Posts Tagged ‘New Zealand’

Christchurch, New Zealand’s Salad Boys are back with “This Is Glue”, the follow up to their critically acclaimed 2015 debut album “Metalmania”. Recorded once again by bandleader/guitarist Joe Sampson at his home studio, “This Is Glue”s twelve songs dig deeper, with sharper hooks embedded deep within a more mature musicality.

This Is Glue” hones Sampson’s songwriting chops to a razor edge, with many of the album’s songs sounding utterly timeless. The riffs and melodies seem all too familiar, perhaps recalling greats that came before them this entire scene owes a heavy debt to New Zealand’s Flying Nun Records and the various bands that recorded for it in the 1980s. On songs like “Psych Slasher” and “Blown Up” the Salad Boys share the propulsive drive and rich guitars of Rolling Blackouts, charging ever forward into deeply satisfying pop territory, but with an almost metallic heaviness rarely found in bands like the Clean or the Chills. That edge might make them the best bet on this list to break out in America like Rolling Blackouts have.

From the album “This Is Glue”, out January 19th, 2018 on Trouble In Mind Records,

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Yoncalla is the debut album by Yumi Zouma.

Where Yumi Zouma’s breakout EPs were created in isolation, capturing the nuances of each member’s life half a world away, the new material was given a singular voice. “Yumi Zouma has always been an exercise in refining ideas and collaborating,” reflects guitarist Charlie Ryder, “but this was the first time we weren’t limited or protected by distance. With Yoncalla, the process was different, and it can be scary to present raw ideas to your friends ‐ but it’s also incredible to see songs evolve through the sparks of inspiration that bounce between people in the same room.” That intimacy is apparent on Yoncalla ‐ an album about being close to people, rather than miles apart. Yumi Zouma’s effortless waves of harmony have been redefined and the creative process laid bare to expose an act more unguarded and interconnected than ever before. Yumi Zouma are more lively than The XX, not as energetic as Tennis.

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To capture the concepts on Yoncalla, New Zealand visual artist Henrietta Harris was tapped to create the cover art, illustrating the band together on a front cover for the first time.

Originally released May 27th, 2016

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Nadia Reid’s debut full-length album Listen To Formation, Look For The Signs is the culmination of ten years’ writing.  “Love is sold on the promise that it’s better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On “Call the Days”, New Zealand songwriter Nadia Reid cuts to the heart of this deception: “I was happy on my own,” she sings in a plainspoken lilt. “I would call the days as they were known.” Yet there’s no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable…”

Nadia Reid, a singer songwriter from Port Chalmers, New Zealand, is a folkish, slightly country, roots-oriented singer-songwriter. In the words of her songs, love is dangerous, good things are missed or longed for, and habits last a long time; in the music, guitars twang spaciously and the drumming, when present, moves with slow stealth…

Originally released November 27th, 2015

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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.

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

Asta Rangu’s excellent debut EP, “Plasticine”It’s the work of label co-founder Ley-Hamilton, and is a fluid rock ‘n’ roll record full of tightly wound guitars and soaring vocal melodies. In the post-grunge era of the late ’90s it would have slotted in nicely beside some of the greats, but in a contemporary setting it still sounds fresh.

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The Clean is one of our favorite bands ever, and one of the most influential guitar bands of all time. The band–brothers David and Hamish Kilgour (Hamish is also in the band Mad Scene) along with Robert Scott (also of the Bats and the Magick Heads)–has been around for more than 20 years and made consistently, uniquely amazing records the entire time. Getaway is a typically mind-blowing array of sunny, chiming guitar pop, moody psychedelia, and melodic garage simplicity.

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You want something loud, raw and frantic with a crescendo of decibels and urgency? Then look no further than The Cavemen’s new full-length ‘Frantic Earth’.

It’s not surprising perhaps that these New Zealanders have found favour beyond their Auckland home. After we featured their debut album recently, we were ready for more. Out today (April 6th) through Slovenly Recordings, the 13 tracks are a rampaging onslaught of bit-size nuggets of ballsy punk.
And this third album release is, aptly, as they themselves describe it: “pure, primitive motherfuckin’ Garage Punk like you lust after every night when you’re licking your sexiest leather record jackets, or ‘77 punk steeped in a moldy stack of bootleg Motörhead outtake LPs. The Cavemen have gone batshit crazy, and they’re in full-on attack mode here with 13 tracks of panty dropping chaos guaranteed to land you in jail faster than you can crack one off in a grindhouse showing an “Ilsa” film. Rock’n’roll is here to stay, and it’ll always be for the crazy kids… like it or lump it!”

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New Zealand’s The Cavemen are back, ready to drink, fight, fxck and play some goddamn rock and roll! Nuke Earth is their 3rd foot long record and it’s pure, primitive motherfuckin’ Garage Punk like you lust after every night when you’re licking your sexiest leather record jackets, or ‘77 punk steeped in a moldy stack of bootleg Motörhead outtake LPs. The Cavemen have gone batshit crazy, and they’re in full-on attack mode here with 13 tracks of panty dropping chaos guaranteed to land you in jail faster than you can crack one off in a grindhouse showing an “Ilsa” film.Rock’n’roll is here to stay, and it’ll always be for the crazy kids…like it or lump it!T

Nadia Reid performing at Bush Hall, London

Nadia Reid, who released one my favourite albums of 2017 with Preservation and who we named one of the best new artists of 2017, Nadia has debuted a new song, “The Other Side of the Wheel,” in a live session for New Zealand’s RNZ Music. It was filmed on a park bench in Nadia’s hometown of Port Chalmers, and it includes gorgeous nature footage and you can hear the native birds chirping in the background. The song is just Nadia with an acoustic guitar, but it immediately registers as music just as strong as the more fleshed-out material on Preservation.

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On their first LP, 2015’s brilliant Metalmania, New Zealand’s Salad Boys built hooky, radiant songs from silvery strands of guitar, recalling the same effortless gift for melody as fellow countrymen The Bats as well as Reckoning-era R.E.M. Every song on the album felt wide-eyed and optimistic, frontman Joe Sampson’s voice front and center in the mix, the guitars ringing brightly behind him. The mood is decidedly grimmer on “This is Glue” which, like its predecessor, was recorded and mixed in Sampson’s home studio. Those claustrophobic environs suit Glue’s paranoid mood. Opener “Blown Up” rides a tense, krautrock rhythm, and Sampson’s voice is hushed and distant. When the guitars finally enter, one minute into the song, they arrive in great, furious slashes, a far cry from Metalmania’s church-bell pealing.

The result is a record that is marvelously tense and coiled; “Psych Slasher” is aptly named, a big, roaring garage rock song that wouldn’t be out of place in the Goner catalogue. “Choking Sick” heaves and stutters, Sampson repeating the same two-note vocal melody over and over as the drums kick and clatter behind him. “Under the Bed” is draped in funereal synths; “Scenic Route to Nowhere” is a three-minute festival of scuzz and rattle. “Hatred,” with its open arpeggios, is the closest in tone to Metalmania, but Sampson sighs out his vocals, undercutting the spiraling guitars with a twinge of melancholy. The album’s title is appropriate—every song feels caked in gluey layers of distortion, but instead of capsizing the record, the bleariness instead makes the record feel drifting and dreamlike. If Metalmania was a crisp, hi-res photo of a mountain range on a sunny day, Glue is that same photo during a rainstorm, with the focus off.

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