The Terminals ‎- Touch (1992)

Renderers' guitarist Brian Crook made the sound of the Terminals even more aggressive and anarchic. Touch (Raffmond, 1992) is a demonic and cacophonous work, particularly in the vocal parts (Stephen Cogle and Brian Crook) and in the (dissonant) keyboards parts (Mick Eldorado). Furthermore, the drummer (Peter Stapleton) has progressed to a living orgy of tribalism in the vein of Maureen Tucker (Velvet Underground).

 

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The Terminals ‎- Disease (1991)

The Terminals' second album, released on Xpressway on cassette.

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Jamboree - Melt Down (1985)

This four piece hardly meshed with the Kiwi pop aesthetic at all, and even more frustrating Melt Down's first selection (title track) found this foursome absorbed in rote "modern rock" mode, definitely sounding like a glossy product of their era. Next up, the hushed and insular "A Familiar Quietness" makes a break for the very polar extreme, but unconvincingly I have to say. Nonetheless, Jamboree manages to salvage the remainder of Melt Down in robust fashion, delivering three slices of pensive, forward thinking guitar pop that would do everyone from Lloyd Cole to Steve Kilbey proud. A happy ending after all.

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The Body Electric - Presentation And Reality (1983)

One of the first electronic bands in New Zealand, and hugely influential, The Body Electric were formed in 1982 by Alan Jansson, although he was credited on first releases as Alan Jimson, and Andy Drey. During their initial rehearsals, they were then joined by actor-turned-singer Garry Smith. The group's debut single, Pulsing, was picked up by radio programmers and spent 27 weeks in the charts. Not entirely indicative of their sound, the track has a novelty quality to it. Following the success of Pulsing, Andy Drey was replaced by Spines bassist Wendy Calder and the group released two more minor hits (Dreaming In A Life and Imagination) and a full length album before splitting in 1984. The Body Electric released their first and only album Presentation And Reality in November 1983. It would spend 3 weeks in the charts, reaching No.32. This is a masterpiece of electronic music hands down. Playing sporadically around Wellington in late 1982 and early 1983, the band made its first foray north to Auckland in August 1983, playing at A Certain Bar in Wellesley Street with three shows promoted by Propeller Records' Simon Grigg. Famously, Auckland radio DJ (and general legend) Barry Jenkin hated the electronic sounds and on the first night went behind the stage, pulled the plug and then stormed out. In early 1984 The Body Electric disbanded. Jansson moved permanently to Auckland, went into record production and had a global smash hit with 'How Bizarre' by OMC in the mid-1990s. Smith went on to later manage The New Zealand Ballet Company.

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The Bats - Raw Eggs (2006)

In 2006 the group stormed the North American shores for a brief tour. That's where Raw Eggs comes in. Sold in a limited run of *gulp* 100 copies at US shows, the 18-track CD was comprised of demos, outtakes and alternate versions from the National Grid sessions. By popular demand, the tour-only CD, was made available for online mailorder through the C86-friendly folks. Independently of the sound of the record, with a high quality but devoid of a good production, we can contemplate a first more authentic and primitive vision of the songs, which will grow after the listening, to get its definitive version. This Cd-R will help to those who welcomed At The National Grid with lukewarmness in appreciating the record, whereas it is possible that other ones can appreciate the freshness that is transmitted by the first versions that we have been able to listen here.

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The Drongos - Small Miracles (1985)

Their follow-up, Small Miracles, was recorded on the streets of New York, with just a few sidewalk sessions and some bass overdubs needed to complete the recording (on the street, Mitchell didn’t use a bass drum). ‘Substance Abuser’, the single, was a mix of power-pop and the cartoon punk of The Ramones.  The album reached #4 on the playlist charts of the US college radio stations, and many enthusiastic reviews. The Drongos’ New York attitude and initiative were apparent when they returned to New Zealand for several gigs in the summer of 1985-86. They arranged a local release of Small Miracles through WEA, and pre-arranged the venues and publicity.

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The Drongos - The Drongos (1984)

The Drongos were a quartet of New Zealanders that performed from 1979-1986 primarily in New York City. They were notable for their successful "busking" performances on busy Manhattan street corners. The New York Times called their eponymous first album "a delightful melange of funk rhythms, country harmonies, precisely layered electric guitar counterpoint and airy folk-rock sounds, with many influences, old and new, absorbed into a delightfully original sound." The Drongos originated from Wellington, where, as Red Alert, they were the backing band of the theatrical troupe Red Mole. Shortly after recording the live album Crossing the Tracks live at the Maidment, both Red Mole and Red Alert left for the USA. By this stage Red Alert were Richard Kennedy on guitar and vocals, Jan Preston on keyboards, Jean McAllister on guitar and vocals, Tony McMaster on bass and Stanley John Mitchell on drums.Their self-titled debut was produced by Steve Katz, formerly guitarist with Blood Sweat & Tears; it included the single ‘Don’t Touch Me’. 

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Three Leaning Men - Songs in the Key of E (1987)

Fun in the Key of E, the band's lone full length, harbors a few misfires (most accumulating on side two) but the highlights are dazzlingly high indeed. Including the ten brief songs on the album proper, there are two compilation appearances as well. Some of the only pertinent details on the group are included in an online article regarding the Leanies record label, Meltdown. The band's lineup includes brothers Alan and frontman Lindsay Gregg, that passed away in 2011. Post-3LM, Alan went on to the considerably more renown The Mutton Birds. If any of the surviving members of the band happen to read this, do get in touch.

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The Remarkables - Vegetarian/Skin Condition (1986)

Second single ‘Vegetarian’/‘Skin Condition’ with Zane Greig drumming arrived in 1986 as did contributed songs on Palmerston North compilation Meltdown Town and national student radio collection Weird Culture, Weird Custom. A must have!!

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The Chills - Snow Bound (2018)

After coming back with 2015's Silver Bullets, an album that reasserted the genius of Martin Phillipps but sounded a little tentative at times, the Chills' second album of the 2010s is a brilliant pop hit that's bold, bright, and confident. Snow Bound is a big pop statement, overflowing with singalong choruses, ringing guitars, rich arrangements, and Phillipps' typically trenchant observations. It's reminiscent of the Go-Betweens' 16 Lovers Lane, Prefab Sprout's Steve McQueen, or the Chills' own Submarine Bells; albums that have ambition and reach but don't sacrifice an ounce of humanity in the process. Unlike those records, which were often tied to some questionable production techniques, Phillipps, his band (the same sympathetic lineup from Silver Bullets), and producer Greg Haver work together to make the album sound modern and spotlessly clean on the surface. They also give it a warmth that keeps it from sounding clinical. Phillipps' songs are witty and super hooky as usual; each one sounds like it could be extracted and called a single. Some of them are as good as any the band have released. Maybe not as timeless as "Heavenly Pop Hit," but the title track, the incessantly catchy "Bad Sugar," and the swinging indie rocker "Scarred" come close. There are political statements ("In Harmony"), introspective moments ("Complex"), and bittersweet love songs (Time to Atone"), all wrapped in sonic finery like sweeping Hammond organ, bubbling synths, piping oboe, and stately piano. The arrangements are full to bursting with sound, but it's never too much. The big hooks and weighty statements Phillipps put to paper needed impressive backing and that's exactly what they got. It may be a long way from the wooly, home-cooked sound of the early Chills, but times have changed, as has Phillipps, and this record is just about the best possible scenario for a Chills record in the late 2010s. The songs are definitely there, Phillipps' wonderfully light vocals are as strong as ever, and the sound is a perfect example of how to make a record that sounds as big as a stadium while still being driven by real emotion.

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This Sporting Life ‎- Show Me To The Bellrope (1982)

This Sporting Life was a souped up extension of Alms For Children, Auckland city boys with a cut down amped up sound who left their mark with a landmark indie single and minor chart hit on the truly independent REM Records in August 1981. Paul Fogarty (guitar), Ben Hayman (bass), Daron Johns (drums) and Gary “Rodent” Charlton (vocals) had been at the innovative edge of the early 1980s New Zealand indie boom for nearly two years by then. A great piece of NZ history right here.. Raw punk at it's finest! One of the lost treasures of Flying Nun!!

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The Dum Dum Boys ‎– Let There Be Noise (1981)

New Zealand Stooges obsessed punks from Auckland formed in the early 80's and released their first and only album in August 1981; an unreleased second album, "Death Or Glory" was recorded, but with no shows and recognition sparse, the band changed their name becoming The Henchmen in late 1982. A lot of songs from "Death Or Glory" ended up (with different lyrics) on the Henchmen first Album "We've Come To Play".  Founded 1980 by Anthony (guitar), Tony (vocals) and completed with Chris (bass) and Dean (drums). This album was released via Bondage Records and it was the first complete punk rock album by a New Zealand group and offers eleven catchy superbs, the right sound to forget your troubles and now exactly right for me. An unreleased second album Death or Glory was recorded, but with no shows and recognition sparse, the determined duo changed their name, but not their sound, becoming The Henchmen in late 1982.

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DD Smash - The Optimist (1984)

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