You're in the Jungle Baby

Can it be that it was all so simple then

2013-07-06T18:14:00.001-07:00

So this makes it three weeks in a row for new posts, which is a pretty strong start I think. This week it's a compilation of a few more things I've been checking out. Hopefully you find it interesting, informative or at least entertaining.

Noisey, which is Vice's music channel, does some pretty cool interviews with some good bands. I checked out their two part interview with the Wu Tang (or two members of the Wu) this week.

Here's part 1.

And here's part 2.

Ghostface Killah, probably my favourite member of the Wu, has just released a new album, Twelve Reasons To Die. It's the tale of how Tony Starks came to be the Ghostface Killah (it involves gangsters, and being killed and pressed into vinyl - what did you expect?) and it's pretty cool. Here's the first single off it.

Last year MF Doom teamed up with Jneiro Jarel to release an album as JJ Doom. They're releasing it again for some reason, and it now includes some new tracks, including this one, which is better than anything on the original album, and has an interesting video to boot.

And now some more William S. Burroughs. Here's an interview he did back in the 80's, which covers pretty much everything he's all about.

If you couldn't be bothered with a whole interview with Burroughs, here's a well made video just looking at the cut up method which Brion Gysin introduced him to.

My old friend Kris (host of the Sunday Shuffle on Radio Ponsonby if you're interested in some hot soul and funk on a Sunday afternoon) reminded me the other day how much I used to be into Iron Maiden. Hallowed Be Thy Name was my favourite song for a while, and that reminded me of this video. I must have watched this about 1000 times when it came out.

That's enough for this week I think. I'll be back next week, probably.

Take the brain out, leave the heart in

2013-06-29T18:53:00.003-07:00

Yeah, yeah, so I used another Aesop Rock quote this week, but it's my blog so I can do that if I want, so.. so what. Speaking of so what, I checked out the movie The Violent Years this week, mainly because samples were used in the Ministry song So What, probably my favourite of their songs. Here's the link to the movie if you want to watch it it's a ridiculous exploitation film about the perils of not spending time with your kids.

Last night I headed out to take some photos at a punk gig, which was a whole lot of fun. If you've read some of my older posts you'll know that I grew up going to a lot of all ages punk shows, which was really my first exposure to live music, so last night was a bit of treat (despite being in a bar).

But before the gig started I had some time to kill and ended up meeting some friends at a sports bar. Now I've got nothing against sports bars in general, or watching sports, and it was nice to have a drink with friends, but there was a sports game about to start which kind of killed the energy in the place. As soon as it started everyone stopped talking and all eyes were on the (many, many) screens around the bar.

Contrast that with the atmosphere at the gig. I got there halfway through the first band's set and there were kids flying everywhere, the singer was off the stage right in the midst of the action in the audience, and people were hyped up about interacting with something happening live in front of them.

The only interaction back at the sports bar involved people yelling at the screen, either in celebration or dismay. I know which sort of interaction I prefer... Don't take this as a dig at sports - I don't mind a bit of basketball every now and then, but it's my thoughts on the way we interact with entertainment, and what forms of entertainment we prefer.

Anyway, while at the gig I also had the chance to listen to the new Black Sabbath album. I'd been avoiding it because, well, mainly because I didn't think it'd be any good. I haven't really listened to anything Sabbath recorded after the early 70's, apart from the live Reunion album they released in 1998. At first I wasn't even sure it was the new album, because it was actually okay. Not amazing, but definitely a lot better than I'd been expecting. Good enough that I'll be listening to it again. If you're a fan of Black Sabbath and, like me, were putting off listening to it, why not give it a try this week? I'd be interested to know your thoughts on it too, so drop a comment below if you've got time.

If you're just tuning in, walk into the light

2013-06-22T17:25:00.002-07:00

So it's been a while since I wrote anything here, but I've resolved to use Facebook less this week and, as I need somewhere to share all the gems I come across in my travels through the internet I'll be updating the blog a bit more (I say hopeful of commitment to it this time...).

Here's a few things I've been getting into this week - I hope you find something you like.

Aesop Rock is one of my favourite MC's. I love the way he uses metaphor to transform what could be a mundane story into something layered with meaning (check Fryerstarter from Skelathon for the perfect example of this - and the source of this week's title). He's bringing Beat poetry back to our generation and that's got to be a good thing. Here's a whole (short) set of his from an instore performance at Amoeba Records last year.

Watching that performance got me onto a day long Aesop binge, culminating in The Uncluded - a collaboration between Aesop Rock and anti-folk singer Kimya Dawson. This is a pretty cool video, and a nice tune as well. The whole album is pretty good, and these two work off each other so well.

Speaking of Kimya Dawson, I've been listening to this track a lot lately and everytime I hear it I still get goosebumps. It's just so open, raw and honest - if you've been reading my other blog posts, you'll know that those are pretty strong requirements in any music I listen to, and Kimya has them in spades. This is from her album Thunder Thighs, which has some other great songs on it (but also some that I can't really get into; her music can be a bit like that I think). Oh, and funnily enough this one also features a bit of Aesop Rock (but no more of him this week, I promise).

I'm also about half way through last years fantastic biography of Leonard Cohen, I'm Your Man. I've been a fan of Leonard Cohen since I was a moody 14 year old (not much has changed, including still being a big fan). Seeing him live a couple of years ago was completely magical, and one of my favourite concerts of all time. Story of Isaac is probably my favourite song of his, and always has been. Here's a live version from 1985 (although it could really be any time).

I've also just finished reading the first volume of William S. Burrough's letters (1945-59) which are a great insight into his early years as a writer and struggles with addiction. Many of his early "routines" feature throughout the book, some of which made it into his early books, including Naked Lunch. There are a lot of good interviews with him around, which are well worth checking out. Below is one of my favourite routines for you to check out, and heed.

I cam across this via Dangerous Minds, one of my regular sites for finding interesting diversions. There are a few of these one minute versions of movies around, but being a massive Hunter Thompson fan (some may say almost to the point of obsession) I particularly like this one.

That's enough for now I think. Not a bad collection of odds and ends for a first visit back in a while (was it really October when I last updated this thing?). I hope you've enjoyed it.

On the dilemma between staying in and going out

2012-10-05T16:43:00.001-07:00

The other day I was out taking photos of a gig. It was the middle of the week, late at night and I was waiting around by myself for the first band to play. While I waited I wondered why I never see any of the people I work with during the day out at gigs. I might see one or two people I know when a big international act comes through, but generally not at local shows.

I started to wonder if maybe it was me - perhaps I should be staying home at night, watching TV, making sure I was wrapped up in bed early, ready for the next working day. My thoughts continued to the conversations I hear at my day job; what happened on last night's reality TV show, how contestants are faring on cooking shows, the latest sports results and so on.

That's when I had a sort of realisation (these aren't uncommon for me when I'm waiting around for bands - the last one is recorded here). These people are spectators. Their lives seem to revolve around watching other people doing things from the safety and comfort of their own homes, while I'm out participating in things as they happen. That to me is important - how many people will remember who won a rugby game in ten years time, or recollect how they felt at the time? How many people will think back with fond memories about the time they saw someone bake a winning cake on television? But how many people can still remember the first time they saw a band, or the feeling they got when their favourite band played in their town?

That realisation put to rest any doubts about being involved in the music scene. Rather than being a passive witness to scripted entertainment, I can participate in something spontaneous and creative (and hopefully document it at the same time), something I'll remember long after an episode of a TV show, or the final score of a game have been forgotten.

I'm not saying that I don't watch TV, or have nights where I choose to stay in and do nothing productive; I have plenty of those. But I don't let a TV schedule dictate my leisure time, and I make sure that I get out and see some live entertainment at least once a week - I would regardless of whether I was photographing or reviewing.

I guess the underlying moral this week is that life should be about experiencing things yourself, and it'd be a shame to look back one day and realise that you spent most of it living vicariously through a box in your living room, when you could have been out experiencing something real happening in front of you. So next time you're sitting at home about to change the channel to another show, why not make a conscious choice to find some live entertainment.

I'm just not that into it

2012-09-22T23:21:00.000-07:00

Something I hear a lot when discussing music with people is "oh, I'm just not into..." followed by whatever genre of music I've been talking about, whether it be hip hop, metal, reggae, or just good old New Zealand music. It's always a little disappointing to find someone who wants to talk about music, or at least wants to listen to me talk about music, and then find that they've closed their mind off to whole pieces of the musical world.

I admit, I've been guilty of this in the past - for a long time I refused to go near anything considered "country" but then discovered Johnny Cash and decided to dig a little deeper into the country genre and eventually exploring alt-country as well, finding some bands that I liked, and of course some that I didn't.

Most genres are quite vast - roots, ska, dub, rock steady all get lumped together as reggae, and someone who doesn't like one of those may find that they enjoy one or more of the others. Flat out refusing to even take a listen to something because of the genre may mean you miss out on some great music.

Heavy metal is a great example. Metal ranges from your mellow melodic metal, through to hardcore, and on to black metal, death metal and so on. Fans of one may not necessarily like all bands in the others, but may enjoy some. Fans of rock may find that they enjoy some metal bands too, but by saying that they don't listen to metal would never come across those bands.

Even worse is when someone claims to not listen to their local music; I often hear people saying that they just don't listen to New Zealand music. Often this is from people who claim to love music, yet seem to think that all local music either sounds the same, or can't possibly be worth listening to because it's not made overseas.

It's a crazy way to approach music - it shouldn't matter where a band comes from, or what genre they get put into (and what do genres really mean anyway, other than a way for music stores and labels to market music to fans). What should matter is whether you like the music or not; if it sounds good to you, why should a label put on it matter.

What do you think? Do you ever choose to not listen to a band because of the genre it's put in, or where the band is from? Have you ever been surprised when you've taken a chance listening to music you wouldn't normally choose to listen to? Leave your thoughts below.

It's not the tools, it's what you do with them

2012-09-11T00:21:00.000-07:00

A while back there was a quote from Dave Grohl going around, about real music being made with guitars and not computers - it was something he talked about on the last Foo Fighters tour and he repeated the comment in several interviews. It was clearly something he felt strongly about, and he saw rock music as being more "real" or legitimate than electronic music.

It's an interesting point, and looking at a lot of purveyors of electronic music popular at the moment, one that may at first appearance have some merit. There's a lot of electronic music around that isn't doing anything new, and that lacks any emotion or passion - which as you may know is something I think should exist in all music.
But if you look further, there's a lot of rock bands who play without any passion for what they do, who aren't doing anything that hasn't been done, often repeatedly, before. So I think to isolate electronic music and start pointing fingers at the musicians making the music, is to do a disservice to the many electronic artists making good music, pushing boundaries, and imbuing their music with energy and emotion.

Electronic music implies that anything made electronically - with computers, or synthesised sounds - all falls into the same genre. But is it that simple? Hip hop can be made electronically, as can trance music. To say that the musicians making hip hop and trance are basically creating the same thing, in the same manner, simplifies the process of using technology to create music - it's like saying two people using digital cameras will create the same photo and that photo will have no merit because it wasn't made with film. It's not the tools that are important, it's the person wielding them.

There's always been artists out there prepared to make music just because they see it as a ticket to get famous, or get laid, or get rich, without any real desire to make music that connects beyond a superficial level. Those artists tend to have a very short musical lifespan, the archetypical "one-hit wonders". I don't think it's any more prevalent in electronic music than it is in any other form. Electronic music may merely be showing a more focussed effect, because it's a relatively new form compared to rock music.

There are plenty of electronic artists out there who would consider that they make "real" music, who spend the time to craft their music, give everything to their live performances, and would probably see little distinction between what they do and what a band with more traditional instruments may be doing - it's the attitude and passion you bring to your music that matters, not how you make it.

So what do you think? Should electronic music be treated differently? What "electronic" artists do you think stand out?

Go the whole hog

2012-09-04T00:46:00.000-07:00

I've noticed a bit of a trend over the past couple of years, of bands playing a lot of shows, building a following, releasing an album (all normal so far, right), then disappearing from view - either splitting up or just reducing the momentum. It's something that I can't understand, and somehow it bugs me a bit - although I am easily bugged.

To me an album is like a business card, or an ad for a band. It sells the ideas of your band, promotes your sound, and hopefully encourages people to support the band. It should serve to get people buying more of the band's music, more people turning out to shows and so on.

But if a band puts out an album, then fails to promote it, and stops playing, they lose that opportunity to best utilise the album. It may get people interested in the band and the sound, but then what? Where do they go from there? Unless the band had a pretty strong/cult-like following to begin with, then people are bound to lose interest. They can't see the band live, they're not going to have an opportunity to support the band in the future, so they're likely to move on to a band thy can have that relationship with.

That's assuming people even get to hear the album in the first place. If there's no band anymore, then there is likely to be no promotion of the album, except to the hardcore fans who already support the band, and little chance of spreading the word.

So what's the point? Well, the album does serve as a memento of the band's time together. For some people that's good enough - they may have seen the band play a number of times, enjoyed the shows, and just want something to remember the band by. That doesn't necessarily translate to an album they'll keep listening to forever, but at least it'll get some plays.

For the band it's a chance to capture what they were doing, particularly if they've been playing together for a long time. Sure, it's an expensive way to do it, but for some bands it's going to be satisfying to see their work recorded and packaged up professionally. Most musicians can't play professionally on a full-time basis, so releasing one album may be the peak of their musical careers.

Personally, I'd like to see bands release albums and then spend some time supporting that album. Often I discover a band through getting sent a copy of their CD to review, I get excited about it, then find out the band is no longer playing together. As a music fan that's disappointing - it can be difficult to find new music to follow, and to find out that "new" band you've just got into will never release anything new, or you'll never get a chance to see them live, can be a let down.

What do you think? Should bands be looking at album releases as the end point, or using them earlier on to promote the band?

Tunes, tunes, tunes

2012-08-25T17:36:00.002-07:00

It's that time again people - time for some smoking new tunes for your listening pleasure that is. Here's a selection that I've come across over the last couple of weeks that I think you'll like. And remember, if you do find something you like here please be sure to support the band by buying their music, going to see them play or just telling your friends about them. Until next time, enjoy.

Funkacybin are a pretty new band but they're going to do big things - I can just tell. They're already in the NZ finals of the Battle of the Bands, and have a couple of catchy songs available to listen to/buy on Bandcamp. They sound like a mix of a hole heap of bands that I really like - early Incubus, Primus, the funky Chilli Peppers stuff.
Jog on by Funkacybin
Snap, Crackle and Pop don't sound anything like that old cereal ad, so that's a plus right away. They do sound catchy, a little rough, but poppy with a punky twist. And they're a heap of fun to listen to, and even more fun live.

Give Me What I Need by Snap Crackle Pop
Name UL is 16 years old, has toured with the Pharcyde, recorded tracks with a lot of awesome producers and is generally kicking arse. What were you doing at 16?

Above The Atmosphere (Prod. OneLove Beats) by Name UL
The Postures make raw and rough indie tunes, using all sorts of crazy techniques to wrangle their noise out of their instruments. It can be intense, but it can also be really interesting. Sort of Sonic Youth-y I guess if you really want me to try and describe it with words. How about you have a listen and describe it for yourself?

Poor Impulse Control (Remastered) by The Postures
Minelli is dark electronic music that creates a soundtrack to your bad dreams. It's also incredibly infectious music, that will linger on in your mind for days. The first album is out now, and well worth getting your grubby little mitts on.

Old On New And Short On Order by Minnelli
Death To A Dying World make some pretty heavy shit, but with these really nice melodic bits going on over the top. It's all about contrast and balance people. It's also classic brutal death metal. So something for everyone then.

Stagnation by Dead To A Dying World
I only recently jumped onto the Cloudkicker bandwagon, getting pretty into their last album. Just in time too, because there's a new one out now. And it's good stuff, perhaps even better than the last one. It's sort of prog/tech/metal/rock stuff. If that sounds like your cup of tea, then have a good long listen to it.

From the Balcony by Cloudkicker
Johnsonville City Nights are alt-folk-country or something along those lines. They write really catchy songs about random things. It's nice stuff, but a little edgy too.

I Don't Know How To Let You Down by Johnsonville City Nights
KUTKH have a name that can't be pronounced by mortals, and play big black metally chuggy songs. This is from their new album, which seems to be some kind of concept album. Whatever. If it's heavy and doom laden you're after, this is the one for you.

W.A.R. by KUTKH
Just to get a bit of multi-cultural in, here's some rock from Spaniards Invitado de Piedra. It's awesome and one of my favourite Spanish rock bands. Okay, probably the only Spanish rock band I've heard, but it's still awesome.

Antes que la Muerte by Invitado de Piedra

Burning bridges

2012-08-11T16:57:00.001-07:00

There's been a lot of smack talk directed towards local bands lately and it's making me a little mad. So instead of internalizing it, I thought I'd use this week's post to address the issue in an attempt at free therapy.

The bands in question tend to be mainstream bands, who have had varying degrees of commercial success locally. They are generally bands who have been around a while, and have received government funding in various forms. And this is what seems to be getting people's backs up - that these mainstream bands have received significant amounts of funding, when other bands get nothing.

And that's where I have a problem. The bands themselves aren't the ones to blame here, rather it's the funding system and criteria that's the issue. Unfortunately people, including some in other bands, seem to see the bands as a legitimate target for scorn and derision, because a)they received large amounts of money, and, perhaps more importantly, b)they often have little to show for it.

Yet, the bands took the initiative in applying for funding, and under the criteria that allocates money to those most likely to achieve commercial success, were given a grant towards making albums, promoting themselves, touring, music videos or whatever. It's an economic decision on the part of the funding agencies, not an artistic one, and that's the point that people seem to be missing. You can give a band $100k to record and promote themselves, but if their music is only ever going to appeal to the 100 people who are into doom-trance-hardcore-jazz then it's not the best use of the limited money (again, economically speaking).

Sure, I might not like what these bands play either, but the fact is, many people do. And that, along with the bands themselves managing to build a decent sized fanbase through whatever means, is what gets them funded. It's the system that doesn't work (although it's definitely fairer than it used to be), something the bands in question have no control over, yet have managed to figure out how to work to their advantage.

The way the system is structured at the moment means that it has become a popularity contest of sorts, a competition to prove you have the support to make funding a worthwhile investment. Unfortunately, some bands will always struggle to meet that criteria, and will have to rely on other means to survive artistically. But isn't that how the music industry has always worked? Any larger sized label is only going to spend time and money on a band that they feel has some commercial value and will provide a return, leaving supporting bands for artistic reasons to the boutique labels. How is this any different?

Seeing other bands wading in with negative comments only serves to cast those bands in a bad light. It looks to the casual observer like pettiness and jealousy, rather than the response to the unfairness of the system that it actually is. Doing so in public forums only makes the issue worse, and in such a small industry, can lead to bridges being burnt. Musicians should be working towards building a system that is equitable and supports bands for commercial as well as artistic reasons, rather than expending energy attacking each other.

What do you think of the debate? Should bands be funded based solely on their commercial prospects? Should there be a system that supports bands who may never achieve a mainstream following? Have you been involved in these issues personally? I'd love to hear what you think, so please comment away.

On music and emotion

2012-08-04T18:58:00.000-07:00

I recently ran into a local musician I know whilst in a severely inebriated state (me, not him, or if he was he hid it well) and got talking about music, as you do. The main point of the "conversation" (really just me ranting while he laughed at me) was that music should inspire emotion (in this case, the argument was that music should make people want to either fuck or fight). It's a statement I stand mostly behind, with some caveats, not least of all that 75% of everything I say when intoxicated should be stricken from the record immediately, and the remainder requires substantial editing to a)remove the sweeping generalisations I'm known for, and b)make it appropriate for the general public.

But that aside, the sentiment stands. Music, or at least good music, should stir some sentiment and therefore make a deeper connection with the listener. Sex and aggression tend to be the two that make the biggest impression (just look at how Tom Jones can still inspire women, and the occasional man I'm sure, to throw their underwear at him, or talk to metal fans about what they like about their music), but there are many more emotions that music can connect with - hence music's use to try and market products, create moods, or manipulate people.

Music that makes a lasting impression tends to have a level of passion and authenticity in it. Most people can detect these qualities in the music they listen to, except, it seems, for many teenage girls and/or Justin Bieber fans. It's not connected to the talent of the musicians, or their songwriting abilities, but almost solely on how they view music and how they approach the creation and performance of music.

There may be studies out there on this, although I doubt it, but I would guess that musicians who make music because they love it and feel driven to do it, tend to lean more towards that authenticity and passion, whereas musicians who see music as an opportunity, no matter how deluded, to make it rich/get famous/sleep with models would tend to lack that level of emotion in their music.

The former make music that lasts for decades, the latter tend to fade into obscurity. Try looking through the Top 20/40/100 charts from 10 years ago and see how many of those artists are still making music, or how many of the songs still sound okay now. My money is on not many, if any...

But listen to music that's been around a while, that has stood that test of time, and in most cases you'll hear the emotion in the music, you'll feel it change your mood - how many of us put on music to cheer ourselves up, to get hyped for a night out, to create a certain mood or atmosphere? That's us making that emotional connection with the music, and that's the music doing what it's been doing since we first started banging rocks together with rhythm.

Changing your tune

2012-07-26T22:00:00.000-07:00

So I got the new Baroness album last week, something I was pretty excited about hearing. I'd heard it was a bit different to their other albums, being a double album with two distinct feels for starters. But also that it sounded a lot different. And when I heard it I had to agree - this wasn't the Baroness I knew.

This isn't going to be a review of the album, for that you can head here, or here, or just buy the darn thing and review it yourself. It's more about a band completely changing their sound, and therefore throwing their established fanbase off kilter.

Most of the reviews I've read of the album all cover the change in sound pretty heavily. It's hard to ignore, but when the focus is on the fact that the band now sounds different it's a little hard to then objectively review the album, or allow a reader of the review to form an objective opinion. And bands do change.

As much as fans want to go along to a concert and hear the same "hit" songs everytime they see a band, or be able to put on a new album and be instantly familiar with the sound, for a band (or anyone involved in any sort of creative enterprise) in can be stifling and soul-destroying to be limited to churning out what is essentially the same thing over and over. To remain creative and therefore interested in what you're doing, you need to explore and evolve.

As a photographer, I look forward to the opportunities to take photos in different environments - as much as I love photographing live music, to be stuck doing only that for any great length of time would quickly put an end to any desire to do anything creative or interesting with it. So when I get the chance to photograph bands offstage, or landscapes, or just people being people, it helps me grow as a photographer and prevents boredom setting in.

Musicians are no different, so it makes perfect sense from a creative point of view for Baroness to explore their sound and come up with something new and interesting, both for them and for the listener. The alternative would leave them feeling unfulfilled, and while it might make some fans happy, it would just serve to alienate other listeners, who wanted something new, not just a rehash of the same sound.

So remember that next time you think you're disappointed when you're favourite band puts out an album that sounds different to what you were expecting; or the next time a band comes through and doesn't play the songs that you want to hear, the songs that you've been singing along to for the last 10 years. It doesn't make it a bad album, or a bad show, it makes it interesting. And after a few listens the new Baroness is awesome.

As always your thoughts and opinions are welcome - just chuck them in the word hole down below.

Get some sounds in ya.

2012-07-13T20:49:00.001-07:00

No big rant on music this week, sorry to disappoint you all. What I do gots for ya is some fresh new music to get you through the weekend and all the way to next week. Listen to it, enjoy it, share it, and if you like it why not send a little something something the musicians way? There'll be plenty more ranting and raving next week kids, so until then, get some sounds in ya.

Jucifer play sparse and dark pseudo-grind, or something like that. They're pretty good, regardless of what you want to call it. This is an ancient album from the early '90s, originally only available on cassette (whatever they were, right?) but now remastered and brought to you in the digital future.
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href="http://grindcorekaraoke.com/album/nadir"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Nadir by Jucifer&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Wildernessking are South African noise gods. They are heavy, intense, and always interesting. This track is from their first album. They've also got a new EP that's just come out but it's a bit different to the older stuff, and is more experimental.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://wildernessking.bandcamp.com/track/river"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;River by Wildernessking&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Old Man Gloom are a sort of metal supergroup, with former members of Isis, Converge, Cave In and more. So you pretty much know they're going to be good before you even hear them. And when you do hear them it just confirms things. This is from their first album, which is available super cheap from Bandcamp.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://oldmangloom.bandcamp.com/track/to-carry-the-flame"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;To Carry the Flame by Old Man Gloom&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Black City Lights are one of those success stories you sometimes hear about - they've been around for a heartbeat, played a lot of local shows, got signed to a New York label and now there's big things on the horizon. If you're smart you'll get into them now, so when they're huge you can say that you were into them before they got massive.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://noanchor.bandcamp.com/track/pussyfootin-2"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Pussyfootin' by No Anchor&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Eyeliner is a side-project of sorts from the genius that is Disasteradio. Hopefully this will tide you Gravy Rainbow loving wierdos over until there's a new Disasteradio release.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://crystalmagic.bandcamp.com/track/realdoll"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Realdoll by Eyeliner&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

No Anchor hail from Brisbane, Australia, where apparently it's cool to make progressive, sludgy, awesome music. Hell, that's awesome anywhere, so I've got no problem with it if you don't. And if you do, why not at least have a listen and see if they change your mind? Where's the harm in that?
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://noanchor.bandcamp.com/track/pussyfootin-2"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Pussyfootin' by No Anchor&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Urbantramper made a whole album about loving the internet, and how cool the internet is and stuff like that. It's pretty hard to work out exactly what they're on about, but if you listen real hard maybe you'll be able to figure it out. At least you'll enjoy yourself while you're doing it.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://urbantramper.bandcamp.com/track/kate-bush-save-my-life-2"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Kate Bush Save My Life by Urbantramper&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Clap Clap Riot put this track out a while ago, but now they've re-released it on their debut album. Smart kids. It's a happy, clappy, sing along ball of fun. The whole album is too. Listen to this, and then watch as your hand reaches into your pocket, pulls out a wad of money and stuffs it into their bandcamp site. You won't be able to do anything to stop it.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://clapclapriot.bandcamp.com/track/everyones-asleep"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Everyone's Asleep by Clap Clap Riot&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Apparently the song that Tommy Ill samples here is pretty famous right now (like this week), but I'd never heard it before. Now I hear it everywhere and everytime it's on I think about how much Tommy Ill improved the shit out of it. He's good like that.
&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://tommyill.bandcamp.com/track/missed-call-ft-carly-rae-jepsen"&amp;amp;amp;amp;amp;gt;Missed Call ft. Carly Rae Jepsen by Tommy Ill&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

There's not enough girls in hip hop. There should be more, and they should all be as good as Angel Haze. She's from New York, she's about 12 years old from the looks of it, and she's got more talent than half the male MC's out there put together. Her debut has just dropped so go get it.

A shot in the arm

2012-07-06T21:50:00.000-07:00

So this week was going to follow on from my last post, about copying/downloading music and how musicians need to find ways to innovate to survive: finding new ways of connecting with their audiences, marketing, distributing, and generally bypassing the established old order of the music industry.

But in between then and now I read a post over at The Occasional Musician that got me thinking about what music means to me. Lately, going to gigs has started to feel like a chore - not all the time, or every gig - but the ones where I don't know anything about the bands and am going only because someone wants photos of the gig.

I'd turn up, feeling like I could be dong any of the hundreds of other things that seem to make demands on my time, wait impatiently for the bands to start, stay long enough to get my photos and leave as early as I could. Often I'd get home and barely remember what the bands had sounded like. I'd be so focussed on getting photos and getting out that I wouldn't even pay attention to the music - my priorities had become twisted: the music is why I got into this game in the first place.

After reading Ian Rogers' post, I started to think about what gigs mean to me. It used to be all about the music, didn't matter who was playing, or where. I'd go along with like-minded friends, meet up with others there, with no expectations and just enjoy the music for what it was.

I think a lot of people involved with music spend too much time over-thinking things: where's music taking them, why should they spend their money on music, should they download that new album they like or go buy it, what if their friends laugh at them for liking that band over another, when will they get famous.

It helps sometimes to remind yourself of what music does for you, what it's always done. Whether you enjoy just listening to the radio on your way to work/school or wherever, if you can't wait for the weekend to go and discover new bands playing near you, if you only bother with music if it's a big name international act coming to town, or you're gigging five nights a week wondering when it's your turn to get a break, take some time every now and then to remember why you like music, and to remind yourself that music has been with us since we lived in caves. It will always be with us, and it will always affect us.

The last few gigs I've been to have been some of the most enjoyable of recent times. I stopped worrying about where music was going, sat back and just enjoyed the experience of being entertained by sound. And I just happened to get some great photos at the same time. Sometimes, that's all you need.

If it's broke, why ain't we fixing it?

2012-06-21T23:44:00.000-07:00

The argument against downloading music from the internet gets thrown back and forth ad nauseum these days, with most people forming an opinion on one side of the debate or the other. Usually it's musicians and those associated with the music industry, and not necessarily the major labels, arguing against it, while people without any real connection to music (those people who don't want to go out and pay to see a band live, and generally don't offer any material support to musicians) arguing for it, with some exceptions on both sides.
The debate has taken on new life in the last week, following a post from an intern at American radio network NPR, in which she made the claim that she had 11,000 songs in her music collection and had only paid for 15 albums in her life. You can read her post here.

That post might have gone largely unnoticed were it not for a response from musician David Lowry arguing for the right of musicians to choose whether they give away their music or not, and generally pointing out the harm that illegal downloads directly cause to musicians. His post is here.

I'm not going to go too much into what they cover - I'm assuming if you're reading this you're able to follow those links and read them for yourselves (and I'll probably make a hash of trying to paraphrase what both sides have said anyway).

Now I'm not perfect. I'll admit I've downloaded music that I probably shouldn't have. But these days that's usually after spending a long time (literally hours in some cases) searching for a legitimate way to purchase it that a)doesn't involve having to install iTunes, and b)doesn't involve purchasing a CD from overseas that I'll then have to wait four-six weeks to actually get. So those downloads are few and far between, because generally these days musicians are making it as easy as possible to get hold of their music, through sites like Bandcamp and their own websites.

And when I do download I do feel guilty. Being involved in the music industry I know how hard musicians have to work to get anywhere, and how hard it is for them (and most people connected to the industry) to make a living doing what they love. It's the same as a music photographer and writer - if musicians aren't getting money, there's definitely nothing for those around them. And we face some of the same problems they do - I've lost track of the number of times I've seen my photos used without permission on band's websites, often with the watermark cropped out so no one can even see that they were my photos (just ask people - photographers are usually happy to grant permission for free, or in return for a CD). But I digress.

Musicians, like other artists, are producing a commodity, and at the end of the day that commodity should help them support themselves. Making music for the love of it doesn't pay the bills. We wouldn't even get into this argument if we were talking about painters, or sculptors, or pretty much any other profession, in or outside the arts. So why music then? And why isn't there a better way (yet).

New means of distribution, like Spotify and Pandora, help a little, as they make it easier for listeners to get hold of music and return revenue to musicians, but it's a pittance really, while the people who create the software (and who would have no product without the musicians and labels) become wealthier than most musicians could ever dream of.

So I guess the point here, and in both the posts that kicked this all off, is that the system isn't working in favour of musicians and it should be. So what's the solution? Without musicians making noise (no pun intended), like David Lowery did, then there's really no impetus from companies that support illegal sharing, and from the downloaders to stop and actually support bands. We need alternatives, that both make it quick and convenient to purchase music legally, and give artists more control over the financial side of it - why should someone who created the software (or more likely just thought up the idea) be making such a disproportionate amount compared to musicians?

Some sort of cross between Spotify and Bandcamp would work well I think, but we also need to get out and support bands playing live, without whingeing about having to spend $5 or $10 on door charges - we're happy to spend 10 times that at the bar once we're in after all. And while you're there, why not pay another $10 to buy the bands CD?

What do you think? It's not black or white, but which side of the argument are you on? What solutions do you see? How do we fix things so musicians can make a living entertaining us? Throw a comment in the comment box below. And if you've got a Google account (if you've ever signed up for Gmail or Google+ or Youtube, you'll have one) sign in and hit the follow button.

New tunes, new tunes

2012-06-15T23:12:00.002-07:00

Once again I've been combing the furthest reaches of the internet to find hot new tunes to enhance your life. It's not an easy job trawling through piles of awful mass-produce pop garbage to find these gems of songwriting for you, and it's a thankless task. But enough about me. Enjoy these tracks and as always, if you find something you really enjoy, support the artists by buying something or getting out to see them perform live. Your ears will thank you for it. Next week I'll be back with more meanderings on musical matters.

You've heard the story before; boy moves from small town to big city. Boy becomes an MC and makes catchy songs that stick in your head for days. That boy is Dartel and his first EP is a whole pile of good. It's also free so you've got no excuse to not download it and get in on this before he gets huge.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://dartel.bandcamp.com/track/been-this-way"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Been This Way by Dartel&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

When you take some of New Zealand's biggest musical acts and combine them you end up with Opossom. You also get a cacophony of pounding drum beats, swirling keyboards, throbbing bass and eerie vocals. Which is to say, they sound pretty damn cool.

Many musicians struggle to write their own parts in a single genre. Sky Village's Michael Taylor manages to write for many instruments across a number of genres and does it so well, and with such a high output that it's like he some sort of "music fountain" (to quote Matt Jeyes of Captain Sergeant Major). Sky Village is his latest project and involves a range of musicians that he's roped in to bring his musical ideas to life. Look out for them as they take over the musical world.

Generation of Vipers could be the best new metal I've heard all year. It's sludgey without being too deep and murky, prog without being weird about it and raw with a polish. There's some intense moments in their music, but also a lot of melody. And some crushing drum parts. So something for everyone then.

&amp;lt;a href="http://generationofvipers.bandcamp.com/track/eternal"&amp;gt;Eternal by Generation of Vipers&amp;lt;/a&amp;gt;

I got on a big progressive metal binge last week and came across Miroist, who impressed me with their (his?) EP. It's a short one (although with long songs), but one that keeps you coming back for more. It's a bit like Meshuggah but without feeling like you're being smashed in the face by the music.

&amp;lt;a href="http://miroist.bandcamp.com/track/ii-schopenhauers-fallacy"&amp;gt;ii ; Schopenhauer's Fallacy by Miroist&amp;lt;/a&amp;gt;

Cloudkicker are in a similar vein to Miroist - and one of their influences. It's a bit more experimental that Miroist and uses more loops and technology, but the basic idea is the same. They've been at it longer so it's a bit more polished and involved.

&amp;lt;a href="http://cloudkicker.bandcamp.com/track/you-and-yours-2"&amp;gt;You and yours by Cloudkicker&amp;lt;/a&amp;gt;

If you want to see what the next generation of hip hop is going to look like, it's probably going to be something like Evil Mule. These kids just want to have a good time, throw down some cool rhymes over some huge beats, then get back to the party. It's music for a good time, but often with some sort of message thrown in as well. Like it.

Less talk, more hip hop.

2012-06-07T23:17:00.001-07:00

Dean Hapeta (aka Te Koopu) of legendary New Zealand hip hop crew Upper Hutt Posse recently said that hip hop used to be a form of activism and that todays' big artists had nothing of value to say. While he has a point, in that most of the hip hop we see and hear in popular media forms is there for entertainment value only, that doesn't necessarily mean that hip hop has strayed from it's original path.

To me hip hop has always seemed to have a lot in common with punk. Both sprung up to reflect the society that the participants in both movements saw around them; in both cases a society that treated the people involved with hip hop and punk poorly and offered little opportunity or hope to them. So it makes sense that hip hop had a sense of activism and rebellion about it, just as punk did. But like punk, a lot of people jumped on the bandwagon without any regard for the roots of the music, and labels saw it as just another way to make quick money out of hardworking artists.

But even in its' early days hip hop wasn't all about speaking up about the problems in society. For every Public Enemy rapping about inequality and racism, there was a Will Smith asking you to ring his bell while he was getting jiggy with it. But if you look at the artists who get a lot of attention, there has always been a split between entertainment and serious messages, regardless of the genre.

Even those in the mainstream can have a message though. Wu Tang might have spent a lot of time talking up their Shaolin roots as they hit the charts, but they also hit back at what they saw as some of the ills of society, pointing out that cash rules everyone around them, and telling their listeners that if they party their life away their kids will grow up to emulate them (to paraphrase just a little). More recently, artists like Lupe Fiasco have got a lot of airtime while still pointing the finger when they need to.

To say that there is no (or at least very little) conscious thought in hip hop any more, and that none of the major artists has anything important to say is to ignore the good work that a lot of artists are doing. Entertainment sources/mainstream media is probably more to blame, as they value image over substance. The challenge for musicians, in any genre, with a message to get across is to find a way to package it to make it appealing to mainstream media, and the audience that that media caters to.

Do you think hip hop, or any genre, has a responsibility to address serious issues? Or is music an art form that should remain politically neutral?

All ages

2012-05-27T22:31:00.002-07:00

When I was growing up all ages gigs were happening every weekend and more often than not that's where we could be found on a Friday or Saturday night. Local halls would be appropriated and bands from all over the country would play, ranging from 15 year olds just starting their first band to established bands with big followings. It seemed pretty normal to have bands playing for us in these venues, so it came as something of a shock to hear from a friend that they never experienced all ages gigs growing up, because the venues weren't there and no one was interested in organising them.

I have so many great memories from those shows. There was always a positive atmosphere (even at those shows where everyone was drinking illicit beers, stolen from parents fridges or bought by older brothers), everyone was there to enjoy the music, no matter who was playing. Skill didn't matter so much, as long as the band gave it everything the crowd would reciprocate. There were no ego's, no expectations and no rules.

I'd like to think that those early shows instilled in me a love for live music. They definitely showed me that bands could organise their own shows, and that if they chose to play outside the usual venues people would show up. Often the venues were fuller than the bars the bands would play in later.

It makes a lot of sense for bands to play all ages gigs - there's a huge number of fans (and potential fans) who miss out on live music and everything that the experience entails because they are too young to get into the venues where bands traditionally play. Younger music fans tend to go to all ages gigs because they want to hear music; people have more choice between bars and are often looking for somewhere to drink or hang out and the music is secondary.

I'd love to see all ages gigs make a resurgence, and spring up in the places that never had them. It'd be great if more bands started playing an all ages gig earlier in the evening when touring, or even just arranged an all ages gig every now and then between their usual shows. Bands should be playing to as many people as possible and looking at other avenues to promote their music and make connections with their audiences.

Did you ever go to all ages shows? How do you remember them? Do you think they made a difference to how you participate in live music now? If you're in a band, do you play all ages shows? Do you think bands should, or are your energies better focussed on playing traditional venues?

Feel free to leave a comment below with your thoughts.

In one ear, in the other

2012-05-18T18:22:00.000-07:00

Hey kids, you're weekend is just getting started, so I know you're going to want some new tunes to listen to while you chill out, get drunk or do whatever else you do when you're not working or learning. Here's some songs that I've been getting into this weekend. Hopefully you'll find something you like, and you might even go and buy some more music from these people. Enjoy.

Sometimes I get tired of hearing weak MCs all over the place just bragging about how great they are. You're not that great when you just sound like everyone else. Wiki on the other hand, doesn't sound like anybody. He's got a unique flow and interesting rhymes and doesn't tend to spend whole songs just hyping himself. This is my favourite track from his EP 1993.

&amp;lt;a href="http://wiki1993.bandcamp.com/track/wikispeaks"&amp;gt;Wikispeaks by Wiki&amp;lt;/a&amp;gt;

There's some songs that just get inside your head and won't leave. Bullets is one of those songs. I heard it once and now I can't stop listening to it. The chorus just seems to float around in my skull all day until I listen to it again. It's going to interesting to see what Janine and the Mixtape come up with next.

I've featured a song by Hollywoodfun Downstairs before, but now they've got a new drummer and they've rerecorded this one. Expect to see it pretty much everywhere soon, because these guys are about to blow up big time, with the song already getting airplay around town, and about to featured on at least one compilation.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://hollywoodfundownstairs1.bandcamp.com/track/people-like-us"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;People Like Us? by Hollywoodfun Downstairs&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Anthm put out a "cover" (if you can cover hip hop) of an old school rhyme a while ago and when I saw it I instantly wanted to hear more of his stuff. There's some good, some really good, and some that seems to go off in a club/R&B direction that misses the mark a bit. But when he's on fire, he nails it. Here's that cover for you.

The All Seeing Hand have had a busy month. They've toured the country, sacrificed their singer live on stage, and are now making copies of their album available free to all who want it. Here's my favourite track from the album. If you like it, head to Alphabethead's blog to grab the whole thing while you still can.

Sky Village are like one of those super groups, where you get a whole bunch of awesome musicians from other awesome bands and throw them all together to see what happens. And what has happened in this case is some amazing music. They'll be playing live very soon, but until then there's a few demo tracks floating about to whet your appetite.

Just when you thought the sludge genre had done it's dash along comes a band like Indian to reinvigorate the sound. They've got an interesting spin on the style, and are worth repeated listens if you're into that sort of thing. If you're not into it, then they're a great way to start.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://indiandoom.bandcamp.com/track/the-fate-before-fate"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Fate Before Fate by Indian&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Horseback are one of those bands you just can't peg to a particular sound. Their last EP was an intense burst of heaviness, yet at the same time a subtle and challenging epic. Their new album shows a change of tack, with more melodic, slow tracks, and a bit more experimentation. Who knows where they'll go next but you should tag along with them to find out.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://horseback.bandcamp.com/track/arjuna"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Arjuna by Horseback&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

NZ Music Month

2012-05-04T14:51:00.000-07:00

Here in New Zealand, like the rest of the world, it's May. Unlike the rest of the world, it's New Zealand Music Month - a month created 12 years ago to celebrate our music. It's a great and noble idea, but does it actually achieve anything?

While I support the idea of celebrating our achievements, and think that it's a healthy thing to do I don't think the current format works. What we get during May is a lot of gigs, featuring local bands, more airtime for local musicians on radio and TV, and some talk from politicians about how they enjoy NZ music and support it (usually followed by a NZ music quiz in which 90% of the politicians fail miserably when asked about NZ music).

The problem is the bands who get to play the gigs tend to be the ones getting a lot of exposure anyway, so are going to draw crowds regardless of the time of year. The talk from politicians is usually nothing more than just talk and doesn't result in any greater support of our music.

And at the end of the month everyone gets to feel like they've done their bit and things go back to normal. What would be great is if we could find some way to carry that momentum forward through the rest of the year, and at the same time spread the love so that more local bands gain some benefit and exposure from the month. I'm not saying I've got any ideas on how we can achieve this but it'd be great if we saw some ongoing benefits to the music community and got more people out there supporting up and coming local artists, by actually going to shows the other 11 months of the year, and buying more local music.

Don't get me wrong, it's important to look at the scene and our strengths (and weaknesses) and celebrate successes. It's a healthy thing to do and many industries/businesses outside music take the time to do it. It's just that we seem to think that just celebrating that success is enough, without looking beyond it to how we grow and improve our community.

Your thoughts, ideas and suggestions please people... What do you think of NZ Music Month? What do you plan to do for it? Any events you're particularly excited about? How do you think we move from having one month each year, to having our music celebrated and supported every month, every year? Hit the comment box below (anonymously is fine).

There was going to be a whole extra piece this week but I think this is long enough for one week. Next week I'll have some new tunes for you to get into, and the week after that I'll be talking about music publications in New Zealand... stay tuned.

You're either part of the problem, or part of the solution

2012-04-22T23:26:00.000-07:00

A fellow music writer/critic wrote two interesting things recently on his own blog, one of which I agree with and the other I find contentious.

He stated that we shouldn't be supporting local music just because it's local - rather we should judge each band on their own merits and to the standards we would apply to music from anywhere else.

This isn't a new proposition, but it's one that took me some time to come around to. When I initially heard it (in response to the annual New Zealand Music Month) I disagreed and felt that we should support local music over music from overseas.

But the more I thought about it, the more I agreed. If we forgive a band their faults and flaws because we somehow feel more connected to them because of location, then we do them, and the local scene, a disservice. We allow the standards to be lowered, and that makes the bands less able to compete globally.

By holding them to the same standards, we end up with a much stronger music scene and enable more bands to succeed on the international stage.

Then things got interesting. A claim was made that being a music critic meant you could distance yourself from any music scene and therefore had no obligation to support a scene, or encourage it.

I couldn't disagree more. By choosing to be involved with music, whether it's performing, promoting, writing, reviewing or regularly going to gigs, you are part of a music scene whether you like it or not, and the greater your involvement the more you are part of that scene.

When you make that decision to start commenting on music, particularly in a public forum, you make a conscious decision to move from merely being a passive consumer of whatever music is pushed to you, to an active participant in the music community, or scene.

The alternative to me is to remain a passive consumer and accept whatever happens in the music scene without questioning it. This is how the music industry has traditionally been structured; large companies decide what will be promoted and marketed, they push music to consumers through media campaigns, and people make music purchasing decisions based on that model.

That's not the way it should be. Music, like all art, should encourage participation, rather than just consumption. It should provoke, encourage or be emotive in some way. But that's a topic for another blog.

Being part of any scene brings with it some responsibility in regards to your participation within it. By dismissing any involvement, by claiming to be just "a critic" is a cop out at best, and an admission that the state of the music scene isn't important at worst.

If you choose to critique music, or write about it in some way, or play in a band, then you have an obligation to the health of the music scene, to provide alternatives to what you don't like about it, rather than be dismissive and negative, to offer suggestions as to how to get the scene to where you think it needs to be.

Instead of cutting bands down when they don't like them, a music writer can point out what they don't like and give bands an opportunity to grow and improve. Only by working together in a positive way can we strengthen our scene.

I think with the way the music industry is going, if we don't provide strong alternatives to the traditional structure and scene, and don't actively support music, and instead choose/claim to be passive observers only, offering nothing back, then we are responsible when the bands we like fail, when the individual scenes we follow fall apart, when we have the ability to participate in music taken away from us.

What do you think constitutes participation in the music scene/community? What responsibilities (if any) do you think participants have to the scene? Where do you think the line between observer and participant is? Leave a comment and let me know.

Get your hot tunes here!

2012-04-13T00:29:00.000-07:00

Here we are again, with another round of new tunes for your entertainment, and just in time for the weekend too! Get stuck into these, let me know what you think of them, and if you find anything you like buy it.

Next week I'll be back with some words of my own.

Wellington's Spook The Horses play slow doomy rock. It's very good stuff and highly recommended if you're into bands like Isis or Horseback.

&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://spookthehorses.bandcamp.com/track/very-little-is-certain-but"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Very Little is Certain, but by Spook the Horses&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Homebrew Crew are tearing things up in the world of hip hop and have just released an album this week. Here's a track that's not on it, but it's a good one anyway.
&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://homebrew.bandcamp.com/track/listen-to-us-feat-tourettes"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Listen To Us feat Tourettes by Home Brew&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Sigh are going to suck you right in then destroy your ears and mind with a brutal onslaught. Don't say I didn't warn you.
&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://candlelightrecordsusa.bandcamp.com/track/amongst-the-phantoms-of-abandoned-tumbrils"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Amongst the Phantoms of Abandoned Tumbrils by Sigh&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Numbskull seem like a bunch of crazy carefree skate punk kids. And that's pretty much what they sound like too. Old school punky tunes. Love it.
&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://numbskull.bandcamp.com/track/daggers"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;DAGGERS by NUMBSKULL&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Throw it to the Fire? Well, they're dark rocky kind of guys who make a lot of noise and know how to have a good time doing it.
&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throwittothefire.bandcamp.com/track/ps"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;PS by Throw it to the Fire&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Miho Wada is a tiny Japanese punk flautist. Yeah, you heard me. This is a lot of fun, and surprisingly catchy.
&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;a href="http://mihowada.bandcamp.com/track/mihozilla-2"&amp;amp;amp;amp;amp;amp;gt;Mihozilla by Miho Wada &amp;amp;amp;amp;amp;amp;amp;amp; The Shit Fight&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

Omar Rodriquez Lopez puts out about 70 albums every year. This is from the latest one, where he performs as part of a trio. If you like the direction the Mars Volta is going in then this might be for you.
&lt;p&gt;&amp;lt;a href="http://omarrodriguezlopez.bandcamp.com/track/viernes"&amp;gt;Viernes by El Trio de Omar Rodriguez Lopez&amp;lt;/a&amp;gt;&lt;/p&gt;

Crystal Trap play catchy pop tunes. It sounds like TV On The Radio travelled back to the 80's.
&lt;p&gt;&amp;lt;a href="http://crystaltrap.bandcamp.com/track/open-your-eyes"&amp;gt;Open Your Eyes by Crystal Trap&amp;lt;/a&amp;gt;&lt;/p&gt;

Who doesn't like a bit of solid blues rock? If you don't then stay clear of Butchers of Sky Valley. If you do on the other hand then why don't you dive right in and check this out. Try not to move to it, I dare ya.
&lt;p&gt;&amp;lt;a href="http://bosv.bandcamp.com/track/its-not-the-pale-moon-that-excites-me"&amp;gt;It's Not The Pale Moon That Excites Me by Butchers of Sky Valley&amp;lt;/a&amp;gt;&lt;/p&gt;

This starts out like it might be intensely heavy but then pulls the throttle back and gets a bit drony. I'm not really selling it, but it makes me think of Alice In Chains for some reason that isn't going to be obvious to anyone.
&lt;p&gt;&amp;lt;a href="http://lesserknownsaint.bandcamp.com/album/sonic-harvest"&amp;gt;Sonic Harvest by Lesser Known Saint&amp;lt;/a&amp;gt;&lt;/p&gt;

Let's wind it down a bit then shall we. Headwater write songs that make you think they have a hard life. I don't know if they do or not, but I like to think they spend most of their time hunting deer to survive and fending off bear attacks. Whatever. It's all shimmering guitars and tales of woe.
&lt;p&gt;&amp;lt;a href="http://headwater.bandcamp.com/track/death-of-me"&amp;gt;Death Of Me by Headwater&amp;lt;/a&amp;gt;&lt;/p&gt;

Magus the Great is all about the conspiracies. And that's just fine, because all the best hip hop comes from people with an unhealthy level of paranoia.
&lt;p&gt;&amp;lt;a href="http://magusthegreat.bandcamp.com/track/1984"&amp;gt;1984 by Words Babylon and Magus The Great&amp;lt;/a&amp;gt;&lt;/p&gt;

Twin Ages? Well, they're sort of surf, sort of pop, sort of screamey glam rock. What a blend.
&lt;p&gt;&amp;lt;a href="http://twinages.bandcamp.com/track/creature"&amp;gt;Creature by Twin Ages&amp;lt;/a&amp;gt;&lt;/p&gt;

Drop a comment below if anything particularly tickled your fancy, or if there's any new music you want to share with the world. Otherwise, same place, some time.

You mean I do this for free? You must be crazy.

2012-03-24T15:56:00.000-07:00

Often when I'm out photographing or reviewing music I'll get someone come up to me and want to chat about what I do - not all of them as confrontational or confused as the dude I wrote about in the last post. A lot of times they just want to know about the behind-the-scenes part of it.

These chats will usually end up getting to something along the lines of "that's so great that you get to go and hang out at gigs and get paid for it too". At which point I have to stop and correct them, usually after I recover from a laughing fit. Because I don't get paid; very few people doing this actually make any money from it (although I have earned approximately US$1.07 through blogger. And if anyone wants to help boost that figure, I'm happy to talk advertising rates for you to plug your album, gig, self on here).

I think I've already covered why I do this, which hopefully explains why I also do it without getting paid. But why don't I get paid?

It's probably because New Zealand is such a small country, and therefore such a small market for music. We struggle to attract major labels, and their major money, so don't get any of the benefits (or negatives) that they, and their budgets, bring.

That's good, in a way, for the independence of our music industry and it allows people to write the music they want, without worrying so much about having to cater to the whims of major labels and their constant push for marketability. But it also means that without someone throwing money at bands and the industry as a whole there's nothing to trickle down to everyone who in someway contributes to that industry. Like the lowly photographers and reviewers who provide the (free) publicity.

Music photography has also changed with the advent of cheap digital SLRs. Where it was once the domain of those able to buy high end 35mm film cameras and expensive lenses, now any chump with a student loan can walk into a camera shop (or online retailer) and buy a camera that's going to take halfway decent shots in dark and dingy bars.

Which means that if we start asking for money from the people wanting music photos, we're just as likely to be told to get lost and find that someone prepared to do it for free just because they have a camera is going to be taking our place.

Of course, with the way things are structured, we're not the only ones losing out. a lot of musicians struggle to get buy too, and of course, as the ones making the music, they deserve to be getting their cut before anyone else. With the rise of alternative means of distribution we're hopefully starting to see that happening more and more now too.

So until the music industry here starts making more money, or we find a way to change how the industry is structured, and have photography and writing valued as important aspects of that industry, the status quo remains and I'll continue to do it for the love of it.

But if you happen to see someone out taking photos or overhear them talking about a review they're writing, feel free to buy them a drink - it may be the only payment they get for all their hard work.

So why do I photograph bands? Here's why.

2012-03-12T00:18:00.003-07:00

Some of you might have seen this story on my Facebook page, but I thought it's be interesting to repeat it here and go into it in a little bit more depth.

Last week I was out photographing a gig (Julien Dyne, Parks and Alphabethead, in case you're interested). There was a guy leaning against the wall next to me, clearly drunk - eyes almost rolled back in the head, using the wall to stand up drunk - who was watching me snapping away for a while. I went to move to the other side of the venue, to photograph from the other side, when he grabbed my arm and asked, in a confused/aggressive/agitated way, "what are you taking photos of them for?"

I was thrown by his question and didn't know exactly how to take it. Did he want to know why I personally photograph live music? Or why anyone would want to? Or why I was photographing this particular gig? To avoid getting into a deep discussion, or fight, with him over it I told him I was photographing for music websites, shrugged him off and kept taking photos.

The experience got me thinking though. Why exactly do I photograph live music? Why does anyone else want to do it? Why do people care if bands get photographed?

Personally, I photograph for a couple of reasons.

Firstly, if you're a regular reader of this blog you'll know that I love music, particularly live music. Music should move me, influence emotions and moods, and create a unique experience. So photographing bands is an attempt at capturing that experience in a visual form. I can look back on photos later and remember, and relive, those experiences. And hopefully others get a sense of that through my photos too.

The second reason follows on from that. Bands come and go, scenes change, venues disappear. Photographing gigs is a way to document both those changes and remind ourselves of our musical past, and again to remember the experiences we had.

When I look at other music photos, particularly older photos, I get an idea of what the music must have been like, what it might have been like for those people experiencing it, and a glimpse into how it shaped what we're doing now. Hopefully in years to come people will be able to look back on my photos and feel the same way.

Are there any music photos that stand out for you - either because they help you recall experience, or give you a sense of that experience, or just because they're aesthetically pleasing? Let me know in the comments below - provide a link to the photo(s) too if you can. And if you want to check out my photos, head to either lightandnoise.net or Flickr.

I'm also starting another blog in the next few weeks, that looks more at music photography. More details on that soon.

Ear treats

2012-03-03T14:39:00.001-08:00

It's that time again boys and girls. Time for new tunes that is. Here's this week's installment of musical gems sourced from the internet for your listening pleasure.

Alphabethead is one of my favourite DJ's and is always a pleasure to watch for his turntable wizardry and general genius. The All Seeing Hand is a band featuring Alphabethead and friends.

Wellington's About the Deadlines do bluesy rock, and do it well. Check 'em out.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://aboutthedeadlines1.bandcamp.com/track/savages"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Savages by About the Deadlines&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Mountaineater are an amazing band from Dunedin, New Zealand. Their music is stark, yet big, and builds awesome and epic soundscapes. Nice.

Now let's git a bit heavier shall we... This week I've been listening to a lot of artists on Throat Ruiner records, so here's a selection of some of my favourites.

Comity's album The Journey Is Over Now is a 4 part opus, with long churning songs of bleakness. Here's the final part of the album.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/part-iv"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Part IV by Comity&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Noise punks The Rodeo Idiot Engine play intense bursts of metal, sort of like a Basque Dillinger Escape Plan. It's some crazy shit.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/crown-of-thorns"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Crown Of Thorns by The Rodeo Idiot Engine&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Pariso are another intense band, leaning more to the hardcore end of the spectrum, and this track sums up their album Sooner Insignificant Better.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/birds"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Birds by Pariso&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Birds in a Row are straight up awesome, in that hardcore way again, but also with a bit of groove.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/chat-noir"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Chat Noir by Birds In Row&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

As We Draw are droney, but definitely in a good way. A bit slower than the tracks above, they're a reminder of why it's good to slow down a bit sometimes.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/burst-of-colour"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Burst Of Colour by As We Draw&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Nesseria are brutal European metallers but don't let that put you off. They also make good music for you.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/le-quatri-me-ge"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Le Quatrième Âge by Nesseria&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Quartier Rouge are rough, punky metallers, and sound like they're having a lot of fun.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/les-feux-de-la-rampe"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Les Feux De La Rampe by Quartier Rouge&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Pigeon only have a two track demo out, but it's good stuff and doesn't sound like "just a demo". This is grinding doomy metal for a rainy day.
&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://throatruinerrecords.bandcamp.com/track/birth-control-manifesto"&amp;amp;amp;amp;amp;gt;Birth Control Manifesto by Pigeon&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

If you're like me and are always looking out for new writing on music, and new musical tidbits to entertain you, do yourself a favour and check out http://houdidontblog.wordpress.com/.

Check back next week for some words of musical wisdom - until then, drop a comment below and let me know what new music you've been listening to.

Lessons from a music marathon

2012-02-25T18:16:00.001-08:00

Last weekend I had the pleasure and good fortune of checking out Wellington’s festival of New Zealand music, Homegrown.

It was a pretty full on day, with 40+ bands spread across 6 stages there was plenty of opportunity to see a plethora of local talent in action.

Here’s some thoughts from the day:

1. Six60 don’t have fans, they have fanatics. These Dunedin faux-reggae rockers played at 4 in the afternoon and attracted the biggest crowd of the day. I’ve never seen the sort of reaction they got before – this was Six60 mania. Girls were screaming non-stop, drowning out the music (I had earplugs in and it still hurt my ears), getting pulled over the barrier by security guards, way too many people were trying to cram into a space not made for that many. Photographers were battling each other for a position front of stage while TV news crews were trying to get the photographers kicked out so they could get clean footage – the only time I saw news crews at all during the day. I can’t understand the fuss myself – there’s far better acts in the local music scene, but clearly the hype machine has outdone itself with these guys.

2. Speaking of hype, Tiki Taane also drew a massive crowd for his acoustic set. I don’t mind Tiki, but his music is definitely better when he’s got others with him. Just him and a guitar got a little same-same after a while. But what was really surprising is that as soon as he finished everyone left and the next act, AhoriBuzz, had only a handful of people to watch them. Which was a shame because they were probably the most interesting band of the day.

3. No one likes rock anymore. Unless you’re Six60 or have a laptop on stage, people don’t seem to want to know you. The rock stage was pathetically empty for most of the day, more or less until the last two acts came on (Blacklist and Shihad). Hopefully rock becomes “cool” again soon, or we might see some good rock bands fading from view because of lack of support.

4. Jon Toogood makes it cool to be a skinny white boy. The Adults and Shihad were two of the more entertaining bands of the day, mainly because of Jon’s unrelenting energy and enthusiasm. Despite playing for over 20 years with Shihad, he still manages to play every show like it’s their first, and always makes the audience feel like they’re witnessing something special.

5. Music is more fun when you’re media. Going to festivals as a paying punter is fine, until you get trapped in a crowd in front of a stage where you don’t want to be anymore, people are pushing, the band you really want to see is playing right now and you can’t get to them… Being media means no queues, quiet areas to sit and catch your breath, front of stage access, catering. I don’t know if I’ll be able to go back to being a paying festival goer again.

6. Music is tiring. Maybe I’m out of shape. Maybe I’m getting older. Maybe I just need to drink more coffee, but halfway through the day I was ready for a nap. I felt physically drained and could barely lift my camera anymore. Sure, plenty of Red Bull fixed that for a while, but next year I’m getting in some pre-festival training to make sure I stay the distance. I don’t know how 15,000 screaming girls managed to keep it up all day.

You can check out my photos from the day on Flickr, or at muzic.net.nz.

Did anyone else make it along to Homegrown? What were your thoughts on it? Leave a comment below.