Interview Auckland Folk Festival 2023 Sneaky Bones Chats With Albi The Wolves

C.C. / Chris ‘Albi’ Dent and Matthew Bean (Sneaky Bones) / Tuesday 17th January, 2023 1:42PM


One of Aotearoa’s longest running musical traditions, the Auckland Folk Festival is happening this summer from 27th to 30th January at The Kumeu Showgrounds. Celebrating folk musical sounds of all stripes, artists from across the nation and beyond will be congregating for the festival’s four day 50th anniversary knees-up — including US folk songwriter Sneaky Bones, Melbourne / Naarm-based Folk Bitch Trio, Edinburgh-based The Jellyman’s Daughter, Irish fiddle player Manus McGuire, Australia’s We Mavericks, returning kiwis Kerryn Fields and The Frank Burkitt Band, Aucklanders Albi & The Wolves, Theia’s reo Māori project TE KAAHU, T-Bone, Monty Bevins and lots more.

Sneaky Bones aka Matthew Bean has returned to New Zealand for his keenly awaited summer tour, beginning this Thursday and concluding at the festival [see below for tour dates and ticketing info]. He caught up with Albi & The Wolves frontman Chris ‘Albi’ Dent for an rousing chat reflecting on their shared craft, the differences between touring at home and overseas, the multi-faceted umbrella term ‘Americana’, mouth-watering meal options and more…

Auckland Folk Festival 2023

Friday 27th January to Monday 30th January – The Kumeu Showgrounds, Auckland (Auckland Anniversary Weekend)

Featuring… Across the Great Divide, Albi & The Wolves, Alpaca Social Club, Butter Wouldn’t Melt, Criu, Rthno Aotearoa, Folk Bitch Trio (AUS), Kerryn Fields (AUS), Manus McGuire (IRE), Monty Bevins, OrigiNZ, Rough Town, Sneaky Bones (USA), Songs from the Old Country, Sweet Bottom (NZ/USA), T-Bone, TE KAAHU, Te Wehi Haka, The Frank Burkitt Band, The Jellyman’s Daughter (SCO), TUi MAMAKi, We Mavericks (AUS), Wheel of Experience

Tickets available at

Sneaky Bones Summer 2023 NZ Tour 

Thursday 19th January – Common Room, Hastings*

Friday 20th January – Globe Theatre, Palmerston North

Saturday 21st January – The Jam Factory, Tauranga

Sunday 22nd January – TSB Festival Of Lights, New Plymouth

Monday 23rd January – Whangateau Folk Club, Whangateau w/ Albi & The Wolves*
Wednesday 25th January – ONEONESIX Theatre, Whangarei w/ Albi & The Wolves

*Tickets on sale HERE via UTR
Tickets available at

Albi: Hey. Shall I call you Matt, or should I call you Sneaky? What do you prefer your first name to be?

Sneaky Bones: It’s Matt, but you can call me whatever you like.

Where did the name Sneaky Bones come from?

It’s not the most exciting story but I was visiting a friend in Fort Worth, Texas. We were out eating chicken and waffles, and she got a little chicken bone in her throat and she was like, "Damn those sneaky bones." And I thought, "Oh, that has a nice sound to it." I was just in a big transition period and I was like, "I’m going to take that." So, it was a spontaneous saying that turned into a career, I guess [laughs].

I have never had chicken and waffles, but I’ve always wanted to.

It’s pretty good. You’ve never had it?

No, because over here, waffles are usually like ice cream and syrup and cream and stuff. But there’s fried chicken too?

Yeah, fried chicken. Do you know where it originated?

No, I have no idea.

This is the story I’ve heard — I think it was in Harlem in the 30s, not sure on the exact time but somewhere back in the heavy jazz days, these guys would get off their sessions and they didn’t know whether to eat breakfast or dinner, so they had both.

At the same time?

Yeah. So, they would have fried chicken over waffles. And it’s absolutely delicious.

There wasn’t ice cream as well, right? It’s not like you dunk your chicken in it or something?

No, no, no. But there’s syrup on the waffles and hot sauce on the chicken.

[laughs] You understand saying it out loud, how that doesn’t sound as appealing as it probably is, right?

Yeah, but you have to experience it, I think. It has to be good fried chicken. It can’t be anything. What about you? Do I call you Chris or Albi? What’s going on with that?

Albi: You can call me either. To readers out there, I have albinism and I sport a really big white beard. I picked up this nickname in high school, and then I just ran with it for a long time. I was hitchhiking around the countryside, playing shows as Albi. And when this band formed, I didn’t want to drop the Albi, and they became the Wolves. I wish there was some interesting story where a spontaneous phrase became the name, but we chose Wolves because we think they’re cool.

Well, it was a nickname, right?

Yes, so Albi for me, and then the Wolves.

I don’t know. Because there’s that The Flight of the Conchords saying Albi the racist dragon, right?

Yeah. That comes up a lot. But here’s the thing. I’m not racist, anymore.

Or a dragon anymore [laughs].

[laughs] So I have a question for you that applies to both my act and yours, although definitely more so yours than mine. I sometimes, and this is a bit cheeky, call my band Americana, but we’re from New Zealand obviously. What does Americana mean to you? Because you use that to describe your music too sometimes.

You guys are “Oceanicana”. You know, Americana, it’s funny because that name has totally been commercialised and I feel like genres themselves are such a trap. I get that people need to understand the style of music, if someone hasn’t heard of you before. But to me, I look at Americana more as American roots music. I think Americana was … I guess it still is, a combination of all of these wide-reaching genres that have developed in America. And not strictly … I’m not saying all this is American music, but I guess there’s this blend of bluegrass country, soul, R&B, roots.

It’s really cool. I like it a lot. It’s funny because when I think Americana, I think Hank Williams, and I think Woody Guthrie. When I look at the Americana playlists and I see guys that have these songs with such swagger and they’ve got electric guitars, I think I didn’t get it until just now. Because it makes sense. Some of these new artists we’re seeing just the evolution of those artists we were listening to 50, 60 years ago.


And that makes so much sense for you, because when I listen to your songs I hear those influences, I was trying to explain the Sneaky Bones experience to a flat mate earlier, and I was like, "It’s contemplative. It’s not in a hurry, but also it’s got a groove and a swagger to it that makes you want to move and sway." I think that’s a really interesting combination in a song. I guess that is Americana, right? It’s got its roots in R&B and that oomph, but it’s slow and thoughtful. And yeah, you sometimes pick up an acoustic guitar.

Yeah. I think folk music is about tradition really. From the Greenwich scene to basically troubadours that are traveling around and sharing songs. And I think that it’s still about the song. Folk to me is that pure essence of song. I feel like folk is another one that’s been just taken over by whatever commercial entity wanted to call it, complete with the big hats or whatever.

Folk is tricky because in its essence, it’s just about sharing stories through song. The problem is that could be anything. Some aspects of the community I like is that anyone can join who’s got a story to tell. It then becomes impossible to define. And I think genres can be annoying and provide limitations, but I think maybe a good side of it is it provides boundaries for what art you’re trying to make. If nothing else the song you’re writing can be an experiment. Today, I want to write a pop song. Today, I want to write a folk song. But what’s a folk song? So, yeah, gosh, I think I’m rambling a little bit with this, but I can say that you’ve made me feel better about calling ourselves Americana, because I think we are… Yeah, we take some of those aspects of the genre.

At the end of the day, it’s all just music. It’s not necessarily a big challenge of needing to be from somewhere to play in the style or needing to respect where it came from, the heritage. But I do think that if you approach music with open ears and a reverence for where it’s been, and you’re the voice of where it’s going and you’re true to that, then I really don’t think that there’s a wrong place you can be.

Oh, man. I’m looking forward to hearing some of your new songs in real life. I’m looking forward to sharing a stage with you too. Something I was also curious about was what drew you to New Zealand initially. Because you’ve got a big old home to tour. Technically, you don’t have to leave, but you thought, I’m going to fly to the middle of the ocean and I’m going to play on a tiny island.

I guess there is a little bit of a fascination with New Zealand.

Oh, yeah, yeah, yeah.

I grew up in Oregon, which is a pretty rugged zone. I grew up surfing in Oregon, and my buddies and I, we’d always see these little glimpses of surf culture in New Zealand and how beautiful it was. A lot of it reminded me of Sonoma County and around the Bay Area and Oregon. And it always blew me away. Yeah, I guess it was just a place I was wanting to go. There was a day where it clicked that I could travel and play music. And not just travel and play bars in the US, because I’ve done that grind for a long time. But I booked my first European tour and I was like, "These people love music and I’m so grateful to be here. And they support it and there’s funding for it. And they’ll bring you to these places and they’ll pay you a decent wage and they’ll take care of you." Once I did that, I was hooked. And so, I started trying to book New Zealand. It was the first place I went after Europe, and I just fell in love with it after the first tour. I’ve been so fortunate to link up with folks like you and Finn and everyone who I work with down here. So, I’m very happy.

You know what’s weird is the duality of touring overseas (rather than touring at home) and the fact that you have to work crazy hard to rise above all the other local noise that’s going on. But whether you end up with a packed sold-out room or 20 people, I feel like (while you’re overseas) the interest in what you’re doing is something else compared to when you’re at home. Do you know what I mean? Have you had that feeling as well?

Hmm. Well, where have you had that feeling? You tour a lot abroad right?

I’ve toured a couple of times in Europe, across Switzerland, Germany and Australia. I just got back from a full months stint there (in Australia), which was heaps of fun. I remember our show in Perth. It was a new territory. A festival brought us over. They were really lovely. The festival was incredible. The first sideshow, though, if I was looking at it purely from a, I guess, financial perspective, we got 20 people through the door, so that was an absolute bust. We just spent a lot of money to be there. But the quality of the crowd was high, we can play them anything and they were so into it and was so ready to hear us. When I think back to my first tour in New Zealand, although we did have people on side of people who supported us, I still felt like we really had to fight to gain their attention. But by simply being an overseas band, people were just more receptive. I don’t know… Something like that.

I think people assume that you’re here, so you must be a big deal, or you must be worth it. That was the vibe I got in Europe. We were playing in these beautiful rooms and people kept saying, "Oh man, you must play all these crazy rooms back in the States." And I’m like, "Yeah, I can’t even draw like five people in my hometown." [laughs] It’s so funny that there’s an export thing that is really beautiful. I think bands should go for it, reach out overseas. If you can get there, it can be a profound experience. There’s a certain level of the fact that you’re there means something. It means something to the crowds too, especially when you come through small towns.

We played some tiny towns on the last tour where I told people in New Zealand where we were going and they’re like, "You’re going where? What are you doing there?" And I was like "I don’t know; these are places that wanted us to come play." People were so surprised at some of the places. The funniest one last tour was Wairoa. Everyone was like, "You’re going to Wairoa?" And that show was completely sold out. So many people from town were there and stoked. It was so awesome. I feel like you kind of lose sight of those scenes… And it makes me come home and really appreciate home as well when I’m gone. I do lose sight of these little scenes around me, and I feel like visiting these towns and being able to link into these little scenes makes me appreciate them more when I go back to my home base.

I think you’re right. Actually, after being away for a month, instantly I’m back, and I’m more in tune with what’s going on around me. I’m looking for what artists are doing and what’s happening. I think that can be hard to do when you’re just living your day-to-day life. It’s easy to just focus on how am I going to pay rent this week, not what’s the person next door to me making, which is a freedom that you get when you’re traveling around. Well, I think we’ve got heaps to put on paper. Whoever’s going to transcribe this is going to have quite the time. So, I think we can wrap it there. I can’t wait to have you on our soil. Dude, it’s been too long. You are so welcome here, and it’s going to be a hoot.

Awesome. I’m excited.

Interview Peaches The Teaches of Peaches Anniversary NZ Shows

Benedict Quilter / C.C. / Photo credit: Hadley Hudson
/ Wednesday 14th December, 2022 12:30PM


Bringing The Teaches of Peaches Anniversary tour to Aotearoa this summer, Peaches is celebrating her raunchy 2000 era-defining opus with February headline events at Auckland’s The Powerstation and Wellington’s Meow. Ahead of these can’t-miss parties, the Canadian electroclash icon got on the line with Benedict Quilter (P Wits / NO LABEL) for an energising chat — reflecting on revisiting Peaches’ anthem-packed lo-tech debut and the immeasurable value of putting on a killer show…

Peaches – The Teaches of Peaches Anniversary Tour

Monday 20th February – The Powerstation, Auckland

Tuesday 21st February – Meow, Wellington

Wednesday 22nd February – Meow, Wellington [sold out]

Tickets on sale via

Benedict Quilter: It’s been over 20 years since The Teaches of Peaches, what made you decide to revisit it?

Peaches: It’s a great album and I love it! And I wanted to honour it, it’s a big turning point in my life that turned into a big turning point in other people’s lives, so let’s have it!

Has your relationship to the album changed over the years?

That’s a good question. It’s funny, it’s so ingrained in me I feel like it’s hard to even have a change in the relationship. I’m not sure if this is what you mean, but I’m just gonna riff on that for you Benedict — I decided that for the 20th anniversary I was gonna dust off the old machine that I made these tracks on, that I really haven’t used since around 2000 / 2001. I didn’t have any of those beats anymore so I had to recreate them, even their mistakes. What I found interesting was how little I knew about this machine, and how it didn’t even matter ‘cause it gave me these good parameters. My first songs I wrote on the machine were in 120 BPM, because I didn’t know how to change the BPM. Quite literally. It’s not very glamorous but that’s what it was. I never learned how to actually make a song, like the whole song and just play it, because I wanted to be able to make it in loop parts, so I could be more spontaneous and be more interactive with the machine and make it more exciting for me. Like I was using a live band. I would change the parts or the filtering, not that they were rocket science or anything but it made it exciting for me. So I had to revisit all this.

It was funny though when I recreated the songs, especially one like ‘Lovertits’, my fingers knew what to do. They knew where to go. It’s also only semi-digital, so there’s all these analogue things that you have to do at the beginning of the song, ’cause when you turn to a new sound it’s not gonna be on the same setting. Some of the settings, if it’s in a lower octave or whatever or a different pitch or things like that, you have to set it all up right away while you’re doing the song. It was like riding a bicycle, I really remembered this machine. It was really fun and I feel like I made up my own way to play it, ’cause I didn’t know how to play it. So that’s also fun.

That’s really cool, so even when you were composing the album initially, you were thinking about how it would translate live?

Yeah, I was playing them live at the same time I was recording them and it was also before people had laptops. I recorded this live into an a DAT [Digital Audio Tape] machine. I don’t know if you know what that is, but it’s basically like I would record it on a video tape. I was playing the parts live while I was recording it in, it wasn’t like how you would do it now. Also even with recording the vocals, I would be like RECORD, PLAY, SYNTH. You know what I mean? You couldn’t really have a little like count in or anything like that. In a way it was funny cause it’s machine it’s loopable and everything, but in a way it’s live.

Maybe you’ve heard this story, but the song ‘Fuck The Pain Away’, the recording on the album is actually a live recording from a show the first time I actually played the whole song. So I was playing around with it, I knew I wanted to say ‘fuck the pain away’. I knew I wanted to use these sounds and everything. But I played it live and then after the show, the soundwoman Marlon, she said “hey, if you give me five Canadian dollars I’ve got this cassette that I made of your set”. So I listened to it and I put ‘Fuck The Pain Away’ on another cassette for people to listen to, and it was that thing "if it ain’t broke don’t fix it". That is the live recording of the first time I ever played it, live. Which is on the album and ended up on soundtracks of movies, and TV series, and I’ve never changed it. You hear a lot of hiss sound, and you actually hear someone go “WOO” in the background after the first chorus. I’ve gotten many many emails and stuff asking “hey what’s that sample of the WOO?” and I’m like, “that’s my first fan yelling in the background”.

How important is the live aspect to you as an artist?

SO important. I mean it’s important to make sure that the music first transfers and is good enough musically and lyrically. I like to make it as minimal as possible with maximum amount of impact. Number one, music must be on-point… then if you have that, you can make the performance whatever you want. It’s an incredible experience and I love it. I am a theatre director at heart so I want to dazzle. I want to entertain, I want people to feel, I want to be interactive, I want surprises, I want emotion, and I won’t settle for anything less.

Where do you think that instinct comes from?

I think it comes from the love of live performance and the energy it gives me, and I think I learn a lot from spontaneity. The spontaneity with an audience. I find even rehearsals difficult but rehearsing on-stage with the intention to me of building a show is a way forward. Maybe it comes from my need to connect with people or seek approval or wanting to be loved adored, hated… have that interactive emotion with people.

What can fans expect from the shows here?

Oh you know, nothing. I’ll just play the machine, there’ll be one light on me and I’ll have a pair of underwear on. NOOO, they’re gonna get a SHOW bay-bee. It’s gonna be incredible and it’s gonna be exciting and it’s gonna be surprising and it’s gonna have a full arc. It’s kind of like the machine came alive and then it just explodes into musicians and dancers. I’ll have live drums, I’ll have guitars, I’ll have just incredibly talented people with me and a beautiful clean set where we can all work, and never trip on a wire, ’cause there won’t be any and there won’t be anything in our way. Nothing can stop us!

Do you have any fond memories of your previous shows here in New Zealand?

Yeah, they were great! I remember The Kings Arms shows. The shows were great, I mean Auckland’s great. I wish I could spend more time there. Specifically I remember the place’ cause I know I’ve played there twice — both times I’ve played there [The Kings Arms closed in 2018 — Ed.]. It’s great, great audiences. All hail Ladyhawke, that’s what I say!

Interview Alex Cameron New Zealand Shows

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

General public tickets on sale HERE

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.*

No shit!

*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.

DARTZ Announce Supports For Debut Album Release Tour

Chris Cudby / Image credit: yeehawtheboys
/ Monday 14th November, 2022 2:01PM


Popping corks and cracking open the Lion Browns in celebration of their debut album The Band from Wellington, New Zealand hitting the number one spot on the official top 20 NZ albums chart, Pōneke party punks DARTZ have announced special guests for this summer’s record release shows. Verified hit-makers Danz, Rollyz, Crispy and Clark Mathews will be joined in December by Night Lunch, Liam K. Swiggs, This Dog, Rat Café and more to be announced, plus they’ll be tearing it up at selected events in the North Island with Queensland shed-rockers The Chats.

Jumping the ditch next week for their first ever Australian gigs, DARTZ have just announced their absolutely mad plan for Crate Day (Saturday 3rd December), when they’ll be playing four cities in one day! Continuing their epic quest to dethrone Six60 as Aotearoa’s most popular band, head over to the DARTZ Instagram page HERE for the full low down on those flat parties, order their chart-smashing Flying Nun long player HERE (an ideal stocking-stuffer), and prepare to get rowdy at the following dates…

DARTZ – Debut Album Release Tour

Thursday 1st December – The Crown, Dunedin w/ Night Lunch

Friday 2nd December – Space Academy, Christchurch w/ Liam K. Swiggs, This Dog

Saturday 3rd December – Last Place, Hamilton w/ Rat Café + more to be announced w/ (free show)

Wednesday 7th December – Meow, Wellington (supporting The Chats)*

Sunday 11th December – Galatos, Auckland (supporting The Chats)*

Tickets available HERE via UTR

*Tickets available at

DARTZ take aim at those ubiquitous bitter, rock-hard Christmas "treats" scorched almonds in their searing diss track ‘Scorchos’ from The Band from Wellington, New Zealand…

‘The Band from Wellington, New Zealand’ is out now digitally, on CD and limited edition vinyl LP — order yours HERE.

Press release:

DARTZ (the band from Wellington, New Zealand) is RIDING HIGH:

– a number 1 NZ album for their self-titled debut effort
– one week out from their first international tour
– Playing parties in all four NZ major cities on Crate Day, free of charge for the DARTZ fans

And now, the best band in Aotearoa is stoked to announce a bevy of talented supports for their upcoming shows in Dunedin, Christchurch and Hamilton:

Dunedin – Night Lunch
Christchurch – Liam K. Swiggs and This Dog
Hamilton – Rat Café and more TBA

DARTZ Unleash Debut Album The Band From Wellington New Zealand

Chris Cudby
/ Friday 4th November, 2022 11:00AM


Friday 4th November, 2022 will go down in the history books as DARTZ Day, that landmark moment when the Te Whanganui-a-Tara four-piece unveiled to the world their debut album The Band from Wellington, New Zealand via Flying Nun Records. Feeling like a career-spanning best of, yet in fact the first official long player from Danz, Rollyz, Crispy and Clark Mathews, the album includes eight new versions of time-honoured DARTZ faves, laid down at Roundhead Studios with producer Steven Marr — rowdy fresh takes on such politically searing anthems as ‘One Outs Captain Cook’, ’40 Riddiford Street’ and ‘Prey For Prey’, along with party punk classics ‘High At The Beach’, ‘Toyota Corolla’, ‘4AM’ and more. There’s also two newies in the mix, recent single ‘No Dogs At This Party’ and scorched almonds diss track ‘Scorchos’, in which Danz bravely reveals a festive secret held by many: "I hate scorchos!"

No doubt the Trash Recital stars will be brushing up on late night viewings of Muriel’s Wedding, Crocodile Dundee 2 and Wake In Fright in preparation for their first ever Australian tour, happening in November before they return for a triumphant run of summer homecoming shows, including selected dates with The Chats. Help send DARTZ to their rightful place at the top of the charts by ordering your own copy of The Band from Wellington, New Zealand, and don’t miss them at the following dates…

DARTZ – Debut Album Release Tour

Thursday 1st December – The Crown, Dunedin

Friday 2nd December – Space Academy, Christchurch

Saturday 3rd December – Last Place, Hamilton (free show)

Wednesday 7th December – Meow, Wellington (supporting The Chats)*

Sunday 11th December – Galatos, Auckland (supporting The Chats)*

Tickets available HERE via UTR

*Tickets available at

‘The Band from Wellington, New Zealand’ is out today digitally, on CD and limited edition vinyl LP — order yours HERE.

Interview Jordan Luck of Dance Exponents The Others Way 2022

Mitch Marks
/ Friday 21st October, 2022 2:59PM


Dance Exponents formed in Christchurch in 1981 and within the year they had a record deal and a song in the top 10. Their first studio album, Prayers be Answered, was released in late ‘83 and was followed by prolific touring, more recordings, and an implosion of sorts, but frontman Jordan Luck is the pop phoenix that keeps rising and reinventing, and he and his various band iterations have remained relevant and in our cultural canon ever since. Prayers be Answered is being reissued today nearly 40 years on, and Jordan and the band will be taking the stage at Galatos on Saturday night at The Others Way to play the album in its entirety to celebrate. Mitch Marks will be there, singing all the songs word for word, but first she caught up with Jordan over Zoom and self-indulgently reminisced about her favourite Aotearoa album.

UnderTheRadar, Flying Out and 95bFM present…

The Others Way Festival

Saturday 22nd October (during Labour Weekend) – Tāmaki Makaurau’s Karangahape Road

Featuring… Anthonie Tonnon, Bleeding Star, Carnivorous Plant Society, Ché Fu & The Kratez, Coolies, Daffodils, Dance Exponents, Earth Tongue, Finn Andrews, Francisca Griffin and the Bus Shelter Boys, Half Hexagon, Hans Pucket Midnight Karaoke Challenge, Juno Is, Julien Dyne, Landlords, Laura Jean, LEAO, Maxine Funke, Mirror Ritual, MNDSGN & the Rare Pleasures, Nadia Reid, The Newmatics, PollyHill, Proteins of Magic, Repairs, Rita Mae, Shepherds Reign, Soft Plastics, Steve Gunn, Swidt, TE KAAHU, Vanessa Worm

Tickets on sale HERE via UTR

Jordan Luck Band

Monday 2nd January – Tai Tapu Hotel, Christchurch
Tuesday 3rd January – Luggate Hotel, Wanaka

Tickets available HERE via UTR

Jordan Luck: Hi Mitch! I’m in Little River. Sort of halfway between Christchurch heading east towards Akaroa.

Mitch Marks: It looks beautiful there. I’m in Auckland, on K’Rd.

Oh, you’re close to where that band the Dance Exponents are going to be playing.

Yeah, I’ve heard about that… great segue.

Quite a young wee group and they’re re-releasing their debut album — debut studio album — Prayers be Answered.

A reissue… what, for like 40 years or something like that? Is that the tagline?

Yeah, that’s the truth of it. Well, it’s actually 39 years old – I think it was November ’83.

I remember. That album was one of the first albums for me that was obviously a New Zealand album. I feel like before that I didn’t really understand that New Zealand music existed. I’d heard Split Enz, but you came along and you had the South Island burr in there. I was nine years old and one night, late on the radio, they played the entire album start to finish and I taped it off there. I painstakingly replayed the tape, transcribed all the lyrics. I’m excited that it’s getting another life and I’m excited to see you guys play it.

Oh, thank you — especially with the transcription of lyrics, because I might need to borrow them.

I’ll tell you what, I will be up the front at The Others Way and I can give you the prompts should you need it.

But how do you feel about it? How does it feel 40 years later, with everything that you’ve done in between, to come full circle to this album?

Well, trepidation as I say for about 3/4 of the material, but some of the songs they’ve been on and off in the set – actually Victoria’s been in the set pretty much from that period and that turned 40 years old this year, the debut single. All I Can Do, we play quite a lot. Your Best Friend Loves Me Too.

But I think the rest of them, most of them I wouldn’t have played… some of them not since the ‘80s, a few through the ‘90s, but probably it’s only those three that I’ve consistently played.

Have you been relistening to your own material then?

I have! I’ve got a cassette – the car’s got a cassette deck in it. But I’ve also been learning up the Mockers as well.

Why’s that? Just for a bit of balance?

Well, The Culprit and the King is on cassette here as well and [shows me the tape] so here we go.

It’s like the ‘80s never ended for us.

It’s just that The Culprit and the King, it’s an outstanding record, it’s got Forever Tuesday Morning on it and also One Black Friday. It’s just really good.

In the year 2000 I was writing for Rip It Up magazine when they did a 100 Greatest New Zealand Albums list that we all contributed to and I put Prayers be Answered on mine. I looked it up yesterday and there’s an archive of the article online on a Split Enz fan site because Mental Notes was number one – Prayers be Answered came in at #32.

[laughs] Thanks Mitch!

You’re welcome! But there was a Dead C album at #33 and it made me think how strange the label of ‘New Zealand music’ is and how diverse we are as a country musically, but everybody gets lumped in together because we’re so tiny.

The thing I would say about ‘New Zealand music’ is that if you have recorded here, no matter what sort of material or genre of music you might be doing you’re automatically a cult band.

By virtue of the small population you instantly have a ‘cult’ following?

Exactly, it’s like Icelandic music.

Definitely similarities in terms of remoteness and also our—

And the diversity of styles of music.

—our genuine weirdness. Is it the lineup that played on the original recording that’s playing at The Others Way?

Yeah, it’s myself, Brian Jones (guitar), David Gent (bass) and Harry (Michael) Harallambi (drums) who were on the record, but a lot of those songs prior to recording were with Steve Cowan and Martin Morris who were keyboard and guitar. And also post-the album was completely Chris Sheehan so we’re doing some of the songs that were written and played around that period – Only I Could Die, which turned up on the next album, Ashened Ashened Autumn Leaves, and Sex and Agriculture. But playing the Chris Sheehan and Steve Cowan pieces is Brett Adams who is an ex-Mocker, he’s in the Bads. So Brett is augmenting the line-up.

Are you in rehearsals? How has that been going?

No. Dance Exponents never rehearsed actually. I think over a 20 year period we probably only went into a rehearsal room… I could only count maybe, 10 times.

There’s so much stuff that was done on the road touring, and we’d be rehearsing in the venues. So this will be quite unique. We’ve played with Brett quite a lot. Well, pretty much all the shows we’ve done through this century. We do start rehearsing next week at Dave Dobbyn’s studio.

So what are you excited about it? Is this an exciting thing for you?

I find every show exciting. But this is more unique. A lot of the songs were quite old by the time they went on the album. We formed September ‘81. Our first gig was October ‘81, some of them were three or years old and the reason why they ended up on the album was they were already popular live, people would be dancing to them. It’s pretty hard to go wrong if you’ve got three or four years of music up your sleeve, your first album should be pretty strong. And then after that, it’s like chasing more – what do we do next?!

It is weird, isn’t it? Because today a lot of studio albums would be the complete opposite – songs that haven’t even been played live, they’re only performed in that sort of test tube of a situation. It’s quite a different experience I would imagine.

Oftentimes it’s a wee bit slower, the turnover as well nowadays. Bands used to be recording at least an album a year and separately, sometimes, three or four singles.

Was Victoria the only single that was released before the album?

No, there was I’ll Say Goodbye, All I Can Do, Airway Spies… oh, we’re playing Airway Spies! Which Isn’t on the album, but it’s on the Australian version.

That makes me think maybe I’ve got the Australian version. My copy of the LP is on its way on a container ship from Australia as we speak.

Really? Well, they dropped [on the AU version] Swimming To The Table Of An Unknown Girl and put on Airway Spies.

Oh no, I’ve definitely got Swimming To The Table Of An Unknown Girl on mine, it’s one of my favourites.

[Sings] Across the bay, across the sea and an ocean.
Stranded on the shore of uncharted land.

[Quietly] I can’t do that thing where I sing along…

[Singing louder] Where the girl came from, we breaststroked on, I don’t really know.

Both: [Singing] Swimming to the table of an unknown girl!

Alright, dream accomplished.

I was reading something before that said Jordan Luck can produce amazing pop songs out of his arse. It felt like that’s a bit diminishing. Is it that easy? You have written some of the most iconic songs of the last decades here.

It’s like a drunk dropping coins out of his pockets when I record.

That’s a nice image. Is it that easy?

Well, I come up with melodies pretty much all the time, it’s true. But lyrics I find a lot harder, more difficult these days. But maybe it’s because I’m thinking I’ve kind of said that, or I’ve felt that. What’s the unique way of putting my feelings into the melody? It’s good when the melody comes with the words at the same time. But a lot of a lot of the time I’ve got the chords, got the structure, melody, but the lyrics are kind of “what colour do I use on this piece of canvas?”.

“Which girl’s name am I putting in there this time?”

Usually if it’s a ladies name, the melody will come quite quick.

Should we read them as autobiographical?

They’re all based on truth. That’s why I think I can keep singing them, they’re still relevant. Or that relevancy maybe moves a bit to the left or right, because of the circumstances. But they’re honest.

We’re always going to be doing the hoovering at some point, aren’t we? [referring to Victoria]

Alright, the good story there is that song had been about six months, and I went and saw her, Vicky, at her apartment and she had one of the big promotional posters up on her wall. Framed. And she’s making us cups of tea, 10am in the morning, and she goes, “oh, Jordan, thank you for the song”. I didn’t say anything. And she says, “I got rid of the bastard”.

It worked!

[Sings] What do you see in him?

Maybe we all need a little bit of a nudge like that in song. The only songs I’ve ever had written about me – I mean, my name rhymes, quite obviously with something.


Oh yeah. Good point.

[Sings] Mitchy is a rich girl, Mitchy is a rich girl now.

Maybe that could be my next phase. I’m moving out of my bitch era and into my rich era. See you at The Others Way, Jordan!

Dance Exponents are reforming for their first shows in 36 years, playing all their hits from Prayers be Answered at The Others Way Festival.

Interview Mild Orange Looking For Space New Zealand Tour

Chris Cudby / Photo credit: Rob Thorogood (@robthoro) – sold out at Paradiso Noord, Amsterdam
/ Tuesday 18th October, 2022 10:55AM


Rising from humble Ōtepoti origins to touring the world with their third studio album Looking For Space, Mild Orange are returning home following a mostly sold-out run of headline shows in North America, EU and Australia. Now based in London, Mild Orange will be playing songs from their new record in the four main centres of Auckland, Wellington, Christchurch and Dunedin this week and next, joined for all dates by special guest Wiri Donna. We caught up with the two Joshes of the group — guitarist Josh Reid aka Jah and singer / guitarist Josh Mehrtens aka Mehrt — who opened up about key moments in Mild Orange’s career thus far, ongoing challenges facing touring artists, how the indie / psych / dream-pop four-piece keep their global fanbase in the loop, tunes to get them revved up for shows (including their own tour playlists) and more…

Mild Orange – Looking For Space Tour NZ 2022

with special guest Wiri Donna

Friday 21st October – San Fran, Wellington

Saturday 22nd October – Loons, Christchurch

Sunday 23rd October – Dive, Dunedin (Labour Weekend)

Friday 28th October – Hollywood Avondale, Auckland*

Tickets on sale HERE via UTR
*Auckland tickets available via Live Nation HERE

Chris Cudby: Hi Joshes! Mild Orange have just wrapped up a huge run of headline dates in EU, North America and Australia. Many of those events sold out — sounds like the tour has been going pretty great?

Jah: Hey! Yeah, the tour has definitely exceeded our expectations and the crowds have been great. It was good to be able to revisit some EU cities that we played in 2019 and compare that experience to the recent shows. Needless to say, these shows had much greater attendance, with almost all of them selling out! The North America and Australia shows were a lot of fun too, we hadn’t played in any of those cities before.

Did you spot the recent discussion around Animal Collective pulling the plug on their 2022 tour, because of spiralling costs related to Covid? From your perspective, is it presently still a fairly challenging / uncertain time to be an international touring artist?

Jah: Yes! We did see that post while we were on the road and found it a very honest and relatable perspective. I appreciate how transparent they’ve been about the situation, there needs to be more of that I think. It’s definitely still a hugely challenging time and I can see why some artists may bow out of touring all together until things settle. However, for us we have been building up to this tour for years now and were dead set on making it happen. This is partly why we made the decision to move to London, it just makes touring in EU / North America that much easier.

Mild Orange’s rise has been meteoric — achieving significant streaming success and a genuine connection with fans around the world. Did you envision this level of success when you were releasing your 2018 debut album Foreplay, or has this all been part of the Mild Orange master plan? What have been some pivotal moments for Mild Orange?

Jah: We’re still incredibly grateful to have found an international audience whom our music resonates with so much. We certainly had hopes of success when we released our debut, but truthfully, it was released without any expectation. We were completely independent and the album was very DIY. We put it out and thankfully the internet did its thing, finding fans across the world who wanted more. Our most pivotal moment to date would have to be when Ukrainian YouTuber / music tastemaker, Alona Chemerys, kindly shared two of our tracks (‘Some Feeling’ and ‘Mysight’). Both tracks took off on her channel, particularly ‘Some Feeling’ which has since amassed over 27 million views. That channel is hugely responsible for connecting our music with the world.

How have you maintained your connection with Mild Orange’s overseas fans, while being based in Aotearoa?

Jah: I think the internet can be a wonderful tool for musicians in this day and age. Geographic location doesn’t mean what it used to. Anyone can release anything, anywhere, and it can be heard by people all across the globe. We actually have a stronger fan base in many countries ahead of Aotearoa. Our largest platform is YouTube, so we try to keep content flowing on there pretty steadily. Otherwise, it’s just the usual really, trying to maintain engagement on Instagram, Facebook, etc. Our overseas following is largely what influenced our decision to relocate to London. We felt it was time to be more connected to our international fanbase and continue building abroad.

Your Looking For Space tour footage looks and sounds beaut. Will there be a tour film released in the near future + were the band editing these live clips while on the road?

Jah: Thanks! Glad you like them. We were very fortunate to have our UK videographer / friend Rob Thorogood come on the road for the EU shows. He was filming every night and editing the next day in the van. Nils, our sound engineer, was recording the live audio, and then Mehrt would give it a quick mix in the van too. A pretty speedy turnaround! But yes, keep an eye out for a tour recap of sorts in the future.

Your latest album Looking For Space was recorded in a variety of spots around Aotearoa, finished off at Roundhead. Do you find location impacts on the feel of your recordings? Are you eyeing up any future recording locations — or has Mild Orange’s sound now grown too large-scale for a portable home studio setup?

Mehrt: We really connect to where we are and it certainly influences the songs and recordings. It’s irresistible to some degree to not be influenced by environment and to want to create music that honours those spaces. We often record in places where we can relax and can do other things between sessions, such as swimming in the ocean or throwing a frisbee around outside. I like to slip some of the sounds from living those sweet moments into the recordings too, like waves crashing, birds chirping, camera clicks, the tapping sound of typing on the laptop late at night etc. We’ve got a home studio set up in London which we’ve been putting to good use. I think it’ll remain a vital part of our creative process — there’s no place like home. But as for completed recordings, we see ourselves entering more studios out of necessity to hone the bigger sounds that we’re after.

Will it be time for another round of songwriting sessions once your New Zealand tour wraps up? Does Mild Orange stick to a strict "one album every two years" schedule?

Mehrt: We never stop writing! Everything we do feeds into the project one way or another. It’s been nice on tour having spare moments at sound checks to jam, or jot down random ideas we get on our travels. We don’t have a strict ‘album every two year schedule’ but it just happens to be that 2 years is roughly how long it takes us to complete an album. We have a heap of songs we’re being patient with, as well as a bunch of new ideas and directions that we want to pursue, so the hardest part about this next project is going to be being decisive and completing things.

What’s been on the Mild Orange tour playlist in 2022?

Mehrt: Jack has been in charge of that! We have the playlists ‘MO Pre Show’ and ‘MO After Party’ on Spotify. Check em’ out. Before the show we play ‘Poveglia‘ by Degs & De:tune to get ready. When we finish playing on stage we play Baccara ‘Yes Sir, I Can Boogie‘ on the PA and lots of fans often stay to enjoy a little groove to it.

What can local gig-goers look forward to from Mild Orange’s homecoming shows this month?

Mehrt: Look forward to a very tight band with a set that has been fine-tuned over a month on the road around the world leading up to these shows. We’re bloody excited to be home in NZ, so we’re gonna go all out on stage at these ones. Wiri Donna will be joining us as support too — they’re epic. See ya soon mates and come say hey.

Primer Aldous Harding Tour of New Zealand

Chris Cudby
/ Tuesday 5th July, 2022 12:12PM


Arising from humble beginnings in Lyttelton’s folk music community, Aldous Harding aka Hannah Harding seems to have entered what could described as the "imperial phase" of her career — a term first coined by Neil Tennant of the Pet Shop Boys to articulate that period when a musician is regarded to be at their commercial and creative peak simultaneously. Harding’s new record Warm Chris (out now on Flying Nun / 4AD) veers further from folky roots to delve down offbeat avenues, coaxing gruff Sleaford Mods frontman Jason Williamson to have a crack at Nico-esque balladry on closing collab ‘Leathery Whip’. Sculpting resonant shapes from Western avant-pop / rock’s rich tradition, the Aotearoa songwriter’s cryptic lyrical approach often trips up reviewers and interviewers alike, despite Harding’s forthright, no-nonsense conversational style. Even the title of Warm Chris provokes mystery, our current UTR office theory is it’s a cosy play on "Hot Toddy"?

Presently based in Wales, Harding returns to Aotearoa in October for a rapidly selling-out, three date nationwide tour. To help prep your ears (and eyes) for Harding’s first local shows since 2020, we’ve gathered here in one handy spot all the videos released for the singles from Warm Chris so far, plus as a bonus 2021’s standalone ‘Old Peel’…

Aldous Harding – 2022 Aotearoa Tour

with special guest H. Hawkline

Wednesday 26th October – Town Hall, Auckland

Friday 28th October – St James Theatre, Wellington

Saturday 29th October – James Hay Theatre, Christchurch

For complete tour and ticket information, visit: &

Animator Chris McD contributes surreal, nursery rhyme-like visuals for ‘Tick Tock‘…

Harding and regular collaborator / visual mastermind Martin Sagadin co-directed the gorgeous videos for both ‘Fever‘ and ‘Lawn‘ — the latter of which stars Harding as a half-lizard and showcases Sagadin’s limber juggling skills…

Flipping roles, an Iggy Pop-like Martin Sagadin takes centre stage in Harding’s self-directed clip for 2021’s standalone single ‘Old Peel‘…

‘Warm Chris’ is out now via Flying Nun (in Aotearoa) and 4AD (rest of the world).

Interview Oliver Tree Elemental Nights 2022

Henessey Griffiths / C.C. / Photo credit: Jimmy Fontaine
/ Tuesday 28th June, 2022 12:45PM


US songwriter and cyberspace star Oliver Tree is playing his first ever Aotearoa headline event in July at Auckland Town Hall, as part of the jam-packed Elemental Nights 2022 winter festival. Promising fans an anything-goes extravaganza including "motivational speaking, storytelling, comedy, performance art, scooter stunts, WWF wrestling, even some belly dancing," Tree got on the blower with Henessey Griffiths for an insightful chat — delving into Tree’s recent shift from dance-pop-punk to country, the relationship between his larger than life image and personal music, Tree’s mad scooter skills, and the pair’s shared dislike for infamous YouTuber Logan Paul. You can catch Oliver Tree on the 25th for Elemental Nights, also starring Jungle, Dope Lemon, Nadia Reid, Diggy Dupé, Mura Masa and more, for full lineup details and ticket info head over HERE.

Oliver Tree – Elemental Nights 2022
Monday 25th July – Auckland Town Hall
For complete tour and ticket information, visit: &

Henessey Griffiths: Kia ora Oliver! Thank you for taking the time out to talk to us, how has your day been going so far?

Oliver Tree: Doing pretty good. Just doing meetings and stuff, nothing too exciting. I’m getting all dolled up here because I’m gonna go film a TV show. It should be exciting for me but I can’t say too much, but it’s good.

I’ve seen that you’ve been real hectic on the festival circuit at the moment, how have all your live shows been going?

They’ve been going pretty good. One of my shows, my band got stuck in the Mexico border, and we rented them a private jet to come to the event but they came five minutes before we finished. Pretty much a nightmare scenario, I hired one guy off the street to play piano, and then I brought in another drummer somewhere else, and it was a disaster. But besides that it’s been smooth sailing.

Nice, cause I saw a video of you online and you were absolutely shredding it on your scooter and it looked sick.

Yeah, I got some mad moves.

You made major waves with your 2020 album Ugly is Beautiful, and that’s where we got to learn more about who Oliver Tree is. I was really surprised to hear that within your new album Cowboy Tears that you took a more country route. I think it played out really well, was this genre shift a natural progression for you, or something you intended on doing?

For me, it was super organic. It was just getting in touch with my roots. I grew up every year going to my grandparents’ ranch, and I know a lot of people don’t know this, but my grandfather was a cowboy, and his grandfather was a cowboy, so it was part of my lineage. Obviously I’m a city slicker and not the traditional cowboy, but I grew up on the ranch feeding the animals. During Covid, I ended up spending some time out there after Ugly is Beautiful came out and I had retired officially from music. It was just the organic thing, after working everyday on the ranch, I just was noodlin’ around on my grandfather’s acoustic guitar and started writing music. Some of the songs I loved so much I thought, “I might as well share this”. It wasn’t something that I intended to do at all.

I feel like a lot of people tend to rag on country music, but it’s generally a genre filled with so much emotion and pain and sorrow; and that definitely seems like a big theme for your album. Was it a cathartic feeling of making the album? Did it feel good to express all those emotions and get it out there?

A hundred percent. For me, I don’t go to therapy, my art is my therapy. I’m sure it’s healthy for everyone to go to therapy, but for me, I’m really grateful I have that place where I can really let it all out, really put my soul into something and turn my negative energy into something positive that I can share with the world. I feel really lucky to have something like that.

I feel like with this album there’s a certain vulnerability to it that I don’t feel like we’ve seen from you before. What would you say is your biggest take away from this whole experience?

For me, it was that I could totally change things up and ultimately I think that a lot of my fans felt like I turned on them. But the truth is that I’m not here to pander to anybody, I’m gonna do whatever the hell I want. So it felt good that I could just do whatever I wanted, and even though when I told my fans I was doing a country album they said “boo, keep it, we don’t want it,” then when ‘Cowboys Don’t Cry’ came out, the first single, people really loved it. It was actually the biggest first release that I had for the first couple of weeks, so it was pretty exciting to see that I could do whatever the hell I want, I could switch it up and people could either learn to appreciate it, leave or embrace it and be stoked on it. I got a wide range of responses… I think the core fan base and the people that are really about it, they mostly stand behind it. The truth is that if they couldn’t, they could go back and see all the stuff I did with that first character in that first album. I released music for years and wore that stupid outfit for five years. There’s a lot of content and interviews that they can go watch if that’s what they’re looking for.

You obviously have such a distinct image that a lot of people would describe as pretty “memey”, especially as we’re living in an age of the attention economy where memes are a form of cultural currency. Do you think that your image of Oliver Tree beforehand is a blessing or a curse in a way?

I would say it’s a blessing. No one ever listened to my music before. It was just a means to an end, a vehicle to pull people to my music. I spent 10 years making music, and no one gave a shit. So it was a blessing to get people to finally pay attention to the art, and see my life’s work. A lot of people didn’t know ‘that guy’ made music, they just thought it was a meme first, and a musician second, but really it was the other way around. It was a really good strategy to pull people, so it was a blessing for sure.

The fact that you still have a dedicated fan base who are supporting you even if you’re going down a different route with your music and style, it’s very limitless in the amount of opportunities that you have and how you can really express yourself. I think that’s so sick.

It’s sad that this is going to be my last album. But I do have my deluxe version of the album that’s slowly starting to trickle out a couple more songs: Drown the World in a Swimming Pool of Sorrow is the deluxe version, I’m doing a pop-punk album. Basically it’s a double album with 12 new songs along with the ‘Cowboy Tears’ songs, giving some of the fans who really wanted that rock sound another body of work for that. But this is kind of the end of it for me. I’m grateful for what I did get to make, and I’ll always make music for myself, but I don’t have any more intentions to release it.

That’s fair enough. I would say that one of my favourite tracks off the album is ‘Balloon Boy’, and it got me quite emotional, with the idea of floating away and being free in that regard. I do have to ask, is the title a reference to the infamous Balloon Boy incident of 2009?

Hmm, that’s a really good question. It’s actually based on that poor child.

I thought so! Because I think about that all the time but I feel like no one remembers it.

I was heartbroken by the whole event. I was glad to see what actually ended up happening.

So you’re coming to Auckland on July 25th for Elemental Nights, which is going to be so sick, have you been to New Zealand before?

Sadly no. I’m so excited, it’s always been a dream of mine, so I cannot wait to come. I was hoping to go last time around when I went to Australia but the stars didn’t align. So I’m excited to finally come.

It’s gonna be so much fun, is there anything that we can expect from the live show? Like will there be some Cirque du Soleil type shit?

It’s definitely a traveling circus that we put on. The way that I describe it is that there’s a little bit of something for everyone. We have motivational speaking, storytelling, comedy, performance art, scooter stunts, WWF wrestling, even some belly dancing. Music wise, we have rock, pop, soul, hip-hop, country music, dance music, electronic music. We’ve got a wide range, and I feel like we offer a show that’s eclectic, and offer something for everyone.

That’s the best sales pitch you could ever ask for, like why would you not want to go now?

It’s gonna be our last tour ever, so if you’re even on the fence about it, just know that this is it. We’re not coming back. I could be coming back for my own vacation, but you’re not gonna see the show again, so this is kind of a once in a lifetime opportunity to get to see the show.

You said that after your next album it’s probably going to be your last, what can we expect to see from you in the future? I know that you’ve got a really big interest in filmmaking, would you want to work more on the film side of things?

Yeah, that’s really my dream job, music is just my day job. When your dream becomes a reality, it’s no longer a dream. Obviously there’s so many different levels to it. For me, I was able to take it to a place that I feel proud of, and I feel like I got to do it, whatever scale you want to call it. I don’t know if it’s the top of the underground or the bottom of the mainstream, but I was able to make it somewhere between those worlds. Ultimately, it’s not really a dream to me anymore. I’ve been working on these screenplays, I’ve just finished writing my third feature film.


I’m just really doing it for myself right now, for the passion of it and to get really good at it. These three different films are totally different genres. One of them is a kids movie, one is NC-17, and one of them is somewhere in-between. I’m really exploring the options of where it can go, that’s like really the end goal. I haven’t had time to focus on starting production on any of those because I’m finishing music and playing a hundred different shows this year, so it’s been eating up all my spare time, but that’s really the end goal. To get really into writing and directing and producing my own features.

That’s mean! If you need any colour grading, hit me up. Okay, I have one last question for you. Would you rather get hit in the ankle like, every day for a whole year, or have to go on Logan Paul’s Podcast again?

Jesus. I’m gonna take a scooter to the ankle every time. I would never wanna have to meet Logan Paul again. That guy is bottom of the barrel, scum of the Earth. I can’t really say too much more because my lawyer Jeremiah Jeffery has advised me not to get too deep into this as there’s an impending lawsuit. But, based upon my drink Slime, I make a signature sports drink, he ripped me off, he made some bullshit drink called Prime, and we’re still figuring out the logistics. He rolled his out before I could really roll mine out and my investors are slow with Covid, so I’m actually in the middle of a lawsuit against him, and I can’t say anymore than that.

That’s honestly fair enough, I really don’t like Logan Paul aye.

Well, I’m glad we have that in common because I hate that dude with every bone in my body.

Well, good luck for the lawsuit, and thank you so much for taking the time to talk to us today! We really appreciate it, and good luck for the show as well.

Thank you so much, have a great day.

Mild Orange Announce Looking For Space Tour of New Zealand

Chris Cudby / Photo credit: Kenzie Pigman
/ Tuesday 7th June, 2022 2:00PM


Hitting the ground running following two years of pandemic-related curveballs, Aotearoa’s Mild Orange recently unveiled an extensive run of Europe, Canada and US headline events celebrating the February launch of new album Looking For Space. The cherry on top for local fans is undoubtedly a just-announced concluding four date homecoming tour, venturing to NZ’s four main centres of Auckland, Wellington, Christchurch and Dunedin this October. Garnering legions of devotees worldwide for their dreamy and anthemic take on indie / psych / guitar-pop, the four piece of Mehrt, Jah, Barry and Jack are clearly fizzing to be finally touring again…

“We’re really looking forward to playing the new album at home, especially since it was very much inspired by various spaces around Aotearoa… We’ll be tight as for NZ after taking this show around the world just before these concerts. Very stoked to be coming home from London and reconnecting with the chilled out vibes too”. — Mehrt

Mild Orange – Looking For Space Tour NZ 2022

Friday 21st October – San Fran, Wellington

Saturday 22nd October – Loons, Christchurch

Sunday 23rd October – Dive, Dunedin (Labour Weekend)
Friday 28th October – Hollywood Avondale, Auckland

Tickets on sale at 2pm, Thursday 9th June HERE via UTR

Watch the video for Mild Orange’s ‘The Time Of Our Lives’ from Looking For Space…

Press release:

Aotearoa’s indie-pop legends Mild Orange have today announced their homecoming tour, celebrating the recent release of their critically acclaimed third album, LOOKING FOR SPACE.

Returning home after an expansive world tour, Mild Orange will embark on a four-date national tour in October 2022, performing the successful album, including recent hit singles ‘Oh, Yeah’ and ‘The Time Of Our Lives’. Kicking off in Wellington on October 21, the band will then play Christchurch the next day on October 22, before heading to Dunedin on October 23 and finishing up in Auckland on October 28.

LOOKING FOR SPACE is an 11-track masterpiece of stunning indie-pop, which debuted at #17 on the Official NZ Top 40 album chart. In this album, the four-piece (Mehrt, Jah, Barry and Jack) tear apart the four walls that defined their unique bedroom pop sound, capturing the wilderness that lays beyond. The album explores a world beyond lockdown, visioning spaces through washes of trailing echo and supple electric guitar.

Mild Orange are undoubtedly one of New Zealand music’s most successful exports of the last few years. Their music has resonated with fans everywhere, with streaming numbers soaring beyond 100 million; enabling them to tour their powerful live show around the globe. Back on home soil, they continue to sell out shows and prove just why their goal of making “timeless, while timely; universal, though personal; nostalgic, yet ever-evolving” music is a winning recipe.

Catch Mild Orange on their homecoming tour for an unforgettable celebration of LOOKING FOR SPACE. Keep an eye out for support acts to be announced in the coming months.

Disasteradio Announces Charisma Archive National Library of New Zealand

Chris Cudby / Image credit: Luke Rowell
/ Wednesday 25th May, 2022 2:19PM


Presently based in rural Canterbury following two years in Hong Kong, Luke Rowell is well known to music lovers across the globe for both his seminal vaporwave / MIDI pop work as Eyeliner and his dynamite synth-pop tunes as Disasteradio. Following on from last year’s launch of The Luke Rowell Digital Music Collection with the National Library of New Zealand, providing a wealth of accessible online resources relating to Eyeliner’s 2015 album Buy Now, the innovative project now expands to include Disasteradio’s 2010 classic long player Charisma, including viral smash hit ‘Gravy Rainbow‘.

The Aotearoa electronic artist himself has created an incredibly informative video giving fans the lowdown on the Charisma archive, produced with the National Libraries team and music curator Michael Brown. Watch below and head along to National Library of New Zealand’s blog HERE for extensive details, stems / remix resources, in-depth screencast commentaries from Rowell explaining the creation of every song on Charisma, plus lots more…

Watch the iconic video for ‘Gravy Rainbow’ from Charisma, made by Simon Ward, Don Brooker, Kenny Smith, Greg Oswald and Luke Rowell …

Interview Laura Lee of Khruangbin New Zealand Show

Interview by Ali Nicholls / C.C.
/ Tuesday 12th April, 2022 1:25PM


Genre-melting Texan superstars Khruangbin are heading our way in December for their first ever Aotearoa headline event, performing at Tāmaki Makaurau’s Spark Arena with special guest US jazz icon Kamasi Washington. Presently touring the UK and scooping up rave reviews, for both their latest album Mordechai and a pair of collaborative EPs with Leon Bridges, Khruangbin bassist Laura Lee aka Leezy kindly spared the time to get on the blower with Ali Nicholls for a wide-ranging chat. They spoke about the trio’s return to playing live shows following the pandemic pause on gigs, how Khruangbin balance a diversity of sounds and cultural influences in their music, Laura Lee’s melodic approach to playing bass, post-tour travel plans and more…

Undertheradar proudly presents…

with special guest Kamasi Washington
Tuesday 6th December – Spark Arena, Tāmaki Makaurau / Auckland (all ages)
General public tickets available via Ticketmaster

Ali Nicholls: How are you doing Laura?

Laura Lee: I just got to England for the first time since before the world changed. It’s really weird!

Is it different?

No, but I used to live here and I haven’t been here in so long, or it feels like so long, and I just like… It’s all the little things I forgot about, and I felt emotional but in a good way walking around.

I guess it’s kind of like a blast from the past to another era of life.

Yeah! But it’s also this strange feeling because it’s not like I’ve chosen to not come, I couldn’t come you know? … the pandemic has changed everything.

It must be such an interesting time to be making music.

It’s been really interesting. We put out Mordechai in 2020, really just a few months after the pandemic set in, and that was weird. Cause we had no idea how the album was going! You could read the internet, but that kind of doesn’t do any good. Then we came back to playing shows last year and our shows had greatly increased in size cause the album had done well, but we just didn’t know.

Was it a surprise that there was so much more engagement from people?

It was amazing playing last year. I don’t necessarily wish the pandemic on any other time, but how many musicians get to experience what it’s like to play for people after they haven’t seen a show in two years? It was really euphoric.

And that’s kind of the stage that we’re at now with you guys coming over. Is it your first time coming to New Zealand?

It is. I’m so excited.

It’s gonna be really cool! And I think a similar experience here with that kind of euphoria of that release. I imagine when you’re performing live, that the energy of the crowd has such an influence on how you gauge the audience and how you get to express?

Oh yeah, it’s a conversation. We always talk about how soundcheck is so much more draining, because we’re putting out energy and it’s not being reflected back. Whereas the show goes by so fast cause there’s so much energy in the room. But I’m so excited to play in New Zealand! It was one of the first countries to show us love weirdly. I remember way back seeing an article in the New Zealand Herald, and it’s the very last stop on this giant tour. We literally will be on the other side of the planet, and we can say ‘We toured the whole world!’ [laughs].

It’s gonna be really cool, especially in a stadium setting. I’d only ever really imagined it to be quite like an intimate setting for a show because the music has such an intimacy about it. What kind of stuff are we expecting

The live show does not sound like our albums. I think it’s somehow way more energy.

I’ve had a look online at some of the images from your shows and the looks are so powerful, and there’s so much visual emphasis and I feel like the energy would be so sexy and groovy.

There’s a time and a place for the intimate, slower songs. And because that’s how we got started, that’s our bread and butter. But I think those songs are really introspective in a way. So we tend to play bigger crowd pleasers. It’s not to say that we don’t dip into those! But I think it’d be a little weird if I wore shiny knee high boots and a tutu playing a really slow [laughs].

Do you feel like now that you’re getting more of a traction in terms of the scale of the live performances and the shows you’re able to put on, do you think that’s gonna have an influence on your music in the future?

I do. It had an impact on this last record cause I think there was an intention for these songs to be a little more uptempo than albums prior, cause we knew that we would eventually be playing them live and we wanted to have that feeling. It’s, in the three of us, it’s in our DNA. It’s not hard for us to pump out a more downtempo number, that’s sort of easy. It’s harder to write music in a barn with cows walking around, thinking about playing it at a festival. You know, I think that’s why the slower songs come so easy, cause we’re out there.

Do you think the creative process you guys have worked with for the past few albums is going to evolve as well?

No [laughs]. I mean, maybe. It’s just funny. Every record I’ve thought it was gonna be different, and you kind of get there and actually each of us is exactly who we are. This is where we intersect. And this is what works, I think. The thing that evolves is us as humans.

Even though that’s more of a gentle evolution, there definitely is kind of a trajectory with your music whether you’re leaning more into the psychedelia or the funk or the downtempo stuff but it all seems to have this fluidity. Where it’s never, ‘Oh this is gonna be our disco record’. It’s always seamlessly the Khruangbin sound. Do you think that just comes from experience?

I think it’s actually just letting go a little bit. There’s definitely no intention in that sense… if we ever come out and say ‘This is our blah record’, I think we’ll need to check ourselves. It’s always been that each of us writes organically and they take shape. I mean the only thing we’ve tried to do is cross pollinate different countries in a way. I wrote a bass line over a rhythm that was very Ethiopian, but we wanted to make sure that it didn’t sound like an ‘Ethiopian’ song, so then we kind of took this French approach on top of it and it created something that feels new. And then we did a dub Indian song… I remember there was an intention to see if we could mix traditions, to create more of a sense of it being global rather than reminiscent of one place.

Our first record was written about us as being a Thai record, and the second record was written up as being Middle Eastern. We wanted to make sure that this one wasn’t written up as… ‘inspired’ by one particular place, because that didn’t feel true to who we are.

You seem like people who get your references from so many different mediums and so many different places, that it would kind of be a disservice to all of the influences that you’re taking on board.

Exactly. 100%. That was exactly how we felt. With the first record it was like ‘You’re a Thai funk band’, but we’re not Thai. There’s really great Thai bands and we were feeling like, if you were in a Thai funk band in Thailand that you might hear that and feel something negative, which we would have never wanted.

My mate teaches music, and he always recommends his students listen to Khruangbin. Because it doesn’t matter what music you’re into, you can find something in there to follow and inspire you because of that kind of blend of flavours. It’s like a really delicious dish!

Yeah, agreed! We talk about food a lot when we make. Like with a curry. It’s delicious and savoury and you know, creamy and spicy or however you’ve made it. But when you put lime, or fish sauce, or something, then all of a sudden everything comes alive! So sometimes we’ll have a song and be like, ‘Where’s the fish sauce! We need the fish sauce!’ [laughs].

The music you play is complex, but the foundation is a pretty simple mix of drums, bass, guitar and now a little bit of vocals. And your way of playing the bass is so expressive, kind of wandering around the bass and exploring all of the tones you can get from it. What is it about the bass that’s particular to you? Because you don’t play it like many bassists I’ve encountered.

I like melodic basslines. I really like humming! And it feels like I’m humming, because it’s just one note at a time, and so I think you can really dig into the melody of something, because it’s just one note. Which is also, I remember when I first started playing bass and I had my first show with Khruangbin, somebody said ‘Bass is great cause it’s one note at a time, but if you play the wrong note then it sounds really wrong.’

It’s a lot of responsibility!

Yeah! I think, yeah when I hear my basslines I can hear a sense of melody in them that allows you to kind of attach yourself to the bassline if you wanted. Obviously you can zoom out and listen to the whole song and that’s the complete thing, but if you wanted to zoom in on the bass, it should give you enough meat to kind of have just in the bassline. I think because we’re just three instruments, the success of the songs is based on the interplay between Mark (Speer) and me.

I’m so excited that you guys are coming to New Zealand and also playing with Kamasi! Wow, huge.

Oh my god I know! We were like, ‘We follow Kamasi?! Have you seen him play?!’ It’s gonna be amazing. I’m definitely staying in New Zealand for a while after.

You gonna kick it here for a bit?

Yeah I think I might rent an RV and just drive around.

You really do get to see some places where it feels like it’s just you and the rest of the earth.

I think after touring that feels like what I’ll need!

UTRs 2021 Favourite Music Moments

UTR Team + Friends and Contributors
/ Friday 24th December, 2021 12:05PM


We’ve made it to the end of 2021, a year infamous for mass gig restrictions due to Delta, Tāmaki Makaurau’s longest Level 4 lockdown and no international touring in Aotearoa. While there’s certainly been tonnes of weirdness for future scholars to unpack (for example: who remembers Ariel Pink being interviewed by Tucker Carlson?), let’s not forget our live music community had a mostly clear run for the first half of the year and is thriving again this summer, and it’s been a strong one for local releases the whole way through. Check out our UTR 2021 End Of Year Playlist HERE for definitive proof.

As per festive season tradition, we’ve invited contributors and friends of the site this year to share five of their personal favourite and most notable memories from the past twelve months, plus a few red hot takes thrown in the mix for extra spice. Congratulations to everyone for powering through — a huge thank you to all the artists, event organisers, contributors, readers and everyone who supported UTR over the past twelve months. See you in 2022!




The Inaugural Student Radio Network Awards

God, these could have been so dull. I was gearing myself up for a ‘high school production of Grease: The Musical’ level of begrudging support, but ten minutes in and it was impossible not to be overcome by the wholesomeness, community spirit, and sheer grubby, homemade charm of the thing. Special shoutouts to Sports Team’s Minority Report inspired nomination video, the beautiful speeches from Reuben Winter’s mum and gran, Iona and Kaye, and also it was nice to get an award myself (cheers).

bb gurl live at Loud and Proud 2021

It’s hard to explain just how gratifying it is to see a fellow trans girl step out from behind their pirated copy of FL Studio and fully and unabashedly dominate the stage. There’s not many with as sharp a tongue as bb gurl, and none of them have Che’s ear for a hook. Stream TTYL <3 and don’t miss a chance to catch them live. Big things for this one in 2022!

deepState – MMXXI

The first time I heard deepState was through some pretty sketchy in-ears on the 22 bus going down New North Road and I was like “oh chill”. The second time I heard deepState was at midnight in the Wine Cellar on the big speakers after everyone had gone home and I was like “woah shit”. Now it’s gotta be about the hundredth time I’ve heard deepState and I’m still like… “hell yeah”.

Northcote Intermediate Choir and The Society Jazzmen – Creation Jazz

So this totally didn’t come out this year but I found the 7” on Trademe right, and it’s a 1972 soul-jazz interpretation of the biblical creation story, featuring a children’s choir from right around the corner from when I grew up. Why aren’t people doing this anymore? Nathan Haines get your shit together.

Milk III Album Release

Grief can be a totally overwhelming emotion, and I’m extremely grateful to have been able to channel it into this beautiful community event with so many people Reuben loved, and who loved Reuben. I keep trying to write something profound for this next bit about how “music at its core is about community and communication” but I think really the point would be better made if you just stop reading, and go and listen to Reuben’s music.



Merk ‘Deep Dive’ Shoot

One completely unsustainable step in the Sports Team music video-making process involves myself and co-creative directer Callum Devlin playing a game of Idea Chicken. No concept is too hard, no location too impractical. That’s how we end up with Mark Perkins and twenty extras on a Karangahape Road rooftop without a single pair of hands not sticky from maple-flavoured syrup. I’d like this to also serve as my official apology to all the volunteers who were promised bottomless pancakes and left with pancakeless tums. And my official thank you to Jed Parsons, James Penwarden, Kalyani Nagarajan and Chelsea Prastiti for the raw batter you collectively consumed.

Patea Māori Club

I’ve been super lucky the last couple of years to be invited to attend the Taite Music Award ceremony, an evening of recognising Aotearoa songwriting excellence and squeezing every last drop from an open bar. Besides the delightful sight of The Beths all dressed in beekeeping attire, I was also deeply moved by Patea Māori Club performing their 1983 te reo single ‘Poi E’, which was deservingly recognised with the IMNZ Classic Record Award. The experience caught me totally off guard and tears were shed.

The Chills Trash Recital

Another Sports Team-adjacent 2021 highlight was the entirety of Trash Recital — everything from hand-selecting the perfect broken bike pump at the dump, to sharing The Beths finale episode to wrap up the season. But the moment that always gets me happened during our afternoon with The Chills, when longtime band member Erica Scally realised the lyric in ‘Kaleidoscope World’ was in fact "If we were floating in a space capsule" and not "If we were going to a space camp school".

Vera Ellen – It’s Your Birthday

Vera Ellen’s music was fairly new to me this year, somehow slipping past my periphery all this time, save for her highly emotional Songs No​-​One Should Hear EP from July last year. It wasn’t until I helped video-makers Gussie Larkin and Ezra Simons on the video for ‘Public Bodies’ by Girl Friday that I cottoned on to her talent, meaning I was properly paying attention when she started dropping singles from all killer album It’s Your Birthday. Who else is writing music so catchy, so earnest and so badass, while maintaining that level of punk rock aesthetic? No one. Only Vera.

Fuzzy Dress-Up

Earlier this year Sports Team were asked to be roving reporters at Flying Nun’s 40th anniversary show at the Auckland Town Hall, capturing moments back stage and filming between acts. Naturally, I spent the better part of a week constructing a Fuzzy costume, bringing to life the nightmare-fuel Flying Nun mascot that had once only existed as a magnet on my parents’ fridge. Thankfully Fuzzy was a hit! An overnight sensation! So much so that I was flown down for the Pōneke anniversary show to take on another night of embodying a horrifying, faceless celebrity and making nightmares come true.



MVP: Ruby Walsh sound engineering Trash Recital

There were no guarantees that our “make musicians play their songs with rubbish” webshow would actually work, but it would have been an absolute sore mess without Ruby producing the tracks. Ruby is a talented and (extremely) patient producer, presenting a calm front for the artists to follow from. We’d ask “how does it sound, Ruby?” and she’d say “It sounds like someone hitting a glass bottle with a stick” and yet… somehow, it would end up as music. Thank you Trash MVP Ruby Walsh.

Mermgrown Wellington + Mergrown Auckland

Inspired in part by the Australian festival GIZZFEST, Mermgrown is a one day music festival curated (and headlined) by Pōneke indie superstars Mermaidens. The two shows almost felt as opposites; Auckland’s being an underground indie-christmas at Whammy-Backroom and Wine Cellar, while the Wellington show took place on a glorious sunny afternoon at a bowls green in Newtown. They were united by their absurdly great lineup, world class design and an overall feeling of warmth and excitement. I feel strongly that Mermaidens, through their combined forces as a high-functioning indie band, are capable of anything they set their minds to and we should all be deeply afraid. These shows fucking ruled, and I can’t wait for next year.

The Beths – Auckland, New Zealand, 2020

2020 was the year I saw The Beths live maybe 20 times, this set of songs in particular. They’re my friends and I love them, but it was watching The Beths play live that made them my favourite band, and getting to follow them on their October tour last year made me obsessed with each song and band-member in turn. I’m so incredibly proud of the film Sports Team made from this concert, and will always have a deep fondness for this recording. Favourite track: bird talk – Live

Planet Merk (Playlist)

A sonic expansion of musical influences for Merk’s dynamite 2021 album Infinite Youth, Planet Merk sits right on the boundary of groovy and heartbreaking, becoming a kind of “show your working” type experience when paired with the album. Fitting any occasion really, from dinner parties to plane trips, I returned to these songs again and again this year, cementing my love for the curated artist playlist. Highlights include the one two punch of Susumu Yokota’s dazzling ‘blue sky and yellow sunflower’ followed by Oneohtrix Point Never and Alex G’s ‘Babylon’ — listen HERE.

Princess Chelsea – Chabs at Milky Livestream Tāmaki

In May of this year, VHS livestream troubadours Chabs and Milky took their cameras on the road with a wildly ambitious national tour. I loved these shows, and attending in Pōneke got to see the true terror in the James’ eyes as they ran around juggling the needs of hardly functioning AV equipment and top tier NZ Musicians. I was out of town for the Tāmaki show, and tuned in late on my phone to catch Princess Chelsea (and band) absolutely tearing the room apart at Whammy Bar, leaving me stunned in tears when they finished their last song and the stream clicked off. It’s a memory that feels distinctly 2021 to me, so I’ve included it here. It’s on YouTube, just go watch it and we can discuss after.



To The Front Tāmaki Makaurau Fundraiser

Girls Rock Aotearoa’s To The Front Tāmaki Makaurau Fundraiser at the Hollywood Avondale was the first gig we got to see after that very lengthy lockdown, and it felt like a holy experience to be at a gig after all that time being starved of live music. Hearing Hollie Fullbrook’s (Tiny Ruins) shimmering voice and rolling finger style guitar while she played her perfect songs gave me full body goosebumps for literally the entire set. Anna Coddington played 2nd and her songs were so beautiful and personal and relatable and I was just pulled into her world. PolyHill and Samara Alofa did a fantastic set with Half Queen on the beats. Also Rachel from bFM did the best MC’ing of all time hands down. Go donate to Girls Rock!

Phoebe Rings

Phoebe Rings released their debut EP and MAN, I was hanging out for that one! Every time I went to Crystal Choi’s gigs and heard these incredible songs and that beautiful band vibe I just wanted to take it home with me and NOW WE ALL CAN ?
The ‘Spissky’ track is just the dreamiest thing in the whole woooorrld!

Wellington Jazz Festival

I got to play Wellington Jazz Fest in June with Bonita and Leda’s Dream, and it was my birthday that week, and the whole festival felt like a big party and everyone was so happy listening to/playing music with their friends! There were no international acts and whilst I know it’s awesome to have them, tbh it was just magical to be able to celebrate with our Pōneke and Tāmaki Makaurau Jazz scenes together! Watching GRG67 at Rogue and Vagabond just made me sail up to the clouds, it’s just the BEST BAND and our Rog (Roger Manins, the best Tenor player in the southern hemisphere) is the best Rog ;3
Their tune “Crab Empathy” is a literal Auckland jazz scene original standard
AND they just released some new music to boot!!!! EVIL GRG!

Opposite Sex – High Drama

One of me and Callum (Passells)’s fave releases this year has been the High Drama album by Dunedin band Opposite Sex; the track ‘Combine Harvester’ in particular is one of the most fantastically weird catchy and unique rock songs I have ever heard. The stutter lyric in the chorus is INSPIRED. I cannot name a single song like it and the whole album is pure genius — they have a sound that you just CANNOT get anywhere else and I cannot wait to see them play MY GOODNESS TOUCH WOOD FINGERS CROSSED.

Hans Pucket – ‘I Don’t Know What To Get You For Christmas (Do I Really Love You​?​)’

When Callum laid down his horn parts for Hans Pucket over the last stretch of lockdown, I got a sneak preview of their latest release “I don’t know what to get you for Christmas (do I really love you?)” and we’ve been singing it around the house for the last month, just being so excited for everyone to have their Christmas anxieties completely validated in song (upon its very recent release) by the genius that is Oliver Devlin. No one can write about the real ennui shit like this man. He is a TRUE MASTER of songwriting and always manages to turn those that distressing situations and social anxiety into hilarious and heartfelt hooks that you can sing mantra like to yourself when you’re stressing out about the same shit — he is my hero and Hans Pucket are the best goddamn band! Also LOOK AT THAT VIDEO.



Strangelove Music

Responsible for last year’s Kiwi Animals: Future/ Primitive Aotearoa compilation, Pōneke’s Strangelove Music had a productive 2021 with superb archival releases from Australia’s Scribble and Sweden’s Sjunne Ferger’s Exit, along with brand new drops from contemporary international artists Psychedelic Digestion Therapy, t-woc and by CCCVVV. Serving up time-defying collections of elegant dream-pop bliss, balearic beatscapes, experimental songcraft and more, compiled with an inquisitive and trustworthy curatorial ear, Strangelove Music vinyl LP releases have been "buy on sight" material for this fan.

Sports Team – UTR Trash Recital

It’s been a total pleasure to work with Sports Team — Annabel Kean (Assistant Editor of this site), Callum Devlin (Hans Pucket, Dateline) with sound engineer / mixer Ruby Walsh (Dateline / Misty & The Slug) — as they created our eleven episode UTR Trash Recital series, which from my 100% unbiased perspective is some of the best local music content produced in 2021. Trash Recital is made by artists with artists, a too rare showcase of the fun conversations that can spark while actually making, as well as a testament to the inventiveness of our musical community. Special thanks to all the amazing guests on the show and bring on Season Two!

Cathode TV

Not directly music related, but I spent much of Tāmaki’s endless lockdown months exploring the cinematic delights of Cathode TV, rewiring my brain with an expertly curated selection of underground trash / arthouse / action / horror / documentary / psychedelia / you name it beamed out almost daily online. Which is a bit of a long-winded way of saying I’m now an Oingo Boingo fan after finally being exposed to their 1982 new wave musical opus Forbidden Zone, so it was a thrill to feature Luke Rowell’s (Eyeliner) in-depth interview with legendary band leader and Simpsons theme tune composer Danny Elfman this year on UTR.

SRN Awards

A necessary balance to a local musical conversation ruled by Spotify playlist-compatible blandness and radio-friendly tune-smithery for the past few years, the inaugural SRN Awards celebrated the wildly diverse musical energy that fills our student radio airwaves and compels crowds to pack out Aotearoa’s venues every weekend. It feels right that the bulk of this year’s awards went to hugely missed sonic innovator Reuben Samuel Winter aka Milk for his world class album Milk III.

Foodman – Yasuragi Land

I listened to Japanese electronic producer Foodman aka Takahide Higuchi’s 2021 Hyperdub album Yasuragi Land a LOT during Tāmaki’s lockdown and continue to do so. Inspired by "eating at Michinoeki, Japanese motorway service stations and the simple pleasures of regularly visiting the local Sento (Japanese public baths)," the crystalline beat abstractions of Yasuragi Land helped me imagine the ambience of such enticing destinations, heard from the perspective of my tiny little apartment.



Limp Bizkit live at Lollapalooza 2021

When this dropped on YouTube I was hooked immediately, watched it way too many times, tried to make all my friends watch it — with the timing of the HBO Woodstock 99 documentary that came out around the same time, it sent me deep into a Limp Bizkit phase that I was way too young to have in the early 2000s. The band is absolutely killing it musically, somehow these 20 year old songs feel fresh as hell, and not only did Fred Durst debut his iconic new look, but he’s hilarious all the way through and has completely maxxed out his rock frontman skills stat at this point — watch HERE.

The violin version of ‘Wildest Dreams’ from the Bridgerton sex montage

I watched the first 20 minutes of the first episode of Bridgerton with my girlfriend before I stormed off like a dorky sexist sitcom dad, yelling that I couldn’t get into this hacky tv show for girls. Three days later, I was composing DARTZ’s 2023 hit ‘Earn the Thirst’ in the other room when she yells at me to get back in front of the TV right now, and when I did I witnessed what I can only describe — completely earnestly — as the most powerful music moment of the year. The montage of Daphne Bridgerton and the Duke of Hastings banging in numerous different positions and locations around their countryside manor, set to an impeccably performed instrumental violin cover of Taylor Swift’s best song, overwhelmed me with all kinds of emotion, like it was so funny and surprising but also conveyed so much passion.

The SIX60 discourse from Jan-April

It was pretty crackup how everyone got so swept up talking about Six60, especially in the lead up to their Eden Park show. Absolutely no one was immune, I know I was completely caught up in it. Its very funny to me that a lot of people aren’t very comfortable with them being such an institution for normie NZers, and that you can get some kind of reaction from absolutely everyone by even mentioning them. I ended up actually listening to a fair bit of Six60 in that early part of the year (they got some bangers IMO) so maybe I’m just nostalgic for those simple summery pre-Delta times. Let’s do it again when they tour in March and April lol.

All the NZ musicians who are grinding on TikTok

Not at all joking, very honestly shoutouts to anyone from NZ who’s on TikTok trying to promo music, seems like it requires a fuckload of drive and work ethic — and even after that you’re still at the mercy of the algorithm – but if you’re doing it you should be proud of yourself for trying and for knowing that you’re hustling in the right place at least. It does make me worry about musical minds getting burnt out, because the world is demanding an entirely different set of skills from them. I know my brain’s far too scrambled as is to even consider making TikTok content regularly, where else are you gonna blow up in 2021? So good on yas, keep it up and TAKE CARE of yourself mentally.

Bo Burnham – Inside

The songs from Inside are my album of the year by far not even kidding, I fucking thrashed this album from the moment it came out. I was gonna say the “I’m a special kind of white guy” drop in ‘Comedy’ was my favourite moment, but after listening again the bit that takes the absolute cake for me is the bridge on ‘White Woman’s Instagram’, I love how he lures you in with the goofy Instagram bop then gets you to feel so much in such a short time.

Bo Burnham · White Woman’s Instagram




Flying Nun 40th Anniversary at Auckland Town Hall – Solid Gold Hell

Flying Nun 40th Anniversary at Auckland Town Hall – Subliminals

Surf Friends – Good Thing

BEASTWARS – 10th Anniversary Tour

Night Lunch – House Full of Shit



SRN Awards

The first SRN awards happened this month, and it honestly made my year. It was always an idea that we floated around at the SRN meetings during my time at Radio One, but never thought it would happen. It’s so cool seeing the legacy of the bNets live on through an awards ceremony that celebrates all the insane talent Aotearoa has to offer, because they absolutely deserve it. I cannot give enough praise to the SRN stations and Naked PR for all the hard work in general and for creating the event, and I hope that it can last long into the future.

Adelaide Cara – How Does This Sound?

One of Otepoti’s finest, Adelaide Cara is a force to be reckoned with. They released their debut album How Does This Sound? earlier this year, and if you haven’t listened to it yet then you’re missing out. Adelaide explores so many different genres from alt rock to baroque pop, and it all just works together so well. The track ‘Eden’ pays homage to my hometown of Dirty Dudz, and actually makes me miss it for once which is incredible. Adelaide is an absolute powerhouse, and I cannot wait to see where they go next.

Leaping Tiger – ‘Gooey’

When Leaping Tiger first released Gooey as a single, it was all that I listened to for a week straight. The beat always fucks me up, and works so well with the vocals on the tracks. There’s so many good lines from the song that it’s hard to pick a stand out lyric, but the line of “I can’t fake it, I think I gotta say he’s just a fucking d-grade version of me” just always hit’s me so hard and I can’t explain why. Soulsleep is an incredible album all together, but I guess my minds soaked up in goo.

Amamelia – WOW! The 2021 Remixes

When you start off an album with a 160 bpm footwork remix by the King of Redwood himself Liam K. Swiggs, you know you’re in for a treat. Amamelia’s debut album WOW! was one of my personal highlights of last year, filled with some insane tracks that make me want to shred up the dance floor. I didn’t think it could get better until WOW! The 2021 Remixes was released earlier this year, featuring a stacked line-up of Imugi 이무기, Eyeliner, DBLDBL x Trapjaw Kelpie and others, that bring their own unique flavour to each track. There’s no other way to describe it other than it just SLAPS.

DARTZ at Newtown Fest

Newtown Fest was fucking sick. After a day of hitting those craft beers hard, Earth Tongue were meant to take the stage until postponed by a power outage. This led to Poneke rascals DARTZ taking the floor (literally), for probably one of their best performances yet. The boys were on point, the crowd was absolutely pumping, and the energy was unbeatable. I mean what more could you want for a Sunday than a whole group of sweaty people screaming about how you can’t beat Wellington on a good day?



Footmahi 2021

Always holding a place close to my heart is The Big Fresh Collective’s crown jewel — the annual 160BPM themed Footmahi compilation which is dropped during NZ Music Month. This year’s 2021 entry might have been the best yet with a decentralised bank of hot tracks crafted by some of the finest producers Aotearoa wide featuring some yummy mahi from; Amamelia, TOYOTA, Paploco, DJ Simon Dallow, Jay Knight, Bomb Dylan, Keanu Raves Young Gho$t & more. If you love your local electronic music and haven’t heard this compilation yet then like what the fuck, you gotta check this shit out! NOW!

BFC One Night Stand Gig in Wellington @ Valhalla

Imagine pro wrestling meets breakbeats meets unlimited boxes of Haagens meets a bloody ripping Valhalla crowd and you’ve got yourself what we like to call a Big Fresh Collective One Night Stand. It was an exclusive night of high-intensity Footwork, Juke, Jungle and Techno stylings with a line up consisting of a mixture of 03 heavyweights and Welly legends & to top it all off with some of that classic BFC flavour. The DJs had their own personalised entrances & theme songs as they made their way to the RING through the crowd like an authentic WWF house show in the 90’s! What an absolute ripper of a night for The Big Fresh Collective’s first ever out of town/redwood experience! Seriously, get the tables and chairs ready, put the Haagens in the chiller and look the fuck out for the BFC nationwide One Night Stand tour in 2022 – you’ve heard it here first on UTR!

deepState – MMXXI

We made an amazing new friend here this year @ The Big Fresh in the amazingly talented deepState who took the country by storm with her frothy as debut 7 track EP MMXXI. Out via the good homies @ Sunreturn; Deepstate knocked the country for a tasteful yet powerful six runs back straight back over the bowlers head with her lush, earthy, heartwarming tech/rave vibes found across the seven tracks of MMXXI. My personal favourite release of 2021. Yummy!

Amamelia Release Party In Auckland @ Whammy

Few things: Amamelia is a national treasure — we must protect her at all costs, Sunreturn sure know how to put together a fucking good remix album and on top of that Sunreturn also know how to put on a fucking ripper party! That’s right c**ts it was an absolute night for the ages and I was counting my lucky stars that a humble bedroom DJ from his Mum’s sleepout in Redwood was gracing such a bill! A bloody star studded line up across two rooms; Amamelia, bb gurl, Big Fat Raro, Citacsy, Dbldbl, Go Nuclear, Imugi 이무기, Jack Russell, Tei., Trapjaw Kelpie, Alexa Casino as DJ Snakelegs, Eyeliner beamed live and direct from Hong Kong & yours truly Liam K. Swiggs on the decks too. You couldn’t ask for much more I wouldn’t let ya — NRL First grade level performances by all it was such an amazing night enjoyed by everyone who came along celebrating what was a fucking yummy remix album in itself. Huge highlight for me. Also big love going out to my Warriors behind the bar Taylor & Lucy for sliding me a few extra Red Bull voddies to keep me on my toes like RTS.


Was kinda hoping I’d get in trouble for this one so I could do the 7 O’clock weeknight circuit rounds and talk with Hillary and Kanoa about the shortfalls of living on Studylink also at the same time getting the booster shot up the ass that my music career really needs… Yeah that’s right I dropped an edgy as fuck translucent 7′ Inch EP this year called Shittylink. The songs are called; “Food, Rent, Expenses, Piss” and let me tell you — the struggle is fucking REAL! Please buy my shit LOL <3



Me releasing an OK second album!

Okay I’ll get myself out of the way first so I can talk about other people! I released my sophomore record Cosmonaut! Bandcamp Daily & Stereogum dug it which was cool, I did my first tour, got a song on the news during the weather, charted in the top 40 at #40! Okay done boasting about my achievements.

Skirts – ‘Great Big Wild Oak’

A bunch of my favourite artists released beautiful records this year, favourites being the new Elbow, Katy Kirby, Another Michael, Wurld Series, Cindy records (and others ofc), but I want to highlight this record in particular! I’ve been such a big fan of Skirts since her first EP ‘Almost Touching’ in 2018 (and her first lathe cut ‘night walks/in love’ in 2017), and I think her new album was worth the wait! The most beautiful DIY folk-tinged record of the year, released on Double Double Whammy, I listened to it when I was feeling sad on tour and it made the long road trips really lovely. Beautiful cover too!! I feel incredibly proud she was on my first album lol.

The May Day 2021 / International Workers Day concert

Maybe a weird local addition to this list but it was a personal highlight! It was a night of music (put on by the Canterbury Socialist Society) and in particular I loved hearing Petit Poisson (Rachael from the band Model Home) play! From memory they played a cover of a Tom Frampton song, which introduced me to his music and sent me down a rabbit hole!

ecotone – all the spaces inbetween vol. 1

A beautiful compilation from a new label that I’ve been following! I always get excited when a new label pops up, and this comp is great! 7 songs, they only made like 25 CDs or something (I got one!) and there is a beautiful song on it called ‘downfall’ by witchbaby which is stunning.

Dwayne “The Rock” Johnson’s first official rap verse

And on a Tech N9ne track lol. Wild stuff. I think the funniest thing about it is that for first two lines it’s genuinely great. The “It’s about drive, it’s about power” bit fucking rocks. As a whole it gives me the same feeling as the that classic Celebrity Rehab exit where the guy quotes Rocky and then screams like King Kong. Memeable but also embarrassingly powerful, you’re just like *feeling it*. I love it so much and I love Dwayne Johnson.



Jenniva – Soul Searchin’

The accidental collab with Eyeliner’s “Pinot Noir” being sampled into Jenniva’s “Soul Searchin’” – via a third-party DJ selling the sample uncleared in a beat without disclosing it:

Jenniva · Soul Searchin’


Clear Licorice – American Crew

Clear Licorice aka Wywy Brix releasing a new collection of wonky-donk puzzle music on the full-length cassette album American Crew.

FM Skyline – Illuminations

Fave album of the year: FM Skyline’s Utopian Virtual / Impressionist Vaporwave opus Illuminations with a perfect richness and bittersweet edge to match the spirit of our age:

Power Nap – Out Of The Pit

Power Nap (aka Chris Cudby) asking us all the perennial question for 2021 — what will we find crawling out of the pit? In Out Of The Pit, resulting in a well-deserved #1 spot in the Aotearoa Student Radio Network:

Erika De Casier – ‘Polite’

The impeccably served delicate RnB by new 4AD signing Erika De Casier, especially with the hardcore televisual pastiche in the video for ‘Polite’:



Arooj Aftab – Vulture Prince (New Amsterdam Records)

Meditations on places, people, relationships, and friendships from days past, set against jazz, Hindustani classical music, folk and even reggae. Vulture Prince is the Pakistan-born, Brooklyn-based composer Arooj Aftab’s third album and it’s one of the most remarkably moving and immersive records of the year. Check out the harp on ‘Inayaat’, like a portal into another realm.

Noa Records’ Te Whanganui-a-Tara Pyramid Club Residency

Although covid restrictions dialed these nights down to an intimate twenty person capacity, they couldn’t dull the intensity of the performances and collaborations. Over several nights, they were a compelling reminder of why Tāmaki Makaurau’s Noa Records are one of the most important and vital music collectives currently operating in Aotearoa. A rare treat for an often challenging year.

Cassandra Jenkins — ‘Hard Drive’ (Ba Da Bing Records)

For me, this was one of the songs of the year. Affecting prose and an elegiac arrangement that encapsulates so much about 2020 and 2021, but hopefully not 2022 (haha). It’s been a hard drive for a lot of us, and while there are common threads, the challenges are often subtly different.

Radio Alhara راديو الحارة

Radio Alhara is a Palestinian internet radio station that broadcasts from Bethlehem and Ramallah. I started listening to them in 2020 and ended up hosting the odd show for the station. It’s such a wellspring of incredible music, meaningful culture and inspirational storytelling from across the Middle East, North Africa and nowadays, even further afield.

AP & Kamahumble – ‘HEKAHORCY’ (YKK)

Were any other Aotearoa music videos more joyful than ‘HEKAHORCY’ this year? The visual styling of this clip was unforgettable, much like AP’s singalong drink-up chorus and Kamahumble’s confidence. It’s always great to see artists from the North and South Island linking up; that’s where the magic happens.




I would like to congratulate Joe Locke and myself for doing absolutely nothing this year.
No singles, no albums, no videos and total lack of interest.
Just two little old clown lady’s with a Focusrite interface and a box of some kind of pre-mixed, self loathing, ethanol based, clown drink hell.

Blink 182 ‘Jumper’ tee

I ordered this official merch a couple of months back.

My best friend said:
“you’re really ordering more Blink-182 merch?”

My girlfriend said:
“This is terrible”

It reminded me of the time when I was 11 and wore a South Park t-shirt to school and talked in a Cartman voice and got beaten up.

Blarf – Cease & Desist

Stones Throw records did a limited reissue of this album and I didn’t buy it and then it sold out.
The album artwork is really good, it has a clown on it, a McDonald’s logo on the cover, a Pepsi logo on the back and a Burger King logo on the centre label.
It also has a photo of Michael Jackson with his hair on fire.
My favourite track is “Badass Bullshit Benjamin Buttons Butthole Assassin”.

Milk – Milk III

I don’t know what to say other than I think this album is a flawless one and I’m so thankful that it was able to be shared with everybody.
In my opinion ‘Maple’ is one of the greatest pop / rock songs ever made.
We all miss you all the time, Reuben X

Joe Taylor Sutkowski – Of Wisdom & Folly

My friend Joe Sutkowski looks like Ronald McDonald but if Ronald McDonald was hot and had a fat ass.
This album is really beautiful and heartbreaking.
It’s just amazing that this music came out of a person who talks about nothing but pee pee and poo and often gets diarrhoea by eating candy from France.
I love you Joe you little clown.


Jordan Rakei – ‘Family’

This song is sooo good. I love everything about this guy. New Zealand’s finest!

Slightly narcissistic number two, but, releasing ‘six-out-of-ten friend’ and hitting the SRN number one was awesome. Finishing off my debut album has been such a struggle financially and mentally. One thing I’ve learnt is when I get uber negative on music ie sunk-cost fallacy, what’s the point, payola etc is to catch myself and reframe it ie It’s good to be making music again and I’m stoked with all the awesome people who’ve helped me make the best album I’ve ever made. It really is all a learning curve and I can’t wait to kick my social anxiety to the curb and start playing live again and then make album two. I’ve missed playing live, it really is the best part.

Wolf Alice Blue Weekend was my favourite album of 2021:

Number four is tie. I’m stoked that two of my favourite artists are making music again. Kelly, my long time friend, who I grew up with, just put out an album, Proteins of Magic. And, I’m also stoked there is a new Fazerdaze record on the way.

Easy Life – ‘Have A Great Day’

I love everything about this song. The video is cool too:



REI Compact – Breadbath

Breadbath is a haunting and cathartic journey through incredibly beautiful electroacoustic soundscapes. I was bathing in buckets of sounds along the crywank / experimental / ambient music spectrum in 2021 but this album in particular really struck me as for its sensitivity to the times which it has been created in, and I feel that music with this kind of specificity is so valuable and culturally essential. There’s really confronting tracks on this album between comforting and melancholy arrangements — like a call to not avert your eyes or ears to the bleak, muddled times we’re living in, but with a hand on your shoulder to remind you you’re not alone.

Trans artists dominating

Where were our local trans artists in 2021? Fighting their way to the front of the music scene, top of SRN charts, experimenting hard and sounding damn hot doing it. I sent my crush a VSB track then took them to a gig as my girlfriend, I planned out queer rave outfits for BB Gurl merch, cried my eyes out to Charlie OPI and bathed in starlight with Votiv, remixed Amamelia and was transported into medieval fantasy with Gayblade, explored urban forests with Jenny Cauldron and stuck Brown Boy Magik on repeat all day when the spring sun turned up, listened to L V J when I wanted to feel cute, and ripped up my bedroom dancefloor to club-burning tracks by Synthetic Children, Current Bias, Nightmare Honey, Sequentia and Fern. The drop at four minutes in this Synthetic Children track drives me insane.

Listening to Mad Frank’s Summoning EP and cooking breakfast

Listening to this EP almost every day while I cooked all lockdown in Tāmaki Makaurau was one of the sweetest music moments for me this year. This EP strongly reminds me of the kind of Kiwi music that my dad used to play on road trips when I was a kid.

Drug Testing was legalised!

Fr! That happened! Aotearoa became the first country in the world to legalise drug testing. Music festivals and other fun stuff just got a whole lot safer for drug users and their friends, and I’m damn thankful for that! KnowyourstuffNZ are absolute heroes for pushing this law, and risking their livelihoods to thread needles through drug testing loopholes at festivals for years before it was legal. It’s time to start treating drug testing like a condom and catch those cathinones before they’re inside your cavities.

Kraus live at A.R.T.E Festival

Back in July in the depths of the Parisian Tie Factory in Myers Park, a single spotlight shone on Pat Kraus sitting at a desk in the centre of The Audio Foundation gig room, encircled by rows of chairs & frozen spectators barely visible in the darkness. Between the four speakers in each corner of the room the sound began to move, sweeping and surrounding, in a quadraphonic demonstration of synthesizer mastery… We actually had a video of this at work so I uploaded it yesterday just 4 u all xoxo Wear headphones.

Traffic Light Settings Announced For Aotearoa

Chris Cudby / Traffic Light photo + drink by Sports Team / Monday 29th November, 2021 4:20PM


More details on the forthcoming traffic light system were revealed by Prime Minister Jacinda Ardern this afternoon. From 11:59pm, Thursday 2nd December, Tāmaki Makaurau Auckland along with a number of North Island districts will transition from alert Level 3 to Red, while the rest of NZ will shift to Orange, these settings will be in place for the next two weeks. This is excellent news for many upcoming gigs, as venues using vaccine passes at Orange can run live shows without audience restrictions [fistpump] under the new COVID-19 Protection Framework, just in time for the forthcoming weekend. Here’s what each traffic light setting means for our live music community, according to the site:

Red — Auckland, 
Northland, Taupō and Rotorua Lakes Districts, Kawerau, Whakatāne, Ōpōtiki Districts, Gisborne District, Wairoa District, Rangitikei, Whanganui and Ruapehu Districts

Record keeping and scanning are required.

Face coverings are mandatory on public venues, and encouraged elsewhere.

There can be up to 100 people, based on 1-metre distancing, in a single defined space at the venue at any time [where My Vaccine Passes are used]
More details on Red HERE

Orange — the rest of New Zealand

Record keeping and scanning are required.

Face coverings are mandatory in public venues, and encouraged elsewhere.

There are no limits on the number of people who can be at the venue. You do not have to be seated to be served [where My Vaccine Passes are used].
More details on Orange HERE

Promotors can update their gigs with the new “Covid Pass Required” check box HERE

Request your My Vaccine Pass HERE

Full official info available on My Vaccine Pass HERE

My Vaccine Pass Launched In Aotearoa New Zealand

Chris Cudby / Photo and traffic light drink: Sports Team
/ Wednesday 17th November, 2021 10:01AM


As confirmed by the government in late October, the My Vaccine Pass (formerly referred to as vaccine certificates) has launched in Aotearoa today, to be used with the forthcoming traffic light level system as part of the COVID-19 Protection Framework. Described as "an official record of your COVID-19 vaccination status for use within Aotearoa New Zealand," the pass can be requested by "anyone aged 12 and over who has had two COVID-19 vaccinations administered in New Zealand, or who has been given a medical exemption." Notably the passes have a 6 month expiry date and cannot be used for international travel (once borders reopen again), those heading overseas will need to request a seperate International Travel Vaccination Certificate.

A My Vaccine Pass will guarantee you unrestricted entry to live music events this summer. Under the new traffic light system (red, orange, green), there will be no limits on indoor / outdoor events if passes are required upon entry by organisers — restrictions will be in place where passes are not required. The pass will include your name, date of birth and a QR code which can be saved on your phone and / or printed out and scanned at events. We encourage you to apply for yours as soon as possible, although you might want to hold off until later today as the website is currently moving slow due to high demand.

"Requesting your pass only takes a few minutes and will be emailed to you within 24 hours. The quickest way to get your pass is through your My Covid Record, but if you cannot access this service you can call 0800 222 478 — have your NHI number ready."

Request your My Vaccine Pass HERE

Full official info available on My Vaccine Pass HERE

Our team welcomes the use of vaccination passes in Aotearoa, as they will allow live events to happen under the safest conditions possible for those in our community most at risk from Covid-19. We encourage you to help protect yourself, friends and family by getting vaccinated if you haven’t done so already (our team is now all double vaccinated) — you can get the ball rolling by booking HERE.

The Beths Unveil Live Album Film Auckland New Zealand 2020

Chris Cudby
/ Friday 17th September, 2021 8:02AM


Arising from humble beginnings playing Tāmaki Makaurau subterranean dive bars to achieving fame on a global scale, The Beths share today a new album and concert film documenting a key moment in their already fabled career. The team of Elizabeth Stokes, Jonathan Pearce, Benjamin Sinclair and Tristan Deck‘s live record Auckland, New Zealand, 2020 captures the energy of The Beths’ landmark headline event at Auckland Town Hall last November, triumphing over last year’s lockdown dramas to treat local fans to one heck of a show in the iconic venue. You can feel the emotion in the air as Stokes sings big-hearted anthem after anthem and hear the crowd squealing with delight as Pearce lets rip with Thin Lizzy-esque guitar shreds — like a career-spanning, sixteen track retrospective from a veteran band that are somehow only two albums deep.

You can enjoy the stream of the live album right now, then scoot along to the band’s YouTube channel or Vimeo from 4PM NZT today to enjoy the concert film of Auckland, New Zealand, 2020, created by longtime collaborators Sports Team — who also worked with The Beths in making this week’s magical seasonal finale of UTR Trash Recital. The Beths are hosting a Watch Party on their Patreon this Saturday 18th September from 11AM NZT, giving supporters the neat opportunity to watch the film in real time with the band.

The new release comes along with the happy / unhappy news The Beths’ forthcoming multi-night residency at Tāmaki’s Whammy Bar is still going ahead, but has been postponed with new dates to be announced. Now unable to journey to Aotearoa for the shows, Australian songwriter Stella Donnelly says: "I’m very sorry that I can no longer take part in these amazing shows with The Beths, and my own show at Meow. It was something I was very much looking forward to and hope we get to make it happen sometime in the future.” New dates and support info will be revealed by the organisers soon — ticket holders will be emailed direct from UTR [check your promotions, spam and junk folders].

‘Auckland, New Zealand, 2020’ is out now digitally via Carpark Records, the release of the vinyl LP edition has been postponed until Friday 1st October due to Level 4 restrictions.

The Beths Perform Im Not Getting Excited UTR Trash Recital Episode 11

Sports Team / A.K. / Wednesday 15th September, 2021 12:05PM


We’re stoked to share the eleventh episode and season finale of our new web series, created in collaboration with the talented gang at Sports Team: UTR Trash Recital!

For each episode of Trash Recital we’ve invited some of our favourite Aotearoa artists into the UTR studios to perform one of their signature songs, re-created using everyday items selected from a treasure trove of literal trash, collected by Sports Team from Tāmaki Makaurau’s finest op shops / second hand stores. Trash Recital not only provides a launchpad for stunning reimaginings of recent classic tunes, but also the perfect opportunity for a chinwag with our local musical heroes.

Aotearoa’s The Beths are the final stars / victims of Trash Recital season one, and the loveable, huggable crew of Elizabeth Stokes, Jonathan Pearce, Benjamin Sinclair and Tristan Deck hit it for six. It’s the start of a massive seven or so months for the multi-award winning Tāmaki four piece, who are launching their Auckland, New Zealand, 2020 live album this Friday, have a bunch of local shows up their sleeves and a North America / EU tour in their sights for January onwards. Before they were too swept up with all of that, Sports Team dragged them onto the Trash Recital set for a one-of-a-kind recreation of their ripper track ‘I’m Not Getting Excited’ from their latest album Jump Rope Gazers. Watch as The Beths build makeshift instruments and fart machines in the final episode of Trash Recital season one…

A thank you

The process of building Trash Recital from a humble dust bunny to a big, stinking pile, eleven episodes high, has been an absolute joy. Thank you to Undertheradar for giving Sports Team this opportunity and trusting us with this project. Chris Cudby and Daryl Fincham gave us total creative freedom to make a video series from scratch, and have gone full tilt to support Trash Recital, giving it so much time and nurturing to fulfil its potential. I’d also like to thank the mega talented Ruby Walsh for taking on her role as audio engineer with excitement and a much needed open mind. Ruby has been our Trash Recital secret weapon, and is the person who actually proved it could be done and that we hadn’t just thought up some total dud. Ruby is the Sports Team 2021 MVP. Thanks to NZ On Air for all your support and for being our number one fans. Thank you to all the artists that let us film them enduring this special new type of torture specifically catered to musicians. Thank you to those who watched, shared and enjoyed.

Much love,

Sports Team

DOP: Callum Devlin

Editor: Callum Devlin

Title Animator: Annabel Kean

Sound Engineer: Ruby Walsh

Sound Mix: Ruby Walsh

Theme Tune: Callum Devlin

Project Manager: Annabel Kean

Production Team: Sports Team

UTR Production Team: Daryl Fincham & Chris Cudby

Special thanks to Bob Frisbee

Made with support from NZ On Air

The Beths Announce Wellington Shows New Live Album and Film

Chris Cudby / Photo credit: Amanda Cheng
/ Wednesday 11th August, 2021 9:00AM


Taking time out from the ever-expanding rollout of their Whammy Bar residency, The Beths are sending a whole lotta love in Wellington’s direction, announcing today two headline events in the windswept capital this October, including an all-ages show. The globally celebrated gang of Elizabeth Stokes, Jonathan Pearce, Benjamin Sinclair and Tristan Deck of have also thrilled fans with the announcement a new live album and concert film documenting their landmark 2020 Auckland Town Hall headline event — releasing on 17th September via US imprint Carpark Records and adeptly filmed by Sports Team (who also do amazing work creating UTR Trash Recital). Revving up for live appearances at Tauranga Arts Festival, Labour of Love, Nelson Arts Festival and Outerfields, The Beths now have a full scale tour of Te Ika a Maui on their hands. Stokes enthused about the flood of memories prompted by the Auckland, New Zealand, 2020 concert film…

"Watching the film for the first time brought back all the emotions of 2020 for us. Sports Team have done such an amazing job of capturing the mix of anxiety and simple joy that was touring music in NZ at the time. We are so grateful that it happened and grateful to have it documented with so much love and care.”

The Beths

Friday 17th September – The Others Way 2021, Auckland*
Tuesday 28th September – Whammy Bar, Auckland w/ Stella Donnelly∞
Wednesday 29th September 29, 2021 – Whammy Bar, Auckland w/ Stella Donnelly [sold out]

Thursday 30th Septempber 30, 2021 – Whammy Bar, Auckland w/ Stella Donnelly [sold out]

Friday 1st October – Whammy Bar, Auckland w/ Stella Donnelly [sold out]

Saturday 2nd Oct. 2, 2021 – Whammy Bar, Auckland w/ Stella Donnelly [sold out]

Friday 22nd October – Tauranga Arts Festival, Carrus Crystal Palace, Tauranga○
Saturday 23rd October – Labour of Love, Black Barn, Hawke’s Bay○
Friday 29th October – San Fran, Wellington
Saturday 30th October – CoCA Massey, Wellington [all ages – afternoon show]
Sunday 31st October – Nelson Arts Festival, Neudorf Vineyards, Nelson○
Saturday 4th December – Outerfields 2021, Auckland○

Wellington tickets available HERE via UTR 
∞Auckland Whammy Bar tickets available HERE via UTR 
*The Others Way 2021 tickets available HERE via UTR 
○More ticket info + full tour schedule available via 

Experience the trailer for Auckland, New Zealand, 2020…

Check out a majestic live footage from the film of The Beths performing ‘Future Me Hates Me’…

Pre-orders for ‘Auckland, New Zealand, 2020’ are now available — Live Album here and Film here.

Interview Ocean Alley Spring Tour of Aotearoa with Hockey Dad

Interview by Clark Mathews / C.C. / Photo credit: The Sauce
/ Tuesday 3rd August, 2021 11:14AM


Massively popular with gig-goers in Aotearoa and their Australian homeland, surf-psych heroes Ocean Alley have an epic-scale tour of our shores lined up for September — headlining Auckland’s Spark Arena, Town Halls in Dunedin and Christchurch as well as Wellington’s cavernous Michael Fowler Centre. Selling out back-to-back shows at The Powerstation, high profile supports for Six60 at their landmark Western Springs Stadium and Forsyth Barr Stadium events, and veterans of our summer festival circuit including Rhythm & Vines and Rhythm & Alps, Ocean Alley will be joined on their spring musical travels by fellow New South Wales wave-lovers Hockey Dad. In the top 20 shortlist for the prestigious 2021 APRA Silver Scroll Award, DARTZ bassist and co-songwriter Clark Mathews stepped up to the plate and quizzed Ocean Alley’s Mitch Galbraith on how they’ve achieved their devoted local fanbase, the inevitable challenges of thinking big as a band plus more…

NOTE: While the travel situation between Australia and Aotearoa certainly isn’t as rosy as it was a month ago (when this interview took place), Ocean Alley’s NZ dates are set to happen two weeks after the travel bubble suspension period — reopening 11th September at the earliest. The tour is currently still good to go with the originally announced dates, but you can bet we’ll keep you informed about any breaking developments.


With special guests Hockey Dad

Wednesday 22nd September – Town Hall, Dunedin

Thursday 23rd September – Town Hall, Christchurch*

Saturday 25th September – Spark Arena, Auckland

Sunday 26th September – Michael Fowler Centre, Wellington

Tickets available via
 *Tickets available via

UTR Roving Reporter Clark Mathews: I interviewed Oli from Lime Cordiale the other week and he mentioned you guys — said that you boys were really instrumental in encouraging them initially to get over to NZ and start touring and building a fanbase here. Is that a lesson that you guys learnt early on?

Mitch Galbraith: Yeah, we actually back as far as like 2015, I think, had spent so much time touring Australia and were looking for greener pastures to play. People don’t realise this but Auckland is closer than flying to Perth from Sydney. That first time we went over we hired two wicked campers and drove those around playing shows, had a really spectacular couple of weeks, and ever since we’ve pretty much been telling people to get their asses over. Can’t speak highly enough about how much fun we’ve had over there as well as the shows.

I can imagine — you guys have played a lot of festies over here…

Yeah and interestingly they’re pretty different to the festivals we do in Australia. The people are just different, I don’t really know how to explain it — maybe because the festivals are a bit smaller in New Zealand they attract these great communities, feel a lot friendlier as well. Maybe we just got lucky with the ones we’ve done, but yeah those experiences have been so refreshing.

Back pre-Covid in 2020 you were over here playing with Six60 who are New Zealand’s biggest and probably best band, doing a couple of huge stadium shows. What was that experience like?

That was a crazy time for us, we’d done some big stages before but that was definitely our biggest ever stage and crowd in New Zealand. We were just in awe of how much the whole country loved Six60 and how they seemed to have such insanely dedicated fans. Their stage show was really impressive too and to see that go off without a hitch was really cool, it was a wonderful time.

Are there any other NZ bands that you guys are friends with or are into?

The Tunes Of I [aka TOI] gentlemen — I was listening to their latest release this morning actually. Such talented musicians and pleasures to hang out with, we’ve played heaps of shows with those boys.

You guys are doing some pretty big venues this time to be fair — I don’t think there’s too many New Zealand artists who would book Spark Arena. How do things change for you guys for those bigger shows versus smaller ones?

Haha — I remember playing gigs back in Central Sydney bars, saying to each other that we’d never be the kind of band who printed setlists out, we’d always write them just before we went on stage so we could focus on having fun. But that didn’t really last for very much longer — a show like this, everything’s very pre-planned, both the setlist and the production has to be sorted out in advance, to make sure everything looks and sounds as cool as possible for the audience. We’re actually going to go do some extra rehearsals and go over some of the older stuff from our repertoire again for these shows, to make sure we can do it all perfectly.

True. How do you approach fitting all the stuff from the new album last year into the setlist alongside the old stuff as well?

Gotta start with the majority of Lonely Diamond — sorting out which songs need to be included and which don’t. Then after that, we try to make sure we play at least a song or two from every record and EP that we’ve done. It can be hard trying to make it all fit, there’s definitely songs that sometimes you question if they can fit but you know people wanna hear em. It’s been a lot of deliberation trying to figure all that out.

You probably haven’t played those Lonely Diamond songs much live yet, right?

Exactly, so we’re not at all over em yet, basically. It’s still fresh for us — that being said though, we have been writing heaps of new music recently so once we’ve started that process, it’s become a mix of Lonely Diamond feeling old but also new. It’s an interesting one.

Stoked as that you guys are bringing Hockey Dad over — do you guys go very far back with them?

Yeah same — those guys are from a surf town just south of Sydney, we’re from a surf town just north of Sydney, so we’ve crossed paths many times. We’ve played a bunch of festivals with em over the years and really love their music, so that’s a real cherry on top for us this time, being able to share this tour with them.

I saw them a couple years ago in a smaller venue when they were over here and energy-wise it was one of the most wild shows I’ve been to, I’m interested to see how that energy carries over to those huge venues…

Yeah. For being a smaller band, those guys do a huge stage more than enough justice. Billy’s got so much energy on the drums — he’s a sweaty mess when he comes off stage after a set, slips and skids off everything in the green room.

Yo before I let you go, what’s your favourite Eric Clapton song?

Wow. I gotta go ‘Layla’.

That’s a classy choice man. Acoustic or electric?

Definitely the acoustic, that’s speaking on behalf of our other guitarist Angus as well, he loves acoustic ‘Layla’.

Damn, very classy. All the best mate, enjoy your day.
See ya.

Listen To Eyeliners Free Buy Now Remixes Album

Chris Cudby / Image by Luke Rowell / Thursday 27th May, 2021 2:22PM


One of Aotearoa’s foremost computer musicians, Luke Rowell is revered by music lovers across the globe as the visionary creative force behind Eyeliner and Disasteradio, while his (hors d’) oeuvre also includes such scintillating side projects as Super Doobie Bros. Rowell has teamed up with The National Library of New Zealand to cut the ribbon on The Luke Rowell Digital Music Collection, announced today along with the release of Eyeliner’s Free — Buy Now: Remixes album. Featuring reworks of tunes from his 2015 vaporwave / MIDI pop classic Buy Now, the new collection showcases contributions from electronic artists Amamelia, Liam K. Swiggs, Eventual Infinity and many more to enjoy immediately, all downloadable for the magical price of nothing at all.

The product of more than a year’s work, The Luke Rowell Digital Music Collection (ATL-Group-00554) currently "comprises a comprehensive array of digital production and master files relating to" Buy Now, and it set to be expanded to encompass even more of Rowell’s back catalogue in the near future. There’s plenty of tasty technical details to tuck into relating to the huge archival project, full info is available over on the National Library website HERE. The crib notes are: "Buy Now is FREE for noncommercial reuse with stems, MIDI and in-depth making-of screencasts," and Rowell "has generously granted a Creative Commons BY-NC-SA licence, so you can download the music for remixing and other creative reuse." Check out a video starring Rowell explaining his exciting new project, and prepare to spend the rest of the week bopping along to Free — Buy Now: Remixes below…

The Luke Rowell Digital Music Collection is fully accessible over on The National Library of New Zealand website HERE, with detailed explanatory info available HERE.

Interview Vanessa Worm and Eden Burns

Chris Cudby
/ Tuesday 11th May, 2021 1:40PM


Attracting an ever-expanding global fanbase for both her electrifying live performances and excellent 2020 debut album VANESSA 77, electronic dance innovator Vanessa Worm (the nom de plume of Tessa Forde) is playing a special double-headline show with partner in crime, DJ and producer Eden Burns this week at Tāmaki Makaurau’s Phoenix Cabaret. Standouts at Friendly Potential‘s Catacombs and Beacon festivals, the latter of which was beamed out internationally for Boiler Room, the duo recently relocated back to Aotearoa from Melbourne and are currently getting amongst Pōneke’s fertile artistic community. I had the opportunity to chat with both artists late last week as they were blowing up balloons for a Club 121 event. Delve into our conversation below and don’t dare miss Vanessa Worm and Eden Burns bringing the party with special guests "post-empire themed dungeon power techno" three-piece Grecco Romank on Friday…

Undertheradar proudly presents…

Vanessa Worm (Live) & Eden Burns

Friday 14th May – Phoenix Cabaret, Auckland w/ Grecco Romank

Tickets available HERE via UTR

Chris Cudby: Could you please chat about your journey over the past year to living back in New Zealand, from living in Melbourne?

Eden Burns: We’ve been living in Wellington for about three months now, and really loving it.

Vanessa Worm: We came back from Melbourne in July, so obviously Covid happened and all of our housemates left back to New Zealand. We stuck out in Melbourne for a little bit until it started to expand a bit more… and then came back end of July. And then we were in Invercargill with my parents, then to Wellington.

What kind of Wellington communities are you currently participating in?

VW: Eden went on tour with the 121 guys in January. Through that, the room that we’re living in now became available, so we’re quite closely tight knit with them. But for me personally there’s still so much much more I want to get involved in, I just haven’t been here long enough.

EB: And it’s not necessarily just 121 or DJs and things, there’s a lot of people around that are making music and all seem to support each other and be friends. Bands or DJs or rappers or whatever. Everyone’s just very friendly and supportive.

You do a radio show together as well?

VW: We’re hosting RadioActive’s Monday Flow show. That’s a combination of some of their playlist songs and the music that we like to play as well. That’s really great fun and the RadioActive people they’re so amazing. That’s another community that is very strong.

How would you describe your collaborative relationship with each other?

EB: We’ve just finished an EP of sort of weird, post-punky sort of stuff. But I don’t know, we don’t actually make a hell of a lot of music together.

VW: It’s something that we both want to do, just a matter of time and when we’re both ready for it. I think we’ve just been putting a focus on our own work. But we’re collaborating through Head Rush, throwing parties, and we’re DJing together tonight… we’ve been talking about making music and stuff, so that’s in the works.

Are you both originally from Invercargill?

VW: I went to boarding school in Dunedin, at high school. Eden grew up in Christchurch and then went to Dunedin. I was born in Invercargill but I grew up in Winton, which is like 30 minutes from Invercargill on a small lifestyle farm / block thing.

You moved away from Dunedin after high school — did you get a chance to see any of Dunedin’s live music scene back then?

EB: When we were younger. When I first met Tessa, she took me to some house parties that had live bands. We’d go to The Crown quite often and watch our friends’ bands and stuff like that. We were fairly involved… We used to spend a lot of time with The Attic, which was a bit of an institution in Dunedin.

VW: I was at boarding school and I was super into music, but there was only two other girls at my school that were into it. So, I must have 16 or 17, I decided to go to Chicks Hotel. That just introduced me to like all of this underground music that was going on, in Dunedin, I made friends there. From there I got quite amongst it really. But I was still really young. Me and my friends we used to do this thing called The Dungeon, and it’s this underground, warehouse sort of space in the Octagon of Dunedin. We would throw gigs, use it as a studio, we got people in to do art exhibitions and stuff. There’s an article about it on Vice from ages ago.

I’m quite interested in the relationship between your recordings Tessa and how you interpret them live. When I see your shows they feel both inclusive and kind of confronting as well — I feel moved to dance. What is important to you in live performance?

VW: I think what carries me through my live performances is holding a level of acceptance, for myself and the energy that is coming through me. Whether it feels good or doesn’t feel good, if it’s confronting for me or… whatever it is, it’s just holding a level of acceptance. I’ve had a lot of people mention that they watched my performances and that helps them feel more accepted. So I guess that’s a big one. In regards to the music side of it, I mostly choose to perform and sing on the songs… the music gives me a way to share energy with people. Do you understand what I mean?

I can think of it as like sharing a feeling that you have, sharing that feeling with the audience.

VW: Yeah. When I’m pretty much opening myself up completely. Singing and performing in front of people, I generally find really scary, so it brings up a lot of emotion in me. The music is a platform for me to discover a lot of those feelings, move through a lot of these feelings in a way that I can share it with other people. I don’t know why my life performance is that way, it just is. Sometimes I tried to do something different, more musical in nature, in the sense of doing more things on Ableton or whatever. But generally it comes back to me being on a microphone, using my voice as a way to move through different feelings.

Both times I saw you play [at Catacombs and Newtown Festival], I wasn’t sure whether the audiences that you’re playing to were super familiar with your music, but it seemed like people were into it immediately. How much of your live approach is improvised?

VW: Heaps [laughs]. There’s lyrics to my songs. But I don’t practice the singing before I play. I just get up and do it. ‘Tiny Revolutions’ I’ve got the lyrics there, but I generally tend to bounce off and do something different. Maybe 30% of the songs don’t have any lyrical content, so it’s just whatever happens, happens.

Speaking of lyrical content, to my ears there seem to be some elemental themes running through songs on VANESSA 77, like ‘Bones and Blood’ and ‘Heaven to Hell’. What informs your lyrical process… how do the words take shape?

VW: It’s coming up two years ago that I made a lot of those songs, so it’s hard for me to remember exactly the process. But again, when I recorded the lyrics, pretty much one take, and whatever comes out of my mouth, so pretty much improvised. I think ‘Bones and Blood’, I had written a poem and then I sung those lyrics. But every other song has been just literally one take, chuck the lyrics on, pretty much improvise those lyrics and they came out like that. I don’t really know where they come from… At the time those were the ways that I could describe this make believe kind of reality. To make sense of basically the process of growth, I’d say, in the process of overcoming certain burdens or emotions.

Eden, can you please tell me what is the idea behind your Big Beat Manifesto series?

EB: Pretty much after I released my first record with Public Possession, I was sending them about five new tracks a week. Very quickly, they ended up having quite a big collection of all these little demos that I’ve made. That was an idea that we both came up with. To start this small series of these little, I guess, goofy conventional club tracks, and put out quite a lot of records in small runs. I’s a way for me to get all the little jams and silly club songs out.

I wish I’d managed to grab a copy of the latest one on vinyl.

EB: I’m actually still waiting for my personal copies to come. They’ve been stuck in Frankfurt for about three or four months.

You’ll both be playing with Grecco Romank in Auckland. Have you heard or seen Grecco Romank before? They’re quite a sensational live experience.

EB: I haven’t seen them live, but last time we were in Auckland Sam [Harmony] was showing me and Tessa the music in the car when he picked us up from the airport. We both really, really love it. Really looking forward to seeing them play live.

Just to wrap everything up and let you guys do your tasks — what releases do you both have coming up in the pipeline soon?

EB: I’ve got another Big Beat Manifesto record coming out in June. So that’ll be volume three. And then I believe volume one and two are actually getting repressed as well, in June. And then me and Tessa, we have a EP together, which is under a different name. That will be coming out towards the end of the year.

VW: I’ve got a few collaborations in the works.

Courtney Barnett Announces Solo Tour of New Zealand

Chris Cudby / Photo credit: Kitty Callaghan

/ Thursday 22nd April, 2021 8:00AM


Did somebody say "Trans-Tasman bubble"? We’re thrilled to share the news Melbourne icon Courtney Barnett has leapt at the opportunity to cross the ditch and treat Aotearoa fans to extensive solo tour in July, playing her first live shows in over 12 months. Beloved for her incisive and poetic lyrical prowess, evident on such classic albums as 2015’s Sometimes I Sit And Think, And Sometimes I Just Sit, 2018’s Tell Me How You Really Feel and her collaborative album with Kurt Vile Lotta Sea Lice, the globally acclaimed Australian artist will play songs from throughout her back catalogue in intimate settings armed only with her guitar, ahead of the launch of a brand new record later in 2021. Super city readers frantically scanning the dates below will note that no central Tāmaki Makaurau dates have been announced — time to try out the new train line to Hamilton? 

Courtney Barnett

Thursday 8th July – Cabana, Napier*

Friday 9th July – San Fran, Wellington

Wednesday 14th July – The Boathouse, Nelson

Friday 16th July – Blue Smoke, Christchurch

Saturday 17th July – Glenroy Auditorium, Dunedin**

Sunday 18th July – Sherwood Hotel, Queenstown

Wednesday 21st July – Leigh Sawmill, Leigh

Thursday 22nd July – Totara St, Tauranga

Friday 23rd July – Clarence St. Theatre, Hamilton**

*16+ with parent or legal guardian

**All ages

Tickets on sale from 12pm, Friday 23rd April via

There are memorable lines aplenty in Barnett’s day tripping ‘Depreston’, from Sometimes I Sit And Think, And Sometimes I Just Sit…

Experience 2019 footage of Barnett performing Seeker Lover Keeper’s ‘Not Only I’ with Marlon Williams for MTV Unplugged Live In Melbourne…

Press release:

Courtney Barnett announces she will be undertaking a solo tour around Aotearoa this July, in her first live shows in over 12 months. Tickets go on sale this Friday.

Having been grounded in 2020 care of the global pandemic, Barnett made the best of a bad situation and wrote and recorded a new record. That drops later this year, but before it does the maestro is touring her solo show to all corners of Aotearoa – a country she’s adored touring in the past and a place she considers herself lucky to have the opportunity to return to.

With nine dates at some of New Zealand’s favourite venues, local audiences are in for a treat as Barnett dials things right down and prepares to deliver gems from her catalogue in an intimate setting. After years of touring with her thunderous band around the globe, the performer recently found herself craving the simplicity of her early days as a straight up singer-songwriter.

Armed with just a guitar, her renowned banter and some of the best indie folk songs of the past decade, she toured North America throughout the pre-pandemic months of 2020 like she had never done before.

Those shows saw Courtney at both her most raw and personal. She played town halls, barns, churches, dive bars, haunted hotels, ski-lodges, theatres and studios, all to enraptured audiences, who couldn’t quite believe they were watching the artist in this mode.

For Courtney, the simplicity and honesty of performing solo was an inspirational salve; a way to fall back in love with the art and craft of song. This is the Courtney Barnett New Zealand gets to witness in July, on what will be an unmissable tour.

Premiere Interview Theia x Vayne Share Video For CREEP

Annabel Kean / Thursday 8th April, 2021 9:10AM


Sparked by a serendipitous Songhubs collision in 2020, Tāmaki pop / rap queens Theia (Waikato-Tainui, Ngāti Tiipaa) and Vayne (Ngāti Raukawa, Ngā Puhi, Ngāti Porou) have been riding the wave of their fiery debut collaborative single ‘CREEP’. With their Te Ika a Māui CREEP tour less than a month away, Theia and Vayne have unleashed the full noise visuals for the track, shot at Karangahape Road’s G.A.Y. by hot shot clipmaker Connor Pritchard, which we’re proud to premiere here. The pair hung up their songwriting hats for a moment to unpack the energy behind ‘CREEP’ and reflect on the Aotearoa music industry’s problem with racism and sexism. Read their full conversation below the tour details, but be sure to stop by the stomach-dropping visuals for ‘CREEP’ on your way…

Theia x Vayne Te Ika a Māui ‘CREEP’ Tour

Friday 7th May – Nivara Lounge, Hamilton

Saturday 15th May – Whammy Bar, Auckland

Friday 21st May – Moon, Wellington

Friday 28th May – Boiler Room, Whakatāne

Saturday 29th May – Smash Palace, Gisborne

Tickets available HERE via UTR

Theia: So we just made a song together, a video together, and now we’re going on tour together. What else should we do together?

Vayne: I dunno eh, seriously. A world tour!

A world tour yeah. A fashion show. Oh my gosh. But seriously how good does it feel that after one chance meeting at song hubs we’ve done so many cool things these last few months, it’s kind of been nuts.

It feels dope. I feel like everything happens for a reason. The universe aligns things on its own and I feel like ‘CREEP’ was a song that was just waiting to be made. How do you feel the song’s being received? What feeling do you get from the crowd when you perform it?

Like, I know we’re so passionate and we wrote this out of our Māoritanga and passion for wanting to fuse that into our genres. I know that we’re so into it, doing our pūkana in the studio and everything, but I didn’t quite know — I hoped it would be successful live but it’s kind of been next level. The responses from our Māori whānau and kids that come and watch are just brimming, the ihi and the wehi is pouring out of them and they don’t know what to do with the energy. And with Pākehā they’re really feeling it and it’s this whole experience. It just proves, if anyone ever is uneducated enough to think there’s no respect or hunger for our culture, there’s no way you could argue that if someone was to come along and see the response when we perform.

Yeah I’ve definitely seen a lot of the faces in the crowd, especially from Māori to Māori while I’m performing it, they look at each other like ‘wait a minute, is this real?’ and they all run up to the stage and it’s so cool. I feel like they feel that someone sees them and they see a bit of themselves up on the stage. It’s a cool feeling.

Hard out, I feel the same. The energy’s unmatched. It’s more of a spiritual thing aye? You couldn’t necessarily get that from singing in English. It’s amazing. This might be the perfect opportunity to raise something that recently popped up on Instagram about the difference between celebrating Māori culture and mocking it. Do you want to, sister, enlighten those who don’t know the difference? And some of the tikanga around that?

Recently I posted a group photo on Instagram of all of the people that were at our video shoot, sort of just to wrap things up. A celebratory photo (shout out to Connor Pritchard for doing this video), us Māori did a pūkana and some non-Māori joined in as well doing their pūkana and I got a comment from an account saying the photo gave them ‘post World Cup on a yacht’ vibes. That really annoyed me because first off, anyone with a brain can look at both situations and be able to tell which one is mocking Māori culture and which one is celebrating and paying their respects to two wahine who have created a space for them. I don’t know why you’d even compare the two.

And which one is some privileged non-Māori people on a boat with no context whatsoever, and which one is a Māori-run event in a brown space where people are encouraged to support the kaupapa and how to do it appropriately.

What do you see as one of the biggest challenges to getting mainstream media, particularly radio and TV, to play more content with Te Reo Māori?

The whole dialogue about ‘there needs to be more Māori music’ and all of that, well I think that’s bullshit because we have been making music. I mean for one we’re a musical people, but in terms of contributing to the New Zealand music scene Māori have been making music for so so so long. And it’s really good too, and across all different genres, hip hop, pop, alt, folk, traditional. The fact is we’re struggling to have our music played because the people who are in these positions of power are mostly, or probably pretty much all non-Māori and men who just for whatever reason — well I guess that’s institutionalised racism — are not able to give those opportunities to waiata reo Māori or Māori music.

I feel like if our music from our people was given the same respect and space as what non-Māori music is then I we would have number one hits on New Zealand radio on our hands. Genuinely the biggest challenge is that we’re making the music but people aren’t allowing us the space or the platform or just pushing it as they would non-Māori music. I reckon half of the issue in NZ is the racism, because if people aren’t being exposed to diversity how are their thoughts and whakaaro ever gonna change? How are they ever gonna be open to new world views?

I feel like with the music that we both make, we definitely are creating lanes for ourselves in this country, so yeah, I completely agree. And this shit’s fire. I don’t know anyone on the radio like that.

Oh my gosh I feel the same. All that kōrero around playing more wahine. Well, there’s no shortage of us making really dope music so, ya know, hello? And if you want to tick the queer box, the Māori box, the tangata whenua box, the wahine box, the urban diversity box, then play our music.

Straight up.

We wrote ‘CREEP’ to expose creeps, and as it happens around the time we released it a lot of stuff emerged about the music industry and the struggles female and non-binary artists face. How have you found the industry starting out? Lol.

I’ve definitely had my experiences with men and women actually.There was this one time where I messaged this guy asking for some artwork to be done and he replied ‘three pictures of your ass and I’ll do it’.

Shut up!

I’ve dealt with a lot of stuff like that. Like going to studios and turning up and the guys are like ‘oh you’re actually here to make music, I thought you just wanted to hook up with me’. You know, that shit ain’t fun. It’s gotten a lot better for me, but I hear a lot of stories that come from my friends and people in the community and it’s a big problem. Things actually need to be done. It’s more than just a post on Instagram. We all know what a social media activist is and it’s much more than that. It’s what you say, it’s what you do, you have to be politically active in your everyday life.

It’s so munted that we’re expected to take the lead in these situations and it’s not just a mutual respect aye. In the beginning when I started my journey I’d legit never performed before apart from kapa haka. I came into it feeling like such a lost little bubba and I wasn’t strong enough like I am now, like I’m so firmly strong and opinionated about what’s appropriate and what’s not. You have to work so hard to establish those boundaries that should be there in the first place just to try and get some basic respect and headway.

You know, I have a very hard head, just from over the years dealing with things. It’s like what Nicki Minaj says "If a woman is assertive she’s a bitch, well if that’s what being assertive makes me that’s what I am".

Hard. Good kōrero, honestly good kōrero.

What’s one of the biggest lessons that you’ve learned in the time that you’ve been making music?

I think the most important thing for me is to stand firm and know myself, and just believe that what I’m making is dope. At the beginning, even though I sort of really knew what I liked I was with a major label and all that stuff, I didn’t think I was making music that I genuinely wanted to make. So then when I left the label and went indie it was kind of transformative. I felt this freedom, with no one on my back I could just be as experimental as I wanted, as angry as I wanted. That’s pretty much the biggest lesson I’ve learned. I don’t feel like I’m compromising who I am anymore, I feel like I’m just doing it. Plus I reckon that people that don’t follow rules or copy exactly what everyone else is doing, that’s the most interesting and cool kind of art that you can make anyway cos people want refreshing and weird stuff.

Yeah I fully get you. Being able to make music is my biggest blessing, but it’s a curse a lot of the time. Like making something really amazing and then fully overanalysing it to the death. I’m really proud of you though. I’m really excited for you and what you do next.

Okay so I know we’ve got tour coming up in May, holla everyone, but what else are you working on and what are you most excited about for 2021?

Definitely the tour man, I’m so excited. I’ve got a couple of tracks dropping this year, I’m working on a project, I’ve got some videos I’m working on. 2021 for me is definitely a collaboration type of year. My last EP that I made was real independent, I sort of just did all the songs on my own. I only had one collab on there, but all I’ve really been doing this year is just meeting new people… I think it was the Songhubs that did it for me, I came out of Songhubs just really wanting to work with more people. That’s what I’m excited about, can’t wait.

That’s cool, that’s so dope. Yeah you’ve been on fire with the collabs, I’ve been loving it. I’m so pumped. And I can’t wait for everyone to see… um it’s probably like top secret, but the video and the treatments that you’re working on. You told me yesterday you’ve been working on it since last year. Top secret, but excited about it, it sounds amazing.

So I don’t wanna say too much, but I will say that it’s got a really cool feature in the song, everyone knows who she is and she’s been rapping for a long time. The video’s gonna be done by women, it’s a director duo from Auckland, they’re really dope. If I could say anything without giving it away I’d just say… every woman’s utopia. Have you got new music too? What does it sound like?

Oh yuss. I do, I’ve been stacking up my demos, pushing even more into weirdo territory, it’s been cool. That’s for Theia, then obviously I’ve got my reo Māori side project called TE KAAHU which is like very different music, but more about my influence from my nanny and stuff. I’ve got music from both projects on the way which will be really fun and I’m super excited to get the visuals done for them and I feel like this will definitely be my most um… contentious work yet.

For real. Mood.

Okay, quick fire questions. First one, classic, iconic. Tupac, Biggie or Dr. Dre?

Ohhh. I’m sorry but, Tupac. And I’m really sorry to everyone who’s a fan of Biggie but — Tupac. Causing a bit of controversy here.

Rihanna, Keri Hilson or Destiny’s Child?

Destiny’s Child, no brainer.

Okay, love. Next one: Gucci, Yeezy or Off-White by Virgil?

Hmmmm. Off-White.

I thought so. Love it, love it. Final one: Fenty, Huda Beauty or Milk?

Fenti. Easy. Okay, what’s your dream collab?

Oh shivers. You sister. I’m kidding, we’ve already done it. Okay okay. So I suppose Ri Ri is my girl and I’ve just always adored her, that would be really really sick. But also one of my fave artists ever that I just can’t get enough of is Britney Spears. So maybe I’m just gonna go for Britney.

That would actually sound dope. Like that could be done and really sound good. I’m gonna email her team and see what I can do okay.

I’m picturing something that’s sort of like ‘Toxic’ maybe, or like ‘Womanizer’, I think that kind of vibe would be really sexy.

Maybe when she gets out of her conservatorship. Pray for Britney man.

Free Britney bitch!

If you could have dinner with anyone in the world dead or alive who would it be?

Aww okay I’m just gonna say my kuia. I miss her so much. I know I could pick anyone but the love I have for her, I just want my kuia back and have dinner with her because she died before I released my first song and I wish I could tell her about everything that has happened because she always had my back more than literally anyone. So yeah, I want my kui kui back.

Aw. Much love sis. What is your favourite empowering song?

Okay I’m tied. The things that came immediately to mind is ‘Birthday Cake’ — Rihanna, and then I reckon just to go back to our queen Britney, I think probably ‘Womanizer’ was pretty next level. Like for the time it was actually pretty nuts. I’m gonna go for Britney and then Ri Ri. Any wahine pretty much that owns her sexuality, her strength, her anger, is just next level for me I just love that. I think that all women no matter how demure are screaming on the inside, we’re all like ‘eff the system’. Far out you’ve got such beautiful questions.

I’m gonna answer my own question. For me it was ‘Can’t Hold Us Down’, Christina and Lil Kim. Or ‘Lady Marmalade’.

If you are a music worker in Aotearoa and you need crisis or counselling support, the MusicHelps Wellbeing Service is available 24/7 online here, on the phone (toll free 0508MUSICHELPS) and in-person for free, fully funded by MusicHelps.

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.

Interview Marlon Williams Talks About His New Album With Kacy Clayton NZ Tour

Annabel Kean / Photo credit: Janelle Wallace / Friday 11th December, 2020 10:37AM


Wash the sleep from your eyes and pop the kettle on, Christmas has come early and you’ve got a brand new Marlon Williams album to listen to. Written and recorded in the wild Canadian tundra of Saskatoon, Plastic Bouquet is Williams’ first collaborative album with Saskatchewan locals, folk artists and second cousins Kacy & Clayton. Ten months on from releasing his multi-award winning sophomore album Make Way For Love in 2018, Williams flew thousands of kilometres from a dry Ōtautahi summer to a sprawling white, negative 25° C landscape. The three hunkered down and each brought their own half-formed, home-spun songs to the table, with Williams drawing from sketches begun as far back as 2016, and tying in “the Māori strum in a pretty big way” to songs like ‘I Wonder Why’. In between announcing *checks notes* twenty eight New Zealand shows for 2021, I managed to get the Lyttelton dreamboat on the line while he dipped in and out of reception, and he dished on his Spotify Wrapped, canine actors, and Sardinian dreams. Crack those eyes open as wide as they’ll go to get your lids around this mammoth tour, listen to the wistful folk of Plastic Bouquet, and please enjoy my conversation with Marlon Williams…

Undertheradar proudly presents…

An Evening With Marlon Williams

Thursday 25th February – James Hay Theatre, Christchurch*

Friday 26th February – James Hay Theatre, Christchurch* SOLD OUT

Saturday 27th February – James Hay Theatre, Christchurch* SOLD OUT

Tuesday 2nd March – Glenroy Auditorium, Dunedin∞

Wednesday 3rd March – Oamaru Opera House, Oamaru∞

Friday 5th March – Glenroy Auditorium, Dunedin∞ SOLD OUT

Saturday 6th March – Civic Theatre, Invercargill*

Sunday 7th March – Athenaeuem Hall, Arrowtown△

Monday 8th March – Athenaeuem Hall, Arrowtown△ SOLD OUT

Wednesday 10th March – Regent Theatre, Greymouth^

Thursday 11th March – Theatre Royal, Nelson△ SOLD OUT

Friday 12th March – Theatre Royal, Nelson△ SOLD OUT

Sunday 14th March – Opera House, Wellington∞ SOLD OUT

Monday 15th March – Whanganui Opera House, Whanganui*

Tuesday 16th March – TSB Theatre Royal, New Plymouth*

Thursday 18th March – Municipal Theatre, Napier* VENUE CHANGE

Friday 19th March – War Memorial Theatre, Gisborne*

Saturday 20th March – Baycourt Theatre, Tauranga*

Sunday 21st March – Leigh Sawmill, Leigh∞ SOLD OUT

Tuesday 23rd March – Concert Chamber at the Town Hall, Auckland∞ SOLD OUT

Wednesday 24th March – Concert Chamber at the Town Hall, Auckland∞ SOLD OUT

Thursday 25th March – The Hollywood Cinema, Auckland∞ SOLD OUT

Friday 26th March – The Hollywood Cinema, Auckland∞ SOLD OUT

Saturday 27th March – The Hollywood Cinema, Auckland∞ SOLD OUT

Sunday 28th March – The Hollywood Cinema, Auckland∞ SOLD OUT

Tuesday 30th March – The Hollywood Cinema, Auckland∞

Wednesday 31st March – The Hollywood Cinema, Auckland∞

Saturday 3rd April – Opera House, Wellington∞

All shows reserve seating, except for the new Leigh show which is standing GA. All shows all ages.

Tickets available via*

Tickets available via

Tickets available via

Greymouth tickets available at venue^

Annabel Kean: Hi Marlon!

Marlon Williams: Hey Annabel, how you going?

Good! How are you?

I’m pretty good. Just trying to find a not windy spot. I’m living in Diamond Harbour now and I have to go walking to find reception, but where there’s reception there’s a lot of wind. But I’m hiding behind a tree now.

How’s your day going?

Good. I only woke up half an hour ago, had a late night. Went to Wunderbar and had a jam at Al Park’s jam night. How are you?

I’m good. I’m highly caffeinated, I’ve had two coffees.

Same. I’ve had two too.

In half an hour?

Oh yeah, a double. Well I had to go chat to you so I have to wake up in a hurry.

Thank you. I actually made the enormous mistake of listening to your Kim Hill interview this morning, and now I feel like I have to do better than that.

[laughs] She didn’t come at me very hard, for a Kim Hill interview it was pretty gentle.

One thing I can’t believe she didn’t ask was, who’s your favourite: Kacy or Clayton?

I can’t believe she didn’t ask that either. If I’m at the end of the world and aliens come and they request a guitar player then I’m giving them Clayton. But if they’re requesting a wonderful singer then I’m giving them Kacy. That’s the most diplomatic answer I’m going to give you for that.

I think that’s totally fair. Great answer. Have you done your Spotify Wrap Up?

I have! Well, my number one artist is the Brothers Grimm, because I listen to fairy tales when I fall asleep. That was number one, and I think number two was St Joseph’s Māori Girls College. Bit random, but there you go. Then it might be Kanye third I think.

I watched your ‘Minds Walking Out’ video. Who’d you make that with?

It was Zac Beckett-Knight. I went to him and said we need to make a dog video. We’d been talking about it for a while, so I just wrote up a little Lady And The Tramp story. We didn’t have the budget to get proper acting dogs, so we just used his dogs. They did pretty well considering. But we shot about eight hours of footage for a two and a half minute video. So Zac did a lot of editing on that one. That’s where the work was.

It looks pretty magic. You watch it thinking ‘wow how’d they get the dog to do that!’ but actually you just filmed the dog for ages until it did something.

Exactly. Eventually. What do they say? If you leave a monkey alone for an eternity with a typewriter he’ll write all of Shakespeare. It’s the same vibe with the video.

I think someone actually tested that out. Left a typewriter in a monkey enclosure and they ended up doing just nothing at all, barely even touching it.

You gotta lead them to it, you gotta make them want to write.

Gotta inspire them.

Yeah. That’s a really tricky problem that we’re gonna have to sort out as the human race in the next wee while. How to get our monkeys properly making art.

Did you try to get the dogs to eat a spaghetti at the same time?

No! Na we didn’t go for that obvious a reference. We thought about it but — I think we just forgot and ran out of time.

How did you split up the songwriting with Kacy and Clayton?

We just sort of privately worked away and squirrelled away at songs, and then we’d throw them to each other, pretty much in a rough shape. Then normally the other person would be like ‘okay that’s done, that’s a cool song’, because they’re Canadian and I’m a Kiwi so we’re like ‘Yep that’s great! Yep’. We were just upping each other’s work. They had written a couple more songs than I had so I had to go into my back catalogue and find ‘Arahura’ and songs like that that I wrote a while ago to make up the numbers.

How long’s a while ago?

‘Anahura’ I wrote in early 2016 I think. Far out that’s four years ago. Jesus.

Did you just play guitar?

I did a little bit of guitar, I wanted to bring a bit of the Pacific vibes, like on our first single ‘I Wonder Why’ I locked into the Māori strum in a pretty big way. There were little moments where I wanted to put my imprint on it. But largely I wanted to explore what they were doing with their band and sort of go into their world. And just sing my bits.

What was it like there? In Saskatoon.

Saskatoon, Saskatchewan. Saskatoon’s the city and Saskatchewan’s the province. It was minus 25 degrees and like an empty tundra. It was one of the most shocking transformations of weather I’ve done. I’d come from super hot Christchurch in early December, it was about now actually two years ago I went over there, and it was just absolutely freezing. There was just so much space. Empty, white space.


Yeah, I used to be scared of those ads for the Antarctic Centre on television. I used to have to hide my eyes because I was scared of the emptiness. It reminded me of that.

Did you ever go to the Antarctic Centre? Did that prepare you?

Oh yeah, that sort of did. I loved the blizzard room, the blizzard room I was into. However, you know how there’s that awesome wind machine in the blizzard room? They didn’t have one of those. Well, they did, but it was just the wind. Just actual wind.

Did you get quite homesick?

Yeah sort of! It sort of just turned into a weird sort of dream state for me. I had to suspend belief, and live in that world to be able to be not too deranged by it. And when I got home it felt like I’d woken up from a really bizarre and lucid dream.

Have you been playing any of the Plastic Bouquet songs live?

Yeah, well, I’m pretty limited with what I can do without them, especially as I said, I didn’t do a lot of the instrumentation on the album. There’s a few moments. I’m trying to figure out different ways of presenting it, without just sounding like an idiot. When I go on tour in February / March there’ll be some moments for sure.

So what’s the deal with all of these shows? It’s just silly. Did you genuinely not think that they’d all sell out?

Well, we weren’t sure. These are bizarre times and because we’re doing little theatre shows, and we always wanted, if it got to that point, to be able to do a whole run of Auckland shows, and do like an old school residency type thing. The way the show is going to play out and the vibe we want, it just made sense to do smaller rooms. So it looks pretty silly on paper, but it’s not like I’m playing to thousands of people every night. They’ll be nice intimate shows.

It’s created such a buzz as well. People are like ‘Ah, I didn’t get tickets, maybe there’ll be another drop!’.

Yeah! Just the tension and release. It becomes a game. A capitalist game. Just another Black Friday.

Oh god. The Marlon Williams Black Friday sale.

Tickets here! Everything must go! General admission! Gold seats!

What’s the deal with the Leigh show? You doing something special?

The whole tour’s really going to be quite proper and choreographed, so the Leigh show is to have a show to cleanse the palette, and I’ll get some mates up to play and it’ll just be a far more relaxed affair.

Is it a secret who you’re gonna have playing?

It’s a secret to me still. Yeah, I haven’t jumped on that yet. I’ll find some mates and they’ll be awesome whoever they are.

Now, you’ve been working on a Te Reo album right?


Fuck that must be hard.

[laughs] Yeah, it is in some ways. And sort of refreshing in a lot of ways too. I mean, my Reo’s not much chop, but I’m working with an amazing co-writer in Kommi Tamati-Elliffe, who’s got the Reo down wonderfully and he just helps me, and we find our way there. It’s nice having a limited grasp of the language in a lot of ways, because it just simplifies my lyrics. Which is nice. You have to sort of make the metaphors work for you. It’s like a real nice refresh button to work in Māori.

So you’re not translating, you’re starting in Te Reo and finding the words that way?

Trying to as much as possible. Starting with a few key words or a couple of key concepts and then building up from there.

I imagine you could spend more time on the sounds of the words.

Exactly. When you’ve been speaking English your whole life you close off to the sounds of the word. You don’t have the naive, child-like idea of the language anymore. I think you lose something in that.

Okay, last question. Pretending there’s no pandemic, that doesn’t exist. If you could live anywhere in the world outside of New Zealand where would it be?

If I could live anywhere. No pandemic. Uhhhh. Okay, I’ve actually never been here, but I have a real fantasy about going here and learning how to sing the way these people sing, and I’d love to live on the island of Sardinia in Northern Italy. I only know a few people who’ve been there. They do this amazing singing, which is the best singing on the planet. So I would just go there and try to get them to help me learn how to do that.

Marlon Williams’ collaborative album with Kacy & Clayton ‘Plastic Bouquet’ is out now via New West Records.

Interview Emily Edrosa Speaks Out About New Album Another Wave Is Coming

Chris Cudby / Photo credit: Alea Balzer
/ Thursday 12th November, 2020 4:43PM


Back in Aotearoa following an extended stay in Los Angeles, Street Chant songwriter Emily Edrosa embraces a new era with the forthcoming release of her long-awaited debut solo album Another Wave Is Coming. Launching locally on 20th November via her own imprint PSL Sound, and in the US courtesy of Park The Van, the new record was written and recorded by Edrosa in her stateside HQ, with famed producer John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) bringing his mixing skills to the table, and drums on selected tracks courtesy of Alex Freer (AC Freezy) with Liz Stokes (The Beths) handling drum recording / engineering duties. The 2017 Taite Music Prize winning artist generously sat down for an in-depth chat with Chris Cudby ahead of next week’s headline show at The Wine Cellar, alongside just announced supports Chewy Gum and Disciple Pati

Emily Edrosa supporting French For Rabbits

Friday 13th November – Nivara Lounge, Hamilton*

Tickets on sale HERE via UTR*

Emily Edrosa ‘Another Wave Is Coming’ Album Release

Friday 20th November – The Wine Cellar, Auckland w/ Chewy Gum & Disciple Pati

Tickets available HERE via UTR

Chris Cudby: How are you feeling following the elections in the US and in New Zealand, back to back?

Emily Edrosa: It’s funny because I moved to America, I think a week before Donald Trump got in. And then I moved back three weeks or a month before he got out. I love my timing. Not that it really affected me because I’m not exactly a minority. Frankly, I think Biden is a war criminal… but in terms of immediate effect for people who need it, it is good that Trump got out.

In the New Zealand election… it’s not John Key, it’s not National, so happy about that. I feel like the Greens are really the only reasonable option, so it does disappoint me when the majority goes to the smiling celebrity. But I don’t know — politics, I go too deep on it sometimes. The whole world’s kind of a mess. I am happy to be in New Zealand. I think that if National had been in charge and Covid hit, that would have been a pretty different story. So that is good.

Was it weird moving back from LA to New Zealand? Was that a planned move or was it something that was out of necessity?

I remember when Covid hit, Jacinda said "come back". I was like, oh my god what’s going on? Like everyone else, I never could have imagined what a global pandemic would look like. I thought about it for a long time. I lost my job from Covid because I was working in hospitality, the place I was working at closed down. Bernie Sanders, champion of the world, made them give everybody who was on the dole an extra $600 a week… because the dole there is really not enough to live on, it’s the same situation here. It was fine for a while… but then that ran out. It was a brain wave moment. I was like, oh my album’s coming out, and New Zealand doesn’t have Covid, of course I will move back.

I actually kind of missed it, because it does make your life a lot simpler. When you can’t leave your house and all you’re doing is going to the supermarket and thinking what’s for dinner. And then suddenly I’m back here and it’s people standing really close to me and breathing in my face, and it’s actually quite intense, when you are used to seeing other people as a threat.

I just spent the last six months, every time I leave my house I was just listening to James Ferraro. You’re walking down the street and you see somebody walking down the street on the sidewalk and you go [skrrrt!] how can I get away from this person? It’s so dystopian to see another person and immediately consider them a threat.

I’m interested in what it was like initially, moving to the States… What was it like getting reestablished in a different musical environment? Or was it even that different?

I am a bit of a self-sabotager, to be honest. I don’t think I really did (put) my best foot forward, but at the same time it was really difficult and humbling to move somewhere and have no cred or anything. Which was not what I was used to in New Zealand… People in LA, it’s like every show is a showcase, because that’s where the industry is. People there are quite picky about who they want to play with. No one wants to get somebody who doesn’t have hype or stuff like that.

I actually don’t really care about commercial success… on this album I was living in America, of course I wanted to "get discovered". But I feel now I’m on the other side I’m like — I actually only care about creating music. It made me realise the reasons I’m doing it, if that makes sense.

The new album, it sounds like it’s all you, but it sounds quite open.

I moved there with my partner. I think as you get older, it actually becomes harder to make friends, and so we were really quite isolated. We didn’t really know that many people in LA and we were just there together in the house. And I got married. I feel like the album’s about feeling lonely and being married [laughs].

Yeah I did do everything myself. The way I did it was I would write the songs on the DAW, I was using ProTools at the time, and do the MIDI drums. And then write the whole song and record it all and then send it to two different drummers on the album. I play drums on one song. Then they would record the drums and I’d record everything all over again.

Just wondering, was there any like other material left on the cutting room floor from the album? 

There was, two or three songs that I just never finished. One of them John (Agnello) did mix, but didn’t suit the album. But I don’t really write like that. Often when people are saying, with songwriting, write out the bad ones, and no one ever has to hear them? I just don’t do that. I keep working on it until it is good, and then it gets released. I know that sounds like kind of arrogant to be like "well I don’t write a bad song", but if you just work on a song, until it’s good, then it’s good.

EmilyEdrosa · 2015 (demo)

I’m gonna ask about some new songs on the record. What’s ‘When Our Brains Betray Us’ about?

It’s about falling out of love with somebody. Your brain is betraying you by being like, I don’t want to be with this person anymore. I feel for me, I have emotion and then I build logic around it, to rationalise. I’m sure everyone does. Maybe it should be called ‘When Your Heart Betrays You’ [laughs]. It’s all about having episodes. The whole album.

What about ‘Lesbian Pope’? I’ve been listening to a lot of early Cure recently and it kind of reminds me a little bit of that.

Oh yeah, the baseline is pretty Cure-ish right. It’s about probably like the least emotional song of the album. That song’s just about how people are fucking idiots. Like walking up to somebody and just having a yarn… that song’s just about standing around.

‘A New Career’ definitely seems like a relatable one for musos, especially at the moment.

It’s about the artist mindset and how difficult it is. The reason why artists can create art, or good art and good artists, is that most of time they’re sensitive people. You know, if you’re sensitive you’re going to have mental illness problems, and the world doesn’t respect us. They want us to do a coding course. It is pretty hard. And also being in a relationship with somebody who’s going through that. Anybody who’s in a relationship with me will be going through that. Because you’re constantly having to go to barbecues with your cousins and they go "are you still doing that music thing?"

[groans] Ah fuck.

And you’re like, this is my soul. This is my life. Thank you for that. They look at you and they go "well you’re not living in a mansion with a pool and having groupies, so you’re a failure." It ain’t about that.

You just can’t stop, that’s the problem of being an artist. I mean if you’re true artist. I’m constantly like "well I’m going to quit music", but I never ever could. I like reading. It’s like somebody saying "do you want to stop reading?" I’m never going to stop reading.

Who’s playing in your live band at your shows over the next two weeks? What have you got planned for your album launch show at Wine Cellar?

I just got my friends like Dorian who’s my best friend and and incredible dummer and Nich, so it’s TOOMS. They’re just both so lovely and chill and do their homework.

You’ll be playing stuff from the new album?

It’ll be stuff from the new album and then a couple of songs like from my EP. Yeah, it’s just going to be all hits.

Digital as well as black and limited edition red 12" vinyl pre-sales for ‘Another Wave is Coming’ are available here.

Interview Future Islands Talk About Their New Album As Long As You Are

Chris Cudby
/ Tuesday 27th October, 2020 12:10PM


Launched earlier this month to significant global acclaim, Future Islands‘ new album As Long As You Are is as uplifting and endearing as we could have hoped from the Baltimore synth-pop heroes. Thrust into the public spotlight by frontman Samuel T. Herring‘s iconic 2014 performance on The Late Show With David Letterman, Future Islands celebrated the launch of their sixth studio opus with a dazzling A Stream of You And Me livestream event, the hard-gigging gang’s 1235th (!) live performance all up. We had the opportunity to chat with bandmates William Cashion, Gerrit Welmers and recent addition Michael Lowry just ahead of the launch of their first album in three years — who opened up about the frustrations and realities of not being able to tour in their Covid-imperilled homeland, the genesis of the record and more…

Chris Cudby: This is your first studio record in three years. With the current, political, everything going on this year, did you feel compelled to use the record as a way of commenting on what’s happening at the moment? Or do you feel that the songs on As Long As You Are come from a more personal place?

Gerrit Welmers: I think lyrically Sam touches on some subjects that are a little more political than he’s touched on in the past, for sure. ‘Born In A War’ for example. But I think we had this plan to release this record and we wanted to stick to the actual timeline as best we could. We didn’t want to hold off any longer, it’d been so long already. It’s a weird time, it’s strange for everyone. One cool thing about music is that it has a nice healing nature to it sometimes. I think if you can have some new music, it’s always good vibes.

Absolutely. Would you say that As Long As You Are is about any specific theme? How would you describe the ideas explored on the new album?

William Cashion: I was asked recently how I would sum up the album in one word, and I said "trust". Just the phrase As Long As You Are, it’s a title of a song that Gerrit brought to the band a while back We tried to work on it for The Far Field and we tried to work on it for this album, but it just didn’t end up making the cut. But the title of it came into the conversation, we were trying to figure out what we were gonna call the album. The title’s just about trust.

We want to be honest with our music and trust in each other in the process. This is the first time producing ourselves, so we alway put pressure on ourselves. It didn’t feel there was more pressure than normal, but maybe there was, because we were in charge of how the record would end up sounding. Just trusting each other and trusting our intuition with the whole process.

I’ve seen three videos from the new album so far, two of which are very lavish and visually very amazing. And then you’ve got the video for ‘Thrill’, which was shot in quarantine. I’m interested in the process that went into making that specific video, and the decision that was made to make that as well.

William Cashion: We had a video fall through for that song. The label wanted to release some kind of lyric video. We haven’t figured out how to do lyric videos really, in a way that is interesting. I’ve seen it done interestingly by other bands… We had the idea, it was a few days before the video came out. We were just like, what if Sam, what if you just filmed yourself singing it in front of a plain wall? I’d just recently discovered, I guess all iPhones you can have them film in 4K mode? I never realised that until recently. And I was like, why don’t you just use your iPhone and set it on 4K mode and we can do it? He did a couple of takes and our management helped us edit it, in a way. The only edit was the starting zoomed in and then zooming out. But I really love how it turned out, I love how simple it is. Sam gave a really great performance for that video.

Michael — you’ve been playing with Future Islands for a while, but this album is your first as an official member. Does this mean that you joined in on songwriting duties for this record? What was the songwriting process for the new album? Was that different to earlier records?

Michael Lowry: Yes. I think it was different from The Far Field, in that with The Far Field everything was written with the guys in the room together. With this record, we wrote some ideas in sound checks while on tour for The Far Field. We wrote some stuff in the studio. William and I came with an idea, Gerrit came with a couple of ideas. There’s a song that’s like an older idea that William had. We cast a really wide net and just wanted to make as open a process as possible, and not hamper each other.

Is the process that you guys come up with the music and then work with Sam in coming up with the lyrical content?

Michael Lowry: Yes… that was my experience with this record.

What’s the Covid situation like in Baltimore currently?

William Cashion: …I went to North Carolina, a few states south of here, and nobody was following the government protocol for Covid-19. When I came back to Baltimore it felt like everyone’s taking it pretty seriously I thought, but hen I talked to these guys and they have a different perception of it, I dunno.

Michael Lowry: It depends on where you are.

Gerrit Welmers: Baltimore City’s sort of not doing that great. I think we’re coming down the other side at the moment, but it’s still not great, given what the population of the city is, which is 600,000. I think 1 in 40 is positive.

That’s crazy. In New Zealand it’s pretty low, but we’re currently allowed live shows here but only seated events [this interview took place while Auckland was still at Alert Level 2] and quite separated events, with table service and stuff like that. Are you guys allowed to have any live shows in the States?

William Cashion: Not here. There’s a comedian I follow on social media. He’s been touring… it’s different state to state and even within each state. In Baltimore City you can’t have events. But in Maryland, outside of the city, I’m pretty sure you can start having shows. From what I understand, the venues are eager to start having shows, even if it’s at limited capacity, because it’s been such a rough year for everybody. I think there are places that are starting to allow shows.

In Baltimore City, there’s been some things where local bands have been going around, setting up in their front yard, posting on social media. And then friends or whatever will come to that address and see the band play. Ive seen that, or like they’ve set up on the porch. People watch from the street or the front yard, y’know DIY style. But I haven’t been to one of those events, I’ve just seen them posted about on Instagram. Evil Instagram.

As seasoned veterans of touring, is it a frustrating feeling not being able to currently play live?

William Cashion: Totally, yes. 100 percent. We all wish more than anything that we can be out on the road touring. Under normal circumstances… as of this January the plan was we were gonna be on tour right now, we would already be doing a North American tour. That got pushed back in March, but that was the plan. We were gonna be on tour solid until the end of the year, and probably beyond. Leading up to the release and then after the release. And now it looks like… the earliest that we’re going to be able to do shows is next summer, possibly. I think we have some stuff confirmed in August and there might be something in May. But we’re not even sure that’s going to happen. Is there a May thing that might happen?

Michael Lowry: I don’t know. I think there was like a festival or something?

William Cashion: I think that’s a Japanese festival, but we’re not sure if it’s going to happen.

When was the last (live) show that you played?

William Cashion: We did a short tour September of last year to road test the material for As Long As You Are. We’d already been in the studio working on the stuff. Based on certain things with playing it live, we went back and kind of tweaked things, or re-recorded certain things, depending on what we learned on that tour. And then last December we did a private show in Edinburgh, that was our last show. I don’t even know if we count private shows, it gets tricky.

New Zealand has always loved Future Islands. I know the future’s pretty hazy at the moment, but do you guys reckon you’ll be heading our way once things settle down a little bit, in the hopefully not too distant future?

William Cashion: I hope so.

Gerrit Welmers: I certainly hope so.

I’ve spoken to a few people who had a really good time during your guys’ DJ set one night in Auckland.

William Cashion: Oh yeah that was fun [laughs]. That was where we played, was it Shaggy, that got everybody dancing? That was us with Dan Deacon.

Well good stuff, thank you so much for chatting with me today.

‘As Long As You Are’ is out now on 4AD via Rhythmethod.

Bandcamp Friday This Weekend From 8pm 2nd October NZST

Annabel Kean / C.C. / Friday 2nd October, 2020 5:43PM


The Bandcamp angels have confirmed that their game-changing monthly Bandcamp Fridays initiative will continue for the rest of 2020 — with one today, another on 6th November, and the last of the year on 4th December (perfect for Christmas gifts!). If you didn’t get the memo: once a month since March this year, Bandcamp has dedicated a full 24 hours towards fee-free use of the site for artists, meaning 100% of the money you spend on music and / or merchandise goes directly to the artists and labels involved.

We’ve put together just a tiny selection of hot new local picks for you to peruse for purchase from 8pm tonight (NZST), until 8pm Saturday 3rd October — if you’re not sure if it’s happening, you can click here to double check. We strongly suggest you explore the mind-bogglingly diverse sounds of what Aotearoa has to offer over in the New Zealand tag section of Bandcamp here, these by no means comprehensive suggestions simply aim to help get you started when the whistle blows at 8pm this evening…

Na Noise are already one of the coolest musical duos in Auckland, and now they’ve gone and released the first vinyl 7" pressed in Aotearoa since 1987. We get it! You’re great!

The award winning Troy Kingi channels soul and funk on his latest album The Ghost Of Freddie Cesar, the fourth in his 10 albums in 10 years in 10 genres project. Collect ’em all!

Wax Chattels‘ sophomore album will empower and electrify you, with tracks on Clot to even suit the non-goths of the world. Featuring cover art from bassist Amanda Cheng that belongs in a gallery, and a gorgeous blue disc.

P.H.F.‘s excellent new album New Metal launched on streaming services today, but can be copped in a dazzling variety of forthcoming physical formats via preorder on Bandcamp.

Love top quality Aotearoa punk? Vinyl with gorgeous cover art? Cool stickers? Repairs‘ Repeat, Repeat is the Bandcamp Friday purchase for you!

Need some next level electronic dance sounds to get you grooving? Look no further than the brand new album from Tāmaki Makaurau’s Amamelia — there are swish totes available too!

One of our favourite Aotearoa imprints to emerge over the past year, Noa Records consistently gift listeners sublime sonics. Check out their latest release from Riki Gooch & Alistair Fraser Rangatira.

Ulcerate‘s intense Stare Into Death And Be Still is inarguably one of the most significant NZ metal releases of 2020.

Pōneke indie-dance crew Glass Vaults‘ LP will be out by the end of the month. For now, pre-order a super limited edited, sunny yellow vinyl, and listen to the groovy singles.

It’s no secret we’re hanging out for the debut solo album from Emily Edrosa (Street Chant) — vinyl LP and digital preorders are available now.

Dunedin dance innovator Vanessa Worm‘s debut album VANESSA 77 spans a thrillingly diverse range of underground sonics and styles.

To browse the full selection of New Zealand releases currently available on Bandcamp, head over HERE.

For an awesome rundown of significant recent local releases, check out the buyaotearoa wishlist HERE.

Covid 19 Restrictions Return For NZ Music Venues

Chris Cudby / Wednesday 12th August, 2020 10:13AM


In an emergency announcement at 9.15pm last night, Prime Minister Jacinda Ardern and Dr Ashley Bloomfield revealed there were four cases of Covid-19 detected in Auckland’s community. They declared the super city region will shift to Alert Level 3, and the rest of the country will move to Alert Level 2, for a period of “at least three days” from noon today, while the scale of the community transmission is assessed. This development sadly brings to an end Aotearoa’s much-touted status of no cases of Covid-19 in our community (at 101 days), confirming last week’s statement from Bloomfield that we all need to be actively vigilant in preventing the spread of Covid-19.

What does this mean for Aotearoa’s music community?

Auckland: Live music venues are required to be closed from noon today (Wednesday 12th August) for at least three days. Gatherings of up to 10 people are only permitted for wedding services, funerals and tangihanga — more details on Alert Level 3 here.

New Zealand outside of the Auckland super city boundaries: Alert Level 2 alert restrictions are in effect from noon today. Venue capacities will be capped at 100 attendees / gatherings of up to 100 are permitted. All public venues are asked to keep records to enable contact tracing. Stores can continue to be open but social distancing is required — more details on Alert Level 2 here.

Frustratingly, this means Auckland live music events up to and including Friday 14th August will be required to be cancelled or postponed, and audience restrictions may impact ticket holders outside of the super city region. We’ll keep you updated as more information comes to hand, as we did the last time around — all ticket holders to UTR events will be contacted via email of the updated event info.

How to help support our music community:

– For those who have the means to do so, we encourage ticket holders to consider opting to hold onto tickets, opting out of refunds and opting out of booking fee refunds.

– If you haven’t done so already, now is the time to download the contact tracer app and use it — download it here.

Here are the health and hygiene guidelines to help prevent the spread of Covid-19. 

– You can keep supporting your local record stores by ordering online. 

One thing you can rely on is we will keep bringing you the very best local and international music news and more, during the latest curveball 2020’s thrown at us and beyond. We’re collectively crossing our fingers that restrictions won’t be required after this coming Friday — we’ll provide rolling updates for the above information as details become available.

Here’s the full announcement from last night…

UTR Interview Relay Amamelia Chats With Pickle Darling

C.C. / Interviewer: Amelia Berry / Tuesday 4th August, 2020 12:05PM


Part two of our bold new four-part UTR Interview Relay series of artist-driven interviews has arrived. Picking up the baton from previous interviewer Pat Kraus, Tāmaki Makaurau electronic artist, songwriter and 95bFM Top 10 host Amelia Berry (Amamelia, Fimo, Polyester, Old Chips, Babyteeth, Princess Worm Baby) hit up Ōtautahi bedroom pop sensation Pickle Darling aka Lukas Mayo, for an eye-opening chat about his creative practice and finding unexpected international success with 2019’s debut album Bigness.

Dive into their conversation below, listen to Amamelia’s brand new mix for Related Articles here, catch her performing at The Others Way 2020 on the Sunreturn Stage this September [tickets here], and keep your eyes peeled for the next instalment in a fortnight’s time – where Pickle Darling will interview a yet-to-be-revealed Aotearoa artist, and once again pass the interview baton onwards!

Amelia Berry / Amamelia: I’m going to start by being really nasty and ask you to describe the kind of music Pickle Darling makes. Nobody likes to answer this.

Pickle Darling: Hmmm. I guess it’s like, baby music lol.

Obsessed with that! So, you’ve been making baby music as Pickle Darling since 2016, but when Bigness came out last year that seemed like a big moment. Suddenly everyone was talking about you. How did you feel about the reaction to that album?

I was pretty surprised at the reaction, I don’t know if it felt like everyone was talking about me cause in the end it just ends up being more Twitter / Facebook / Bandcamp notifications lol. It got Bandcamp Album of the Day, sold a huge amount of records and tapes, and ended up charting in NZ and topping the Bandcamp charts! Which is wild cause I didn’t really release it ‘properly’, I don’t have distribution or PR and don’t really know how to do anything. I think it was nice hearing that it was some people’s favourite record, getting a lot of coverage is one thing, but receiving messages from people telling me how much they loved the record… That meant quite a lot. Especially as by the time it came out, I felt so disconnected from the album, so the response kind of made me love the album again.

Your voice and lyrics create such a sense of honesty and intimacy. Does that feel vulnerable? How much of your real life do you write into these songs?

I’m always writing notes on my phone, either real life observations, or stuff I’ve read or seen, or just nonsensical images, and when I write a song I’m just scrolling through notes and seeing what fits and then I kind of try and shape that into a narrative. So there are real experiences in there, but it’s in more of a dreamlike way, and I can’t even remember the real stories the songs came from because I’ve just turned them into fiction. I find it hard to write purely true stories from my life or just about my feelings, cause my life and my feelings are just kind of boring haha. I still feel embarrassed when people play my music in a room full of people though, my songs feel like nudes lol.

The other thing that really stands out for me about your songs is the mix of sonic textures. How do you approach arranging your songs? Is it something you think about early on in the writing process?

I don’t really separate the arranging from the songwriting, and often the songwriting happens last, which is kind of like trying to slip a foundation under a house. I sit there on my computer with my guitar and just kind of toy around with little melodic ideas, and then layer them and then eventually I have a whole bunch of catchy melodies, and I try getting things sounding as colourful and meticulous as possible, and then I have to try and fit a song into it. ‘Rinse Spin Cycle’ and ‘Mouthful’ were huge instrumental pieces and it took me months before I could fit a natural sounding melody into it.

New Zealand has a kind of running theme of bedroom experimentalists, I’m thinking The Tall Dwarfs, The Brunettes. Do you see Pickle Darling in relation to that history?

I didn’t really know a lot of Flying Nun stuff growing up, it was more Lil Chief Records that I was into. I think I’ve kind of accidentally slotted into the twee genre, I was mostly just trying to make big Brian Wilson-esque pop songs but only with instruments I knew how to play and recording gear I knew how to use. Weirdly, my biggest influences are probably like, Wilco and R.A.P. Ferreira (used to go under the name Milo). Sonically I guess my stuff is twee but in terms of chord progressions and melodies and phrasing, I’m drawing from country music and rap music a lot. I hope others see me as part of NZ music history though, that’d be cool haha.

I never would have guessed that, but now that you mention it there is a lot of hip hop in those floaty, cyclical chord progressions. What else have you been listening to recently? Do you have any shout-outs?

The stuff I have on rotation at the moment, I guess Pen Palindrome, Voom, Skirts, this emo-ish band called Frankie Valet that put out the best album of this year, Bedbug (I’m always listening to them), R.A.P Ferreira, Pink Navel, The Microphones, Drive-By Truckers, Gene Clark, Robyn, Stereolab, The Field album with the white cover, Vagabon, Ben Woods, and Charli XCX of course. Oh and the first Fontaines D.C. album! I always secretly wish I was making that sort of music.

That’s the philosophy of the world, huh? Now finally, tell me about your new album. What should we expect? Has the success of Bigness changed the way you’ve approached these songs?

My new album is probably coming out near the start of next year, I guess cause 2020 is a bit of a write off! It’s finished though!! I’ve tried not to let the success of Bigness influence the new album… I’m kind of trying to make the opposite album to Bigness. It’s tighter and shorter and more melodic and lyrical. There aren’t any throwaway moments, and it feels more like one piece of music. I was inspired by lot of sci-fi during this album. Like Stalker and Solaris and all those old ‘Journey to the…’ moves and this weird UFO cult in America that I’ve just been watching videos about lol. The album is about communication and long-distance relationships so the sci-fi thing just works with that.