Anthony Metcalf from the band Glass Owls and formerly of the little known but critically acclaimed Howick podcast Hello and Welcome to the Internet stopped by the Auckland Central Library to talk.

Topics covered include his favourite flavour of ice cream, some anecdotes and thoughts about Waiuku and recording the Glass Owls album Out From the Darkness there, why Ben Affleck isn't going to be a good Batman and how Spoon is a great band with cool drums.


You can play the podcast either using the above web player, or right click this direct link to episode two and select 'save link as' to download it straight to your computer.

Auckland's Glass Owls have just released their new album on Bandcamp. Recorded, produced and mastered by Djeisan Suskov (Cool Rainbows) at Revolver Studios in Waiuku, Out From the Darkness is the follow up to their EP Dead Love from 2010.

The band has recently toured the UK, putting in appearances at The Great Escape and KOKO Camden's Club NME. Check out the new album via the Bandcamp widget below.

Getting a bunch of musicians to hand in tracks for a compilation on time already seems like a bit of a nightmare. Asking them to write brand new songs for a compilation seems far, far worse. Then again, perhaps if the recording and the mixing is free and being done by the same person putting together the compilation, the chances for musician procrastination are limited. Perhaps that's what made the daunting premise of A Very Little Christmas possible.

Dave Parker runs a pretty stunningly good recording studio out of his bedroom in Oratia. It's called Little Monster, and he's recorded artists like Ruby Frost, Artisan Guns, Great North, Watercolours and a whole lot more.

As he will explain, A Very Little Christmas covers the quieter side of that spectrum without specifically making a theme of it. Probably every one of the artists has played a set at Auckland's low key bar the Wine Cellar, but it's more just a loosely affiliated group of bands befriended by Parker and former Border Music rep, now Bones and Woods/all around good guy Marty Jones. And with one guy recording 18 bands in his bedroom using largely the same microphones, preamps, room and producer's instincts, it's only natural that the album would have a pretty cohesive sound.



It's also interesting to note that some of the artists would go on to recycle their Christmas tracks for later releases. The Gladeyes re-recorded their stunning Carols and Parties for Shadows Explode.

Dear Times Waste did likewise with her track The Drink, re-recording it and putting it on her sublime record Some Kind of Eden. 

Rather than the re-recordings being a slight on the original recordings, I tend to think of it as a desire to reframe a song in the same sonic context as a new album, and it's a reflection on the quality of the writing generated by the project that artists would come to see their Christmas songs as more than mere novelties. The constraint of writing a song to a specific topic and to a deadline can be a powerful tool for focusing a piece. There's any number of quotes about art and limitations, and these words from G. K. Chesterton serve as good as any. "Art is limitation. The essence of every picture is the frame." Here's David Parker talking about the compilation after the jump.

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