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#010 er 2011

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on the bliss – the CheCks’ ed knowles meets Peter urliCh dJ shadow – outliving ENDTRODUCING….. haunted love’s SPIRIT REVIVAL

When VOLUME was a collection of ideas on a page as we began assembling the pieces of a brand new music magazine, the first part of the puzzle that came together was Talking Heads, a feature that would be the sweet spot between what we wanted to do in the pages of the mag and online at the New Zealand Herald website. TAKING CUES FROM the early days of Andy Warhol’s Interview magazine, the arrangement is straightforward: partner two personalities, feed and water them, suggest some topics for discussion, then press record and see what ensues. Half the fun is playing matchmaker – if the match-up’s done right, it’s an elegant format. This week VOLUME headed to The Checks’ HQ in downtown Auckland for a lesson in Frontman 101 in the form of Th’ Dudes’ Peter Urlich and The Checks’ Ed Knowles going at it. It was the first time the two had met, and it proved to be a meeting of minds as two generations of gang leaders swapped notes on leading a band from the front. The past week alone has taken VOLUME from the old money surrounds of Auckland’s Northern Club to grimy rehearsal spaces to capture conversations for your listening pleasure. From comedians to musicians to politicians, we’ve got some top shelf Talking Heads lined up for you to eavesdrop on. Watch this space.

EDITOR: Sam Wicks WEB EDITOR: Hugh Sundae DEPARTMENT OF VOLUME SALES: John Baker DESIGN: Xanthe Williams ILLUSTRATION: Sarah Larnach WRITERS: John Baker, Marty Duda, Duncan Greive, Jessica Hansell, Stuart Harwood, David Kilgour, David Maclennan, Joe Nunweek, Harry Pearl, Karl Steven, Frank Strobel, Hugh Sundae, Anthonie Tonnon, Dan Trevarthen, Kit Walker, Aaron Yap PHOTOGRAPHERS: Ted Baghurst, Keith Murdoch, Milana Radojcic, Kit Walker AN APN PUBLICATION

HOW DOES IT FEEEEEL? JULIA DEANS How does it feel playing solo again after your tenure as an Adult? A lot more grown-up. Have you ever hung out with Shayne Carter and Jon Toogood? It’s not very grown-up! Who’s in the band you’ve put together for your upcoming Wellington show? Michael Franklin-Browne and Mike Hall from Nightchoir – they’re really good and fuckin’ nice to hang out with as well. Your tour with Anna Coddington earlier this year took you from The Mussel Inn in Onekaka to the Sawmill Cafe in Leigh. What’s your favourite local venue to play and why? I just did a show in Nelson at The Free House, which is a little boutique beer house, and they’ve got a yurt in their beer garden. It’s a traditional Mongolian tent, and that was a really cool gig. Give us a list of three on-theroad essentials? Clean undies, toothpaste and a toothbrush and togs – always take your togs ’cause you never know when someone’s going to take you to an amazing swimming hole. Julia Deans pays The Garden Club in Wellington on Saturday 12 November.

The Powerstation is steeped in local rock’n’roll history – The Cramps recorded a live album there when it was known as The Galaxy, and bands like The Ramones, Run-D.M.C., Radiohead and the Pixies have all walked its boards. The Auckland venue is full-to-bursting with shows this summer, and we’ve got a double-pass to give away to this lot: Mulatu Astatke, The Checks, Black Joe Lewis and The Honeybears, Adrian Sherwood, The Damned, Dresden Dolls, The Sisters of Mercy, Black Lips and Roky Erickson – phew! For your chance to see the lot of ’em, email with your account of a History Madeworthy show you saw at The Powerstation.


First and foremost, a studio manager sends the invoices to the clients, otherwise no one gets paid. The difficult thing is, when I’m engineering, the studio manager side of it takes a back seat. I see the owner of The Lab where I work a couple of times a month – he doesn’t really have a role in the day-to-day running of the studios. Because it’s a one-man operation, I take the bookings, clean up after sessions, do the dishes, vacuum, do various bits of maintenance inside the console, and with leads, instruments and so on. It comes down to being a gracious host – a lot of different people use the studio, and you have to accommodate their needs as best you can.


Conductor Frank Strobel will recreate Gottfried Huppertz’s original orchestral score for Fritz Lang’s 1927 film Metropolis with the New Zealand Symphony Orchestra at Wellington’s Michael Fowler Centre on Saturday 5 November and the Auckland Town Hall on Saturday 12 November.






Paul Henry had the Civic in the palm of his hands long before he delivered the moneyshot – “c*nt”.

NOT HIS WORDS, he was simply the messenger. Reading the situation perfectly he chose to read out his own hate mail as an acceptance speech for the People’s Choice Award at the 2010 Qantas Film and Television Awards. He’d beaten off Kimberly Crossman and Mike McRoberts – who else can say that? – and delivered the speech

his job on TVNZ’s Breakfast. There’s no need to re-litigate Henrygate. You’ve got your opinion. I tend to think that if you add up the amount of hours someone hosts live TV, then a couple of slightly offensive comments in a year isn’t too bad. I say stupid shit all the time. In fact quite recently I actually said stupid shit to Paul Henry. Nothing offensive to minorities, but champagne was being served at the opening of an envelope we both happened to be at, and I went a little crazy. As I was leaving – I shit you not – I actually pointed to him and made guns out of my fingers as I “shot” at him and winked. I remember Dominic Bowden doing the same thing to me years ago – I dined out on that story for months. Henry’s speech was certainly more rock’n’roll than any of the speeches at the Music Awards last week. I think the most rock’n’roll thing that happened was some arsehole stealing our camera from the media room (Sony EX1 – if it was you, please send us back the card that was in it, it had good footage). I think Sam Wicks was on to something when he suggested Anika Moa and Home Brew’s Tom

“If [Anika] Moa can make the front page of the Herald site with one tweet about Thom Powers, imagine what she could do for the awards?” of the night. It is the only time in the history of the entire world that someone has taken paper out of their pocket to aid their acceptance speech without it being a bit rubbish. The author of that particular piece of hate mail (which contained the kind of vitriol best reserved for New Zealand’s Next Top Model or The Edge playlist) must have felt quite chuffed in the following weeks. It wasn’t long after that night that began the turn of events that resulted in him losing

Scott as hosts for next year. If Moa can make the front page of the Herald site with one tweet about Thom Powers, imagine what she could do for the awards? Awards season continues this weekend with the Aotearoa Film and Television Awards. Oliver Driver plays host – and it won’t be hard for him to put in a rock’n’roll performance to outshine Rhys Darby’s flat offering last year. If all else fails, he could just say “c*nt”. Worked for Paul Henry, right?


More awesomness online this week. The last couple of Beastwars’ Sundae Sessions will be up ( sundaesessions) and you can go in the draw to win tickets to the next one – featuring the Drab Doo-Riffs. Bic Runga returns with new album Belle (first listen, she’s keeping with the slightly darker pop that made Birds so wonderful), and we’re streaming it all week at Plus it’s the Aotearoa Film and Television Awards. Thursday afternoon we’re live blogging the craft awards, and Saturday night the gala awards.

PETER URLICH & Th’ Dudes and The Checks, two generations of Auckland rock’n’rollers led from the front by singers with attitude to burn. With The Checks’ new album Deadly Summer Sway in stores and a summer tour kicking off this Friday, Peter Urlich and The Checks’ Ed Knowles got together to swap frontman tips for Talking Heads. Photography Ted Baghurst PETER URLICH: I’m not in touch with it, but I would imagine that it might be frowned upon that whole posing, dressing up, which we got right into, Th’ Dudes. We were reading about our heroes and then we emulated them. We took what we liked from them and distilled it, and then came walking out of the bedroom – ‘what do you think of this, guys?’ Dave [Dobbyn] would go, ‘Hey guys, what do you think of that, and we’d go, ‘Take it off, Dave – it’s not right!’ I’ll never forget when he got his hair bleached – we freaked out – Dave Dobbyn with a white afro. New Zealand was a different place, you know. You’ve got so much more access to stuff now. ED KNOWLES: You’ve got the whole world in the internet so those movements aren’t committed to by whole generations – it’s split off into various sections far more than it used to. You’ve got so many disparate groups now, eh. Yeah, that community idea of belonging to a tribe has semi-gone out the window. People are not afraid to like lots of different kinds of music. That’s real good. I think it’s good, eh, but it definitely does take something away from… there’s something cool about gangs.

And a band is a musical gang – there is no doubt about it. You haven’t got a good group unless you’ve got a gang. And, like any gang, there’ll be internal friction, but you’ve got to stand tough. You’ve got to want it – you’ve got to believe in it. In my day – ’cause I can’t talk for you, Edward – it was sometimes you versus the audience: ‘Fuckin’ play something, not this fuckin’ shit!’ We were trying our own songs, and of course it’s hard to play a classic rock song and then play your own song.

“It’s like being the captain of the rugby team – you have to pick them up when it’s not going well and let them go when they are going well.” – THE CHECKS’ ED KNOWLES And even if the song’s not that much better, it’s just because people know it so well.

Exactly – they’d throw stuff at you when we first started, they’d abuse you, and you’d just have to be a gang. We played a show and it was going alright, and then we played ‘Gloria’ by Van Morrison and the crowd went off, and that’s when I was like, ‘Okay, no more covers!’ They’re like, ‘Van Morrison’s great – those Checks are pretty rubbish, though!’

THE CHECKS’ ED KNOWLES It’s entertainment in the end – it’s not art. Yeah, when you get into the realm of being a “frontman”, eh, that’s when it becomes entertainment. Absolutely – and that’s when the art has been done. You were talking about frontman actions and dancing and posing. I didn’t know what I was doing – I’d just get so excited my body would, you know… I referenced certain people because I’d seen them and I’d thought, ‘Wow, that’s cool!’ – Jagger and Jim Morrison. I guess that would just come up through the floor, through the bass, through the kick drum, through the guitars, and it almost (makes vomiting noise) out. Yeah, that’s how you learnt that expression, eh, and so of course you’re going to somehow mimic it when you’re trying to express it onwards. It’s the same feeling – it’s just that it’s how you saw it delivered the first time so that’s how you end up delivering it. I mean, you’d look pretty stupid doing the exact movements. You just have fun and you do what your body would naturally do, so if you’ve got natural rhythm and you can dance, you do what your body would naturally do. And then there are other singers who look unco, but they kind of get away with that as well because you can tell they’re totally committed to it. Like David Byrne or like… Like David Byrne, exactly. It sort of went out there for a while, frontmen didn’t move. It was that whole grungy thing when you were in an old, dirty t-shirt and very miserable. We were never miserable – we were celebratory – we were celebrating

rock’n’roll and we had so much energy, so we had to move. Are you just a pure frontman or do you ever sling on a guitar? I have recently become a slinger – only in one song and only because it’s just one chord! Well, I was just a pure singer, and there weren’t that many of us. I’ve been playing in bands for 30, 40 years now – you’ve got to do something when the band’s playing, and sometimes that can be really difficult. So the fact of us being singer/frontmen, we’ve got a definite role, and a lot of the focus on the band comes via the frontperson – it’s like a prism. It’s like being the captain of the rugby team – you have to pick them up when it’s not going well and let them go when they are going well. Abso-fucking-lutely. I just go straight to the drummer and I stamp on his pedal, and then all of a sudden you feel it go up – this great vibe, eh, when everybody just picks up. It’s like the wave picks up again. I get goosebumps just talking about it, and you go, ‘We’re off again!’ To listen to the full audio of Peter Urlich and Ed Knowles in conversation, head to – live from 2pm Tuesday. The Checks’ Deadly Summer Sway is out now on Pie Club. VOLUME presents The Checks’ Deadly Summer Sway Album Tour – check out this week’s White Line Fever for all the tour dates.

DJ Shadow’s 1996 debut Entroducing….. still looms large as a genre-defining instrumental hip hop album, but the Californian producer’s restless adventurism means that he continues to dodge expectations on his latest effort, The Less You Know, the Better. Text Harry Pearl

LIKE THE STONE Roses’ The Second That was five years ago, but snap to Coming, Massive Attack’s Protection the present and the release of The Less and The Strokes’ Room on Fire, when You Know, the Better, and the Silicon DJ Shadow’s second LP The Private Valley resident admits he was in a Press hit shelves six years after his much more relaxed state of mind when debut Endtroducing….., it was opined putting together his latest album. in some corners of the music press “When it came time to sit down on that Josh Davis was afflicted by DSAS this one, I didn’t feel any need to speak – the clunky English acronym for indirectly to anybody. I was just alone ‘Difficult Second Album Syndrome’, with my music and making music for supposedly induced by the intolerable the love of it without any sense of, weight of expectation which follows a ‘Where does this fit in?’” landmark debut. Although the bulk of the album was Of course it was true, in so much recorded an hour and a half away from as The Private Press didn’t quite reach his home in a nearby California wine the epochal heights of its predecessor, region, Davis admits it wasn’t quite the but misleading in that it failed to picturesque scenario that immediately acknowledge the significant body of comes to mind. work which came before his debut “It wasn’t like going to the South album, or the bits and pieces that of France, if you know what I mean. It followed. It was as if his early Mo’ Wax was dark and it was a bit lonely, but it releases, not to mention his work in was beautiful and more importantly it establishing the Solesides label, were was removed. It was just me working irrelevant footnotes that detracted from with very little distraction.” an easy alternative narrative. That immersion has resulted in Even now, some beautifully Davis is a little moments on “That album was lonely bemused that the record, along a provocation and with a host of what Endtroducing….. is still being used I really felt like he calls “rural as the starting elements” plus I needed to do it point (and in some Shadow’s restless cases the end before I could go sonic exploration. point) of his career. Hyphy, heavy anywhere else.” “Endtroducing….. hardcore riffs and was a stop on a post-punk have all really long journey, and I always saw found their way onto the same album. my career as a lifelong pursuit, not a, “That’s one of the things that I’m ‘Oh, if I can just get this one hit then I always trying to push with my records. can retire somewhere’. You know, that’s Why should I close myself to this not what motivates me. What motivates influence or that influence?” me is challenging myself to say new And despite the wishes of some things at any given time and to make fans, it seems that’s the way it’s going music that’s tasteful and fills some to continue. “I understand to some kind of void.” people it’s bigger than that,” says That explorative attitude has Davis, once again referring to that meant Davis has often refused to record, “but I can’t let that affect my give fans what they want, eschewing own muse and my own pursuit and my any one template and frequently own learning. I don’t have any interest jumping headfirst into new territory. in spinning my wheels.” For fans of the moody atmospherics of Endtroducing….., his next two albums DJ Shadow’s The Less You Know, were confounding. the Better is out now on Verve/ “My relationship with old material Universal. is healthier now than it has been in a long time,” Shadow says. “The Outsider had a lot to do with that, because it was intended to clear the deadwood in a way – away from my fan base, For your chance to win one of five people who were expecting another copies of DJ Shadow’s The Less You Endtroducing….., and all that kind of Know, the Better, email stuff. That album was a provocation and and I really felt like I needed to do it tell us your favourite track in before I could go anywhere else.” Shadow’s catalogue.

CIRCULAR LOGIC To claim DJ Shadow’s Endtroducing….. as epochal isn’t an overstatement. The success of his 1996 debut album inadvertently spawned a torrent of imitators and lay the foundations for instrumental hip hop as we now know it. Courtesy of its artful elevation of sampling, the album’s influence extended much further than those with a penchant for the dusty back corners of record stores. Here are our picks of three albums that were inspired by Endtroducing….. RJD2 – Deadringer Despite being heavily indebted to the album template laid down on Endtroducing….., Deadringer’s kaleidoscopic sound palette and sweeping soundscapes meant that upon release it upstaged Shadow’s second album, The Private Press, which had been released just a month earlier in 2002. Blockhead – The Music Scene With the aid of Ableton Live, the New York producer layered sample upon sample to create a beautifully textured album, one that stood apart from all three of his previous efforts. Had it been released a decade earlier, it would have undoubtedly received more attention. Radiohead – OK Computer Certainly only one influence among many, but Endtroducing….. was on high rotate along with Bitches Brew and Tago Mago in the recording sessions for Radiohead’s OK Computer. Thom Yorke is on record as saying ‘Airbag’ was a rudimentary attempt to make a song like Shadow.

A column in which Duncan Greive scours the world’s charts in the hope of finding, if not the perfect beat, then something worth whistling at least. THE LOCALS

So long as Radioscope’s website remains down due to “an intrusion by hackers” (seriously – three months now!) it’s a shallow pool of New Zealand charts to drink from. I’ll never tire of the RIANZ singles charts, though. These are the songs which will define this era, post-World Cup, pre-election. And while the majority is eminently forgettable – mainly because the big guns are being held back for Xmas – the no 1 single holds some considerable appeal. Rihanna and Calvin Harris’ ‘We Found Love’ shows once again that Ri-Ri is a more adept genre-hopper than the more lauded likes of MIA. Her last 10 singles have included pop reggae, Basshunter-esque Euro-dance, ludicrous power balladry, fake rock music, and now Basshunter-esque Euro-dance again. ‘Only Girl (In the World)’ remains my favourite example of all this Guetta-seeded pop-house, just for its berserk emotional intensity – where most of the rest is piña coladas and sunglasses at night, ‘Only Girl’ was neat gin and cutting yourself. It’s a trick she repeats here, aided by that mental Skins-tribute clip. She wants to be the greatest pop star on the planet, and whether she makes it or not we’re damn lucky to have three absurdly talented women battling for that position. Without them, global charts would be near irredeemable.


The Ultimate Chart attempts to do what is entirely logical but oddly obscure – synthesise the world’s endless data streams and figure out what the most popular songs and artists in the world are at any given point of time. So they plug into Facebook, Twitter, YouTube, and a host of other less popular sites to figure this stuff out. But as a glance to the chart should have shown you, its makeup is beyond predictable. If the internet can’t save us, maybe a notoriously weird nation can?


Germany’s a country famous musically for the twin peaks of krautrock and David Hasselhoff, but even they have succumbed to the urge to be like everyone else. For the first time since I’ve written this column, the top two songs are the same, and in the same order, in all three charts. There’s a couple of artists from outside the current chosen few, but for the most part this indicates that global pop music has become a zero sum game – and we all agree on the winners. The pitch with music’s collision with the internet was all about diversification and the long tail – which works, but only to a point. Lately it seems like it’s just making us all play the same old song, with less room for a breakout from an odd corner than ever.

RIANZ TOP 10 SINGLES CHART 1 Rihanna ft. Calvin Harris – ‘We Found Love’ 2 LMFAO – ‘Sexy and I Know It’ 3 Gotye ft. Kimbra – ‘Somebody That I Used To Know’ 4 Maroon 5 ft. Christina Aguilera – ‘Move Like Jagger’ 5 Flo Rida – ‘Good Feeling’ 6 Jessie J – ‘Domino’ 7 Calvin Harris – ‘Feel So Close’ 8 Kelly Clarkson – ‘Mr Know It All’ 9 The Babysitters Circus – ‘Everything’s Gonna Be Alright’ 10 David Guetta ft. Usher – ‘Without You’

ULTIMATECHART. COM TOP 10 1 Rihanna ft. Calvin Harris – ‘We Found Love’ 2 LMFAO – ‘Sexy and I Know It’ 3 Justin Bieber – ‘Mistletoe’ 4 Adele – ‘Someone Like You’ 5 Drake ft. Nicki Minaj – ‘Make Me Proud’ 6 Foster the People – ‘Pumped Up Kicks’ 7 Maroon 5 ft. Christina Aguilera – ‘Move Like Jagger’ 8 David Guetta ft. Usher – ‘Without You’ 9 LMFAO – ‘Party Rock Anthem’ 10 Gym Class Heroes ft. Adam Levine – ‘Stereo Hearts’

GERMANY SUPERCHARTS 1 Rihanna ft. Calvin Harris – ‘We Found Love’ 2 LMFAO – ‘Sexy and I Know It’ 3 Taio Cruz ft. Flo Rida – ‘Hangover’ 4 Marlon Roudette – ‘New Age’ 5 R.I.O. ft. U-Jene – ‘Turn This Club Around’ 6 Sean Paul – ‘Got To Love You’ 7 Coldplay – ‘Paradise’ 8 David Guetta ft. Usher – ‘Without You’ 9 Adele – ‘Someone Like You’ 10 Lana del Ray – ‘Video Games’

Spirit Revival (Round Trip Mars) HAUNTED LOVE’S LONG-AWAITED debut starts in similar style to their EP, Darkness in Diamond City. ‘Solaris’ opens with their strippedback vintage sound, Rainy McMaster and Geva Downey’s floating voices accompanied by organ. It doesn’t last long – bleeping, glitching synthesisers creep up, until all of a sudden the church organ has vanished, replaced by club-ready beats and shimmering layered keyboards. It’s party time, and Haunted Love is showing you how. The production on this record is the most startling difference to Darkness in Diamond City. Spirit Revival is a revelation in pop genius. Producer Edmund McWilliams has captured stunning vocal GIN WIGMORE Gravel & Wine (Universal) Great, selfreferential title – should rightly be the name of her biopic one day. You know the drill: ‘Black Sheep’ is an amazing statement of intent (“Everybody’s doing it, so why the hell should I?”), ‘Dirty Love’ is a bluesy bar stomp that doesn’t outstay its welcome, ‘Happy Ever After’ is a lesson on how to do Top 40 mid-tempo. Do we get how lucky we are to have her? TRENTEMOLLER Reworked/ Remixed (In My Room) A compilation of this Danish producer’s own work remixed, and his reworks on both his fellow countrymen and some big namers (Franz Ferdinand, Depeche Mode). He’s always been a more delicate and intriguing touch than his peers – he turns UNKLE’s bluster into a Beta Band-style reverie, and shows a knack for actually making prog progressive by taking on Mew’s ‘Beach’. TURBOWOLF Turbowolf (Hassle Records) This British hard rock band is a mad guilty

performances from the band, and sculpted glittering instrumental arrangements to match them with. The images conjured by Haunted Love have always seemed plucked straight out of an obsessive teenager’s diary, and this is no different in Spirit Revival. The band effortlessly draws the listener deep into their imaginary world of robot boyfriends and werewolves. Though ‘Teenage Fever’ is my no 1 pick on the record for its sheer catchiness, Spirit Revival is crammed with bangers. I can’t wait for Haunted Love’s next one. Review Stuart Harwood

pleasure. Their singer is pretty limited, coming off like a sort of strangulated Axl Rose, but their music is all gnarly and bone-dry riffs, cheap Casio synths taking away the pomp and giving it a lowrent sleaze. From a passing limo, Dave Grohl still wishes he was allowed to still make music like this. ADAM COHEN Like A Man (Cooking Vinyl) I thought this was the curly token indie signifier off The OC – turns out that’s Seth Cohen, played by Adam Brody. This is Leonard Cohen’s son, more prone to recall the miserable croon of Mark Eitzel than his dad’s extraordinary, devastated voice. Somewhere between Julian Lennon and Jakob Dylan, competent but forgettable. These poor kids. POP WILL EAT ITSELF New Noise Designed By a Sadist (Cooking Vinyl) These guys have dated horrendously anyway, and their reunion album doesn’t take any gambles. You can locate it squarely in that EMF/Jesus Jones popindustrial early ’90s thing in terms of its clumsy power chords and beats, except with the desperate stench of middle-age as a bonus.

ALPHABETHEAD’S TOP FIVE RECORD PURCHASES 1: De La Soul’s 3 Feet High and Rising from Trash Palace, Porirua – the album that got me hooked on hip hop. Unplayable now due to my scratching! 2: Charles Mingus’ Let My Children Hear Music brought from David N White Gallery, Wellington – love on first listen. Composition 101. 3: This Heat’s Deceit from eBay – the only LP I’ve spent a whole week’s rent on. Easily worth the eviction notice. 4: Steve Reich’s Music for 18 Musicians from Richards Nunn’s record collection – the finest record collection I’ve ever perused. 5: Tangerine Dream’s Zeit from a garage sale in Broadmeadows, Wellington – who would have thought cranky old Mr Hodge up the road would have a prog rock collection! HAURAKI AMPED MATT HEATH’S TOP FIVE CRITICALLY-SLATED COMEDIES THAT ACTUALLY RULE 1: McGruber 2: Hot Rod 3: Land of the Lost 4: Freddy Got Fingered 5: Night at the Roxbury

If you are The Feelers you might want to extract some cover versions from it, however. PALEY & FRANCIS Paley & Francis (Sonic Unyon) (Frank) Black Francis continues his “I will never record anything that isn’t mid-tempo alt-country ever again”, doubling with singersongwriter Reid Paley (who sounds like a slightly more vaudevillian Tom Waits). Paley’s turgid material is strictly for diehards of that sort of thing, but Francis’ music is still catchy enough, in an inessential sort of way. VARIOUS ARTISTS Listen To Me: Buddy Holly (Verve Forecast) Haha, there was already an okay bizarre Buddy Holly tribute comp this year (where Kid Rock shared running-time with Nick Lowe) – this one is so bizarrebizarre (contributions from Patrick Stump, Ringo Starr, and the bro from Train) that it feels like some strange pyramid scheme for all involved. SIX60 Six60 (Universal) If you’re aware of a band like Six60 you probably already

love them, whatever. But much like, say, Kora, I really respect the way they’re a typical BBQdub group that unselfconsciously weaves in different and unexpected influences – the first three songs could almost be ’90s emo with their chiming guitar filigrees, their harder songs come off nimble, not lame. Only a cynic could actively despise it. SHARON JONES AND THE DAPKINGS Soul Time! (Daptone Records) Yup, of course this sounds amazing. It’s very “museumpiece”, from the fact that Jones herself is a mature woman of history, courage and experience rather than a press release poppet, to the immaculate production. Expect nothing horizonbroadening, but take it for what it is. The cover of Shuggie Otis’ ‘Inspiration Information’ is lovely. THE TRAVELLING BAND Screaming Is Something (Cooking Vinyl) Finally, I’m sick of all these stationary bands! Lame, beardy Mumford & Sons-style stuff (ie: total UK “authentic rockers”). Avoid. Reviews Joe Nunweek

Rainy McMaster and Geva Downey from Dunedin pop outfit Haunted Love are now split between two cities, but the duo have maintained their musical telepathy on debut LP Spirit Revival. Text Anthonie Tonnon Photography Rainy McMaster FOR AS LONG as I have lived in this city, the Auckland Art Gallery has been under reconstruction; a symbol of the city’s ever-awkward development, the reflective red fences a blush at its struggle to keep up with the cultural institutions of the smaller centres. But here I am, regaining my breath in its new Kauri tree canopy. Opposite me, looking only slightly less rushed, are Rainy McMaster and Geva Downey, old friends of mine from another life in a more effortlessly romantic city. Had I tried to catch up for a friendly chat, they wouldn’t have had time – this meeting was organised by Round Trip Mars boss Jim Pinckney. I’m late, and there is only 25 minutes of it left. They haven’t even taken off their heavy coats. There’s a good reason Pinckney will schedule interviews only when both girls are in town, despite the fact that Downey now lives here, and works as a visitor host at this very gallery. “Jim sees the value of our special friendship. He recognises that’s where the music comes from. So when we do interviews and meet people, he always wants us to be together,” McMaster says.

Haunted Love has always been about co-dependence. Even now, answering my questions, the pair follow each other’s eyes intensely, telepathically agreeing on the right answer. I’ve seen the same body language on stage dozens of times now, and it’s always a beautiful and incredibly tense thing to watch. You sense that if the girls lose their eye contact, everything could fall apart. You find yourself staring at them yourself, desperately willing them on, only to be a little heartbroken when they leave you

behind and soar to a chorus. “Having Jim come in at the end to steer it to the finish line, it was practice for us to introduce the album to people who weren’t aware of that journey. He had fresh ears.” For me, it’s hard to imagine Haunted Love without that journey. In Dunedin I saw them carry the weight of that city’s hungry expectations for new pop saviours. They had tens of thousands of YouTube views, international acts requested them to open by name, and the legendary Edmund McWilliams

up in glad rags and looked like a million dollars,” McMaster says. “Yeah, it’s like seeing your mum get a makeover sometimes,” Downey adds, grinning at her bandmate. Work two years on an album, and you might well overcook it. But Haunted Love worked four years on this album and made it something altogether different. Droplets of the cute and naive in those old lyrics are flooded in sounds that come from the shyest parts of the

“When I heard the almost finished mix of ‘Werewolf’, I was so gobsmacked that I had to call Ed [McWilliams] that minute.” – Rainy McMaster

offered to record an album with them in Auckland. But like so many bands, the reality of recording timeframes slowed their momentum. Two years after they’d begun, the album was in limbo, halffinished. I saw them turn that frustration into the chilling, luscious Darkness in Diamond City EP, recorded with Tex Houston in Dunedin. With a new third member and the Auckland album back under way, I couldn’t help adding my own expectations to the weight the band carried. I set myself

up to be frustrated when life and love intervened; Downey moved to Auckland while McMaster stayed, and the band stripped back to its founding two members. For an impatient person like me, it seemed best to try not to wait for that album. “When I heard the almost finished mix of ‘Werewolf’, I was so gobsmacked that I had to call Ed that minute; I was so thrilled at how it had retained that freshness, and it wasn’t like a big ball and chain we were dragging around. It was an old friend that had got dressed

psyche. Dance beats commandeer ghostly ballads, sung “dum dum dums”, and ancient synth sounds commandeer guitar hooks. The complexity of McWilliams’ production and the boldness and faith with which the band has re-examined and re-imagined their songs is dumbfounding. I suspect Downey knows better than I do that buildings and albums that are never finished inevitably will be at some point, and that the important thing is not when, but how. “What I’ve learned from Rainy is that your process should reflect the art you’re making, and if you’re constantly engaging in a fun or a meaningful way with what you do, if you’re valuing the process in that way, the rest just falls in line.” Haunted Love’s Spirit Revival is out now on Round Trip Mars.


Director Nicolas Winding Refn Starring Ryan Gosling,

Carey Mulligan, Albert Brooks


EVER SINCE GENERATING buzz on the festival circuit earlier this year, Nicolas Winding Refn’s dreamy, ultraviolent neo-noir Drive has suffered somewhat from confused marketing that has set up audiences to expect a supercharged muscle car thriller in the Fast and Furious mould. But that couldn’t be further from the truth: equally informed by American crime melodramas and European arthouse, it’s a film that emphasises stillness over action, mood over thrills. Drive’s direct cinematic antecedent may be Walter Hill’s 1978 The Driver – another film about a maverick getaway

driver with no name – but its aesthetic lineage extends to everyone from Jean Pierre-Melville to Michael Mann. Lest it becomes an exercise in sub-Tarantino pilfering, Refn’s dazzlingly tight direction and bold vision reins it all into a gorgeous thing of its own, imagining Los Angeles with a freshly alien, beautifully atmospheric lustre the city hasn’t had in the movies in a long time. With its clean, striking compositions, eye-popping use of colour, light and shadow, and a lush soundtrack that bleeds from synthy electro-pop into Cliff Martinez’s Eno-esque filigrees and pulsing dread, the film is a model of slowburning tension-and-release, tempered by the genre’s fatalistic inevitability. Part Steve McQueen, part Travis Bickle, Ryan Gosling’s performance is a method-induced minimalist powder keg, a sharp contrast to Albert Brooks and Ron Perlman’s more overtly caricatured but nevertheless entertaining mobsters. The female characters unfortunately get short shrift, particularly Christina Hendricks, but Carey Mulligan embodies Gosling’s brief respite from crime with moving, tender understatement. Review Aaron Yap

A stuntman died following an explosion on the Bulgarian set of The Expendables 2. Star/ producer Sylvester Stallone was not at the scene at the time. Back-to-back sequels to 1996’s Independence Day are coming soon, with original screenwriter Dean Devlin penning the scripts. Will Smith is apparently asking $50 million for both films if he were to reprise his role, a price which Fox isn’t so keen on. Lionsgate has bought Black Swan co-writer Mark Heyman’s script XOXO, a thriller described as a “Fatal Attraction for the digital age”. Aaron Sorkin is being hunted by Sony to write their planned biopic on late Apple co-founder Steve Jobs.



SNOWTOWN Director Justin Kurzel

Starring Daniel Henshall,

Lucas Pittaway, Louise Harris

THE KILLING Starring Sofie Gråbøl,

Søren Malling, Lars Mikkelsen, Bjarne Henriksen,

Ann Eleonora Jørgensen,

Bent Mejding, Farshad Kholghi WELL, IT’S A murderous couple of DVD releases this week. Snowtown is the dramatisation of Australia’s notorious ‘Bodies in Barrels’ murders in which 11 people were killed between 1992 and 1999 in South Australia. John Bunting was the man chiefly responsible for the horrific killings, but he had help. Snowtown is seen through the eyes of Jamie Vlassakis, a teenager drawn into Bunting’s nefarious activities who became the Crown’s star witness

when Bunting and his crew were eventually convicted. First-time feature director Justin Kutzel (a native of the area where the murders took place) has created one of the most gripping and harrowing films I’ve seen in a long time. The charismatic Bunting (Daniel Henshall) was able to insinuate himself into the lives of a workingclass suburban family and turn them either into accomplices or victims. Kutzel shows us how this occurred

with stark realism. The shooting style is documentary-like and many of the actors, including Lucas Pittaway who plays Jamie, non-professional. They all deliver incredibly memorable performances. The violence and brutality set among the mundane suburban landscape is chilling. There are scenes in Snowtown that will sear into your brain. It’s disturbing, unforgettable and very well done. But not for the squeamish. Here’s a chance to get the jump on the new American TV series, The Killing, which will air on Sky TV’s new SoHo channel. The series was created by Danish television and the first season (20 one-hour episodes) has just been released on DVD. The programme focuses on one crime, the murder of a 19-year-old girl. We follow Danish police detective Sarah Lund as she and her colleagues try to uncover the mystery of who killed Nanna Birk Larsen. Think Twin Peaks meets CSI, set in Copenhagen. The series is full of fascinating characters and endless plot twists. Once you start watching you’ll be hooked. Review Marty Duda




THE POWERSTATION, AUCKLAND SATURDAY 5 NOVEMBER Review Kit Walker Photography Keith Murdoch A PACKED POWERSTATION saluted three New Zealand groups with roots in the ’70s on Saturday. Their offstage antics in that heady decade have been well documented, and two of them at least safely made it to the future. Acid rockers Ticket brought the rock. No strangers to the excesses of the time, the then-hirsute rockers were far out, maaan, when they recorded a phenomenally lysergic debut Awake in 1971. Cut 39 years to the future and they are looking remarkably fresh. When he’s prowling the stage, it’s hard to believe frantic frontman Trevor Tombleson is 60-something, swinging tambourines and flicking frisbees. Local legend Eddie

Graham Brazier

“between-song banter that sometimes reached William Shatner proportions.” Hansen’s heavy Hendrix-influenced guitar was in full force. Opening with ‘Awake’, their set was a glimpse of a Ticket show three decades earlier. Classic hit ‘Country High’ with its breezy hook was a favourite, and the full-tilt rock-funk boogie of ‘Highway of Love’ closed the set. National treasure Captain Brazier took the Sailors to the stage with swagger, bad boy jive and betweensong banter that sometimes reached William Shatner proportions. Navigating through a Hello Sailor history lesson, the band was in fine fettle. Comparisons of Dave McArtney to Keith Richards are unavoidable, except McArtney is

eson Trevor Tombl

in much better nick. Harry Lyon held it down on his side and Ticket’s rhythm section lay down a groove that allowed the Braz to bust some impressive moves. Still a going concern, they dropped new material into the set, but it was the ‘hits’ the juiced-up crowd were waiting for. Taking to the choruses with vigour on ‘Billy Bold’ (with a new anti-John Key line), ‘Latin Lover’ and set-closer, ‘Blue Lady’, the woozy crowd

Mark Williams and Todd Hunter

was clearly happy. Dragon. Heavily covered in the media last week, the historical aspect of Dragon being one-time contemporaries of both groups did not go unnoticed. Fronted by Mark Williams, local ’70s star in his own right, they delivered a slick and excellent sounding show which pleased the predominantly Caucasian crowd, who were clearly old enough.



David Maclennan saw The Clean’s first Wellington gig on 24 September 1981. WE’D HEARD THE buzz, we’d bought ‘Tally Ho’, and I even had a tape of a live gig and was going nuts over ‘Point That Thing’ – but now The Clean were coming to Wellington! Woo-hoo! Their first gig in the capital was upstairs at Thistle Hall on Cuba Street, which had hosted more than a few punk and post-punk gigs by then. There was a weird vibe in the air that evening: tensions between skinheads and the local rastas had been simmering for a while, and I think there may have been a confrontation, if not actual aggro, outside. The gig began, but it was only a few songs in before the cops – still a bit baton-happy after the Springbok tour that had ended only weeks before – decided to shut it down. This pissed everyone off and left a very bad feeling. However, audience and band all decamped to 212 The Terrace, a grand old house that was the focal point of

the so-called “Terrace Scene”, a loose collection of bands that included Naked Spots Dance, Riot 111, Beat Rhythm Fashion and the by-then defunct Wallsockets. This house had a huge living room and The Clean simply set up their gear and continued the gig! Soundwise it was pretty rough, as David Kilgour’s guitar amp also had to take the vocals, but nobody cared. We all raged and partied, and the band and all of us had a great old time. I can’t remember the set details, but it would have been the early stuff, including ‘Tally Ho’ and songs off Boodle Boodle Boodle. I loved every minute of it. The Clean have played many a

“Soundwise it was pretty rough, as David Kilgour’s guitar amp also had to take the vocals, but nobody cared.” fine gig in Wellington in the 30 years since, but for me this one was the most fun of all – true to the original punk spirit, which by then was all but non-existent in Wellington. Apart from the memories of this gig, my most prized Clean artefact is a copy of the very limited-edition handmade press kit for the Boodle

EP, which opens to a pop-up cartoon image of the band. This was given to me by Roger Shepherd about a month after this gig. It’s still safely tucked inside my original copy of the record. Here’s to the next 30 years of Nunsense! David Maclennan won the Gimme the Nun prize pack for this week’s History Made.

Note from David Kilgour:

It was the first time the police had come out in public with batons, and not for anything to do with the Springbok tour. It made the front page of the Wellington newspaper. It was the Nomad gang that disrupted the evening, even threatening to smash our instruments if we didn’t turn the amps on so they could play – and they did play for a few seconds! They lived very close to the venue and just wanted to mug the audience, and they did manage to mug a few purses etc. The cops were called because we were all shit scared! The Spines supported. And, yeah, the post gig party was a fond memory.



THE POWERSTATION, AUCKLAND SATURDAY 5 NOVEMBER Review Dan Trevarthen Photography Milana Radojcic

Sharpie Crows


CONSIDERING ALL THAT Flying Nun’s gone through only to finally make its way back into founder Roger Shepherd’s hands, it’s pretty great that the label’s 30th anniversary can be celebrated with a host of new bands on its roster. Missed recent addition Surf Friends, but seeing as they’ve come from Powertool Records to a Pitchfork review and getting signed to Flying Nun, I’ll take your word for it that they were pretty good. Grayson Gilmour is easily the best musician here and performs solo on keyboard with sampled beats sped up and slowed down. His cryptic lyrics are cloaked further by reverb, a melancholy diversion from his work with Wellington’s synth-core legends So So Modern. There’s some disconnect, because while context leads you to expect raw emotion, his music is very cerebral. Not sure if he’s found a live setup that really does his songs justice, but he’s released six albums since age 16 and they’re well worth your time. On a night like this, Sharpie Crows bring the industrial noise of The Skeptics to mind – their primal noise is abrasive, confrontational

and deceptively minimal. A babyfaced vocalist and his tiny Korg synth offset the involuntary pelvic thrusts, sneering lyrics and haunting melodies. Meanwhile the drummer avoids the money beat like the plague, preferring to hit hypnotic, spare rhythms interspersed with the mechanical clang of their guitarist. It feels like they have a few more gears left in terms of stage presence, but be glad they didn’t creep out the entire place mid-evening. Popstrangers have it all – good looking, a singer that can really sing, a metronomic drummer with boundless energy and good taste. They could go far. But right now, they’re in between something, like they have an equal love for Cut Off Your Hands and the Dead C. Their singer deadpans: “this is our single” and it starts with grind and a churn of guitar interspersed with well sung melodicism, then back to the noise. Who knows where this will end up, but they’ve got the gifts to do something special.

T54 are unlikely heirs to the throne – self-described “three piece quarter pack from South West Christchurch”, they’re relatively new, low profile, and have a particularly un-evocative name. But they owned this stage and felt like headliners. There’s a little jangle, a good dash of shoegaze, and Bailterspace-like atmosphere. Like Popstrangers, there’s no obvious single, but these feel like they could be heavenly pop hits. Badd Energy are a palatecleansing group of misfits. They throw any hip reference points out the window with metal guitar work, Coco Solid on keytar, decaying hip hop beats and hooks shouted with disregard for tuning. The single ‘Third Eye’ works well live, less atmospheric but its swirling bassline and the Middle Eastern flavour is all the more hypnotic. The rapping and the racket make for something fresh, but it’s going to need more time before it really tastes great. On an occasion when we’ve so often celebrated the past of Flying Nun, as you filed out of the Kings Arms this night left you hopeful for its future.


Garage Daze – CrossRoads Bar & de Ville Cajun Restaurant, Ponsonby, 8pm, Free Mainz – Kings Arms, Newton, 8pm, Free

Auckland Jazz & Blues Club presents The Society Jazzmen – Pt Chevalier RSA, Pt Chevalier, 7:30pm, $5 Louise Cole – Spencer on Byron Hotel, Takapuna, 6pm, Free Pop Panic ft. Ricky Rile – Cassette Number Nine, Auckland CBD, 9pm, Free

Pink Floyd – Double Feature – Stardome Observatory & Planetarium, Royal Oak, 8pm, $35



Bic Runga & Special Guests – Kings Arms, Newton, 8pm, $30-$40 Teenage Kicks – Cassette Number Nine, Auckland CBD, 9pm, Free

Auckland Blues Club’s Blues Jam – The Winchester, Newton, 8:30pm, $0-$5 Too Far Gone – Auckland Blugrass Club – The Bunker, Devonport, 8pm, $5-$8

GC Band Night – Grand Central, Ponsonby, 9pm, Free Your Vibe – Woody’s Bar, Manurewa, 9pm, Free

Fourth Domain 7+(1(:$/%8028712: ZZZVWLFN\ÀOWKFRP

Ben Fernandez – Spencer on Byron Hotel, Takapuna, 6pm, Free

Creative Jazz Club – Reuben Bradley’s Resonator – 1885 Britomart, Auckland CBD, 8pm, $5-$10 The Circling Sun Band – Ponsonby Social Club, Ponsonby, 10pm, Free

Live Latin and Brazilian Music – The Mexican Cafe, Auckland CBD, 8:30pm, Free Paul Voight – Sugar Bar, Newmarket, 7pm, Free

Wednesday R&B Jam Night – Flo Bar & Cafe, Newmarket, 9pm, Free


Fly My Pretties IV – The Mercury Theatre, Auckland CBD, 7pm, $90

Bleeding View, Nomadic Snails & Poor You Poor Me – Wine Cellar, Newton, 8pm, $5 Cassette Allstars ft. Aza Pony, Dirty Uncool, MTron & More – Cassette Number Nine, Auckland CBD, 10pm, Free Gerry Rooderkerk Alive & Acoustic – The Fiddler Bar, Auckland CBD, 10pm, Free


god bows to math – Album Release Show – Whammy Bar, Newton, 9:30pm, Free

Mark Cunningham – Union Post Brewbar, Ellerslie, 9pm, Free Planet of The Tapes + Smokin’ Daggers – Audio Foundation, Auckland CBD, 8pm, $10

Solomon & Special Guests – Kings Arms, Newton, 8pm, Free

Intrusion – Dubstep Night – The Carpark Bar, Auckland CBD, 10pm, Free Derty Sesh – Juice Bar at The Windsor Castle, Parnell, 9pm, $5 Your Vibe – Woody’s Bar, Manurewa, 9pm, Free

Liquid Thursdays – Sponge Bar, Ponsonby, 7pm, Free

Kiwi Xpress – Birkenhead RSA, Birkenhead, 7pm, Free

Marian Burns & Southern Cross – Dairy Flat Community Hall, Dairy Flat, 8pm, $0-$10 Bulletproof, Teknik, Pakage & Incognito – InkCoherent, Newton, 10pm, $10

Calvertron (Bristol / UK) – Be Club, Auckland CBD, 10pm, $10-$15

Live Music... Lucy Cioffi – Spicers Restaurant, Auckland CBD, 4:30pm, Free Be Free Fridays – Be Club, Auckland CBD, 10pm, Free

Sam Hill, Wade Marriner & Guests – Trench Bar, Auckland CBD, 9pm, Free

2Five9 Jazz Trio – 1885 Basement, Auckland CBD, 10pm, Free

Auckland Vintage Jazz Society – Nixon Park Community Hall, Howick, 7:30pm, $10-$15

Derek Bean – Spencer on Byron Hotel, Takapuna, 6pm, Free

Chico con Tumbao – Besos Latinos Restaurant, Auckland CBD, 7:30pm, Free

D’Starlights – Papatoetoe RSA, Papatoetoe, 6:30pm, $2

Friday Night Salsa – Latin Dance Studios Ltd (Latinissimo), Glenfield, 8:30pm, $5-$10

Auckland Jazz Orchestra with Murray Tanner – Masonic Tavern, Devonport, 7:15pm, $10

Neville Chamberlain – Spencer on Byron Hotel, Takapuna, 6pm, Free

Reach Out – Concert for Christchurch – Raye Freedman Arts Centre, Epsom, 7:30pm, $55

DJ King Salsa – The Mexican Cafe, Auckland CBD, 11pm, Free

Freaky Meat – Delicatessen National Tour 2011 – Rising Sun, Auckland CBD, 8pm, $7-$10 Portishead – Vector Arena, Auckland CBD, 7pm, $100


Fly My Pretties IV – The Mercury Theatre, Auckland CBD, 7pm, $90

Rock For Starship – Juice Bar at The Windsor Castle, Parnell, 7:30pm Six60 – The Powerstation, Eden Terrace, 8pm, $40

The Canfly Sessions – Canfly Studios, Henderson, 7pm, $15 Anthesiac, Lion Eyes, Grass Cannons – 4:20, Newton, 9pm, $10 MUM Club ft. Dictaphone Blues and Beach Pigs – Cassette Number Nine, Auckland CBD, 10pm

Brett Polley – De Post, Mt Eden, 7:30pm, Free

Franko – Florrie McGreals Irish Pub, Takapuna, 9:30pm, Free Jason Smith – Basalt, Howick, 9pm, Free

Kara Gordon Duo – Glen Eden RSA, Glen Eden, 7:30pm, Free Phil Stoodley – Brew On Quay, Auckland CBD, 8:30pm, Free JamesRAy’s Up Close & Personal – Stampede Bar & Grill, Papakura, 5:30pm, Free

Habana Noches presents Cuban Accent – CrossRoads Bar & de Ville Cajun Restaurant, Ponsonby, 8pm, Free

Fuelset, November Fall, Golias and Roache – Whammy Bar, Newton, 8pm, $10 Contagious – Cock & Bull, Newmarket, 9pm, Free

Eddie Gaiger – Brooklyn Bar, Auckland CBD, 9:30pm, Free Tall Poppies – The Crib, Ponsonby, 10pm, Free

Dr Rhythm & Mr Blues – Grey Lynn RSA, Grey Lynn, 8pm, Free Greg Churchill, Angela Fisken & Aaron Pony Club – InkCoherent, Newton, 11pm, $10


Fly My Pretties IV – The Mercury Theatre, Auckland CBD, 7pm, $90 Six60 – The Powerstation, Eden Terrace, 8pm, $40

Time Out for Tauranga – Jason Kerrison, Caitlin Smith & more – Ascension Wine Estate, Matakana, 2pm, $20-$30

Flying Nun 30th Anniversary – HDU and The Verlaines – Kings Arms, Newton, 8pm, $22

Originals Gig – Khuja Lounge, Auckland CBD, 9pm, $10

MasonicBlues Fest – Masonic

powered by Tavern, Devonport, 5pm, $5

Evil 9, Timmy Schumacher, Phillipa, Soane, Daniel Farley – InkCoherent, Newton, 10pm, $10

Bad Penny – live classic rock – Franklin Club, Pukekohe, 8pm, Free Jason Skelton Duo – Brew On Quay, Auckland CBD, 9:30pm, Free Kara Gordon Duo – The Western Lights, Massey West, 9pm, Free

Mark Tronson – De Post, Mt Eden, 8:30pm, Free David Curtis – Birkenhead RSA, Birkenhead, 7pm, Free

Lisa Lashes presents Fairytale Fantasies – Bruce Mason Centre, Takapuna, 9pm, $34.90-$55

Ritual 001 – Grind (Akl) / Reach (Chch) – Rising Sun, Auckland CBD, 10pm, $5-$10 John McGowan – Titirangi Beach Hall, Titirangi, 8pm, $0-$8 Pure Trench Bar – Trench Bar, Auckland CBD, 9pm, Free

Denise Gunson – Spencer on Byron Hotel, Takapuna, 6pm, Free Contagious – Cock & Bull, Newmarket, 9pm, Free

Split Second – The Crib, Ponsonby, 10:00pm, Free Invader Cain, November Zulu and Interconnector – Juice Bar at The Windsor Castle, Parnell, 8pm, Free

Little Big Band – Papatoetoe RSA, Papatoetoe, 6:30pm, $2 Retro Vixens 3 – By Night – The Thirsty Dog, Newton, 8pm, $10

The Kavalliers – Henderson RSA, Henderson, 7pm, Free


Blues on Sunday – The Crib, Ponsonby, 4pm, Free

Andrew Mockler – Garrison Public House, Mt Wellington, 4pm, Free

David Shanhun – Goode Brothers, Botany Downs, 4pm, Free Riqi Harawera – The Marina Bar, West Harbour, 1pm, 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

Kiwi Express – Alberta St Hall, Pt Chevalier, 2pm

Sandpaper Tango – Corellis Cafe, Devonport, 6pm, Free Otis Mace and The High Spirits – Grey Lynn RSA, Grey Lynn, 3:30pm, Free

Jazz Mania Concert – Featuring Brett Baker & John McGough – The Trusts Stadium Arena, Henderson, 5pm, $25 Peta & Weta – Bill Fish Cafe, St Marys Bay, 1:30pm, Free

Starlight Sundays – The Windsor Castle, Parnell, 5pm, Free Sunday Sessions hosted by Club Groove – Flo Bar & Cafe, Newmarket, 4pm, Free

MONDAY 14 Ben Fernandez – Spencer on Byron Hotel, Takapuna, 6pm, Free VIVA Jazz Quartet – The Windsor Castle, Parnell, 6pm, Free


About Time Jazz Trio – Butter Factory Wine Bar, Whangarei, 6:00pm, Free Localize – Mangawhai Tavern, Mangawhai, 9pm, $0-$5


The Jordan Luck Band – Salut Bar, Whangarei, 8pm, $20 Knights of the Dub Table, Tui SoundSystem and Crosshair Vict – Butter Factory Wine Bar, Whangarei, 9:30pm, $5



Bullfrog Rata and Neil Billington – The Bent Horseshoe Cafe, Tokomaru, 6:30pm



The Warratahs – Avoca Hotel, Whanganui, 7pm, $35

Brenda Liddiard @ Levin Folk Club – Horowhenua Scottish Society Hall, Levin, 7:30pm, $5 Black Chrome, Trees, The Methadonnas – The Royal, Palmerston North, 9pm, $5


The Checks Deadly Summer Sway Album Tour 2011 – The Royal, Palmerston North, 8pm, $20-$25


Unknown Peace – Horeke Tavern, Hokianga, 10pm, Free


Manawatu Jazz Club – Palmerston North RSA, Palmerston North, 5pm, $10-$15

About Time Jazz Trio – Alfresco’s Restaurant and Bar, Paihia, 3pm, Free


Lazy Sundays – Art at Wharepuke, Kerikeri, 12pm, Free


Soul Sax Plus – Tairua Landing, Tairua, 12pm, Free


The Nukes – Sierra Cafe, Taupo, 7:30pm, $15

Blue Collar Band – Te Kauwhata Tavern, Te Kauwhata, 8pm, Free Freaky Meat – Delicatessen National Tour 2011 – Static Bar, Hamilton, 9pm, $7-$10


1814 – Mangakino Hotel, Mangakino, 7:30pm, $35


The Provincial Sessions – Dram and Cock Whiskey Bar, Napier, 9pm, $5


Tuesday Night Speakeasy – Bodega, 7:30pm, Free

Live Music and Two for One Desserts – The Library, 5pm, Free


Throw it to the Fire, Placid Saints, Glass Eye & The Carnies – Bodega, 8:30pm, $5 The Session – Matterhorn, 10pm, Free

TV Party #3 with Shock Futuro – Meow, 8pm, Free



Alternative ’80s Tribute with Permanence & Primary – The Shark Club, Nelson, 10pm, Free Kane Hogan – The Free House, Nelson, 8pm, Free

The Green Room – Trafalgar Park, Nelson, 7:30pm, $10 Richard Grainger and Chris Parkinson – Mussel Inn, Golden Bay, 8pm


The Green Room – Trafalgar Park, Nelson, 7:30pm, $10


The Black Velvet Band – Becks Southern Alehouse, 8pm, Free Beat – CPIT, 8pm, $15-$20

The Exponents : 30 Year Anniversary show – Ferrymead Speights Ale House, 8pm


Retrosonic – Becks Southern Alehouse, 9pm, Free



Bic Runga and guests – Bodega, 8:30pm, $30-$40


Broken Soul feat Tokyo Prose (Samurai Music) – Sandwiches, 11pm, $10 The Checks – Bodega, 9pm


Julia Deans – The Garden Club, 8:30pm, $20

What Happened to the Techno? – Sandwiches, 11pm, Free

WEDNESDAY 9 Richard Grainger and Chris Parkinson – Cardrona Hotel, Wanaka, 7pm


Alcohol and Drug Free All Ages Shows – Saints and Sinners, Invercargill, 7pm, $5

Chow Dwn – Chow Tory, 10pm

Beastwars, Arc of Ascent, Detrytus – Bodega, 9pm, $10

LSG Group – The Pheasant Plucker, Rotorua, 9pm, Free

Riff Raff – Golden Bear Brewing Company, Waimea, 6pm, Free

In Like Flynn – Molly Malones, 9pm

Manalishi – The Blues of Peter Green & Fleetwood Mac – Hotel Bristol, 8:30pm, Free

Swamp Thing ft. Michael Barker & Grant Haua – The Pheasant Plucker, Rotorua, 8:30pm, Free Bay Salsa – Buddha Lounge, Tauranga, 8pm, $2

Richard Grainger & Chris Parkinson – The Boathouse, Nelson, 8pm, $20

Richard Grainger and Chris Parkinson – Irish Society Hall, 3pm, $15-$20


Johnnie Cameron – The Free House, Nelson, 8pm, $5

iiii Festival – Mighty Mighty, 8pm

Darren Watson & The Real Deal Blues Band – The Lido Cafe, 8:30pm, Free



Brenda Liddiard – Resonator House, 8pm, $20


The Boptet – The Lido Cafe, 7pm, Free

The Sunday Jazz Club – Public Bar & Eatery, 7:30pm, Free

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.

Burgers, fish and chips, free grog and a shitload of shoe porn – those were The Naked and Fraser Awards last Thursday – see our Polaroid gallery. An excellent night – although the faux cops onstage with Tiki Taane left an awkward taste, and the horrible house music at the end of the night left one asking, ‘Why don’t they play local music at the end?’… Billy TK Snr has just returned from a European visit where he played some shows and made contact with Electric Wire Hustle’s agent…. John Waters’ show was a fascinating laugh-fest, but modestly attended… the Audio Foundation tour pioneering UK guitarist Keith Rowe later this month – this relentless innovator employs a small army of objects and bric-a-brac including library cards, rubber erasers, springs, hand-held electric fans, alligator clips and common office supplies to create aural galaxies… Urban Tramper hits the North Island on their Kate Bush Saved My Life Tour – 16 November at The Nark in Auckland, 17 Novenmber at The Yot Club in Raglan and 19 November at Auckland’s Golden Dawn… the Base FM Xmas Party is set for Saturday 10 December at the Kings Arms and will feature @Peace, Alphabethead, Dub Terminator and Eddie Numbers, with a large contingent of Base DJs in support – and after the success of last year’s festivities, Base will be representing at the Grey Lynn Park Festival on Saturday 19 November with a handful of DJs, MCs and vocalists… After a three-year hiatus, Parisian beat maker Onra returns to Khuja on Friday 11 November wth heavy hometown support from Julien Dyne ft. Parks live, Funkcommunity, Side Steps Quintet, Ben Jamin, Shanalog and Ju… Californian dub/psych artist Sun Araw does two dates in February – Friday 3 at Wellington’s Mighty Mighty and Saturday 4 at Auckland’s Whammy… Thee Oh Sees bring their garage-y squawl and unpredictable live show to town just before St Jerome’s Laneway Festival, playing Whammy on Friday 27 January then off to Wellington and Whanganui… Check out new band Midget covering The Datsuns’ ‘Harmonic Generator’ on YouTube – our fave local clip of the week.

For over a decade student/ alternative station Contact FM has not been broadcasting on a high-powered frequency – last Tuesday it learnt it was not successful in its bid for the return of the 89FM high-powered frequency. This is currently the only available frequency left in the region. There is a demand for the station but the powers-that-be seem to think servicing the public isn’t on their agenda again.

Wellington beat bloggers Hipdrop. are taking over Mighty Mighty on Friday 18 November. Expect performances from Wellington’s best commercial hip hop/r’n’b karaoke band, The Fabulous Supperclub Shakedown, Auckland beat music squad The Side Steps Quintet and DJs Ralphhimself and Izz the Wizz… Fresh off the release of her recent self-titled debut EP, Ria Hall is already planning her new recordings – look out for something next year… Southern Cross Garden Bar and Conscious Consumers are hosting a market day on Saturday to promote sustainability and community with stalls from Trash Palace, All Good Bananas, Evil Genius, the Sustainability Trust and more – live music and children’s entertainment from 1-6 PM… Mighty Mighty turns five this weekend, celebrating with two nights of glitz and glam – expect performances from Planet of the Tapes and Spring Break (Friday) and F In Math and Alphabethead (Saturday) – dress in costume for free entry!... The essential purveyors of that old-time feeling, The Roseneath Centennial Ragtime Band, are hosting a night at the Garden Club on 19 November – they’re releasing a CD that night as well, with free prizes for the best dancing couples… Wellington now has a New Orleans’ Second Line-style brass band, The Richter City Rebels – they play the theme song to Treme, and yes, they’re outstanding. Look out for their next performance at the start of December… Wellington synth funk producer D:UNK is currently completing some collaborations with Los Angeles king of modern

funk, Dam-Funk… Darren Watson and The Real Deal Blues Band can still be caught dishing out Kiwi blues at The Lido. Their next performance is on 12 November… Bar Medusa on Vivian Street is hosting a weekly jam night on Sunday nights… And speaking of jam nights, Electric Wire Hustle drummer Myele Manzanza and his jazz house band are hosting The Session, a New York-style jam night every Wednesday at the Matterhorn from 9 November. Bring your instruments.

Red tape is stifling Dux Live’s opening, so their opening gig featuring F In Math and Alphabethead is now playing The Darkroom. Word is that it may be another couple of weeks before opening gigs, which has meant Flying Nun celebrations have been disrupted… The Christchurch City Council is starting Friday lunchtime gigs in the new Cashel Mall from this Friday and Lazy Sundays in the Gardens in the New Year… Lindon Puffin has made a killer ’80s sounding rock album. First single ‘Outta Reach’ has had a video shot in Lyttelton... The Guest have a new line-up and make their first appearance at Naval Point Yacht Club supporting Ash and the Matadors… The Unfaithful Ways enjoying great reviews and sales for new album, Free Rein.

Mokonui label launch gig rocked out with performances from Louis Smith, The Entire Alphabet, Blonde Hash, The Something Quartet and The Great Jali… Two Cartoons is the first Dunedin band to get NZ On Air funding under the new Making Tracks scheme, and they’re possibly the youngest recipients as well... ReFuel now closed for 2012 – where will the hipsters hang now?... Manthyng album release went off, literally – much fun ensued with My Oh and Stud along with Manthyng all getting naked for a number or two. Some Dunedin folks will never be the same again… Rumours of a new publicist starting in town soon… Ash and the Matadors off on 13-date South Island tour.


Thursday 10 November – Vector Arena, Auckland

BEAST WARS Saturday 12 November – Bodega, Wellington


Friday 11 November – Zeal, Wellington Friday 11 November – Bodega, Wellington Saturday 12 November – The Royal, Palmerston North Thursday 17 November – Cabana, Napier Friday 18 November – Butlers Reef, New Plymouth Saturday 19 November – The Shed, Rotorua Friday 25 November – Flow Bar, Hamilton Saturday 26 November – The Powerstation, Auckland Thursday 1 December – PBC, Gisborne Friday 2 December – Illuminati, Tauranga Saturday 3 December – Onewhero Rugby Club, Onewhero Saturday 10 December – Yot Club, Raglan

THE GASLAMP KILLER Friday 18 November – Be Club,

Auckland Saturday 19 November, Sandwiches – Wellington


Friday 25 November – The Powerstation, Auckland

KURT VILE AND THE VIOLATORS W/ ALASTAIR GALBRAITH Thursday 1 December – Kings Arms, Auckland

BLACK JOE LEWIS AND THE HONEYBEARS Wednesday 7 December – The Powerstation, Auckland


Monday 12 December – The Dux, Christchurch (Free) Tuesday 13 December – Dunedin (Venue TBC) Wednesday 14 December – Bodega, Wellington Thursday 15 December – Static, Hamilton Friday 16 December – Cassette Number Nine, Auckland





Thursday 15 December – San Francisco Bath House, Wellington Friday 16 December – Kings Arms, Auckland

Friday 16 December – San Francisco Bath House, Wellington Saturday 17 December – Kings Arms, Auckland


Thursday 29 December – Ascension Vineyard, Matakana Monday 2 January – Riwaka Hotel, Riwaka Friday 6 January – Brewers Field, Mt Maunganui Saturday 7 January – Waihi Beach Hotel, Waihi Beach

FAT FREDDY’S DROP’S ONE DROP Monday 2 January – Ascension Wine Estate, Matakana w/ TrinityRoots & Cornerstone Roots Saturday 7 January – Black Barn, Havelock North w/ The Nudge

THE DUM DUM GIRLS Friday 6 January – Kings Arms, Auckland

Saturday 14 January – San Francisco Bath House, Wellington Monday 16 January – The Powerstation, Auckland

Wednesday 25 January – The Powerstation, Auckland


Anna Calvi, Feist, The Horrors, Gotye, Laura Marling, Pajama Club, SBTRKT Live, Shayne P. Carter, Washed Out, Twin Shadow, M83, Cults, Girls, EMA, Yuck, Toro Y Moi, Wu Lyf, Glasser, Opossom, The Pains of Being Pure at Heart, Austra, Transistors and more Monday 30 January – Silo Park, Wynyard Quarter, Auckland


Erykah Badu, 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

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


Saturday 7 January – Whammy Bar, Auckland Sunday 8 January – Bodega, Wellington


Thursday 12 January – Kings Arms, Auckland

BIG DAY OUT 2012 Soundgarden, Kanye West, Odd Future, Kasabian, Royksopp, Mariachi el Bronx, Battles, Beastwars, Best Coast, My Chemical Romance and more Friday 20 January – Mt Smart Stadium, Auckland

THE BLACK LIPS Tuesday 28 February – The Powerstation, Auckland


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

ROKY ERICKSON Wednesday 7 March – The Powerstation, Auckland



Friday 13 January – Hunter Lounge, Wellington Saturday 14 January – Town Hall, Auckland

Friday 16 March – The Powerstation, Auckland


March 31 – The Powerstation, Auckland


ALBUM RELEASE TOUR w/Dear Time’s Waste FLYING NUN RECORDS 30TH ANNIVERSARY Nov 11th - Urban Factory, Dunedin Nov 12th - Dux Live, Christchurch Nov 18th - SFBH - Wellington Nov 19th - The Kings Arms, Auckland




JOHN WATERS THE CIVIC, AUCKLAND WEDNESDAY 2 NOVEMBER Review Karl Steven Illustration Sarah Larnach

I AM A John Waters fan. I like his movies, his politics, his good taste, his bad taste. Hell, I even share the rough outlines of a moustache with the guy. I’m also in love with the Civic Theatre, Auckland’s favourite dumping ground-turned-exotic pleasure palace. If Waters’ career and personality inspire you to be yourself and get creative against all odds, the Civic whispers that any kind of transformation is possible. Waters at the Civic is for me what swimming with wild dolphins is for some other people – dolphin-y people – people who can swim. Chamber music plays, and in front of the red velvet curtain an oversized floral arrangement sprouts grotesquely from a monumental kylix that will be Waters’ only accompaniment for the show. The room fills up and Steve Buscemi’s ageing doppelganger takes the stage. The quietly eccentric audience, gilt plaster setting, and John’s patent leather ox blood shoes and reinvented brocade jacket all strike the same note of urbane classiness verging on suburban degeneracy that will characterise the hour that follows. For those unfamiliar with his work, the self-styled “Sultan of Sleaze” makes wild, funny, and often heartwarming films that champion freaks versus squares, value delinquency and personal expression over conservatism and conformity, and usually feature a liberal

“Transfiguring psychopaths and perverts into idols and heroines, and spinning gold from, um, pelt.”

dose of “adult themes”, whether in the form of singing arseholes, eating dogshit, giant breasts, or pulling out someone’s liver with a poker while they’re using the urinal. Teased out with explorations of rare and mind-curdling sexual preferences and chemical stimulants, these films form the guts of Waters’ show as he talks us through his oeuvre from early days spending 11 hours filming drag queen Divine crawling through pigshit in a gold toreador’s outfit (“Divine made the pigs horny!”), to his proposed sequel to the 1988 original of Hairspray, and an unmade Xmas movie about a gang of orphan “meat thieves” delivering proteins to the poor on a stormy Xmas Eve in his home town of Baltimore. But, as fun as the sexual, moral, and artistic extremes that form the topic of his discussion are, it is Waters’ luminous personality that holds the room captive, delighting slightly mad women with dyed hair and silvering gay couples alike. It almost threatens to eclipse his lifetime’s work – were it not for the fact that it’s the same personality that shines through his films, transfiguring psychopaths and perverts into idols and heroines, and spinning gold from, um, pelt. Every habitable planet should have a John Waters, but we are lucky to have the only one in the universe. Let us pray that the Pope of Trash will grace the Civic more often.














DEADLY SUMMER SWAY IN STORES THIS FRIDAY Catch The Checks live at The Powerstation on Saturday 26 November Visit for nationwide tour dates/downloads/videos and other Checks’ goodies!

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