For those of you who still check back here on blogspot, I thought it time for an update on the site!
We're currently upgrading the website, so I apologise things have been a little slow lately. Work is in progress, and we are looking to launch the new site in July. We want to optimise it as a resource for the community, and we want to do it right, hence why it is taking a bit of time.
Things have been a little slow, but with work now well on the way I will be picking up the content and gig guide again, and stay tuned for some interviews for NZ Music Month!
Thanks for checking back, and stick with us - it's a process, but it'll be worth it!
Charlette Hannah (editor)
Friday, 2 May 2008
Wednesday, 9 January 2008
Maintenance
Wellington Live Music website is undergoing maintenance and will be back and better than ever in February.
Thank you for your support in 2007, keep checking back for updates.
Happy new year from the team at Wellington Live Music!
Thank you for your support in 2007, keep checking back for updates.
Happy new year from the team at Wellington Live Music!
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
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
GOOD LAIKA
Words by Lucy Wyatt
Will the waves of beautiful music ever
calm in
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.
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
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 BandExpectations 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.
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
Words by Lucy Wyatt
Sensational, captivating and hugely entertaining were amongst the words that sprung to mind as
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.
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
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
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.
- 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.
- 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
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.
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).
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
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.
THE MIGHTY MIGHTY
THURSDAY 20 SEPTEMBER
Words and Photo's by Charlette Hannah
Sonya Waters
Ben HoweThe 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!
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
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
Friday, 14 September 2007
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.
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.
- 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
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
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?
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
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
RH: That’s a hard one to answer, because I’ve never been in an
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.
(Photo by Rosie Morgan)
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