Read: NZ Music Awards - 1995: A nod to the way we listened back in the day.

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Emerging from the shaggy sixties Kiwi music scene, the Loxene Gold Disc Awards were the groovy great grandparent of today’s New Zealand Music Awards.

To give a shout out to these often contentious awards, celebrated at Vector Arena in Auckland next week, I delve back in time, rewinding to the local tunes of 1995.

Twenty years ago, Grandmaster Jim Bolger turned up the national sound system, whilst the country swaggered and saluted a tangy tub of local treats. Running up the charts with her headless chooks, Fiona MacDonald tapped the bottle of pop recognition, severing the ties to their alternative cohorts with the ultra-digestible ‘Body Blow’. Also set for cruise control, brat-brass funky fellows Supergroove spun some major “Traction’ with their debut album sounding like a greatest hits of our summer antics.

South Auckland street-sounds blasted the skateboard ramps from Ranui to Raglan, with 3 the Hard Way’s heaving Holden anthem, “Hip Hop Holiday”, sparking many a tinny road trip over the summer months. Rollin ‘In the neighbourhood’, took the Sisters Underground from the Otara markets to the cafĂ© stretches of Ponsonby proudness, crossing over our separated soundtracks.

Be it rhythm and booze or patriotic Dobbyn loyalty, we Kiwis punch way above our beat belts. We love our music, both local and otherwise. To stand beside our mates, on a girl’s night out or cruising down Dominion Road, we have and have always had a lot to celebrate. Not a lot has changed in that regard, even now, twenty years since 1995.


Listen - 'Carrie & Lowell' by Sufjan Stevens (Asthmatic Kitty 2015)

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The latest Sufjan Stevens album Carrie & Lowell is named after his parents. Well, sort of. To be specific, it’s named after his mother, who left the family when Stevens was 1 year old, and the man she ended up with. Stevens wrote the album after her death, as he struggled to process both her passing, and the internal contradiction of feeling such immense grief at losing someone with whom he’d created so few memories, shared so little time. As he sings on the song All of Me and All of You: “Should we beat this or celebrate it?”

It’s my favourite Sufjan album. Those same delicate, cyclical guitar arpeggios which have been the foundation for so many of his songs are intact, but they’re both darker and, for me at least, more beautiful. Where previous records adorned this foundation with cheerful orchestral arrangements or abrasive electronica, Carrie & Lowell fills out the stereo spectrum with little more than a second acoustic guitar matching the first, as if to keep it company, and obsessively double tracked lead vocals. One feels that Stevens is singing and strumming along with himself because everything would just be too sad, too raw, without the extra ambience of a companion, even if the companion must be his own ghost vocal. The lyrics blend wisps of happy memory with jarring references to emotional dysfunction, self-destruction, and a deep sadness, all rendered beautiful by yearning melodies that never stoop to maudlin.

The first single No Shade in the Shadow of the Cross exemplifies the emotional complexity that can result from relatively unsubtle constituent parts. The singer castigates himself with sarcasm, (“Like a champion, get drunk to get laid,”) implores fate to connect him with his mother in any way possible, (“Drag me to hell in the valley of the damned, like my mother. . .”), imagines some invisible presence conspiring against him (“my assassin like Casper the ghost”), before concluding in the songs title that there is no grace to be found in the struggle to bare life’s burden. 
Yet as he passes through these lyrical stations of pain Stevens sings along with himself as sweetly, as angelically, as he ever has, leaving us with the impression that maybe it’s okay to celebrate what you can’t beat. It’s a nice feeling to get from a record. 

Simon C.

Watch: The phoenix foundation - Give up your dreams

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Not so long ago Wellington's The Phoenix Foundation released the video for the titular anti-ambition anthem of their 6th album Give Up Your Dreams. Featuring a dirty and desperate Bret McKenzie (one half of The Flight of the Conchords and Oscar and Grammy award winner) digging an endless hole somewhere in the Wellington hills, the video is an Andrei Tarkovsky-inspired existential trip directed by fellow Wellingtonian Loren Taylor. The video is a perfect accompaniment to the meditative mood that we find the Foundation in; reflecting on their existence as a band and their place in the musical landscape as they age.

The track itself is peak Phoenix Foundation, with its wryly observed lyrics, driving rhythms and strong synth-led melodies. Despite a droll voice over intoning maxims such as: "Don't let anyone tell you that you're special" and "Don't anyone say that the world is your oyster" in the bridge, this is a joyous and ultimately uplifting affair. Plus, it never hurts to be reminded that "all that we can do about it is be alright about things and get on with stuff".

 

Review - 'The Partnership: Brecht, Weill, Three Woman, and Germany on the Brink' by Pamela Katz

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The Partnership is a non-fiction exploration of the creation of The Three-Penny Opera and the tangled personal and professional relationships of Bertolt Brecht, Karl Weill, Lotte Lenya, Helene Weigel and Elisabeth Hauptmann. 

"Mack The Knife" from the movie "The Threepenny Opera"

Katz does not seem interested in casting the complicated personalities as heroes or villains but as people with multi-faceted and at times conflicting agendas. It’s a human, considered approach to individuals who are all too easy to damn in retrospect with a contemporary perspective.The final third of the book, which see the disintergration of Brecht and Weills creative relationship against the backdrop of the rise of the Nazis, is particuarly compelling and absorbing.  

"Mack The Knife" performed by Dean Martin

For someone not familiar with Brecht and Weills' influence over culture, both past and contemporary, the book opens your eyes to their presence. Sometimes it's the familiar songs that turn out to be derived from their song book, on other occassions it is their effect on other artists sensibilities.

 "Alabama Song (Whiskey Bar)" performed by The Doors

Tom Waits springs to mind. Waits maintains he was not aware of Kurt Weill until other people started to compare his sound to the composer: "Well, the weird thing about Kurt Weill is that after I made a few records in the '80s, people started to tell me that I was sounding like this guy, or that I must be listening to this guy. So I figured I should probably go out and listen to him, because I'd never heard of him before. I did listen, and then I thought, 'Oh, I hear that.' " There is no reason to doubt Waits but it does make you consider that perhaps  Weills' sound is so pervasive that Waits had absorbed it whether he knew it or not.


                                           "What Keeps Mankind Alive" performed by Tom Waits

Weill and Burchts influence is not limited to the world of music. Comics writer and novelist Alan Moore has drawn on The Three Penny Opera for inspiration a number of times over the course of his career and early on produced a newspaper strip under the psdoneum Curt Vile. Anyone who is familiar with Moores career and particuarly his reponse to the overwhelming success of his comic Watchmen will be amused by Brechts similarly mixed feelings about The Three Penny Opera.


                                                     "Pirate Jenny" performed by Nina Simone

If The Partnership fails to deliver in any way it is the citical anaylsis of the works, which seems perfunctoary and obvious, and to the attention paid to Hauptmann, Lenya and Weigel. It is not that Katz fails to address their contributions it is that everythings seems to be purely inspired or motivated by Brecht or Weill. While this was underdoubatbly an important part of the interpersonal dynamics it's hard to see three such forceful and determined individuals purely motivated by their devotion to one man. To contrast that aspect to the rest of the book which deal with the complex, symbiotic relationship between Brecht and Weill, two men with very definite personal agendas, the observation seems a little thin. 

                                           "Ballard of the Soliders Wife" performed by PJ Harvey

Review- Top 10 e-Books and e-Audiobooks About Music

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The Auckland Libraries eBook and eAudiobook collection has grown massively over the last couple of years, so I thought it'd be a great time to collect together some of the best titles to read or listen to on your device. I've tried to be as wide-ranging as possible so hopefully there's something to suit all tastes.If you need more information on how to access these titles, see our eBooks and eAudiobooks section.

Top 10 Music e-Books



Blue Smoke book cover. Blue Smoke: The lost dawn of New Zealand popular music 1918-1964
by Chris Bourke

This book is filled with wonderful photographs and tales from the early years of local music. The richness of its coverage saw it win the NZ Post Book of the Year Award in 2011.






Nirvana
by Everett True

A biography of Nirvana written by the music journalist who introduced Kurt to Courtney. Prior to this, True had already written for NME, Melody Maker, and Vox so he brings some writing power to the piece as well. As a result, this book provides a unique insight into the band and it's sudden end.





How to listen to pop music
by Nick Bollinger

Listener readers will already know Bollinger as their long-standing music critic. He's also been a gigging musician since the early 70s and hence has a love of music that comes through on every page of this book. It's part memoir and part meditation on how to get the most out of popular music.






Everyone loves you when you’re dead
by Neil Strauss

This is a wild set of tales from experienced music journalist, Neil Strauss. Over the course of the book, he makes Lady Gaga cry, is kidnapped by Courtney Love, and has a long drinking session with Bruce Springsteen. Strauss takes a high octane approach to his writing, as readers of his Motley Crue biography (The Dirt) will already know.
(Also available in a print version).




The Fallen
by Dave Simpson

Even if you only have a passing interest in The Fall, then you'll probably find this book entertaining. The author tracks down over forty different musicians (and non-musicians!) who've been in-and-out of the band since their inception in the late seventies. Even the most minor members seem to have surprising tale to tell - such as the manager of the Chemical Brothers who was convinced backstage at the Reading Festival to take the place of the band's missing drummer for their set!


How The Beatles rocked the Kremlin
by Leslie Woodhead

The Beatles music slipped into the USSR in the midst of the cold war and proved that there was an exciting culture to be discovered on the other side of the Iron Curtain. This book provides an interesting angle on why The Beatles were important and adds another aspect to their legacy.





How music works. How music works
by David Byrne

Byrne was the lead singer of quirky rock group, Talking Heads. Yet he's spent the last decade exploring more experimental territory with production guru, Brian Eno, and young indie starlet, St Vincent. His unusual explorations give him a great perspective to write about why humans are so attracted to melody and rhythm. An intriguing read for musicians and music lovers alike.



The importance of music to girls
by Lavinia Greenlaw

This book focuses more on Greenlaw's private journey, rather than making any attempt at music criticism or provide comment on the wider scene. However, her gradual drift from 60s rock to disco to punk does provide a window on how music can influence a person's life and her poetic style of writing adds some heft to the narrative.




Dylan goes electric
by Elijah Wald

The moment that Dylan broke from being simply a folk hero and began experimenting with rock influences is always portrayed as a turning point in his career. This focuses in on this crucial change and brings to life the shock and outrage that it invoked at the time. If the copy linked above happens to be unavailable, then another copy is available from our other eBook service.



by Nick Hornby

Nick Hornby is known for his 'lad-lit' novels about guys coming to terms with the pressures of adulthood, with his most famous novels being About a boy and High Fidelity. However, Hornby is also a music critic for the New Yorker and here he uses as discussion of his favourite songs to wax lyrical on the meaning of music and why some songs retain an important place in our lives, even after we've long since quit listening to them.




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Listen - Songs on High Rotate

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As we find ourselves in the midst of a chilly, wet Auckland winter we feel grateful that there is an abundance of great music being released at the moment to keep us buoyant while we wait for warm days ahead.
Here are some songs that are on high-rotate in the All Things Musical office right now-

'Flirt' - Boycrush featuring Yumi Zouma/Madeira


Alistair Deverick aka Auckland producer/singer Boycrush released this gorgeous piece of dance-pop confection a few months ago to international and local acclaim. Featuring vocalist Kim Pflaum - best known for her work in Yum Zouma and now known as Madeira - Flirt is warm and breezy but also thoughtfully constructed under its effortless sheen. Flirt is from Boycrush's 2nd EP 'Girls on Top', available through Bandcamp. Find more on Boycrush here.





'Slow' - Jessie Cassin



Slow is the first offering from Auckland's Jessie Cassin and what a debut release it is! Seductive, sensual and sensitive, Jessie's achingly beautiful voice is paired with woozy beats, swaying strings and thoughtful lyrics. We are looking forward to hearing more from this exciting new talent! Find more on Jessie Cassin here.





'Low Brow' - Chelsea Jade



We have long been fans of Chelsea Jade (formerly known as Watercolours) and her latest single Low Brow only further deepens our love for her. Chelsea is at the height of her vocal power on this track with a compellingly intimate performance, making the listener privy to every quickly drawn breath and sigh. Co-produced with LA-based NZ musician/producer Sam McCarthy (of Strange Babes), this is probably the most pop-oriented offering we've heard from Chelsea and we love it! Find more on Chelsea here.




Written by Anna C

REVIEW - TOBIAS JESSO JR. - GOON

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Goon is the album I didn’t realise I needed until I heard it.
After a few weeks binging on the latest dark glitchy hip-hop releases, and another few delving into the #NWOBHM (for the uninitiated that’s “New Wave of British Heavy Metal”) to appease a metal friend, I felt-super burnt out as a listener. This album of simple, humble piano driven ballads was a breath of fresh air that asked so little of me but gave so much. Goon offers little more than blocky piano chords (think Lennon’s “Imagine”), unabashed love-stricken sentiments set to well-worn rhyming partners, and a warm, decidedly un-2K15 production aesthetic. Yet such is the effortlessness and consistency of this batch of songs (it must have been hard to pick a single because so many are home runs) that I found myself asking nothing more of it.
The self-deprecatingly titled Goon is a welcome reminder that sometimes a song from the heart is all you need to keep you afloat.

Recommended by Simon C, Central City Library

Listen - New Adventures in NZ Music

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As an eager new-ish migrant to New Zealand, I wanted to explore and absorb the musical cultures of my new home. Having grown up though the '80s & '90s in the UK, I have quite eclectic music tastes swinging wildly from electronica to jazz to grunge to underground house. But when it came to my knowledge of New Zealand music it pretty much began with Crowded House and Split Enz, and ended with Ladyhawke and Fat Freddy’s Drop.

Thus began my quest for enlightenment, through which I discovered the many varied and talented New Zealand musicians that never made it across the airwaves to my UK ears. My journey was one of the naive and admittedly ill-informed; it was not influenced by the social bias and peer group opinion that one’s musical conscious is usually molded by. What emerged was a list of music which reflected what I liked, what moved me, and what made me want to explore the artist more.

This Spotify list contains some of the highlights of that journey….I hope you enjoy!



Want to hear more....? Follow the links below to view each of the albums and their tracklistings on the Auckland Libraries catalogue:

Elemeno P - Takes a Radical
Breaks Co-op – Duet
Iva Lamkum – Kung Fu Grip
Gin Wigmore – Kill of the Night
Brooke Fraser – Hosea’s wife
The Naked and Famous – Girls Like You
Ladi6 – Like Water
Tahuna Breaks – Listen
Che Fu – Fade Away
Good Shirt – Sophie

Written by Jo C

Review: Alt-J- This is all yours

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Written by Richard Giles



If you're an Alt-J fan, you might be surprised that I find their new album "This is all yours" to be their best album yet. In fact, i'd go as far to say that it was my top album pick for 2014, if not one of my favourites of all time. Maybe this is because it is not conventional Alt-J, but something completely different, a huge step up from their first album "An awesome wave" whilst maintaining elements of their traditional, quirky style.

It may take a few listens to get to grasps with the album, but once you do it is one that will be on repeat throughout the house. The intro alone is perfection, combining elements from Indian, Japanese and British music cultures to create a flawless track with inspiring drumming, harmonies and riffs before any lyrics have even been sung.

To be honest, upon first listening I thought the album to be a bit of a dud. The first 10 minutes of the album passes without so much of a pulse; There's the introduction and then "Arrival at Nara", which is essentially a secondary introduction and a very deflating post-hype entree. But how wrong could I have been? Each listening offers another dimension to the album and you begin to pick up on minor subtleties, such as emotions, lyrics and images that weren't originally triggered. Indeed, you realise that it is not at all a load of 'nothing' tracks, but rather Alt-J successfully taking the listener on an emotional journey with them through the landscape of Japan and the personal struggles the band have faced over their 2014 hiatus.

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NZ Music Month 2015 - Listen - Great New NZ Rock

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We've just passed the middle of NZ Music Month and so it seems like a good time to share some new local rock tracks that have come out over the last year. I've made the list on spotify, but there's a couple of videos embedded at the bottom of this post if you'd rather check out the music via youtube.

The list includes new songs from long-time favourites like Don McGlashan, Liam Finn, and Sam Flynn Scott (from Phoenix Foundation, but here playing with Bunnies on Ponies). However there's plenty of upcoming acts too - whether it's the catchy rock of Clap Clap Riot, the electro infused sound of She's So Rad, the sixties influenced music of The Eversons or the bluesy approach taken by Streets of Laredo. I did want to put "365" off the latest Dictaphone Blues album on the list, but it's not on Spotify yet so I've chosen an older tune that it's equally great (though the library does have their new album if you want to check out my original pick).
And do have a look at all the events that Auckland Libraries are holding for NZ Music Month - there's something for all ages.




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NZ Music Month 2015 - Review - 'Soundtrack : 118 Great New Zealand Albums'

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There are few pieces of what could be considered classic New Zealand rock writing. For the most part it’s perfunctory, concerned with dates and track listings and band members than feeling and passion. It’s all so dry. The exception to that rule is often found in the world of music reviews. Here you can feel the blood start to pump, the temperature begins to rise, the temper to fray.

Back in the ‘good old days’ of 'Rip It Up' the review and letters pages were a battleground. You often felt the blood being spilt might move from proverbial to literal should the wrong parties meet outside the Gluepot at closing. Since then it has all too often seemed a bit polite. Better to say nothing at all than anything that might be considered offensive.

Grant Smithies is a case in point, his music of choice is all a bit 'dad rock' in the immortal words of fellow reviewer Kiran Dass. And yet his book Soundtrack: 118 great New Zealand albums is gold. Apart from anything else it offers a good survey of the local scene. If it is a little light on the postwar years and the 60s and 70s that perhaps reflects the availability of recordings from those periods (and, lets face it, that era has been well and truly covered by Chris Bourke in his exhaustive Blue Smoke).  

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NZ Music Month 2015 - Listen

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Our first Music Month playlist dives straight into NZ Pop, past and present. For now we'll forgive the '80s their frizzy perms and 'seated dancing' (see above) and thank them for some well-loved classic hits instead. Moving on, we bring you a short selection of our finest singer/songwriters and bands. It's not exhaustive by any measure, but hopefully enough to help you explore the genre. Enjoy..

Tracklist

A Minute of One Day - TrueBliss
Don't Dream It's Over - Crowded House
Love Me Anyway - Ginny Blackmore
Waste Another Day - Brooke Fraser
Melting Pot - When The Cat's Away
Run Run Run - Goldenhorse
Listening for the Weather - Bic Runga
Special - Six60
Picture Me in The 70's - Anika Moa
Persuasion - stellar*

NZ Music Month 2015

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"No matter where you are, music will always have some meaning. When you have music in your heart, it stays with you. Music will always live on" -  Pixie Costello (nee Williams), January 2010. Williams is probably best known for her recording of Ruru Karaitiana's song 'Blue Smoke' in 1948, arguably New Zealand's first pop song.

With that little piece of history we welcome you  to NZ Music Month, 31 days that celebrate the talents and diversity of our unique musical culture. As well as a wide range of events across the region, we at blog central will be sharing our own musical discoveries and favourites, with playlists to suit all tastes. Check back regularly for more.

Review: Gillian Welch - Time (the revelator)

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Hidden in Gillian Welch's Time(the revelator) is a deeply weird album. Listening for the first time it is Welch's voice that seduces. Possessing a honey melancholy she weaves a spell, drawing you into a place of great intimacy. The sparse production which underlies the vocals adds warmth, relying on the most basic of instruments, just guitar and banjo, to enhance Welshes magic. 

After listening a while however, it’s the words that begin to haunt. Lyrics wind their way through time, place and space, through autobiography and American history and folklore. The songs call back and forward between one another and slyly quote from a country and folk standards and favourites. 

Slowly it dawns what an epic quality this recording has. The songs twist together the now and the then. They encompass the assassination of Abraham Lincoln, the sinking of the Titanic, the strangeness of Elvis’ early years, Johnny’s fall from grace at the Grand Ole Opry and the tragic romance of Emmy Lou  and Gram. It’s Grail Marcus’ old weird America updated for the 21st Century. It’s a mystic vision of monumental events and personalities, and their place in our lives and myths. 

Time and distance matter not, these things are woven into our being. 

Watch: Willard Grant Conspiracy

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A few years ago I saw Robert Fisher play an acoustic show on K Road. I went with a good friend of mine who is a Poet, a proper Poet with ink stains on his fingers and holes in his shoes and a heart so big that it's liable to burst at any moment. We got drunk on expensive whiskey and turned up at the venue with our dignity barely intact. 


About half way through the show the Poet disappeared - I think he was called elsewhere by his muse, or perhaps a woman in the crowd, I can't quite remember and it's much the same thing anyway.  I was left alone, swaying to the music, or maybe just swaying to keep from falling over, loudly applauding every song Robert played. Because I had loved Willard Grant Conspiracy since I was eighteen when I'd first heard Robert's ragged vocal sing about working menial jobs & sitting on the front porch of a house staring at the moon and thinking about past lovers and marveling at how he could turn these regular, seemingly banal events into almost mythical occurrences worthy of a shot at eternity through song. 

From the stage he noticed my inebriated enthusiasm and shot a gentle barb in my direction, which stung a little, mainly because I couldn't fire one back but also because I'd never had a room full of people laugh at my expense before and I shrunk back into the safety of a dark corner. 

After the final song Robert walked straight off stage and over to where I was standing, put his arm on my shoulder and apologized profusely with a shy and gentle southern Californian twang. We talked for the next fifteen minutes - or was it half the night? - about folk music and mythology and the pros and cons of getting a positive pitchfork review before I faded back into my self wrought oblivion and stumbled out into the street. A heavy mist had shrouded every street light in a ghostly, luminous glow and when I got back to my apartment I lay down on the couch, lit a cigarette, and played this song over and over until the sun came up.