Posts Tagged ‘Auckland’

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The Beths performing live in the KEXP studio. Recorded October 2nd, 2018.

Our KEXP vid is up! Give it a look if you wanna see me:
– head bang my headphones off with a single bang🤘
– disintegrate into a nervous, mumbling mess💧
– be completely star struck by Cheryl

Songs: Future Me Hates Me Uptown Girl Little Death Happy Unhappy

Band Members
Elizabeth Stokes – Guitar and Vocals
Jonathan Pearce – Guitar and Vocals
Benjamin Sinclair – Bass and Vocals
Ivan Luketina-Johnston – Drums and Vocals
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We are very excited to welcome to the Milk! Records family the incredible Tiny Ruins from Auckland, New Zealand. Tiny Ruins have released two EPs and two albums, the most recent 2014’s acclaimed, Brightly Painted One. In late 2015 songwriter and guitarist Hollie Fullbrook recorded a collection of songs in Brooklyn NY with drummer Hamish Kilgour of The Clean, resulting in the EP Hurtling Through. This was closely followed by the release of Dream Wave – a 7″ single recorded/produced by renowned filmmaker (and Tiny Ruins fan) David Lynch.

Hollie Fullbrook doesn’t waste her time, and by extension, She doesn’t waste yours either. She has never released a song that didn’t sound as smart as it seems effortless. Some people can just command attention. And that’s why we’re excited to be working with her. If the above descriptions don’t make clear, her songs are amazing – anyone who likes the skill demonstrated by The Go-Betweens and Julie Byrne is at risk of Tiny Ruins fanship. We put out a song, “How Much,” recently, and we’ll have more to announce soon.

Tiny Ruins will be touring as a four-piece in the UK and Europe this August with some brand new music coming very soon.

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The first time I wrote about The Beths “Future Me Hates Me”—which is already near the top of my own personal Best of the Year list 2018 , I zeroed in on one specific aspect of it: the album’s sense of melancholy. And while that’s undeniably present on the record—on the rip-roaring “Uptown Girl,” Elizabeth Stokes vows to “drink the whole town dry”—but what’s also present is a sense of elation. The starry-eyed deep-in-love ballad “Little Death” offers a deeply earnest and touching depiction of true romance, Stokes gently singing, “Your smile, it makes me weak/ and the red spreads to my cheeks/ you make me feel three glasses in,” as the band steadily accelerates behind her, as if matching the rhythms of her heart. The whole record is shot through with deceptively complicated musicianship and attention to craft; what at first feel like full-blast indie rock songs soon open up to reveal deft, complicated guitar work, clever, counterintuitive structures—like the way the coulda-been-on-Jade-Tree rave-up “Not Running” slams the brakes midway through to turn the melody over to group-sung a cappella vocals.  It’s pitch perfect power-pop with smart, sad lyrics and insanely catchy hooks.

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The more you listen, the more you notice the little filigrees and pivots that usually start showing up on a band’s fifth record, not their first—which is both an accomplishment and a challenge. If The Beths are this good already, just imagine where they’ll be four albums from now.

Celebrating the release of ‘How Much’ from their third album, Tiny Ruins will be touring as a full band through the UK and Europe later this month.

Tiny Ruins are a band based in Auckland, New Zealand, conceived in 2009 by songwriter Hollie Fullbrook to describe her solo output. Fullbrook was born in Bristol, England, before moving to New Zealand at the age of ten. Growing up in West Auckland, she learnt the cello, guitar and wrote songs from her early teens.

Following five years living in Wellington, she collaborated with Barcelona-based A Singer Of Songs, releasing EP Little Notes independently in 2010.

Debut Some Were Meant for Sea followed in 2011. Recorded by Fullbrook and producer Greg ‘J’ Walker (Machine Translations), the album was recorded in an old hall in South Gippsland, Australia. It received critical praise for its minimalist approach and lyrical flair.

Joining forces with bassist Cass Basil and drummer Alex Freer in 2013, an EP of older songs and B sides, Haunts, was recorded on tape machine by Jon Pearce in the Waipu bush. Following this, the trio met with future band-member Tom Healy to record their second album, Brightly Painted One, released in 2014.

Fullbrook recorded a collection of songs in Brooklyn NY with drummer Hamish Kilgour of The Clean, resulting in EP Hurtling Through, released late 2015. This was followed by the 2016 release of Dream Wave – a 7″ single recorded/produced by renowned filmmaker David Lynch.

First single ‘How Much’ from the third Tiny Ruins LP was released 7th August 2018.

The first single from Tiny Ruins album No.3

Performed by:
Cass Basil: bass guitar, backing vocals
Alex Freer: drums
Hollie Fullbrook: vocals, acoustic guitar, cello
Tom Healy: electric guitar

Miss June was formed in Auckland by Annabel Liddell (Guitar, Vox), when Tom Leggett (Drums, Backing Vox), Chris Marshall (Bass, loud noises) and Jun Park (Guitar, the image of the band) met up for a jam to help Annabel out for her solo show at Bloodfest. Originally Annabel asked only Tom and Chris to join. However, during the jam they felt they lacked beauty and a graceful front figure. Disappointed, they almost cancelled the show until Jun walked into the room; they then begged him to join due to his handsome looks.

Miss June have a sound similiar to Bikini Kill and the Pixies who had an illegal love child. Or Anger with a kiss of sadness.

‘I Don’t Wanna Be Your Dog’ by Miss June

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I was surprised not to see this album on more year end lists. Its blissed out bedroom pop that is in the same realm as the better-known Jay Som. For my money though, Fazerdaze has a better hit ratio.

Do artists still make songs that are intended to be heard from loud speakers or do they assume their songs will be heard through a cheap pair of earbuds? I don’t know if that thought ever crossed New Zealand’s Amelia Murray, but her bedroom pop from half a world away buzzes your brain in both scenarios. Songs like Misread and Lucky Girl would have been staples on 90’s alternative radio, but also sound great on your home made playlist.

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Recorded and produced by Amelia Murray

 

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From Auckland, New Zealand’s Fazerdaze, Amelia Murray’s project which becomes a quartet live, has already attracted attention overseas as well as Down Under.
Now Murray brings her intimate, bedroom guitar-pop out on first single, the bittersweet ‘Lucky Girl’ from the upcoming debut album, ‘Morningside’, due out on May 5th via Flying Nun Records. The New Zealand native Amelia Murray readies her debut LP as Fazerdaze with legendary label Flying Nun. Here’s the lead single, currently rising up as one you need to listen too now “A perfect burst of swooning, happy-sad bedroom guitar-pop sunshine,”

“I wrote and recorded this track while I was living in a room that had no windows except for a skylight which I eventually had to block out to stop my room from overheating,” reveals Murray. “It was so dark in there and I slowly began to feel sad, like the walls were enclosing on me – that’s how I got the idea for the first lyric”

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Fazerdaze will be in the UK in April/May. Catch them :
April
29 Leeds – Live At Leeds
30 Manchester – Sounds From The Other City Festival

I seriously thought I was listening to Swell Maps when Good Luck with That started playing. Really great melodic post-punk! Classified as “punk” but pure melody in the perfect way done so lovingly by these Kiwis.  So looking forward to the full-length album. If I *had to* describe them I’d say feels like Viet Cong/Preoccupations meets the darker side of Cloud Nothings…

From Auckland, New Zealand’ s Trust Punks’ new album, Double Bind, aggressively consolidates their strengths as one of the most exhilarating young acts out there – blisteringly sharp, smart and spry. From the cold water surf of surging opener ‘ Paradise/angel-wire’ , the band is on a tear through an Australasia that’ s a precarious and nasty place for the young and the restless. Whether they’ re adopting the snarling id of suburban nationalists, or casting a harsh eye on the American way of life, incarceration and death (as on the incongruously sprightly ‘ Good Luck With That’ ) theirs is a serving of wit and fury in equal measure.

They’re also willing to turn the gaze on themselves, as bitter, discordant exorcisms give way to an unbearable sweetness. The stridency of Double Bind’s opening 1-2 leads into the poignant jolt of ‘The Reservoir’ , as Alexander Grant pleads“ I’m not bold enough”. On ‘Riding It Out’ , Joseph Thomas grips crippling depression by the horns and rides it over a grinding Krautrock beat. Grant’ s see-sawing melodies and Thomas’ s belting rasp are Double Bind’ s yin and yang – each a reminder of the challenging terrain post-punk was meant to stake out.

Double Bind ticks all the boxes. It’ s angry for all the same reasons you are, but it’ s also involving and intricate, a record to get lost in. And like the best records of its kind, it seeps into your brain, your feet, and your being.

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Trust Punks are Paul Brown, Alexander Grant, Lliam Powell, Joseph Thomas and Maté Vella
Additional guitars and synthesiser by Lawrence Goodwin

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New Zealand songwriter Nadia Reid’s debut album begins with the kind of Zen-like certainty that only comes after taking stock. “When I hit the ground in all my glory/ I will know where I have come from,” she sings on “Runway”, its opening track. Listen to Formation, Look for the Signs finds the 24-year-old Aucklander dissecting a relationship whose end illuminates new layers of failure and hidden motives with each re-examination. Reid’s outlook on love may be hopeless, but her blunt words are cocooned by the warmth and unusual hookiness of the varied arrangements.

Listen is a soothing, folky Americana album that recalls the work of Laura Marling and Gillian Welch. Reid isn’t reinventing anything, in other words, though Listen is itself more inventive than many records of its ilk. Its main mode is a kind of glowering hush made up of gentle acoustic guitar, glints of pedal steel from Sam Taylor, and Richie Pickard’s glacial double bass, very occasionally chased by Joe McCallum’s spindly drums. The band changes the pace with waltzing rhythms that evoke rural dance halls (“Just to Feel Alive”), or pare back the already-ghostly instrumentation to let Reid’s nimble voice come to the fore (“Ruby”).

The stormy weather of “Reaching Through” is broken up with sparkling, ascendent layers of Reid’s voice and strings; the bowed guitars and clanking metallic chords of “Seasons Change” .  The gorgeous “Call the Days” marries the poppier sensibility of Reid’s heavy songs with the grave palette of her more candlelit numbers. Throughout, she shapes her words into characterful, sticky hooks, which feels rare for this genre of music.

Not to underestimate the experiences behind Reid’s lyrics, but the loss of faith that unravels throughout the record comes off a little grave, reminiscent of those fogged post-heartbreak moments where it’s impossible to believe you’ll ever be happy again—the kind you look back on and laugh. And some of these songs are seven years old, written in her teens, which may explain why love is a “fiery black disease” and delusion, marriage is a convenience, and she can’t even believe other people’s happiness. “Bittersweet I am when it comes to young love,” Reid sings on “Ruby”,

But there are also beautiful, revealing turns of phrase: on “Reaching Through” Reid admits, “If I am bound for something, honey won’t you know, that I always take the shortest fucking road.” “Seasons Change” sneaks a crushing truth into the lifespan of a relationship: “It’s good to love a heart who surely understands/ The coming of the day/ The beauty of the land/ The act of being sorry/ The breaking of a man.” “Call the Days” feels like the resolution to all the heartache and anger, Reid declaring, “I threw out my winter coat/ I cut the sleeves off all I’d known.” Although by no means the finished article, Reid’s acute understanding of where she’s been sets her up nicely for what happens next.

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Listen to formation, Look for the Signs was recorded in July 2014 at the Sitting Room in Lyttelton, New Zealand. Players on this record were Richie Pickard, Sam Taylor, Joe McCallum and Anita Clark.

SO BELOW – ” Luna “

Posted: January 17, 2016 in MUSIC
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Slowly but surely, So Below is establishing herself as a new favorite of ours. About six months ago, the Kiwi debuted with a gritty electro-pop effort titled Drift, and shortly after, she followed up with another darkly tinted effort titled Sleep.

Today, she’s just released “Luna”, a brand-new song that, though still tagged as “goth pop” on SoundCloud, is much brighter than her others released before. We’re really loving the upbeat twist she presents here, and we’re really, really excited to hear how she progresses her sound next as a result.