Archive for September 2013

Simon Grigg and Audio Culture (the noisy library of New Zealand music)

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Audio Culture: The Noisy Library of New Zealand Music has recently been added to the music resources in Auckland Libraries Digital Library. It is not only an excellent resource for the study and appreciation of New Zealand’s popular music history but also a fine way to lose hours of your life.

The sites original architect, Simon Grigg, and his co-conspirator, Murray Cammick, will be speaking at the Auckland Central City Library on Thursday Oct 3rd. A Facebook event page has been set up for the event. By way of introduction to the event Simon was good enough to answer a few questions for us.

Did your experince with your own blogs kickstart this project?

Yes it did. I've been slowly trying to archive the music and times I've been involved in
over the years as we have such huge gaps in our popular music documentation and the public availability of it. There are several amazing blogs and sites but no one place where we could look at all of it and see how it all fits together. The concept came together in mid-2010 and it developed from there. I had early talks with several people, notably journalist Gary Steel, RIANZ's Chris Caddick, NZMC's Simon Woods, Universal's Adam Holt and Gemma Gracewood and the site grew from there.

The site seems to be all encompassing, embracing many, many different facets of NZ music, was that the plan from the start or did it develop over time?

If you look at my history it embraces punk, indie rock, hip-hop, dance music, jazz and pop so there was never any chance that AudioCulture was going be one-dimensional genre wise. We are a small country and so many things and people stride over multiple genres – it's our strength. AudioCulture hopefully gives some context to that. So, in answer to your question, it was always the plan.


Why do you think this is important?

Music is a part of our national lifeblood. We are one of the heaviest per-head music buying nations in the world and we buy and listen to vast amounts of our own music. And more than that, our music has a wonderfully unique flavour melded by our physical place in the world (and our isolation), our joining of cultures, our climate and the changing cultural mix of the nation. We grow up, meet our partners, go out to and are quite obsessive about the music we make, perhaps only secondary to sports. Music is us.

Do you think there is a danger we are losing our pop culture history? (I have often been surprised by how much the library does NOT have in its collection)

We have been in grave danger for a long time. Not of losing our pop culture history, but of losing big parts of it. Whilst there has been increasing amounts of ours musical past gathered and collected we also missed large parts of the story and it simply goes if we don't grab it. The work of various amateur bloggers and historians, libraries both regional and central, Radio New Zealand, and writers such as Chris Bourke, Gareth Shute and John Dix have gathered together large parts of the musical legacy of New Zealand. Our job is not to replace these people and organisations but to to add to the amazing body of work that exists. I think it's also important that our musical past and its related cultures are visible and accessible. That is a big part of our brief. It's an exciting story and we want people to know as much about extraordinary musicians like The La De Da's as they do about The Rolling Stones.



I also think we need to understand the scenes and communities that grew up around our music. It's fine to write about a band or singer, but what of the culture and world they came from? That melded them and they melded it.

As part of doing this have you discovered stories or music that you were previously unaware of? if so, what were some of those surprises?

Countless stories. Rarely a day passes when I'm not given writing or an image that just astounds me. Some of our writers have vast archives and an encyclopedic understanding of New Zealand's music and its music makers. We also have musicians coming to us daily offering unpublished images. I love this story of Chris Malcolm – born in NZ, brought up in the US. He came to to NZ in the 1960s and wrote one of the great psychedelic pop tunes of the era. Before Grant Gillanders submitted this story I had no idea. The same writer has submitted an extraordinary piece on the 60s group The Pleazers which explores the relationship between a band and their label in the 1960s in a way I've never read before. It will go up shortly.

Another of the goldmines is the Phil Warren archive at Auckland Library. There is so much in there we want to explore – so many stories that we've not even touched on yet. 

Simon and Murray's talk will take place on Thursday 3rd Oct on the second floor of Auckland Central City Library in the Whare Wananga from 6pm.

-Kelly



Q&A: Arthur Ahbez

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Arthur Ahbez has just released his first album Gold. In his own words, he’s been “lost in the 1960s for nearly 10 years” and it shows on a record that shows a deep love for Neil Young, The Grateful Dead, Dylan and the Velvet Underground. All Things Musical sat down one Wednesday lunchtime to do a gmail chat with him about recording Gold, his creative journey over the past couple of years and finding an eight track tape machine in an opshop.





































Tell me about recording Gold and the how/what/why/when of it…
The best way to describe it is a window into the way I hear music and relate to it. And "see" it. I worked on the record for about 2 and a 1/2 years, piecing it together in my room on a 8 track tape deck I found out hunting for vintage garments It was an amazing find, hidden under a pile of old flannel shirts. As soon as I saw it I knew it was what I needed and thus began the start of my record. The songs I decided to put on the record mean a lot to me. I've called the record Gold because that's in part what I feel subjectively it is. I'd play the songs over and over again on my guitar and on the recording as I wanted to be sure they weren't something temporal. I wanted to be sure they really meant something to me. Plus like any artist I’m extremely self-critical of my work - although I've loosed up a bit now. But being the first recorded output I've done publicly I wanted to make sure I could still enjoy it 10 years from now and have the record age into a timelessness. I'd have a lot of fun recording it, but at times it was a nightmare as I had no one to really feed back off and I had to learn as I went… how to record, how to mix, layer etc. Anyway - now that I've finished I want to keep going. I can't wait to do another record as I have all this material that I couldn't get right on the first record due to inexperience. This album was kind of the first step/leap of faith etc into becoming an artist even though I've played live music for yearsI wasn't sure how people would react to my songwriting and ideas as I've been lost in the 1960s for nearly 10 years. But I’m really happy with the way it turned out, and most importantly I can hear all my influences in the songs. And hopefully other people will too. One thing to note, I'm really obsessed with folk songwriting. Not as traditional as Woody Guthrie, more like his contemporaries (though I dig Guthrie)… so with my first (and hopefully not last) record I always wanted to make it folk in heart and nature, and most of the songs bear that stamp.



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Listen: Hula Hope - Lamp

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The appropriate response to Hula Hope's charming debut album is this.



Formerly of the excellent, maximalist Wellington all-girl troupe St Rupertsberg and long-serving folksters UrbanTramper, Hula Hope has been playing solo for a few years alongside those projects and has finally released the above solo record all of her own.

Enlisting the help of two different young producers - Lehmann B. Smith (listen to his 40-deep record of his extremely short, extremely good indie pop songs on his bandcamp) of Melbourne and Dave Parker of West Auckland (download his lushly produced, all New Zealand collection of original Christmas songs here), Lamp is blessed with a cohesive amalgamation of 60s girl pop, modern indie pop and alt country. She sings with an unashamed local accent, trades quips with Steve Abel's powerful baritone pipes, and has epiphanies that a boy's refusal to wait for the bus with her is one of those minor details that sounds innocuous but should maybe be a dealbreaker. It's well worth a listen and if she charms you like she did me, you can buy it straight from her bandcamp site (or straight from the bandcamp streaming widget above).




Blog Wars

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All Things Musical isn't exactly a hard-hitting journalistic institution, more of a little side project in between shelving music scores, withdrawing Nickelback CDs and explaining to the odd patron the difference between "the internet" and "Google" (bless).

Fortunately there's much better music blogs out there fighting the good fight ever after the latest nail in the coffin of quality music journalism in New ZealandOne of the best is Russell Brown's Friday Music, which comes out weekly on Russell Brown's Hard News blog on Public Address. He's passionate and thoughtful and has an enviable awareness of a variety of music. I wouldn't say the same about Simon Sweetman's Off The Tracks, a spin-off of his Stuff.co.nz musings at Blog On The Tracks, but his writing does seem to attract a lot of readers. Those worlds collided this past Friday's post when Brown outlined his objections to a flimsy Sweetman attempted takedown of Lorde's The Love Club EP. Here's a taster.
"Sweetman thinks of himself as an iconoclast, and, yeah, it takes some nerve to denounce barbecue reggae in a Wellington paper. Someone had to. He can write well about the range of music he likes, and completely miss the point of anything outside that range. Too often, he seems to be merely seeking attention. But in this review, he writes like the troubled child he believes Ella Yelich-O'Connor to be. The one who needs to grow up isn't Lorde. I think it would be decent of him to apologise for parts of what he wrote."
Read the full post on Hard News for an excellently thought out rebuke to a rather thoughtless and insulting dismissal.

And while Lorde smartly ignores bad reviews (and finds others going in to bat for her...), elsewhere on the internet a local band is taking matters into their own hands. The Neo-Kalashnikovs took issue with reviews of their single Gorgeous Baby over at The Corner and took to the comments section to defend their honour. Context: the website has a panel of writers who offer their thoughts on local singles. While I can't say I always agree with them, more content focusing on local bands is a positive. And even if the reviews aren't always so, it opens up a dialogue. Anyway, check out the post and the comments here, and take a look at the video if you feel like making up your own mind or happen to be a really big Coronation Street fan.








Watch: Arcade Fire - Reflektor

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Canadian indie rockers Arcade Fire have released the first single from their forthcoming album, which is also titled Reflektor. Produced by James Murphy, he of LCD Soundsystem/DFA Records, it subverts a disco beat into something that's quite low key, while remaining very anthemic. It's great stuff and bodes well for the material we'll be hearing when they grace Western Springs Stadium for the Big Day Out in New Zealand this summer.