miércoles, 8 de agosto de 2018

Loves Ugly Children - Showered in Gold (1997)

RipItUp described Showered In Gold as, “a feast of furies, where heavenly melodies inhabit massive power-chord driven songs which alternately drift like enormous abandoned spaceships or rock like fission-powered missiles.” As for the album title? “Showered in Gold can mean showered in praise, pissed on from a great height or it could be a reference to a sexual act”.

Loves Ugly Children - Cakehole (1995)

On January 20, the day after supporting Ministry at The Powerstation in Auckland, the group played the 1995 Big Day Out (they returned in 1996). Then it was back to Christchurch and Dunedin.  They went to Dunedin in April 1995 to record debut album Cakehole in Fish Street Studios with Tex Houston. “It’s a punk rock record,” Maclaren would later say. “I’m getting my attitudes from reality, from having a normal life. Having some punk rock element to our music is keeping our feet on the ground, staying down to earth.” “Cakehole was all personal politics, which was the kind of music I was listening to at the time, records that were naked, but honest. It was quite a difficult album to tour because it would put me into black moods doing the gigs.”

Loves Ugly Children - Cold Water Surf (1994)

 t In the early to mid 1990s, Christchurch was a city flush with guitar-driven groups marshalled on record by the short-lived Flat City Records and more comprehensively by Failsafe Records. Despite the flurry of live activity and some enduring recordings, few of the active groups transcended their spirited beginnings. Fiery trio Loves Ugly Children, comprising Simon Maclaren (guitar, vocals), Angela “Floss” Leslie (bass, vocals) and Jason Young (drums, vocals), were the most prominent and enduring group on the rising scene. In 1994 Loves Ugly Children, having already established themselves as one of Christchurch’s biggest drawing groups (the Avalanche release party on April 26, 1993 attracted over 1,000 fans), signed to Flying Nun Records. Their first release for their new label was the Cold Water Surf CD EP from which ‘Senseless’ was extracted for a single and a video made.

Dribbling Darts - Present Perfect (1993)

New Zealand folk-pop group Dribbling Darts was founded in 1989 by former Sneaky Feelings vocalist/guitarist Matthew Bannister, and was originally completed by ex-Remarkables bassist Alan Gregg and violinist Alice Bulmer. Originally dubbed the Dribbling Darts of Love, the trio debuted in 1991 with the EP Shoot; by the time of the follow-up EP, Florid Dabblers Voting, drummer Richard Foulkes, Jr. had been recruited, and was later replaced briefly by ex-Sneaky Feelings drummer Martin Durrant. The Dribbling Darts were silent for the next two years as Bannister and Bulmer focused on raising their child, but finally resurfaced in 1993 with the single "Hey Judith," quickly followed by the full-length Present Perfect.

Various ‎- Rip Shit Or Bust (1983)

A fine little 12inch from Kiwi territory with six guns on it, released via Ripper Records. A small selection of songs that have already been released as singles and today are rare and expensive. The Instigators track stands a bit out here: perfect driving mid-tempo punk with female vocals and saxophone (this is more in the background) and good lyrics, rulez like hell. Overall a great little compilation which brings 15 minutes of joy!

Various - New Zealand 7'' EP (1987)

This litte treasure came out on Out Of Order Records and five bands gave themselves the honor to show the world that even in far away New Zealand Punkrock was and is present.

Various - Killed By Death #15. New Zealand Rare Punk 77-82 (2018)

Another installment in the legendary series, this time centered in the obscure and extremely interesting early New Zealand punk rock scene. On offer are 13 tracks of pure KBD mayhem by kiwi luminaries such as Suburban Reptiles, Scavengers, Toy Love, Spelling Mistakes and many more. No hippie shit, no disco, just pure punk rock bliss. Enjoy!

Various ‎- Death Pays All Debts (1988)

This is one of the best compilation tapes of 80’s NZ Punk that was ever released, such great songs.

Various - Capital Kaos (1984)

Capitol Kaos is a live recording of the infamous Golden Showers one day punk festival held at the Newtown Community Hall on Easter weekend of 1983. Released in 1984 on local label Jayrem Records the compilation captures 12 bands from New Zealand's second wave of punk rock playing in the grim, nihilistic atmosphere of the Muldoon governments 8th year in power. With LP artwork that features a collage of punks fighting a street battle against police in front of the New Zealand government's Beehive the imagery draws on the still very raw memory of the 1981 Springbok Tour and the widespread civil disorder that accompanied it. The 'Capitol' scene at this time seems both ripped apart and re-energised by the violent boot boy gangs that had sprung up in the working class suburbs of Wellington. From the Terrace Terrorways, to the Wainui and Newlands Skins, drugs and a love of violence had wiped the floor clean of the first generation of punk's playful anarchy. In their place bands like First Fifteen, Flesh D-Vice, Aftershock had emerged dripping with a hate for mainstream society and the New Zealand police force that took pleasure in cracking heads to maintain conformity, whether it be at a protest or a punk gig. This connection between the context and the live recordings on Capitol Kaos is what makes it such a great 'time capsule' of New Zealand at such a traumatic period in its modern history. Recorded by John Void, lead singer of 'anti-tour' band RIOT 111, Capitol Kaos presents the grey depressive psychopathic New Zealand of 1983 we are encouraged to forget in favour of nostalgia spiked beer adverts and TV soaps.

domingo, 5 de agosto de 2018

Mainline - A Christchurch Compilation (1999)

Here's a nifty little compilation from 1999. There's some real oddities in here. Fabulously imaginative sonic noise soundscapes which immediately bury themselves in the frontal lobes. Losta other goodies. Definitely worthy of a listen & a catalogue number for your NZ oddities collection.

sábado, 4 de agosto de 2018

K4 – Immunity (1985)

Musically K4 started to evolve quite quickly from the early sound of post punk to experimenting in electronic atmospheric darkness. Formed during 1983 the band originally consisted of Hugh Thomson (Drums) and Peter Denniston (Bass). Stephen Bolton (Guitar) and Ray Albon (vocals) and Helen Goudge. K4 played right through the end of 1983 to their last gig around 1985.

S.P.U.D. - Gnaw (1991)

The second and final album from this noisy New Zealand underground group saw them produced in a much cleaner fashion than on their debut. Giving their lurching Birthday Party-like sound a magnified sheen resulted in a sound akin to early Jesus Lizard; none of their energy and invention was lost in the graduation to high production values -- quite a feat for a post-punk noise group. The quintet builds a complex architecture of noise guitar textures over a propulsive rhythm section, providing dramatic tension to the instrumental arrangements, and giving vocalist Glen Campbell space enough to exercise one of the most unique vocal instruments. On "Recliner," the chaos of Sonic Youth circa EVOL meets speed metal precision; "Creep" is the most turgid riff the Melvins must wish they had written. Typical of Flying Nun groups, they seem to exist ten years ahead of their time. With this album they may have scored few fans outside of their home country, but among them are Sonic Youth and Steve Albini, both institutions who have cited this album as a noise rock classic of the highest caliber.

S.P.U.D. ‎– Sour (1990)

This obscure New Zealand post-punk group were the young outsiders when they came to the legendary Flying Nun label in the late '80s. The previous decade has seen the label's identity bloom as the home of delicate and crafty songs, the Verlaines, Chills, and Chris Knox -- elegance was as far removed from the SPUD sound as guitars, bass, and drums can get. On their 1990 debut, a sound inspired by Black Sabbath and the Birthday Party saw the quintet thrashing feedback drenched dirges more akin to the Chicago post-punk sound of Touch and Go or Amphetamine Reptile. Scratch Acid, Jesus Lizard, or Halo of Flies may be good comparisons; fellow Kiwis Skeptics and the Dead C worked up a similar storm of guitar driven chaos as well. Ahead of its time, the group recorded a second stunning record "Gnaw" in the '90s and dissolved. Core member Mathew Heine later formed a similar ensemble, Solid Gold Hell.

The Clean - Live at Fabrik, Hamburg (23-04-1990)

Another gem!!

viernes, 3 de agosto de 2018

The Clean - Live in Dunedin (1982)

Super ultra rare -impossible to get nowadays- show by The Clean in Dunedin in 1982. One of the last shows before they broke up in the 80's. A forgotten not-of-this-world gem now rescued and shared for everyone!

Fetus Productions ‎– Intensive Care Unit (1989)

Fetus Productions ‎– Fetus Product (1981)

Fetus Productions were a pioneering post-punk industrial-music group in the early 1980s, whose activities intersected with the worlds of experimental film, art and fashion. The members were often dispersed, active in several countries simultaneously. Fetus Productions attacked the mass media’s promulgation of perfect images and perfect bodies by using horrific material, images of medical misadventure and mutation. Co-founder Jed Town wanted to “strip it all down to see the bare essentials, the internal organs and the skeletons, to expose the beauty of human frailty.” Underpinning their work was a philosophy: a concern for human rights, an organic respect for life, and a resistance to media-fed preconceptions. Fetus Productions evolved from the remnants of The Features, a band that briefly appeared at the tail end of the punk boom. In just six months The Features had became notorious for their fierce live shows and the visceral imagery adorning their two vinyl releases. The artwork for their single CITY SCENES (1980), created by guitarist Jed Town, was credited to Fetus Productions. The cover of their second release, EXPOSED (1980), depicted a skinless human machine. It was attributed to The Perfect Features, a name revealing an emerging interest in ideas of human engineering and perfection.

Not really sure where to start with this comment. I just feel I need to say SOMETHING. For a start the album is amazing. And I'm aware my idea of amazing may not be yours but I'll try and say what trips my trigger. What gets me, aside from the typically dark sound characteristic of Fetus Productions, the "sampled" voices from medical surgeries and horror films (before samplers existed), the synths, the effects, the beautifully twisted guitars is the technical and technological sophistication of the music in general. It blows me away that this was recorded in 1981. It sounds SOOOO advanced and very hi-tech. It came well, well, well ahead of the Aphex Twin and light-years ahead of similar, yet, less original music from the early '90s. I'm stunned by what I hear and can't help but listen to what has been created. This stuff is ground-breaking, unique and incredibly pure and original. I really don't think I can say I've heard anything like it.... except for other FP records. Anyway, this is what music is all about - a medium with incredible potential for artistic creativity, yet rarely explored except by a handful of open-minded people, and that certainly includes Fetus Productions. Bubblegum pop this is not!!! Beware!!

Solid Gold Hell - The Blood & The Pity (1996)

Well it ain't pop music, and it was never was meant to be. The now defunct Solid Gold Hell were pure southern gothic. Like their live shows, their recorded output is a combination of travelling medicine and old-time bare-knuckle boxing show: a sound that threatens to take on all-comers and sell you something for your soul. In the years since this band crawled out of an unholy alliance between Flying Nun's Spud and JPS Experience, Solid Gold Hell have taken on a string of challengers to the mantle of most out-there and fully rocking live group Auckland has to offer. Their live shows were a mixture of skewed musical precision and pure pathos - for every moment of sheer rocking exhilaration as rhythm section Gary Sullivan and Colleen Brennan duel with guitar maestro Matthew Heine, there's the sight and sound of singer Glen Lorne Campbell growling out a lungful of death-rattle over the mic. And the show finale, with Glen on trombone and Gary drumming with one hand and holding his trumpet in the other, while Colleen and Matthew play heads-down string-torture, is the kind of showbiz that sells snake oil to indians. Their album 'The Blood And The Pity' hits the same way. Musically, Solid Gold Hell have never given us anything as good as 'The Country Sow', a song that swings out like the arm of a punchdrunk Joe Louis. There's never been anything as hard-out as 'Heavenly Badness' or riffery as dynamic as the mini-album's title track or 'My Father Before Me' from this lot before either. This is music to put a little fear in your soul. And as the lady said, it also rocks. Beware.

Solid Gold Hell - Swingin' Hot Murder (1994)

Formed in the wake of New Zealand noise rockers SPUD, Solid Gold Hell was a continuation of that group's lurching Birthday Party/Jesus Lizard sound with more garage punk kitsch and less avant sonics in the mix. Turgid swing beats and atonal blues draw comparisons to Killdozer and Australian pub crawlers the Scientists. Similarly, they take a lot from Captain Beefheart's magic band and filter it through punk and sarcastic bar-room jazz, resulting in a drunken mix of low-tech noise and reluctantly startling musicianship.

The Henchmen - Lust For Glory (2000)

Underappreciated but never underproductive, West Auckland punks The Henchmen had grit and belief. They played and recorded when and where they could, releasing We’ve Come To Play, one of the great New Zealand punk rock albums, in 1983. There are some things you don’t do without expecting some kind of menace. Like invoke the spirit of Iggy Pop. But invoke Iggy’s spirit they did and whatever pact The Henchmen signed with punk’s dark prince, it ensured the West Auckland Detroit-punk outfit were never forgotten.

Pop Art Toasters - Pop Art Toasters (1994)

With neither of their bands touring, or in the recording studio, New Zealand music scene veterans Martin Phillipps (guitar/vocals) of The Chills and David Kilgour (guitar/vocals) of The Clean,  bassist Noel Ward, keyboardist Alan Starrett and drummer Noel Ward joined forces to create perhaps the closest thing to a “super group” that New Zealand ever had, the one off group, Pop Art Toasters. Released in 1994 the group’s sole release, the self-titled Pop Art Toasters, proffer five fluffy covers of obscure and semi-obscure vintage pop gems.

Ghost Club - Suicide Train (2006)

Suicide Train is the second album of New Zealand band, Ghost Club released in 2005. It was recorded in a single day in the basement of a squatted Hackney pub in 2005. It was released in 2005 on Flying Nun Records in Australasia and in Europe on Hellsquad in 2006.

Ghost Club - Ghost Clubbing (2001)

Amidst the millennial guitar rawk revival, when Detroit was the new Detroit, and groups like The White Stripes and The Datsuns were shooting up the charts and shuffling on your iPod, a cadre of New Zealanders settled in London and wielded a Ghost Club, and the hard rock sound got roundly clocked. For most dedicated New Zealand music fans, these fellows need no introduction. David Mitchell has been melting down guitar amps since the 80s in many seminal New Zealand bands from Plagal Grind to The Exploding Budgies, Goblin Mix and Chug to The 3Ds. Denise Roughan is also no stranger to live audiences, serving us wonderments in Look Blue Go Purple and The 3Ds. Flying Nun newcomer Jim Abbott has been grounded in local NZ bands joining the now-london based Ghost Club full time. The band first caught our attention when David and Denise recorded two quiet, acoustic songs in January 1996 that were released by Flying Nun as a 7" single. The band have played sporadic live shows in London, as well as a couple of stunning solo efforts by David Mitchell (playing Ghost Club tunes) at the 2000 Dunedin Sound Festival & in Auckland with The Clean.

Betchadupa - Aiming For Your Head (2004)

This article was written back in the days when Liam Finn (son of Crowded House's Neil Finn) hadn't yet gone solo. And it was written in the days when Wayne Rooney was just a young whippersnapper, learning his trade at Everton. This is what journos call 'setting the scene'. Now that I've done that, you can read on... Betchadupa were a revelation at Auckland’s Big Day Out this year, where they outshone every other homegrown act (and on a bill that included The Datsuns and The D4 that was no mean feat). When you have a live show as good as theirs it's a logical step to go analogue and record an album "as live" - so that's exactly what they've done. Aiming For Your Head is a definite progression from Alphabetchadupa (their quiet-bit-loud-bit Nirvanalike debut). This time they're bolder and tougher, able to take a few chances and surprise you a bit. The lolloping pyschedelia of 'My Army Of Birds And Gulls' is a fantastic way to start, laced with conspiracy theories and paranoia. Elsewhere, unexpected tempo changes make songs zip about like flies, with ‘Running Out Of Time’ and the title track being particular highlights. They're less convincing when they play safe, as on former single 'Move Over' and it's B'side 'The Bats of Darkwell Lane'. Perhaps they sense themselves that they can do better than that now. All in all though there's enough to suggest that one day Betchadupa are gonna record a five star, solid gold record. This isn't quite it but it's a step in the right direction.

Betchadupa - The Alphabetchadupa (2002)

Coming after three increasingly well-received EPs and released just after the youngest member of this New Zealand quartet, Betchadupa, turned 18, Alphabetchadupa is the first full-length release by a band that's unfortunately always known as "the band led by Neil Finn's son." Liam Finn is no Frank Sinatra Jr., however. Despite a superficial vocal resemblance to his father's mellifluous pipes, Liam is very much his own man throughout Alphabetchadupa. Considerably mellower and more melodic than their sometimes noisy EPs, many of the songs on Alphabetchadupa recall the mellow vibe of UK bands like Coldplay and Travis, yet even on ballads like the deeply emotional "Lucy's Song" or "Easy As It Seems," Liam avoids the prevalent trap of sentimental mopiness that ruins so many similar albums. More important, he's got a real knack for writing extremely catchy guitar pop tunes like the sublime first single, "Supa Day," and the sassy riff-rocker "Filthy McNasty." Neil Finn was the same age as Liam when he joined his older brother's band, Split Enz, and remade it in his own pure-pop image; Alphabetchadupa shows that precocious pop smarts run in the family.