Liam K Swiggs Unleashes POINT BREAKBEAT 2 EP

Chris Cudby
/ Friday 6th August, 2021 3:56PM

  
  

Certified Rocket League champ Liam K. Swiggs is back with a ripper of a four track EP, out online today in sync with this month’s Bandcamp Friday initiative. Proud Warriors-supporting helmsman of Canterbury’s The Big Fresh Collective, Swiggs lets his love for bass-bin decimating UK ‘ardcore and funked up video game soundtracks shine on the second edition of the BFC’s excellently titled POINT BREAKBEAT series, which is in fact Swiggs’ first solo collection since 2019’s SMOKO BREAKZ (outside of compilation cuts). Consider showing your monetary appreciation for the already iconic electronic artist when Bandcamp Friday kicks off in Aotearoa from 7pm NZST this evening

Linksthebigfreshcollective.bandcamp.com/album/point-breakbeat-2-liam-k-swiggs
instagram.com/swigzoo/

Interview Crone Now! Here! This! tautahi Festival

Tash van Schaardenburg / Photo credit: Ted Black for his brand Cold Wave
/ Friday 11th June, 2021 1:30PM

  
  

Crone aka Emily Berryman and Lucy Reid are taking their chilling brand of experimental techno back to the South Island, to grip the dancefloor in their shivering drones and bone-rattling percussion with Audio Foundation’s Now! Here! This! Ōtautahi Festival. Based in Pōneke, crone are performing as part of a stunner line up of locals, and visitors Omit, K-group and Sewage.The kaupapa of the festival is collaboration, with Lucy Reid also appearing in collaborative sets throughout the festival which started last night with four more shows throughout the weekend at Otautahi’s Space Academy. Tash van Schaardenburg (Citacsy / Unisex Fuck Club) had a quick chat with crone in the virtual realm, before their upcoming gigs and the imminent launch of a new remix of their track ‘crush’ by Whanganui producer Body Beat Ritual


Now! Here! This! Ōtautahi – Space Academy

Friday 11th June – 8pm, tickets available HERE via UTR

Chris Spall / Maki Matsumoto / Nic Woollaston / Jake Kīanō Kinner
Motte / Ro Rushton-Green / Lucy Reid

Justin Dehart
K-group / Omit
Lucy Reid / Gabriel Griffin / Jonty O’Connor / Reece Mcnaughton / I.R.D / Mike Minchington / Luke Shaw

Saturday 12th June – Auricle Ambisonics, 2pm

Paul Toohey / Malcolm Riddoch / David Khan / Noel Meek

Nicole Reddington / Michael Kime / Helen Greenfield / Anita Clark / Ro Rushton-Green / Heather Webb / Nic Woollaston

Jake Kīanō Skinner / Geoff Low / Memory Burn

Saturday 12th June – 8pm, tickets available HERE via UTR

Rmf Thomas / Motte / Jonty O’Connor

Omit / Teen Haters / Emma Johnston
Poltroon / Sewage

Big Flip The Massive

crone

Tash van Schaardenburg: Kia ora Lucy & Emily! I hope you’re both doing great. What’s the Pōneke electronic scene like at the moment?

crone: Kia ora! To be honest we’ve both been pretty low key so far this year. Third Party is a cool young and queer DJ club night serving up hyperpop and gabber. There are a few people involved, but the brains behind it is multi-talented DJ and VJ zozo, who has previously organised events as CLUBHAUS.

In terms of the live electronic scene, we are missing our fave collaborators Strange Stains, Ursula Le Sin, Oil Grace, ENT and Zero Plussed / Beneficiary 414127193, who have all relocated to Tāmaki Makaurau for the time being.

I did a bit of digging and found that you two had been involved in shows together as DJ & presenter / curator all the way back in 2016 for Radio One in Dunedin. How did crone begin?

Haha yes! Synthesize Me was an iconic weekly radio show featuring Emily, Bianca Prujean (Embedded Figures, Strange Harvest) and Renee Barrance (Ov Pain, Élan Vital) as hosts. I did a few guest shows and got my first Lumen Lux DJ gig when they asked me to play their club night.

Crone actually began as a solo project when Emily put a piece together for the Refining Light audio-visual festival at the Anteroom in Port Chambers, with help from Phoebe McKenzie on visuals. From there we started jamming with the idea of combining Emily’s penchant for dreamy melancholic synth, with my affinity for the physicality of club and noise music.

It took a little while to work out and our first gig was a disaster. Nothing was synced and my power cut out like 5 times! We still don’t really know what we’re doing lol.

Lumen Lux · MESH VII FUCK 2020 MIX

 

You’re also co-founders of MESH, which has played a significant part in how diverse and rich the Pōneke electronic music scene is currently — through it’s mix series and club nights. Maybe you could tell us a little bit about the vibe of the MESH collective’s work?

MESH started in 2018 when we both moved to Pōneke at the same time as our friend Jelly O’Shea, who was running DIRT online gallery. The idea was that it would exist as a sound-focused sub branch of DIRT, but its offline life has probably flourished more than its online counterpart.

The kaupapa of MESH is to build community and provide an accessible and empowering space for experimentation, with a focus on artists and audiences who often exist on the fringes and may not otherwise feel supported. We wanted to present this music in a way that welcomes new people in rather than alienates and shift environments through collaboration with visual artists.

The core collective has always been predominantly queer and so that shapes everything we do, even when we are not explicit about it.

We are on a bit of a hiatus at the moment though.

Crone has a new EP coming out soon. What can we get amped up for?

Second Skin is clubbier than our first EP, which had more of a drone / experimental feel. It’s still got the distinctive discordant sound, just more dancefloor friendly. Our single ‘crush’ should give a good idea of what to expect. There is also an amazing remix by Body Beat Ritual, which is due to be released very soon via The Brvtalist.

People that haven’t seen you live might not realise that Lucy actually plays a drum pad with a looper rather than a drum machine, I think that percussive physicality is really tangible in many of your songs. Do you find that your joint use of hardware influences the overall feeling of your music?

I’m happy that translates! We’re not hardware loyalists, but it has definitely influenced the sound, feeling and structure of our music. We often swing between the appeal of the unlimited potential of software and the immediacy, tangibility and restriction of hardware. We’ve been thinking about changing our set up for a while, but haven’t quite gotten around to it yet.


You’re playing at Now! Here! This! Festival at Space Academy on the 10th, 11th, 12th June, both as crone and also as musical collaborators. What can we expect?

As well as a crone performance, I (Lucy) have been invited to play a few collaborative sets with other artists. I think one even has six drummers! While improvised drumming is my first love, I haven’t played since BEARZONEXXX stopped jamming last year so hopefully I don’t drop my sticks.

Whenever I see crone perform, you are dressed in impeccable ‘sci-fi goth’ fashion. Maybe you could name drop a few of your favourite brands / designers for us?

It would be remiss of us not to mention our fellow Pōneke via Ōtepoti crew of JPALM, Vague Jewellery and Cold Wave. We love them all and their work!

Our most memorable fashion moment happened when we last played in Ōtautahi. Steven Park of 6×4 approached us on the dancefloor and said he had two matching dresses that would be a perfect fit for our vibe. We went around for lunch the next day and he gifted us these beautiful metallic pieces made of recycled material that he had ripped and burned. They are still our favourite thing to perform in!

Linksc-r-o-n-e.bandcamp.com
instagram.com/c_r_o_n_e/
instagram.com/dirt_x_mesh/
soundcloud.com/lumen_luxxx
audiofoundation.org.nz/
facebook.com/citacsy
soundcloud.com/dirtxmesh

Interview CHAII Nationwide Tour

Interview by Henessey Griffiths / C.C. / Photo credit: Evan Xiao
/ Thursday 20th May, 2021 11:05AM

  
  

Persian / New Zealand rap phenomenon CHAII embarks on her first ever nationwide tour in May and June, starting this weekend in Christchurch and Dunedin. Reaching fans on a global scale, CHAII’s energising and lyrically empowering anthems have been showcased via such high profile platforms as a campaign for FENDI, the soundtrack for Charlize Theron’s 2020 film The Old Guard, and gaming juggernauts Tony Hawk’s Pro Skater and EA Sports’ FIFA. Ahead of Friday’s drop of her new single with LA’s Party Favor ‘Oh Nah Yeah’, CHAII generously squeezed in the time to chat with online sensation in her own right Henessey Griffiths — Music Director of Dunedin’s Radio One 91FM and co-host of sex podcast Just The Tips (with Danz of Dartz)…


CHAII

Friday 21st May – FLUX, Christchurch w/ Prins

Saturday 22nd May – Starters Bar, Dunedin w/ Timmy The First

Friday 28th May – Cassette Nine, Auckland w/ Haz Beats & Miloux

Friday 4th June – MOON, Wellington
w/ Mikeyy

Tickets available HERE via UTR

Henessey Griffiths: Kia ora, thank you for the interview! How are things going, how are you doing?

CHAII: Going so good! It’s been really busy which I can’t complain about, it’s always a good thing to be busy. But yeah, just in the middle of making heaps of music videos, the release this Friday, the tour kicking off this Friday, it’s all exciting stuff.

So you have your new single ‘Oh Nah Yeah’ with Party Favor coming out on Friday, what is the song about?

Yes, I do! I’m very excited about it. Party Favor was actually the coolest person to work with, he’s awesome. I wrote this song pretty much about not letting fear interfere with your life or get in the way of things. There’s another aspect to it which was not saying sorry or apologising for who you are. Or like if you don’t quite fit in a box and you find yourself saying sorry and apologising a lot to be understood. Just yeah about that, and just not owing any apologies when you’re just being yourself and just existing I guess.

Totally, is that something that you find comes from a lot of personal experience? Does the track come from quite a personal place?

Oh 100%. Honestly, I catch myself saying sorry all the time. As you grow up and you get more comfortable in who you are and you stand for who you are, you’re kinda like “hey, why am I apologising for this?”

Oh absolutely. I feel like especially being a woman in the music industry, let alone producing a lot of Hip Hop and R’n’B and real grunty shit, it feels like there are times where you’ve got to prove yourself and you feel inadequate, but it’s not the case.

Yeah, and I feel like a lot of people can relate to that. I don’t know if it’s being a woman in the industry or even a cookie cutter New Zealand thing, but I feel like it could be more common than I think. That’s the beauty of putting it in a song and people can relate to it, then that’s awesome, hopefully if not they can dance to it because it’s a dancey track.

[Laughs] That’s so good. The last time you had music out would have been the Lightswitch EP in 2020, is that right?

Yeah it is, I had a single after that as well called ‘Wow (Look At Me)’, but the last project EP was Lightswitch EP.

That’s so exciting that you’re getting back into making new music, does this new track vary a bit from the Lightswitch EP or is it a new sound?

It’s definitely close to that sound. But the new EP actually has a few songs that I’m really excited about that are a bit different to what I usually do. But again, I like doing everything so it’s kind of cool to explore. You know you sit on a lot of songs and it’s nice to show that side of yourself as well and push those boundaries.

Absolutely, and I feel like it’s important as well. Because it’s your art and you can do what you want with it, and being able to explore different modes and styles is all a part of your journey to finding yourself, so why not just give everything a go?

Exactly! Definitely. We change every day and feel different ways and are inspired by different things so our music can’t really stay the same.

For sure. I feel like there’s just one big universal theme throughout all your music which is just that it makes you feel like a bad bitch. That feeling of no one can touch me and I’m invincible. Is that something that you tried to do on purpose?

Aw man, that’s so nice to hear and honestly that stuff makes me feel emotional, like it’s so cool. That’s definitely the feeling I would love people to gain from it you know. It’s not something that I do and consciously feel like that it’s something people would feel that way. But when I hear that, and I’ve heard it quite a few times which is so cool to hear, you know feel badass and go forth fearless and take risks. I’m all about that stuff and putting yourself out there and trying new things. It’s awesome to hear people like yourself feel like a badass bitch!

It’s so empowering and it makes you feel like you’re unstoppable, it gives me a very big M.I.A. type of feeling.

Aw that’s such a compliment! [laughs]

And you have a tour coming up which is so exciting! How are you feeling about going on tour?

I’m so excited. It’s our first club tour, we did a mini one in Australia this is our first proper one. But it’s still a mini tour. I’m super excited about it, we’re doing four cities, kicking it off in Christchurch this Friday and then Dunedin on Saturday, Auckland the week after and Wellington the week after.

Hell yeah, have you ever played in any of those cities before?

Yes we actually did Dunedin at the same venue, we played with Timmy The First and we were opening for Savage. At Christchurch we’re playing the same venue that we played for the Electric Avenue afterparty which is cool. So we’ve got venues that we’ve been to already and played out which is awesome and will bring back memories, which is comforting.


That’s sick, you’ve got such a repertoire behind you, I mean you played Electric Ave, the Aotearoa Music Awards, and you’ve been playing in Australia, what do you think is next?

Aw thank you, that’s so nice. I would love us to keep doing more shows, and we’re looking at potentially going to Australia soon for some shows. I guess it was put on hold onto going anywhere massively internationally like America and The UK, all that stuff that we were supposed to go to. But I feel like we’re gonna be badass by the time we go so the live shows will be even better. I feel like the next step for us to keep touring, keep playing New Zealand shows and then see how the world goes really.

Especially while the rest of the world is in lockdown at least you can still appreciate what we’ve got here and explore it a bit more.

Oh yeah, every show we play I think about that. Every time we play we’ve all got the biggest smiles on our faces. It’s always been that way but it’s more so now than ever. Like, “Oh my God, we get to do this? This is cool.” [laughs].

That’s so important and it’s so nice to hear that not only are people in the audience having a good time seeing live musicians, but also the musicians themselves are having a good time.

Oh yeah and it goes in a circle. You see the audience having fun and you’re having fun, they have more fun which makes you have more fun. I think everyone’s just very grateful of being able to do shows and go to shows.

It’s so lovely right, and also it’s New Zealand Music Month as you are well aware, how have you been celebrating?

Yay! Oh man, I love New Zealand Music Month. I’m always listening to a lot of New Zealand music and a lot of my artist friends, so just celebrating each other and supporting each other. Kicking off the tour and putting up new songs was my way of celebrating.


Gorgeous! Is there anyone in particular that you’ve been really diggin’ lately?

Oh man, there’s so many people but off the top of my head but I’ve got to say Mikey Dam. He’s amazing. I just went to his show recently and it was insane, one of the best things I’ve seen.

Fuck yeah that would’ve been sick. With your new EP, when can we expect it to come out?

Soon, very soon. August, I’m just gonna say it so it happens, August.

Oh shit! You’ve got such a busy week coming up with the single and the tour, are you feeling overwhelmed at all?

I feel like every time I’m just like, this is more than last time, like this is the most it can ever get and then the next time it gets four times that. This time I was definitely like yup, making music videos and putting out music and preparing for the tour and doing this all at the same time was definitely hard work and pushed to the maximum, but it’s super fun and I’ve got a team around me, and we’re all enjoying the process which is cool. Every time it’s slowly picking up, it’s not like we’re suddenly in the deep end, we’ve gone through this before but it’s just a step up.

It’s nice to keep pushing yourself and trying out new things, setting yourself different goals and challenges and then when you reach the end of it you can think “man, I actually did that”.

Definitely. I like pushing myself to breaking points, which is just where I will crack. So far, it’s been all good. You notice that you need to balance some things around that time so you have energy to go into it, and you just learn to navigate around it and push you to your limits which I love doing.


I’m so excited to hear the new single coming out, but why do you think people should give a shit about it?

I think they should give a shit because I’m actually really happy with this record. Really stoked with the song and I feel like I’m vibing with it, so hopefully people can vibe with it too and also give a shit.

Linkschaiimusic.com/
linktr.ee/justthetipsplease

Interview Terrible Sons Lauren Barus Chats With Brooke Singer

Annabel Kean / Interview by Brooke Singer / Wednesday 7th April, 2021 10:20AM

  
  

With Terrible Sons‘ tour on the horizon and French For Rabbits‘ Auckland Arts Festival and Cuba Dupa shows wrapped up, the dreamy Aotearoa pop-folk pairing cross paths this Thursday at Nelson’s Fairfield House. Ōtautahi-based husband and wife duo Terrible Sons are Lauren and Matthew Barus, of bands including Fly My Pretties and The Dukes, and have seen their sparkling guitar songs spread far and wide from international streaming success. Earlier this year the Barus’ released their EP Mass on Canadian label Nettwerk, and this April they’re taking their sound down South Island paths and then all the way up to Tāmaki for a show with Rodney Fisher. Mutual fans, folk friends and vocalists Brooke Singer (driving force behind French For Rabbits) and Lauren Barus got to talking about stage fright, the countryside and more ahead of their joint shows. Tour details are all here, scroll down for the chats…

Terrible Sons

Saturday 17th April – Freida Margolis, Auckland w/ Rodney Fisher

Friday 23rd April – The Piano, Christchurch

Tickets available HERE via UTR

French For Rabbits + Terrible Sons
Thursday 8th April – Fairfield House, Nelson*

Friday 9th April – The Plant, Blenheim*

Saturday 10th April – Mussel Inn, Onekaka*

Thursday 18th April – Festival of Colour, Wanaka (FFR trio only / no Terrible Sons)

Tickets available HERE via UTR*

Brooke Singer (French For Rabbits): Hi Lauren, how’s your Easter weekend been?

Lauren Barus (Terrible Sons): Actually pretty amazing, we took our kids to Purau Bay and spent the afternoon basking in the glorious and unseasonal warmth by the sea. How was your Easter?

I don’t know if we had unseasonal warmth where I was. But I went for my first (ever!!) overnight tramp to stay in Herepai Hut in the Tararua Forest park.

Stop it! That sounds idyllic and super serene.

It was nice to stay in a quintessential DOC hut — there was a warm fire, but it was rather windy outside so we didn’t go all the way to the top.

New Zealand is amazing, isn’t it. Such lushness all around. It is something I love and feel privileged to see when you’re on the road touring, right? I feel like not many Kiwi’s get to see the nooks and crannies of the New Zealand country side quite like musicians.

Have you ever played at The Mussel Inn, where we play this weekend before? It’s got to be one of the best places to see music in New Zealand. Even travelling overseas, I haven’t come across a place that has the same sort of vibe.

In our previous band — from way back in the day, Dukes, they played Mussel Inn, so it’s well known to Matthew, but I wasn’t in the band then — so I’m a Mussel Inn Virgin — can we say that? This will be my first experience there.

I understand this will be your first official tour as Terrible Sons? Tell me about that, and your plans for taking these new songs from your new EP on the road?

Yes, we have been hermits for the longest time, I’ve still been popping around playing with Fly My Pretties at times, but Terrible Sons has been a garage project, released world wide and not too connected to the local scene. We feel like playing to a real audience is still part of the magic of music, it is still a very important element in why we pursue music. Naturally, we are excited to be connecting with people again. It is just us, Matt and I travelling with our kids and being the troubadour’s we remember before we became parents.

That’s exciting — I was glad these three dates worked out together, especially as Blenheim will be a hometown show for you! Do you get nervous performing in front of people you know? I always get nervous for the first couple of songs, and then I can generally get more zen with it all!

I’m concerned that I will not remember people’s faces or names, ha! That gulp moment when they already know who you are, because you’re on stage, but I’m behind the eight ball and my brain is scanning for days to put the two things together.

Totally! I am very forgetful for names and faces — so if I ever run into someone who reads this in the street — please forgive me in advance if I look blank!

Oh Ditto! Please, just introduce yourself again — save us the shame. You guys had a release in December 2020? Do you have more releases planned this year?

Yes! A song called ‘The Dark Arts’ – which is on our next record – out later this year, fingers crossed!

I love your voice in that single, the articulations are wonderful. That’s my singing-tutor vibe creeping in.

Oh thanks Lauren! I am supremely nervous to sing in front of you for three nights in a row — but I’m also looking forward to it as I’ve long admired your singing and knowledge around how to do it so well!

Ah! Thank you, the admiration is mutual, I love your production savvy, the work you did with Flip Grater’s Lullabies record. Maybe we could exchange some master class methods on singing and production.

Sounds like a dream — we can nerd out together on this tour.

Oh, yes please. Early this year you came and filmed a music video in our house – can you tell us about the single and when we can expect to see the video, I was impressed by your story board.

Oh yes — I was so thrilled that you allowed us to film in your house — it’s honestly my dream home. Filled with lots of thoughtful and lovely treasures, and it felt very full of love. The video is for a song called ‘The Outsider’ and we actually have another three videos in the works which we’ll be releasing in the lead-up to the record. This one was particularly fun though… you let us throw a small party in your living room… and there may or may not have been a few ghostly activities caught on camera. I’ll keep that under wraps for now though…

Love it! Do you enjoy the video making process?

I do! It feels like an extension of that creative song process in a way — I feel like the best videos come in the same way as the best songs. They kind of come together as a strong image in my mind in one go…

Yes, I identify with that strong visual feeling, we’ve made a few videos recently too, that came with that same feeling, one for ‘What A Friend’ I knew immediately the location and the scenery, the environment — some of that natural barrenness of New Zealand landscapes, it has a lushness and a harshness at the same time. But so connected to expanding the emotion within the music. It is such a powerful combination.

I love that video — and I think that song and video showcase the way in which our two bands connect. We have that same affinity for our isolated landscapes – and I think our music is on a similar wavelength too.

For sure, there is a lightness and a darkness to your music, some similar polarities, we wrestle with broken-ness and hope, and I like that the lyrics are both about the subtleties, the tenderness of ourselves and our relationships with others. You have a great scope of sonic fullness going on — you’re bringing your whole band with you — is this what people can expect to hear?

Yes — the full band is on this tour which is always exciting. It’s nice to be able to present the songs with that dynamism – those super intimate moments and then the big expansive ones too. I think between your beautiful and intimate set and our sometimes intimate and probably also a bit silly (sometimes the banter gets away on me) set it’ll be a great show…! Anyway… I suppose we should wrap up for brevity’s sake!

And a good bit of banter is not to be snuffed at! Yes, let’s leave it there, enjoy your Easter Monday. See you in a few days in Nelson. Thanks Brooke.

See you soon! And thanks so much for catching up.


Press release:

French for Rabbits & Terrible Sons

Wellington’s ethereal dream-pop gems French for Rabbits are pairing up with Terrible Sons for a weekend away in the South Island. They will present their dreamy, perfectly-paired music to lucky audiences in Nelson, Blenheim and Onekaka, before French for Rabbits head off to perform at Wanaka’s Festival of Colour.

French for Rabbits released a handful of singles in 2020 – including the soaring chamber pop of ‘The Dark Arts’ in December which is the first single from their forthcoming album (due out later in 2021). Always writing new material, there will likely be a new song or two, alongside favourites from their collection of previous releases.

Terrible Sons released their much anticipated EP ‘Mass’ in February. Having racked up over 18 million streams on previous singles, it may come as a surprise that the Nettwerk-signed duo from Christchurch have never toured. The duo consists of LA Mitchell (Fly my Pretties) and Matt Barus (The Dukes).

Don’t miss these two understated and arguably underrated bands on this brief South Island sojourn.

Linksfacebook.com/frenchforrabbits/
facebook.com/terriblesons

Interview DARTZ Discuss Their New Single High At The Beach

Annabel Kean / Interview by Clark Mathews / Photo Credit: Vanessa Cone / Friday 18th September, 2020 1:46PM

  
  

DARTZ are single-handedly manifesting summer days at the beach with their new track ‘High At The Beach’, an earnest metaphor for friendship lifting you up in times of need. Although ‘High At The Beach’ and previous single ‘1 Outs Captain Cook’ may give an impression the Pōneke crew have a follow-up to debut No Matter Whatz EP on the way, frontman Danz has ruled out any such rumours saying "DARTZ have decided not to do EPs or albums anymore, we are strictly a singles band". In addition to the band taking this new path in their musical journey, the cut was recorded in collaboration with Hunter Jackson (Doprah) and Joel Cosgrove (Eyegum), resulting in a stunning mix — claimed by Danz as "the best sounding recording that we’ve ever had". In the mess of lockdown restrictions, DARTZ’ Tāmaki Makaurau show and Others Way 2020 appearance were both sadly cancelled, and their dates in Ōtautahi and Pōneke have been postponed for the time being. In lieu of a venue to stomp your feet in, the next best way to celebrate the single is to trek down to your local beach with nine of your most uplifting friends and get high on life!

“High At The Beach was the first song we wrote together as a team … After spending so many months stuck inside, and dealing with the mental health and other issues that come along with that, it’s about finally reaching out to your buds, embracing happiness and friendship again.”

Clark Mathews went above and beyond, donned his UTR Roving Reporter hat and kindly took the time to get to the bottom of the new anthem with DARTZ singer Danz — listen to ‘High at the Beach’ and scroll down for their chinwag…

Clark Mathews: Hi there, this is Clark Mathews, roving reporter for
Under the Radar. We’re interviewing Danz from the band DARTZ from Wellington, for the
release of his single ‘High At The Beach’. Hi Danz, how are you today?

Danz: I’m great, thank you Clark.

So sources tell me that you’ve had this song ‘High At The Beach’ in the works for quite a
while. How does it feel to have it out?

Well Clark, your sources would be correct. We’ve been working on this for a good half a year, since early Jan we’ve been working on this song. It’s a summer anthem, summer jam, we’ve been working really hard at it, really tirelessly actually, and we’re excited to share it with the world.

I’ve seen your band DARTZ live in Wellington quite a few times, and ‘High At The Beach’ has consistently been the closing song in your set. It’s normally a really powerful moment with crowds singing along and going really crazy for it. How do you translate that live energy to the recording?

Clark, as you would know from attending these shows, it’s all about repeating the rituals that we do at those gigs in the studio to capture that energy. You know, a box of Lion Browns, a positive attitude, and a good foundation of friendship.

I see in your press release that you recorded this song with Hunter Jackson and Joel Cosgrove, who I’d say are two fairly well respected figures in the Wellington indie music scene. How did that come about and how was working with them?

Yeah, we were very lucky to be able to work with Joel and Hunter, they’ve both been mentor figures to us – specifically Hunter who is very much responsible for the quality of ‘High At The Beach’ as well as the future upcoming DARTZ singles. I’m so grateful to him, this is probably the best sounding recording that we’ve ever had. Hunter Jackson is a class A guy.

So when you sing about being high at the beach, what does that refer to? Beaches are normally quite low in altitude given they’re next to the ocean.

High is a metaphor, Clark. It’s a metaphor for your friends lifting you up when you’re feeling low, and also for smoking mar—

Psych you fucking bitch. I know what the song is about, it’s incredibly obvious. How dare you joke about a topic like weed smoking at a time when it’s such an important and serious issue with a referendum on the way

Clark, if you really were a DARTZ fan as you claim to be, you would have studied these lyrics and you would understand that there’s other important issues in there besides the referendum. It’s about mental health, and about mental health between males in particular.

The song obviously does mention mental health, and coming out of the house to see your
friends for the first time in a while. Is this something you’ve dealt with recently with the lockdown and COVID-19?

Yes Clark, you may not know this but the band were separated during the COVID-19 lockdown. It’s tough, when you have a relationship like ours when you normally see people every day, you miss them. I missed them. It really did have an effect on me. But seeing the boys on the first day back, cracking open that first bomb, it really resonated with me. [‘Bomb’ = a can of Lion Brown, DARTZ’s favourite beer – Ed.]

So I saw in your amateur and quite lacklustre attempt at a press release that ‘High At The Beach’ was the first song the band DARTZ put together and wrote as a band. When did you write it and what was that process like?

Look, I just want to preface this by saying that I have no control over the press release. Each DARTZ band member has a role in terms of band management, and unfortunately our bassist and shaker player took care of that one, so don’t bring me into this. But yeah, this was one of our first songs: it originally was going to be called ‘I Hate The Beach’, but due to a misheard lyric it changed to ‘High At The Beach’, and then took on a life of its own from there.

Off the top of your head, what’s the most offensive thing you can say about Eric Clapton? 

I think Eric Clapton made a deal with the devil, and I don’t want to go into the specifics because it could get me in trouble.

What’s next for DARTZ? I saw that this single might be the first off a second EP or release — anything you can tell us?

Absolutely not true. DARTZ have decided not to do EPs or albums anymore, we are strictly a singles band.

Thanks for your time Danz. Any parting words?

So what happened with Eric Clapton – [the rest of this answer has been redacted on behalf of DARTZ’s management and legal team. The views expressed by Danz are not representative of the band DARTZ as a whole, or of the views any human should hold.]

Linksfacebook.com/smokedartz/
smokedartz.bandcamp.com/
referendums.govt.nz/cannabis/index.html

Listen To Paplocos Three Track POINT BREAKBEAT 1 EP


Chris Cudby
/ Friday 4th September, 2020 4:05PM

  
  

Today’s the first Friday of September, which means the awesome Bandcamp Fridays initiative has swung back around again. From 7pm tonight until 7pm on Saturday 5th September (NZST) all proceeds from purchases via Bandcamp will go direct to the artists / labels involved, cutting out the middle man in support of musos impacted by the Covid-19 pandemic, and making certain other streaming platforms look pretty shabby by comparison. Lurking amongst this week’s onslaught of Aotearoa releases and hidden gems is a ripping new three track EP from The Big Fresh Collective producer Paploco, sporting the next level title POINT BREAKBEAT #1 — available to cop for yourself or perhaps as an early Fathers Day gift for Dad, with the knowledge 100% of your hard earned cash is going to a great cause…

Linksthebigfreshcollective.bandcamp.com/
facebook.com/ocolpap/
daily.bandcamp.com/features/update-on-bandcamp-fridays

Interview KITA Talk Releasing Music In A Covid 19 BLM Era

Annabel Kean / Monday 13th July, 2020 11:38AM

  
  

Emerging from various corners of the Whanganui-a-Tara music scene, pop trio KITA are releasing their Try To Find A Way EP this Friday, followed by touring the North Island to celebrate. Everything’s coming up KITA this year, with two gorgeous music videos published in the past month, and a debut album also on the horizon; the result of studio sessions with Grammy Award winning producer Tommaso Colliva (MUSE / Razorlight). The band sat down to answer a few curious questions from UTR assistant editor Annabel Kean, and took the chance to reflect on how they’ve grown as a group, and what the EP means to them in the context of a global pandemic. Scroll down for the full interview, but first, here’s how and where you can catch them live…

KITA – Try To Find A Way NZ Tour

Friday 17th July – Paisley Stage, Napier w/ Sarah Wiig
Saturday 18th July 2020 – San Fran, Wellington w/ Tui Mamaki, Zuke
Saturday 1st August – Whammy Bar, Auckland w/ Ed Waaka, Zuke, Dylan C

Tickets available HERE via UTR


Annabel Kean: What’s KITA’s origin story, how did you all get to this point?

KITA: KITA started out under a different name, and it was mine (gat/vocals) and Ed’s (Keys) baby to begin with. At the time Ed and I were playing around with rotating drummers; Myele Manzanza, Cory Champion, Alex Freer, Riki Gooch to name a few. Rick (Little Bushman) was one of my favourite drummers after seeing Little Bushman play when I first moved to Wellington, and from that gig on I had always wanted to play with him. Rick jumped in and played a couple of gigs with the band, and soon he confessed he wanted to be the only drummer for our band.

At first we were playing the local spots, one of our favourite local spots that always supported us was Rogue & Vagabond; where they really look after their musicians – it’s a lovely community of musicians that hang out there, the owner and the people that run it are on the level – we played there pretty regularly.

During the first leg of our journey, we were all working on lots of other projects; Ed with Thomas Oliver, Trinity Roots; Rick with Darren Watson, Little Bushman, and I travelling overseas writing my play, and performing in theatre and film. Next thing we knew, Seamus (now our manager: Above & Beyond, Leftfield) found us through Ed who was performing under ZUKE at SPLORE. He decided to take us on after flying over from the UK to see us play last year at Wellington’s SAN FRAN. Since then, we’ve made KITA our primary focus and have been going hard writing and recording with GRAMMY award winning producer Tommaso Colliva (MUSE // RAZORLIGHT) from Italy. He flew over and worked with us end of last year before the pandemic, and we will be continuing to do so with him remotely from ARMOURY STUDIO in Wellington, and his studio in Milan to finish our album that will also be coming out this year.


Tell us about the title ‘Try To Find A Way’.

This EP is named after our title track, Try To Find A Way. This song is about exactly that. Sometimes we try really hard to accomplish something, but we keep meeting resistance. It doesn’t mean to give up, for me it means to shift perspective and find the cracks where there is the least resistance, the spaces where you find support to find what you are seeking, it’s about finding cracks where water will flow. For me personally, that has always been seeking and cultivating Hope and Compassion, so we as global citizens feel more connected to each other – despite our differences.

We had released a version of TRY TO FIND A WAY under our old band name a year ago when we met Seamus (our manager), but have since reworked the tune, re-written part of the lyrics and re-recorded it with Tommaso. I prefer this new version. Little did I know when I wrote these lyrics, just how apt this would be when we released the music video with Covid-19 hitting our World. Before Aotearoa went into lockdown, I had created a music video brief for this song that obviously couldn’t happen. When we all went into lockdown, we started reconnecting with old friends and whānau overseas, and that’s how we came to compile all these clips from 89 households from all over the World during lockdown.
It was one of the most moving experiences receiving all these tapes; during one of the hardest weeks.

Now with Covid-19 still rampaging through the World, we also have the atrocities that have been happening in America with the Black Lives Matter Movement. Being a woman of colour, I am a massive advocate of these movements. And they aren’t just happening in America – they are happening all over the World, in countries that are muted and their stories don’t make front page media. More than ever, we need to cultivate Compassion.

What’s your music-writing process as a three piece? How does the EP compare to the album?

The biggest difference between EP and album has been our approach to songwriting.
Previously most of the tunes would be written by me; I would bring it the the band and we would jam out sections until they became what they are now as we play them live.

Since receiving our grant from Creative NZ (Thank you CNZ!!) we have changed our approach to writing more as a collective. It often involves a good several solid hours at Ed’s Room (home studio in Newtown), where we might have a tidbit to work on. We will talk about what the song represents, what the lyrical content might be a metaphor for, and go from there with musical ideas, and jam out. Ed’s room is full of records, we will talk about references to others songs that in the past have conveyed certain feels, listen to them and unpack why they give us that feeling. After we jam out certain sections for the drum and bass to lock in, guitar and rhodes will come trickling in and vocals – then we demo. Our demos get uploaded for Tommaso to comment on from Milan, and then we explore ideas that we might not have considered. Our demoing at Ed’s is a massive help in finding the direction for when we enter the Recording Studio, so we are well prepared and have clear idea of what our studio performance will be. It’s been the most holistic and creatively stimulating way I’ve written with people in a long time.


What do you hope listeners take away or experience from your music?

We believe in making the World a better place. It might sound naive, but really that’s what we want to do. Music just happens to be the vehicle we have. We want to make people feel good, and connected, feel compassionate and Hopeful, in order to spread that to the people they interact with.

There is a lot of serious mahi (work) that needs to be worked on in our World. Racial, environmental, historical, political – the list goes on. But it always begins with the individual. We hope people keep learning, keep challenging their current ways of thinking, to evolve and become better people, and in turn, creating a better World. We will be doing that alongside them.


Nikita 雅涵, where has the inspiration for your stylised eye make up in the single promo come from?

The dots painted on my face during KITA shows started out as something I did when I was in a travelling circus show. Since then, it has evolved into somewhat of a ritual that I only perform as KITA.

A few years back I started to really reconnect with my Taiwanese roots after rejecting it during my youth, this was a reaction to experiencing racism in Aotearoa as a young Asian kid.

These simple dots now are a symbol, a reminder for me; to learn the history of the space we temporarily occupy; to learn about the Scars of the Land we live on, and the importance of knowing where you come from; for there is a wealth of wisdom that exists there. Wisdom isn’t only just the good, it’s also the bad. We can learn from our mistakes of the past. It’s confronting but it’s the only way forward in my opinion.

What Aotearoa bands / solo artists are you excited about and the moment?

As a collective we have been digging: Troy Kingi (!!!), Unknown Mortal Orchestra, The Labcoats, Dawndiver, Cairo Knife Fight…..

Any tips for other NZ bands on how to find yourself working with a Grammy Award winning producer?

Nikita 雅涵: I’m still processing that this is all happening to be honest. I would say, resilience in keeping at doing what you love will open doors. Staying true to your voice, and the vehicle that is your Art. For me, it’s not about having the expectation that good things will come to you, but it’s about being open to the opportunities. You never know where one opportunity will lead you, including things that may feel like catastrophes at the time.

Ed: I would say – do the things that you love, and do them a lot. Don’t try to figure out what others want and make that – make the music that excites you. When Seamus (our manager) found me, I was playing as Zuke at the smallest zone at Splore at 5:30am on Sunday morning for no money. I’ve done 26 Splore Festival sets over the last six Splore’s, which is not even 15 full days. From main stage at peak time on Saturday night to the smallest zone. I did that because I love to be involved and love to perform. I’d also say be kind, and the most authentic version of you that you can muster. For me it’s a lifestyle, and about having a vision without needing to know when or how that will happen. Keep a keen eye out for opportunities and be involved in the scene and community you’re contributing to. Yep!

Rick: Having vision and listening to lots of music; even music you think you wouldn’t usually enjoy, and playing with lots of people. Being open to ideas, learning your craft and understanding your instrument and being comfortable with your instrument. Finding ways that feel truthful to you – to share your ideas to other people through music. In my experience you always sound better when you collaborate with other people – things get honed, and you evolve. All these puzzle pieces come together to make you as an Artist.

KITA’s ‘Try To Find A Way’ EP is out this Friday 17th.

Linksfacebook.com/kitasoundz/
instagram.com/kitasoundz/
soundcloud.com/kitasoundz/
kita.co.nz

Watch Totems Video For Stunt 151

C.C. / Tuesday 26th May, 2020 12:50PM

  
  

Not content with dropping two tracks of straight fire last month with his ‘Workin Wit’ / ‘Stunt 151‘ EP via Aotearoa underground trailblazers Buzzy Point, Tāmaki Makaurau’s Totems aka Reuben Winter (milk, Caroles) has unlocked atmospheric visuals for the latter tune, reimagined for the screen by director Alan Waddingham. Recalling Winter’s cited strategy of using field recordings as inspiration for his intricate beat constructions, the kaleidoscopic visuals invite viewers to consider nature’s splendour, while vibing out to Totems’ blazed cut.

Totems shared his excitement about the badass clip via social media: "Huge shout out to the homies who made this vid, they really put a lot of work in to this beautiful video AND they let me smoke weed in a Porsche – legendary shit lmao".

Totems is performing as part of Baby Zionov’s ‘Clubbing In The Time of Cholera’ single release livestream show on Saturday 30th May, alongside Amamelia, Girl_irl, Princess Richard and Shallows.

Linksfacebook.com/totemskcb/

Interview WHIM Talks About Her Debut EP Mother Tongue

Brooke Singer / Monday 18th May, 2020 10:45AM

  
  

Deanne Krieg has had various musical outputs over the years, performing in the Wellington International Ukulele Orchestra, as a featured vocalist for electronic project Pacific Heights, in Ben Lemi‘s trippy Pōneke collective Dawn Diver and as part of chamber-folk trio Ida Lune. However, today we see a release from her solo project WHIM – her first EP to be released on Aotearoa imprint Home Alone titled Mother Tongue.

Mother Tongue draws from electronica, trip-hop, folk and jazz to build a frighteningly accomplished collection of songs she describes as an “autobiographical work which critiques the traditional and historical representation of the ‘woman’ in popular music, drawing inspiration from American-Canadian artist Miriam Shapiro’s domestic process of Femmage”. There are undertones of Björk and other avant-garde artists, with suspended harmonies, complex melodies, and austere soundscapes in which these songs and themes blossom.

I spoke to Deanne about the creation of the collection, press play and read on…


Brooke Singer: Mother Tongue is out today! I first heard about this album last year while you were
producing it as part of your Masters project at Massey University. I understand the EP is
a conceptual one, can you explain the themes you were exploring? How did it effect the
lyrical and musical content of the EP?

Deanne Krieg: Devising this EP under a ‘Fine Arts’ umbrella made me realise how politically charged my work actually is, the personal is political!! Having to define my production process and critique the perhaps more ‘unconventional’sonic decisions I was hearing in my head was a good way of understanding myself, my creative process, and the subconscious ideas at play in my (often) scrambled brain. To anyone writing or producing music – trust yourself and your process, go with ideas regardless of how mad or weird they are – who knows what you’ll discover about yourself or your sound.

Mother Tongue is autobiographical at heart, reflecting upon and critiquing my experience as a female composer, producer, and performer. Adopting Feminist theory, post-modernist methods and post-structural aesthetics, I argue that ‘woman’ in music has been constructed through traditional and coded organisations of patriarchal culture. This EP responds sonically, lyrically, and thematically to the ways I have personally encountered the masculine narrative informing or depicting feminine experience.

I would describe my approach to production on this EP as an ‘Architecture of Sounds’; I store and accumulate field and urban recordings, online content, video samples and vocal ideas. I layer hi-fi with lo-fi, past with present. It’s a kind of cut-up and collage technique.

Dadaist and Surrealist art practice is popular for its methods of collage, bricolage, and decoupage which critique the correlation between words and meaning. Feminist artists have often used cut up and collage as a mode of aesthetic expression in postmodern art as a deliberate denial of formal contradictions (male/female, outside/inside, hard/soft, solid, vulnerable, armoured / wounded, repulsive / attractive. I wanted to disrupt these binaries with my production choices.

Lyrically, one of the main themes ‘de-mythologises’ the central narrative of Ovid’s Orpheus and Eurydice (as depicted in Metamorphoses) to critique the binary model of male artist, and female muse.

Popular music has referenced or retold the myth of Eurydice and Orpheus, but absent from these representations has been a critical response to the masculine depiction of Orpheus as a symbol of musical brilliance, and Eurydice’s subordinate role in their relationship. Eurydice’s mortal life relies upon Orpheus’s interest in the ‘erotic other’ to be saved. Ultimately it is both literally and figuratively Orpheus’ gaze which has the power to both give life to a woman or to end it. By appropriating this myth as a counter-hegemonic response I subvert the narrative of woman existing as muse through the imagination of the male artist, and give Eurydice a voice.


I recall that Holly Herndon approached her music from an academic perspective, having
studied for her pHD at Stanford, and her album PROTO is influenced by her research into
collaborating with AI. Do you think creating in an ‘academic’ environment has influenced
the kind of music you’ve created?

Herndon / PROTO definitely had an influence on my work! Herndon cites Haraway’s 1985 Cyborg Manifesto as a catalyst for her studies, adopting the cyborg metaphor to “reimagine(s) what music can sound like…(which) frees us from the tropes and archetypes of the past” (Herndon, 2015). I think the virtualities of cyberspace can challenge the fixed identities of “woman” in western culture by providing new intersubjective experiences for the post-human, and as we continue to become more enmeshed with technology in our daily lives, perhaps this points to a more utopian future for women in electronic music making?

However, as a trained vocalist, music making has always been a very embodied, and personal process for me, physically, when the body is your instrument, utilising technology can seem a little unintuitive at first. I was really interested in exploring what it means to have an embodied relationship with technology throughout the creative process. Taking Herndon as inspiration, I experimented with vocal based works and used pedals and DAW to explore the infinite possibilities of timbre, range, and temporality that technology provides. These experiments definitely informed the larger works on the EP, and altered my approach to vocal production.

What are your three favourite records that (may) have had some influence on Mother
Tongue?

1. Flying Lotus – Until the quiet comes

2. Four Tet – New Energy

3. Holly Herndon – PROTO

P.s. I hear you now have a pet cat? SO LUCKY! Tell me more (this is the most important
interview question).

Ugh yes! She’s the best. FINALLY my YouTube algorithms have shifted from post-humanism,
and academic jargon to suggestions such as “How to know if your cat loves you?”, “Does your cat control you?” and “the cat from hell”. Pretty life changing.

Whim’s ‘Mother Tongue’ EP is out now via Home Alone Records.

Linkswhimnz.bandcamp.com/
homealonemusic.co.nz/
facebook.com/WHIMNZ/

Ripship Share Six Track Debut Greebles EP

C.C. / Friday 8th May, 2020 9:23AM

  
  

Tāmaki Makaurau’s Ripship shake the cobwebs out of your lockdown-addled frame with their newly unveiled debut collection Greebles. Following through on recent razor-tongued student radio hit ‘Man After Man’, Greebles makes evident the duo of Eva-Rae McLean (drums, vocals) and Callum Lincoln (guitar, synth, vocals) are in no way one-trick-ponies – busting out an impressively diverse range of sonic strategies across the EP’s six tracks, with mixing assistance courtesy of Peter Ruddell (Wax Chattels, Sulfate). From the locked groove high-wire action of ‘Lube The Cube’ to the synthetic dreaminess of ‘Plume On Europa’, Greebles delivers a thrilling introduction to Ripship’s sound, which they’ve aptly described as "Sci-Fi Psych-Rock". Do your ears a favour and get on the ground floor here…

Linksfacebook.com/ripshipband/
ripship.bandcamp.com/

Pacific Music Awards 2020 Finalists Announced

A.K. / Thursday 30th April, 2020 11:24AM

  
  

The finalists for the 2020 Pacific Music Awards have been announced, with both Tāmaki Makaurau hip hop duo Church & AP and Moana soundtrack star Olivia Foa’i each cropping up in four categories. Tāmaki Makaurau Samoan language heavy metal group Shepherds Reign make the lists for Best Pacific Group, Best Pacific Language and Best Pacific Song for track ‘Le Manu’, and the 2018 Lifetime Achievement Award winners Punialava’a return with two finalist spots for their 2019 album Sili’aga I Fa’atufugaga, Beyond Our Stories. Berlin-based Aotearoa / Tongan neo-soul artist Noah Slee joins the finalist ranks under NZ Music Commission Best Pacific Male Artist and Best Pacific Soul / R&B Artist for his Twice EP.

Melodownz is up for Base FM NZ & Island Base FM Samoa Best Pacific Hip Hop Artist with single ‘No Mercy’, a collaboration with US artist Denzel Curry, and SWIDT see a well deserved finalist spot for their ‘Bunga’ music video directed by Anahera Parata, alongside tough competition from Disciple Pati and Lou’ana. Given the current state of things, the Best Pacific Music Album winner will receive their award at the Vodafone New Zealand Music Awards. Scroll down for the full list of finalists, and take in some of the outstanding music and visual accompaniments that have emerged in the past year from Pacific artists’…
 


2020 PACIFIC MUSIC AWARDS FINALISTS:

AUCKLAND COUNCIL BEST PACIFIC FEMALE ARTIST
Bella Kalolo – Ends of the Earth
Lou’ana – Move Along
Olivia Foa’i – Candid


NZ MUSIC COMMISSION BEST PACIFIC MALE ARTIST
K.One – I Wanna Tell You
King Kapisi – Welcome Back
TJ Taotua – Magnified


NIU FM BEST PACIFIC URBAN ARTIST

Lepani – Pockets Full of Love
Noah Slee – Twice
Poetik – HAMOFIED 2 EP


FLAVA BEST PACIFIC GROUP

Church & AP – Teeth
Shepherds Reign – ‘Le Manu’
Tomorrow People – ‘Fever feat. Fiji’


 NZ ON AIR BEST PACIFIC MUSIC VIDEO

Disciple Pati – The Boy Who Cried Woman (Directors Shae Stirling and Sapati Apa
Lou’ana – Eye To Eye (Director Annie Duckworth)
SWIDT – Bunga (Director Anahera Parata)


APRA BEST PACIFIC SONG

General Fiyah – It’s You feat. Three Houses Down
Lani Alo – Alo I Ou Faiva
Shepherds Reign – Le Manu


SUNPIX BEST PACIFIC LANGUAGE

Lani Alo – Alo I Ou Faiva
Olivia Foa’i – Candid
Punialava’a – Sili’aga I Fa’atufugaga, Beyond Our Stories
Shepherds Reign – Le Manu


BASE FM NZ & ISLAND BASE FM SAMOA BEST PACIFIC HIP HOP ARTIST

Church & AP – Teeth
Melodownz – No Mercy feat. Denzel Curry
Poetik – HAMOFIED 2 EP


BEST PACIFIC SOUL/RNB ARTIST

Jordan Gavet – Hesitation
Lepani – Pocket Full of Love
Lou’ana – Move Along
Noah Slee – Twice


PATO ENTERTAINMENT BEST PACIFIC ROOTS/REGGAE ARTIST

General Fiyah – It’s You feat. Three Houses Down
Lomez Brown – Tell Me
Raggadat Cris – I Swear
Tomorrow People – Fever feat. Fiji


PMN BEST PACIFIC GOSPEL ARTIST

Lani Alo – Alo I Ou Faiva
Punialava’a – Sili’aga I Fa’atufugaga, Beyond Our Stories
JXN – Talako Dragon


PMN BEST INTERNATIONAL PACIFIC ARTIST

HP Boyz – Engineers 
Josh Tatofi – Ua Kui A Lawa
Kaiit – Miss Shiney


RECORDED MUSIC NZ BEST PACIFIC MUSIC ALBUM

Church & AP – Teeth
Olivia Foa’I – Candid
POETIK – HAMOFIED 2 EP


BEST PRODUCER

Church & AP – Teeth (Producer Dera Meelan)
Kings – Hit That (Producer Kings)
Mikey Mayz – Wild People (Producers Tia Drumma and EDY)
Olivia Foa’i – Candid (Producer Matatia Foa’i)

Experience the incredible visual element to SWIDT’s ‘Bunga…

International songwriter, dancer and director Olivia Foa’i created the glittering clip for ‘Fai Pea’…

Watch a glorious live clip for ‘Soulflower’ from Noah Slee’s wicked six-track Twice EP…

Linksfacebook.com/pacificmusicawards

Listen To TG Shands Debut EP Golden Hour

A.K. / Wednesday 22nd April, 2020 1:50PM

  
  

Annemarie Duff creates lush, twangy guitar-pop under the moniker T.G. Shand, last grabbing our attention in 2018 with single ‘Girls‘ which made it onto an RDU Singles Club 7". Duff, formerly of Melbourne three-piece Miniatures, this week gifts her debut EP Golden Hour, evoking images of that dreamy moment between light and dark in four equally dreamy autumnal tracks. Duff teased the release a few weeks back with closing track ‘The Rug’, a hint at the heart-squeezing, soft shoegaze to come from the EP, dotted with string squeaks and something undeniably late ’90s dream-pop. Soundtrack the melancholy descent into winter with the gorgeous new sounds from T.G. Shand…

T.G. Shand’s debut EP ‘Golden Hour’ is out now online.

Linksfacebook.com/tgshand/
tgshand.bandcamp.com/

Kerosene Comic Book Reissue The 420 Tape Volumes I II

C.C. / Monday 20th April, 2020 12:14PM

  
  

Today’s date, Monday 20th April, is significant to blazers across the planet as the ultimate 420 Day – 20/4/2020 or 4/20/2020 in you’re in the United States. Brand new Melbourne imprint Legacy Records have done the right thing, by celebrating this hallowed occasion with a fresh reissue and remaster of Aotearoa collective Kerosene Comic Book‘s epoch-defining ’10s compilations, The 420 Tape (2013) and its aptly titled sequel The 420 Tape II (2014). Featuring classic electronic cuts by Totems (who released a storming two track EP last week) Race Banyon, Career Girls, Skymning, Thirsty and many more, the tracks still sound as fresh today as the days they were dropped – a double-barrelled smokers delight documenting rising stars of the era, whose influence continues to reverberate throughout Aotearoa and beyond. Who knew how accurate Totems would be in 2012, when he predicted "in 2020 it was gonna be 420 for a whole month and everyone would have to leave their jobs"? Dive into both collections right here, all proceeds from these releases will be donated to New Zealand charity MusicHelps

Linksmusichelps.org.nz/donate/
legacyrecords.bandcamp.com/
facebook.com/Kerosenecomicbook/

Demons Of Noon Unveil Debut EP The Summoning

C.C. / Artwork by Scott Satherley / Monday 20th April, 2020 11:00AM

  
  

Tāmaki Makaurau "dive bar doom" crew Demons Of Noon have unleashed an ultra-heavy three track debut entitled The Summoning, perfectly timed for release on the ultimate 420 Day in the midst of the coronavirus pandemic. With bone-crushing riffs invoking the blazed spirit of Bongripper and Sleep and spoken word utterances conjuring unholy visions of an even more ominous Slint, the four piece’s EP offers listeners a undeniably intense sonic proposition. Comprised of members Jonathan Burgess (Fortress Europe), Abraham Kunin (Homebrew), Scott Satherley (Toad) and drummer Joseph McElhinney (Luger Boa), Demons Of Noon’s The Summoning was conceived in the subterranean underbelly of Karangahape Road’s St. Kevins Arcade, recorded by Tom Anderson at Nick Abbott’s studio North-Western Recorders. Open your ears to all three tracks here…

‘The Summoning’ is out now via Spotify, Bandcamp and YouTube.

Linksinstagram.com/demonsofnoon/
facebook.com/demonsofnoon
demonsofnoon.bandcamp.com/
bit.ly/the-summoning-spotify
bit.ly/the-summoning-youtube

Totems Shares Two Track Workin Wit Stunt 151 EP

C.C. / Artwork: Joe Locke / Friday 17th April, 2020 4:20PM

  
  

Pōneke’s Buzzy Point have swiftly established themselves an imprint real heads can rely on, dispensing all-killer releases from Mongo Skato, Borrowed cs, Peach Milk, Cave Circles, Paul.S and T0SS3R. Joining that sterling lineup is Tāmaki Makaurau beat guru Totems, the long-running electronic dance project of Reuben Winter (milk, Caroles), who has just dropped two-fer ‘Workin Wit’ / ‘Stunt 151’ as we charge into what’s looking to be Aotearoa’s final Level 4 lockdown weekend. Psychically energising and physically invigorating, Totems harnesses the power of divebombing bass and perpetual motion breakbeats to move asses on both numbers – channeling the spirit of mid-late 90s Chicago and Detroit (eg. DJ Assault), busting out a intoxicating array of raved up sonics with casual yet complete mastery of his medium.

‘Workin Wit’ / ‘Stunt 151’ is out soon on streaming services via Buzzy Point.

Linksfacebook.com/totemskcb/
buzzypoint.bandcamp.com/

Listen To The Debut EP From tautahis The Tacks

A.K. / Friday 3rd April, 2020 12:27PM

  
  

Ōtautahi fast favourites The Tacks release their debut EP s/t with guns blazing and spirits soaring. Singles ‘Merivale’ and ‘One Last Goodbye’ proved popular on student radio charts, and the two extra tracks on the full drop sizzle just as hot. Released on recently launched Christchurch imprint Dust Up, s/t packs a punch at a little under nine minutes, making it very easy to accidentally listen to four times through, with driving kick, dynamite vocals and non-stop catchy riffs. Craig Thomas jumped in on mixing and mastering, nailing the delicate post-punk balance between lo-fi charm and cut-throat edge. Three spins of s/t matched with a bit of vigorous air-punching and you’ve got your daily exercise done and dusted…

The Tacks’ debut EP ‘s/t’ is out now via Dust Records.

Linksfacebook.com/thetacksband/
thetacksband.bandcamp.com/
facebook.com/dustuprecords/

Young Thug & DJ Carnage Drop New EP “Young Martha”

Young Thug and DJ Carnage drop their new joint EP “Young Martha” and you can now stream it on Apple Music.

DJ Carnage first announced the EP from earlier this year and in case you didn’t take him serious well now you know. Young Thug and DJ Carnage are now referring to themselves as a duo name Young Martha which is the name of their debut EP. The self-titled project comes with four tracks that includes guest verses from Meek Mill and Shakka.

Meek is featured on the first single “Homie” and Shakka is featured on “Don’t Call Me.” Thugger released a new album in June titled “Beautiful Thugger Girl” and he is already prepping another project to be released by year end. Stream and download “Young Martha” EP on iTunes/Apple Music below.

Tracklist:

1. “Homie” Feat. Meek Mill
2. “Liger”
3. “10,000 Slimes”
4. “Don’t Call Me” Feat. Shakka

Read More: Stream Young Thug and DJ Carnage’s ‘Young Martha’ EP – XXL | http://www.xxlmag.com/news/2017/09/stream-young-thug-dj-carnage-young-martha-ep/?trackback=tsmclip

P Money – Keepin’ It Real

[Verse 1: P Money]
I just wanna make music
Hit the studio, create music
My fans purchase, download and play music
Seek melody, metaphor and rave music
That chill on the sofa and play music
Don’t want a beat, just wanna play music
Who am I kidding? I’ll beat when I play music and
If her boyfriend is talking smack
I’ve got that lead your girlfriend away music
I’ve got that wild, you’ve got that tame music
I’ve got that real, you’ve got that lame music
I’ve got that cosign, labels wanna sign the work of art
Belong in the Tate music
Grime, rap, UK bass music
That real easy to embrace music, and
Any MC that is thinking they’re rough
I’ve got that punch a man in their face music
That serve you [?] ace music
Black, white, don’t watch race music
Still here, kept my faith music
Ten years, never made no fake music
Man have been making that great music
You need to make that stay in your lane music
Cuh 2016, I’ll be touring Australia
Second time round like

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

[Verse 2: Stormzy]
If you’re gonna send then send for the top
Look, trust me, I get it (calm)
I’ll take that shot and I’ll take that shot
Yeah, I’m photogenic (calm)
But when I spray back and I ended careers
Don’t tell me to dead it (‘llow it)
Bare of these MCs hate me
But they still see me and beg it (pussies)
And I still came back with the game on my lap
Like “nobody move” (no one)
Tryna take care of my Gs
Ain’t tryna see nobody lose
But man try come for my team, I’ll dun him off
My man thought he’s a G, stop running off
I’ve got a crown and you’ve got a crown
But rudeboy, this crown here ain’t coming off (‘llow it)

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

[Verse 3: P Money]
Yo, I was one of the youngers that you couldn’t send shop
Yeah, I was a mummy’s boy, but never soft
I boxed man that thought they couldn’t get boxed
Topped MCs that thought they couldn’t be topped
When I flow on the riddim, I never get lost
When you flow on the riddim, you’re told “get lost”
Labels wanna know how I keep going hard
Thought I took a pill cuh my ting never went flop
Complete control, I could never get dropped
There was never a show that never went off
Milking it for so long and it never went off
Don’t know why, maybe it’s cause I never went pop
Helped out the game, man did that a lot
Bring us down to festivals, did that a lot
Man can chat shit about me doing dubstep
Told grime police man never bread cops
So I still spray on dubstep now, and what?
Wait, cut the beat out, let me talk to these lot
Let’s talk P, I’m on about me
First grime act packing at Wireless? Me
Spraying on “Eskimo” at Wireless? Me
Five years straight and still tireless? Me
When everybody got a deal and did what they feel
Who was here releasing grime CDs? Me and Jme
Grime tracks on every single EP? Me
Young MC that was duppying pirate? Me
Big MC still duppying pirate? Me
Doing shows worldwide, play a man’s vocal
Showing their country that it’s not just me
Who was doing that at the time? No one, me
There was more but I can’t fit it in a sixteen
Man just better respect me

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

P Money – Keepin’ It Real Lyrics

[Verse 1: P Money]
I just wanna make music
Hit the studio, create music
My fans purchase, download and play music
Seek melody, metaphor and rave music
That chill on the sofa and play music
Don’t want a beat, just wanna play music
Who am I kidding? I’ll beat when I play music and
If her boyfriend is talking smack
I’ve got that lead your girlfriend away music
I’ve got that wild, you’ve got that tame music
I’ve got that real, you’ve got that lame music
I’ve got that cosign, labels wanna sign the work of art
Belong in the Tate music
Grime, rap, UK bass music
That real easy to embrace music, and
Any MC that is thinking they’re rough
I’ve got that punch a man in their face music
That serve you [?] ace music
Black, white, don’t watch race music
Still here, kept my faith music
Ten years, never made no fake music
Man have been making that great music
You need to make that stay in your lane music
Cuh 2016, I’ll be touring Australia
Second time round like

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

[Verse 2: Stormzy]
If you’re gonna send then send for the top
Look, trust me, I get it (calm)
I’ll take that shot and I’ll take that shot
Yeah, I’m photogenic (calm)
But when I spray back and I ended careers
Don’t tell me to dead it (‘llow it)
Bare of these MCs hate me
But they still see me and beg it (pussies)
And I still came back with the game on my lap
Like “nobody move” (no one)
Tryna take care of my Gs
Ain’t tryna see nobody lose
But man try come for my team, I’ll dun him off
My man thought he’s a G, stop running off
I’ve got a crown and you’ve got a crown
But rudeboy, this crown here ain’t coming off (‘llow it)

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

[Verse 3: P Money]
Yo, I was one of the youngers that you couldn’t send shop
Yeah, I was a mummy’s boy, but never soft
I boxed man that thought they couldn’t get boxed
Topped MCs that thought they couldn’t be topped
When I flow on the riddim, I never get lost
When you flow on the riddim, you’re told “get lost”
Labels wanna know how I keep going hard
Thought I took a pill cuh my ting never went flop
Complete control, I could never get dropped
There was never a show that never went off
Milking it for so long and it never went off
Don’t know why, maybe it’s cause I never went pop
Helped out the game, man did that a lot
Bring us down to festivals, did that a lot
Man can chat shit about me doing dubstep
Told grime police man never bread cops
So I still spray on dubstep now, and what?
Wait, cut the beat out, let me talk to these lot
Let’s talk P, I’m on about me
First grime act packing at Wireless? Me
Spraying on “Eskimo” at Wireless? Me
Five years straight and still tireless? Me
When everybody got a deal and did what they feel
Who was here releasing grime CDs? Me and Jme
Grime tracks on every single EP? Me
Young MC that was duppying pirate? Me
Big MC still duppying pirate? Me
Doing shows worldwide, play a man’s vocal
Showing their country that it’s not just me
Who was doing that at the time? No one, me
There was more but I can’t fit it in a sixteen
Man just better respect me

[Pre-Hook: P Money]
I’ve been killing shows with no deal
I always keep it down to earth, I’m so real
I’m ready, I’m itching to go, can’t sit still
They’re so fake, they don’t even know how it feels when you’re

[Hook: P Money]
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, keeping it real
Trill, they don’t even know
How it feels when you’re
Trill, keeping it real
Trill, keeping it

Trettmann – Adriano (Kitschkrieg, Vol. 3 EP) letras

[Intro Ricky Trooper]
Some bwoy a run up dem mouth and a gwaan
Wait till later, wait till later
Leggo tune…

[Bridge]
Tu was ich immer mach, mach was ich immer tu
Wenn nicht jetzt, wann dann? Einfach weil ich’s kann

[Hook]
Ich zieh’ an meinem Vapo, lieg auf dem Piano
Ihr seid mir egal, Adriano Celentano
Driano Celentano, Driano Celentano
Ihr seid mir egal, Adriano Celentano

[Verse 1]
Mach die Tür auf, knall sie dir vor deinen Kopf
Wunderst dich, warum hab ich nicht geklopft
Dich und mich wirft man nicht in einen Topf
Adriano Celentano, du sprichst mit dem Boss
Jaja, big pimpin Trinidad
Die Frauen und den Champus und das Good-Life, gimme dat
Alles echt, alles jetzt, ungestreckt, kein Imitat
Hatte grad’ zwei Lobster, doch bin immer noch nicht satt
Hab die Melodie und den Skill
Sing Balladen oder töte, wenn ich will
Die Versatility, du bleibst’n Mini-Me
Ich sing Balladen und ich töte, wenn ich will
An meinem Fuß der neueste Ultra-Boost
Blätter einmal um, mein Foto in der Juice
Dich und mich wirft man nicht in einen Topf
Adriano Celentano, du sprichst mit dem Boss

[Hook]
Ich zieh’ an meinem Vapo, lieg auf dem Piano
Ihr seid mir egal, Adriano Celentano
Driano Celentano, Driano Celentano
Ihr seid mir egal, Adriano Celentano

[Verse 2]
Keine-Keine-Keine Bitch tötet heute meinen Vibe
Pull-Up vor’m Club, Ornella Muti auf mei’m Bike
Sie sagt, jeder andere Artist lässt sie kalt
Und ich hab mehr Vielfalt, als der Regenwald
Jaja, die Kammer voller Indo
Deine Frau nimmt’n Zug und tanzt mir den Limbo
Pscht, spar dir deine Lingo
Hier ‘n Schein für die Bar, komm mal klar Bruder, stimmt so
Ich zelebriere, brauch’ keinen Grund
Unter mei’m Guinnes und dem Herb und dem Rum
Die Versatility, du bleibst’n Mini-Me
Ich zelebriere, brauch’ keinen Grund
Und glaub mir, mir hat keiner was geschenkt
Was du auch denkst, ich bin nur konsequent
Dich und mich wirft man nicht in einen Topf
Adriano Celentano, du sprichst mit dem Boss

[Hook]
Ich zieh’ an meinem Vapo, lieg auf dem Piano
Ihr seid mir egal, Adriano Celentano
Driano Celentano, Driano Celentano
Ihr seid mir egal, Adriano Celentano

Trettmann – In Meinem Leben (Kitschkrieg, Vol. 3 EP) letras

[Hook:]
Tut mir leid, du liegst daneben
Will mir das alles, nicht mehr geben
Hab keinen Platz dafür, nicht in meinem Leben
Hast du gehört ey, nicht in meinem Leben

In meinem Leben, nicht in meinem Leben
Nicht in meinem Leben, hmhm nicht in meinem Leben
Das ist meine letzte Nacht, in dieser Stadt
Vorhang auf, Schlussakt, U – Turn, Neustart

[Verse 1:]
Gab dir mein Bestes wie Anita
War für dich da, lagst du im Fieber
Ich hab’ so lang auf dich gewartet
Heut hoff’ ich, ich seh’ dich nie wieder
Hab nicht hingeschaut, wenn du die Pfeife rockst
Dir nie geglaubt, dass du die Steine stoppst
Schlaf ein, wach wieder auf, nur mit dir in meinem Kopf
Geh bitte raus aus, raus aus meinem Kopf

[Hook:]
Tut mir leid, du liegst daneben
Will mir das alles, nicht mehr geben
Hab keinen Platz dafür, nicht in meinem Leben
Hast du gehört ey, nicht in meinem Leben

In meinem Leben, nicht in meinem Leben
Nicht in meinem Leben, hmhm nicht in meinem Leben
Das ist meine letzte Nacht, in dieser Stadt
Vorhang auf, Schlussakt, U – Turn, Neustart

[Verse 2:]
Seh’ das Bild heute noch vor mir, wie du damals vorfuhrst
Sagst, dass du mich magst, deine Lippen glänzen Purpur
Crush ohne Zukunft, du kennst keinen Futur
Nur ein Leben ohne Limit, immer auf der Überholspur
Mir doch egal, wen oder was du abziehst
Zückst ‘nen Schein aus’m Bündel, zahlst das Taxi
Taub für Komplimente, wenn ich fluche, lachst wie
Halbblut Apanachi, schenk dir Herb zum Abschied

[Hook:]
Tut mir leid, du liegst daneben
Will mir das alles, nicht mehr geben
Hab keinen Platz dafür, nicht in meinem Leben
Hast du gehört ey, nicht in meinem Leben

Trettmann – Wie Du (feat. Carsten Chemnitz) (Kitschkrieg, Vol. 3 EP) letras

[Intro]
Ich wollte nie sein wie du
Auch vor 10 Jahren – nie sein wie du
Du kannst jeden fragen in meiner Crew, nie sein wie du
Hier ahnt keiner wer du bist, keiner, keiner, keiner

[Hook]
Ich wollte nie sein wie du
Auch vor 10 Jahren – nie sein wie du
Du kannst jeden fragen in meiner Crew, nie sein wie du
Hier ahnt keiner wer du bist, keiner ahnt was du tust
Ich wollte nie sein wie du
Auch vor 10 Jahren – nie sein wie du
Du kannst jeden fragen in meiner Crew, nie sein wie du
Hier ahnt keiner wer du bist, keiner, keiner, keiner

[Verse 1]
Das Jackett von Luther Vandross, das Können Stevie Wonder’s
Der Look deines Tumblr’s, war für mich nie ein Anlass
Wollte nie sein wie deine Helden oder wie jemand anders
Auch nie sein wie du, hab eigene Standards
Eigene Standards, du bleibst ein Fantast, ich bin hier Stammgast
Hier weiß jeder wo er herkommt und wo er hin will, brauch keinen Kompass
Wenn ich du wär’, wär’ ich lieber ich, mal in aller Freundschaft:
Du bist kein Designer, eher Made in China, egal was du anhast
Bin taub für deine Floskeln, dreh dich leise wie n’ Gospel
Mute den Apostel, du hast Swag wie Gerd Postel
Wer hat hier die Hitze – du? nicht das ich wüsste
Bigup Uchenna, streich dich von der Liste
"Bitch, don’t kill my Vibe", ich mach KK3 und die Kids ballern’s
Wie Lil Kim und Sean Combs, "No Time For Fake Ones", halte die Balance
Pull Up vorm Club, pump Tyron Tayler "Cottage In Negril"
Scherz’ ma’ im April, wollte nie sein wie du, also chill

[Hook]
Ich wollte nie sein wie du
Auch vor 10 Jahren – nie sein wie du
Du kannst jeden fragen in meiner Crew, nie sein wie du
Hier ahnt keiner wer du bist, keiner ahnt was du tust
2 x

[Verse 2 Carsten Chemnitz]
Ich hab mit deiner Scheiße nix zu tun
Tut mir leid, ich wollte nie so sein wie du
Ich identifiziere mich mit meiner Crew
Und du mit deinen Schuhen, wie gesagt:
Ich hab mit deiner Scheiße nix zu tun
Ich steppe in die Cypher
Und dann stepp ich aber gleich wieder raus
Wow, die Männer hier sind ziemlich breit gebaut
Nur ist leider hier leider weit und breit mal wieder keine Frau
Pow Pow Pow! Früher hab ich RTL geschaut
Pow Pow Pow! Heute geht das deutlich besser
Pow Pow Pow! Ich mach einfach Facebook auf
Und schäme mich für deutsche Rapper
Interview’s, Premium Box, wer spricht mit Polizisten
Wichtige Statement’s von Hip Hop- Journalisten
Wie gesagt, ich hab mit euerer Scheiße nix zu tun
Für mich ist Savage nur dieser Partner von Naidoo

[Hook]
Ich wollte nie sein wie du
Auch vor 10 Jahren – nie sein wie du
Du kannst jeden fragen in meiner Crew, nie sein wie du
Hier ahnt keiner wer du bist, keiner ahnt was du tust
2 x

Trettmann – Ehrenrunde (Kitschkrieg, Vol. 3 EP) letras

[Verse 1]
Kein Spass man, bis der letzte es gerafft hat, hier ist nichts lustig
Habs allen gesagt: 2Null16 gehört uns, Übernahme, Schlussstrich
Aus’m Nichts in die Championsleague Hombre, nie wieder Schlusslicht
Alle überrundet, Transformation abgeschlossen, alles gut, alles richtig
Und es fühlt sich so leicht an, als ob ich fliege, fernab vom Schwarm
Gönn’ mir ‘n Blick in die Tiefe und ein KitschKrieg- Tattoo auf’n Arm
Für meine Fam so viel Liebe, Fiji Kriss geht auf Eins mit Denyo und Jan
Fizzle zieht am KK- Costum- Vapo, mit eingraviertem Namen

[Hook]
Ich mag Frau’n, die bubblen zu KitschKrieg Beats
Und wenn meine Songs vorbeifahrn im SUV
Während ihr noch überlegt, warum ich euch überrunde
Mei’m Kram neue Namen gebt, lauf ich die Ehrenrunde

[Verse 2]
Awhodat – alle wolln deine Bilder, schwarz- weiß ohne Filter
Hut ab, Haiyti und UFO, ich bin ein Berliner, Megaloh Moabiter
Big Up, Felix und Samy, How many mics? Me say many many many
Pull Up, 187 Co Sing, die Strasse feiert’s, alles muss genau so sein
Stimmt’s Teka, hier um zu gewinnen, scheiss auf Major Deal
Und auf die, die sich nur melden, wann ma’ was geht, ihr seid mir zu viel
Shout Out HHV, KK1 – 2 – 3 kommt auf DoppelVinyl
Dann Album, Trettmann, lauf’ locker durchs Ziel

[Hook]
Ich mag Frau’n, die bubblen zu KitschKrieg Beats
Und wenn meine Songs vorbeifahrn im SUV
Während ihr noch überlegt, warum ich euch überrunde
Mei’m Kram neue Namen gebt, lauf ich die Ehrenrunde
2 x

Trettmann – La Dolce Vita (Kitschkrieg, Vol. 3 EP) letras

[Hook]
Wir tun es an ‘nem Dienstag, 2 Flaschen Moet 1 Bag Sativa
La, La Dolce Vita, das hier ist ‘ne andre Liga
Wir tun es an ‘nem Dienstag, der Himmel färbt sich lila
La, La Dolce Vita, das hier ist ‘ne andre Liga

[Verse 1]
Aye, lass uns Wolken essen
Du neben mir, sehn’ mich schon wieder nach dei’m…
Mach dass, es nie aufhört, wir sind wie besessen
Gehören nicht zusamm’, der Sommer lässt es uns vergessen
Schwarze Outlines, braune Haut, goldene Kette… in ‘ner
Einer dieser tropischen Nächte, falls ich
Das nur träume, mach dass ich nicht mehr aufwache
Dich zum Kotti bring und deine Nummer wieder lösche
Glaub nicht, dass das schon alles ist
Zeig mir nochmal, nochmal womit du arbeitest, Mhmm
Ich weiß, dass diese Nacht die Wahrheit ist
Pull up & come again
Ich link dich gern, komm vorbei
Schreib dir ‘n Song, auf den Leib
Nur wir zwei, sag kei’m Bescheid
"On The Down Low" – Brian McKnight

[Bridge]
Du bist ein Pro und keine Hoe, alles is’ so perfekt
Zwischen den Laken, hör’n Balladen, every thing set
Musst jetzt nicht geh’n, hast mein OK, sippen Rose im Bett
Du bist ein Pro und keine Hoe, alles is’ so perfekt

[Hook]
Wir tun es an ‘nem Dienstag, 2 Flaschen Moet 1 Bag Sativa
La, La Dolce Vita, das hier ist ‘ne andre Liga
Wir tun es an ‘nem Dienstag, der Himmel färbt sich lila
La, La Dolce Vita, das hier ist ‘ne andre..

[Verse 2]
"Gal flex…" , wie Cobra
"Time to have…", du bist wie ich ein Stoner, hmhm
Teste das Aroma
Du erinnerst mich an "All My Girls Do Yoga"
Der Real Deal
Gib mir mehr davon, gib mir viel, viel
Du musst wissen, dass ich, dass ich dich fühl, fühl
Kein Spiel spiel, for real real

[Hook]
Wir tun es an ‘nem Dienstag, 2 Flaschen Moet 1 Bag Sativa
La, La Dolce Vita, das hier ist ‘ne andre Liga
Wir tun es an ‘nem Dienstag, der Himmel färbt sich lila
La, La Dolce Vita, das hier ist ‘ne andre.

Troy Ave – Narcos letras

[Hook]
Tendo la cocaína para la vela vida
Yo Tengo la cocaína para la vela
Tendo la cocaína para la vela
Si tiene dinero potemo hashima cosillas

[Verse 1]
Fat girls having me like papi
Let’s go RIP to Gustafi
Fuck those cheap looking horror
I riding through the town with narcos
Cops see me in the street with them clipping
I’m just a young nigga with ambition coming soon
Taking turns out of town extra mission
How you niggers only making cases if you snitching
How many hoes you fucking here
You don’t want say when they getting laid
Waking young still having
I’m El Patron, real jefe
[Hook]
Tendo la cocaína para la vela vida
Yo Tengo la cocaína para la vela
Tendo la cocaína para la vela
Si tiene dinero potemo hashima cosillas

[Verse 2]
BSP nigga period
I came up from the slums but i do that
I hate gettin money true that I got a bg of it
I was in miami too bad
They say they want war we can do that
It’s killing whatever on first sight here we go
Riding by spraying ozzi on the speed bike where’s my boy
You never bite the hands that feed you God no
You niggers too fake I’m a gangster you feelin me
To my enemies I’m a menace
Cops want to slay me down south
But I’m a be a legend when I’m finished

[Hook]
Tendo la cocaína para la vela vida
Yo Tengo la cocaína para la vela
Tendo la cocaína para la vela
Si tiene dinero potemo hashima cosillas

[Outro]
Imagine without a due we made it out
You feelin me and uhm what I’m
Is dropping these for the people
This shit free you know download it
You know am saying Spread the word
And then we going to drop mother fucking uhm
Brakes in my backpack for
On december the fourth and in that one
That one is for you to go out and buy
You know this is going to be EP on album
The pain I feel in it I’m a double right back
I’m a get up in these white christmas tree
Like a real one