Wellington Live Music Reviews,News,Interviews,Photos,Gigs,Artists,Venues,Opportunities,Directory,Forums http://preview.wellingtonlivemusic.com/ Wellington Live Music is currently being upgraded to maximise it's full potential! We apologise that things have been a little slow, but all the old favourites will be amped up again soon! The scheduled launch for the new site is early 2009. Thanks for visiting! We look forward to bringing you the AWESOME new site! Contact charlette@wellingtonlivemusic.com if you have any queries or feedback http://wellingtonlivemusic.com/reviews.php?id=211 LIVE ALBUM RECORDING AT THE MATTERHORN Words by Joe Ryan Photos by Charlette Hannah It's a testament to the popularity of Lauren Anne Mitchell that fans were willing to be packed into the Matterhorn like dogfish in a sardine can. Stuffy sardine can aside, Mitchell - accompanied by her six piece band - delivered parcel after parcel of neatly wrapped grooves, consummate musicianship, honest lyrics, and overall thoroughly enjoyable, unpretentious jazz/pop. Mitchell surely must be tired of comparisons to Hollie Smith, as they are ill-informed and used only as reference points by lazy, hackneyed people posing as music fans. There's more straight up jazz in a single Mitchell song than Smith's entire album. Many years spent fine-tuning her talents as the Christchurch Jazz School clearly showed in the form of slick, soulful keys playing, great phrasing, superb voice, and interesting arrangements that had the Matterhorn crowd bouncing all night. The band gave Mitchell's songs that 'extra dimension', especially when they took turns showing their vocals skills on the crowd favourite 'Never Wear White If You're A Dirty Person'. I was also delighted to see the band shun what I call 'jazzisms' unfortunately pervasive in the Wellington scene - exorbitant guitar solos, bass solos, drum solos, maraca solos, moustache solos, and all those cute adornments that make purist jazz so hard to stomach. With her honest music, great voice and keyboard playing, and delightful stage presence, this up and coming New Zealand jazz star was shining that night. http://wellingtonlivemusic.com/reviews.php?id=209 THE ADELAIDE Words and Photos by Charlette Hannah The Sproutts have been around for a while - with a couple of albums to their credit I looked forward to seeing what they had to offer live. Their quirky gravelly melodic pop was somewhat reminiscent of (although I hate to say it) the 'Dunedin sound'. With acoustic bass played by Vorn (a strong solo artist) mixed up with acoustic guitar, drums, and electric violin, mixed up with electric bass mixed up with electric guitar mixed up with theremin and keyboards and some wicked harmonies... you get the idea! The Sproutts took multi-instrumental to a new level, and pulled it off with ease, appearing completely relaxed on stage. The electric violin was interesting played with distortion and plucked - certainly not staying within the usual boundaries of the instrument. The drums were driving and the harmonies were omnipresent through the set. The apparently irreverent lyrics and casual vocal delivery added to the charm. A couple of the songs I found just plain annoying, but I guess that's the nature of indie-pop. I particularly liked one which had something about not wanting to be an astronaut anymore. I enjoyed the latter half of the set more than the first. The Sproutts look like they have fun on stage, that's for sure. Did the drummer get up and tickle the singer, or was that just my imagination? http://wellingtonlivemusic.com/reviews.php?id=208 SAN FRANCISCO BATHHOUSE Words and Photos by Charlette Hannah I had no idea I would be going to the Iron and Wine concert at San Francisco Bathhouse until about 3 hours beforehand. With tickets sold out in three days, it was a pleasant surprise indeed. I was there not long after the doors opened, and the place was jam-packed already, so the closest we could get to the stage was about halfway back. I stood there for three hours - moving was more effort than it was worth! Rosy Tin Teacaddy opened the night with a set of their acoustic folk characterised by delicious harmonies. They were well received by the crowd, but there was a palpable anticipation in the air for the act everyone had come to see. I heard a rumour there was a guy standing on the street outside the venue holding a sign saying he would pay anyone $150 for their ticket. I wonder if he got in! Sam Beam, the head honcho, singer/songwriter, life-blood of Iron and Wine, opened the set by himself, and was gradually joined by his sister Sarah and a lap steel guitar player. The lap steel added a divine texture through the whole concert. To me, Sam Beam's music has so much integrity and soul to it (without being soul music) that it is the kind of music you'd want to marry. I was relatively unfamiliar with the majority of the songs they played, the only Iron and Wine album I know very well being Our Endless Numbered Days. However, in his inimitable songwriting style, I found all of the songs held my attention and were very enjoyable. He played old favourites such as Sodom, South Georgia, and did my personal favourite, Naked As We Come as a solo encore. For most of the concert Sam and Sarah were joined by a four piece band consisting of the steel guitar, drums, bass, and percussion. The bass player was very funky and added a solid depth to the already deep music. The drum kit was minimal and had an interestingly thin sound. I say thin in a good way - the style of playing was jazzy and creative, and booming toms were unnecessary. Live, the six piece band was much more experimental than I expected, given the more straightforward folk/alt. country style of the recorded music. Intro's were more creative, and there were more jam's on stage. The whole performance was brilliant, and I enjoyed it very much. One guy near me was exclaiming in obvious musical ecstasy that "this is as near to musical perfection as I'm ever going to get". That's a fan. Now I do feel I should make a mention that there were a few people who didn't enjoy it so much. Namely the two unnamed audience members who fainted in very close proximity to me. Perhaps there were more suffering the same effect who I didn't see. For a professional venue with it's status, the San Francisco Bathhouse should probably look at their air conditioning, as it simply isn't good enough to have patrons fainting at concerts. With a sold out crowd, it was very hot in there. Yes, people will buy more drinks if they are warm, but people will buy much less if they are fainting! http://wellingtonlivemusic.com/reviews.php?id=207 SANDWICHES Words and Photos by Charlette Hannah It was hard for me to get into Edwin Derricutts performance right from the start. The very first song, presumably the single, had a full backing track and a video synched up in the background. I found it weird and distracting. As for the backing track, which featured heavily through the whole set, it just... felt funny! It made me think of the guy who busks on Courtenay Place with his guitar and sequencer. It just seemed like cheating. Edwin's Jack Johnson/John Mayer-esque pop songs were very melodic, but thy all seemed a bit too perfect and formulaic. Perhaps I'm being a little harsh. I just found the backing track and synched video forced and fake, and and the music much on the same lines. Thankfully the backing track was turned off for a couple of songs, a more honest singer/songwriter performance. The songs were rhythmic and melodic, I could certainly imagine them being popular on the radio. Edwin had a confident and pleasant singing and guitar-playing style. There were some nice falsetto notes in a couple of songs. He managed to get some audience participation from the decent sized crowd. Considering tickets were $15 - $20 and it was a Tuesday night, I was impressed with the size of the audience, and thought perhaps I am just missing something with this guy. Edwin was certainly a professional and confident performer. I wasn't overly excited by any of it, it felt like an originals covers band, if you get my drift. But it was a pleasant way to spend a Tuesday evening. http://wellingtonlivemusic.com/reviews.php?id=206 SAN FRANCISCO BATHHOUSE Words by Adam Cohen To open for possibly the biggest name in instrumental rock, along with the genius creating some of the most emotionally gripping and soulful sound-scapes in the ambient scene, you’d think the promoters could have chosen a better band than Thought Creature. In a rather forgettable set, the lead singer threw his weight around like a portentous indie-kid, vilifying the drummer for not keeping time -which was fair enough, but he was yelling changes at the bassist in the middle of the song, the one guy who seemed to have a clue what was going on! To exacerbate the egotistical image of the frontman, this derisive dialogue was all clearly audible over the microphone. If I did have to sit through Though Creature again, possibly as some form of perverse excruciating torture, I could do without the monotonous, soulless vocals, the seemingly facetious lyrics about going to ‘cool parties’ and I wouldn’t have minded if they had practiced a few weeks leading up to the gig, as they sounded rusty as a old farm gate. The one respite came in some heavy, discordant instrumental deviations which were quite intense and absorbing- perhaps an avenue which Though Creature should make a focal point of their music from now on. http://wellingtonlivemusic.com/reviews.php?id=205 SAN FRANCISCO BATHHOUSE Words by Adam Cohen Matthew Cooper ( more commonly known as Eluvium) is painting some of the most emotionally gripping works of art the world has ever heard. It’s truly wonderful to watch him start with a simple riff, add some volume swells, delay, e.bow, slide and transform it into a sprawling, cavernous sonic landscape full of sorrow and hope. Interspersing the soaring walls of sound with delicate, mournful solo piano excursions, the huge crowd at The Bathhouse seemed hypnotized by his set, which penultimately produced another soundtrack for escaping the worries of the world and floating through space, ending beautifully with another one of his gorgeous piano songs. If you can listen to Eluvium’s music and still maintain immunity to the intense maelstrom of emotions which he conveys with every note, you may want to check to see you still have a pulse. http://wellingtonlivemusic.com/reviews.php?id=204 SAN FRANCISCO BATHHOUSE Words by Adam Cohen And then there were......EXPLOSIONS IN THE SKY! I was right up the front on Tuesday night for the best gig of my existence thus far. I've been besotted with Explosions for about a year now, and their stage presence was out of this world. Their collective physicality really reflected the pain, hurt and hope which I hear in their music. At one point, guitarist Munaf was almost throwing his guitar a metre up in the air before striking the chords so incredibly hard toward the end of their set. I was blown away when he put down his guitar and started playing a portion of the drum kit while their kit player Christopher Hrasky crafted beautiful beats almost like a one-man marching band. For those who haven’t heard them live, listening to Explosions is like being taken on emotional journey, being drawn in to focus on the subtleties of the interplay between guitars as romantic, lilting, magnetic melodies imprint themselves in your ears, then getting ready to clap as you hear what sounds like the end of the song, then being aurally assaulted by walls of triumphantly distorted bliss. The passion, intensity and soul in every epic little symphony ( I say symphony as their music can’t be reduced to mere ' songs') speared me right in the heart... and didn't let me go til after the show when I stopped floating above the crowd at The Bathhouse and somehow my body found it's way back to my bed, as my head was dazed, spinning, wandering somewhere in the stars as it tried to rationalize what it just had heard. www.explosionsinthesky.com http://wellingtonlivemusic.com/reviews.php?id=203 HAPPY BAR Words by Adam Cohen From a breathy whisper to a gutteral, phlegmatic growl, to a lovely falsetto, with a seamless dexterity… Ryan, unlike most who sit complacently in the sometimes tedious Wellington folk-pop scene, is not content to exploit the basic framework of the 3 chord, 3 minute, 3 star pop song, throwing in unexpected chord changes, well-timed instrumental passages, and odd time signatures which I’ve never really heard a solo artist consistently do well. Even insidiously decreasing the volume of his finger-picking toward song end... tantamount to a fade-out. Despite all the cleverness however, I never felt completely absorbed in his songs, perhaps sensing he never lost himself in the music himself. It came across as nice campfire music - a little kitsch, but not an incredible amount of soul that would put chills down one’s spine. For the average music fan, Ryan’s music may be too complex to appreciate, but if you have the patience and are searching for something different, check out his next gig. www.myspace.com/ryanprebble http://wellingtonlivemusic.com/reviews.php?id=202 MIGHTY MIGHTY Words by Joe Ryan Like a beautiful sonic earthquake - destructive and calliphonous, the opening chords of Fred Neil's classic ' dolphins ' rang out from the acoustic guitar of indie troubadour Kelley Stoltz. Following the effect laden riffs of he '66 hit( which by he way I thought was the best cover since Tim Buckley's cover in '73) Kelley brought the mood down to one of intimacy - painting pictures of childhood memories, love and loss, with an innocence and worldly wisdom akin to Brian Wilson from the Beach Boys. With a lovely voice, hooks catchier than a syphilis, and a warm, fun stage presence, Kelley was adored by a very welcoming Mighty Mighty crowd. Highlights of the show included his banter with a slightly inebriated die-hard fan, who constantly requested songs from early in his career, which he had forgotten how to play, but still joked around with the opening lines of 'little balloon' His aura behind the mic was refreshingly self-effacing, and the crowd went wild when he jokingly did a kind of Elvis impression, while stalking the stage like a playful panther and paying homage to Link Wray, the inventor of electric guitar distortion. www.myspace.com/kelleystoltz http://wellingtonlivemusic.com/reviews.php?id=201 MIGHTY MIGHTY Words by Joe Ryan Achilles Botes is one of Wellington's more intriguing solo performers. Alhough for his Kelley Stoltz support slot, his friend Mike on trombone helped create a sombre, haunting set of folk songs. It's hard to concisely say what makes Achilles' songs so memorable. Some feature unexpected, beautiful dissonant chords changes, others lush sonic landscapes created by layering chords and lead guitar on his loop pedal. You only have to see the expression on his face to observe his total immersion in every song. With his understated singing style and vivid imagery, he wove a tapestry of tales like an old, wise poet, mesmerising the crowd like children hearing a frightening ghost story. Although a live performance is a rare treat from Achilles these days, it'll be worth the wait til his next gig. myspace.com/achillesbotes http://wellingtonlivemusic.com/reviews.php?id=200 Valve Bar Words and Photos by Charlette Hannah Riverblind are a heavy band. Launching into their first song with all guns blazing, they caught the crowds attention immediately, then brought the music right back, like the eye of a storm. And these guys have a stage presence. I don't say that lightly, as there are many great bands out there, but not all have such a charisma on stage. Riverblind masterfully use dischords, unusual scals and punchy minor keys, creating a unique, sometimes abrasive, intense listening experience. Tim Whitta is a master on the drums, his experience in percussion act Strike obviously being put to fine use. Dan Simpson plays a six string bass, which can just be wanky on some but he really pulls it off, using all strings from one end of the fretboard to the other. At times the main melody came from the intricate bass playing. This is a guy who clearly loves the music he makes. Then there's Dave Kempton. This man's voice haunts me. Distinct and powerful, and quite eerie, Dave has an unusual and beautiful voice. But his singing isn't let down by the guitar, which is dynamic, creative and inspired. Halfway through the set Dave pulled out his trumpet, and he played it with soul. I've never heard a trumpet played like that before. These guys are just an incredible live act. The only weakness is a lack of vocal hooks, but hey, this ain't pop music. I couldn't sing along, but I could quite happily listen for a long time. Their performance is so intense I almost felt light headed afterwards. Occasionally I got a bit lost in the wanderings, it being on the experimental end of the spectrum of my musical taste, but even so I was still absorbed. As always, the wicked sound and lighting at Valve allowed the band to really perform. Riverblind's music is dark and aching and intelligent, and their musicianship is among the best I've seen in a while. www.riverblind.com http://wellingtonlivemusic.com/reviews.php?id=199 Valve Bar Words and Photos by Charlette Hannah It's impossible not to draw comparisons with the likes of Matt Bellamy and Thom Yorke with the soaring melodies of Moonlight Flit's Tim Rhoades. His range was such that the difference between his falsetto and normal singing voice was barely noticeable. I couldn't hear the words clearly, but the melodies and timbre of his voice was excellent. Tim's guitaring was versatile, lovely and rocky, with the wah pedal being put to good use. Bass player Simon Eastwood stayed in the background, playing his solid and groovy bass, moving forward to contribute some nicely timed backing vocals. Mike Rhoades on drums contributed varied and interesting beats, moving easily between a jazz influenced style to heavy and fast tom work. As a whole, the music and performance was concise and soaring, with interesting chord sequences and rhythms, and plenty of dynamics. The first couple of songs didn't quite capture me, but the stand out song for me was their 'new one', a real odyssey. After that I was totally hooked and the last few really communicated the power and passion of the band. myspace.com/moonlightflit http://wellingtonlivemusic.com/reviews.php?id=198 EVERY PENNY Words by Charlette Hannah For a debut EP, The Thomas Oliver Band's Every Penny is a wickedly enjoyable release. From the first bluesy lick of Nothing Left, with Thomas' husky voice roaring in, it hooks you in and keeps you there 'til the very end. The tight rhythms provided by Steven Moodie on bass and Tom Scrase is well matched by the rhythm of Thomas' vocals. As for the guitar... wow. Moving easily from blues to rock to pop via a bit of slide, Thomas' guitar is simply outstanding. An intriguing mixture bringing to mind Jimi Hendrix, Dave Matthews and John Butler. My favourite was the third track, Train to Work, a unique discourse on an all too familiar subject – the 9 – 5 lifestyle versus that of a musician. However each song is melodic, memorable, dynamic, and enjoyable on many levels. With six songs, it is the ideal length for an EP, and although plain, is pleasantly presented. The production is very professional, and gives credit to our local musicians and recording engineers (the EP was recorded by Ross McDermott at AudioSuite and mastered by Mike Gibson at Trident Studios). Every Penny is a strong release, and given the band’s strong fan base and musical talent, I think we can expect more to come from these guys. www.thethomasoliverband.com http://wellingtonlivemusic.com/reviews.php?id=197 NEWTOWN COMMUNITY HALL Words by Charlette Hannah Watching the Ragamuffin Children on Thursday night, surrounded by fairy lights, barefoot and in floaty dresses gave me warm fuzzies, although not in the same way a male might get them. It's easy to see why they are starting to generate such a buzz about them. It's called heart. Anita Clark started the set with an unaccompanied song. I respect that. Singing on a big stage alone is not something everyone is brave enough to do. Brooke Singer's beautiful and confident piano playing is the perfect complement to Anita's lovely breathy voice. At one point Brooke happily hopped off the stage leaving behind her electronic piano to move to the Newtown Hall's grand piano for a song. Halfway through they were joined by someone named Benjamin for a couple of songs; he played the clarinet on one, and a triangle and glockenspiel on others. The size of the stage in the hall wasn't overbearing at all, the Ragamuffin Children managed to create a genuinely friendly atmosphere with their softly spoken introductions and the warmth of their music. I'm afraid I had trouble pinning the music into a box I can label and you'll just have to go and listen to get an idea. It is whimsical and sometimes melancholy, but melancholy with hope rather than despair. It is sweet and inspiring in it's honesty. It's just lovely, that's the best word I can think of. myspace.com/ragamuffinchildren http://wellingtonlivemusic.com/reviews.php?id=196 MASC presents Halva Eve, with support from TreeFrog. $5 entry. $3 drinks specials. http://wellingtonlivemusic.com/gigs.php?date=2008-9-17 MASC presents Silenzio & The Swift, New Friend, North Island Towns, & The Novelist. $5 on the door. http://wellingtonlivemusic.com/gigs.php?date=2008-9-11 Candy For Strangers; Mama Tilly; The Intercontinentals. $5 on the door. http://wellingtonlivemusic.com/gigs.php?date=2008-9-5 CUBAlicious presents Reggaeton Heat Step into a crazy Latin dance party with Cuban MC and DJ, Jinetero MC. Bringing you the latest Latin hip hop, reggaeton and dancehall - Come find out why reggaeton parties are the hottest ticket in Latin America… http://wellingtonlivemusic.com/gigs.php?date=2008-7-19 MASC: Jeremy Brick; Curtainshop Symphony; Tony Wilson; Plum Green; Alex; Adam Smith Assassination. $5 entry http://wellingtonlivemusic.com/gigs.php?date=2008-7-10 MASC presents Psychadelic Jellyfish & the Boombox; Anaesthesia Associates; Chomp; Perry Osborne; The Black Sea; Smokey Benson http://wellingtonlivemusic.com/gigs.php?date=2008-7-4 Moonlight Flit, Hannah's Son, Good Luck Ruffians, Miraculous Signs. $5 http://wellingtonlivemusic.com/gigs.php?date=2008-6-20 Vex, The Improv Noise Band, Treefrog. $5 entry http://wellingtonlivemusic.com/gigs.php?date=2008-6-18 Wellington Town Hall @ Wellington Convention Centre http://wellingtonlivemusic.com/gigs.php?date=2008-6-17 Nat Rose Featuring DJ Phaze Price: FREE! Preview of much anticipated debut album http://wellingtonlivemusic.com/gigs.php?date=2008-6-5 Otis Mace Featuring: Greg Franco Dragstrip Cowboy Machine http://wellingtonlivemusic.com/gigs.php?date=2008-6-5 Doors Open: 5:30pm Start: 6pm Price: FREE! An enjoyable evening awaits you with Wellington band Galloway as they release their new CD "The closer you get, the better I look". With strong melodies and interesting lyrics, the Galloway sound ce http://wellingtonlivemusic.com/gigs.php?date=2008-6-4 Rafael Toral (Portugal): With Birchville Cat Motel and Sign of The Hag http://wellingtonlivemusic.com/gigs.php?date=2008-6-30 An Emerald City http://wellingtonlivemusic.com/gigs.php?date=2008-6-28 Connan and The Moccasins http://wellingtonlivemusic.com/gigs.php?date=2008-6-27