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Bernard Sumner Stephen Morris Gillian Gilbert Phil Cunningham Tom Chapman 27th February Vector Arena Auckland 0800 111 999 Presented by Solid Entertainment, 95bFM and Vector Arena

“Megaupload, Megaupload-oh/ M-EG-A/ Upload to me today/ Send me a file/ Megaupload, Megaupload-load-load.” Rewind to September last year, and worrying rumours were circulating of Linkin Park or The Black Eyed Peas playing the Rugby World Cup Final, the IRB opting for sport-metal/pop over The Feelers warbling their way through ‘Right Here, Right Now’. Turns out was holed up in a luxury suite at SkyCity, not to sing the rugby in, but to sing the praises of Kim Dotcom’s file hosting service in Roundhead Studios. Seen the video that accompanies that auto-tuned ditty and the accompanying cameos from Jamie Foxx, Serena Williams, Kanye West, Floyd Mayweather, Kim Kardashian, Game, Chris Brown, Lil Jon (“for free – YEAH!”) and Diddy? Turns out Ciara loves Megaupload, “Because it moves fast, just like I like it”. Macy Gray lends her pipes too, presumably working off a Gin Wigmore vocal guide. The man responsible for The Black Eyed Peas’ crimes against pop music lends his support from behind Roundhead’s Neve console. And bugger the Teapot Tape and its Bic Runga copyright infringement – can someone get their hands on the full video of Dotcom spitting these terrifying bars in Studio A? “Users one billion/ Per day 50 million/ Four per cent of the internet/ Get the Mega Manager – it’s 10 times faster/ Bit by bit, unlimited/ It’s a hit, it’s a hit!” Like his Coatesville neighbours, we’ve been a little slow to get our heads ’round the Rick Ross-sized dimensions of Dotcom’s fantastical lifestyle. That’s why, when/if that bail application comes through, Mr Schmitz, we’d like you to join us at VOLUME HQ for a Talking Heads, in conversation with Megaupload CEO Swizz Beatz or the designers behind Call of Duty: Modern Warfare 3. And don’t forget to bring the cocaine (joke).


EDITOR: Sam Wicks WEB EDITOR: Hugh Sundae DEPARTMENT OF VOLUME SALES: John Baker DESIGN: Xanthe Williams WRITERS: Gavin Bertram, David Carroll, Mark de Clive-Lowe, Julian Fizzlebottom, Duncan Greive, Jessica Hansell, James Harding, Kriss Knights, Ewan McDonald, Joe Nunweek, Hugh Sundae, The Tegal Chicken, Aaron Yap ILLUSTRATION: Hej Ganias PHOTOGRAPHERS: Ted Badghurst, Roger Grauwmeijer, Milana Radojcic, Georgia Schofield AN APN PUBLICATION

ROSS BURGE – THE MUTTON BIRDS The Winery Tour marks 10 years since The Mutton Birds’ last show. How does it feel to be back in the saddle? Fantastic. Actually, the last time I was in the saddle was over 10 years ago in the Reeperbahn 1994. What gigs have been keeping you busy in the intervening years? I’ve been gigging and/or recording with Dave Dobbyn, the Finns, Sami Sisters, Anika Moa, Geoff Maddock and Ed Cake, Haunted Love, Wayne Mason, the lovely LA Mitchell... It’s been 20 years since the release of The Mutton Birds’ self-titled debut. Any talk of playing the album in its entirety to celebrate the anniversary? None whatsoever. You’ve also kept time for the likes of Sneaky Feelings, Sharon O’Neill, Jon Stevens, Bic Runga... What’s been your favourite drumming gig, and why? It’s great playing great songs written by great songwriters, but I guess doing that in a band situation where you can add your own ideas, opinions etc sort of takes the cake. Having said that, these people better be available when I get around to finally disgorging the first Ross Burge Solo – With Friends album! The Mutton Birds head out on the Classic Hits Winery Tour with Gin Wigmore and Avalanche City, 17 shows nationwide from Tutukaka to Dunedin. Tour details at They also play Kings Arms in Auckland on Wednesday 29 February and Bodega in Wellington on Wednesday 7 March.

“I am my father’s son/ I’ve never known when to shut up/ I ain’t foolin’ no one/ I am my father’s son.” A week after his old man Steve Earle hits town, Justin Townes Earle returns to New Zealand to play Dux Live in Christchurch on Thursday 19 April, Bodega in Wellington on Friday 20 April, Kings Arms in Auckland on Saturday 21 April, and the Leigh Sawmill Café on Sunday 22 April. For your chance to win a double-pass to a show of your choice, email and let us know your favourite telly appearance from Earle Senior – The Wire or Treme?


You need to capture the moment and capture it well, and the essential ingredients of that are a love of music and years of experience. It’s all about the composition of your shot and being patient. The night involves signing any release forms that you need to and familiarising yourself with the venue. You’ve usually got the first three songs to shoot and you never use flash, even when you’re working with poor lighting – it’s a sin because it spoils the light show and it distracts the artists. You want to see movement in a wellcomposed live shot, but not too much. You still need some distinction in the photo. Crowd shots are always fun – you catch the idiots in the front row who are going nuts. Good composition is getting a balance between your subject and the background – that’s it.


Mark de Clive-Lowe’s new album Renegades is out now on Tru Thoughts/Rhythmethod.




I may be quite comfortable throwing my two cents in after the fact, but I’ve never been particularly good at predicting anything. Trends, winners, changing habits, what something will be like when it’s finished, etc.

FROM TIME TO time I’ve been asked to give a sound-bite to the news about some trend or appear on a panel to blow hard about some proposed change to something or other, but I always end up waffling on. Like radio hosts who haven’t yet clicked that less really is more. I think of this from time to time – approximately every seven days – when contemplating which one of the few thoughts in my head I’ll inflict on you for this page. It pretty much limits my arsenal of topics to things that have already happened. The future of music? Don’t have a fucking clue. Sometimes the same thing happens when listening to a new album. I often can’t even predict my own opinion in real time. Useless! If I like a song straight away, that’s one thing. If I don’t like it I’m never sure if I’ll come to like it in time. The “grower” phenomenon. I’ve sworn black and blue there is no way I could ever come to like a bit of music, but a few listens later… Why are some songs growers? The topic fascinates me. It doesn’t appear

to fascinate most bands though; it’s one of my regular interview questions and never really gets more than a grunt. This came to mind when reading the script for the winning Make My Movie entry, How to Meet Girls from a Distance. I usually wince when asked to read a script. I don’t really have a clue if it’s any good because I can’t imagine it all finished. Not this time. Sure, I obviously have a vested interest in it being a good film ( are a presenting partner) but you’re just going to have to believe I’m telling the truth.

“The future of music? Don’t have a fucking clue.” Some 750 entries, 12 semifinalists, two finalists, now whittled down to one winning team who get $100,000 from the New Zealand Film Commission and NZ On Air to bring the movie to life for its April premiere. Now the hard work continues. Follow the process at nzherald.


Now that the all-encompassing media madness of Big Day Out and Laneway has passed, it’s time to get back to the Sundae Sessions. The last few from Dictaphone Blues will be online towards the end of this week – plus I’m excited to say they are letting us stream their next album when it comes out in April. Also, keep an eye out for competitions giving you the chance to come to the recording of our next sessions, Popstrangers and Opossom.

TONO & MARLON Say, son, are those the Port Hills or the Blue Ridge Mountains? The Unfaithful Ways’ debut album Free Rein reimagines Lyttelton through a distinctly Americana lens, as told through Marlon Williams’ songs. Fellow Southern son Anthonie Tonnon of Tono and The Finance Company talked with Williams about his band’s take on country music and the effect of the Christchurch earthquakes on Lyttelton’s tightknit music community. Photography Ted Baghurst TONO: Did you grow up in Lyttelton? MARLON WILLIAMS: Yeah, since I was six. And how old are you now? Twenty. I think the last time I talked to you was at the Dux de Luxe. Yup. Was that for Julia Deans’ show? No, that would have been Artisan Guns. That’s right. And you guys were opening for them. I remember finding out that you were 19, and thinking, ‘Bloody hell!’ It’s interesting to me – you played at the Silver Scrolls, completely blew people away, and I think the first earthquake had just happened. Yeah, that’s right. Here you are, you’re 19 years old, you’ve got a great band,

you can wow an audience of professional musicians, things seem to be going pretty awesome. What happens when something comes along like this? I mean, is it a pain in the arse? Oh yeah, it’s a real bloody thorn. It’s the same for everyone – we’re all in the same boat. It’s something you can turn your music to, do positive things with, you know. I guess that’s the main thing. Listening to your album, it’s a real-deal country album. It feels to me like even preBob Dylan sort of country. And that’s the birthplace of both of our kinds of music. I remember listening to that kind of music when I was younger, and there’s such a sense of hardship, such a sense of struggle that makes it great. I always think of it in the abstract. Country songs are just stories. That’s the nice part about it – you don’t have to be directly related to the events in your songs. It’s kind of escapism in a way. Perhaps by making Woody Guthrie country, you’re escaping from a time where people don’t actually catch trains, and people drive everywhere and they shop at The Warehouse. Yeah, there’s a lot of romantic notions thrown around in The Unfaithful Ways. How have you found music in Lyttelton and Christchurch? What’s happening with music after the quakes? Well, it’s definitely become more disparate. People have taken off, and… it was definitely peaking before the quakes – it was on the upand-up. It would have been really interesting to see where it would have gone. It was a sharp turn after the quake, but I think it’s going to do something else interesting.

WILLIAMS There’s different dynamics going on, and I think Lyttelton’s become even more insular. Now everyone’s in one band. Yeah, totally – The Harbour Union! It’s kind of happened now, whereas it was just implied before the quake. We’re all sliding around. It’s an exciting time. It’s hard, but I think ultimately it’s going to bear fruit. We had a couple of gigs straight after the February quake – we had to go to Gore for a Moonshine festival the weekend afterwards, and that was really strange leaving. You’re in this war zone, and you just go and play country music in Gore for the weekend. It was so surreal being down there, and it was really hard to leave. It’s hard to adjust to a place that isn’t messed up. Yeah, and you do want to be close to what’s going on too. Well, not everyone does, but…

“Country songs are just stories. That’s the nice part about it – you don’t have to be directly related to the events in your songs.” – MARLON WILLIAMS Would you say… is it 50/50? Is it 70/30? It seems like half the people I know are sticking it out in Christchurch through everything, and the other half are in Wellington. Yeah, I think it’s about 50/50, eh. Definitely one person leaving for every person staying. Has the music scene become closer in general or has it fractured a little bit? You say Lyttelton’s become more insular? ’Cause I know that Christchurch has fractured. Suddenly suburbs that were completely uncool like Woolston and Addington are little pockets of musicians and artists and things. I don’t know; I’ve hardly been to Christchurch. I only ever really go there now to get some takeaways or go to the airport or band practice – those are the only reasons I leave. Are your bandmates in Christchurch? Yup, they’re all over the place. They probably know more about it than I do – I just stay over the hill. I’ve often tried to

think of it from an outside perspective, and it’s such a completely different experience. The way it’s imprinted on your memory what with the media coverage, the pictures in your head must be… ’Cause it must have been a while before you saw the media coverage. Yup, and it looked unreal to look at it. It was so removed from the experience of the event. What was your experience? Well, the February one, Delaney Davidson and I were sitting outside [Lyttelton] Coffee Company, and it took ages to work out what was going on, so we just ran out on the street and then people started to file out of the Coffee Company, scrambling over each other. It was so surreal. I’ve lived it over in my head a lot, but it’s hard to know exactly what happened. There are images of seeing those Lyttelton buildings coming down, like the Volcano [Café] coming down. I had to drag my girlfriend out from under… well, she was standing under there on the phone, and the shaking was still going on and the Volcano was just inching forward, so I was like, ‘Get out of there’. That sort of thing is so removed from anything else that’s ever happened, so it’s in its own little , sphere of reality that doesn’t touch rsation conve anything else. in s m illia rlon W esday. nd Ma Tu a o m n p o 2 io of T – live from d u a ll he fu lume .nz/vo en to t To list n o is out o iki head t ar ee Rein r k F a k m e u a P ebut alb eter’s Hall in d ’ s y in a s W P faithful . They play St re at Evil Geniu i Beer The Un iw sic sto u K in t M a e e e v e r n li G , and th Aeropla 3 Februar y, a ebruar y, The ebruar y ch. y F F a 5 5 id 2 y r a y F rda on Mar Sund on Satu day 10 ton on tchurch town on Satur Welling is r h C l in row Festiva es in Ar pu Rac Motuta um release their alb nance Company Fi e Th d an no To ing in autumn. Up Here for Danc

When they formed in Leeds The Sisters of Mercy just wanted to be played on the radio. Three decades later the Goth rock institution finally makes it to New Zealand. By Gavin Bertram BEING RECOGNISED AS the overlord of any musical field equates to money in the bank, Andrew Eldritch asserts. And the founding frontman of The Sisters of Mercy ought to know, having held the nominal Prince of Goth title for several decades. Speaking from his home in the northern industrial city of Leeds, Eldritch appears happy to maintain that exalted position if it keeps the cash registers ringing. “I do complain, but it still funds a very comfortable lifestyle for me,” he says. “It wouldn’t matter if we were the overlord of country or death metal, if you’re the overlord of anything, ‘kerching’. And it doesn’t restrict how I write or how I live my life. The comfort it gives me affords me a great deal of independence and privacy, which actually takes a lot of pressure off. It’s not like we have to over-prostitute ourselves.” The Sisters of Mercy visit New Zealand in late February for the first time since Eldritch and guitarist Gary Marx formed the band in 1980. That three-decade tenure has certainly been colourful, even if the band hasn’t recorded anything since 1990’s Vision Thing. Eldritch has remained the only constant, although Doktor Avalanche, an evolving series of drum machines, has been around almost since the beginning. His inhuman rock pulse underpinned all the Sisters’ recordings, which included several singles before 1985’s debut album First and Last and Always. Then in 1987 came Floodland, which expansively mapped out Eldritch’s bleak, majestic vision of rock’n’roll. It’s

rightly been heralded as among the greatest volleys of gothic rock. Floodland included the single ‘This Corrosion’, bombastically produced by Meatloaf collaborator Jim Steinman (who also co-produced ‘More’ from Vision Thing). “He was very good at getting the budget from [record label] Warners,” Eldritch remembers. “We spent money on that record that otherwise we wouldn’t have been able to. But most of it I made in a suburb of Manchester, and there weren’t that many sessions where we went to New York and put extra flimflam on the songs. Unfortunately if you ask middle-ofthe-road type rock listeners what the Sisters sound like, they’ll always think of the Steinman singles.” After the straighter rock drive of third album Vision Thing and subsequent hassles with Warners, Eldritch withdrew to a degree from the music business, and The Sisters of

“It wouldn’t matter if we were the overlord of country or death metal, if you’re the overlord of anything, ‘kerching’.” – ANDREW ELDRITCH Mercy became a humble touring act. Given the rampant changes in the industry since then it seems like a prescient move, and it certainly seems to be something the man is comfortable with. With Doktor Avalanche and guitarists Ben Christo and Chris Catalyst in tow, Eldritch tours extensively. But he doesn’t feel The Sisters of Mercy quite falls into the classic rock, trading on past glories mould.

After all, they don’t play a greatest hits set, with many songs written post1990 remaining unrecorded and thus unheard by most audience members. “We don’t feel like any kind of dinosaur act,” Eldritch says. “Our focus is very much on just doing gigs, and we seem to be reasonably good at that on a good day. It’s served us very well, and we’ve actually thrived more in the 20 years we haven’t been making records than in the 10 years when we were.” He doesn’t spend much time following what else is going on in music, saying he stopped being a consumer of music when he started producing his own. Outside of The Sisters of Mercy he has an intense interest in film and old computers (“there are about 30 in the room I’m in right now”). But having lived the clichéd rock’n’roll lifestyle and experienced the best and worst of what it has to offer, what Eldritch treasures most after 30 years in music is his privacy. “When you’ve lived that life for so long and not really had a proper job, it is very easy to have notions that aren’t healthy,” he reflects. “I won’t get specific. The thing I value most is privacy, and I’ve seen the lack of that destroy people.” The Sisters of Mercy play The Powerstation in Auckland on Wednesday 22 February.

Each week Duncan Greive performs some low grade analysis on the week’s New Zealand Singles Chart and reviews a few new release pop singles. To submit or suggest a track for review email or tweet @duncangreive.

One Direction

There’s only one thing to pay attention to this week: Number 34. One Direction, who are vying with The Wanted for most exciting band in music today, have a new single charting. A friend pointed out that ‘One Thing’ is basically ‘What Makes You Beautiful’ with the intro to Backstreet Boys ‘I Want It That Way’ tacked on to it. IE it’s totally amazing. The only other thing worth noting is that Annah Mac’s ‘Girl in Stilettos’ has risen to number two. I think I’d be a lot more excited about this song if the opening line wasn’t “Power lines and pohutukawa trees”, but it’s actually pretty sweet, and certainly deserves to kick Flo Rida’s disastrous ‘Wild Ones’ off the top spot next week, which looks a reasonably good bet.

RIANZ TOP 10 NEW ZEALAND SINGLES CHART 1 Flo Rida ft. Sia – ‘Wild Ones’

2 Annah Mac – ‘Girl in Stilettos’ 3 Snoop Dogg & Wiz Khalifa – ‘Young, Wild and Free’ 4 David Guetta ft. Sia – ‘Titanium’ 5 Coldplay – ‘Paradise’ 6 Ed Sheeran – ‘The A Team’ 7 Pitbull ft. Chris Brown – ‘International Love’ 8 Labrinth ft. Tinie Tempah – ‘Earthquake’ 9 LMFAO – ‘Sexy and I Know It’ 10 Kelly Clarkson – ‘What Doesn’t Kill You (Stronger)’


LADYHAWKE – ‘Black, White & Blue’ Ladyhawke is inarguably the biggest New Zealand music success story of the past few years, or the biggest noncomedic one anyway. And there’s a lot riding on this one. What worked last time still sounds pretty fresh. She’s maybe turned up the guitars a little, and it sounds slightly more “live” than the first LP, but if you were a fan, chances are you’ll still be one now. The weird thing is that this doesn’t sound a million miles away from Ke$ha – it has that treated, processed, compressed sound, and takes the harder shards of ’80s production (the drums in particular) rather than the suppler elements which are over-familiar at this point. But Ke$ha’s basically the least credible artist on earth at this point (though I think she’s pretty amazing at times), while Ladyhawke is the thinking indie person’s pop choice. I guess it’s because there’s a coherence and artistry to Pip Brown’s work, and while this is not quite as immaculate as ‘My Delirium’ or ‘Magic’, it remains an extremely compelling sound and vision. She seems very well positioned to break our second album slump routine. Which would be nice. KELLY ROWLAND – ‘Keep it Between Us’ Kelly Rowland always seems to get marginalised in the post-D Child era. But starting with her superb Nelly duet ‘Dilemma’ she’s proven a reliably potent source of r’n’b killers, including the sexual dynamo that was The Freemasons’ mix of ‘Work’, and the, um, even more sexual dynamo that was ‘Motivation’. ‘Keep it Between Us’ is a pretty straight ballad, but has lift and longing and deserves attention if not quite obsession. MIIKE SNOW FT. LYKKE LI – ‘Black Tin Box’ This guy I work with is fucking obsessed with Miike Snow. I have sat and listened to that album all day, from 8am-6pm several times. I don’t think he or the other Snow fans would be aware that the masterminds behind it, Bloodshy & Avant, honed their talents working with Sugababes and J-Lo. And that the best music they’ve ever done will always be Britney’s twin classics ‘Toxic’ and ‘Piece of Me’. ‘Black Tin Box’ is a chaotic, spooky synth riot which lives in the dark edges which were merely hinted at on their debut. Well worth your time. EMILE SANDE – ‘Next to Me’ Ex-Real Groove master critic Stevie Kaye put me on to Emile Sande’s ‘Heaven’, which he accurately compared to Massive Attack’s immortal ‘Unfinished Sympathy’. It was an uncannily similar sound, sweeping strings and unabashed heartache, but didn’t sound remotely backward looking. One of the best singles of 2011. ‘Next to Me’ suffers a little from that Winehouse/Adele retro-soul-is-the-only-soul production disease, but she has pipes for days, so it gets a pass. She definitely works better on that futuristic shit though. FAR EAST MOVEMENT – ‘Jello’ ft. Rye Rye I know very little about these new pop kids – Catarac, Dev, Far East Movement, New Boyz – they seem to collaborate and release singles and have a reasonably unified sound. But none of the places I go talk about them, so I have to think they’ve been dismissed as unimportant or downright rubbish by even the smart pop set. Which is a shame, because A) almost anything which charts and doesn’t use the brute force of the pop house sound deserves respect on some level and B) some of their singles have been fantastic, particularly New Boyz’ deliriously aroused ‘Back Seat’. ‘Jello’, featuring sometime Diplo/MIA collaborator Rye Rye, doesn’t quite scale those heights, but has that sleazy bass production and “no adults allowed” feel which is common to all their work. I fervently hope this factory keeps on churning.

Old Ideas (Columbia) PAPERBACKS, LP (it scratches in the places where it used to play), cassette, CD, DVD: my Cohen collage is testament to the length of his career. Given his reputation for always looking on the dark side of life, the song-poet might appreciate his artifice arrived via download. The themes appear bleak: approaching TWERPS Twerps (Chapter Music) A record that’s probably been noticed more in its native Melbourne than here, for obvious reasons: the bearded and amiable Twerps are serious Clean/ Flying Nun acolytes. There’s no disputing this is comfort music of the highest order for fans of the period; but fuck it, I’m so glad this is my comfort music rather than, say, Tool. MR. MUTHAFUCKIN EXQUIRE Merry eX-Mas & Suck My Dick! (Self-released) The Xmas-themed mixtapes keep coming (see: Smoke DZA’s Sweet Baby Kushed God two weeks ago). The title and vibe suggest some sort of lame Afroman teen guffaw, but he’s an excellent, gritty NYC rapper with a cantankerous hatred for Ed Hardy-decked hipsters and enough technique to give Danny Brown a run for his money on the superb Doug-homaging ‘Killah Tofu’. VINTAGE TROUBLE The Bomb Shelter Sessions (Shock) You know how in Midnight in Paris Owen Wilson goes back to the 1920s only to

death (a reasonable preoccupation for a 77-year-old); spirituality and relationships though, unusually, there’s little focus on sex (previous parenthesis applies, presumably). But Cohen faces his next life-stage wryly. On ‘Going Home’, the seeming voice of God tells listeners what He expects from Leonard: “He’s just a lazy bastard living in a suit”. The voice has dropped several more octaves: His Armaniness intones the lyrics rather than previous attempts to locate, let alone carry, a tune. Bet there’ll be a tribute version with melodies attached. Pity Joe Cocker’s past: “You want to change the way I make love, but I want to leave it alone”. Musically, the band that has dressed Cohen’s three-year world tour with elegance and style garbs the pensioner’s words in klezmer, something from the Anglican Hymns Ancient & Modern, a whiff of JJ Cale, even a splash of Kristofferson; each pitch-perfect. Is there a place for the man today, or is he Grandad in the armchair on Xmas Day? “No one listens to me. I might as well be a Leonard Cohen album,” wailed misfit Neil, decades ago, in The Young Ones. Young ones could do worse than hear this funny voice in his hour of song. Review Ewan McDonald

realise the ultimately false and subjective nature of nostalgia? This is like if a band went back to the early ’90s circa the Lenny Kravitz hard-rock revival (dig that totally antiseptic production), only the penny never dropped. Whoops. FRANCOIS & THE ATLAS MOUNTAINS E Volo Love (Domino) Bristol-based Frenchman and his band are a surprisingly okay synthesis of things that have been relatively popular in indie either recently (fluttering highlife guitar licks, as on ‘Les Plus Beaux’) or forever (The Smiths). The languid European cloak of reverb makes this more appealing than your bog-standard English larrikins. Top track: ‘Edge of Town’. SHALLOW REWARDS Aurin Sentha Lane: Morning Train II (Shallowrewards. Ex-music journo Chris Ott has been putting out tongue-in-cheek but aesthetically on-the-money genre mixes on the Shallow Rewards blog for the past year, mixing dark ambient with ’80s balladry on the ‘Night Bus’ mixes, now turning to airier and more bucolic vibes on ‘Morning Train’. Reappraised ’90s IDM chitter meets Janet Jackson edits meets Deerhunter; really good.

KAPABAL Thank You (Self-released) Upper Hutt rapper sounds pretty flat on parts of this freebie release, though considering it’s a thank-you to fans and supporters you could forgive that. His strengths – high-concept takedowns that leap from Twitter to vaccined clone sci-fi metaphors to Xanax Supreme, spaced-out and imaginative dub production – are showcased on ‘Stand with Me’. VARIOUS ARTISTS Bathetic Records Presents “Expressway” (Bathetic) A sign of a good indie is that their end-of-year reach-around stands up on its own merits. The North Carolina label is still cassette-only, but this excellent free compilation from their website features a tawdry cop-show theme rarity from Dirty Beaches, an insane noiserock soundscape from Florida’s Tonstartsbandht and many other spooky no-fi synth artists, marinating in the ambience of tape hiss. ISENGRIND Night of Raining Fire (Blackest Rainbow Records) Because you just know something that sounds like a

JULIEN DYNE’S TOP FIVE AIRPORT CHECK-IN QUEUERELIEF ALBUMS 1: Matthew David – Disk 2: Moondog – Moondog 3: Arthur Verocai – Arthur Verocai 4: Radiohead – The King of Limbs 5: Teebs – Ardour Julien Dyne’s new album Glimpse is out Monday 5 February on Wonderful Noise/Rhythmethod.

JRR Tolkien castle thing called Night of Raining Fire on something called Blackest Rainbow Records will kick your arse. This didn’t at all – it’s ethereal, haunting psych-folk that sounds like a lost diva Gregorianchanting over herself. Hard to digest in full in the summer setting – try to save it in mind for winter. ISIDORE DUCASSE Isidore Ducasse (Blackest Rainbow Records) Turns out Blackest Raindow specialise in this bad-trip drone. Isidore Ducasse sound a little like someone stitching together all the bits of squall and lurching chords from Neil Young’s entire electric career to make something oddly serene and compelling. This one’s your summer night – you can practically hear the crickets chirp. REBECCA FERGUSON Heaven (Syco) “Inspirational” X-Factor runnerup music. This is all slinky and competently-made Adele Winehouse power-soul music, up to the British manufacturing standard, but it hews so hard to the safe middle it makes you wish for death something that flirts with strangeness and disaster a little more. Reviews Joe Nunweek

Mayer Hawthorne’s is a great story. Performing as hip hop DJ Haircut, he gave a couple of blue-eyed soul sounding tracks “as a joke” to Stones Throw Records boss Peanut Butter Wolf, who then asked Hawthorne to record a whole album in that style. VOLUME spoke with the man born Andrew Cohen about being Mayer. Text David Carroll “IT WAS A little daunting at first, for sure,” Mayer Hawthorne tells me, speaking about recording his debut. “But people are really smart and they can sense when something is real and something is fake, so I knew I had to just be myself.” I’m glad he brought it up. One of the peculiar things about using different aliases for performing and recording different music is when only one of the aliases is lauded. The idea of hip hop DJ Haircut becoming the sharp-dressed ladies’ man Mayer Hawthorne – essentially overnight – is fascinating, and has seen Cohen’s authenticity come into question. “If I was playing a character, well, I’m not a good actor, so I think people would’ve seen through that and it wouldn’t have worked like it did.”

“My Pops was a huge influence on me, of course. He still is. Shout out to my Pops!” Beyond the challenge of writing an album’s worth of material in one defined style, there was also the small matter of fronting a band for the first time. “It was something I’d never really done – I’d never been the lead singer of any group.” Cohen had been the bass player, the beatmaker, the one who provided a canvas for other frontmen to paint over. “It was definitely something that took a lot of getting used to, but I had to bite the bullet, dive into the deep-end head first and say, ‘Am I gonna do this or not?’” There’s little doubt he did it. The first track Cohen wrote as Mayer Hawthorne was also his lead single and an absolute gem. ‘Just Ain’t Gonna Work Out’ was one-part Dilla, one-part Smokey Robinson, yet totally fresh. The door opened to considerable success – and this is where it gets interesting: is it possible for someone who has found success in one style to

progress that sound without losing their fan base? Cohen thinks so. “That was kind of the main focus for the new album. I thought to myself, ‘Why am I making this music with just one style when I grew up listening to every style of music?’ I was really proud of the new record. I felt like it wasn’t retro-soul, it wasn’t throwback-soul, it wasn’t new-soul – it was Mayer Hawthorne. I felt like I found my own sound.” That sound is rooted in his upbringing. “Detroit is the shit, man! It’s a beautiful place with a lot of creativity and a lot of amazing culture. It’s also a really hard-working, bluecollar place to live, so I’m really grateful for that work ethic that was instilled in me early on.” Cohen grew up in Ann Arbor, Michigan, with an incredibly supportive family. “I was really blessed to grow up in a musical household. My Pops taught me to play bass when I was six years old, and he still plays in a band in the Detroit area to this day. He was a huge influence on me, of course, and he still is.” From a tight family unit growing up, to signing with Stones Throw for his debut album, Cohen has had great support as he transformed into Mayer Hawthorne. “Stones Throw are like a family, and I think that’s part of the magic of it, that Dam-Funk and Peanut Butter Wolf and James Pants and I can go to the record store together and dig for records, and it has nothing to do with releasing our music or performing – it’s about our shared love for music.” Ever the gentleman, Cohen has convincingly – and with considerable class – let me know that Mayer Hawthorne is as real as it gets. How do you do? VOLUME presents Mayer Hawthorne and The County live at San Francisco Bath House in Wellington on Wednesday 22 February and The Powerstation in Auckland on Thursday 23 February.

FIVE INFLUENTIAL RECORDS FROM MAYER HAWTHORNE’S POP’S COLLECTION Earth, Wind & Fire – Let’s Groove (1981) “That was a really huge record for me growing up – classic material.” The Police – Synchronicity (1983) “I remember that was the first record that I actually bought with my own money. It was on cassette tape and, because it was my Dad’s cassette, I’d played it so much I wore it out and it snapped. He made me buy him another one!” The Beatles – Rubber Soul (1965) and Help! (1965) “My Dad’s favourite is definitely Rubber Soul so that was probably the first one that he put me onto, but I remember the Help! soundtrack too. I really loved that one as a kid. There was just something about those tunes that just really connected with me as a little shorty.” The Doobie Brothers – Minute by Minute (1978) “That was another big one for me as a kid – essential listening.” Steely Dan – Aja (1977) ”Steely Dan is one of my favourite groups of all time. Man, I got a chance to see Donald Fagen play with Michael McDonald and Boz Scaggs out here, and that was one of the most epic moments of my life, seeing them all play together.”

thanks to George Clooney’s affable performance, and the fact that the laidback Hawaiian setting, marked by coyly travelogue-ish cinematography and a score of gentle slack-key guitar melodies, lulls you into indifferently accepting its pleasant dullness. Clooney is Matthew King, a lawyer who’s saddled with the task of actually looking after his two daughters, Scottie Director Alexander Payne (Amara Miller) and Alex (Shailene Starring George Clooney, Woodley), when a boating accident leaves his wife in a coma. To compound that Shailene Woodley, dilemma, he’s also involved in a deal Amara Miller to sell off his family’s prime real estate in Kauai – a subplot that makes some THE DESCENDANTS IS like an concession to ancestral children-are-tiedAlexander Payne film made by someone to-the-land-type significance, but feels who grew up studying and wanting to tacked on for last-minute pathos. make Alexander Payne movies: it has If the film’s drama is largely heavythe sudsy dramedy formula down pat, handed, its comic scenes are even less all unerring character sensitivity and bittersweet/sly humour, but it ain’t the real successful, relying on such banalities deal. It’s a bit of a bummer seeing Payne so as King’s youngest daughter Scottie removed from his winningly satiric Citizen spewing profanity, or deadweight characters like Alex’s dude-friend Sid, Ruth or Election days; where his writing who’s introduced as a complete airhead once bore some teeth, it’s now smoothed out into an inoffensive middle-of-the-road but does a 360-switch into a person of unexpected depth during a credibilityOscar-ready cry-fest with just enough utterances of “fuck” to give it a little “edge”. straining heart-to-heart with Clooney. Review Aaron Yap The film remains endurable, however,


Speed director Jan De Bont is set to return to filmmaking with a remake of the 1961 Johnny Cash heist film Five Minutes to Live. De Bont hasn’t directed anything since 2001’s Tomb Raider: The Cradle of Life. The CGI adaptation of Jeff Smith’s comic book Bone is finally getting off the ground, with PJ Hogan (Peter Pan) attached to direct from a script being reworked by Greek creator Patrick Sean Smith. Peter Jackson shed tears after the first screening of West of Memphis at Sundance as he spoke about the flaws of the justice system. Jackson and his wife Fran Walsh produced the Amy Bergdirected doco, a new take on the controversial case of the West Memphis 3.






ON DVD AND BLU-RAY JANUARY 25 ROADSHOW ENTERTAINMENT NZ Search Roadshow Entertainment on Facebook for Angry Boys videos, wallpapers and bonus content

© Angry Boys Pty Ltd 2011


THE GLUEPOT, AUCKLAND WEDNESDAY 2 APRIL 1986 The Tegal Chicken saw The Damned play their first New Zealand show at The Gluepot in Auckland on Wednesday 2 April 1986. IN 1986 AT the tender age of 19 I went to see the “old men of punk” at The Gluepot – The Damned. I recall my disappointment at not seeing the great Brian James on guitar; he’d already left and been replaced by Roman Jugg. Captain Sensible had also moved on in 1986. But Rat Scabies brought a whole new meaning to “crashing drums” with his ever-pumping doublekick pedal which gave the perpetual illusion he was out for a hard run – sitting down. He had me transfixed all night. I’d heard him do a guest spot on bFM the night prior, and he was a riot. And Dave Vanian had the bleached strip in his jet-black hair, which had him looking like he was straight out of a Hammer Horror. So yes, they were The Damned alright.

“Rat Scabies brought a whole new meaning to ‘crashing drums’ with his ever-pumping double-kick pedal.” Phantasmagoria was a recent release, which signalled a far poppier but more gothic band than their earlier classics like Damned Damned Damned and Machine Gun Etiquette – but they still managed to include ‘Smash It Up’ and ‘New Rose’ with new “hits” ‘Grimly Fiendish’ and Barry Ryan’s ‘Eloise’. While not wardrobed in the late ’70s attire which much of the local punk scene were expecting them to turn out in, they looked like grimly fiendish dandies in their outfits. For the encore, Rat took up guitar and The Damned broke into a rambunctious version of ‘Pretty Vacant’. It was a magic night. They would return a year later and perform a mid-summer show at The Galaxy where they visited ‘The Doors’, but The Gluepot gig did it for me. Twenty-five years later, and I look back and think how young they were then. Not even 10 years after ‘New Rose’, they were probably still in their 20s and early 30s, and still near their rock prime. Let this be a lesson, kids: real rockers still have it in them, even when they get a bit older, and have a few tricks up their sleeve to amaze and delight the whippersnappers.


THE DAMNED THE POWERSTATION, AUCKLAND WEDNESDAY 25 JANUARY Review Kriss Knights Photography Roger Grauwmeijer

WELCOME TO VINTAGE clothing night at The Powerstation; all across Auckland people in their 40s and 50s could be heard demanding to know where their Ramones T-shirt was. “Unbeknown to my stepdad,” whispered a diminutive young lad from Hamilton in a Sex Pistols T-shirt, “I’m stage-diving tonight.” Hamilton also had very distinct ideas of what he wanted from the setlist. So did everybody else. It’s been 35 years since The Damned were formed and 25 years since they have played in New Zealand, a remarkable statistic given that in the UK they never really went away. The back catalogue is extensive, occasionally patchy but often astonishing. For example, track for track The Black Album is better than The Sex Pistols Never Mind the Bollocks and The Clash’s London Calling – there, I fucking said it. That was the point where frontman Dave Vanian spread his bat wings and enshrouded The (formally erratic, cartoon, but sporadically brilliant) Damned in an edgy darkness they have never lost. They open with the first three tracks of The Black Album; ‘Wait for the Blackout’, ‘Lively Arts’, and the one song the only other original member (guitarist Captain Sensible) can be trusted to sing, ‘Silly Kids Games’. They later add a mesmerising ‘13th Floor Vendetta’ and a spinetingling ‘History of the World.’ Vanian brought a slick vampire cool to punk rock before there was any such thing as goth, and he maintains his mystique by letting Sensible do most of the talking. He glides across the stage effortlessly for a man over 1000 years

old, and the richness in his vocals on ‘Shadow of Love’ and ‘Feel the Pain’ is nothing short of magnificent. It could have all gone horribly wrong – only seven songs in some Muppet threw a drink at Captain Sensible and he walked off, Vanian leading the other three members off after him. They came back on after the culprit was removed, with Sensible proclaiming his new found love for Auckland. Not as trite as it sounds, as he was earlier seen walking up from K Road with a bag full of shopping. The Damned have, by their standards, had a pretty stable lineup recently (even Sensible wasn’t a member for over 10 years), and it shows. A 30+ year veteran fan rang from Scotland last month to say he had just seen them: “I have never seen them so good. I fear they may have been practising.” Tonight they proved

“The Black Album is better than The Sex Pistols Never Mind the Bollocks and The Clash’s London Calling – there, I fucking said it.” this unlikely statement true, knocking out a tight, hard, best-of set; ‘New Rose’, ‘Love Song’ and ‘Neat, Neat, Neat’, but also a blistering ‘Ignite’ and a seldom-heard ‘Anti-Pope’. At one point a diminutive kid in a Sex Pistols T-shirt sprinted across the stage and flew into the crowd while his stepdad shook his head. “A funny thing growing old,” said Sensible at one point. “I don’t know about you, but I don’t intend going quietly.” Apparently not.

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TUESDAY 31 Kitty, Daisy & Lewis – Powerstation, Eden Terrace, 8pm Auckland Jazz & Blues Club – The Moonlighters – Pt Chevalier RSA, Pt Chevalier, 7:30pm, $5 The Crimson Vendetta, Incarnium, Within Closed Arms & More – Kings Arms, Newton, 8pm, $7 WEDNESDAY 1 Afterdawn, Young Mood Club, Autospoon and Yolanda – Kings Arms, Newton, 8pm Chicane Duo – Sugar Bar, Newmarket, 7pm, Free Creative Jazz Club: James Ryan (Australia) – 1885 Basement, Auckland CBD, 8pm, $5-$10 The Circling Sun Band + DJ Truent – Ponsonby Social Club, Ponsonby, 9pm, Free Live Latin and Brazilian Music – The Mexican Cafe, Auckland CBD, 8:30pm, Free Acoustic Wednesdays with Eli – Neighbourhood, Kingsland, 7:30pm, Free Lace – Ivory Lounge, Parnell, 7:30pm, Free Wednesday R&B Jam Night – Flo Bar & Cafe, Newmarket, 9:30pm, Free THURSDAY 2 Altmusic 2012 presents Mark McGuire (Emeralds) w/ Droszkhi – Audio Foundation, Auckland CBD, 8pm, $10 Mark Cunningham – Union Post Brewbar, Ellerslie, 9pm, Free Scott Kelly (Neurosis) John Baizley (Baroness) – Kings Arms, Newton, 8pm Park Tapes Presents Apollo Kids Beatmakers Night – Khuja Lounge, Auckland CBD, 9pm, $5 Petra Rijnbeek & Paul Voight – The Lumsden, Newmarket, 6:30pm, Free FRIDAY 3 The Red Eyes (Melb) NZ Homecoming Tour – Sawmill Cafe, Leigh, 9pm, $18 Lloyd – King Of Hearts Tour 2012 – The Civic, THE EDGE, Auckland CBD, 7pm, $39.95 Dairy Flat Live Blues Club – Black Dog – Dairy Flat Community Hall, Dairy Flat, 8pm, $8-$10 Kiwi Express – Birkenhead RSA, Birkenhead, 7pm, Free Camo and Krooked – 4:20, Newton, 10pm, $25-$35 Pete Grassby at East Coast Folk Club – Senior Citizens Social Centre, Torbay, 8pm, $5-$7 Charlie Couch – Love Songs With a Hint of Jazz – Riverhead Tavern, Riverhead, 6pm Latin Live Music – Besos Latinos Restaurant, Auckland CBD, 7:30pm, Free Salsa Nights – Atico Cocina, Auckland CBD, 6pm, Free Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City – Ascension Wine Estate, Matakana, 5pm, $59-$69 Rebel Without Applause – Grey Lynn Returned Services Club, Grey Lynn, 8pm, Free Bob Marley Party – Kings Arms, Newton, 7pm, $10-$15 Bare Grillz (Aus), No Art (Aus) + Heaps More – The Lucha Lounge, Newmarket, 9pm, $5

SATURDAY 4 Knights of the DUB Table ‘Way of the DUB’ Album Tour – 4:20, Newton, 9pm, $10 Ak Action Against Poverty ft. Lubin Rains (Vietnam War) – Kings Arms, Newton, 7pm, $10 Goodbye Light – The Lucha Lounge, Newmarket, 8:30pm Shenandoah Davis (USA) w/ Nadia Reid & Luckless – Wine Cellar, Newton, 8pm Sun Araw – Whammy Bar, Newton, 10pm, $15 The Anti-Poverty Benefit Show – Kings Arms, Newton, 8pm, $8-$10 Comedy meets Country – Henderson RSA, Henderson, 7:30pm, $5 Zed’s Dead and Bare Noize – Studio, Newton, 10pm, $20-$30 Foam 3 – 519 Club, Mt Wellington, 10pm, $25-$40 Music in Parks 2012 – Jazz at the Rotunda – Tamakae Reserve, Waiuku, 5pm, Free Neil Watson 3 – Buenos Aires Restaurant, Herne Bay, 9:30pm, Free Habana Noches – Tropical Flavour – QF Tavern, Auckland CBD, 9pm, Free Cripple Mr Onion, Fuelset, Resporn & Catalyst – The Coda Lounge, New Lynn, 7pm, $10 Pseudorobustus Album Release With Mean Girls And Octopus – Sports Bar, Kingsland, 10pm, $5 Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City – Ascension Wine Estate, Matakana, 5pm, $59-$69 The Rock ‘n’ Roll Allstars – The Kentish Hotel, Waiuku, 8pm, Free SUNDAY 5 The Red Eyes (Melb) NZ Homecoming Tour – Kings Arms, Newton, 7pm, $18 A Summer of Free Music in the Market – Artisan Wines, Oratia, 1pm, Free Blues in The Boat House – Mike Garner – Riverhead Tavern, Riverhead, 2pm, Free JamesRAy’s Acoustic Country Sunday – Bar Africa, North Harbour, 12pm, Free JamesRAy’s Encore Acoustic Country Sunday – Bar Africa, Highland Park, 5:30pm, Free Music in Parks 2012 – The Culture Garden – Nathan Homestead – Manurewa Arts Centre, Manurewa, 4pm, Free Sandpaper Tango – Corelli’s Cafe, Devonport, 6pm, Free Bob McNeill – The Bunker, Devonport, 8pm, $15 Outer Base – Sawmill Cafe, Leigh, 3pm, Free Coopers Creek Summer Sunday Jazz – Coopers Creek Vineyard, Huapai, 1pm, Free Jazz Day – South Cove Landing, 12pm, $20 Music in Parks 2012 – Jazz at the Rotunda – Auckland Domain Band Rotunda, Parnell, 2pm, Free Sunday Jazz, Rock, Reggae Session – Shooters Saloon, Kingsland, 2pm, Free The Turnaround – Sawmill Cafe, Leigh, 9pm, $20 MONDAY 6 Muriwai Waitangi Day Festival 2012 – Houghtons Bush Camp, Muriwai Beach, 10am, $20

Music in Parks 2012 – The Culture Garden – Central Park, Papakura, 4pm, Free Grasshoppers – The Bunker, Devonport, 8pm, $15 Toi o Manukau Waitangi Day Family Celebrations 2012 – Barry Curtis Park, Botany Downs, 10am, Free Music in Parks 2012 – Summer Sounds – Henderson Park, Henderson, 2pm, Free NRG Rising & Co – Flo Bar & Cafe, Newmarket, 4pm, $10


THURSDAY 2 Royal New Zealand Navy Band – Turner Centre, Kerikeri, 6pm, $10 FRIDAY 3 Sterling Rd Hoedown Band – Paparoa Hotel, Paparoa, 7pm, Free Joe Carbery Trio – Aratapu Tavern, Dargaville, 7:30pm, Free SATURDAY 4 Sterling Rd Hoedown – Sterling Rd, Paparoa, 12pm, $3 Waitangi Festival – Waitangi Treaty Grounds, Paihia, 6pm, Free I Am Giant – Let It Go Summer Tour – Mangawhai Tavern, Mangawhai, 8pm, $32.85 SUNDAY 5 Makareta Umbers and Daniel Hewson – Food at Wharepuke, Kerikeri, 12pm, Free Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City – Marina Reserve, Tutukaka, 5pm, $59-$69


SUNDAY 5 Whitianga Summer Concert – Whitianga Waterways, Whitianga, 12pm, $89


FRIDAY 3 Knights of the DUB Table ‘Way of the DUB’ Album Tour – FLOW, Hamilton, 9pm, $10 Thunderdykes + Heart Attack Alley – Static Bar, Hamilton, 9pm SATURDAY 4 The Red Eyes (Melb) NZ Homecoming Tour – FLOW, Hamilton, 9pm, $18 Boardies & Bikinis 2012 – Ruapuke Motor Camp, Raglan, 12am, $80 Taupo Summer Concert – Riverside Park & Unison Amphitheatre, Taupo, 12pm, $89 SUNDAY 5 South Waikato Country Music Club Concert – The Plaza, Putaruru, 1pm, Free MONDAY 6 More FM Summer Vineyard Tour 2012 – Claudelands Park, Hamilton, 5pm, $79


THURSDAY 2 Supermodel & Sleeping Dogs – The Cabana, Napier, 9pm, $10 FRIDAY 3 More FM Summer Vineyard Tour 2012 – Sileni Estates, Hastings, 5pm, $79

SATURDAY 4 Shotgun Alley – The Cabana, Napier, 8pm, $15 Bay MC One Night Stand – Tuki Tuki Christian Camp, Havelock North, 11am SUNDAY 5 HBS Summer in the Parks – Cornwall Park, Hastings, 3pm, Free


WEDNESDAY 1 BOP Blues Club and Jam Night – The Belgian Bar, Rotorua, 7:30pm, $5 THURSDAY 2 LSG Group – The Pheasant Plucker, Rotorua, 9pm, Free FRIDAY 3 Shotgun Alley – The Shed, Rotorua, 8pm, $15 Hipshooters NZ Tour – The Belgian Bar, Rotorua, 8pm, $10 Copious Ail – TEAZAR Lounge Bar & Night Club, Rotorua, 9pm SUNDAY 5 Summerfest 2012 – Blake Park, Mt Maunganui, 10am, $20 Shenandoah Davis (USA) – Major Toms, Mt Maunganui, 8pm, Free Rhythm Rotorua – Rotorua Arts Village RAVE, Rotorua, 12:30pm, $25 MONDAY 6 Jimmy & Perry – The Pheasant Plucker, Rotorua, 7pm, Free


WEDNESDAY 1 Creedence Clearwater Revisited Summer Tour – TSB Bowl of Brooklands, New Plymouth, 7pm, $89 SATURDAY 4 More FM Summer Vineyard Tour 2012 – TSB Bowl of Brooklands, New Plymouth, 5pm, $79 The Feelers Hope Nature Forgives Summer Tour – Butlers Reef Hotel, New Plymouth, 7:30pm, $40


THURSDAY 2 Sandpaper Tango – The Bent Horseshoe Cafe, Tokomaru, 7:30pm, $25 FRIDAY 3 Supermodel & Sleeping Dogs – The Royal, Palmerston North, 9pm, $10 SATURDAY 4 The Party’s Not Over Yet – Matiflow CD Release – The Colosseum Event Centre @ High Flyers, Palmerston North, 10pm, $2-$5 MONDAY 6 Waitangi Day Concert – The Square, Palmerston North, 12pm, Free

WELLINGTON REGION TUESDAY 31 Live Music – The Library, 5pm, Free WEDNESDAY 1 The Other Hands with Orange Farm – Mighty Mighty, 9pm, $2 THURSDAY 2 Nick Charles (Australia) – Hotel Bristol, 8:30pm, Free The Wanted Sessions – A Tribute to Hank Williams – Mighty Mighty, 8pm, Free

Camo & Krooked (Hospital Records) + MC Tali – Sandwiches, 10:30pm, $20-$30 Late Lounge: Klezmer Rebs – The Dowse Art Museum, Lower Hutt, 7pm, Free The Datsuns – San Francisco Bath House, 8pm, $28 FRIDAY 3 The Unfaithful Ways w/ Eb and Sparrow – St Peters Hall, Paekakariki, 8pm, $10 Sun Araw, Absolute Boys and Rose Quartz DJs – Mighty Mighty, 9:30pm Tom Rodwell & Storehouse – Adam in the Garden Single Release – The Southern Cross Bar and Restaurant, 8pm, Free In Like Flynn – Molly Malones, 9pm Hot Club Sandwich & Friends – Old St Paul’s, 5:30pm, $20 Creedence Clearwater Revisited Summer Tour – Trentham Racecourse, Upper Hutt, 7pm, $89 SATURDAY 4 Sunken Seas, Jon Lemon & Diving – Mighty Mighty, 9:30pm In Like Flynn – Molly Malones, 9pm Newtown Top Ranking – Baobab Cafe, 1pm, Free Bradley Garner’s The Heart EP Launch Gig – Lindale Centre, Paraparaumu, 7pm, $5 SUNDAY 5 More FM Summer Vineyard Tour 2012 – Daisybank Farm, Martinborough, 5pm, $79 The Boptet – The Lido Cafe, 7pm, Free The Sunday Jazz Club – Public Bar & Eatery, 7:30pm, Free

Southern Alehouse, 8pm, Free Salsa On Thursdays – Salsa Latina Dance Studio, 8:45pm, Free FRIDAY 3 Waihi Bush Music Festival – Waihi Bush Organic Farm, Geraldine, 8:30pm, $20-$80 Little River Music Festival – La Casa Bella, Banks Peninsula, 10am Retrosonic – Becks Southern Alehouse, 9pm, Free SATURDAY 4 Waihi Bush Music Festival – Waihi Bush Organic Farm, Geraldine, 9:00am, $20-$80 Valdera, Petit Poisson & Arroes – darkroom, 8pm, Free The Stone Cold Chillers – Pierside Cafe and Bar, 8:30pm, Free Camo & Krooked – The Colombo, 7pm, $25-$60 Salsa Night Fever – Salsa Latina Dance Studio, 9pm, $5 Little River Music Festival – La Casa Bella, Banks Peninsula, 10am SUNDAY 5 Waihi Bush Music Festival – Waihi Bush Organic Farm, Geraldine, 9:00am, $20-$80 Flip Grater – darkroom, 8pm, Free Little River Music Festival – La Casa Bella, Banks Peninsula, 10am New Dub City 2012 Aotearoa Tour – Dux de Lux, 8pm, Free MONDAY 6 Voltaire (NYC) – The Ancient Realm, 8pm, $23-$27 Little River Music Festival – La Casa Bella, Banks Peninsula, 10am


THURSDAY 2 Davin McCoy (USA) New Zealand Tour – Barluga, Wanaka, 9pm, Free New Dub City 2012 Aotearoa Tour – Dux de Lux, Queenstown, 8pm, Free FRIDAY 3 JStar (UK) & The Nomad – Wanaka HQ, Wanaka, 9pm Rippon 2012 Warmup – Mint Bar, Wanaka, 9pm New Dub City 2012 Aotearoa Tour – Mint Bar, Wanaka, 8pm, Free SATURDAY 4 Wanaka Summer Sessions Part 2 ft. Camo & Krooked – Mint Bar, Wanaka, 7pm, $30-$60 Andy & Colette – Birdlands Wine Company, Oamaru, 8pm, Free Rippon Festival: SOLD OUT – Rippon Vineyard, Wanaka, 9:30am, $132-$220 Rippon 2012 Afterparty – Mint Bar, Wanaka, 9pm, $10-$15 New Dub City 2012 Aotearoa Tour – Chicks Hotel, Dunedin, 8pm SUNDAY 5 Creedence Clearwater Revisited Summer Tour – Queenstown Events Centre, Queenstown, 5pm, $89 Davin McCoy (USA) New Zealand Tour – Luggate Hotel, Wanaka, 3pm, Free

WEDNESDAY 1 Luminate Festival 2012 – Canaan Downs, Golden Bay, 10am, $185 THURSDAY 2 Alizarin Lizard – The Weekend Went Without You Album Tour – Mussel Inn, Golden Bay, 9pm, Free FRIDAY 3 Introducing Rhythmonyx – Church Steps, Nelson, 4pm, Free Rhythmonyx – The Shark Club, Nelson, 10pm, $10 Emeralds & Greenstone – Fairfield House, Nelson, 8pm, $15 SATURDAY 4 Boogie Train Blues BBQ – The Playhouse, Waimea, 6pm, $10 SUNDAY 5 Music on the Lawn – The Eva Effect – Woollaston Estates, Upper Moutere, 1pm, Free


THURSDAY 2 Tom Rodwell & Storehouse – Adam in the Garden Single Release – Le Cafe, Marlborough Sounds, 8pm SUNDAY 5 Alizarin Lizard – The Weekend Went Without You Album Tour – Dharma Bums Club, Blenheim, 9pm, $10


THURSDAY 2 Pairs – Summer Sweat NZ Tour 2012 – darkroom, 9pm, Free The Black Velvet Band – Becks


has teamed with Eventfinder for gig listings. To get your gig considered, go to and submit your show for publication. Due to space constraints, we can’t guarantee that every show will be listed.








AUCKLAND Sherpa will be touring soon, playing all-new material from their forthcoming album… Excitement in certain crusty circles with an impending tour announcement of The Subhumans… Straight from chicken town, John Cooper Clarke will be performing in Auckland in March… Home Brew’s Tom Scott has paid tribute to his Mum on the INFproduced ‘Macaroni Cheese’ – have a listen at younggiftedandbroke.… John Baizley from Baroness will perform solo at the Kings Arms on Thursday 2 February… Revive on Fort Lane is doing the business – long queues at lunchtime hungry for their fresh selection of salads… The Damned played a blistering set at The Powerstation (see Kriss Knights’ review). Dave Vanian spotted on K Road looking for monocles and Captain Sensible trying out vege restaurants, giving the Krishna joint on K Road the big thumbs-up at their show… All-girl folk metallers Nektar Mountain dabble in the dark arts with their new recordings – remember when black

WELLINGTON Dugal McKinnon, director of the Lilburn Electroacoustic Music Studios and programme leader in Sonic Arts at the New Zealand School of Music, and friends have just released a new experimental pop record, Who’s Most Lost?, under the group name Arcades on Rattle Records… Fishhead Magazine writer Jenah Shaw and photographer Emma Anderson are crowd-funding for their new limitedrun art journal project Immortal. Check it out at Crowd/Details/40 and, if you like


John Cooper Clarke

metal had flutes?… Activist group Auckland Action Against Poverty is to hold a benefit gig on 4 February at Kings Arms to help raise money for its campaigns this year. AAAP spokesperson Sarah Thompson says, “Groups like ours find it hard to raise money from conventional sources, so we’re really grateful to the artists who are putting their talent on the line to help us fight attacks on the poor, just as our members put themselves on the line on the streets of Auckland.” The event will feature Heart Attack Alley, Shitripper, Lubin Rains, Tina Turntables and Moppy. $10 waged/$8 unwaged… Can Kim Dotcom please sell us the VOLUME personalised plate he’s been stashing for our Toyota?

the concept, show some financial support… Social media evangelists take note: regular Twitter meet-ups have been going down at Hashigo Zake on lower Taranaki Street… Wellington’s Waitangi Day One Love Festival is returning for 2012, this time in a new waterfront location near the CBD… Immortal Technique, Akir, Poison Pen, DJ Static and super producer SouthPaw raised the roof at San Francisco Bath House on Saturday… Thursday night at Mighty Mighty, The Wanted Sessions presents a tribute to OG country legend Hank Williams. Music will be handled by VOLUME favourite Delaney Davidson and band, as well as locals Blackwater, who definitely aren’t a US security firm… Bleeding edge experimental club music night EX.D takes over Sandwiches on Friday night. Live performances from D:UNK and Nat Walker, as well as DJ sets from Excelle, Cruickshank and Gus – free entry… Also on Friday night, over at Fast Eddies, DJs Kerb, Omega B and Spell rep

true school hip hop, rap and electro with their new night Fat Laces. $5 entry and free pool!... Saturday night at San Francisco Bath House, Dan Deacon and a band of friends plus Golden Axe will be getting on down as part of a small national tour. Dan Deacon, people – you know the drill!... Thursday 9 February, Mara TK of Electric Wire Hustle debuts his new project Data Hui at San Francisco Bath House. The theme is “Maori in space”, and the band includes Mara, Billy TK, Aaron Tokona, Riki Gooch, Iraia Whakamoe and Crete Haami. Very essential. CHRISTCHURCH This week has seen the usual massive crowds attending the annual Buskers Festival. The CPIT Music Pitch in Cashel Mall features Dr Rhythm, Mel Parsons, Dr Sanchez and The Eastern… Bang Bang Eche are still waiting for someone to pick up the album they recorded last year. Having successfully toured the States and Europe, they are finding it difficult to fund the release. Meanwhile they continue to reside in Christchurch. Zak Doney is reported to be writing a rap album as a follow-up to last year’s solo release, Charlie Ryder is playing keys for Sleepy Age, and T’Nealle Worsley is running the very successful venue The Darkroom… The Brewery has announced plans to open an “arts precinct” with more bars and a purpose-built venue… Local journo Kent Caddick has written a song, ‘Munted in Brighton’, which has been recorded by Jordan Luck with Dave McArtney, Tony Waine and Steve Clarkson contributing. DUNEDIN Has Thundercub really broken up (VOLUME hopes not) or is it just a hiatus?... Which UK legend is appearing in Dunedin next?... Two Cartoons play Auckland in early February, and have an EP and video in the works… Osmium’s Misery Harvest Tour continues to reap dead souls across the country… Japanese rockers Thatta rumoured in March… The Swallow Your Words Festival finally gets some good weather… Knives at Noon have a new track out… Local engineers all really busy with lots of mixing and mastering work – must be something in the water down these parts.

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KITTY, DAISY & LEWIS Tuesday 31 January – The Powerstation, Auckland Wednesday 1 February – Bodega, Wellington

RIPPON FESTIVAL – SOLD OUT Disasteradio, Katchafire, Kora, Orchestra of Spheres, Street Chant, Sunshine Sound System, The Datsuns and TrinityRoots Saturday 4 February – Rippon Vineyard, Lake Wanaka

CAMP A LOW HUM 2012 10–12 February – Camp Wainui, Homedale, Wainuiomata

NEW ORDER Monday 27 February – Vector Arena, Auckland

THE BLACK LIPS Tuesday 28 February – The Powerstation, Auckland

URGE OVERKILL Tuesday 6 March – The Powerstation

RYAN ADAMS Tuesday 6 March – The Regent Theatre, Dunedin Thursday 8 March – The Civic Theatre, Auckland

ROKY ERICKSON Wednesday 7 March – The Powerstation, Auckland

ARIEL PINK’S HAUNTED GRAFITTI Tuesday 13 March – Kings Arms, Auckland Wednesday 14 March – Bodega, Wellington


SPLORE 2012 Erykah Badu, Hudson Mohawke, DJ Qbert and Reeps One, Soul II Soul, Africa Hitech, Gappy Ranks, Shortee Blitz, The Yoots, @Peace, Scratch 22, Disasteradio, Alphabethead, Earl Gateshead, The Nudge, AHoriBuzz, The SmokeEaters, Hermitude and more 17–19 February – Tapapakanga Regional Park, Auckland

MAYER HAWTHORNE AND THE COUNTY Wednesday 22 February – San Francisco Bath House, Wellington Thursday 23 February – The Powerstation, Auckland

THE SISTERS OF MERCY Wednesday 22 February – The Powerstation, Auckland

DIRTY THREE Wednesday 14 March – The Powerstation, Auckland

ST VINCENT Sunday 18 March – Kings Arms, Auckland Monday 19 March – San Francisco Bath House, Wellington

JOE SATRIANI, STEVE VAI AND STEVE LUKATHER – G3 Sunday 25 March – Logan Campbell Centre, Auckland Monday 26 March – Michael Fowler Centre, Wellington

BORIS Wednesday 28 March – Bodega, Wellington Thursday 29 March – Kings Arms, Auckland

ELBOW Wednesday 28 March – The Powerstation, Auckland

NICK LOWE Saturday 13 March – The Powerstation, Auckland

WOODEN SHJIPS Sunday 1 April – Kings Arms, Auckland Monday 2 April – Bodega, Wellington

HENRY ROLLINS Wednesday 11 April – Clarence St Theatre, Hamilton Thursday 12 April – Dux Live, Christchurch Friday 13 April – The Opera House, Wellington Saturday 14 April – SkyCity Theatre, Auckland

STEVE EARLE Wednesday 11 April – Kings Arms, Auckland Thursday 12 April – Bodega, Wellington

PETER HOOK & THE LIGHT PLAYING CLOSER – A JOY DIVISION CELEBRATION Wednesday 18/Thursday 19 April – Bodega, Wellington Friday 20 April – Studio, Auckland

JUSTIN TOWNES EARLE Thursday 19 April – Dux Live, Christchurch Friday 20 April –  Bodega, Wellington Satuday 21 April – Kings Arms, Auckland Sunday 22 April – Sawmill Café, Leigh



WHAMMY BAR, AUCKLAND THURSDAY 26 JANUARY Review Julian Fizzlebottom Photography Georgia Schofield I’VE BEEN SENT to Whammy Bar to review The Sadnuts, Imploder and The Dirty Sweets. Let’s see where the night takes us, shall we? Straight away I think The Dirty Sweets are pretty bad. It’s “rock’n’roll”, not rock’n’roll. A photocopy of a photocopy of Motörhead. My brother’s girlfriend just said that something about them reminds her of Nickelback. That can’t be good. I feel bad being so harsh because they’re pretty tight (even if the drummer plays one boring beat for the entire set). The lead guitarist is masturbating with the best of them, but I just cannot get into their set at all. I find myself thinking about other things... TV shows. The Dirty Sweets play their last song, and the chorus features the line, “I’ll be seeing you, seeing you in hell/ I’ll be there as well”. Thanks for clearing that up. Imploder are next. I enjoy them a lot more than The Dirty Sweets. They have a similar approach, but it’s just

better. Phil (of The Datsuns) proves he is a competent drummer and his style reminds me a little bit of another Phil, Mr Rudd that is. The singer reminds me of Bruce Dickinson – he has good range and the songs are actually pretty catchy underneath the heavy guitars. The Datsuns (performing tonight as The Sadnuts) take the stage and instantly step things up with their new single ‘Gods Are Bored’. The new songs sound like an MC5/Sabbath hybrid, massive riffs and big choruses, not surprising really as that’s what The Datsuns do best. They play a few more of the newer songs in their canon before unexpectedly launching into ‘What Would I Know’ from their debut album. They throw in a few more old favourites (‘MF From Hell’, ‘Girl’s Best Friend’) and

mix them up with a selection of cuts (some of which don’t have names yet) from their upcoming album. Christian addresses someone in the crowd with, “If you’ve got something to say, say it or fuck off!” then follows it up with, “coming from the guy who’s wearing sunglasses inside”. Dolf chimes in midway through the next song with, “Maybe you were a little harsh on that guy”, to which Christian responds, “I wasn’t harsh enough”. It’s all in good humour and they are clearly enjoying playing the new songs to the small but dedicated crowd. They play one more unreleased song, and then the show’s over. The Datsuns prove in their 40-minute set that 10 years on they’re still a live act worth seeing. Now I have to find a computer.

APRIL 2012




with special guests

vector arena

saturday mar 31 on sale

thursday feb 9 970 9700 or

In store now







With Special Guests

The Powerstation


Wednesday Mar 28 On Sale Friday Feb 10 970 9700 or

0800 TICKETEK or Platinum and Gold Meet and Greet packages now available at


Presented by Michael Coppel & 95bFM

Out now!

ON SALE NOW! 970 9700 or New album The Old Magic out now

Presented by Michael Coppel I I I I I I I I

VOLUME #020  
VOLUME #020  

Volume Issue #020