I am one of the two new editors of the site. My name is Daniel Simpson Beck and my co-editor is Petrina Bonnington-Evans.

We are currently doing a major site upgrade before we relaunch in the coming months. While the upgrade is going on we have made all the reviews and features available to read and have hidden everything else.

When the upgrade is complete there will be artist pages, venue pages, musician resources and much more. Wellingtonlivemusic.com will be the central hub for local music lovers and musicians.

We look forward to having everything up and running soon. In the meantime, enjoy the review archive.

Thanks for you patience and take care,

Daniel Simpson Beck

Dimmer’s Shayne Carter has been in the studio for over a year working on the follow-up to Dimmer’s acclaimed third album ‘There My Dear’ and the result is one of the most potent recordings of his remarkable career. ‘Degrees of Existence’ will be released in New Zealand on 27 July.

Preceded by the snarling melodic brilliance of the singles ‘Degrees of Existence’ and ‘Cold Water’, the latter currently searing across the airwaves, this Dimmer album promises to meet the exacting standards of one of the finest New Zealand groups of recent times.

Inducted to the exclusive membership of the NZ Music Hall of Fame at last year’s Tui Awards with his other most famous act, Straitjacket Fits, Shayne Carter is a man whose incredible music has helped shape the story of NZ song since he emerged in the fertile Dunedin scene of the late 1970s.

Dimmer ‘Degrees of Existence’ will be released in NZ on 27 July through Warner Music and will be supported by four North Island shows.

DIMMER TOUR DATES
Friday 17 July @ Cabana, Napier
Saturday 18 July @ Bodega, Wellington
Friday 24 July @ Kings Arms, Auckland
Saturday 25 July @ Flow, Hamilton

www.dimmer.co.nz or www.myspace.com/dimmerband

Legendary Samoan hip hop artist King Kapisi heads out on tour with his band throughout July and August in the lead-up to the release of his fourth album Hip Hop Lives Here, due out in September.

Kapisi, aka Bill Urale, will road test new material from the upcoming album, including the first radio single Stand, which features the conscious lyrics of prolific Jamaican artist Luciano sharing vocal duties. The feel-good video for Stand has a Wellington represents’ theme to it and includes members of Urale’s family, friends and Hurricanes and All Black player Ma’a Nonu.

Kapisi has maintained a busy schedule since the release of his last album, 2005′s Dominant Species, including performing overseas, songwriting collaborations with international artists, developing his Overstayer Clothing label, working with Adidas international and the All Blacks to help create the music for a global rugby campaign, and even writing songs for a future reggae album under the name Mr Majesty.

King Kapisi will be joined on tour by a full six-piece live band, and will be supported by local guest emcees Tha Feelstyle, Maitreya and UK artist Scalper a former member of British group Fun-da-mental.

Tour dates:
July
Fri 10, Palmerston North, Malba’s Bar
Sat 11, Wellington, Shooters Bar
Fri 17, Gisborne, Sessions Bar
Sat 18, Auckland, Khuja Lounge
Thu 23, Methven, Steel Worx
Fri 24, Christchurch, Due de Lux
Sat 25, Raglan, Orca Bar

August
Fri 7, Mangawhai, Mangawhai Tavern
Sat 8, Opononi, Opononi Tavern
Sat 15, Auckland, Khuja Lounge

http://www.kingkapisi.net

http://www.myspace.com/kingkapisi

Kaikoura legends, Salmonella Dub released their new EP Freak Local through Virgin Records on
Monday 29 June. Unfortunately for us fans, the group is heading to Australia this month where they will play sell-out shows on their 30th tour of Australia.

The good news is that the well-loved beat merchants are using the OZ tour to road test new material before they return to the studio to finish working on their next album, due for release in October. This should mean a tour of NZ is in store for local fans as well.

Freak Local is a selection of mixes from Salmonella Dub’s upcoming seventh album and it features vocal contributions from the amazing Tuhoe diva Whirimako Black as well as MC Madness from The Mighty Asterix, all recently mixed at Salmonella Dub’s Hapuku studio in Kaikoura.

The oddly named EP, Freak Local, is an ode to those Kiwi individuals who refuse to conform. Every village, town and city has its characters, some freaky others tame, and, as Andrew Penman from the band observes: ‘They are often the characters you remember and bump into again and again. It’s their stories and perspective on life that create the back bone of New Zealand’.

Freak Local track listing:
1. Freak Local (radio cut)
2. Dub Cakes
3. Madness
4. Freak Local (EP mix)
5. Ding Megal
6. Clicking Tock

For more information, and a reminder of why they’re still going strong, go to the group’s website:

http://www.salmonelladub.com

Words by Rebecca Robinson
Photos by Nick Salmon


There was a feeling of being within a production, with scattered lights and photographers all around. The scene had been set at The Mighty Mighty for Stevie Starr’s debut album release – ‘We Hope In All Things New’ – as a few monitors on stage screened security footage; humming noise from real world crime.

”Hello everyone!’. A warm welcome from Starr himself opened the show. And, as the avalanching introduction into black and white film shots on screen opened onto the cultural view of Starr’s video Budapest TV, the composer and musician led his orchestral assemble into gear with elements reminiscent of Sigur Ros. The band played on and until Starr’s vocals were finally let loose during ‘We shall get in’.

Living life as true as one can, Starr delivers a sense of passion and drive that brings dedication and feeling into the art. A presence with a voice on stage, strong and together. Starr’s inspiring songwriting is indescribable. You could be powerful, sung openly for the audience, really said it all, as intelligent music should, and the altered positioning on stage beckoned us closer as footage of the fine five – Mike White, Mark and Evan Williams and Janina Nicoll – took over from inviting galaxy shots; a movement begun with the help of drummer Evan Williams. Seeing the band members together was an engaging sight.

Later on, the bubbling crowd enjoyed the first single from the album: ‘The Rising Tide of Conformity’, with visual links on screen of Taebo, protein slogans, and a convincing family stepping out into the world; showing exceptional views into life and what has become of it.

Armies of kings, kingdoms of poor… His strength on stage needs to be seen, as almost a touch of country was mixed in by the band and swallowed by the crowd. Consciously serving us something more than a miracle, a position of faith, that seemed to be liked by all. ”It’s like Bob Dylan”, I even heard one person say as Starr’s tangible voice, harmonica and guitar described his vision of reality, lifting the music to full force.

After a night of such convincing sounds, created from thoughtful reflections, the band led themselves into ‘Virgin’; the first track on Stevie Starr’s debut album. Flashing, moving imagery was shown all the way to the end when Starr jumped off stage and asked everyone to gather in, band included, for a peaceful huddle of friends and fans; a closing move not often seen.

Whatever choices you can make, make a choice to listen to Stevie Starr’s music.

Words and photos by Crispin Anderlini

After two hours of droning soundscapes, created by overly serious young men with synthesizers and quietly sobbing guitars, I was not sure what to expect of Rain, Sweat and Sea. Thankfully, they were anything but serious and their line-up included no aridly painful soundscaping, just clever rhyming, an accordion and a catchy sound.

A bizarre variety show with a chuckling attitude, members ‘Nina Nine Tails’, ‘Killah Rez’, and Yair ‘Cousin Moses’ served up an assortment of treats that included costume changes, muttered jokes, joyful, flailing dances, a brief book reading, a slackly drunken argument, some intriguing and catchy rhyming, a shirt right off the back of Robert Mugabe and some rhythmic wizardry. This mixed bag approach to entertainment had the crowd oddly enflamed as they worked themselves into spasmodic gyrations and impromptu arm waving, while the band kept their tongues gracefully in their cheeks.

In just their second-ever outing, they seemed to have already gained a small following amongst an equally mixed bag of fans and have quickly developed a casual and confident style of performance that perhaps comes more from a lack of seriousness than experience. In any case, songs like ‘Lobosexual’ and ‘Shakespeare Was a Black Man’ found familiar ears in the warm, beery bar and an encore was asked for and delivered.

If you want to come in from the cold and laugh along with a pair of rhyming, clowning musicians with better dance skills than the fellas from Flight of the Conchords than look out for their next gig at an intimate venue near you.

Words by Lucy Wyatt
Photos by Crispin Anderlini

The atmosphere at Sandwiches was electric, with a packed, elated and hungry crowd revving up Friday night. DJing since the incredible age of nine, the Chicago-born house legend that is Derrick Carter proved his top quality status yet again.

His innovative style, and ability to mix with perfection, allows Carter to bust out a huge variety of funky tracks. Freshly warmed up by the antics of Monkey Business, the crowd bounce and groove to the rollercoaster ride of Carter. Spinning up a number of genres with Carter’s effortless ability, fusing in soul, jazz, disco and any other crazy buzz that he is on. There is a moment when a carnival vibe beckons, and then back spinning into an almost loony tune cartoon groove. Carter has lots of fun with his set, his unpredictability is refreshing – he knows what will get the crowd going. Sexy vocals blaze out and the dance floor is banging; the room is heating up. The mood gets deeper, and everyone is grooving to the underground sounds of solid house.

The mix of gritty beats to playful chords has an addictive quality and everyone’s waiting to see what he is capable of next. The crowd get noisy and Carter cheekily picks up the pace. His pioneering new tracks are rocked out and greeted with a welcome buzz, reinforcing the fact that he is both an amazing DJ and producer.

Europe has been spoilt. It was wicked to have Carter on our shores. He may like to keep a low profile, sticking to his underground roots, but after that high class set you know his music speaks for itself. Keeping it real – Carter is indeed a rhythm machine.

Words by Petrina Bonnington-Evans
Photos by Melissa Cowan

Supermodel played as part of the line-up for a World Vision charity gig – with all proceeds going to help stop child exploitation in India. First impressions of the band were good – they have strong harmonies, which continued to be consistent throughout all their songs.

Supermodel consists of four vocalists/musicians – Mark Hanify on guitar, Rose Hanify on keyboard, Michael White on bass, and Tony Kemp on drums. Interestingly, as well as having two siblings in the band (Mark and Rose), the drummer also has peripheral vision only – no detriment to his skills though!

Their second song “Blondie” kicked off the set, and boosted the atmosphere at the gig – the dance floor went from being mostly empty to mostly full – always a good sign. As well, as having strong vocals, the keyboard work is pretty impressive too.

Supermodel also performs as a covers band and their aptitude at this is displayed by their smooth cover of the Eurythmics’ “Sweet Dreams”. How well they perform cover songs though is no slight to their originals which were performed just as fluidly. Supermodel’s indie vibe was best represented in their second to last song “Walk of Shame”.

Supermodel have nailed their songs, their look – all they need now is some more radio play.

Words and photos by Crispin Anderlini

Just two days into NZ Music Month and Wellington was treated to an exceptional performance by the elemental force that is Harbour City Electric. The local seven-piece band, described by many as purveyors of ‘Acid-Funk’, came on late in front of an already pleasantly intoxicated and warmed-up crowd to remind them just what kind of gold is produced locally.

Dipping into their mixed bag of sounds, Harbour City Electric brought forth jumping, biting drum kicks (Shaun Elley), lowly wailing guitar licks (Simon Koziarski), robustly blaring chortles from the trombone (Richard Shirley), Cooing, slapping and warbling synthesizers (Ed Zuccollo), a tightly wrapped and thrown trumpet (Lex French), a soul full of Ned Worboys’ beautifully expressive and lyrical vocals, and the all important stability and rhythm provided by Paddy Bleakley’s bass.

Whipped into a writhing, jostling mass by the energy, enthusiasm and funked-up sounds, then laid low by the melodic, aching vocals and melancholy trumpet, arms waved like anemones in the sound current and bodies writhed and swayed in time.

During one such ebb, the immaculately touching voice of Lisa Tomlins joined the group’s and began to flow over the beaming crowd after she was handed up to the stage and welcomed with a friendly hug. Tomlins seemed to round out the sound perfectly and the numbers flowed with continuing ease until the final encore.

With my faith in Wellington’s ability to produce great music and gigs reaffirmed, I can only hope it was a worthy welcome for the locally-grown force that is Harbour City Electric.