As we talked about in
Various Artists #2 with
Go With The Movers, the mid 00s was a boom time for local music. It felt like there was a new band popping up every week. The ground was fertile - there were places for them to play, sometimes quite a lot of people to come see them, Blink was hitting his straps with his A Low Hum tours (which probably served to unify bands and audiences from across the country with tours that might not have happened otherwise) and the popularity of MySpace and more widespread internet access meant that new bands from all points of the country could get heard sooner. Amongst all that, in 2007
Real Groove (RIP, and not to be confused with the zombified corpse of
Groove Guide these days) had a bold editor - Duncan Greive - who'd give a fair shake to the new Paris Hilton album just as soon as a four track recording of something noisy and exciting from Christchurch. And I seem to remember Stevie Kaye foregoing sleep and food and oxygen in an effort to get tracks from unheard artists up and down the country and write about them.
I don't like
NME - I think it overhypes a lot of terrible UK bands because they need a new flavour of the month. But at the same time, you have to admire their willingness to champion great local music (even if the greatness of the music sometimes feels self-generated by the magazine itself). If there's a band that's killing it and doing fresh new things, you'll hear about it - and the whole new genre said band is supposedly spearheading. Maybe things are changing here, or maybe it's a population thing, but it feels like we don't have that same confidence in our own culture until it's been validated by various outside sources.
So
Awesome Feeling was really awesome. Months earlier it'd been Liam Finn on the cover, which wasn't so out of the blue given his pedigree, but still seemed kinda bold ahead of his album release and its singles. Then for the issue carrying the
Awesome Feeling compilation it was So So Modern front and centre, which must have been a shock to large portions of the public, but was so warranted considering the live phenomenon they'd become. Though they pulled pretty great numbers for a local band, it wasn't about the numbers at the shows. In terms of transforming an audience and actually getting Aucklanders to dance, they seemed unstoppable. They weren't alone in starting to peak. Cut Off Your Hands and Collapsing Cities became
NME darlings, Bachelorette signed to Drag City, Diasteradio would tour the world. On the second edition it was the same thing, Street Chant had a four track demo as Mean Street (shot to the compilers for hearing a great song under the tape hiss and thin sound), it featured Princess Chelsea before she became a YouTube sensation, there was High Stakes - who had a #1 dancehall single in Jamaca, and
AFII was the first place a lot of people heard The Naked and Famous before they had a record breaking #1 NZ single and turned heads the world over. Here's former
Real Groove editor
Duncan Grieve talking about the comp after the jump.
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