IKON – Disjecta Membra – Sounds Like Winter – Vallhala, Wellington February 3, 2017

Last night three Australasian dark, post-punk/gothic rock bands brought the darkness to Wellington – just as the clouds outside were abating.  After yet another shocking week of weather bombs the city was ready for some warmth and stability.   But down in a small dark club, fashioned around the legendary Norse ‘Hall of the Slain”, fans of the black were gathering for their own summer of discontent.

The bill promised something of a goth-fest with Melbourne’s IKON (now celebrating their 25thyears), Sydney based Sounds Like Winter and local act (and organisers) Disjecta Membra, who recently supported The Mission when then toured New Zealand. The gig was also the launch of a special collaborative CD (Songs For Scattered Symbols).

A small but dedicated crowd found space on the floor to take in the night’s event, with many glammed up with makeup and appropriate clothing.  One couple had really gone to town – he with white face paint, black eyes, dark long hair and bondage coat; she dressed in her own unique interpretation of Frankenstein’s bride.  An excellent effort.  There was also a collection of assorted individuals with dark tattoos, ming-beards, boots, buckles, long coats, Adams Family hairdos -wildly teased teased, and dog collars.  These people were here for the ‘night’.

First up was Disjecta Membra, who have been going now since 1993.  With slow, brooding songs of dejection, sadness and toil mixed with underworld mythology they start the evening off with a gentle sway.

Over the years, the band have toured with UK goth legends The Mission and Peter Murphy, and played support to post-punk icons including Peter Hook (Joy Division/New Order), Mick Harvey (Nick Cave/The Birthday Party, PJ Harvey) and Death In June.  As a result, vocalist Michael Rowland has developed a dark, growling style that emulates his heroes.

They start slow building the tension withMurmuring SunLilitu and Cernunnos which all have elements of Bauhaus and Swans.  Their most impressive song, The Infancy Gospels calls to mind early Nick Cave mixed with Johnny Cash – the image reinforced by Rowland’s intense stare and wide brimmed hat.  Swirling and threatening Madeleine Madelaine is beautifully structured around the early elements of 80’s synth bands like Icehouse but more desperate.  Rowland’s voice even takes on the hue of a young Ivor Davies.

Remixed by AMY_cin this is one of the highlights that appears on the tour CD.  Comfortable to hide in the shadows long-time members Kane Davey (guitars, vocals) and Jaz Murphy (bass) provide the engine room, standing staunchly, concentrating on their jobs intensely.

The band’s latter-day releases have proven their strongest yet and you definitely get a sense that this is a act that’s improving with every performance.  As a three piece, they rely on the support of their own Dr Avalanche, a laptop which provides a dirge of funereal beats over which they play guitars and bass.  Boneman has a real legendary graveyard feel, like another of Cave’s murder ballads and tales of woe.  But the surprise finish is a very menacing cover of Boney M’sRasputin (which also appears on the CD), which has stripped away all the cheer and buoyancy of the original disco hit and is laid out bare like a post-Brecht narration.

Returning to New Zealand Sydney-siders Sounds Like Winter have a more rock’n’goth approach.  Lead singer Ant Banister casts a punk presence in a classic sleeveless shirt with a Japanese torpedo flag on the back.  His intense white eyed stare and severe haircut make him more menancing.

SLW show their experience having been involved in Australia’s post-punk and new wave scene in some form for many decades.  Formed in 1993 this four piece originally made synth-driven melodic darkwave.  Led form the start guitar duo Andi Lennon and Tommy Webster (both from ex-Sydney deathrock/dark punk band Howl) they’ve evolved over the years towards dark, angular, guitar-driven post-punk.  Some of which comes out tonight with singles Sanity Is Calling andIshmael’s Bones.

They also do Blood Red (which appears on the CD) which is perfect early 80’s Bauhaus held together by a pulsing beat, fast jangling guitars and a spitting drum beat.  But the highlight of their set is the ranting grinder Life of The Just, which totally wraps you in a cloak of evil morality.  This is another one from the recording, although a more angsty urgent version than the Ian Curtis styled original, with more throbbing intensity – provided again by bassist Jamie Pajuczok and drummer Leticia Olhaberry – the song seems so much more poignant in this Trump-infested political environment.

Returning after an 11 absence, Melbourne’s own gothfathers, IKON, complete the night.  Started in 1991, their sound was originally influenced by Joy Division and The Sisters of Mercy.  The band’s recorded output has been both prolific and widely sought after, spanning ten studio albums; more than thirty singles and EPs; countless one-off compilation tracks and a growing number of retrospectives and special edition vinyl and box-set reissues of archival material.

Some of IKON’s most identifiable songs include the popular singles Echoes of Silence (1994),Subversion (1998) – which is covered by Disjecta Membra, and was also played tonight – the hilariously camp Psychic Vampire (2004) andStolen (2014) to name but a few.

Their first offering from the CD, The Silence is Calling, is firmly structured around Andrew Eldrich’s dark juggernaut.   Dressed in a black leather dress jacket guitarist/vocalist Chris McCarter’s has a quiet presence.  His vocal range moves from dark intensity to sweeter moments like the (almost) love song Key To The Stars. This song has elements of Placebo and Cocteau Twins in its melody and is one more highlight on the CD and the night.

Backed by Dino Molinaro (bass), alongside long-time collaborators Clifford Ennis (vocals, guitar) and David Burns (drums) they put in a solid set of originals based on material firmly rooted in the synth-goth era of the 1980’s.  Their set also includes their own Subversion, delivered more like a Mission track plus other staples from their long career.

This was one of two gigs for IKON on this little tour, the second being at Whammy! Bar in Auckland on Sunday February 5th.  Each of the three bands had their own unique take on the genre, melding years of listening with their own experiences and passions.  80’s synth has been well appropriated by  all the new bands – Franz Ferdinand comes to mind – so it’s somewhat refreshing to see how the new ‘third wave’ of goth-rock are progressing.  Although the crowd was small tonight, the support for tourists IKON and Sounds Like Winter (as well as hosts Disjecta Membra) was solid so I think word of mouth will spread, letting all know what they missed and why these guys should consider another plane ride over the ditch in the not too distant future.

Tim Gruar

 

 

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Neil Watson – Studies In Tubular (NW)

neil-watson-studies-in-tubular-album-release-whangarei-3241

First published at www.13thfloor.co.nz

Neil Watson works as an Artist Teacher at Te Kōkī New Zealand School of Music’s Albany Campus in 2013.  But after hours he likes to let off steam making serious New Orleans Boogaloo, 70’s Funk, Surf Rock and guitar based jazz.  Which is pretty much his template for this new 9 track album.

Born and raised in Auckland, Neil is one gun for hire you want in your studio.  He’s recorded on over twenty released albums as a session artist for The Finn Brothers, Randy Crawford, Sola Rosa, Elemenop, Caitlin Smith, The Sami Sisters and Mel Parsons.  Well known in the local jazz scene he has also worked with jazz masters Michael Brecker, Diane Shuur, cut his teeth at 18 with the Roger Fox Big band and has jammed with jazz legend Mike Nock. He’s also supported entertainers such as Des O’Conner, John Rowles and Lucy Lawless and worked with the Auckland Philharmonic Orchestra.

In 2001 he released his debut album Unification from which the track The Guru was released on Kog Transmissions Dub Compilations 3.  Along with his various solo projects and sideman duties Neil has taught and lectured music at both the New Zealand School of Music and the University of Auckland’s Jazz and Popular Music Programs since 2003.  You can also catch him in a few high schools around teaching kids the passion.

On his third release Watson gives us a grab bag of styles and highlights from a two-day session in July 2011.  It was born of a project centred around his Masters and an exploration of what could be done playing open string notes.  The title comes from Neil’s wife who described of Hendrix’s sound as ‘tubular’ – which was very similar to what Neil is trying to emulate here.

In essence, we get a hybrid of past experiences wrapped up into 9 original tracks that showcases not only his talents but some of his wonderful friends too.  Mixed by Jeremy Toy (She’s So Rad, Leonard Charles) and recorded by Edmund Cake (Bressa Creeting Cake) it has a very clean, slightly academic and pitch perfect quality about it.  And therein lies my problem. Having recently heard him play live on RNZ his sound was much dirtier and grungy.  All the better for it.  Here the production focuses on getting everything just so.  Like hospital corners, accurate but a little too clinical.

One of the best tracks kicks in on the Coltrane styled banger Booga Gee, which is something of a free session jam based around the skimpiest of lines (as most good jazz tracks are) and fleshed out with juke-jumpin’ horns and big brassy moments, peppered with solos from Neil’s electric guitar and some deft baritone sax from the famous Roger Manins.  Playing with the well-loved Auckland ensemble The Doughboys Neil has made some good mates in the jazz community and they help him out here.  He’s also roped in drummer Ron Samsom (who appears on most of the Rattle Records’ Jazz albums) on drums and Oliver Right on upright bass plus Geoff Maddock (Golden Horse, BCC) to add some acoustic guitars to the nice and easy track Kerala.

By contrast you get a couple of dirty 50’s boogie tracks to get you on the dance floor, like D.A.E. 101 which swings like a Shadows number, fronted by Stevie Ray Vaughan. It totally rocks.  By far the best groove on this platter.

Elsewhere, Watson shows us his skills, as if it was his Curriculum Vitae: Jazz funk on the opener Metres Ahead (inspired by the 70’s funk group The Meters) and some competent but pedestrian blues power riffs on Wes De Money (a dedication to Wes Montgomery), which again sounds much better live and raw.  There’s something to be said for a tad of distortion and a wonky amp.

As you’ve probably figure Mr Neil Watson is a very competent virtuoso.  This album comes out next Friday – 11 February but I’d recommend that you catch him and his band in the flesh to truly get the full experience.

Tim Gruar

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The Flaming Lips : Oczy Mlody 

First published on 13thfloor.co.nz 
https://youtu.be/PPyEjQLS85s
There’s no denying that this album is a difficult listen.  Like all their work, defining exactly which planet they were on when they made this is as much a challenge as a truth.  Fact or fiction it’s clear though that The Flaming Lips are not returning to any of their previous celestial destinations any time soon.  Gone are the ethereal confetti coated unicorn art rock and Martian invader thematics that defined their first 25 years.  At least for now there will be no returns to the Pink Robot battles of Yoshimi as a darker mood has rolled in and the outlook shows those particular stardust clouds will be milling gloomily around the hills for some time to come. 
On paper, Oczy Mlody is the follow-up, both in style and tone, to the Lips’ 2013 effort The Terror, but having said that there’s been quite a lot of waste water flow under the bridge between these two points that it’s hard to really look at this new one as a progression of the previous.  The Terrorwas a very personal recording for singer Wayne Coyne, who’d separated from his long-term love, whilst the band’s stalwart creative Steven Drozd took his own slow dive into decline, relapsing back into serious drug use.  That fatal mix could be seen as the band’s own equivalent psychedelic of a 3AM bar stool rant – perhaps their own constructed version of that old Sinatra cover One For My Baby (And One More For The Road).  New York Times critic Jon Pareles summed up the albums themes and mood: “The lyrics (of The Terror) find cosmic repercussions in a lovers’ breakup; loneliness turns to contemplation of grim human compulsions and the end of the universe.”  Crikey!
What followed was a particularly weird period for the Lips.  In late 2013 they produced and curatedThe Time Has Come To Shoot You Down…What A Sound –  a rework of the Stone Roses’ debut album featuring a selection of ‘under the radar’ collaborators like New Fumes, Space Face, Stardeath and White Dwarfs and Foxygen.
Then in March of the following year the band’s long time drummer Kliph Scurlock was fired, or so he claimed, for making negative comments about Coyne’s friend Christina Fallin (daughter of Oklahoma’s governor and leader the band Pink Pony) following public criticism for ‘cultural appropriation’ when she wore a Native American headdress during a public city photoshoot.
Defending the band’s position to spurn Scurlock, Coyne started a public spat calling Scurlock a “pathological liar” and even though he claimed there was no agenda, still went on the defence of Fallin by posting a series of immature images such as a photo of his dog in a feathered headdress.  Suffice to say, the whole thing wasn’t pretty.
The bright colours eventually found their way back, though, with the help of a rather clever covers album (With A Little Help From My Friends) and the rainbows returned to Brony-land once more.  Oddly it also was a time of new partnerships with strange choices, like pairing up with Miley Cyrus, who also appears on this album’s closer We A Family (Not a Sister Sledge cover by any stretch of the imagination).
However, not even a wrecking ball twerker such as the former Ms Montana can inject enough laughing-gas psychedelia to perk up this record.  And so the tone of Oczy Mlody remains slow, sombre and quite moody at times – like a brooding teenager, high on exhaling the dust from too many Pink Floyd albums.  Actually, it would have been great if Mr Barrett had turned up and brought back a few Martians of gaily coloured automatons to spice up proceedings.  Instead the imagery on this is probably their most Tolkien to date, with endless references to dark castles, evil wizards, mystic unicorns, frogs and travel to outer space – and that’s just in the song titles!  Still even at it’s most stoned moments there’s a touch of sadness, like the waking dawn after a party, when the hangover kicks in and the guests have outstayed their welcome.
It’s the instrumental that begins the album that holds your hand as you enter the womb-cavern of this colossal party downer.  A case in point isHow, which seems to be some kind of twisted shrug off and defeat, as if the whole world has gone to pot and there’s nothing to be done.  Despite his upbeat helium vocals, Coyne can’t disguise his depression: “White-trash rednecks earthworms eat the ground, legalise it – every drug right now/ Are you with us? Are you burning out?” before leading to a simple refrain of “How?” repeated as a chorus chant.   I don’t want to say that this is some kind of political statement about the impending decline into Trump America, but you can’t help getting to that place in your thinking.
Here and there is some small dollops of hope, particularly in Drozd’s instrumental vision which builds and drops like a conductor’s baton.  Like a demented lion tamer he holds a remarkable focus across the changes between delicate fragile moments and Coyne’s chaotic antics and the milky digi-frantics.  You can hear this on chirpy There Should Be Unicorns and its more morose cousin Sunrise (Eyes Of The Young) as they transition between the optimism of an infinite fantasy world and the paranoia and scepticism of reality as we age towards inevitable death: “The sunbeams/ Burnin’ my child dreams / The machine that brings me joy / Now it’s just a stupid toy /Oh, if I could go back and find you /I’d kiss your glowing head / And hear the things you said /And always believe you /(Believe you, believe you, believe you).  It seems Coyne’s never going back to his happy place of his youth ever again.
That negativity continues: “Have you ever seen someone die” Coyne repeats on Listening to the Frogs and on single The Castle, there’s a juxtapose between fantasy imagery and themes of impermanence and mortality as the listener is transported through an alternative surrealist parallel universe of decaying optimism.  Now all that’s well and good.  Well, it’s pretty depressing really.  But like Sufjan Steven’s last record about his dead mother, there’s some beauty in the lament of the dying.  Except on We a Family, which might be the album’s much needed dispersion of the dark weather.
In August 2015, following her hosting stint at the MTV Video Music Awards, Miley Cyrus put out a free downloadable 23 track experimental album co-written and recorded by herself and the Lips. Coyne called it a combination of Pink Floyd and Portishead and “a slightly wiser, sadder, more true version” of Cyrus’ candy coated pop.  So no surprise she reappears here on Oczy Mlody to close out the album.  On We A FamilyCyrus and Coyne tag team with matching helium vocals through this uplifting conclusion about togetherness.
It may seem like a strange pairing but it’s with Cyrus that the band appears to be the most joyous, at least of late.  That could have something to do with having a female presence in the room, a breath of fresh air among the creative testosterone.  Or perhaps just having a new BFF and all that this relationship behooves is sufficient.  In conclusion, with the inauguration of the worse President in the entire universe about to commence; the escalation of terrorism and immigration woes in Europe; the breakdown of treaties and friendships; and the permanent loss of innocence for all unicorns, fairies and magical creatures it seems Oczy Mlody such an appropriate album to capture artistically how we all feel right now.  And a good reason to pray for a brighter future.

Tim Gruar

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Last Call For Wellington’s Bodega

Published on www.13thfloor.co.nz

Last Call For Wellington’s Bodega

On a quiet Friday afternoon music fanatic and long-time Bodega patron Tim Gruar popped up the road to have a beer with owner Murray (‘Mo’) Hepple (co-owner with Catherine Popert) to talk about his long career in the music industry, buying this magical venue and finally letting it go. 

Iconic Wellington venue Bar Bodega is due to close for the final time on 23rd December after nearly 25 years.  It was reported earlier in the year that Bodega owners Murray Hepple and co-owner Catherine Popert had tried to buy the building which houses the bar but lost out to a company owned by skincare queen Elizabeth Babalich.

Over its lifetime Bodega has hosted a huge number of Kiwi acts such as Ladyhawke and About The Deadlines Tim Finn, Fur Patrol, Gin Wigmore, Unknown Mortal Orchestra, Hollie Smith, Fat Freddy’s Drop, The Chills, Avalanche City, Opshop, and featured many bodega-poster-8internationals including The White Stripes, Steve Earle, Killing Joke, ASAP Ferg, Midge Ure (Ultravox), Tech N9ne, Bad Manners, The Melvins, Peter Hook (Joy Division, New Order), Black Rebel Motorcycle Club, Lloyd Cole, Roni Size, The Misfits, Ghostface Killah, Lydia Lunch, Nik Kershaw, Ace Frehley, The Fall, The Selecter, Earl Sweatshirt, Everclear, Peter Murphy (Bauhaus), The Beat, The Buzzcocks, to name but a few.  Some, including Jon Spencer Blues Explosion, KT Tunstall, The Brian Jonestown Massacre, Pokey La Farge, and Wellington fav’s Kitty Daisy and Lewis, have returned repeatedly and list Bodega as one of their all-time top ten gigs.  It’s hard to imagine Wellington without such a venue. But there was a time, once.

In the late 80’s/early 90’s Wellington was something of a cultural wasteland for a student DJ like myself.  As music fanatics, we hover around record shops like The Soul Mine in Kilbernie, Colin Morris in Willis Street and sometimes raided the Wellington Public Library’s bizarre and eclectic collection of vinyl records.  We spent long hours, late into the night playing our choice cuts on Radio Active’s Death to Dawn all night radio show, and we ate pizza ordered the-original-bodeg-willis-stfrom the Thorndon Squash Club – the very site that would eventually spawn the first Hell’s Pizza. When Dawn finally broke and the first bleary eyed Sunday morning DJ finally slumped up the hill to do their show we collected our beer bottles up and responsibly deposited them in the glass recycle bin on campus and headed down the hill to the only café open at that time of the morning.  Bodega.  Apart from Midnight Espresso there were no decent café’s in the city – and apart from Geoff Marsland’s products, there was definitely no decent coffee, either.

Bodega, thank the gods, made Havana coffee, and the best eggs Benedict – perfect for soaking up the dregs of too many Waikato droughts from the night before.  Bodega, the cafe was located up in Willis St, 2 up from the famous White House Restaurant and 2 down from an infamous protester’s ‘mansion’ that proudly displayed an exotic range of anti-nuclear banners. There was a big bay window, a leftover from its days as a butchery, where we could all sit in the morning sun and feel the rays on our back whilst we watched the faithful scramble to get to service at the Christian Science building, with its intentionally ‘wonky’ Doric pillars, designed by iconic architect Ian Athfield.

Sometime around 1991, although facts differ on this, a bar and live space was opened up in in the original ‘sawdust room’ at the back of the café.  This was a small room, barely big enough to fit 50 people.  The bar’s snake bites made with beer and cider were legendary.  The space was accesses down a tight, dingy alley on the side of the café that also admitted the long suffering tenants in the flats above.  It was like sneaking off to a secret world that only a select few knew about.

At Bodega Bar, bands crammed on to a stage barely big enough to fit a drum kit, let alone a whole crew. Over my time as a punter there, I saw everything from an eight piece Afro-funk crew to comedy festival gigs and an endless supply of earnest singer song writers armed bodega-poster-7with a guitar and foot pedals.  It was also the favourite haunt of many of us students, various vagabonds from Aro St and wanna-be musicians.  Over its 11 years at the Willis St site – now a six-lane intersection –  the bar hosted nearly 1000 bands including Detroit’s White Stripes in 2000 who played to a room of 150 people.  I still have the scuffs on my cherry coloured Doc Martins from that night.

At that time Bar Bodega was owned by Fergus McInnes.  In 2002, the shadow of the motorway by-pass loomed to large and he relocated to a building in upper Ghuznee Street, just down the road a bit.  Settling in under the former location of Brasserie Flipp, a notorious venue for mid 80’s excess, frequented by stockbrokers and financial giants of the moment, it was the perfect alternative. Rock vs. Money!

I can still remember watching the procession as the Bodega’s horseshoe shaped wooded bar was lovingly carried on foot down the road from its old spot on Willis St to the new Ghuznee St site in September 2002.  I can also remember getting one of the last tickets to see Lee Scratch Perry in 2002 and only managing to peep over a huge sea of dreads to get a glimpse at the master in action while the room heaved to the beat of bodies bathed in the aroma of second hand gunja.

murray-hepple-1In 2007 Mo took over the bar.  But before being a bar owner, he was a tour manager for some of the biggest and well known bands on the planet.  Over the years he’s been on tour with AC/DC, Nirvana, Sonic Youth, Leonard Cohen; and KT Tunstall.  How a kid from Godzone got to do all that is more fluke than planning, he says.  “It’s not what you know but who you know really.”

“I grew up here.  I’d originally trained as an engineer at the Lower Hutt Railway yards.  I did my time and moved on.  In ‘84 I headed for the Northern Hemisphere.  A mate of mine had been working with this merchandising company in the UK.  He’d come back and said when you get there, look these people up.  Then this guy owed me money when I was backpacking.  Well, I should write him a letter to say that 50 quid I lent him but never got back was the best money I ever spent because it meant I was broke.  So I ended up I looking up that merchandising company and going to this house with these people on the Friday night.  And by the Sunday night I was off to Sweden with the Monsters of Rock Tour with ACDC, Van Halen and Motley Crüe.”

bodea-poster-4“Then they sent me out with Frank Zappa doing merchandise, again. And then Lou Reed.  And it just exploded from there!  But then, because I’m an engineer – a fitter and turner by trade – I was keen to get into the technical side of the music trade.  So I was doing drums.  I was a back line tech with Leonard Cohen.  I also did backline for Simply Red when they were in the USA on tour and a few other bands and then about 1990 I started being a tour manager, and the rest is history.”

Mo tells me several stories about touring with bands around the time they broke into the mainstream.  He’s worked with KT Tunstall, around the time she appeared on Later with Jools Holland.  He’s also worked with the Rollins Band.  “Henry is an amazing work-aholic.  And I think I was my most buff and fit during that tour.  He was always in the gym, so I was too.  We worked out.  He’d write books and his scripts for his spoken word shows and all sorts of other projects all at the same time, when he was on the road. Most bands would just drink and goof off after a show but Henry would just go to work.  Not him.  Amazing energy, that guy.”

He also toured The Butthole Surfers; The Smithereens; Orbital; The Crystal Method; Craig David, the list goes on as he recounts each band with affection and the kind of ownership that only a tour manager could have.  He tells me story after story about touring bands.  Such as rescuing Gibby Haynes (Butthole Surfers) from the circling drug dealer vultures who attacked multiple times whilst on tour.  He also remembers the night Sonic Youth’s Support band “smashed stuff up for fun” backstage after a gig in Holland.  “Two months later that band, Nirvana, broke with that huge hit (Smells Like Teen Spirit). Before the Promoter was raving on about costs and worried about what the venue owner might think.  Two months on they were begging to get them back, no matter what.”

bodega-poster-9“I was freelance, really, going from tour to tour. But then I met my wife in the UK, my children, Connor and Emily, were born over there (in the UK) and I hunkered to come back to New Zealand.   It just got to the point – it was nearly 20 years touring – and touring is not conducive to family life, you know?”

Ok, fair enough.  But I’m a dad, too, I say.  I understand what you’re saying.  Yet when you come back, you choose to buy a bar.  Well, if that was me I’d never see my children, I suggest.  Mo, just laughs.  “I know. What was I thinking?  Talk about jumping out of the pan into the fire.  I always said I wanted to come back here.  Taking this place on was more of a shock.”

“I met a friend of mine, Ray, whose since past away.  He introduced me to Bodega.  I actually came into this place (Bodega) looking for some production work.  He told me that this is where the production-type people hang out,” he says waving his hand around the room.  “And looking for that work I met Fraser McInnes (the previous owner), who was selling the place.  I thought: “That’d be a good idea – I’ll buy a bar!”  That was a brilliant idea!”  He hesitates and continues.  “It’s been hard graft.  But you know, Tim, it’s been a journey and I’m proud of what we’ve achieved here.”

murray-hepple-2“At the time of the sale, Fraser was looking to the development of the Tuatara Brewery, which was taking off, the live gig scene had worn him down.”  Mo has a great admiration for Bodega’s former owner.  “I think Fraser was a maverick.  He was doing live music at a time no one else was interested.  The guy needs to be commended for that.  He did a great job of giving bands the opportunity to stand up in front of an audience.  Wellington was a wasteland (live scene) when I returned.”

“I can remember Wellington had a vibrant scene when I left:  The Terminus in Newtown (home of the infamous Terminals and Whazo Ghoti and The Spines), The 1860 (which had Hogsnort Rupert and Blerta); The Clyde Quay; and Quinn’s Post out in Trentham.  Heaps more, too.  There was quite a big live scene in the late 70’s and early 80’s.”

Mo is quick to point out that the live venue is almost essential to the development of a band.  As a former tour manager, he should know.  “People always talk about great bands, great gigs but the truth is the venues are as important as the bands.  And Fraser provided that outlet when bands came through Wellington and local bands, too.”

bodega-posterMo well remembers the first night after he’d bought Bodega.  “I went to dinner with my wife and a friend at Scopa (a local Italian Restaurant, ironically owned by the Bresolin Brothers of Il Casino fame and later owners of the original Bodega location up Willis St).  I think it was November 2007.  And Wellington was packed, town was ‘pumping’.  And we walked in and there was some gawd-awful heavy metal band playing to a handful of people and Fraser was at the bar drunk and I’ll never forget the look on my wife and friend’s faces – their expression was “What the f***k have you done?  I thought the very same thing.”

Mo managed to rally support from his connections and slowly built up the business growing the international line-ups in particular.  One of the first was KT Tunstall, who was out here on her honeymoon – she found time to pop in and play.  That followed a string of bigger acts, mixed with Kiwi icons like the Chills, Gin Wigmore and The Verlaines.

bodega-interior-1Reflecting back, Mo notes that it is harder these days to run a live venue in part because of choice.  “Looking back, that’s what we did.  We didn’t have all the distractions you have now.  TV, Netflix, games, etc.  We went to see live bands.  And people grow up.  I know many people who were massive live music fans but as they grow older, they can’t commit as much time – with kids and houses, etc.”  “The first period was a bit of a struggle, to get that confidence and support.  It took time to pick up.  Wellington acts were initially luke-warm.  My international contacts finally came through – and we got a lot of big acts like Peter Hook (Joy Division, New Order), Jaz Coleman (Killing Joke), Pete Murphy (Bauhaus), The Selector, The Beat.”

He also says that today we have much more choice when it comes to seeing both international acts and locals.  But he’s also wary that the appetite to discover new talent isn’t as strong as previously.  This is a problem the music industry has been grappling with for some time, with live venues simply being at the tail end of it, he reckons.
bodega-poster-2The very first international act Mo booked came via local promoter Brent Eccles.  Aussie rockers Airbourne weren’t quite right for his Winery Tours, which featured acts like Bic Runga.  “I must say Brent was really helpful.  He put a lot of shows my way.  Helped me get on my feet.”

“I can remember that night, when Airbourne played.  Full on rock!  On the bar we just got slammed!  We had so many people.  We weren’t used to it.  It was a real learning curve on how to deal with bigger groups.  And I’d never run a venue before.  I’d been on the other side, as the promoter and tour manager.  I was used to getting my way with the venues, not providing what they needed”

The Mission at Bodega
The Mission at Bodega

Mo puts the success of Bodega down to the audio, the acoustics – which he credits Fraser with installing – and the lighting.  He also notes that the relationship between the stage and the audience is vital.  “The stage could be a little higher at Bodega”, he reckons, “but when you are putting on a show you gotta have some clearance between the roof and the stage, for the lighting to be effective, so I think it still works well.  You need a bit of distance, which is why, when done well it really looks good.  We’ve had many international acts comment on the quality of the sound and the lighting.”

“I have some great moments here.  KT Tunstall was a seminal show – such a great performer.  Because I managed her she’s known my kids since they were two.  Even had them up on the stage.  Killing Joke was a spiritual moment, such a wall of sound.  Totally blew me away!  Because there’s been so many acts, operating a bar that has live music most nights, it’s hard to pick the really great moments.  Peter Hook, the Buzzcocks were great.  I’ve been fortunate to have great people working with me, who love music.  The people I have now are fucking fantastic.  The bands are appreciative of all they do. My staff genuinely love being here.  I’ve enjoyed working with them, too.”

Midge Ure at Bar Bodega
Midge Ure at Bar Bodega

Mo says moving out will be hard.  Last Sunday was an auction of many of the bar’s chattels and rock memorabilia.  But it’s the memories that can’t be erased or sold on.  “My kids have grown up here, so it will be hard for them.  My son has even worked on the hat check a few times.  They’ve always been part of this place.  Actually, there’s a lot of people who are gonna be lost.  This place has been such a hub for them.”

Mo is keen to do something with music post retirement from Bodega.  He’ll be looking at some opportunities to promote some new acts.  “Watch this space,” he says.

“I think, over all, what we’ve done here is important.  You know people won’t necessarily remember some bar down Courtney Place that’s there for 2 years but I think 25 years they’ll remember coming to a gig here, at Bodega.  They’ll remember seeing that band, being with those friends, being here!”

Ladyhawke at Bodega 22.7.2016
Ladyhawke at Bodega 22.7.2016

To send Bodega out in style Mo has invited his staff to choose the bands for the final gig on 23rd December.  So far the line-up will involve ‘real’ locals, capturing the essence of the bar’s early roots.  Ash Broke of the band Oneroof is a favourite around town and a Bodega regular.  Sea Mouse is fronted by Seamus Johnson, formerly part of Elston Gun and Papersicissors.  Another Bodega regular, he’ll bring his filthy grunge blues rock to the party.  The Spines go way back to the earliest days of Bodega and possibly before, having hovered around the Wellington scene for over 35 years.  It seems only fitting to see them back for one last time in the big black room.  The line-up is changing and morphing every day.  Check Bodega’s facebook page for the latest.

 

Amelie Hepple, KT Tunstall, Connor Hepple; KT Tunstall (from UK) at Bar Bodega, Wellington
Amelie Hepple, KT Tunstall, Connor Hepple; KT Tunstall (from UK) at Bar Bodega, Wellington

I started this article by mentioning my own personal connection with Bodega and the Wellington music scene it’s been part of.  There will be many, many more stories that aren’t included here.  But no matter what there’s no doubt there will be a huge hole to fill now.  That can’t be denied.  So long Bodega, may you Rock in Peace!

Many thanks to the following for helping me with this article: Murray Hepple, Steve Cochrane and Michel Rowland (for the posters), Wendy Collings (for the photos), stuff.co.nz, NZ Archives & www.te ara.govt.nz.

Facebook: https://www.facebook.com/bodegaNZ/

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Troy Kingi & The Electric Haka Boogie – Guitar Party At Uncle’s Bach (Lyttelton)

Published on www.13thfloor.co.nz

 

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Musician-actor Troy Kingi, is probably best known for playing the role of TK the selfish dad in Taika Waititi’s blockbuster Hunt for the Wilderpeople, although he’s also done a stint in the movie Pa Boys and Mt Zion, where he actually played a musician.  Upon listening to his new double-album Guitar Party at Uncle’s Bach, you can’t help wondering how much of those experiences rubbed off.

Music and acting has been a constant for Troy since as his boarding school days where he picked up the guitar as part of Te Aute College’s kapa haka group.  In between raising his four children in Kingi has been a dive instructor, jobbing actor and mentored prison inmates in the final season of Maori Television’s Songs From The Inside.  Which may explain why it’s taken eight years to write and record this album.

The music might be inspired by Kingi’s love of guitar singalongs at family gatherings, and recorded in Lyttelton at Ben Edwards’ Sitting Room studio but the music feels much more sophisticated than just a jam around the Hangi.  Sure, it starts with sample from a New Year’s party countdown but then it breaks into some very col psychedelic guitar fuzz mixed with perfect dread beats on Leg Space.  Harmonies from Mara TK, who helps out on the album are all too clear.  There’s a bit of Otis Redding old Skool soul on Cold Steel, delivered so well I think Holly Smith might wanna call up and ask if she can do a duet on this one.  The flavours mix again into big 70’s riffs on Coke Lines, with the wah-wah pedals in full force.  This tune i s very catchy and a real party groover.

Here and there Kingi shows of his blues skills like on You In A Nutshell, which is so close I had to check it wasn’t an out take from some lost Stevie Ray Vaughan album.  The album moves around between blues, rock soul and reggae but occasionally gets very delicate.  Such a moment is Man From Mercury, a slow soul bearing contemplation that principally hangs together with a few simple piano lines, punctuated by swelling rock chords from the band.

One of my favourites is a very funky number called Can’t Help Feeling Strange.  It’s a slow burner in the style of Marvin Gaye, especially around the time of What’s Goin’ On?  Again, you here Kingi’s sweet, sweet vocals and harmonies with Mara TK, offset by an understated groove cadence and the perfect Motown template.

Oil Spill is a more heavy grungy number, revealing Kingi’s love of Hendrix and possibly Deep Purple.  It certainly belongs on that playlist.  With distorted vocals and a deep, spindly, jangly guitar riff it completes Tahi (The first disc).

Rua (The second disc) begins with Moko, a more simple track that wouldn’t feel out of place in a Fly My Pretties set.  There’s an old surf tune crying to get out of Kingi’s amp.  It’s clear when you hear Clean Sea Air, which mixes up all those great elements of summer BBQ dance music with a tad of consciousness and play it all back through a funnel of delicious distortion.  You get more 60’s garage rock on Under Ledges, which also is heavily bathed in distortion and vibrant tremolos.  Another turn at psychedelia and reggae come on the oddly labelled Bats n Vampire Squid.

I must admit I’ve only just scratched the surface of this collection, which feels more like a retrospective box set than a first release.  Clocking in at 22 tracks, its ambitious, but I can’t say there was ever a time I was bored or felt the need to fast forward.  Given the sheer weight of this body of work it can be a little over whelming to take in all at once.  More like the opposite.  I need to spend more time re-listening to these songs.  Good thing the summer holidays are coming up.

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Strangely Arousing & Funkacybin – Bodega November 11, 2016

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Funkacybin, a loose but deft delivery with equal measures of funky fusion and grinding rock, the band lived up to their promise as a ‘high-octane funk metal’ act.  Although their audience was small, mainly friends, supporters, workmates and an assorted group of Friday drifters the band’s output was consistent.  Their set of originals swung wildly between West Coast grunge and James Brown soul.  At over 7-foot-tall, lead singer George Rutherford cut an imposing figure.  All smile and wild lion-mane, he was the rock version of Steven Adams, even sporting the singlet and basketball shorts. 

The band’s engine room – Blain Fitzpatrick (Bass) and Felix Nesbitt (Drums) -held everything together pretty well, particularly when Fitzpatrick showed off his slap-bass skills on his brand-new copper toned instrument.  But the MVP award surely has to go to Jackson Kyle – lead guitar – who totally shredded, funked-up and performed other wah-fuzz magic with explosive aptitude.  As a unit, this band were playing more for fun.  This was not a job interview, so they enjoyed throwing cliché’rock shapes in vivid coloured stage smoke but you got the feeling if they really knuckled down they could totally make it to a big stage one day.  I couldn’t help thinking this band were very much like 80’s alt-funk/rock crew Fishbone.  Take that as a compliment.

Between acts the room filled a little bit more but never managed more that 1/3 full.  Shame, much of Wellington have missed a great opener.  Rotorua’s Strangely Arousing are a welcome return, having not been here for quite some time.  They are a pretty gnarly, specialising in bending boundaries between genres and creating an electric yet lovable atmosphere.  Over the night their repertoire moved like a kid on a greasy mud slid from the punk-funk of Red Hot Chili Peppers to the Balkan knees up of the Wedding Present, which is where they finished up on their encore number, leading the room in rousing ‘yah! Yah!’ sing-a-long.

These guys have been working pretty hard over the past 5 years to make an impression on the New Zealand Music scene, touring the country, opening for bands and landing slots at festivals headlined by the likes of Damian Marley, Fat Freddy’s Drop and Sticky Fingers.  All that is starting to show results, grooving it up with a collection of self penned tunes and covers played with gusto by Lukas Wharekura (vocals, lead guitar); Shaun Loper (Bass) and Oliver Prendergast (Drums), bolstered by a big, meaty sound from the brass section – Forrest Thorp (Trumpet, Keys) and Liam Rolfe (Trombone, Vocals).

Getting sweaty was the ultimate goal – although the band won that one by stripping off their shirts progressively through the night until they were all bare-chested and hyper pumped on funk-testosterone by the end.  I’m sure there were a few ladies amongst the youthful and enthusiastic crowd that appreciated it!  No doubt about it – these guys are young, fit and talented.  They should try out for WOMAD, they’d be a real hit with their cross-pollinated world music and festival vibe.

With Bodega closing down at the end of the year, these smaller, multi-functional rooms will be in greater demand, especially by bands like these because this is ground-up roots music and something we need to nurture and promote.  Here’s hoping a new place will rise from Bodega’s embers.

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The Mission @ Bodega – 19 Nov 2016

First published at: http://www.13thfloor.co.z

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It was been, quite frankly, a sh*t of a week for Wellingtonians and North Cantabrians, given the 7.8 Richter scale earthquake in Kaikoura on Sunday; floods; slips and high winds; damaged buildings and aftershocks.  If I hear how ‘resilient’ we all are one more time, I’ll scream!  Primal!

So it was a really cathartic and somewhat cleansing experience to stand at the front of Bodega’s stage, with the bass woofer at my feet, so deep and loud it created its own air circulation, and enjoy some powerful amplified, electric man-made energy, instead the constant dark rumbling threats from the elements.

I think Brian Johnson sung it best:

“I’m a rolling thunder, a pouring rain
I’m comin’ on like a hurricane
My lightning’s flashing across the sky
You’re only young but you’re gonna die”

There was plenty of doomsday imagery in the lyrics and delivery of tonight’s first band. Disjecta Membra (https://disjectamembra.bandcamp.com/album/the-infancy-gospels-ep), a semi- goth/industrial outfit from the Capital who make music that sounds like the essence of Bauhaus, Swans, Birthday Party, etc.  Their short set comprised material from their limited edition ep The Infancy Gospels (Lilitu,, Cemunnos, Madeline! Madeline!, The Infancy Gospels) and a couple of unpublished tracks.  Frontman Michael Rowland was keen to show off his stage presence having learned from the book of Cave.  And with menacing frowns and a deep timbre growl he was a dead ringer for younger Pete Murphy (Bauhaus).  I really enjoyed their intense, slow grinding, hypnotic sound, peppered with plenty of grunge drive from their engine room – Jaz Murphy (bass) and their own Dr Avalanche (drum machine).  Kane Davey, guitar, also needs a special mention for his side-bending fret work, especially his use of a vox-pipe (last time I saw anyone do that was Peter Frampton!).

During the interval, I scouted the room to check out who’d turned up.  The woman next to me was a diehard fan, mother, manager and Dunedin resident, who’d scheduled her work around the gig so she could be here.  She was also ‘working’ in Auckland tomorrow and will go to the show again.  She wasn’t the only one.  A couple behind me were doing the same.  In front of me were two dads, one with his boy, tucked neatly into a safe corner away from the mosh pit.  Not that there was any real danger of a Doc Martin stomping tonight!  To my left plenty of mid-aged women reliving their goth-girl phase in Narnia black lace dresses and back lipstick.  One or two ‘real goths’ with the ubiquitous spiked leather, scruffy black jeans and obscure band tees.  And, also, one or two ladies who’d gone the effort and applied white pancake, black makeup, fishnets – the whole bride of Frankenstein.  Good on them! Effort!  Best of all, this was a very polite group, about 300 – 350, I reckon, packed in but not suffocating.  We all had our personal spaces and moved around carefully, avoiding drink spills and sharing our spots at the front so others could take phone-cam snaps.

The Mission took the stage quickly and confidently ploughing into one of their big hits from the 80’s Beyond The Pale, an appropriate comment on the week – although, the joke was probably lost on lead singer Wayne Hussey.  The band had only rolled in on Thursday and had missed most of the action.  They did get a chance to hoover up some good Mexican at the Flying Burrito Brothers in Cuba street, Hussey remarked in a dry Bristol drawl, during one of his limited moments of banter.  And he should know, being a resident of South America, specifically Brazil, nowadays.

Hussey’s stage presence has changed little from the early days, he might have cut his hair, dropped the long coat and black hat but the shades were still a firm fixture.  In the stage smog and blue light he deftly shaped his rock poses and silhouettes.  There was also plenty of high fives for the front row, a bit of individual chatter with his peeps and many moments when the audience were conducted to sing along to choruses.  Those particularly came during the big bombastic faves: Butterfly on a Wheel, Garden of Delight, Severina, Tower of Strength and Wasteland.

Hussey’s voice was still as intense and strong, flanked by that trademark sitar-twang of his 12 string and guitarist Simon Hinkler’s tinny fuzz-undercurrents.  Hinkler was standing right in front of me and he took every opportunity to also pose up for the camera.  He was clearly enjoying his swagger time.  The other original member, bassist put in some solid, heavy grunge driving every song like a freight train.  Youngster (compared to the rest of the band, at least) Mike Kelly did a splendid job on the skins, cranking along with metronomic precision.  His delivery far outshone earlier drummers, I think, carrying off the drama needed in these songs as they are translated from studio to the stage.

The new material, songs off Another fall from Grace (Only You and You Alone, Tyranny Of Secrets), were easily shoe-horned in amongst the classics, having been written with an 80’s vibe in the first place.  Met-a-mor-phosis, in particular, was a real nail driver of the track and had everyone intensely, if politely moshing it up.

With two well-rehearsed encores the band played it up to their adoring fans, who, after all had waited 30 years for this night. No earthquake, flood or swarm of locusts was going to stop them being here.  Rounding off the night with a blistering cover of Neil Young’s Hurricane and their biggest and most emblematic of songs, Deliverance, there was a distinct feeling of euphoria in the room, if only for that moment.

In the harsh light of the house lights we all got to become reacquainted with friends and colleagues as we shuffled out into the unknown of Friday night.  This time thankful for the release of stress and confusion from the week before.  I’ve said it before, and I’ll bore you again.  Wellington’s Bodega has an indescribable rock vibe in every fibre of its carpet, every stone in the concrete walls, every splinter in bar top and even in the chipped porcelain of the bathroom sinks.  This place has layers upon layers of good groove voodoo.  The Mission’s deliverance tonight just added yet another layer to that rich tapestry.  Here’s hoping it won’t be another thirty years before they are back.

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