2 #021 ARY 201 7 FEBRU
NEW AMERYKAH PART THREE – ERYKAH BADU COMES TO SPLORE ABETHEAD SCRATCH 22 AND ALPH SPEAK WITH THEIR HANDS
WHITE RIOT – THE CLASH PL AY THE CHRISTCHURCH TOWN HALL 1982
All Tomorrow’s Parties, Reggae Sunsplash, Coachella, St Jerome’s Laneway Festival, Rippon, Austin City Limits, WOMAD New Zealand, Bumbershoot… VOLUME is all about destination festivals where the location is as much a drawcard as the marquee acts on the bill. And the next New Zealand destination festival out the gate is Splore, which returns to Tapapakanga Regional Park with a lineup we reckon is their best yet. FROM ITS IMPECCABLY curated stages to its ribbon-wrapped pohutukawas and beachfront bars, Splore’s attention to detail is impeccable – so we’re looking forward to next week to see what they’ll do with the stunning site that has been Splore’s home since ’06. That’s when Erykah Badu, Hudson Mohawke, DJ Qbert and Reeps One, Soul II Soul, Africa Hitech, Gappy Ranks and co play the oceanside festival. In this week’s issue we get an audience with analog girl Erykah Badu, Splore guests Scratch 22 and Alphabethead talk synaesthesia and turntable science, plus there’s a map and timetable to orientate you at Tapapakanga. We also hear from Michael Higgins, who forced the promoter’s hand and brought The Clash to Christchurch in 1982 on the back of the Radio U Clash petition he drafted. We also farewell Hook Ups’ illustrator Hej Ganias who has breathed new life into Aroha Bridge’s finest over 10 strips, and welcome Mitch Marks who’ll be taking Kowhai and Monty back to basics. Haven’t heard from The Rugged Sharks in a while…
EDITOR: Sam Wicks firstname.lastname@example.org WEB EDITOR: Hugh Sundae email@example.com DEPARTMENT OF VOLUME SALES: John Baker firstname.lastname@example.org DESIGN: Xanthe Williams WRITERS: David Carroll, Duncan Greive, Jessica Hansell, Michael Higgins, Joe Nunweek, Danielle Street, Hugh Sundae, Aaron Yap ILLUSTRATION: Mitch Marks PHOTOGRAPHERS: Milana Radojcic, Georgia Schofield AN APN PUBLICATION
AROHA HARAWIRA You’re spinning records at Splore next week. How does it feel to be returning to Tapapakanga? This will be my third Splore at Tapapakanga and it feels really good – what a gorgeous place. I’m overseas a lot and it’s the one festival I always rave to non-Kiwis about. You’re the marketing lady at Serato. Is Serato’s Control Tone the only piece of vinyl in your sets? I do always carry a few bits of “real vinyl” to DJ sets, although I don’t know if my recent LA purchases of Nine Inch Nails’ Pretty Hate Machine and Slint’s Spiderland would go down too well at Splore. As a Splore veteran, what’s your favourite memory of the festival? My first year at Tapapakanga, when my friends and I decided to hire a boat and anchor with an amazing view of the acts on the main stage. I was doing interviews for Juice TV, so had to get frequent dinghy rides to shore to shoot. It was pretty funny turning up to interview Pharoahe Monch saturated in sea water. George FM host, DJ, “washed up musicTV presenter” – what’s next for ya? As long as it involves music, food and maybe cats, then I’ll be happy. Let us know three tunes you’ll be working into your set… Scuba’s ‘Never’, Helium Robots’ ‘Crepitation’ and Boddika’s ‘Acid Jackson’. You ain’t got no fuckin’ Yeezy in your Serato? Nah, but I got some Waka Flocka... Aroha plays Splore 2012 at Tapapakanga Regional Park, Auckland, 17–19 February.
In just over a week Tapapakanga Regional Park will again play host to Splore. We’ve got five Splore CDs featuring a tasting plate of the festival music guests including one of this week’s Talking Heads, Scratch 22, Africa Hitech, Erykah Badu, Lord Echo, Soul II Soul, AHoriBuzz, @Peace and Disasteradio to give away. For a chance to win, email email@example.com with your memory of Splores past.
AMANDA WRIGHT – SPLORE DIRECTOR I started Splore in 1998 with a group of friends who were all passionate about outdoor parties and the festival scene. It’s always been about outdoor environments and being together as a community; bringing crews or collectives together to celebrate our culture, our arts and our environment – those are the core beginnings of Splore. I’m passionate about the environment and addressing the impact of a festival like Splore – that has been incorporated into our entire business plan, everything from how we travel down to our site, to the paper we use, to recycling. We’re always looking at ways of incorporating sustainability
into our business and our event. I think that’s Splore’s point of difference – how we look after the incredible environment and the diverse content we have there, including music, performance, art, workshops, the family-friendly environment, all the things that make Splore an open book to a very diverse audience.
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Labretta Suede & The Motel 6 return home from New Yorkâ€™s mean streets to play Splore at Tapapakanga Regional Park, Auckland. Their new album Dirty & Dumb is out now.
SEE YA, WOULDN’T WANT TO BE YA…
I’ve just changed my mind. I’m not going to write about interview locations after all. It turns out the tangent that just popped into my head was better than the idea it’s tangential from.
I THOUGHT THIS was going to be a good opportunity to take a swipe at one of my great professional frustrations – the hotel suite interview with the visiting star. You would have seen them before. In fact you may have finished watching an interview on TV3’s Nightline then swapped over to TV1’s Tonight and watched what looked like exactly the same interview. Made worse if it was one of those musos who – while media-friendly and likeable – came up with a line so good he/ she (usually he) recants it in every interview to every reporter. Then I was going to take a swipe at the silly locations reporters use to avoid hotel suite interviews, before contrasting that with my own attempts at finding somewhere interesting, proving that I’m just as bad as those I take such joy at belittling.
But it was while thinking of those locations that I remembered Dylan Taite and that bloody TV3 lift. Of course it wasn’t really an interview location; he just kind of used it to interview his own thoughts. You certainly would never have switched over from the other lot and thought you were watching the same show (although Taite did work for both networks over his career). One of the great perks of working in the TVNZ News and Current Affairs department (aside from the taxi card), was their brilliantly organised and accessible archive. If I was interviewing anyone whose career was over about five years old the first step would be searching to see what Dylan had done first time around. Senior camera operators who had worked with him would often tell me stories on the way to shoots. Many started
with frustration (“but we don’t shoot that way!”) and ended with respect. Of course the famous one everyone mentions was Bob Marley up at the White Heron hotel, but that was really just the tip of the iceberg. I remember watching a fresh-faced The Clash down at the old Auckland Railway Station sitting down politely taking Taite’s questions – shot on film! It was early one morning on the bFM breakfast show when we got news of Dylan’s death. Teresa Patterson was the newsreader and told me how international bands would often request Dylan to do their interviews (she had been label manager of Virgin Records). We shed a few tears, opened up the phone lines and people started calling in with their memories. It seems kind of fitting that the last time I ever saw Dylan he was holding a bag of records. I was driving along Mayoral Drive when I noticed him standing at the lights on Queen Street holding a Real Groovy bag. He was looking around as though he had to find the nearest record player and an audience keen to hear something new. Entries for the Taite Music Prize have now closed. Finalists will be announced on Monday 5 March and the award will be given out on Friday 20 April.
SCRATCH 22 & Scratch 22 and Alphabethead have continually pushed the limits of the turntable in service of the soundscapes they paint, digging deep for new sounds to brush with. Before their appearance at Splore 2012, the fellow producers talked about their palettes of sound. Photography Milana Radojcic ALPHABETHEAD: Since you’ve been a solo musician for so long, do you find it difficult to express your ideas and bring other people into it? ’Cause I find that really difficult. SCRATCH 22: Well, yeah, not being able to actually speak in proper musical terms can be quite hard, but I’ve got a guy I’ve been working with, Eric [Scholes], who’s really good, in that he can understand my ramblings and translate it into proper musical terminology for other people, so he’s been acting as my interpreter. I think having someone like that’s quite good. Yeah, I need someone like that ’cause I’ve been trying to do this three-piece with a drummer and a vocalist, and I’ve found that I try and describe the music in the way I see it. Because I don’t know much about traditional notation, I describe it in terms like ‘aggression’ or ‘mellow’ or colour and hues – ‘this is crimson or byzantium’ or something. They don’t always understand, and it can get really frustrating. The colour’s an odd one. Do you use it on an EQ or something, like when something’s in the green or the red? I notice when I’m playing with Serato that the wave forms are all in different colours, and it’s quite interesting when you see a song and the kind of colours that come up with that song. You know, a heavy bass song is a very red song or something with a lot
of mids is sometimes a bit more purple with a splash of yellow here and there. I don’t think it’s related to EQs on the computer; it’s just what I see. It’s that ‘synathetic’ way of experiencing music. Synaesthesia? Yeah, synaesthesia, that’s the one. Isn’t that being able to taste shapes and hear colours? Yeah, well I don’t taste shapes, but I certainly view everything in colours and hues, and I’m like, ‘Come on – have some more darkness. Get some maroon in there’, and then they play something totally different, so that’s what I’m working with now. You’re like, ‘Oh, that’s a bit of a turquoise…’ Yeah, totally. So what’s the band? It’s a threepiece with you? Yeah, I have the two turntables for source material, just grabbing random records and throwing them on to add textures and different colours, and then the sampler for playing bass notes and stabs, and I play them in time with the drums. Is it mostly improvised? Yeah, everything begins improvised, but then you get to a position after you’ve been
ALPHABETHEAD playing and improvising together where you lock in to something, and then often that part becomes, ‘Oh, this sounds good – let’s memorise this part’, and that’s the birth of a piece. I’m going completely the opposite way, doing everything compositionally, like really arranged. That’s how I’ll write the song by myself, and when I’m trying to perform them I’m trying to improvise the arrangement so I’ll take all the little parts that I have and put them together in different ways with little familiar elements. Rather than start with an improv thing, I’m trying to end up at an improv thing, which may not be the best way to do it, but it’s a fun process.
up those things as well, rather than having a traditional drummer or a percussionist.
When you’re working on a tune, after the bassline and the melody and the harmony are the most important things, are you more interested in the ‘feel’ and the tonal qualities? ’Cause that’s what I am striving for – not so much the melody, but the actual sound and the picture it paints in my mind, and that’s the reason I sample because I’m buying in to an era. It’s nostalgia for me, certain sounds – film soundtracks from the ’60s and ’70s. I don’t know why that is – I think it dates back to childhood, you know, watching movies at
“That’s the great thing about having turntables as an instrument, is that you can grab little bits of other songs and use them in interesting ways.” – SCRATCH 22 That’s why I was asking if it gets frustrating ’cause now you’ve got these babies, these tunes, that you’ve fallen in love with and have been working on for ages, and you have to give up the compositional flow or the structure. Do you find that easy? Well, I literally only started doing it this week so I’ve only been playing around with that song that I showed you yesterday. Every time I’ve practised it, it’s come out in a completely different way, from a five-minute thing to an hourlong interpretation of that song. That’s the great thing about having turntables as an instrument, is that you can grab little bits of other songs and use them in interesting ways. For the percussive stuff, just putting the needle on the turntable and tapping away at the record or hitting the turntable, and looping
my grandparents’ on a Sunday. Yeah, I like it too. I mean, it’s got to have a narrative to it – it can tell a bit of a story. Even without using vocals or words to do it, it can go on a bit of a journey.
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Scratch 22 is working on a follow-up to Distance from View, his debut album on Round Trip Mars.
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 firstname.lastname@example.org or tweet @duncangreive. Since this column started being published on VOLUME’s pages within nzherald.co.nz we’ve started to get awesome Dad rockish comments like this from Russell in Albany: ‘“Most exciting band in Andy Grammer music today”, eh? Says a lot about music today, really.’ And mostly I describe One Direction and The Wanted as “the most exciting band in music today” precisely because it makes people like Russell mental. And (obviously) because those new boy bands rule. But you get my point, right? Anyway – mostly I find it really hard to see merit in the arguments of better-in-my-day guys. Just a cynical, depressing way to envisage the world, as constantly sliding deeper into a pit of shit. That doesn’t give much hope to the children you fuss over so much. But despite all that I just can’t find anything to love about Flo Rida. Or to hate. Or just anything to grab hold of at all. At least Pitbull used to have great taste in beats (c. 2006) and Guetta has a brutally effective way with melody, while looking hilarious in videos. But Flo Rida just sucks, and as long as he remains at the top of our charts (a month now) I’ll be a bit sad. There are also no new entries of any consequence. That Train song I made a lame joke about a couple of weeks back, and some white version of Bruno Mars named Andy Grammer who is actively making the world worse by his involvement in music.
RIANZ TOP 10 NEW ZEALAND SINGLES CHART 1 Flo Rida ft. Sia – ‘Wild Ones’ 2 Annah Mac – ‘Girl in Stilettos’ 3 David Guetta ft. Sia – ‘Titanium’ 4 Kelly Clarkson – ‘What Doesn’t Kill You (Stronger)’ 5 Snoop Dogg & Wiz Khalifa – ‘Young, Wild and Free’ 6 Labrinth ft. Tinie Tempah – ‘Earthquake’ 7 Ed Sheeran – ‘The A Team’ 8 The Babysitters Circus – ‘Everything’s Gonna Be Alright’ 9 Pitbull ft. Chris Brown – ‘International Love’ 10 Coldplay – ‘Paradise’
SINGLE OF THE WEEK
TYGA – ‘Rack City’ The second SOTW for Cash Money and we haven’t touched Drake or Nicki Minaj yet. Anyone who has watched the strange, unnerving documentary The Carter won’t have come away thinking “those guys are A&R geniuses right there”, but give them credit, they’ve shown an ability to make stars and revive careers that’d be the envy of anyone in the industry. Which is not to say Tyga’s a future star – he might be, but this alone won’t make it so. ‘Rack City’ is just a classic sleazy strip club anthem, a 2012 take on ‘The Whisper Song’ or ‘Back That Azz Up’. It’s not quite on the level of either of those immortals, but remains much of what’s gratuitously great about this style when well executed. Which is to say the beat is two or three low synth notes rolling, with percussion kept to a minimum – all musical and vocal elements basically honour Mark E Smith’s “Three Rs: repetition, repetition, repetition”. Plus any rapper able to deliver lines like “got your grandma on my dick” with a mirthless chuckle afterwards will always be alright in my book.
WZRD – ‘Teleport 2 Me, Jamie’ A “rock duo”, consisting of Kid Cudi and Dot da Genius, a long-time collaborator of the former, this single rides a large and prominent sample of Desire’s ‘Under Your Spell’ from the Drive soundtrack. The latter initially felt like the clear bronze medallist from the trio of songs which enraptured people from that magical soundtrack, but over time it seems to have become the sentimental favourite, outpacing both ‘A Real Hero’ and ‘Nightcall’. Which would be justice, really, as Jonny Jewel’s imprint is all over the film and he has recently released the music he composed for its soundtrack, which is excellent. Anyway, WZRD’s emo-rap single leans heavily on Cudi’s very affecting baritone. The lyrics are lovelorn, a little hackneyed but allied to the bones of Jewel’s production it still becomes pretty affecting, and there’s an outside chance that WZRD LP could be pretty huge. JACK WHITE – ‘Love Interruption’ ex-White Stripes singer’s solo LP is gonna be a The exhit. For all those who feel adrift from modern music, who can’t get with Guetta and the rest, Jack White is something solid they can cling to. He’s also a pretty gifted craftsman, and while I don’t go and seek out music like ‘Love Interruption’, I can’t deny its charms. A country-folk lament which rises in intensity throughout its two-and-a-half minute duration, this won’t work at radio, but the masses who bought into Adele in a big way could do a lot worse with their lust for “reality” (whatever that is) than stay strong on Jack. M.I.A. – ‘Bad Girls’ The official version of a song which has existed in a different form for a year, ‘Bad Girls’ feels a little like M.I.A. on autopilot. Which isn’t a bad thing by any means – she is one of those artists whose periodic leaping reaches can go either way – so the relative conformity of ‘Bad Girls’ is by no means a disappointment. The beat is a typical loping, dusty thing, that quasi-world music feel that has always been part of the attraction, while her chant-sung lyrics follow her usual routine. So while it’s not extraordinary, there’s enough there to hold your interest. The main issue is knowing what she’s capable of at her peak, visionary pop which seems to exist outside of the forces acting upon the area more generally. So it gets docked points for the gap between this and what she’s manifestly capable of producing, while remaining a far better song than 95 per cent of what’s released on any given week.
PROTON BEAST STU HARWOOD’S TOP FIVE HOME BREWS
You’re Never Going Back (M’lady’s Records) WHETHER INTENTIONAL OR inadvertent, the much-anticipated debut from Coasting is an album made for wanderers, like a soundtrack for packing the metaphorical suitcase and meandering through a washedout landscape of wildflowers. It’s no surprise, considering the musical minds of former Coolies’ drummer Fiona Campbell and Memphis native Madison Farmer met while the transient two temporarily resided in Brooklyn. Aptly titled, the album is teeming with songs of drifting and longing, like ‘Pirate Cove’ with its lament over boredom with a local scene. The record is far from gloomy however, and is awash with crashing cymbals and rolling toms courtesy of bad-arse beatmaker Campbell, coupled with
PLUG Back on Time (Ninja Tune) Electronica boffin Luke Vibert assembled these tracks from his Plug moniker around 15 years ago, but they’re seeing the light of day at a good time. Back on Time documents a knockout-punch of over-revved drill’n’bass mixed with kitchen-sink clutter, found sound and bleeps – it fits right in with the current Dis magazine/James Ferraro vibe of kitchy ’90s MIDI-junk. BETH JEANS HOUGHTON AND THE HOOVES OF DESTINY Yours Truly, Cellophane Nose (Mute) Fey, precious post-Florence popfolk from the UK. Songs like ‘Atlas’ feel like 2010’s British indie by committee. Still, Houghton has a strong voice – it remains to be seen whether she ditches some of the windowdressing and crafts something a bit more spare and affecting. MMDELAI Mmdelai (Self-released) EP from this Christchurch producer feels a little like the work that might slot into a
Farmer’s surf/garage-punk guitar lines, and recorded in what sounds like the hardest-walled room in five states. Whatever hole could have been possibly left by lack of bass has been filled with vocal unification from the duo and sweet choruses of “oohs” and “ahhs”. The girls’ improvisational attitude to songwriting has equated in some bitchin’ tracks for the album, although a few near the end could have been cut to produce an overall punchier result. But as it stands, there are plenty of tracks that get the repeat button. Review Danielle Street
varied mix – plaintive female vox, mantric piano lines, harsh, fuzzedout synths – but it’s too much when piled up in a row, like Tori Amos fronting Crystal Castles. Best track to peep: ‘Sicily Sea’. JONO MCCLEERY There Is (Ninja Tune) Mumblecore British “coming down from yr rave, son” jazzy folk music. Quite sobering seeing something new from Ninja Tune like this vs the Plug compilation. The best advertisement against taking drugs may be that 10 years down the road you get into music like McCleery’s and want to release it on your record label. WILL SAUNDERS AND THE LOWEST FIDELITY Curious Maladies (Deadboy) An admirable grower that refrains from the ’60s nostalgia excesses the title and art might conjure up: Saunders used to be in The Quick and the Dead, but this is a spare solo project that’s all urgent strumming, fuzz and a voice that sits somewhere between Jeff Mangum and Straitjacket Fits’ Andrew Brough. Check out the woozy ‘Rapture Blues’ and go from there.
1: Pilsner kit – Black Rock. The first beer I ever brewed. Insipid. 2: Tittabawasee Brown Ale – John Palmer. The first beer I actually enjoyed. Pity my friend Tono ended up guzzling most of it. Malty deliciousness. 3: Digital IPA Clone – Yeastie Boys. The beer community has a great “opensource” philosophy, meaning I can get my grubby mitts on stunning recipes like this one. Hop-tastic. 4: Spellbinder – studio1. A bangin’ attempt at cloning Emerson’s Bookbinder by a dude on the New Zealand homebrewing forum (forum. realbeer.co.nz). Soft stonefruit. 5: Tex’s Tipple – Tex Houston. Not only is he an amazing sound engineer, he is also a bloody good homebrewer. Chewy caramel citrus. Proton Beast’s debut EP 2000 and Blood is out Monday 13 February on Hell Is Now Love. Check facebook/protonbeast for February tour details.
PUNCH BROTHERS Who’s Feeling Young Now? (Nonesuch) “Progressive bluegrass” band is actually pretty striking on first listen – the opener ‘Movement and Location’ is flatout remarkable, the rapid banjo and mandolin-breakdowns of the trad form repurposed to create something brave. So definitely try to hear that, along with their cover of ‘Kid A’, which is also kinda mind-bending. The rest is total jamband – cod-reggae strums, John Mayer amble. LINES OFF THE SPACEBAR #2 (Self-released) Music like this – that sounds perfectly pitched halfway between Killjoy-era Shihad and Fugazi – will always exist in the cultural output of middle New Zealand, like short stories about dysfunctional farm families and paintings with big text all over them. It could be argued that we need it and should foster it. I would have loved this when I was 15. Also, I still love it. LOKA Passing Place (Ninja Tune) Ninja Tune jazzambient signing is about as good as
this sort of stuff gets, actually. Passing Place works when it eschews passé r’n’b torch-songing for an eerie British eccentricism and a churning darkness. Highlights: ‘Sam Star’ mixes pastoral choral psych with moody John Barry-style orchestration, ‘The Beauty in Darkness’ is a glitchy stomper that unfolds into high drama. OUTSIDERS Shallow Graves (Deadboy) Wellington punk band is better and livelier than most every aging Fat Wreck band they’ve been caught opening for. Shallow Graves finds them refining their sound with a touch of appealing, warm power-pop – the maudlin cover didn’t have me anticipating the Husker Du/Replacements sound these guys are now wringing out. DEAD Thundaaaaah! (We Empty Rooms) Absolutely fucking tar-black noise rock music – think Australian Jesus Lizard with a slightly less intelligible vocalist, or godheadSilo trapped at the bottom of a well. Very ’90s, but the acceptable, sludgy part of the ’90s where no one wore flannel or tried to impress girls. Doing a nationwide New Zealand tour this month. Reviews Joe Nunweek
ANALOG GIRL IN A DIGITAL WORLD After 15 years in the music business, Erykah Badu remains a fiercely independent spirit and genuinely inspiring artist. From the multi-platinum success of her 1997 debut Baduizm to collaborations with J Dilla, Madlib and Flying Lotus – and her three famous “baby Daddies” – she confidently walks her own path. VOLUME spoke with Badu prior to her first visit to New Zealand. Text David Caroll
ERYKAH BADU IS as famous for her deeply spiritual – some would say seriously weird – personal beliefs and her influence on former partners Common and Andre 3000 as she is for her award-winning, multi-platinum selling debut album Baduizm and the impressive run of releases that followed it, but it is her music that makes her a true original. Her sensual blend of soul, hip hop and r’n’b allied to a sassy, classy attitude and exotic good looks has set her apart from the pack for more than a decade. It began with a debut album which exposed Badu to the kind of attention most folks would’ve struggled to deal with – but Erykah Badu is definitely not most folks. “I think it would’ve been difficult if I hadn’t been aware what business I was getting into, because you get into the music industry, you got to sell units,” Badu says. “But then when something wonderful like gaining a cult following, multi-platinum sales and all that stuff happens, that’s some extra shit!” She pauses, gathering her thoughts: “But even with the career I’ve been afforded, the large platform I’ve been given, I’ve learned that no matter what your position is, you still have a responsibility to the people around you and closest to you. My focus is on my evolution.” Part of that evolution has involved collaborating with artists like Common, J Dilla and The Roots, all of whom Badu took both musical and personal pleasure from working with. “Common came to my place in
Brooklyn one time, and we connected very, very well, became best friends. With The Roots, I had Baduizm, but I didn’t have the song I thought would round the album out. So I got on the train, went to Philly, met with Questlove and stayed at his house for a couple weeks, and came through with the rest of the album.” She continues: “I got to meet amazing people just doing that: Dilla, Madlib, Bilal, D’Angelo, Sa-Ra, Jill Scott. It just connects like that. I think people who vibrate at the same frequency, vibrate toward each other. They call it – in science – sympathetic vibrations.” This was the Erykah Badu I was hoping to hear more from and, as it turned out, she didn’t need a lot of encouraging: “I don’t know if it’s because I just turned 40, but my mind is in another totally different place now. I don’t really give a fuck about anything right now – in the best kinda way,” she chuckles. “But since the Earth is taking its polar shifts as it does every 2500 years, it does something weird to the Earth’s core, makes it heat up, and you get these different disasters and things. “The Mayans said in 2012 there would be a shift, or an ending, or a beginning, or a return of something, and I think it co-relates with what’s going on with the planet. Because we are earthlings, very much connected with the planet, made of the same carbon and hydrogen and oxygen as the planet’s made of, it’s quite natural for us to behave the same way – it’s a recalibration.”
While Badu’s explanation for the turmoil of recent years goes some way to justifying her out-there reputation, it seems there is a growing reaction to perceived injustices globally, from established protest groups to ordinary folks. “I don’t know a lot of details about what’s going on politically, I just feel that our children’s minds are a lot different to ours, and that’s a result of being born in this age and time,” she explains. “I think our children are in a more unique, concentrated state. We’re evolving as a race and as a planet, and I do hope there’s some sort of rebirth – but not without the labour pains first.” Considered words from a woman entering her fifth decade, a mother-ofthree who has seen more of the world and the people in it than most, and experienced first-hand how harsh the glare of the spotlight can be. Analog Girl in a Digital World maybe, but there can be no doubt Erykah Badu is fully prepared to stand up for what she believes in. We could learn a lot from her. Erykah Badu plays Splore 2012 at Tapapakanga Regional Park, Auckland, 17–19 February, with 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.
‘Apple Tree’ from Baduizm (1997) Where it all began. ‘Call Tyrone’ from Live (1997) Has a diss track ever been delivered with such sophistication? The Roots ft. Erykah Badu – ‘You Got Me’ from Things Fall Apart (1999) After the record label baulked at Jill Scott’s involvement, Erykah re-recorded Jill’s part and a classic was born – and Jill and Erykah are still friends too. Guru ft. Erykah Badu – ‘Plenty’ from Guru’s Jazzmatazz (2000) Listen to this track and try not to fall completely in love. We bet you can’t. ‘Bump It’ from Worldwide Underground (2003) Her languid, lyrical vocals in full effect on a track so laidback, it’s almost sideways. Erykah Badu ft. Common – ‘Love of My Life (Ode To Hip Hop)’ from Brown Sugar OST (2003) A pairing of the two most conscious artists in hip hop – also romantically involved at the time. ‘Turn Me Away (Get MuNNY)’ from New Amerykah Part Two: Return Of The Ankh (2010) A loose-limbed monster groove sampling the Roy Ayers/Sylvia Striplin classic, ‘You Can’t Turn Me Away’.
REMAKES > ORIGINAL
The general consensus is: English remake bad, foreign original better. But not always:
THE GIRL WITH THE DRAGON TATTOO
Director David Fincher Starring Daniel Craig, Rooney Mara, Christopher Plummer IT’S UNFORTUNATE THAT David Fincher’s sturdy treatment of Stieg Larsson’s bestseller The Girl with the Dragon Tattoo – previously adapted by Niels Arden Oplev in its native Swedish tongue – will suffer from the sometimes unavoidable viewing conundrum that comes with English-language remakes of foreign films. If you’ve seen the original film, there’s very little here that will surprise. Much of the suspense and mystery, the material’s pulpy lifeblood, has gone, leaving the viewer to find other elements that may hold interest, such as tonal nuances and structural tweaks, both things which Fincher’s version has a bit of. But it’s more apparent by the end that this is simply a commercial reality, a straightahead makeover for moviegoers who are specifically adverse to reading subtitles.
Clement Cheng’s Gallants (Vendetta Films) was one of last year’s best films that seemingly no one saw. Briefly appearing at the World Cinema Showcase before quietly slipping onto DVD in December, this kung fu comedy from Hong Kong is an affectionate valentine to the Shaw Brothers movies of the ’70s. It features a terrific cast of martial arts veterans such as Chen Kuan-Tai, Bruce Leung and Lo Meng, all having a ball poking fun at themselves. Cheng clearly knows his stuff, but Gallants sticks not ’cause of the fight scenes, but the characters, a lovable bunch you’ll be happy to have spent time with.
That said, it’s also superior in a number of ways, not least of all Fincher’s masterful pacing and the fleetness in which he parses hefty investigative info – à la Zodiac, The Social Network – into a cinematically sound experience. No small feat considering both versions still demonstrate how hard it is to streamline the narratively saggy nature of its source. Emotionally it’s more involving, particularly with regards to Lisbeth, the titular goth-punk fact-checker who’s memorably portrayed by Rooney Mara. Without her spunk and fiery heart, the film’s not much more than an airport potboiler about a fucked-up family tree of Nazis, grisly unsolved murders and mega-corp media scandals that a terminally dozy Daniel Craig is trying to get his head around. Review Aaron Yap
A Fistful of Dollars – Few remakes of classics turn out to be classics themselves. Sergio Leone’s spaghetti western remake of Akira Kurosawa’s samurai masterpiece Yojimbo is a rare exception. The Talented Mr Ripley – The late Anthony Minghella deepens Patricia Highsmith’s sociopath played with chilling suaveness by Alain Delon in René Clément’s 1960 Purple Noon. 12 Monkeys – Only a director with the reckless imagination of Terry Gilliam could have taken on Chris Marker’s seminal short La Jetee and made it his own.
One of the most talked-about films at Sundance, the Grand Jury prize-winning Beasts of the Southern Wild, has been picked up for distribution by Fox Searchlight. The Hollywood Reporter called the film, a fairy tale-like story set in an alternate Southern Louisiana, “one of the most striking to debut” at the festival. James Wan is prepping his next supernatural thriller The Conjuring, which may reunite him with his Insidious star Patrick Wilson. The film is based on a true tale about spirits at a Rhode Island farmhouse. Joe Carnahan, whose wilderness thriller The Grey is currently getting positive reviews Stateside, has signed on to direct a reboot of the 1974 Charles Bronson revenge drama Death Wish.
TOWN HALL, CHRISTCHURCH MONDAY 8 FEBRUARY 1982
Michael Higgins drafted the Radio U Clash petition that brought The Clash to the South Island to play the Christchurch Town Hall on Monday 8 February 1982. IN JANUARY 1982 I was station manager of Christchurch’s student station Radio U and a passionate Clash fan (from the first moment I heard ‘Janie Jones’). Several months earlier Joe Strummer and Mick Jones had told The Christchurch Star they would make sure they played Christchurch
when they toured here. New Zealand had two islands and they would go to both. They knew the South Island missed out on too many concerts. Bless them – they always said the right things. Tour dates were announced – Auckland and Wellington only. Without the Star interview, it would have been
just another disappointment, but this was betrayal. It demanded action so we started a petition through Radio U. We plugged it on air, Stuart Page ran up a poster, and forms were distributed to the city’s record shops (only UBS survives but its music department is long gone). Looking back, I’m surprised that the petition only earnestly calls on The Clash and promoter Stewart Macpherson to explain the absence of a Christchurch concert. It doesn’t
spitting was a major downer, but it was still The Clash in Christchurch. The local record company rep had arranged for me to present the petition to the band, and I was introduced to Joe Strummer as the person who started it. “I don’t know why you fucking bothered,” was his reply. Not quite the reception I had hoped for, but I’m sure it was tiredness and disappointment speaking. I’m never comfortable meeting my heroes, and the rest is a blur, but there is a photo of Paul Simonon looking at the petition. That was where I thought it
actually ask the band to play. If Clash fans were surprised at my wording, it didn’t stop them signing. I wish I could tell you how many did. Meanwhile, Orientation controllers Mary Richardson and Maryrose Wilkinson (later of The Renderers) began agitating to see if they could organise a gig. I have no idea what went on behind the scenes but a Christchurch date was announced. Perhaps it was all that free promotion. The night itself was odd. TVNZ
was filming That’s Country in the James Hay Theatre, and Clash fans and the TV audience made an incongruous mix in the foyer. And there were the time-warped dickheads who thought gobbing on the band was appropriate. It wasn’t. A Strummer tirade followed, and the plug was nearly pulled. I would love to report it as the transcendent evening of my dreams but it never quite got there. The band was tired and strained, and the
“I was introduced to Joe Strummer as the person who started it. ‘I don’t know why you fucking bothered,’ was his reply.” – MICHAEL HIGGINS had all ended – until a couple of years ago when I was looking at a Strummer documentary. There in the bonus features was the Radio U Clash Petition. The one I was sure had been binned as I left the room (unaware that everything was kept, put in shopping bags and taken back to England for Joe’s archives). It was well worth the fucking bother.
... AND IN THE MAKING
The Transistors Girls The Horrors
SILO PARK, AUCKLAND MONDAY 30 JANUARY Review Joe Nunweek Photography Milana Radojcic
I REALLY LIKE Silo Park. I’m a fan of urban design that embraces the character of an area’s industry and history rather than knocking it down and building a generic plaza on top of it. The whole “revived British port town” flavour actually reminds me of a big, awesome European music festival – and it feels like, circa Round Three, that’s what Auckland Laneway is becoming. The crowd is almost at capacity, almost everyone is there to see, you know, bands – and as a punter you get put in the unusual position of having too many acts you want to see, rather than too few. If anything the fest’s biggest challenge was going to be the boxy
electronic sound of indie circa 2011 – the likes of Washed Out, Austra, Cults and Twin Shadow all released debut albums that sound like they’ve been recorded in a bedroom – finicky drum programming and loops and the sort of layers that make for headphone listening. Virtually all of them pull through with aplomb – there’s a mannered quirk to Austra’s visual aesthetic (the blonde flanked by twin brunettes, standing with a dispassionate Christian rock albumcover distance) that could be pretty make-or-break, but their classicallyinfluenced choral sounds come off really well. Cults have a dreadful start –
single ‘Go Outside’ sounds rough as guts. But their dogged improvement in the course of a half-hour set is really admirable, and by ‘You Know What I Mean’, which sounds fantastic, I feel like I’ve developed a fresh appreciation for a band I was initially leery about. Meanwhile, Twin Shadow are just ridiculously good – George Lewis’ one-man project has been equipped with a band with the chops to give his Prince-meets-Morrissey pastiche the verve it needs – songs like ‘Shooting Holes’ and ‘Slow’ find new bridges and crescendos, developing beyond the studio versions without descending into jams. This is how it’s done – hopefully he becomes
Anna Calvi SBTRKT Live
Yuck Pajama Club
the discovery of the day for a few people. As for the big guns at the end of the night – Feist sounds technically excellent, but it’s not really my bag, so I sneak along to SBTRKT. It’s a set that shows you how lazy and self-serious a lot of other dubstep/ electronic artists are live, with both Aaron Jerome and Sampha messing with their own music in a surprisingly kinetic way, dropping Drake’s reworking of ‘Wildfire’ as a crowdpleasing gesture and looking genuinely stoked to discover they have Australasian fans. I return to the main stages to mistake the The Horrors for M83
“The whole ‘revived British port town’ flavour actually reminds me of a big, awesome European music festival.”
having a bad soundcheck, which is naturally a bit disappointing, but only an abject miser could hate the French group’s subsequent performance, all cartoon neon shoegaze writ impossibly large and crystal clear. After this, Gotye can’t help being more a punchliner than
a headliner (the name even sounds a bit like some sort of Dutch version of Candid Camera) – sure, the band set-up and sound is super professional, but this is such rootsy Triple J slowjam afternoon music and everyone only knows the Kimbra song. Just an odd choice, I guess. Still, a pretty remarkable day. Feedback for next year would be a bit more work on the scheduling and a lot more shade (I had to go to bed wearing lots of damp cloths, the sort of horrible vision that must surely move a promoter with a soul to take action). Otherwise, man, this is good. The sort of festival I wanted when I was 18, here for real.
powered by eventfinder.co.nz
SATURDAY 11 1814 and NRG Rising – Tikipunga Tavern, Whangarei, 7:30pm, $25 SUNDAY 12 Makareta Umbers and Daniel Hewson – Food at Wharepuke, Kerikeri, 12pm, Free
TUESDAY 7 Moonfest – Tahaki Reserve, Mt Eden, 7:30pm, Free Auckland Jazz & Blues Club presents Susan De Jong – Pt Chevalier RSA, Pt Chevalier, 7:30pm, $5 WEDNESDAY 8 Kikuyu Album Launch – Wine Cellar, Newton, 8pm, $5 Roache, Ava L’Amoureux & Shoutin Prechin – Kings Arms, Newton, 8pm Chicane Duo – Sugar Bar, Newmarket, 7pm, Free Creative Jazz Club: Murray McNabb Quartet – 1885 Basement, Auckland CBD, 8pm, $5-$10 The Circling Sun Band + DJ Truent – Ponsonby Social Club, Ponsonby, 9pm, Free Trudy Lile Trio – twentyone, Auckland CBD, 7pm, Free Live Latin and Brazilian Music – The Mexican Cafe, Auckland CBD, 8:30pm, Free Wednesday R&B Jam Night – Flo Bar & Cafe, Newmarket, 9:30pm, Free THURSDAY 9 Geoff Ong and Band Vid Single Release – Kings Arms, Newton, 8pm, $10 Mark Cunningham – Union Post Brewbar, Ellerslie, 9pm, Free LatinAotearoa w support from Dan Paine – Ponsonby Social Club, Ponsonby, 9pm, Free Petra Rijnbeek & Paul Voight – The Lumsden, Newmarket, 6:30pm, Free D’Starlights – Papatoetoe RSA, Papatoetoe, 6:30pm, $2 Candie Hank / Toecutter / Baaddd / FnMath / P P Flo – Whammy Bar, Newton, 10pm, $10 FRIDAY 10 The Earlybirds – Victoria Picture Palace and Theatre, Devonport, 8pm, $25 The Murder Chord, Shitripper and Friends – Kings Arms, Newton, 8pm Mitch French – Florrie McGreals Irish Pub, Takapuna, 9pm, Free JamesRAy’s Texas Rock with Geronimo – Dairy Flat Community Hall, Dairy Flat, 8pm, $7.50-$10 Voltaire (NYC) – The Basement, Auckland CBD, 8pm, $28-$35 Spiral EP Release Party – Juice Bar at The Windsor Castle, Parnell, 9pm, Free Auckland Vintage Jazz Society – Nixon Park Community Hall, Howick, 7:30pm, $10-$15 Live Latin Music – Besos Latinos
Restaurant, Auckland CBD, 7:30pm, Free Like Festival – The Wine Cellar and Whammy Bar, 8pm, Free Contagious – Cock & Bull, Ellerslie, 9pm, Free Seether – Logan Campbell Centre, Epsom, 7pm, $59.90 The Kavalliers – Henderson RSA, Henderson, 7pm, Free TiTch Marvel And The Paparazzi Dolls – Route 66 Live Music Bar, 9pm, Free The Alibis – Grey Lynn Returned Services Club, Grey Lynn, 8pm, Free SATURDAY 11 Class of 81 – Villa Maria Estate Winery, Mangere, 3pm, $89-$129 #Television Launch Night ft. Roger SeventyTwo (Netherlands) – 1885 Britomart, Auckland CBD, 10pm, $10 More FM Summer Vineyard Tour 2012 – Turanga Creek Organic Vineyard, Whitford, 5pm, $79 Roxette – Vector Arena, Auckland CBD, 7pm Awesomesauce ft. Ryan Enzed (Bazooka / Big Fish) – Be Club, Auckland CBD, 10pm, $5 TFMC presents Indigie Femme – Titirangi Beach Hall, Titirangi, 8pm, $8 Club House – Trench Bar, Auckland CBD, 10pm, Free 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 Contagious – Cock & Bull, Ellerslie, 9pm, Free Dictaphone Blues and Bond Street Bridge – Sawmill Cafe, Leigh, 9:30pm Mark Armstrong Acoustic – De Fontein, Mission Bay, 8:30pm, Free Jason Mohi – Malt Bar, Grey Lynn, 8pm, Free Feral Breed, Hot Grease, Circus Meat & SeanFish – The Lucha Lounge, Newmarket, 8pm, $5-$10 Parokya Ni Edgar – ASB Showgrounds, Epsom, 7pm, $60 The Kavalliers – A Rocking Great Band – Silverdale RSA, Whangaparaoa Peninsula, 7pm, Free End of the Line – Rocket Hill, 11:30am, $29 SUNDAY 12 Marisco Vineyards Presents Jazz on a Summers Day – The Windsor Castle, Parnell, 12pm, $25-$75 Blues in The Boat House – The Hipshooters – Riverhead Tavern, Riverhead, 2pm, Free Blend – Goode Brothers, Botany Downs, 3pm, 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 Nick Charles – The Bunker, Devonport, 8pm, $15 Chaste Embrace Dancing with Live Band – Pt Chevalier RSA, Pt Chevalier, 6pm, $10 Chicane Duo – Bill Fish Cafe, St Marys Bay, 1pm Coopers Creek Summer Sunday Jazz – Coopers Creek Vineyard, Huapai, 1pm, Free Jazz In the Vines – Davis Funerals, Henderson, 2pm, $20 Music in Parks 2012 – Jazz at the Rotunda – Auckland Domain Band Rotunda, Parnell, 2pm, Free NZ Blues Brothers Tribute Show – Huapai Tavern, Huapai, 3pm, Free Sunday Jazz, Rock, Reggae Session – Shooters Saloon, Kingsland, 2pm, Free MONDAY 13 Jez Lowe & Kate Bramley – The Bunker, Devonport, 8pm, $20 VIVA Jazz Quartet – The Windsor Castle, Parnell, 6pm, Free
101 Proof Pantera Tribute – The Goddamn Electric Summer Tour – Axces Bar, Hamilton, 8pm, $10 Hot Grease, Somebody’s Sons + Imploder – Static Bar, Hamilton, 9pm
HAWKE’S BAY / GISBORNE
FRIDAY 10 DOCO 2010-2011 – HB Music Compilation Album Fundraiser – The Cabana, Napier, 8pm, $10 SATURDAY 11 Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City – Brunton Road Wines, Gisborne, 5pm, $59-$69 I Am Giant – Let It Go Summer Tour with Cairo Knife Fight – The Sideline Bar, Napier, 8pm, $32.85 SUNDAY 12 Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City: SOLD OUT – Black Barn Vineyard, Havelock North, 5pm, $59-$69 HBS Bank Summer in the Parks – Cornwall Park, Hastings, 3pm, Free MONDAY 13 Classic Hits Winery Tour: Gin, Mutton Birds, Avalanche City: SOLD OUT – Black Barn Vineyard, Havelock North, 5pm, $59-$69
WEDNESDAY 8 Shenandoah Davis (USA) w/ Der Kranks – Static Bar, Hamilton, 8pm THURSDAY 9 Supermodel & Sleeping Dogs – YOT Club, Raglan, 9pm, $10 FRIDAY 10 Shotgun Alley – Gravity Bar, Hamilton, 8pm, $15 Kiwi Express – Hamilton Workingmen’s Club, Hamilton, 8pm, Free
BAY OF PLENTY
THURSDAY 9 Nick Charles – Rotorua Arts Village RAVE, Rotorua, 7pm, $25 I Am Giant – Let It Go Summer Tour with Cairo Knife Fight – Brewers Bar, Mt Maunganui, 8pm, $32.85 LSG Group – The Pheasant Plucker, Rotorua, 9pm, Free FRIDAY 10 Supermodel & Sleeping Dogs – Brewers Bar, Mt Maunganui, 9pm, $10 Classic Hits Winery Tour : Gin, Mutton Birds, Avalanche City – Wharepai Domain, Tauranga, 5pm, $59-$69 I Am Giant – Let It Go Summer Tour with Cairo Knife Fight – The Shed, Rotorua, 8pm, $32.85 SUNDAY 12 Katikati Twilight Concerts – Spiral – Katikati Haiku Pathway, Katikati, 6pm, $15 MONDAY 13 Jimmy & Perry – The Pheasant Plucker, Rotorua, 7pm, Free
SATURDAY 11 Shotgun Alley – The Basement, New Plymouth, 8pm, $15 SUNDAY 12 Chicago Disco Summer Tour with DJ Philippa – 55, New Plymouth, 10pm
MANAWATU / WHANGANUI
THURSDAY 9 Shenandoah Davis (USA) w/ Fuyuko’s Fables +TBA – Space Monster, Whanganui, 8pm FRIDAY 10 Knights of the DUB Table ‘Way of the DUB’ Album Tour – The Royal, Palmerston North, 9pm, $10 Shufti – The Bent Horseshoe Cafe, Tokomaru, 7:30pm, $15 SATURDAY 11 The Winsome Lost – Ashhurst Inn, Ashhurst, 9pm, Free SUNDAY 12 Summer Concert Series – Concert in the Oval – Massey University Oval, Palmerston North, 3pm, Free MONDAY 13 Central Band or the RNZAF – Royal Whanganui Opera House, Whanganui, 7pm, $5-$15
WELLINGTON REGION TUESDAY 7 Reggae Night with Long Shen Dao – San Francisco Bath House, 7pm, $10 Live Music – The Library, 5pm, Free
WEDNESDAY 8 Alizarin Lizard – The Weekend Went Without You Album Tour – Mighty Mighty, 9pm, $10 THURSDAY 9 Data Hui – San Francisco Bath House, 8pm, $20 Alizarin Lizard – The Weekend Went Without You Album Tour – St Peters Hall, Paekakariki, 9pm Secretive George (Aus) & Scotdracula (Aus) – Mighty Mighty, 9pm Cryin’ Shame Band – Hotel Bristol, 8:30pm, Free Voltaire (NYC) – Bar Medusa, 8pm, $28-$35 FRIDAY 10 Chicago Disco Summer Tour with DJ Philippa + More – Hooch, 10pm Olmecha Supreme and Myele Manzanza’s Double Album Release – San Francisco Bath House, 8pm, $15 Mtown – Petone Working Mens Club, Lower Hutt, 8pm, Free SATURDAY 11 Urbantramper, Vorn, Von Thundersvolt + Cliche Guevara – Mighty Mighty, 9pm Knights of the DUB Table ‘Way of the DUB’ Album Tour – Bar Medusa, 9pm, $10 Mel Parsons – Summer Show in the Capital – Happy, 8:30pm, $20 In Like Flynn – Molly Malones, 9pm Newtown Top Ranking – Baobab Cafe, 1pm, Free Kirsten Mackenzie And Friends – The Lido Cafe, 8:30pm, Free Rhino Music Day – The Waterfront Bar and Kitchen, Raumati, 6pm, $10 SUNDAY 12 Kings of Swing with the Wellington Jazz Orchestra – Southward Theatre, Paraparaumu, 2pm, $20-$30 The Boptet – The Lido Cafe, 7pm, Free The Sunday Jazz Club – Public Bar & Eatery, 7:30pm, Free MONDAY 13 Shenandoah Davis (USA) w/ Fuyuko’s Fables & City Oh Sigh – Freds, 8pm
NELSON / TASMAN
TUESDAY 7 Luminate Festival 2012 – Canaan Downs, Golden Bay WEDNESDAY 8 More FM Summer Vineyard Tour 2012 – Trafalgar Park, Nelson, 5pm, $79 FRIDAY 10 Anna Coddington – The Free House, Nelson, 8pm, $20 Alien Nation 2012 – 10 Years of Doof – Wairoa Gorge, Waimea, 12pm, 12am, $100 SATURDAY 11 Wild Marmalade – The Playhouse, Waimea, 6pm Alien Nation 2012 – 10 Years of Doof – Wairoa Gorge, Waimea, 12am, 12am, $100
SUNDAY 12 Alien Nation 2012 – 10 Years of Doof – Wairoa Gorge, Waimea, 12am, 12am, $100 MONDAY 13 Alien Nation 2012 – 10 Years of Doof – Wairoa Gorge, Waimea, 12am, $100
SATURDAY 11 Theiving Gypsy B*st*ard – Lennys on Main Irish Pub and Cafe, Marlborough Sounds, 7pm, Free
THURSDAY 9 The Black Velvet Band – Becks Southern Alehouse, 8pm, Free Salsa On Thursdays – Salsa Latina Dance Studio, 8:45pm, Free Bulletbelt – Writhe And Ascend NZ Tour – Dux Live, 8pm, Free FRIDAY 10 More FM Summer Vineyard Tour 2012 – Pegasus Town, Pegasus, 5pm, $79 Taos with djDmand – Pierside Cafe and Bar, 8:30pm, Free D n D Showband Weekend – Becks Southern Alehouse, 9pm, Free SATURDAY 11 Paul Ubana Jones and the Stone Cold Chillers – Pierside Cafe and Bar, 8:30pm, $10 Old Growth Cola + Mela – darkroom, 9pm, Free TangoVibe presents Practilonga – Salsa Latina Dance Studio, 8pm, $5-$10 Bulletbelt – Writhe And Ascend NZ Tour – Creek Hotel, Timaru, 9pm, $10 D n D Showband Weekend – Becks Southern Alehouse, 9pm, Free
THURSDAY 9 More FM Summer Vineyard Tour 2012 – Peregrine Wines, Queenstown, 5pm, $79 FRIDAY 10 Bulletbelt – Writhe And Ascend NZ Tour – 12 Below – XIIB, Dunedin, 8pm, $10 SATURDAY 11 Gibbston Valley Winery Summer Concert – Gibbston Valley Station, Queenstown, 12pm, $89 SUNDAY 12 Jason Kerrison – Summer Playground Series – The Winehouse, Gibbston, 3pm, $45 Jo Little & Jared Smith – Carey’s Bay Hotel, Dunedin, 4pm has teamed with Eventfinder for gig listings. To get your gig considered, go to eventfinder.co.nz and submit your show for publication. Due to space constraints, we can’t guarantee that every show will be listed.
POWERSTATION WEDS 22 FEB THESISTERSOFMERCY MAYERHAWTHORNE
THURS 23 FEB TUE THE BLACK LIPS 28 FEB WITH RACKETS AND THE TRANSISTORS THURS 1 MARCH WED ROKY ERICKSON 7 MARCH WITH SHAFT WED 14 MARCH THURS 22 MARCH
ALABAMA 3 WED 28 MARCH ELBOW SAT 31 MARCH NICK LOWE FRI 13 APRIL SIX60 SAT 14 APRIL SIX60
Anna Calvi slayed it at St Jerome’s Laneway Festival – dark and doomy with the right amount of reverb, she had the sharpest look of the day. Great location and excellent for the city. Well done Mark, Manolo, Ben and Charlotte! Best sound award must go to Opossum who opened the main stage – looking forward to the album in April… The last two weeks have seen the city slammed with excellent shows. As expected Thee Oh Sees were off the chain at Whammy Bar – big-ups to the High Seas folk for bringing them out… The Dresden Dolls played a “ninja” show in the Auckland Public Library on the day of their Auckland show with Amanda Palmer crowdsurfing. If that wasn’t enough they delivered a near three-hour set full of surprises later that night at The Powerstation, with the magnificent Richard O’Brien joining them for two songs from the The Rocky Horror Picture Show. Hard to believe he’s about to turn 70… The Fourmyula breezed through Auckland at the Seafood
at The Powerstation opening for Kitty, Daisy & Lewis and winning the cosmopolitan crowd over with his waltzing… Sharpie Crows impressed at Lucha Lounge opening for Pairs… And congratulations to Greg Hammerdown, an important fixture on the live scene, who turns the big 5-0.
sushi-cop... New Zealand Red Bull Thre3Style champion DJ Spell has just delivered ‘Risky Business’, a killer modern p-funk banger on his soundcloud page. Have a listen at soundcloud.com/spellspellspell/ spell-risky-business... Kitty Daisy & Lewis finally made it to Wellington and knocked them dead at Bodega.
Nikita the Spooky and A Circus of Men have finished recording and mixing their new EP. More details soon… Local sunshine reggae band Tomorrow People are set to release their new album in March – check tomorrowpeoplereggae.co.nz for more details… Mark McGuire from
Delaney Davidson back in town and about to record a new doublealbum… The Transistors to announce international dates and an impending album… Von Voin Strumm and The Easyhearts played to a packed Dux last Saturday. Both bands have new singles out soon followed by EP releases – ‘Shiver Roses’, from the Van Voins and ‘Neon Lights’ from The Easyhearts… The Bats were nominated in The Daily Telegraph’s albums of the year for Free all the Monsters which also received a four-star review in the January Mojo. Minisnap, the vehicle for Bats’ guitarist Kaye Woodward, plays the Dux on 18 February with Dark Matter supporting... House of Mountain getting rave reviews... Runaround Sue played their first gig with their new lineup last Saturday to an enthusiastic audience in Lyttelton’s outdoor performance space on London St…. The Greyhounds – Marlon Williams and Ben Woolley from The Unfaithful Ways, Anita Clark from Devilish Mary and th’ Captain from The Harbour Union are about to lay their bluegrass sounds on the public. This should be something... Jackie Bristow bringing highly rated Australian guitarist Mark Punch on her New Zealand tour. She plays the Naval Point Yacht Club on Tuesday 21 February.
Orchestra of Spheres
The Barons of Tang
Festival – their afternoon pop suited the wharf location perfectly… Rackets played Golden Dawn with The Transistors and Thee Rum Coves, and Rackets’ Jeremy Potts created a “unique” show moment. By all accounts, it was the shit... Video director Levi Beamish filmed The Transistors at Laneway. His car was broken into and everything stolen including all his camera equipment – bad buzz... With a taste for travel and chaos, Melbourne pioneers of Gypsy Death Core, The Barons of Tang, will be visiting these shores very soon. Delaney Davidson just returned from Australia playing shows with them and rates their show – not to mention their culinary skills. Delaney recently impressed
acclaimed US hypnagogic pop act Emeralds makes a solo performance at FREDS on Wednesday. Jo Contag of The Golden Awesome will also perform on the night… Gothic Cabaret Steampunk your thing? If so, drop past Bar Medusa on Thursday to witness one-man band Voltaire do his thing – straight outta New York City!... On Friday Afrofuturists Olmecha the Relic and Myele Manzanza have a dual album release party at San Francisco Bath House. This will be the last chance to catch Captain Imon Starr before he heads up the line… And the next night, also at the Bath House, Jacob bring their wall-of-noise back to town for one night only… Homegrown hits the Wellington waterfront next weekend with more New Zealand music than you can handle... As part of the Alphabet Street music for families’ series, psychedelic disco auteurs Orchestra of Spheres will appear at Capital E on Sunday 26 February. 2pm start… Into sophisticated electronic dance music with a touch of irony? Check out South City Sushi Cop – soundcloud.com/south-city-
Honeybone off to seek fame and fortune in AUS... ReFuel set to reopen early March… Radio One gearing up for a big year with R1 club nights kicking off soon… Alizarin Lizard’s new album The Weekend Went Without You and Cult Disney’s new EP PIDMOTLNE out soon… The Verlaines have Australian shows rumoured and Dr Graeme Downes is now the head of the Music Department at Otago University.
Got some news for More Volume? Email us at email@example.com.
CAMP A LOW HUM 2012 10–12 February – Camp Wainui, Homedale, Wainuiomata
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
ROKY ERICKSON Wednesday 7 March – The Powerstation, Auckland
ARIEL PINK’S HAUNTED GRAFITTI Tuesday 13 March – Kings Arms, Auckland Wednesday 14 March – Bodega, Wellington
NEW ORDER Monday 27 February – Vector Arena, Auckland
Tuesday 28 February – The Powerstation, Auckland
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
DIRTY THREE Wednesday 14 March – The Powerstation, Auckland
Sunday 18 March – Kings Arms, Auckland Monday 19 March – San Francisco Bath House, Wellington
Kings Arms, Auckland Thursday 12 April – Bodega, Wellington
PLAYING CLOSER – A JOY DIVISION CELEBRATION Wednesday 18/Thursday 19 April – Bodega, Wellington Friday 20 April – Studio, Auckland
Dunedin Fringe Festival Thursday 22 March – Kings Arms, Auckland Friday 23 March – Bodega, Wellington Saturday 24 March – Marchfest, Nelson
JOE SATRIANI, STEVE VAI AND STEVE LUKATHER – G3
URGE OVERKILL RYAN ADAMS
Tuesday 6 March – The Regent Theatre, Dunedin Thursday 8 March – The Civic Theatre, Auckland
STEVE EARLE Wednesday 11 April –
ST VINCENT PETER HOOK & THE LIGHT
Sunday 25 March – Logan Campbell Centre, Auckland Monday 26 March – Michael Fowler Centre, Wellington
Tuesday 6 March – The Powerstation
Saturday 13 March – The Powerstation, Auckland
JOHN COOPER CLARKE Wednesday 21 March –
THE BLACK LIPS
NICK LOWE Monday 2 April – Bodega, Wellington
Wednesday 22 February – San Francisco Bath House, Wellington Thursday 23 February – The Powerstation, Auckland
Wednesday 22 February – The Powerstation, Auckland
Wednesday 28 March – The Powerstation, Auckland
WOODEN SHJIPS Sunday 1 April – Kings Arms, Auckland
MAYER HAWTHORNE AND THE COUNTY THE SISTERS OF MERCY
Wednesday 28 March – Bodega, Wellington Thursday 29 March – Kings Arms, Auckland
JUSTIN TOWNES EARLE Thursday 19 April – Dux Live, Christchurch Friday 20 April – Bar Bodega, Wellington Satuday 21 April – Kings Arms, Auckland Sunday 22 April – Sawmill Café, Leigh
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KITTY, DAISY & LEWIS
THE POWERSTATION, AUCKLAND TUESDAY 31 JANUARY Review Danielle Street Photography Georgia Schofield
SINCE THEIR LAST visit to these shores Kitty, Daisy & Lewis have shifted away from the Honolulu rockabilly edge and moved to a jump-blues place where baby-faced brother Lewis really starts to shine. The gap-toothed young man has emerged as a subtle ringleader to this family act, orchestrating a hopping set that had a wistfully nostalgic
crowd wiggling in their fishnets. The Durham siblings, plus Mom and Pops, put on the kind of show that wouldn’t seem out of place in a dusky back alley bar where everything is in black and white – the type of grimy juke joint you wanna keep a bit secret. Except in reality it’s The Powerstation and the talented trio has sold the place out. Again. The youngsters take to their instruments like demons, slapping and beating the sound out of them. Initially the arrangement consists of longhaired Kitty bashing at the keyboard upfront, while older sister Daisy, dressed in a devilish sailor suit, takes to the drums in a side-saddled fashion. Meanwhile, Lewis is crooning ‘Don’t Make a Fool Out of Me’ from downstage. The next 90 minutes is mostly a blur. Somewhere in the middle their trumpet player Eddie ‘Tan Tan’ Thornton, an old kaleidoscope of a man, bursts in to blast out a few skaesque numbers with the family. The siblings move organically between old and new songs, and shift fluidly between different instruments. The only thing relatively stationary on the stage is the rhythm section, held by black double-bass slapping Ma Durham (Ingrid Weiss, formerly of The Raincoats) and their guitar-welding father Graeme. Their three tight-knit progeny not only switch between the more conventional band instruments of drum, guitar and
keyboard, they introduce new sounds into the mix constantly, including banjo, accordion and harmonica. All executed without even a whiff of a setlist. The energy falls a little flat when Daisy sings the black sheep of a song, ‘Messing with My Life’, the second single from their latest album Smoking in Heaven. But following the “last song” fake-out from Lewis, they resuscitate the vibe for another few tracks, treating the audience to the highlight of Kitty’s
“A hopping set that had a wistfully nostalgic crowd wiggling in their fishnets.” howling harmonica solo on ‘Say You’ll Be Mine’. Eventually they more-or-less resume their original configuration with Daisy wildly hammering away on the skins to close the set on ‘Mean Son of a Gun’, which is accompanied by rapturous applause. Despite pulling out a few chestnuts, their boundless talent has gained the Londoners an impressive strike rate of three sold-out shows in Auckland, their backwards evolution in music drawing a medley of a crowd, dressed to the nines and ready to dance. Here’s hoping it continues.
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