Sam Denne / Photo credit: Mumu Moore
/ Friday 2nd December, 2022 5:01PM
Multi-disciplinary, multi-cultural tour de force Te KuraHuia (Ngāi Tara ki te Muaūpoko o te ika a Māui, Ngāti Raukawaki te Tonga, NgāPuhi, Te Arawa, Te Whakatōhea, Ngāi TeRangi, Ngāti Kuia, Ngāi Tahu, Ngāti Apa Ki Te Rā Tō) has unleashed the self-directed video for her new waiata ‘Uha’, a fresh and uplifting song of solidarity dedicated to Māori who jointly whakapapa to other indigenous Pacific cultures. A jubilant exploration of identity, Te KuraHuia aka Faith Oriwia Henare Stewart, who shares Māori and Samoan whakapapa, showcases a synergised collection of pan-Pacific garments and choreography upon an idyllic black sand beach. Passionate verse delivered in te reo Māori is driven by relentlessly danceable percussion and buoyed by a dub-esque bassline, resulting in an unashamedly powerful testament to the mana of its songwriter.
Recipient of the 2022 Waiata Māori Music Award ‘Te Tohu Kaipūoro Rangatahi’ (Emerging Artist Under 25 Years), and winner of the 2022 SRN Te Tohu Kōwhitinga Tāngata (People’s Choice Award), Te KuraHuia has captured well-deserved recognition for her musical, visual and design work both in Aotearoa and abroad. She recently toured several Canadian film festivals showcasing UHA — a recent visual EP which shares the title of her new single — and performed as Aotearoa’s representative at Asinabka Film & Media Art Festival. The world has been watching Te KuraHuia, make sure you are too…
"Uha is a Reo Māori Single Track that contributes to the Bad Mana Wahine
our wahine, a song to remind us what being an Uha is, the importance of what we are,
who we are, what we have, what we can do and to embrace all of that. We are life
bearers, daughters, mothers, aunts etc
I wanted to create a waiata that I could dance to knowing it’s a song for me and all the
Bad Mana Wahine in the world.
He taonga tuku iho te ira wahine, nā mātou te whiwhi kia tūhono ki te ao wairua kia
puta mai te ira tangata ki te whai ao ki te ao marama. Nā mātou tērā mana nō reira
ia i tō ahua e uha mā!"
Pōneke tearjerkers Welcomer are extremely happy to release their debut eponymous EP which is certain to make its listeners extremely sad (in an ‘eating a whole tub of ice-cream alone on a Friday night after a break-up’ kinda way). Fronted by Miles Sutton, Welcomer’s lyrics brim with the bittersweet nostalgia and wistful rumination which have been signature features of their songwriting for more than a decade. The band wade earnestly through themes of aging, loneliness, doubt, heartbreak, resignation and acceptance with occasional smatterings of humour that, though deeply cynical, never play off as insincere.
‘A Steely Dan Cover Band’ – a lovelorn piece about helplessly rearranging complex feelings to an amateur rendition of ‘Ricky Don’t Lose That Number’ – and breakout break-up single ‘Cicadas 3’ ascended the Student Radio charts earlier this year. These are joined by most recent single ‘The Summit’ and two brand new tracks to complete a cohesive mood piece of melancholic splendour. Recorded between the cosiness of home and at studio The Stomach in the Emo Capital of Aotearoa, Palmerston North, the production of Welcomer is bathed in warmth which deftly compliment its layered arrangements. Reversed guitars, yearning strings, sneaky banjos, and ethereal pads weave together in swirls of harmonious goodness, each packed with presence and perfectly placed. Welcomer releases today through Papaiti Records. Check it out for yourself here…
‘Welcomer’ is out now on major streaming services via Papaiti Records.
A summertime ode to the place where the sea meets the land, ‘Beach‘ is the bopping ‘n’ fuzzy debut single from Tāmaki Makaurau rising stars Wellness. Encouraging listeners to escape the nine to five grind, seize the means of production and find fun on the sandy sea shore, the laudably catchy track is the creation of four good mates (and regular names on this site) Frances Carter, Jess Morgan (deepState), Ary Jansen and James Sullivan (Jim Nothing), produced by Peter Ruddell (Sulfate, Wellness). Find your favourite towel, don’t forget the sunblock and hit play on the group’s DIY good-times vid for ‘Beach’…
Embarking on an exceedingly rare nationwide tour of Aotearoa with full band from next week onwards, Princess Chelsea aka Chelsea Nikkel gifts fans a taste of what to look forward to with live footage of ‘I Miss My Man‘, from new album Everything Is Going To Be Alright (Lil Chief Records). Filmed in Vienna and starring the artist bringing the on-stage magic to a visibly stoked crowd with Joshua Worthington-Church (Galaxy Bear, Being), David Harris (Sulfate), Simeon-Kavanagh-Vincent (Phoebe Rings, Lucky Boy^), Jasmine Balmer (BEING.) and Joe Kaptein (Muroki) — who have been collectively described as "the indie E-Street band" — hit play on the clip below, and don’t miss the whole mega-talented gang with Mousey at the following dates…
UnderTheRadar proudly presents…
Princess Chelsea – Everything Is Going To Be Alright NZ Tour
Friday 9th December – Meow, Wellington* Saturday 10th December – The Powerstation, Auckland* Saturday 17th December – Dive, Dunedin
Te Papaioea’s SODA BOYZ are teaming up with self-described "weirdo dark-pop synth-wave plus-a-sax three-piece operating on stolen Gadigal and Wangal land (Sydney)" Potential for a four date summer jaunt across Te Ika-a-Māui this coming February. Launching their third album in just over three years Normal on 6th January, the Australian-based trio of alisha, dean and nick have just dropped pulsing new single ‘Chronic Gains‘, which you can listen to below. On the relative down low since the release of their 2020 opus Farewell Spit via Papaiti Records (plus a follow-up cover of a tune by San José slowcore legends Duster), SODA BOYZ will be "touring new material from their forthcoming new release". Catch both groups with special guests galore at the following dates…
Potential & SODA BOYZ – Aotearoa Tour 2023
Wednesday 8th February – Whammy Bar, Auckland with TOOMS, Nuggiez
Thursday 9th February – Last Place, Hamilton with Half / Time, Bitter Defeat
Friday 10th February – Snails, Palmerston North with Carb On Carb, First Move (all ages)
Saturday 11th February – Moon, Wellington, with Mr Sterile Assembly, Unsanitary Napkin
Hit play on Potential’s new single ‘Chronic Gains’…
Watch Potential’s video for ‘Non-Zero Sum Game’ from their forthcoming album Normal…
Take in 2021 live footage of SODA BOYZ performing their song ‘Enough’ at Flying Nun’s Pōneke shop…
Gadigal and Wangal (Sydney) based weirdo dark-pop synth-wave plus-a-sax three-piece Potential are hitting the road for the first time in 2023 in support of their newest release "Normal"! Out 06/01/23 on legendary DIY label Black Wire Records. As well as a tour of the East coast of so called Australia, they’re also playing four shows in Aotearoa with Te Papa-i-Oea / Palmerston North slowcore trio Soda Boyz, who will be touring new material from their forthcoming release.
Performing with fellow Tāmaki noiseniks Swallow the Ratthis weekend in Tauranga and Raglan, we’re stoked to provide a first look at the title track and video for sci-fi / psych-rock duo Ripship aka Eva-Rae McLean and Callum Lincoln‘s forthcoming debut album Fearsome Engine. A hyperenergised stunner envisioning the outer limits of technological advancement, the single’s accompanying clip was directed by Ellen Jones-Poole, who also worked with the pair on their wild visuals for ‘Lube the Cube‘. Stylishly minimal, fog-enshrouded and Borg-like — succumb to the thrill-power of Ripship’s ‘Fearsome Engine’, look forward to the new album produced by Peter Ruddell (Sulfate, Wax Chattels) launching on 16th December via 1:12 Records, and don’t miss them at the following summer dates including the 1:12 Xmas Party…
"The song is about a novel called Feersum Endjinn by my favourite author, Iain Banks. All that’s left of humanity is kind of technologically inept but the previous civilisation has left behind this huge, incomprehensible virtual afterlife. I think our song has this optimistic momentum to it, like an exponential technological growth towards something awesome. I think that the title of the book evokes that too, hence why we stole it." – Rae
"We knew we wanted to work with Ellen again after shooting ‘Lube the Cube’ with her and her team. She’s got a fantastic talent for creating great looking media with a vague prompt and a real tight budget. We weren’t very present for much of the process creating the video due to being occupied with the album release, tour and also moving cities (we’re gonna be a welly band!), so it was awesome to show up on set and have every costume and effect ready to go." – Callum
Ripship & Swallow the Rat – 2022 Tour
Friday 2nd December – The Jam Factory, Tauranga w/ Hoick
Saturday 3rd December – Yot Club, Raglan w/ Brissel*
Tāmaki Makaurau’s Sarah Valintine is ushering in the first weekend of summer with her whimsical new pop-poem ‘Words‘. Producer Tom Broome has worked with Valintine and accompanist Guy Harrison to adapt her written prose to musical arrangements which build a befitting home for words she once "left without". Delicate as cirrus clouds in a cerulean sky, Valintine’s voice possesses an emotional timbre as she expresses her longing to return to the person she loves. Fingerstyle guitar and an outstandingly well recorded drum kit usher her along the road she’s "walked before", "thousands of times", to a conclusion where the listener is left to wonder whether she found the words at the end of it. ‘Words’ belongs to an upcoming collection of poetry pop which the songwriter has been releasing from over the past two years. Ease into the season with Valintine here…
Summer’s here and the final Bandcamp Friday for 2022 arrives today, wrapping up an unforgettable twelve months in Aotearoa that future historians are sure to puzzle over with furrowed brow. For our final SRN x UTR Bandcamp Friday feature of the year we’ve decided to shake up our monthly format with a very special CHRISTMAS EDITION. We’ve invited Student Radio Network representatives to highlight some of their personal favourite local Xmas / festive / summer / related / whatever jams (new or older) to start the silly season right and get the ball rolling for Bandcamp Friday. The online music platform will waive their revenue share on all artists’ music and merch sales from 9pm NZST tonight, until 9pm NZST on Saturday (handy countdown clock HERE) — support local artists and get amongst.
A wonderfully haunted and f**ked up version of the song originally by Paul McCartney and Wings. Every classic chord is warped and bent out of shape, and a few great guitar chords are chucked in the middle. Like the eggnog-and-pastry residue that builds up in the corners of your grandfather’s mouth on Christmas day, it is both gross and oddly charming. — Liam Donnelly, RDU 98.5FM Programme Manager & Host of RDU’s Burnt Breakfast, Ōtautahi / Christchurch
‘Jesus Christ’ – Brian Tamaki and the Kool-Aid Kids
Cover of Big Star’s Christmas classic from their 1978 "3rd" album by Christchurch band Brian Tamaki and the Kool-Aid Kids. This cover defies the odds by being terrible and great at the same time. DISCLAIMER: This is not the Brian Tamaki, just another person called Brian Tamaki. — Liam Donnelly, RDU 98.5FM Programme Manager & Host of RDU’s Burnt Breakfast, Ōtautahi / Christchurch
No Xmas For John Key – compilation (2014)
This Yuletide season, while you try to clean your BBQ and work out your best excuse as to why you won’t wear that Christmas sweater your mother knitted for you 5 years ago, why not take a break and jam on No Xmas For John Key. This 2014 compilation [a different one to the 2016 compilation featured above — Ed.] is full of cheer and joy, from Strange Harvest’s cold-wave to cool you down from the summer heat, to Michael Cathro (Ha The Unclear) reminding us what Christmas is all about — drunken fights and commercialism, there’s something off everyone’s stocking. — Jamie Green, Radio One 91FM Breakfast Host & Producer, Ōtepoti / Dunedin
‘Best Wishes’ – Pixie Williams
This song was recorded at TANZA studios, just around the corner from Radioactive.FM and is now the home to Field and Green restaurant in Wellington. I’m fortunate to have interviewed Pixie’s daughter Amelia Costello which was a very memorable conversation about a beautiful slice of Aotearoa music history. — Maggie Tweedie, Radio Active 88.6FM Breakfast Host, Te Whanganui-a-Tara / Wellington
‘Pretty Paper’ – Tami Nielson
Another song that pulls on the heart strings and proves Tami has long been devoted to the music of Willie Nelson. A song full of empathy and aroha for those who struggle at Christmas… all Bandcamp proceeds from this song are donated to the Auckland City Mission [‘Pretty Paper’ is available for purchase HERE] — Maggie Tweedie, Radio Active 88.6FM Breakfast Host, Te Whanganui-a-Tara / Wellington
‘I Don’t Know What To Get You For Christmas (Do I Really Love You?)’ – Hans Pucket
As Hans Pucket get set to take on the world touring their INCREDIBLE new album No Drama, what better time is there to harken back to their supremely pretty and characteristically sincere contemporary Christmas ballad ‘I Don’t Know What To Get You For Christmas (Do I Really Love You?)’. This one’s really got me in the feels as I rack my brains for the perfect office Secret Santa present. I’d suggest this and / or the aforementioned No Drama as the ideal Chrimbo gift for the love in your life. — Josh Dominikovich, Radio Active 88.6FM Breakfast Producer, Te Whanganui-a-Tara/Wellington
Welcomer EP – Welcomer
The much anticipated self-titled EP by Te Whanganui-a-Tara misty emo pop group Welcomer is finally here! Cop this album, they spent all their next album’s budget on their Christmas party, Let’s help them out for next years! — Anna Fairweather, Radio Control 99.4FM (Events and General Legend), Te Papaioea / Palmerston North
‘CiTy RePPa’ feat. Samir – Club Tremaine
Who needs a Christmas parade when the legend that is Samir (aka Decktrick) is giving you a guided tour of the CBD, ending up at the family institution that is Princess Street McDonald’s. — Anna Fairweather, Radio Control 99.4FM (Events and General Legend), Te Papaioea / Palmerston North
‘Marie Te Po!’ – Lucky Boy
A gorgeous te reo version of classic Christmas carol ‘Silent Night’. Immediately puts you in the sleepy, summery Christmas mindset and conveys everything I love about Christmas in Aotearoa. Also, More! Shreds! In! Christmas! Carols! Plz! — Zoë Larsen Cumming, 95bFM Breakfast Producer, Tāmaki Makaurau / Auckland
‘Have Yourself A Merry Little Christmas’ – The Beths
There’s something really special about Christmas songs that feel unique to Aotearoa when we’re so often listening to classics about snow covered fields and fires (which don’t get me wrong, I’m very into) when it’s muggy as hell outside. That’s why I love this cover of ‘Have Yourself A Merry Christmas’ by The Beths. It feels like it’s just for us while still being warm and familiar. — Zoë Larsen Cumming, 95bFM Breakfast Producer, Tāmaki Makaurau / Auckland
‘Xmas Sux’ – Thee Golden Geese
Looking for the perfect song to listen to as you storm down to the pub after a Christmas-eve family argument? Your rock uncles Thee Golden Geese have your back with their furious festive rager ‘Xmas Sux’. Pop in your headphones and power-walk it off mate. — Rachel Ashby, 95bFM Breakfast Host, Tāmaki Makaurau / Auckland
‘Unholy Night’ – Louisa Nicklin
Move over Joni Mitchell ‘cos Louisa Nicklin’s got the festive blues covered with her empathetic ballad ‘Unholy Night’, full of existential pondering and general world anxiety. Who needs a river to skate away on when you’ve got a Toyota Corolla to lug your Christmas Tree home? — Rachel Ashby, 95bFM Breakfast Host, Tāmaki Makaurau / Auckland
Art and commerce collide on What A Way To Make A Living, the first collection of tunes to emerge from Aotearoa songwriter Finn Johansson‘s Nine to Five crowdfunding project. Created during livestreamed studio sessions, the productive artist’s four song EP roams from tender, heart-on-sleeve balladry to emotive synth-rock bops — featuring guest contributions from DKYT, Pascal Roggen, Ru, and Hans Pucket’s Jono Nott and Oli Devlin — concluding with wise words on ‘Fuckwit’. Described by one viewer as "a bit of a spooky nightmare but I’m into it", Johansson boogies around with hideous moustachioed mouths all over his body in his new clip for ‘You Look Down At Me‘. Watch below and learn more about supporting Johansson’s ongoing project HERE…
‘What A Way To Make A Living’ is out now on major streaming services.
Pōneke’s Eyegum Music Collective have lovingly curated an absolutely smashing lineup of artists from across Aotearoa to perform at this summer’s GREAT SOUNDS GREAT festival. Taking over San Fran, Meow, Valhalla, Rogue & Vagabond, and Bedlam & Squalor, the official timetable has been unveiled this morning for the multi-venue mega-fest. Now you can start mapping out your own musical journey throughout the capital’s bustling Cuba Street precinct on 10th December…
UnderTheRadar proudly presents…
GREAT SOUNDS GREAT – One-Day Multi-Venue Festival
Saturday 10 December – San Fran, Meow, Valhalla, Rogue & Vagabond, and Bedlam & Squalor, Wellington
Featuring… Ben Woods, CRUSH, Earth Tongue, Ebb, Freyja, Glass Vaults, Hans Pucket, Hemi Hemingway, Ian Jorg, Imugi 이무기, Linen, Ludus, Memory Foam, Mo Etc., Na Noise, Nadia Reid, NahBo, Office Dog, Soft Plastics, Tahini Bikini
Heavy riff lovers rejoice — initially announced to be visiting Aotearoa back in 2020, Page Hamilton‘s legendary Helmet have locked in April 2023 dates for their Best Of Helmet 1989-2023 New Zealand Tour. Hailed by Extreme Music author Michael Tau as "among the most impressive purveyors of viscerally loud music", Helmet forged their own cacophonous path over more than three decades to influence multiple generations of artists worldwide. Practically a genre unto themselves, the NYC unit’s high decibel output includes such straight up classics as Meantime (1992), Betty (1994) and Aftertaste (1997). The long wait by local fans will be rewarded with "career defining songs and all-time fan favourites, a complete evening of essential music from one of heavy music’s most essential bands."
Read Nich Cunningham’s interview with Hamilton HERE and check out next year’s dates below. Note: all tickets remain valid including shows where the venue has changed, and UTR ticket holders have been emailed direct with details (check your promotions and spam folders)…
UnderTheRadar proudly presents…
Helmet – Best Of Helmet 1989-2023 New Zealand Tour
Experience the epic riffage of ‘Give It’ from 1992’s Meantime…
Here’s their massive anthem ‘Exactly What You Wanted’ from 1997’s Aftertaste…
Check out the classic clip for ‘Milquetoast’ from 1994’s The Crow: Original Motion Picture Soundtrack…
Honouring the patience of devoted fans all over the country, Helmet have confirmed their long-awaited return to deliver the very best of their celebrated catalogue.
In April 2023 Helmet will storm New Zealand stages delivering career defining songs and all-time fan favourites, a complete evening of essential music from one of heavy music’s most essential bands. Beginning at The Tuning Fork in Auckland on Friday 14 April, the band will then head south to play The Last Place in Hamilton on Saturday 15 April, San Fran in Wellington on Sunday 16 April before wrapping up at Loons in Christchurch on Monday 17 April.
For over three decades, Page Hamilton and Helmet have provided the foundation for modern guitar and heavy alternative music. Fusing the complexity of jazz, the extreme power of metal and a liberal dose of avant guard, Helmet continue to guide the way for a myriad of bands into the modern age. Led by Hamilton’s incendiary time-contorting riffs and molten liquid leads, Helmet are the epitome of extreme musicality.
From the devastating guitar riff of “Repetition” opening 1990’s Strap It On through to the pulsating bass and feedback of “Life Or Death” which closes their most recent album Dead To The World, Page Hamilton and his band continue to raise the bar for uncompromising, sonically brutal guitar driven rock.
Important Info: All tickets currently held by patrons for the previously scheduled 2020 Helmet New Zealand tour will be valid for these new dates, including shows where the venue has changed.
All ticket holders will receive an email from their ticketer notifying the new dates. If ticket holders are unable to attend the new dates, a full refund will be provided.
Chris Cudby / Dbldbl photo credit: Francis Carter
/ Wednesday 30th November, 2022 2:48PM
The end of year office parties are ramping up in earnest and fast-rising Tāmaki Makaurau independent imprint Sunreturn are no exception. Celebrating "the seasons changing" and raising a glass to a successful and productive 2022, Sunreturn’s Midsummer Solstice Celebrations star hip hop hotshot Dbldbl, dance revolutionary Baby Zionov and trip hop / electronic innovator deepState — an absolutely slamming lineup to move the crowd at The Wine Cellar on 16th December…
/ Wednesday 30th November, 2022 1:54PM
Dishing up a hand-picked selection of some of Aotearoa’s hottest acts this coming Friday 2nd December at Pōneke’s San Fran, Mermaidens have unveiled the official timetable for Mini Mermgrown 2022. They’ll be transforming the venue space with decor and installations, plus there’s been a slight lineup reshuffle due to the ever-present impact of Covid. Peep the timetable, read the trio’s words on each act performing HERE, and get tickets before its too late — there’s also a handy option if you can’t make it before Practice DJs Alice Agnes, Eml, and Meggs…
"Sadly Hybrid Rose is unable to perform due to Covid — so we’ve moved everyone to the San Fran stage. Much more room for dancing now".
UnderTheRadar proudly presents…
Mini Mermgrown 2022
Featuring… Mermaidens, Vera Ellen, ONONO, Kōtiro, Vida, Practice DJs: Alice Agnes, Eml & Meggs
Friday 2nd December – San Fran, Wellington Tickets available HERE via UTR
Chris Cudby / Knifed artwork credit: Alexander L. Brown
/ Wednesday 30th November, 2022 11:51AM
Feeling like the aural equivalent of necking ten cups of coffee then getting into a fight with traffic on Karangahape Rd, Knifed‘s mega-abrasive self-titled 7" is one of two immaculately packaged new releases from Aotearoa underground imprint Wrought Material. Including members of Sick Old Man, Bulk Bogan, Disguy and Arsehuffer, the trio cram ten remorselessly furious grindcore tracks onto one Tardis-like disc. Also launched last Friday, Tāmaki Makaurau’s "stripped back future primitive death metal" four-piece Grave Axis — featuring former members of Draulicht, Trepanation, Setentia, Slavedriver and Witchrist — unfurled their debut tape Dismal Aeon. Fearsome and thuggish in their expertly executed, adrenaline-fuelled sonic attack, Grave Axis may leave unsuspecting listeners cowering in the corner never to recover. Out now in physical editions over on the Wrought Material Bandcamp page, both releases are graced with intricate pointillist cover artwork and design by label head Alexander L. Brown, who is hosting an open studio event in Avondale on 10th December. Listen up to Knifed and Grave Axis below…
‘Dismal Aeon’ is out now on major streaming services.
/ Wednesday 30th November, 2022 10:48AM
Presently performing across the South Island with husband and wife duo Terrible Sons, Ōtautahi songwriter Hannah Everingham unveiled late last week her debut album Between Bodies. Laid down in St Martins and featuring a cast of contributors including Mark Menzies, Joshua Wright, Samuel White and Thomas Isbister (who also handled recording and mixing duties), Everingham’s eight track long player is a self-described "offering of love and separation, an exploration of the distance between earth and sky and the place that we inhabit together, between bodies." Feeling beamed out from a timeless sonic realm, the artist’s voice floats clear and crisp amidst gently strumming guitars and lush yet never fussy orchestration — navigating places and memory on such tender ballads as ‘Sweet Train To Geraldine’ and ‘Antipodes’, injecting touches of rock action on ‘Go On’ and the playful ‘So Long Underground’, closing with the intimate ‘Little Bird’. Hosting a launch event for Between Bodies at her hometown’s Space Academy just before Christmas, you can catch Everingham this summer at the following dates…
Terrible Sons with Hannah Everingham
Friday 2nd December – Grainstore Gallery, Oamaru*
Saturday 3rd December – Bark @ Dog With Two Tails, Dunedin*
Last here bringing the party in 2020, Amsterdam-based Dutch-New Zealand trio MY BABY are returning for an epic twelve date tour of Aotearoa, taking them nationwide from New Year’s Eve right up to early February. The team of New Zealander Daniel ‘Da Freez’ Johnson (guitar), Joost Sheik van Dijck (drums / vocals) and Cato van Dijck (lead singer and guitar), certainly weren’t twiddling their thumbs during the extended downtime between visits — they launched their groove-packed fifth album sake sake sake in April of this year, featuring production by five-time Grammy winner Steve Dub (Chemical Brothers, Daft Punk, Liam Gallagher, The Prodigy) and Dutch duo 22 Ghosts.
Festival favourites who’ve previously moved the crowd at WOMAD, Splore and Electric Avenue, MY BABY’s genre-traversing live energy will ignite dancefloors across the country this summer, starting off in style at Auckland’s Resolution NYE Festival and concluding at Nelson’s sun-soaked Beach Break fest (they’re also playing Whangamata’s edition), headlined by none other than Shapeshifter. Don’t miss MY BABY at the following dates…
MY BABY New Zealand Summer Tour 2023
Saturday 31st December – Resolution NYE Festival, Auckland Thursday 5th January – Leigh Sawmill, Leigh
Friday 6th January – Butter Factory, Whangarei
Thursday 12th January – The Mothership, Auckland
Saturday 14th January – Butlers Reef, New Plymouth
Friday 20th January – NZ Spirit Festival, Christchurch
Saturday 21st January – Soundsplash, Raglan
Friday 27th January – Totara Street, Mount Maunganui
Watch MY BABY’s video for ‘stupid’ from their new album sake sake sake…
Check out vibey live footage of MY BABY performing ‘a dream i dream’ from sake sake sake…
Amsterdam based Dutch-New Zealand trio MY BABY have announced they will be returning to New Zealand, for a whopping 12 date tour, their first visit since 2019. Renowned for their energetic live act combining roots and rock driven alternative dance, MY BABY brings out the psychedelic side in all of us and promise to bring the party down under for their sixth tour of New Zealand shores.
Since 2012, MY BABY have been spreading their blues-trance rave to the approval of audiences worldwide including festivals such as Glastonbury, Isle of Wight, Sziget, Lowlands, and Pinkpop. Their set up is unique mixing the rawness of punk and rock, the warm sound of roots and blues with a touch of EDM and big beat.
Playing a mixture of festival dates and headline shows, fans will be able to catch MY BABY at 12 dates throughout Aotearoa beginning on New Years Eve at Resolution Festival in Kaipara, and travelling through both the North and South Island before wrapping up at Nelson’s Beach Break on Sunday 5 February.
2022 saw MY BABY release their fifth album sake sake sake. With mixing and production credits including five-time Grammy™ winner Steve Dub (Chemical Brothers, Daft Punk, Liam Gallagher, The Prodigy) and Dutch duo 22 Ghosts, the album was rewritten after the pandemic with the band re-evaluating the importance of human connection. sake sake sake reflects a new found direction for MY BABY whilst staying true to their beat heavy pulsating rhythms.
The band, made up of New Zealander Daniel ‘Da Freez’ Johnson (guitar); Joost Sheik van Dijck (drums / vocals) and Cato van Dijck (lead singer and guitar) have built up a loyal fanbase throughout Aotearoa, a true live band that thrive on stage. Having played local festivals WOMAD, Splore and Electric Avenue, it’s clear that Kiwi audiences can’t get enough of MY BABY.
Creator of 2021’s superb long player Stay Sharp, Raiden Freeman aka Jack Mells returns with possibly his most ambitious release to date ‘Megatron‘, featuring Annabel Lee (Veronica Maughan). Out today via the team at Bankrupt Records, the single launches with an accompanying cinematic creation, co-directed, produced, written and shot by the inimitable Aotearoa songwriter / producer and Samuel Austin, who both also star in the clip alongside Maughan.
Welcoming viewers to a "world without song", the artist folds in appropriated collaged imagery with a gripping double-agent thriller narrative and metatextual reflections on hip hop promo videos. Interweaving elements of emo-pop, bass-bin destroying trap and lo-fi DIY songcraft with a soaring chorus — "I need to be anaesthetized before going outside like it was the first time in my whole life" — ‘Megatron’ sets the scene for Raiden Freeman’s forthcoming album WITHIN THE SPEED LIMIT OF LOVE, releasing online and on MiniDisc on 13th December. Smash that play button and scope out the new record’s tracklist below…
"The record is a calculated and methodical yet sprawling and vulnerable alt rock/pop treatise on principal songwriter Jack Mells’s personal journey to finding his footing in the mechanics of reality. The album’s themes include his place on the autism spectrum, his grief over the loss of his friend Reuben Winter, social conditioning, Japanese cinema, cause and effect, and a desire to make it through hard times while becoming stronger."
‘Megatron’ featuring Annabel Lee is out today on major streaming services.
C.C. / Interview by Daniel Vernon / Tuesday 29th November, 2022 11:48AM
Presently calling the US his home, Australian sensation Alex Cameron returns to Aotearoa this week, playing headline dates at San Fran and The Hollywood, Avondale with six-piece band including saxophonist and collaborator Roy Molloy. Previously here during the turbulent days of early 2020, Cameron was the last overseas artist many local gig-goers got to see live until pandemic border restrictions finally lifted. Touring his new album Oxy Music — a commentary on the opioid crisis in America — Cameron got on the blower with Daniel Vernon aka Danz of Pōneke’s DARTZ, who are themselves in the midst of a bustling tour for their chart-topping debut album. The well-matched pair chatted about the tricky balance of satire with seriousness, Cameron’s distinctive dance style, inclusive online projects, collaborations during isolation and more. Scroll downwards for the full interview and don’t miss Cameron with band and special guest Sean Nicholas Savage at the following dates…
UnderTheRadar proudly presents…
Alex Cameron with special guest Sean Nicholas Savage
Thursday 1st December – San Fran, Wellington
Friday 2nd December – Hollywood Avondale, Auckland
Daniel Vernon: You are actually the last international act that I got to see before we went into that Covid lockdown.
Alex Cameron: We were right there before it happened. Right fucken there.
It was crazy. As someone who makes a living off of music, and I’m sure you love performing live as well, how did that abrupt stop affect you and your plans?
We had a tour booked for the rest of the year. It was a strange year because in 2020 we had no idea how long it was going to go for. It was a strange feeling of being on hold. There were agents and promoters trying to book shows for later in the year. Eventually we just had to say enough’s enough, as I’m sure everyone did. It was just like, we’re not doing it. We’re pulling up stumps. We’re not doing anything.
I dip between extremes, I think I’ve learned to do that. When I’m not on tour I’m a real homebody and when I am on tour it’s go go go. Maybe it was so fucked up that my brain can’t access it. I remember being pretty disappointed and upset by the whole thing, but also… I don’t really wrestle with my surroundings all that much I guess. Whatever I’m doing, I’m doing it.
Did the lockdown lead to Oxy Music, or was Oxy Music in the works?
I had a couple of different titles, but I think it was always going to be somewhat about the opioid crisis. It was probably helped along by the pandemic, but it was always gonna be in that territory.
I really love the new record man, it’s really great… I’m looking forward to see how that transitions live.
Thanks Daniel. I’ve been really grateful and happy with how it’s turned out. How the crowd’s been receiving it… a lot of gratitude.
Your previous records have been a bit more satirical, because you’re going for topics such as toxic masculinity and fame and stuff, but with the opioid crisis it’s a bit more of a serious topic and a serious perspective to come from. How did you approach that… and still maintain the Alex Cameron voice that everyone loves and knows?
That’s a good question. It’s funny how… depending on what the subject matter is, people can decide whether or not they find something funny. Coz to me there’s still a lot of my humour in it, but given the subject matter it may not come across as very funny. I never really write to be funny, it’s not something I consciously do.
I think I’m a pretty basic writer in the sense I just try and say true things, and the more honest it gets it tends to get a pretty funny response out of the audience. I think I was just trying to be as honest as possible. If it falls in a dark place or a funny place, that’s kind of up to how people perceive it.
Did you think you had a unique perspective on the crisis, as an outsider — obviously you’re Australian, but now based in [the US]?
I don’t know, coz culturally the big pharmaceutical push to prescribe pain killers to the public, is more or less unique to a few different territories — America being probably the most culturally powerful. I think once you’re doing drugs and hooked on drugs, it doesn’t matter where you are. All that matters is if you can get them. America has that wild combination of access and a culture of drug abuse.
I know this record was made over lockdown, which was an isolating experience for all of us, yet this seems to be one of your most collaborative records. You work a lot and collaborate with Roy Molloy, but this also has prominent features from Lloyd Vines and Jason Williamson (Sleaford Mods). Was this a direct result of wanting to have some sort of a connection over lockdown, or was it more like what the songs demanded?
What probably happened when I think about it, is that the subject matter, naturally in conversation with people — you either find people who have something to say about it, or who don’t have something to say about it. So when I was talking to Jason about the record and what I was writing about… we were always going to collaborate on something, but we both had something to say about drug use and abuse generally. We just connected on that level. A lot of collaborations happened remotely, so I think in an odd, inverse way, being apart actually helped the collaborative process. I’ll finish something and send it to Jason and Jason will write something and send it back. Those features were born out of that remote collaboration.
I can imagine Jason had a great perspective on it, especially since his music seems to be from a certain class perspective as well.
Yeah he’s a motherfucker, he’s unreal. The more I get to do with him and the more I get to be around him, the better.
I’ve always been a big fan of the creative work… you and Roy market your music and are a bit more inventive. For example, you did the lockdown Patreon. Roy has a great presence on Twitter — the Roy Squad and the merch, and especially the Alcamathon. As a musician who is more on the indie side, how important is maintaining that relationship with fans, but also being innovative in the way you market your music to people?
The one thing that is always on my mind is, the idea of crowd-sourcing and getting people to pay for my art… I never want to cross the line into being exploitative. There’s numerous different constant reminders of that, especially when you’re on the internet and you don’t know who you’re talking to. As long as I feel comfortable that we are providing something consistently — in lockdown we had that opportunity to release cover songs and do interviews, and exclusive photographs, and Roy’s writing and everything — then I’m comfortable doing something like that. I would feel weird if it was like, "Hey we’re a struggling band, can you give us some money". That’s just personally, I don’t think there’s anything wrong with it for other people to do it. But just from my position I didn’t want to do that.
Personally I’m pretty satisfied releasing music and touring and playing shows, that being my contribution to how I interact with people who are coming to the shows. But there is always a part of me that is going to want and try and use the internet and that sort of infrastructure to tell more of the story. I’m always thinking about, what’s a new way of doing it? I think that’s important and there’s no reason why you can’t flesh out an album or a tour with other avenues. We’ve been really lucky, getting back on the road and seeing our audience is still there was really something special.
Speaking of your audience, because of the perspectives and things you talk about and are coming from, do you ever find that some people kind of miss the irony a little bit? … or is your audience pretty well understanding of your perspective and what you’re writing from?
I think it’s mixed. I think if someone’s coming to a show and they’ve listened to the records then they get it. When we were opening up for The Killers, and then you’d get the odd angry email, coz someone would have just heard half a song and been like, "what the hell is this?" I think it comes down to how much time you’ve actually spent with any music or movie or book. The negative opinions tend to be ones that people are just repeating from someone else. If you’ve actually spent time with a piece of art, then you’re going to be able to form your own opinions. If someone has a shallow negative opinion about my work, it typically means they haven’t spent enough time with it.
I think that goes without saying for a lot of things at the moment, especially with the internet and quick jump on bandwagon things.
Yeah, never has someone’s opinion been so worthless.
I’m sure you’re pretty sick of being asked how it feels to be back on the road…
Let’s talk about it man!
… after an interrupted tour and having released new music since then, do you feel like your perspective on touring and performing has changed? Or is it just business as usual for you?
It’s new in the sense that getting back into it was quite emotionally powerful and even at points draining, coz I just wasn’t used to the ups and downs. I’ve been doing it since I was more or less seventeen. You do that up until the age of whatever, your late twenties, thirties, you get into that rhythm y’know? So getting back out on the road the beginning of this year after a two year break was intense, but I gotta say we had such a ball and I had such a good time. It made me feel like it was the kind of thing I could do forever. It was really overwhelmingly positive. It doesn’t mean there weren’t tough times and there weren’t the odd show that I struggled with, that someone else in the band struggled with, there were definitely emotional moments. But ultimately we were buzzing for sure.
This is just a question that I’ve always been intrigued about — you have a unique dance style, from your videos to your live performance. Do you have any inspections or does that come from anything? Or is it just a personal thing you’ve developed over your many years of performing?
I was always pretty shy as a kid. Then I started seeing my mum and dad dance at weddings, just sort of doing their own thing, getting excited. It’s all about channeling and expressing excitement. If I’m not excited I just won’t dance. I don’t dance to get excited, I dance when I’m excited. However I’m dancing in whatever environment I’m in, if it’s shooting a video or being on stage, it really depends on how electric the room feels. How I dance can also depend on, if the crowd’s vibing then I’ll vibe. And if the band’s cookin’ then I’ll start cookin’.
It’s pretty unhinged what I do and it’s not really grounded in a style of dance, I’ve got zero training in dance. Maybe that’s very obvious. Typically it’s just an emotional response to wherever I am and what I’m doing. I am aware that I have a long frame and I’m trying to use it in a way, to either access what the song’s about, or access the mood in the room. And enhance or modify, all of those things with the movement. I would like everyone in the room to dance and I think I’m still getting there as a performer, in terms of encouraging everyone else to move as well. Because I’ve never really gone in for the whole telling people to dance, on the microphone, yelling at everyone "put your hands up". I’d just like people to feel free and have a good time. I’m the most comfortable, day to day, on stage. I’m more comfortable on stage than off it.
Your live band in the past has featured musicians who are incredibly talented in their own right, such as Jack Ladder, Holiday Sidewinder and of course Roy. Who will be joining you on this leg of the tour?
We have a really solid bunch of musicians who we’ve been very lucky to get on board. We have lot of players out of Denver and Colorado. Jess Parsons on keyboard and Kramer Kelling on bass guitar. Henri Lindström, who’s played drums with us for almost five years now, he’s played on three of the albums now, and Justin Nljssen on guitar. So with me [and Roy Molloy], it’s a six piece band and it’s red hot. Sounds great. It’s definitely the hottest band we’ve had for sure.
I’m so looking forward to seeing you guys live again. It will feel like, kind of a wrap of the last two and a half years since I last saw you perform. I hope everything goes flying and nothing else stops you from coming back to New Zealand.
Cheers, thanks Daniel. If you’re coming to the show, come and say hello.
Absolutely, I’m away on tour unfortunately.*
*Daniel Vernon aka Danz is touring with DARTZ this week — playing headline dates in Ōtepoti and Ōtautahi plus four cities in one day for Crate Day on Saturday. Grab South Island tickets HERE via UTR + head over HERE for Crate Day shows info.
Now based in Tāmaki Makaurau, electronic maverick Vanessa Worm aka Tessa Forde returns with ‘Lost Memories‘, the propulsive and percussive lead single from her forthcoming second album Mosaics. Conjuring swirling waves of dancefloor heat, Vanessa Worm arises from mud and flame with renewed focus and energy in the emotionally raw track’s elemental video — directed / produced by Ruby Harris and made with support from NZ On Air. Written, produced and mixed by the artist (aside from one tune featuring Cory Champion on bongos) "during internal catalytic times and experiences," peep the full tracklist for Mosaics, the sequel to 2020’s standout debut album Vanessa77 (Optimo), and smash play on ‘Lost Memories’…
"Lost Memories is the single off Vanessa Worm’s second and upcoming album ‘Mosaics’. Mosaics holds songs created during internal catalytic times and experiences. Lost Memories in particular was sung and recorded during a moment in which Tessa (Vanessa Worm) realised she really had to let go of everything she found safety in outside of herself. The beliefs and attachments Tessa had, which no longer served her creative path, lent her to go into the depths of her grief where more of herself could be found."
‘Lost Memories’ is out now on major streaming services.
Like some kind of southern songwriting summer Santa Claus, Jed Parsons is gifting Ōtautahi gig-goers a very special Christmas extravaganza, happening at Lyttelton’s Loons on 22nd December. Hosted by the affable Taite Prize nominated artist and featuring special guests to be announced, punters can look forward to a veritable festive feast of "backing-track-laden, corporate-christmas-function, motivation-keynote-speaker, innacurate-story-telling, Peter-Gabriel-esque sing-along Christmas fun!" Even more exciting than a Christmas tree festooned with US dollar bills, grip the details for A Very ‘Jed Parsons’ Christmas! and save the date…
A Very ‘Jed Parsons’ Christmas! Thursday 22nd December – The Loons, Lyttelton w/ special guests to be announced Tickets available HERE via UTR
A lovelorn and desperate Jed Parsons looks forward to happier times in his Sports Team-produced video for ‘Sad Together’, from his 2021 album Brunch…
Kicking up a ruckus all around Tāmaki Makaurau this week, NYC rockin’ blues crew DADDY LONG LEGS have announced special guests for their debut Aotearoa shows. Fresh from performing alongside none other than Jack White last week in Christchurch, garage punk all-stars RATSO — featuring the legendary John Baker and including members of The D4 and the Psychodaizies — will play with the US group at Leigh Sawmill and Piha RSA, while newcomers Silent Letters (featuring Cameron Rowe of Shaft and Bloodbags, and Phil Somervell of The Datsuns fame) will be bringing the party at Whammy Bar. Grip the updated details for these must-attend explosive gigs and get tickets quick…
UnderTheRadar and Clean Dirt present…
DADDY LONG LEGS
Thursday 1st December – Whammy Bar, Auckland w/ Silent Letters Friday 2nd December – Leigh Sawmill, Leigh w/ RATSO Saturday 3rd December – Piha RSA, Piha w/ RATSO
Review by Scott Weaver / Photography by Bruce Mackay
/ Monday 28th November, 2022 11:17AM
The UK electronic music duo of Andy Cato and Tom Findlay, better known as Groove Armada, have been delivering dance floor fillers for over quarter of century. They, quite understandably, have decided to call it a day to concentrate on other projects. In Cato’s (he’s the tall one) case, regenerative farming. So, I find myself on a drizzly Sunday night in Wellington at the TSB Arena with a close to capacity crowd as part of their 25 Years farewell tour. They’ve released a boxset, GA25, remixing versions of their body of work with some juicy collaborators to accompany said tour.
Groove Armada opened with ‘The Girls Say’, starting as they mean to continue. The energy levels within the arena were palpable. Tune after tune keep coming. They played with a full band including three vocalists who are all in fine form and the laser light show was just icing on the cake. Particular highlights included the eminently danceable ‘Fogma’, the brilliant disco influenced ‘Song 4 Muta’, and ‘Paper Romance’. I’ve never seen so many arses shaking when “I See You Baby’ filled the venue. Everyone and I mean everyone, bar staff and security included, were dancing.
When they dropped ‘Superstylin’ I couldn’t help but reminisce to the times I could be found dancing underneath railway arches in a none too salubrious area of London where it was a staple on the decks. Despite the passage of time the tune has lost none of its power to see people explode into a frenzy of dance when they “come in wit de swing”. Thousands of bodies went apeshit. MC M.A.D. aka Mike Daniel’s vocal delivery ensured that it is as vital and relevant as ever.
‘At the River’ allowed everyone to catch their breath. Apart from my personal favourite come down ‘Oh Happy Day’ by The Edwin Hawkins Singers, I can’t think of many better tunes to greet the morning after pulling an all-nighter. It is ubiquitous on chill out complications for good reason. A reprise of ‘Superstylin’ ended an absolute belter of a night.
I was lucky enough to catch Groove Armada in London with the late great Richie Havens back in 2003. That was a fantastic gig which I always believed would be difficult to top. However, I think they may very well have managed it tonight. It’s bittersweet evening as we are unlikely to see them again. — Scott Weaver
Check out a selection of Bruce Mackay‘s photos from Groove Armada’s Sunday event by clicking on the thumbnail pics below…
Brutally funny and immaculately executed, Cambridge rapper / songwriter Diaz Grimm‘s (Ngāwhā, Ngāpuhi) new single ‘Same Old Thing‘ could be the soundtrack to Aotearoa’s forthcoming festival season. From the opening gentle guitar strums and vacuous inclusive words ("This one goes out to everybody who loves a good time") onwards, Diaz Grimm rattles off a seemingly endless list of painfully familiar on-stage clichés, leading the chorus "we love listening to the same old thing" — capped off with subtly searing artwork by Daniel Vernon (DARTZ). The self-described "world’s first indigenous CGI avatar rapper" launches his NZ On Air-funded double album Māui & the Sin on 28th November, along with an ambitious digital investment initiative (recently profiled over on The Spinoff HERE), and he’s already got an infectious summer hit in the bag. Hit play on ‘Same Old Thing’…
Chris Cudby / Image credit: Nestor Aprile Muresan
/ Friday 25th November, 2022 1:01PM
Tāmaki Makaurau-based multi-instrumentalist and indefatigable driving force behind Trioglodyte, Audio Foundation, Kiwijahzz imprint and much more, Jeff Henderson has shared today his new album The Garrulous Sax via iiii Records, plus a fantastically imaginative animated video made by 11 year old Nestor Aprile Muresan. A nine track collection of solo performances, Henderson recorded The Garrulous Sax in Pōneke’s Stella Maris Chapel using alto, baritone, c-soprano and high pitched tenor saxophones. Sporting cover artwork by Haitian painter / DJ / community worker Leonce Love, proceeds from the long player will go towards supporting his work with the Timoun Rezistans art group, and the title tune’s cartoony clip — edited by Stephen Bain — is a mind-bending masterpiece in itself. Give your ears and eyes a treat by hitting play below, and go catch Trioglodyte with Sally Gates at The Wine Cellar on 1st December…
Tāmaki Makaurau noise-rock juggernauts Swallow The Rat have been flying anything but Under The Radar lately! Hot off the heels of their last video for total headbanger ‘Other Rooms’, the Rats and Memory Foam vocalist Yuko Miyoshi have teamed up again to unleash their latest audio-visual barrage ‘Realised’. Drummer Hayden Fritchley has once more plonked himself in the director’s seat, splicing footage of live performances, snippets of daily life and, of course, cats, into a feverish video-mosaic. ‘Realised’ is a layer cake of dense reverb and playful abstraction sitting atop the glacial weight of the band’s rhythm section. This is what I imagine it sounds like when a cat on acid stumbles into an aircraft hangar where several jets of different sizes are firing up their engines. A noise rock classic! Swallow the Rat and their pals in Ripship will be making their way around Aotearoa this summer to hand out some tinnitus. Don’t forget to grab a ticket here at UTR and, please, don’t forget your earplugs…
Swallow the Rat & Ripship – 2022 Tour
Friday 25th November – Whammy Backroom, Auckland w/ Western Standards (US), Ballot Box*
Saturday 26th November – Last Place, Hamilton w/ Landlords*
Friday 2nd December – The Jam Factory, Tauranga w/ Hoick
Saturday 3rd December – Yot Club, Raglan w/ Brissel*
A five song collection of tender-hearted, guitar-strumming tunes to help take the edge off the silly season, Kirikiriroa’s Bird Machine, aka husband and wife duo Jenna and Luke Grbin, have shared today their debut self-titled EP. Inflected by folk, yet unafraid to dive down fuzzy and / or even psychedelia-tinted pathways in sound, Bird Machine describe their inaugural offering as "a collection of good and bad dreams" – launched alongside a cosmic lyric video for lush lead single ‘Time and Space‘. The songwriting pair will be celebrating this evening at their hometown’s last place with Pōneke’s Goodnight My Darling aka Maxine Macaulay, who in turn just launched her own debut self-titled collection. Here’s the details for tonight’s double-release shindig…
“We’re super excited to be releasing our debut EP and feel the songs are really a combination of our styles and musical instincts. They reflect our desire to move people in some way – whether spurring them on to action or giving comfort.
Having spent many hours, outside of work and time with the kids, to produce this record ourselves at home, it was a labour of love. But it never felt like work, just what the two of us wanted to do with our lives. Our kids even get into it, often singing our songs around the house.”
Goodnight My Darling Album Release & Bird Machine EP Show
Mangawhai’s rising pop starlet Avya has dropped a video to accompany her sultry yet sparkly new bop ‘You Don’t Get It’, an anthemic appeal to neglectful lovers suffering from chronic cases of selective hearing. Directed by Jackson Doudney, the visuals depict a rapidly deteriorating relationship characterised by argument and neglect. As Avya laments ‘It’s too hard, I can’t save ya’ we see her character brewing up the courage to step away, only to pause with a pondering glance as she reaches the door at the song’s climax. Whilst the target of the song’s lyrics may be deaf to her message, Avya has pricked up the ears of NZ on Air, which allocated her a New Music Single grant that has clearly been put to good use. Working in tandem with producer Joe Faris, Avya is sure to generate waves with her high-calibre, meticulously polished songwriting which feels destined for the charts. If you don’t get it now, you’ll be wishing you did when you’re the only one not singing along! Luckily you for you, it won’t be ‘too hard’ to track down this hot new tune as you can watch / hear it right here, plus catch Avya at Hartford’s Festival One in January…
‘You Don’t Get It’ is out today on major streaming services.
Ōtautahi’s Best Bets are a band that give new meaning to the term ‘power-pop’: with a sound as big as this, you can only imagine the enormity of their practice room’s electricity bill. The fuzzed-out quartet are hitting the road this December for a five town tour and, to celebrate, are releasing the three song companion EP Minor Leagues. The tour itself is a belated national whip-round in support of their debut full length On An Unhistoric Night, released way back in April locally through the ever-industrious Melted Ice Cream Records, and internationally via Meritorio Records. An EP to promote an album release tour! Uncanny marketing! Sounding like the unholy lovechild of Husker Du and Teenage Fanclub, ‘The Minor Leagues’ (also featured on the album) is an offering of anthemic, soon-to-be-sing-a-long belters destined to shake boots and keep audiologists in business, bundled together on the EP with ambitious new tune ‘Big Time’.
The team of Olly Crawford-Ellis, James Harding, Matt Phimmavanh and Joe Sampson have also cobbled together a music video for a trimmed-down single version of ‘The Minor Leagues’ — shot / edited by Ben Dodd and Mike Boulden — which you can feast your eyes upon here…
Best Bets – On An Unhistoric Night Tour
Friday 2nd December – Framingham, Waiharakeke / Blenheim with Big Scout, The Situations* Saturday 3rd December – Barrytown Settlers Hall, Paparoa / Barrytown with The Situations, Big Scout* Thursday 8th December – Darkroom, Ōtautahi / Christchurch with Hög* Friday 9th December – Yot Club, Whāingaroa / Raglan with The Situations, RATSO* Saturday 10th December – Daddy Long Legs Titirangi in-store, Tāmaki Makaurau / Auckland with Daddy Long Legs
Saturday 10th December – Flying Out Pitt St in-store, Tāmaki Makaurau / Auckland Saturday 10th December – The Wine Cellar, Tāmaki Makaurau / Auckland with RATSO*
One of our UTR team’s very favourite festive events is the annual 1:12 Records Xmas rager. Founded by David Perry and Kim Martinengo in 2010, the staunchly independent Tāmaki Makaurau imprint have unleashed one hell of a lineup of local heroes for their official 1:12 Xmas Party 2022, happening across two stages at Whammy Bar underneath St Kevins Arcade on Friday 23rd December — gifting punters one full day to recover from their hangover before Christmas. Performing on the night will be DHDFD’s, Hallelujah Picassos, Echo Ohs, Magic Factory, Ripship, Cthulus, Roy Irwin, Lunavela and Hagseed. Get your tickets pronto…
Here’s the deranged classic clip for The DHDFD’s ‘Babysitters Club (PV 2)’…
Listen up to Ripship’s mind-zapping latest single ‘Moore’s Law’…
Soak up the clip for The Echo Ohs’ ‘Up The River’…
1:12 Records (1:12) have teamed up once again with our friends Whammy Bar, Hallertau Breweries, Flying Out and Under the Radar to present 9 of our favorite Auckland bands in one venue, on one night. It’s the third annual 1:12 Records Xmas Bash!
On Friday, 23 December 2022, Whammy Bar, St Kevins Arcade will host 9 of Auckland’s finest garage punk and psych bands, tag-teaming across 2 stages in one room for what promises to be the perfect weekend primer to the holiday season. Bands include: DHDFD’s, Hallelujah Picassos, Echo Oh’s, Magic Factory, Ripship, Cthulus, Roy Irwin, Lunavela and Hagseed.
Tickets are being kept at a low $20 for presales and will be available from Under the Radar from Friday 25 November
1:12 is a record label run by friends David Perry and Kim Martinengo. The label was formed in 2010 to support Auckland’s vibrant live music community and facilitate the growth and appreciation of vinyl records as a music medium.
Fresher, leaner and even cuter than its larger namesake, Pōneke’s Mini Mermgrown boutique festival is brought to you by Mermaidens, transforming San Fran with decor, installations and a whole extra stage on 2nd December. Presently putting the finishing touches on album number four (look forward to new tunes on the night), the trio of Gussie Larkin, Lily West and Abe Hollingsworth have curated an all-killer lineup for their early December extravaganza — including Vera Ellen, ONONO (the synth-pop project of Jono Nott from Hans Pucket and Broods), Kōtiro, Hybrid Rose, Vida, plus Practice DJs Alice Agnes, Eml, and Meggs. Mermaidens shared words of love for each artist they’ve invited along to perform, plus hand-picked tunes / mixes to get you squarely in the good times zone. Tuck in below and snag tickets while you can…
UnderTheRadar proudly presents…
Mini Mermgrown 2022
Featuring… Mermaidens, Vera Ellen, ONONO, Kōtiro, Hybrid Rose, Vida, Practice DJs: Alice Agnes, Eml & Meggs
Friday 2nd December – San Fran, Wellington (two stages)
While we were coming up in the Wellington music scene, Vera was always around, playing at house parties or moshing in the front row. She was prolific, boundary-pushing and a great songwriter. I think I first saw Vera play in her high school band Gaol Bait, alongside 3 other ultra-cool teens. Maple Syrup was another great band Vera thrashed around in before moving to the US and forming one of my fave bands, Girl Friday. Her solo releases have been EXCELLENT and earned her a well-deserved Tūī for Best Alternative Artist this year. Can’t wait to see Vera do her thing with her 6-piece band. — Gussie
ONONO is the project of Jono Nott, who you’ll know as the drummer from Aotearoa’s most wholesome (and beloved) rock band Hans Pucket. Jono has cultivated his own world of psychedelic-dance-pop and we’re so excited to have him and his band. They might blow us out of the water actually. You’re in for a real treat, with Jono fronting the band and doing all the things – singing, playing guitar, synths and maybe shaking some shakers. Oh, ONONO also did this banging remix of our song ‘Sunstone’. — Gussie
There’s so much to say about Ana Chaya Scotney, AKA Kōtiro, AKA one of my oldest collaborators since way back in Kaharore primary school days, when she was a beacon of creativity in my life even then. DO NOT MISS THIS SET. Ana’s musical performances are rare and precious. Through looping vocals and sounds she has a supernatural ability to transport you into magical worlds and help you see with new eyes. Listen to High-Def Multinational or check out the fantastic Amplified profile here too. — Lily
Hybrid Rose has some huuuuge tunes! Do yourself a favour and listen to ‘Dial Tone’ and ‘Fantasy’. She’ll be performing on our intimate second stage, so you’ll be able to experience her campy techno-pop up close. — Gussie
Vida is a very special person to me, we lived together for the past year or so, and she is one of the most wildly creative people I’ve met! This is the first iteration of her band, I’ve only heard snippets of her upcoming EP, so I’m really excited to see what she brings to the live show. — Abe
Not only do Practice put on the funnest doofs in Wellington, but they also run a DJing workshop for queer, Takatāpui and trans folks, with the aim of making the electronic music scene more diverse and inclusive. So cool! They also put regular mixes up on their mixcloud, and mouthful radio from local artists, which is worth checking out. Here’s two of the organizers – Eml and Alice Agnes’ b2b mix.