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MUSIC // MAORI // AOTEAROA

TAWAROA

KAWANA BENNY

TIPENE RIA

HALL MAISEY

RIKA

ISSUE 1

Whiringa-a-rangi 2013

THE REINVENTION OF

STAN WALKER


HONORE

EDITOR Ranginui Hotere ranginuihotere@gmail.com EDITORIAL Jade Ormsby Betsy Chapman Jessica Hall Piri Taupo Mikaera Jones DESIGN Brannon Creative Ltd PHOTOGRAPHY Brad Day Matt Smith Vincent Waitoa

PRINTING Tangata Whenua Printhouse

PUBLISHER Pacific Media Ltd Phone: 09 428 2441 www.pacificmedia.co.nz CIRCULATION Haumanu is published monthly and has a run of 10,000 copies printed each edition. It is available by subscription and online, free through selected websites. All contents and design remain property of Haumanu Trust. All rights reserved 2013.


EDITORIAL Nau Mai haere mai to the very first edition of Haumanu magazine. Myself and a team of amazing individuals have come up with the concept of a Maori focus magazine based around music. The idea of how we can celebrate current musicians as well as those that are looking at making a career in music or are emerging musicians on the local scene. This magazine has been a labour of love with a deep passion in delivering positive and uplifting content that aims to showcase Maori achievement in the field of music. This is the first issue as mentioned earlier, which means that in the future the magazine will get stronger and develop hopefully into something that Maori can relate to and help showcase the future talent that Aotearoa has to offer. In this first issue we talk to Stan Walker on his crazy year and his rise into global superstardom and what keeps him grounded as a Maori as well as his latest ventures. HAUMANU features three main sections, Features, Tikanga and Toi Whakaari as well as regular items such as music reviews and quick chats to local acts. Thanks for coming on board and embracing Maori music and look out for future issues of Haumanu in a store near you. Editor in chief Jade Ormsby

jade ormsby


P11 P17 P21 P15


FEATURE ARTICLES

P6

Stan Walker

P12

Maisey Rika

P10

Benny Tipene Ria Hall

TOI WHAKAARI PERFORMANCE

P16

Modern Maori Quartet

P18

Atamire Dance Company J Geeks

TIKANGA CULTURE

Tawaroa Kawana

REGULARS P14 P22

Fresh Talent On The Spot Puoro Reviews

CONTENTS

TE PURONGO MATUA


TE PURONGO MATUA

STAN WALKER After making dreams come true for New Zealanders all over the country during his role as a judge on The X Factor New Zealand this year, Stan Walker has had a dream of his own granted – to support his idol, Beyonce on the New Zealand leg of her ‘The Mrs Carter World Tour’ this October. The exciting news doesn’t end there for Stan, he recently released his fourth studio album ‘Inventing Myself’ on October 25th. ‘Inventing Myself’ is available to buy and download now, Stan’s brand new single ‘Like It’s Over featuring Ria Hall’ is the latest single from this kiwi hit maker.. ‘Inventing Myself’ will also feature the smash singles, multi-platinum ‘Take it easy’, platinum single ‘Bulletproof’ and recent single ‘Inventing Myself’..Stan says, “I have been working on this album for the last two years and it’s

ago: “Back when I was nothing, a no one going nowhere.” He was estranged from his parents, sleeping on his brother’s couch and working part-time in a menswear store while his singing career amounted to church services and a handful of gigs with his cousin Jade, aka Jade Louise from television show The GC. Yet he continued to dream - and if anyone needed dreams, it was Stan Walker. His childhood was a travesty. He was born in Melbourne, a city considered far enough away to spare his mother the usual abuse while she concentrated on delivering her third child. Aside from the odd respite when her husband was in jail, for Mrs Walker these trans-Tasman jumps became her standard response whenever home life exceeded her and her children’s pain thresholds.

“This is the best work I’ve ever done and it is also the first time that I have worked on an album in New Zealand. I’m so proud!” finally time to bring it out. This is the best work I’ve ever done and it is also the first time that I have worked on an album in New Zealand. I’m so proud!” One of the country’s most popular artists, Stan has sold over 170,000 singles and close to 100,000 albums to date, collecting 5 New Zealand Music Awards along the way. Since squeezing a catnap in between winning Australian Idol in 2009 and his first subsequent radio interview, Walker has barely paused for breath. There’s been near-constant touring, albums to record and promote (his fourth album Inventing Myself was recently released ), videos to shoot, a movie to star in, another short film in the works and, most recently, judging on TV3’s The X Factor, which was then closely followed by a 23-show national tour. If that wasn’t enough. It’s also completely ridiculous considering his life only four years

By the time he had reached Hamilton Boys’ High he was a thieving hoodlum whose life options had been reduced to his choice of gangs. Yet, to meet him now, the only marker of his past is his mangled English. He began to dream various scenes of performing on a stage with a band; of his family, back on the marae; and then of other family members in tears of joy. And all the time a voice was saying he was being called to “woo God’s people back with his voice”. So, on May 9, 2009, he joined thousands of other wannabes in the Suncorp Piazza in Brisbane hoping to be granted an audition. And just like that, the entire Walker family got caught up in an exhilarating and exhausting six-month ride with the budding singer, struggling all the way to the final at the Sydney Opera House. It wasn’t until the last minute that he realised he had any chance of winning the show.

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“I’m not saying this to be a humble guy, just straight-up, I never went into that competition thinking I was going to win or even to win, I always thought I was there for a purpose. Right before the final, that was the first time I prayed to win: ‘God, is this your plan? Am I supposed to win? Because I’ve never won anything ever and I think I really can, and that’d be really cool ...”’ Of course, his mum was there. April Walker had spent a fortune flying to Sydney every week, missing only three episodes. But there was also family from New Zealand and throughout Australia. Walker’s final song, Amazing Grace- “I once was lost, but now am found” - turned into a celebration of how far he’d come. When he was declared the winner he “went berserk. It wasn’t just the fact I’d won, it was the whole experience, everything that’d led up to it, having my family there and having that moment in front of the world ... but then it was straight to work. That reality turned out to be a whole other thing to the show.” Which is why he has no time for reality show critics. “It’s hard, it really is, and you need to be the director of your own future because it doesn’t matter if you have the greatest voice in the world, in the end it’s how much you’re prepared to work for it, and you can never stop. Winning something like Idol or X Factor puts you straight at the top, sure, but the fall is just as fast and it goes all the way to the bottom. Can you imagine that? One minute people say you’re a star; the next, you’re nobody. That’d create the biggest depression in your life.” At the same time, he’s had to learn on the job, everything from stage craft to media work and everything else involved in leaping from

“I don’t have the luxury of time to think about what I’ve done, I have to keep looking forward, keep evolving and keep working.” singer to artist. It took him two years to go from a boy with a man’s voice to a man with what he calls “a raw, ruthless, beast of a voice”. It’s understandable that some of his closest friends are past Idol alumni including Guy Sebastian (2003 winner) and Jessica Mauboy (2006 runner-up). They know the challenges of immediate fame and it was the latter’s acting experience in the 2012 movie The Sapphires that inspired Walker to take the lead role in New Zealand film, Mt Zion. Yet, despite all that has changed, he’s still bouncing back and forth over the Tasman. He even has dual citizenship. Which is why Walker’s notion of home is a little hazy. Sure, he was raised as a New Zealander, but home is wherever he’s living at the time. Right now that’s Sydney and he’s looking to buy a home there after having set up his parents on the Gold Coast. His message to his fans here, on the back of his national tour, is that yes, he’s a New Zealander first, but he’s also an Australian artist first and “it’s on my mind every day” that he needs to get back there. And if anyone has an issue with that, well, don’t say it to his face ... he’s still on his mission. “I don’t have the luxury of time to think about what I’ve done, I have to keep looking forward, keep evolving and keep working.”

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“You need to be the director of your own future”


TE PURONGO MATUA

BENNY TIPENE

He may not have taken out the title in July, but X-Factor’s Benny Tipene is fast becoming New Zealand’s favourite new musical talent. One thing is certain, Benny loves his home town. “It’s my sweet home. I’m all about Palmerston North.” Benny was born in Auckland, but grew up in a large family on the outskirts of Palmerston North. Tipene has made no secret of his pride for his Manawatu roots. Ambitious and driven, the time has come to make the move to Auckland to make most of opportunities in the city. Tipene feels bittersweet about his big move, “I kinda don’t want to leave Palmy but now’s the time for me to make the most of things while I’m still young, and to grow my music career in a bigger city. You have to go where the work is. I’ll always call Palmy home, though.” He learnt to play the guitar so he could jam with friends at Freyberg High School. At 17, in 2007, he formed the indie rock band The Nerines together with friends Drew and Tadgh Delany and Fabian O’Halloran. Taking part in Smoke Free Rock quest, the band won a Future Recording Artist award, which Benny sees as the beginning of his musical career.

Much of the band’s music took place at The Stomach, the musical incubator of Palmerston North non-profit organisation Creative Sounds. Inspiration for Benny’s solo music, which he describes as acoustic folk pop, arrives from all directions. He draws from the likes of singer-songwriters Damien Rice and John Mayer, acoustic folk bands Avalanche City and Bon Iver – closely followed by the family cat, Trunks. Sparked by a David Baxter gig, Benny revived the idea of the original chamber music – playing concerts in friends’ homes – and in 2012 to much local acclaim the Acutestic Phlats (acoustic flats) Tour was born. From playing at weddings and phlat gigs around town, Benny jumped into the deep end at the beginning of 2013 by auditioning for the first New Zealand series of the X Factor. Since coming third in the competition his life has changed considerably. Benny has now signed a contract with Sony Music. In a TV3 interview he said it’s “a dream come true” because “music is gonna be my job for however long I make it out to be … hopefully forever”.


TE PURONGO MATUA

Ria Hall is an exciting new voice on the contemporary New Zealand music landscape. Creatively informed by west coast hip-hop, vintage reggae, classic soul, dancehall ragga and modern beat music, she presents a fresh and vibrant perspective as both a young Maori woman, and as a cutting edge, 21st century singer and artist. Born in Tauranga, Ria spent time in Auckland and Australia, before settling in Wellington and really finding her musical feet. She co-formed and fronted the reggae band Hope Road, who, in performing at the Parihaka International Peace Festival and Wellington’s Waitangi Day One Love event, won the respect of Aotearoa’s elite roots, reggae and soul music communities. This led to her joining Hollie Smith’s live ensemble, becoming part of Eru Dangerspiel’s psychedelic explosion, and, latterly, performing backing vocals for the 2010 reunion shows of the iconic Trinity Roots. Her profile has also been lifted significantly by her inspired performance at the opening ceremony of Rugby World Cup 2011 – a performance witnessed by a televised audience of millions. On her debut self-titled EP, Ria Hall drapes a series of musings on unity, culture and the natural landscape over ever-shifting beds of sinewy digital sound. She incorporates her many disparate influences – Maori performing arts, te reo Maori, modern musical palettes, whanau, and her own life history into a seamless whole, she presents her story, her perspective. he result is an EP showcasing a diverse range of musical content, influences and styles. Now the door has been flung wide open, there is no telling where the music might take things next.

RIA HALL

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TE PURONGO MATUA

MAISEY Maori singer/songwriter Maisey Rika, has one of Aotearoa’s most impressive lead vocal style, fused with her honest and thought invoking messages. Some have described her sound similar to Tracey Chapman or Sade, with a splash of India Arie. Her spine tingling vocals and fusion of English and Maori (Te Reo) lyrics is capturing the hearts of soul seekers both in New Zealand and abroad. Maisey, has released 3 albums all charting in NZTOP40 and gaining critical acclaim. “Heartfelt music and song showcasing what I believe to be one of the most arresting and beautiful voices to emerge from New Zealand, ever” says Paul Mclaney of Mushroom Music. Her songs are filled with touching tales and the universal emotions of hardship, happiness, love, justice and sorrow we can all relate to. “Tohu” and her self titled EP explore many different arrangement styles. The ancestral sounds of traditional Maori instruments have been used along side energetic guitars, drums, animated horn sections and pure string sections. Her latest album ‘Whitiora’ was made entirely in Te Reo Maori, which led her to come out on top at this years Waiata Maori Music Awards. Maisey won 4 out of 9 categories at the awards including ‘Best Maori Female Solo Artist Award’

“The most arresting and beautiful voices to emerge from New Zealand, ever” - which she won in 2009 as well, ‘Best Maori Pop Album’, Best Maori Song and Best Maori Songwriter of the year. She was also a nominee for the prestigious APRA songwriting ‘Maioha Award’ for her song ‘Repeat Offender’ in 2009. Recently she toured with the Barefoot Divas, a group of women from indigenous cultures, during the New Zealand International Arts Festival. The 28-year-old grew up in Whakatane and on the East Coast, and was one of the first children to go through kohanga reo and total immersion schooling before going to St Joseph’s Maori Girls’ College in Napier. “My mother doesn’t speak Maori but she made sure we were around people

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RIKA who could, so I’m very proud to be part of the kura kaupapa and kohanga reo movement. And, of course, there’s the marae.” Her first performances were on stage doing kapa haka, or singing with her whanau at family gatherings. “I think I picked up a poi before I picked up a pen. I used to get up and sing at tangi and birthdays and weddings. Everyone would come home and have a jam and a sing. It’s always been in the family. I just thought I blended into the background because all my whanau are really good singers. I didn’t stick out or anything.” But that was to change. When she was 15, the choir at St Joseph’s released E Hine, an album of classic Maori songs, with Rika as soloist, that went double platinum and won Best Mana Reo Album at the New Zealand Music Awards in 1998. Rika was nominated for Most Promising Female Vocalist. Joining the Barefoot Divas was a natural fit; she’s alongside bilingual jazz and blues singer Whirimako Black; Australian Aboriginal singer Emma Donovan, who uses traditional Gumbaynggirr language in her music; Merenia, who has Maori, Welsh and Romany heritage; and Ngaiire from Papua New Guinea. The show sold out on its run in Sydney recently. Rika loves the group because its mission is to embrace the cultures the women come from. “A lot of people, I find these days, especially our young ones, they don’t have any stability. I find that culture really gave me a place to start from, a place of belonging, and I think that’s really lacking right now. Anything that encourages people to stay true to who they are or their culture, I’m down with that.”


“I find that culture really gave me a place to start from, a place of belonging, and I think that’s really lacking right now. ”


F F MAJIC R R PAORA E S H H So where are you from, where were you brought up?   I whaanau mai au i Rotorua. No Te Taitokerau ahau, ka tipu ake ahau i ngaa rohe o Hokianga, o Kaipara, o TamakiMakaurau hoki Born in Rotorua, raised in the Hokianga, Kaipara & TamakiMakaurau regions

Who are you biggest influences in the music industry? My Dad,  (Ropata Paora) People who have nurtured and mentored me are my Nannies, Maisey Rika & Tama Waipara.

Tell us, what was it like going to record your album at Bob Marley’s Tuff Gong Studio? When I was there, I didn’t really think too much about it, but on reflection, if I had to choose one word it would be surreal. The nostalgia, studio filled with Bob’s memorabilia everywhere. The people are fiercely staunch & proud.  And to book time in the studio, you literally have to write your name in the book! lol , and there was my name, right next to Junior Gong’s (Damien Marley) & Stephen Marley’s.

Do you have any pre-gig rituals before you hop on the stage? I don’t like to eat, and, much to Dad’s disappointment, don’t warm up….. work in progress

What does it mean to be Maori? We have always been activists since I can remember, so our tribal histories, Te Reo, Tino Rangatira have been paramount in our upbringing. We were brought up on and around our marae, fostered & cared for by a people who understood the principles of Aroha & manaakitanga. We have always had a close associationship with the so called “Rads” of Aotearoa, i.e Taame Iti, Hone & Hilda Harawira, and many many others. I was only seven years of age when we unofficially raised the Tino Rangatiratanga flag on the Auckland Harbour Bridge, and eleven when we officially raised it in 2010. I attended Kura Kaupapa with my brother Robbie at Te Rito in Otaki, was part of the Manu Korero Nationals 2010, and then went on to Te Waanaga o Raukawa.  In short, without our heritage we wouldn’t exist. So EVERYTHING!

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T TA A L LE EN N T

T


PIETER T

Do you have any advice  you’d like to pass on to aspiring artists ? 

Whats your Iwi:

No one will give it to you. no one will help you as much as you would like too. So, you gotta work hard, prove yourself on your own merits. besides, that way? Success is so much more enjoyed and appreciated when it is EARNED x

Where are you from and how old are you?

What are you looking to accomplish within the next 18 months for your music career?

Ngati Maniapoto, Ngati Porou I grew up in Hamilton and i am 26 years old

What do you love about being Maori ? Our culture. our underlying warrior mentality. Our pride, our strength. Our love for this land of ours, the respect we show it. Our beautiful skin colour. Our strong women. Our willingness to succeed. Our family values, the way we treat others as though they are extended family.

I’m thinking two albums to be released internationally, not just in New Zealand or the South Pacific, but in the U.S. as well. I want a deal locked down that will ensure I have a hold in the U.S. market, which will determine bigger things in the international market. The aim is to get my music far more recognized, to get my music out to many different places as possible, and to represent for New Zealand and Polynesia on a big scale. We’re so heavily underrepresented in international media yet we are some of the most talented people in the world

ON THE SPOT


TOI WHAKAARi

MODERN MAORI QUARTET

Maaka Pohatu strums a guitar and sings the opening bars to The Carpenters’ ballad of lost love, ‘Superstar’. I’ve never heard a guy’s voice ring out so clear and sweet. It was an enchanting moment beneath the kitschy sequined curtains for the crowd seated around cabaret style tables at Galatos. Pohatu and his bandmates, Matariki Whatarau, James Tito and Matu Ngaropo, are all trained actors who got together to make their own show flaunting their fantastic singing voices. The quartet has its roots in the popular Maori showbands of the 50s and 60s. Sharp suits, skinny ties, brill cream – check. The hammy opening had me worried the whole act was careering dangerously close to retrograde – all cheesy jazzed up kapa haka. However, with the helping hand of industry luminaries director Rachel House and musical director Tama Waipara, the Modern Maori Quartet have put together a theatrical work that’s far more layered than a throwback singalong. Each of the foursome play a character from a different time period,

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giving them a backstory to explore and heft to the songs. The characters are bizarrely bound by death. Stuck in limbo, they are forced to perform together before a benevolent voice from the gods (Carol Hirschfeld) will permit them to continue their immortal journey to Hawaiki. The repertoire covers a wide array from traditional Maori tunes to popular classics from throughout the ages, all delivered with Nancy Wijohn’s adroit choreography straddling barbershop and kapa haka moves. One particular highlight is a sparring medley between Tito throwing down well-known rock n roll numbers, such as ‘Blue Suede Shoes’ and ‘Tooti Frutti’, then the other three seamlessly piping in with a harmonised waiata to match. It’s hilarious and also demonstrates the power and importance of Te Reo in the performance. The Modern Maori Quartet radiate good times. (Oh, to find yourself at a party with a couple of guitars and these guys belting out songs.) There’s no doubt this quartet can entertain with song and dance but this show delves deeper weaving heritage, language and history into its feel-good vibe.


TOI WHAKAARi

J GEEKS JGeeks are taking New Zealand and the world by storm and pushing Kapa Haka to places we never knew it could go! JGeeks are an independent New Zealand Maori comedy music group led by former C4 television presenter and Cleo Bachelor of the Year finalist, Jermaine Leef.  Their performance style is is a unique Metro Maori “tongue in cheek” fusion of Maori culture, dance, music, singing, skits and pop culture. JGeeks formed in 2010 and the group, who collectively identify themselves as being of the genre “Metro-Maori electro craze”, released their first hit video “Maori Boy” and received more than 100,000 views within the first 10 days on YouTube. Most recently they won the hearts of viewers in New Zealand’s Got Talent where they won a place in

the finals with their comedy take on the traditional Maori performance and Haka. Their performance style is perfect for the WOW event or conference opening or a spectacular evening or high energy close to an event. They have am amassed an online following in Australasia over the past 2 years with over 10 million views on YouTube and 100,000+ fans on Facebook and counting… JGeeks have impressed the likes of Eva Longoria, Soulja Boy, John Key, and events such as Rugby World Cup, NZ Fashion week, TV awards, Music awards,Westpac, TV1, TV2, TV3, Four and numerous others both nationally and internationally.

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TOI WHAKAARi

ATAMIRA

DANCE COMPANY


A rich sampling mix of eight short works collectively titled KAHA earned a standing ovation for Atamira Dance Company on opening night at Q, marking the first day of Matariki in fine style, and also celebrating the company’s 11th year. The programme offers an array of works, from the purely cultural to the seriously contemporary, and in between a mix of excerpts from repertoire and new commissions. Three works by artistic director Moss Paterson are derived from Maori cultural traditions, but each has its own innovative twist. The opening Haka for six dancers is based on the Tuwharetoa haka Wairangi, performed very close to the ground - at times conjuring up piles of huge boulders or rolling clouds of steam. In Koru, three dancers etch the shape of the koru design onto the air, carving its curving forms over 360 degrees to leave a mesh of invisible loops and fronds in their wake. And in Moko, intricate spiralling patterns slowly build, reverse and break off for a new layer to be laid down on the skins of six dancers. The pace steadily increases, but the patterning holds true, until the work ends with the resting bodies of the newly tattooed.

“Atamira is electrifying dance theatre going from strength to strength” Three new commissions are included on the programme. Taane Mete’s primal solo Piata for dancer Bianca Hyslop presents her as a member of the patupaiarehe (fairy people), trapped between night and day. She slinks through the underbrush of the forest and slides in the scree of the mountains, shelters in waterfalls and trsvls downrapids, always searching for a place to escape. Kelly Nash’s Indigenarchy quartet presents a constantly changing montage of movements taken from indigenous dances of the world. Advertising images flicker through the mix, but are not sustained, implying that conscious resistance is the only way to challenge commercialisation of indigenous forms. A new section of Jack Gray’s steadily evolving Mitimiti is a highlight of the programme, and a longer segment would have been welcomed. His acutely observed portrait of various kinds of out-of-it disconnection in an array of urban settings is at once dark and full of critique, ironic and hilarious, and deeply personal. It makes the connection to cultural disconnection, colonisation and dispossession as sources of the six fractured identities sampled here.

“We see strength, pain, fire, flirtatiousness, ego, vulnerability and laughter in a way you don’t often see with dance” A powerfully danced section from Louise Potiki Bryant’s Ngai Tahu 32 presents Jack Gray as the conflicted but resistant Wiremu Potiki who refuses to comply with the government’s census demands. And the crowd-pleasing, light and frothy closing number Poi E Thriller is a fitting finale/encore. Originally choreographed for the movie Boy by Dolina Wehipeihana, this salute to Michael Jackson comes replete with a sequined glove and break dancing moves from Moss Patterson. Atamira are in fine form, with international performances planned for 2013 following development of their touring programme which will be presented here late in November.


“I want my language to be noticed and respected. It was the first language here in Aotearoa New Zealand. I think it should be the main language�


TIKANGA

TAWAROA KAWANA

Tawaroa Kawana is working with Whitireia music students and the Maori Language Commission to produce a simple waiata for non-te reo speakers to celebrate Maori Language Week. Mr Kawana, with help from his whanau (Rangitane ki Wairarapa), composed Arohatia to reo, which means “Love your language”. The waiata was part of the official launch to the 38th anniversary of Te Wiki o te Reo Maori, (Maori Language Week), which began in 1975. Whitireia musicians from a variety of backgrounds – Samoan, Cook Islands, Pakeha and Maori, contributed to the project. Gareth Seymour (Ngati Hikairo), of the Maori Language Commission (Te Taurawhiri i te reo Maori), says the commission thought there was no better way to bring people and communities together than music and language. “We wanted to put together a waiata that would tautoko (support) Maori language week and to reach out to rangatahi (youth),” says Mr Seymour. “It’s everybody’s reo. It’s the reo taketake (indigenous) language of Aotearoa. Whitireia Polytechnic spokesman Tama Kirikiri

(Te Whanau-a-Apanui) says: Te Taurawhiri saw his [Mr Kawana’s] popularity among Maori rangatahi. “He’s a musician. He’s able to compose beautiful waiata, which Te Taurawhiri is hoping will carry their message. To more than just those of us who arohatia te reo already,” Mr Kirikiri says. “The fact that he has been to kura (school), from kohanga reo right though to kura kaupapa Maori marries well with what Te Taurawhiri was after.” Whitireia lecturer in band studies Gloria Hildred says the students on this project are getting to do stuff that we are training them for in the real world. Whitireia staff member John O’Connor and student Jake Foster engineered the recording. Phil Hornblow, another Whitireia staff member, took care of the music arrangement.Backing vocalist Roimata Neilsen (Whakatahea, Te Whanau-a-

Apanui) is thrilled to be doing something so close to her roots. “Being at Whitireia doing music I’m not exposed to Maori music. I miss it. Being a part of this has really gotten me back into my Maori. It’s really cool. I love it.” Tawaroa also loves his te reo, and is proud to have composed this waiata. “I was really keen because te reo is my first language. I love my reo. “I had to speak Maori at home, in town, to all my friends. I started to learn English at high school. “The song is about encouraging people to learn te reo. Talk it, sing it and love it. That’s what the title is for. “I want my language to be noticed and respected. It was the first language here in Aotearoa New Zealand. I think it should be the main language,” he says.

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PUORO

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Sons Of Zion Universal Love

Maisey Rika Whitiora

Universal Love is the long-awaited album featuring Good Love, Tell Her and Superman. Frontman Rio Panapa says: “There is something in there for everyone, including a couple of collaborations with our good friends Pieter T, Sidney Diamond, Jah Maoli and Tomorrow People.  “While staying true to our roots in reggae music, this album is definitely a progression of the Sons of Zion sound and journey.”

This is Maisey’s third album, entirely in te reo - and her sensitive voice and skill at blending the present and the past are given a boost by abreadth of subject matter. Pomarie, a lullaby for an unborn child, the forces of nature are given their due in Tangaroa Whakamautai, with a rhythm like the ocean swell, Haumanu and the Christchurch earthquake tribute Ruaimoko, while Ohomairangi is a tribute to her ancestors.

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Tama Waipara

Titanium All For You 2.0

Fill Up The Silence is the result, a fusion of dynamic off-beats and traditional Pacific-infused rhythms over-flowing with equally compelling vocal melodies. Waipara’s voice is incredibly strong and versatile on this record and is at it’s best on ‘Tangihia’, and melodic looped vocal track ‘Pasifika’ - the first song where we hear Waipara interweave both Te Reo and English. Every song on Fill Up The Silence has a place and simply grows stronger on repeat listens. No filler.

In just over a year, the hottest group Titanium have had a #1 debut single, a platinum certified single, a gold certified album and also became the first New Zealand artist to ever have three songs in the New Zealand Top 40 singles chart at the same time. 2.0 is the deluxe version of the original album with six additional tracks including the smash hit singles, ‘Tattoo’ and ‘Soundtrack To Summer which were released earlier this year..

Fill Up The Silence


REVIEW

Miini Trust In Me

Pieter T Tomorrow

Moorhouse Mama Said

Arihia & Tahu Moonlight

Miini is an up and coming artist who has just released his first single called ‘Trust In Me’. The Hamiltonian’s smooth r&b sound, which infuses hints of reggae will no doubt be a great summer tune. The video for ‘Trust In me’, which was shot at the Hamilton Gardens has not long been released and is steadily gaining thousands of hits on Youtube. Miini is definately one to watch ‘Trust In Me’ is available on Itunes now!

Taken from the successful second album ‘Completion’ Pieter T releases his new single and video ‘Tomorrow’ in partnership with Live For Tomorrow, a new project on youth suicide prevention. ‘Tomorrow’ is available on iTunes and the video is also available to view online.

X Factor boy band Moorhouse have released their debut single ‘Mama Said’, which was written by singer/ songwriter Vince Harder who is known for penning smash hits for many local acts such as Stan Walker. The new single is catchy and you will be sure to be singing ‘Mama Said’ all day. Available now from iTunes.

Arihia Cassidy with the help of cousin and musical partner Tahu Henare, wrote Moonlight. The song is a story of a couple separated by distance yet connected in dreams and yearnings. The ballad, which the teenagers filmed as a YouTube clip in August of last year, has now been recorded for radio. Moonlight is avaiable on Itunes now.

HAUMANU // WHIRINGA-A-RANGI 2013

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SMOKING IS UNATTRACTIVE

I HATE

THE

SMELL YOUNG SID NGAPUHI


Haumanu Magazine