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/

Pitch Black: The 13th Floor Interview

The 13th Floor’s Tim Gruar talks to Paddy Free of Pitch Black about their new album, Filtered Senses:

Celebrating 20 years in the music business, Pitch Black, have been labelled the ‘godfathers of Kiwi electronica’. This month, nine year’s after their last release they finally drop their fifth studio album, Filtered Senses and sees them adopting a completely different working method – one they’ve dubbed ‘remote-control’.  With one in London since 2012 and the other temporarily based in New York, the album was written by swapping files over the web, with an intensive two week mixing session together at a studio in Hackney to finish the job. Tim Gruar decided to Skype one half of the duo, Paddy Free, recently to find out more about all this. 

I’m on my second coffee of the morning when I dial in. So is Paddy, actually, as I catch him putting down his evening mug and re-positioning his smartphone closer to the WI-FI.  He still has his trademark shocking red hair, framed by a halo of late afternoon sun and the outline of a wicker bookcase at the back of his Airbnb apartment.  Apparently it’s very common in the Big Apple to rent these through University contacts.

Currently in Manhattan’s East Village, where the mid-summer heat can get up to 42 degrees, Paddy’s there to support his partner choreographer Louise Potiki Bryant, who recently won the Harriet Friedlander Residency award. Supported by the Arts Foundation, the Harriet Friedlander Residency sends an artist to New York for as long as $80,000 will last them. Harriet Friedlander was a dedicated supporter of the arts, he tells me. She also loved New York and believed that any young artist exposed to the city would learn and grow in unimaginable ways. This prestigious award has previously gone to film maker Florian Habicht, playwright and actor Arthur Meek and multimedia artist Seung Yul Oh.

Manhattan is a surreal place sometimes, he says. “Just today, we passed a film set with cops shooting, guys with FBI jackets. You know – your typical cop drama.  Then I turn on the TV and there’s shootings in schools and such.”  So on the streets there’s the fiction and on TV there’s the reality?  “Crazy, backwards.  And the Trump Show is just yet another level!  It’s such a long way from Piha, where I used to live for so long.”

True, that. So I can’t help asking about how the landscape shapes his creativity.  Even in its earliest days Pitch Black’s music came from the New Zealand environment, particularly the beaches and the bush around Christchurch, Nelson and Takaka.  “Yeah.  That scenery played a big part in our early albums and our approach to EDM.  Where I am now couldn’t be further from where we started.”

Mike Hodgson and Paddy Free first met at a party in 1996 and started swapping rough files backwards and forwards. After a bunch of singles, they released their debut album, Futureproof, in September 1999 to much critical acclaim.  Despite any marketing it still rose to the top of the New Zealand electronic charts. The single The Gatherer was an organic mix of dub and harsher electro clash.  Their very first gig at Takaka’s infamous Gathering music festival built their reputation of unique genre-bending brand of live electronica.

Their second album, Electronomicon, came out a year later.  It led to a 30-date tour of New Zealand and Australia and spawned remix projects, featuring mixes by International Observer, Epsilon Blue and Downtown Brown.  Their third album, Ape to Angel (2004), also did well helping them to gain traction on the American and European tour circuit.

Their Ape to Angel tour was their largest to date – 42 shows internationally plus a series of remix projects: Halfway: between Ape and Angel (Australasia) and Frequencies Fall (Europe/America).

Their last studio album was Rude Mechanicals, was released in 2007: coming out Downunder on the duo’s own label, Remote Recordings; on Wakyo in Japan; and on Dubmission Records elsewhere.  Possibly their most accessible album to date, it ranges from downtempo dubs and ambient soundscapes to trancefloor grooves and drum’n’bass, and was lauded by Q Magazine as “the sound of the future”!  But aside from a remix collection, Rhythm, Sound and Movement (2009), they’ve been relatively silent until now.

As individuals, both have very different approaches to music. Paddy is a manic groove-merchant – doing it for the crowd. “Mike’s more the dark dub-meister.  He does it to the crowd!  It’s a good example of how we work, we go from A- B, either Mike’s on the controls and I’m on the couch, listening or it’s me on the controls.”

When I ask, Paddy says he goes to the occasion club in NY but he’s not a huge fan. To him it’s too much like being a work.  He likes to separate music from leisure.  “I just keep analyzing dance music when I hear it and thinking about what I can use and how.  So I have to separate myself from it during my down time.”

This month Pitch Black released a new studio album, Filtered Senses, 9 years on and hot on the heels of the single Invisible Chatter. Tracer fire after radio silence?  “Naw!  It’s not like we’ve been totally separated.”  The pair might’ve been living in different cities but they’ve kept the lines of communication open.  They’ve also working on material for a range of solo artists and producers.  Paddy recently collaborated with Moana & the Tribe and Nga Tae on a collection (called in dub), whilst Mike has been producing and remixing under his solo moniker: Misled Convoy.

Paddy says that despite the globetrotting they were able to work up samples to move backwards and forward across the wires. “We had about 18 months of mediocrity before it came together.  We’d throw ideas at the wall to see what really sticks.  Most would just evaporate.  Whatever minerals are calcified became the sea crystals where the magic happens.”

 Invisible Chatter is the first indication that this album is a little bit different from earlier releases. Elements of the duo’s style still remains, though. The tune feels familiar, mixing digeridoos, bop techno and dark mid 90’s bass lines with dub overtones.  Paddy reckons the music is more “graphite than black sands” this time, reflecting their relocations to big cities.  Earlier music had more of a feeling of freedom and beach and sea.  “It came about by virtue of low population because I was living in Piha, which is more remote and windswept than the built up metropolis.  This album is less organic I guess.  Every song is self-contained like a room in an apartment.”  All appropriate, given that with the exception of a two-week stint at Mike’s home studio in Hackney, all the music came together by swapping and refining tracks over email and Dropbox.

The tracks vary from the ambient wash of A Great Silence is Spreading to the stomping Pixel Dust, and virtually everything else between.  Having made music for both Cinema (including Whale Rider) and the dancefloor it’s no surprise that there’s a real sense of drama – Paddy calls it psychedelic stereo. To flesh out the album, they brought in Londoner Alison Evelyn, who Mike met at his regular a vinyl nights. Her contemplative and observational words merged beautifully into the Pitch Black sound.  “I like to sample lots of speech fragments, like we do on Pixel Perfect.  So she works perfectly in this way.”

Paddy admits that making an album in this fragmented, isolated collaboration has been something of a challenge at times. “Like separate brushstrokes on a painting, one email command at a time.”  The Apple Mac is still his weapon of choice, although he misses the tactile nature of a keyboard and is looking forward to getting out on the road when the time comes. “I still miss the real physical connection to beats.  I have lots of tambourines, shakers, drums and stuff.  I guess I’m a beat maker, but at heart also a bit of a frustrated percussionist.”

Trip To The Moon: The 13th Floor Interview

Trip-To-The-Moon-Album-Cover

First Published on www.13thfloor.co.nz

A Traveller’s Tale, Trip To The Moon’s sixth studio album, is the essence of over 3 year’s solid work claims Trevor Reekie.  Reekie along with multi-instrumentalist Tom Ludvigson has been recording their own unique version of trip-hop jazz and fusion since before the turn of the decade.  A few day’s before its release Tim Gruar talked to Reekie over the phone from Auckland about the album’s long gestation period.

“It’s always a long time coming, these albums.  Or put another way –  36 months of Sundays lost to this project – to conceptualize, compose, re-contextualize, arrange and record.”

“Like previous works”, he notes, “this new work mainly comes out of regular Sunday sessions when Tom and I get together to create riffs and samples.”   During that time the pair noodled away at Ludvigson’s Rockynook Studios creating beds and themes using synthesizers, pads and software like Abelton Live.  “We basically record everything we do, so we were just jamming away and we ended up with a huge body of work to cull through.  We eventually halved that for the album.

Tom creates all this music from an array of digital toys and stuff and I then create loops and overlays from those.”  From there the duo made the cuts, and ended up with a core selection of backing tracks all “in the key of ‘G’.  That was the driving theme.”

If the names sound just a little familiar, then you’ll know Swedish born Tom Ludvigson from his days in the popular Auckland jazz combo Bluespeak, or the Inner City Jazz Workshop; the Jack Morris Big Band, Big Sideways; the fabulously underrated Low Profile/Elephunk or even Rick Bryant’s 80’s sensations the Jive Bombers.  He also surfaces regularly at festival in Auckland and Wellington over the years and he created the music for the TV documentary on Robin Morrison called Blues For Robin.  Ludvigson gets around. A multi-instrumentalist, composer, arranger, band leader, performer, record producer, musical director for stage performances, session player and teacher.  He does it all.

Of course, listeners to Radio New Zealand will know Trevor Reekie’s name and voice from the Access All Areas and Hidden Treasures shows or perhaps his time in 80’s electro-pop group Car Crash Set and his record labels, Pagan and Antenna.  Check the back of your vinyl collection and you’ll see his name as producer on discs like the Mockers, Dance Macabre and Marginal Era.

The group’s title is a reference to A Trip to the Moon, a 1902 French silent film directed by Georges Méliès and was started up in the early 2000’s as a collaborative outlet for Reekie and Ludvigson, away from their day jobs.  Over the years the group has morphed somewhat, settling on the current lineup, which has been a longtime constant now.  That includes guitarist Nigel Gavin (Nairobi Trio, Gitbox Rebellion, Jews Brothers) and Jim Langabeer (a saxophonist and multi-instrumentalist who’s toured and recorded with Sammy Davis Jnr, The Bee Gees, The Temptations, The Four Tops, Alan Broadbent and Mavis Rivers) and Greg Johnson, who Reekie has produced in the past – all long time collaborators and friends.

Reekie’s background is mainly rock orientated but he also has a large appreciation of jazz and world music.  “I wanted to collect up all the jazz that Tom is so well versed in and digitally merge it into our overall sound, like a sort of journey.  Which is what it became.  One of the most obvious examples of this is on the opening track Santa Monica Stroll, which, with Greg Johnson’s signature trumpet layered over the tune almost feels like something Miles Davis would have produced around the time of his Tutu album.  “He’d be very flattered by that.”

“Actually Greg lives in LA now, so we sent him the tune and this what we got back.  It does have that kind of nostalgic, warm vibe about it.”  Another noteworthy piece is the closer Soudade.  “It’s a Brazilian Portuguese word.  It means a sort of deep emotional state of nostalgia, a sort of profound longing for someone or something that’s long gone.   I think this song has that slow drift into time, or memory, like the inability to let go of a particular emotion.”  Reekie knew instinctively that this album would begin and end with these tracks and in between there would be different types of moments.  He knew exactly how it would sequence.  This would not be just a random collection of songs.

It was intentional to bring in a number of ethnic instruments to build on the world traveller theme.  For instance, Nigel Gavin adds glissentar (an eleven string, fretless, acoustic/electric guitar) and the delicate sounds of a fretless 7 string oud (a pear shaped lute).

Themes vary from Middle Eastern influences to stardust sprinkles, evoking some kind of travel, whether it is real or imagined.  Some came from other projects or were influenced by other work.  “Indira’s Pearl, for example,” says Reekie, “came from a rejected piece Tom had composed for a documentary some friends were making in India.  We could have built it up like some sort of (Bollywood) dance theme but I chose to keep it very minimalist.  There was a time we would have coloured it all in but not now.  Simple is good.”

You arrange your own itinerary when Trip to the Moon hits the road on a limited 3-night adventure this month.  Buy the CD at the door and get in for free.

Friday August 19th – Lot23 – 23 Minnie St, Eden Terrace

21 August – The Wine Cellar, Auckland

Eb & Sparrow / Shining Light – The interview

Published in Rip it Up: Eb & Sparrow Interview

20 August 2015 | 1pm | Tim Gruar

Continuing their haunting journey into the depths of Americana, folk and sweet gloaming, Wellington based eb & Sparrow return this month with a new album ‘Sun/Son’. I met up with composer/singer Ebony Lamb at the appropriately named ‘Home’ cafe in the National Library.  It’s a place surrounded by heritage, perched on the site of an ancient river that flows directly into the harbour.  The connection to nature, the land and to people is very strong here.  And so is this new work. The striking, upbeat cartoon-like cover by Grimoire is a bright juxtaposition to Lamb’s often brooding vocals and her band’s uniquely understated but very catchy melodies.

The album starts with memories of small town New Zealand – “Kimbolton” – where Lamb’s family chose to spend the Christmas holidays.  “It’s the Rhododendron Capital of the Country.  It’s really an old lady flower, sort of a reminder of past times, when these little towns used to be destinations.  We spent the summer down by the local river, and in hammocks and running on the grass – even sheep in the back garden!”  The perfect Kiwi summer – as portrayed through a Vaseline-smeared lens of golden light and happy memories.

The last time we talked Lamb told me about her endless car trips back and forth to the Hawkes Bay to visit her sick father. Lamb was raised by her solo dad and had a strong connection, which is not only evident when she speaks but in her songs, too. “I want you” features the ominous lines “I went through my father’s things. He passed away three years ago. He was a huge influence on me, growing up. His music collection and his collection of philosophy books.  Such a great wealth.”  But the song, she tells me is more than just about her father, it’s about a wanting of a man, strong love, safe love, holding tight, comforting. In a different way, the song “Coward Son” is Lamb’s challenge to love a man for whom he is, and for that man to be proud of himself: To be strong. “I’m saying ‘You don’t have to be frightened.  You don’t have to be a soldier. We should accept men for who they are, not to change them into something they aren’t.  And that goes for men who are a bit dark, difficult, as well.” 

Men are prominent in Lamb’s life. Her band features some of the country’s most talented and experienced players. Chris Winter infuses a delicious soulful, Latin trumpet, like Calexico, into many of the songs – when he’s not playing guitar or bass, that is. He also adds a unique tone, with a mellophonium to (the ghostly “Libertine”).  Jason Johnson, who has a background with the Auckland Boys’ Choir, lends his pipes to many of the harmonies scattered across the new album. Bryn Heveldt’s lap-steel is a reminder that at the heart this has a folk/American feel. Whilst former Vorn Drummer Nick Brown keeps everyone to time. Also giving voice to the ‘ambience’ on this record was one prominent player: a vintage 50’s, time worn ‘Selmer’ brand amplifier, which “creates guitar warbles and distortions, making these finely crafted tunes more timeless and slightly ethereal,” Lamb suggests.

Contrasted with Lamb’s haunting vocals, which slide along between Margo Timmins, Cat Power and Gillian Welch, it’s the sound of a band that’s used a whole year, she tells me, to design their own aural architecture. But also very prominent on this album is Producer Brett Stanton (Phoenix Foundation, The Surgery). “I’ve known him for 2 or three years and he’s a good bench mark of what is good music.”  Lamb tells me that he recently relocated to the small Hawkes Bay beach town of Te Awanga, where the band converged to take over his parents’ house to record.  Lamb talks fondly about her time there, with the band spread out into different rooms, leads connecting each like an umbilical chord to Stanton’s control desk, set up in the master bedroom.  “We’d also tried to record on the balcony, before the competing cicadas completely took over the evenings. It’s a beautiful place, in the middle of this tranquil olive grove.” 

Eb & Sparrow’s last album was made in Lyttleton’s ‘The Sitting Room’, home of bands like The Eastern. Whilst the connections with the Southern music scene are still there, Lamb was determined to make the next record in the North Island. “It was easier to travel to the Bay, not so far to go but also the vibe was different this time.  So we made it over three separate sessions.  We had less time but I had a very capable and energetic band. So we made all of it, except “Little Hands.  I made that with Tom Healy (Tiny Ruins).”

 

The title, Lambs tells me is an amalgam: a reference to the many males in her life although she notes that it is ‘her’ on the cover, “the Woman amongst these ‘slightly grotesque’ men”, she laughs. It’s also a reference to the sun. “It’s about enlightenment. You have to be in the dark, to find the light. The sun is the ultimate light.” The album is a collection of new material and material that has finally “found its way” – like “Mother Mary”, which Lamb says is an old song that the band brought back to life. “By adding some violin, we were experimenting. Because we’d not done the song for a while it felt that we could experiment. The song goes from a quiet nothing to a huge building tension.  Like an appellation.”  Other songs were almost inventions of their environment, like “Mighty Wind” which featured a recording of a rattling cutlery drawer. Brett’s parents might still be counting the silver after that session. None the less, the final result shows Eb & Sparrow has grown both from the road and from working with each other. They’re about to go on tour – so there’s a chance to see that for yourself.

The Warratahs: Their Song Remains The Same

The warratahs

Meeting Warratah’s vocalist Barry Saunders at the Wellington railway station feels very right. Very comfortable. After all, the band has spent a fair part of their career in bars, playing to regular folk, locals and people passing through. He’s the same. Dressed in a brown car coat, shirt with the collar up and trademark tousled hair – a slightly older, grey flecked version of his eternal self. We sit by the window. His eyes constantly scan the trail of lunch time commuters who trudge past – automatons, with only food on their minds. Well, that’s our consensus.

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Courtney Barnett – True Blue Aussie Sheila-type, yeah?

Courtney Barnett

To be published in Rip It Up – September 2014

“Courtney Barnett… The singer-songwriter, who is from New Zealand, will start her run of live shows in Newcastle… ” wrote English music magazine NME recently.  “No way,” was Barnett’s reaction when I told her, “That’s hilarious!  Am I good enough to be a Kiwi?  Maybe better!”  Barnett, who’s actually from Sydney, via Hobart and now resides in suburban Melbourne is planning to front up in Godzone shortly, when she  tours her Double EP (not actually an album, she points out) called A Sea of Split Peas. The debut caught the attention of music lovers and critics, with Rolling Stone comparing the emerging songwriter to “early Bob Dylan,” while NPR described Barnett as “laconic, funny and charming.” The odd tile was inspired by eating lentil soup, whilst drawing the cover – a reproduction of a Japanese print of a tsunami wave “…and I just wrote the title underneath – I thought it would be puzzling and intriguing”.

 

Barnett’s getting herself known around the world for her witty, rambling lyrics and deadpan, drop dead singing style, attracting attention from not only the dastardly and slightly inaccurate UK music press but their America counterparts as well. …Peas is actually two EP’s – the first made in a friend’s lounge and the second made, more professionally, in Melbourne’s Head Gap studios, in the sprawling suburb of Northcote; the perfect location for Barnett’s acidic little tales of urban banality.  Songs swerve from the predictable bonding of ‘uncool’ friends ‘Anonymous Club’, to raunchy love songs like ‘Lance Jr’, with the line: “I masturbate to you sweet music.”  “I know that line’s a bit raunchy but why can’t I tell that particular truth.  Musicians are supposed to speak for those who can’t”,

 

However the most eye-opening song on the album has a back story behind ‘Avant Gardner’, about becoming sick from heat exhaustion when gardening in 40 degree heat.  It’s a simple but alarming illustration of how she becomes overcome by the heat as she cleans up the back garden – also a metaphor for moving on from a bad relationship, I wonder.  Barnett is reluctant to answer that but she can hint that she’s never been good at resolution.  “I guess I was never that good at breathing in!,”  “It’s a true story.  I can’t really explain it more that the song does, I guess.  It’s a bad thing that happened.  Looking back a couple of weeks later I saw the funny side and, yeah!”  Musically, Barnett’s touch stone is early 1990’s alt pop like Juliana Hatfield and the Breeders.  “I guess I kind of (resonate) with that stuff.  I like a lot of that stuff.  When I started out I tried to write songs like that – cool songs.  But I never really liked the outcome.  And then I went through a couple of years of not listening to any music.  Then I returned to it and just tried to forget what I knew and write naturally and that’s where I found my comfortable writing voice.” Influences that informed …Peas ranged from Jonestown, to the Velvets, to the Band to Bowie – “all over the place – different elements creeping in”. Sonically, the ‘flavour’ of the first 6 tracks (EP no.2) benefits from the overwhelming presence of Dan Luscombe (The Drones), whose haunting guitars are all over the place. Barnett has already had a big year – hanging with Steve Tyler on Jimmy Fallon; touring with Billy Bragg on his Aussie leg; playing shows with Kurt Vile and Sharon Van Etten; a string of major festival appearances including Coachella, The Great Escape, and Glastonbury.  And, of course, a Kiwi impersonation whilst performing in the UK.  And now she’s heading here for a wee look around and a show or two.  “I’ll have my band in tow so that will be great.  I had extra friends on the eps but the core players will be there.  We play as you hear it, no fancy gimmicks, all us.  Genuine.”  All true blue, indeed.

Bill Bailey Interview

Mine’s Bigger than yours!

Featured in Rip It Up – August 2014

Comedian Bill Bailey has to take his phone calls from his office because the racket from his ever growing menagerie of exotic creatures is to much a distraction.  “It’s always the same.  Soon as the phone goes the Dingos start howling.  They feel they’re territory is being threaten by some kind of telephonic being, perhaps.  And then the Parrots all start up, squawkin’ and carrying on.  It tends to be a bit distracting, so it’s quieter in the office.  It’s like we’ve about run out of room in our West London house for all these animals! Doctor Dolittle will need to sail to darkest Peru, I fear, in search of escape.”

Hang on, wait a minute.  Did you say Dingo’s?  “Ah, yes,” replies Bailey in his measured, faintly Cockney accent, “But not the baby-worrying kind.  These are Indonesian Dingos.  They are a lot smaller, more slender that their Aussie version – They ‘re a cousin, same DNA.  They probably trotted over a land bridge one, dropped down and became marooned on the Indonesian archipelago.”  He tells me that these were dogs rescued from the pound whilst Bailey was in Indonesian filming.  Sneaking them through customs must have been a mission? “Yeah.  Tell them to stay very quiet (Laughs).  The law here has become much more expedient… not the six month quarantine that you used to have…it’s down to a few days, if you have the right paper work on this.”

This all came about from a recent trip in search of the real ‘Origin of the Species’.  “Yes, between the last time I was in New Zealand and now (he plans to be back in September) I spent a large part of that time working on a documentary about Alfred Russell Wallace, who was a Victorian botanist, explorer, biologist, evolutionary originator.  He was a younger contemporary of Darwin.  He travelled through Indonesia, Malaysia and what was Borneo and wrote in a wide variety of scientific journals.  He came up with a scientific theory of evolution, independent of Charles Darwin.”  Bailey’s referring to Bailey’s Jungle Hero – a two part documentary about naturalist Alfred Russel Wallace that was part doco, part mad Englishman-travelogue. All very incredible but surely we’d know that Darwin didn’t develop his theories in isolation?  “All this I found out in a bird watching guide called ‘The Birds of Wallacia (the English arrogant name for parts of Indonesia).  That started me down the path of years of research: of obsession.  All culminating in this TV show (Bill Bailey’s Jungle Hero), unveiling his portrait in the Natural History Museum and getting a bronze statue of him erected in the Darwin gardens, outside.”  “What’s interesting about Darwin’s release of the theory was not so much offending the church or his (devoutly religious ) wife… it’s more interesting than that….he was worried about getting his facts right and being also there wasn’t really a universal outcry.  People were hungry for a bit of change.  The opposition from the church was only one faction.  The church had been in charge for so long, people were sick of it.  As early as 1816 there was a comedy review that suggested that we might be evolved from orang-utans…the idea had been around for a long time and they were sort of ready for it.  Of course all the modernist crazies and colonists ended up in Aotearoa – escaping the old world.  “Yes, (adopting a Python-esque colonial voice) let’s high tail it to our beautiful Utopia in the South (NZ).”  Which dovetails nicely with Bailey’s new show:  Limboland. ‘It’s a place of transition, between the truth and reality.  It came about because I realised that a lot of stories in the show started to coerce around this central theme of things not quite being what they seem.  Things we once revered to be stolid and impeachable are now revealed to be flawed and fickle.  What can we believe?  Who can we trust?  I think it’s also a sense of reflection, looking back to child hood and looking at what we thought in childhood and how things turned out.  It’s not necessarily a bad thing. It’s a state of weakness, as we get older (laughs).”

Comedy, even to the youngest can only work if a number of rules and assumptions are accepted.  Mr Bean, for example, works because every idea and theme is pretty much based around universal concepts such as Christmas.  Bailey, as well does this.  Particularly with music, where he reworks well known tunes, for comedic effect.  “In the show I, for instance, rewrite ‘Happy Birthday’, the most familiar song on the planet.  I made it more, shall we say, ‘downbeat’, given it lower expectations.  It came about when I talked to a music lawyer and it’s still in copy write.  If you sing it live, you should pay royalties.  So I was motivated to write my own, to gift to the world, to use without recourse to pay performance rights.” Bailey is well known for his musical content, being a gifted performer.  But sadly, he won’t be bringing his 7 headed guitar Down Under this time around.  “I’d never get it on the plane.”  He will however be evolving some other instruments, including a six string made for him out of a real bible.  Fittingly, evolution, religion and travel in the name of history vs comedy all seem to drive Bailey on.  Here’s hoping he doesn’t try to adopt any native birds while he’s down here – he’s rather partial to Keas, apparently.  I just want to see a parrot eat a car.  What a brilliant bird – beautiful plumage!”