. And that was the whole point of it, adventures and meeting people. Everyone loves talking about food. I think it’s quite a common thing, people really do want to talk to strangers and meet new people. Especially if they’ve gone to see you at a gig, then they are open enough to want to meet people. But often there’s no reason to, there’s no talking point to start a conversation. Doing something like this gives everybody the perfect excuse to talk to you.

CH: Is there a particular plan for this tour, or will you just talk about the book?

FG: Yeah, it could be endless, people have joked about that! Collecting recipes on the book launch tour, and write another book about that… but I think I’d like to move on to some similar but slightly different idea’s to do with publications.

CH: Have you always been a writer?

FG: I don’t know how to answer that. I could be a total wanker and say everybody’s always everything… I was born a musician, I was born a writer. But the reality is that we are ever changing and our existence is as well, and it’s not really who I am, it’s just something I do. It’s not even really something I do, I just did it once, I wrote a book. I wrote this book and I may do it again sometime. I don’t know, I don’t think an author is who I am, I don’t think a musician is who I am. But maybe that’s a bit deeper than we need to go.

CH: What do you think of yourself as?

FG: I don’t know, I guess that’s ever changing as well. I’m passionate. I guess people describe me as driven, but that just makes me think everyone is lazy. ‘Cause it’s a shame there’s a word to describe that, as if that’s a weird thing. I’m starting to ramble now, but I like to be busy, that’s all.

CH: Are all the recipes vegan?

FG: No, the majority of them are, accidentally, vegan, or possibly vegan if you omit certain ingredients. I’ve tried to list those options for people who can’t figure it out for themselves. They’re all vegetarian.

CH: Would you do a solo tour again? Are you doing a solo tour?

FG: I am yeah. I didn’t mean to. As I say, the first time it was on purpose because I wanted to have adventures. The funny thing is I’m doing the same trip almost. I’m not going to all the same spots, I’m going to a few less places. But I’m traveling alone, I’m traveling in Lada. My boyfriend was going to come on this trip but he decided to go skiing instead, so now I’m solo traveling again. The problem with that is that last time, part of the reason for traveling by myself was not just to meet people, but also to have all sorts of misadventures and have to find ways out of them. And it was pretty uneventful in that way, I had a pretty sweet time. The car went really well and everything sort of worked. But this trip has turned out to be crazy. My PA broke, and my car battery went dead, and my windscreen broke and I got really sick, and it’s just been crazy. I actually really wish I had someone on this trip with me, but that’s how it goes, and sometimes it’s for the best. I do like traveling by myself.

CH: So you still have Lada obviously? A pretty important character…

FG: Oh yeah, a very important character! The book would be nothing without her! As I say she’s needed some work on this tour. I think she’s getting a bit tired.

CH: Are you happy with how many albums you’ve sold so far?

FG: Yeah, it’s sold quite a few for an independent release so I am really happy. If I could sell as many books as I’ve sold CD’s I’d be happy as.

CH: Any plans for a new album soon?

FG: Yeah, as soon as I get back from the tour I’m going to start recording for the next record. I’ve got some new songs, and a couple of really new ones that I wrote last week. I’ve kind of been doing this business-y stuff for ages and the songwriting brain gets switched off. So I’m quite keen to get back into it, and I’m going to get straight back into the recording studio when I get back.

CH: So you’ll put that out next year?

FG: Yeah, next year. I don’t know if I should just keep doing the same sort of thing over and over. What I’d really like to do is an international cookbook tour, I just need the funding for it. That’d be pretty amazing.

CH: So why did you set up your own record label?

FG: I always wanted to do that, and I thought, there’s no good reason not to. As I say, I like to be busy. But putting out my own record, even though it was a good idea at the time for learning a lot, I’m starting to think that doing your own publicity isn’t the best idea. It’s possible to do it, but it’s just really emotionally exhausting, ‘cause you get really invested in your product. Anytime someone says no to doing a story on it, it feels like a personal rejection. That wears you down quite a lot, because even if 50 people say yes, one person says no and it has much more power. And the thing is, you really need to positive about what you put out there and you can’t let those things wear your enthusiasm down. So I’m starting to think that doing your own publicity is not the best idea. I’ll only do other people’s publicity in future I’ve decided. Having a record label is going to be fun and fantastic for doing other people’s records, but I’m not sure about my own anymore.

CH: Have you got other artists on the label already?

FG: Urbantramper. We’ve just put out an Urbantramper CD this month. It’s such a beautiful record, I love it. I love it so much. That’s the kind of thing I’d like to do, help other artists get into shops and things like that.

CH: Do you have a day job or are you a full time musician/record label owner?

FG: Full time music, yeah. Full time music related things. I do a bit of work for Rockquest, I do some judging for Rockquest, I do mentoring for NZMIC and then I do the record label and I do my projects, and I do a bit of production for music videos.

CH: How did you get involved in Rockquest and mentoring?

FG: Just over the years, getting involved in things, one thing leads to another.

CH: What advice would you have for other NZ artists?

FG: Don’t compromise what you’re doing. Just find the right people who are enthusiastic about it.

CH: What do you think has really helped you get where you are now?

FG: Friends, support networks, good relationships with people in general. I really think that’s the most important thing in life. I think if you can get that happening in your life then it automatically helps your career in whatever you’re doing, especially in music.

Sunday, 2 September 2007

REVIEW/INTERVIEW: Good Laika

GOOD LAIKA
THE MIGHTY MIGHTY
THURSDAY 30 AUGUST
Words and Photo's by Rosie Morgan


On Thursday night, I was fortunate enough to attend the over-crowded, and inspiring show for Good Laika's debut album release (Heads I Win, Tails You Lose) at the Mighty Mighty. Due to work restraints, I missed Age Pryor who started the show, but arrived just in time for Good Laika's set. The band all looked a little nervous, but were excited about the new stage the Mighty Mighty had put in, and firmly reinforced the fact that there would be no encores as they were all very tired, which is a shame really, because Good Laika are one of those bands you could sit and listen to for hours, and not get sick of.

I was very impressed with the music, the relaxed atmosphere, and the friendliness of the band welcomed you into the set, and invited you to get carried along into the Good Laika sound. One look at these guys, and you just know they deserve to be a success.

After the show, I interviewed Ricky Boyd (drums).

ON NZ Music vs International:

"Nz's definitely pushing boundaries. I mean, we've got the Mint Chicks, the Pheonix Foundation... its all happening. Our resources though are more 60's, 70's. We know {nz music} is there, but we're more like ostriches, keeping our heads underground and see what we like".

RB says they're more into soaking up "old history", that their music is ethics based, and that they play with emotion and feeling. They use it in their approach to each individual instrument. "Our past present and future are elemental", he says.

And it sure shows. Robin Hinkley's vocals are just one example of the way GL do this. He has a voice that carries far above the vocal melody, far above all the other intrumentation, that carries far. You just know he's singing from the heart, and as soppy as that sounds, I think the sure sign of a a good musician is the ability to express heart and soul and effect the audience. In Tooth and Nail, he sings "I know you're tired" repeatedly, and the audience were swaying, captivated. When you combine RH's voice in harmony with the backup vocals of Jason Faafoi, you have this effect maximized.

Jason also has the same gorgeous, soulful quality to his voice that RH does, but with a little more of an Island Twist. During the Mighty Mighty set, he dedicated a song that he wrote (Coming Home) to his "island sister", who was getting teary as he sang it. This song was a gorgeous island/calypso/melodic tune, that fitted so nicely with the rest of the set, and again, there was much swaying along.

On Keeping off the Radar until now:

They've actually been together for around 4 years, but all of the members have been involved with solo projects, or other bands... for example OdESSA, Boomshack, TV Acting... to name the few obvious ones.

Ricky's' also been involved with drum lessons at various schools and jazz groups, so its a wonder how they even find the time to practice, let alone perform.

Its really only been the last year they're all been able to commit 100% - and, more impressively, only the last 2/3 months that they've recorded, promoted, and released thier Debut- Heads I Win, Tails You Lose, available in stores from 3rd September, if you weren't lucky enough to snatch up one at the show.

On their Overall Sound:

"I'd say... soulful. Its like the ethics of trying to get the best out of a song without being egotistical. So, ego-free. I suppose its truthful" - RB says, and I agree. Everything they play, everything they sing, they're in a moment, and they're reaching out to you.

Aside from the vocals, which embody the soulful element, you also have the talented Nic Marshall on the keys, carrying away the melody, giving it all a dreamy feel, and Matthew Armitage on bass, adding his own spin on calypso rhythm with unique bass lines that compliment all the other elements of the band.

With a band like this, sometimes its easy to forget drums and leave them out all together, but Ricky's skill as a drummer shows in that he can integrate various types of drumming into the band easily, that elevates the music to a new level.

What's on your iPod at the moment?

"Obviously we listen to a lot of Calypso music, thats a major influence". He also listens to TV on the Radio, Grizzly Bear, Air and Beck quite alot at the moment.

If you could tour with anyone, who would it be?

"I suppose I should keep it kiwi, but i'll say Air, Beck, or maybe Belle and Sebastian"

Whats your vision for the bands future?

A World Tour, of course! But a relaxed tour. "To enjoy each others company. I'd like to tour the world and keep that relaxed, friendly aspect.... we're an eclectic, slow band, so a slow tour would be best. We're all friends, so, whatever we do, we're going to have fun." And because of that aspect, he says its also one of those projects that they could leave for a year and return to, with no major issues.

This was shown in the Mighty Mighty show also. There was a lot of joking, a lot of laughing, and a lot of Robin telling the audience off for complimenting Matthew on his shirt, and not complimenting anyone else. "If you're going to compliment him, you have to be nice to the rest of us!!!". I hasten to say the show was "comfortable", but you felt welcomed, you felt at home with the music. Often it felt more like a home gig or (albeit amazingly brilliant) jam session. So it was a friendly relaxed atmosphere, and I think the band should be pleased with that.

Hopes for Heads I Win, Tails You Lose

"We're not trying to push it too far, we're trying to be ourselves", RB says. Promotion and business come 2nd. While of course they do want the album to be a success, he says "its like the first photo of a series yet to be finished".

This is the album of (hopefully!) many more, so its a snapshot of where Good Laika are at now. RB - "We're constantly moving forward and changing, so who knows when the next photo will be."

(Heads I Win, Tails You Lose is available in stores from Monday 3rd Sept. Hit the boys up on their myspace if you've never heard of them- you won't be dissappointed - I'm glad "Midnight" is up there!. myspace.com/goodlaika )

ED's note: Interview with Robin Hinkley posted next week.