Same Planet Different Orbit: A PLUTO Interview


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There’s a famous line from that great Ackroyd/Balushi movie The Blues Bothers: “We’re getting the band back together!” That’s exactly what’s happened to Auckland based alt-pop crew PLUTO (Pipe Lines Under The Ocean)  who, after a 10 year break, have managed to almost seamlessly remerge back onto the scene. However, the reincarnation was not quite as simple, as Tim Gruar found out when he spoke to the band’s front man Milan Borich earlier this week.

Whatever happened to PLUTO? After almost a decade of silence the group made a surprise drop in August with a new single ‘Oh My Lonely’, followed closely by the release of their long-promised fourth studio album ‘IV’ in September. And now the original line up – Milan Borich (lead vocals, guitar), Tim Arnold (vocals, guitars), Matthias Jordan (keys), Mike Hall (bass) and Michael Franklin-Browne (drums) are now hitting the road to perform at album launch parties in Wellington and Auckland.

As they say, the past is another planet. Cast your mind back to 2001 (cue wavy picture lines) when PLUTO burst onto the music scene with their masterful brand of multi-layered rock that mixed and mingled indie, moody pop, hook-laden sing-alongs, angular, full-energy, anthemic rock and even Lounge. Borich delights in being impossible to nail down when it comes to being pigeon-holed into a genre.

The boys had just made ‘Red Light Syndrome’, which spawned the singles ‘Hey Little’ and ‘She’s Jive’. That was closely followed by the behemoth double-platinum selling ‘Pipeline Under The Ocean’, featuring the fist pumping ‘Dance Stamina’ and the 2006 Music Awards Single Of The Year ‘Long White Cross’. The album’s name came from the historic Second World War pipe lines under the ocean which supplied fuel to Allied forces after D-Day (Borich was a big history buff at the time). The band’s third album ‘Sunken Water’ gave us a combination of elements including ‘sci-fi-delic’ tones, rock’n’roll power and soothing vocal melodies, all influenced by a range of emotions ranging from morning to dusk, to love, to characters they’d met travelling. There were side projects like Borich’s ’07 cover of Alphaville’s ‘Forever Young’ which was used in a Tourism New Zealand’s “100% Pure New Zealand” campaign. Then, there was extensive touring, more award appearances and high radio rotation. This was a band at the peak of their powers. Then, it all went quiet. So what happened?

“You want me go from the beginning?,” asks Borich, “ Ha ha! Well, settle in – (puts on a narrator’s voice) About 10 years ago, we released what was going to be the first single (Snake Charmer) for this new record. We’d been working for quite a few months on new material. And then suddenly it was all in a turmoil, with me, mainly. My ego got in the way. It all turned sour. I did things badly. Could have done them better.”

Around that time, there were a string of issues with their record label, royalties were being muddled, with the introduction of digital music revenue streams, and the poor sales of the last album also didn’t help.

“So the band, kind of, parted ways. I went to LA and everyone else did their own thing (starting other bands, session work, teaching, new jobs and buying houses). I had all these songs that were on my hard drive (from this time period), which crashed. So, we lost all these songs. I thought that was it. Then! Luckily, about five years ago, I discovered the songs on a back up hard drive. There they were again.

Then my father passed away last year. He’d been asking if we could put the band back together, as he really loved us. He wanted us to do it. And so, I swallowed my pride, begged forgiveness and got the boys back together, back in the room to start what we started, basically.”

I ask what Borich was doing in LA during this hiatus but I wasn’t entirely prepared for the answer.

“I signed a publishing deal with Chrysalis Music in 2011 to be a songwriter. But that all fell to pieces when Kenny MacPherson, who was head of Chrysalis at the time, had to leave when EMI and BMG took over the company. He was the main man who signed me, and after he left… so did I.”

It was during this time that Borich also did some work as a bouncer in a seedy bar, frequented by ‘Hollywood types’. “Now that might seem a strange thing to do. But for me, going to LA was like disappearing, you know? (after the band’s break up). I became a bouncer at the ‘hipster bar’ called Harvard and Stone on Hollywood Blvd. I was pretty good at it. It was a dark, seedy kind of backwash of LA. To experience life on the peripheral edges was very interesting. I got to see a lot of strange behaviour. Hollywood elites doing bizarre things. One night I had to kick out Santa Claus for hassling Lindsay Lohan. Another time I had an in depth conversation about the technical aspects of analogue sound waves with Joaquin Phoenix. Another time I kept Daft Punk waiting in line because I didn’t recognise them!” Who would!?

Borich tells me he also played music in a number of strip clubs to earn a bit of extra cash. Although he won’t elaborate on what went on during those gigs, he does elude to some pretty interesting times. He brushes it off, though – apparently entertaining punters in places like that was a perfectly acceptable way to earn your chops in the City of Angels.

However, when the Chrysalis thing fell through, he’d had enough of LA life. “And so I returned home in 2013/14 and did some session work on drums, and a few more things.” That included making a record with Tim Arnold as ‘Debbie and The Downers’. Borich says that he kept on with musical projects but had lost some of the incentive to a degree. But finding those recordings on the back up drive was inspiration enough to get back on the horse.

Speaking about the tracks he notes that most were simply demos, but there were a couple that were fully fleshed out. Many were missing lyrics and other parts. “The vision was there for some. A couple were almost good enough to release. We still had to patch them up. The first single, produced by Nick Abbott, ‘Oh My Lonely’, was one of those.”

So how does it work, when you unearth tracks that were recorded so long ago? How do you work with them? Do you add to what’s recorded? Do you copy the bits you like and play them as new? “We had the chance to double check if they were good enough. Some didn’t have fully formed lyrics, which was handy as I got to rewrite them. Give them a bit more interpretation of what’s going on in my head right now. Others, like Oh My Lonely, were fully formed. So, with that one, when you are performing it, then it’s like doing a cover version. The hard work is done. You are copying an earlier version of yourself, with the perfected article. And it’s like that playing the old songs, too. Muscle memory kicks in. You get to muck around with the way you sing or play a song. Just like a cover, give it a little nuance that wasn’t there before, change the tempo or the way it’s sung. Make it interesting for the audience.”

Borich has to admit that there are no ‘completely new’ songs on this album. They all link back to that set of demos on the hard drive. Albeit with new parts and lyrics added. With the help of Jol Mulholland, “he was able to hear these songs in a different way to how we may have played them earlier, especially those fully formed ones. He could lead us down a path that was new and fresh. So, Oh My Lonely sounds so different to our earlier interpretations for example.” Yet at the same time, Mulholland knew how to create the soaring epic moments (Rainbow Blood), techie noodling (Lonely Fall) and lounge room intimacies, like that in ‘Hey Sista’. That undefinable fluid genre of PLUTO in play yet again.

The album was eventually put together by Mulholland but was recorded all over the place, including Borich’s own home studio (now gone), The Lab, The Wall, The Oven and Roundhead. “The list of who contributed goes on and on. The evolution of the album is over 10 years. It’s a massive journey over a decade. It closes a chapter and opens new one for us.”


Sola Rosa Moves Into New Spaces (Interview)

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Andrew Spraggon'

Sola Rosa (aka Andrew Spraggon) is back with a new ep, In Spaces, building on his reputation for creating a wild fusion of genres – everything from hip-hop and jazz, to neo-soul, Latin and funk. This time he’s employing a few Euro-industrial elements as well.

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Last Call For Wellington’s Bodega

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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 Kilbirnie, 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 were 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 accessed 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 songwriters 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 too 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 a 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 backline 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 workaholic.  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, overall, 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),, NZ Archives & www.te



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. 

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Trip To The Moon: The 13th Floor Interview


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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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