Saturday, September 27, 2008
Upon Last Visible Dog's request, I have removed the link to 'Little Things.' Check out their reissues of the Terminals albums and support New Zealand music! - Ariel
Last Days of the Sun
Friday, September 26, 2008
I promise I've got everyone else's requests coming up too!
Thursday, September 25, 2008
Wednesday, September 24, 2008
You just have to love that name, don't you? Such naughty, cheeky boys. Along with the Chills, the Verlaines, and the Sneaky Feelings, the Stones first appeared on the legendary Dunedin Double EP in 1982. To the sad deprivation of music lovers the world over, they only went on to record one more EP, 1983's 'Another Disc, Another Dollar.' Like so many Flying Nun acts, the Stones have been tragically denied any kind of retrospective, so I decided to collect the songs that appeared on these two releases for your listening pleasure! While I've read that these EPs didn't do justice to the chaotic power of the Stones live, the songs they managed to record possess a brilliantly raw, primal urgency as led by the late, great Wayne Elsey. The Stones performed their own beautifully volatile mix of down n' dirty, stompin' garage and surf-rock filtered through the lens of that most unfathomably glorious of times, post-punk Dunedin. Just fantastic kiwi minimalism and ingenuity at work here, folks. And does "Down and Around" sound like the Chills' "Dan Destiny and the Silver Dawn" to anyone else? Just me? Anyway, after you hear these songs, you'll wish the Stones had left behind a long recorded legacy too; unfortunately, the magic is all too brief. After the demise of the Stones, Wayne Elsey would go on to form the excellent but similarly short-lived DoubleHappys with Shayne Carter. Seek out the 'Nerves' compilation if you haven't! DoubleHappys would eventually evolve into the Straitjacket Fits after Elsey's tragically premature death in 1985. The Stones' faultless songs, however, will always remain; enjoy! - Ariel
I've got most of these requests coming up too! If I've forgotten anything from this list, please let me know.
The Terminals - Little Things
Bailter Space - Nelsh Bailter Space EP
Jay Clarkson - S/T EP
Fatal Jelly Space - Hole EP
Or, if there's anything else you'd like to see on this blog, do leave a comment!
Tuesday, September 23, 2008
Requests Time: Jean-Paul Sartre Experience - Love Songs (1988) + Able Tasmans - Store in a Cool Place (1995)
First up the debut LP by The Jean-Paul Sartre Experience titled "Love songs" and released in 1988 featuring a minimalistic near folky sound, well definately a much less of a distortion fest than later albums . Not the best JPSE album in my opinion but a good starting point to this influential Flying nun band. - Gozz
Next up we have another album by a fine fine fine band that really doesn't need anymore of an introduction on this blog, The Able tasman's with their final album "Store in a cool place"
Store in a cool place
Sunday, September 21, 2008
RE-UP UPDATE: On an unrelated note, I was recently informed that the Liliput/Kleenex links had been taken down by Mediafire; I re-uploaded them on Megaupload for everyone's listening pleasure. I know, I know: I love Mediafire's direct downloads as much as anyone, but I have to pay for extra bandwidth and you don't. So, please help yourself to Liliput's lovely militia-punk stylings by way of Switzerland here. We do post (and even often enjoy!) music of a non-kiwi variety, you know.
Thursday, September 18, 2008
Monday, September 15, 2008
On this green-friendly album, the New Zealand rock group apply their Beach Boys and Byrds-inspired adrenaline sound to the "save the planet" concept. A beautiful album of delicate and melodic folk rock, the Flying Nun group's second decade sees planetary concerns at the forefront of their glacial guitar pop and '60s-inspired sound. Able Tasmans work with the low-tech sound similar to the Bats and the Chills, and produce sublime pop results. Some of the edge is lost in an over-production that is very stylized and dating to this early-'90s work. Nonetheless, the songs seem to transcend such aesthetic trappings.
[Martin Walters, allmusic.com]
Saturday, September 13, 2008
Isn't that just the most perfect encapsulation of David Kilgour's aesthetic? Introducing the long-awaited Stephen, a side-project of David's that seems to have been largely and quite unfairly forgotten by time. So forgotten, in fact, that I haven't been able to find the cover art to 'Radar of Small Dogs' anywhere! The image above is taken from 1988's 'Dumb' EP, included here along with six unreleased songs and two live recordings. All very enjoyable listening, indeed. Lovely sparkling, jangly guitars, trademark Kilgour melodies; just a gorgeous realization of classic kiwi pop minimalism. If you like this and haven't checked out David Kilgour's solo albums yet, get 'Here Come the Cars' and 'Frozen Orange' here.
From Flying Nun:
David Kilgour's idea of pop music was encapsulated in Dumb, the name he gave this band's 1988 Flying Nun EP. There was no self-demeaning intent; it's just that David subscribes fully to the Brian Wilson school of songwriting and believes that "dumb" is the essence of pop's appeal. It's not like Stephen were just the Ramones or anything, though. For a band that lasted just a couple of years as a haywire pop outfit on the periphery of the Dunedin scene, only making it up to Auckland in 1988 to record that QEII-funded EP, they did manage to add a little spice and a lot of spirit to the pop brew in their short time.
Stephen played a barreling kind of fast and loud pop music, noisy and rough around the edges. Their jet-propelled energy--David's songs and his big white guitar, with former Goblin Mix bassist Alf Danielson and drummer Geoff Hoani pounding out a rhythm that usually sounded like it was flailing itself right around the song--made this band a joy to behold. After Stephen Kilroy joined on second guitar, gigs in places like the tiny Empire got louder and better. The group fell apart partway through recording an album at Stephen Kilroy's Fish Street studio - David rejoining The Clean and eventually recording his solo LP, Here Come the Cars, while Alf and Stephen went on to form Chug.
The Radar of Small Dogs CD marks the reappearance of the entire Stephen Dumb EP, plus six tracks from the group's lengthy album recording sessions and a couple of live numbers recorded in Christchurch. The story is best told in the sound of the group on disc, all ringing guitars and growling bottom end, and in David Kilgour's wonderfully understated liner notes ("By now the band is generally seen as an excuse for lots of male bonding... I guess there is no direction apart from wanting to record good music and have some fun.")
Friday, September 12, 2008
No, I haven't forgotten them; some of these albums just take a little hunting to find. I believe that as of right now, these are all pending requests. If I've forgotten anything--or if you would like to add something to the list--please let me know in the comments section.
UPDATE: We have now acquired all of the albums listed below. See, that didn't take too long. Look out for them soon!
Able Tasmans - Store in a Cool Place
Able Tasmans - Somebody Ate My Planet
The Bats - 4 Songs EP
Jean-Paul Sartre Experience - Love Songs
Stephen - Radar of Small Dogs
On an unrelated note, if you downloaded the Verlaines' Juvenilia from this blog, you probably noticed that the final track, "C.D. Jimmy Jazz and Me," was not the original b-side to "Death and the Maiden" but the 'Bird Dog' version. Alright, you probably didn't notice. Well, I finally found the original version, which you can download here if you feel so inclined: C.D. Jimmy Jazz and Me. I uploaded a complete copy of 'Juvenilia' as well, so I can remove that annoying disclaimer. Enjoy!
Wednesday, September 10, 2008
One of the most aptly named bands ever? Alright, I've never even had Dolly Mixture candy, but I have heard Dolly Mixture the band, and these girls performed a glorious blend of infectious pop hooks, classic girl-group harmonies, and an utterly charming sense of joie de vivre; and not without their share of punky sass, either. To these ears, Dolly Mixture wrote the most catchy, concise three-minute pop songs of the punk era this side of the Undertones. 'Demonstration Tapes' collects their entire recorded output from 1979 to 1983, sans singles unfortunately, but you still get 27 songs and 73 minutes of pure pop bliss. "He's So Frisky," "How Come You're Such a Hit With the Boys, Jane?" "Side Street Walker," "Angel Treads;" I could go on, but that would cut into valuable listening time! Though remarkably influential--just listen to Talulah Gosh or the Shop Assistants, to name two--Dolly Mixture's relative lack of success is one of the cruelest jokes in music history; if you've never had the pleasure of the Dolly's company, pick this one up immediately. - Ariel
More information here.
Sunday, September 7, 2008
More information here.
Too pop for punk, too "old school" for the New Wave. Mumps were a 70's era New York rock band, out of time. Everything about us was contradictory or cockeyed in a fashion era in which motorcycle jackets, mohawk hairdos, torn clothing and lots and lots of chains were the order of the day, we were the band most often seen in jackets, dress shirts and ties. Our high vaunting musical ambitions were matched with low ranking musical expertise, we had a lead singer who could sweat better than he could stay in key, and besides the fact that three of us were gay in a hetero-heavy field which only acknowledged homosexuality as being a passing marketing ploy in David Bowie's career. The only thing shared between us all was our weird combination of superiority and insecurity.
Included on this compilation you'll hear just about everything Mumps ever recorded both our singles, a smattering of early rehearsal tapes, demos, an alternate version, and even one number "Stupid" which was recorded for a compilation record of New York bands that never got released and which now sounds, to me at least, to be among the best things we ever committed to tape.
Now from beyond the grave, Mumps are back. What's our worth in this day and age? Coming from a point in time, before MTV, that is as good as prehistoric, there is of course the archeological factor. (....Jurassic Punk?) Then there is also the timeless factor. Allowing myself only a moment on the soap box, our music spoke to the true misfit class of American teenager. Not the poetic James Dean type dream outcast, but the real, nerdy, nobody wants ‘em, Forgotten Teens. You know the type. Too square to be down with the homeboys too idiotic to be up with the intellectuals, too insecure to be the center of attention and too impatient to just sit at home and wait until they get to be 21. Mumps music, and this of course was based on the tunes and lyrics mostly of Kristian Hoffman, spoke to the disenfranchised, kids who wanted to fit in any place but fit in no place instead. These Mumps miscreants came to our shows, loved my sweating and sour notes, were bewitched by Kristian Hoffman's pouting piano presence, thought Toby Duprey was the hottest guitarist ever, Paul Rutner was the toughest drummer around and Kevin Kiely was what the Venus De Mila would have been had she been a teenaged runaway male in the 2Oth century who played bass. The record of course is, as far as I'm concerned, first of all is for the former members of Mumps, something to show for the seven years spent in hard labor on the chain gang of rock and roll. But secondly this record is for the dorky youth. For kids who are dumb, unpopular, and considering a lifetime fraught with serious adjustment problems...Mumps the word.
- Lance Loud '94
Friday, September 5, 2008
[Michael Jourdan, allmusic.com]
Tuesday, September 2, 2008
The second full-length Television Personalities release (and the first product of Daniel Treacy's Whaam! label, later renamed Dreamworld after George Michael's manager offered them a pot of money to change the name) adds a full-time bass player to the original trio and sets the Wayback Machine ahead about 18 months from the debut's Swinging Carnaby Street sound. The darker, more psychedelic Mummy Your Not Watching Me is considerably less twee than And Don't the Kids Just Love It, covering Treacy's increasingly self-effacing lyrics in a wash of keyboards and phased guitars. There are a few songs that still show the influence of the earlier Television Personalities sound, including the wistful "Magnificent Dreams" and a remake of the single "Painting By Numbers," originally released under the name the Gifted Children, but the key track is the lengthy "David Hockney's Diaries," an acid rock drone that introduces an entirely different texture into the band's sound that Treacy would explore further on the next several albums. This is a transitional album that has tended to be shortchanged by both reviewers and fans, but there's much to recommend here.
[Stewart Mason, allmusic.com]
The first full album by Television Personalities, recorded after a four-year series of often brilliant D.I.Y. singles recorded under a variety of names, including the O-Level and the Teenage Filmstars, is probably the purest expression of Daniel Treacy's sweet-and-sour worldview. The songs, performed by Treacy, Ed Ball, and Mark Sheppard, predict both the C-86 aesthetic of simple songs played with a minimum of elaboration but a maximum of enthusiasm and earnestness and the later lo-fi aesthetic. The echoey, hissy production makes the songs sound as if the band were playing at the bottom of an empty swimming pool, recorded by a single microphone located two houses away, yet somehow that adds to the homemade charm of the record. Treacy's vocals are tremulous and shy, and his lyrics run from the playful "Jackanory Stories" to several rather dark songs that foreshadow the depressive cast of many of his later albums. "Diary of a Young Man," which consists of several spoken diary entries over a haunting, moody twang-guitar melody, is downright scary in its aura of helplessness and inertia. The mood is lightened a bit by some of the peppier songs, like the smashing "World of Pauline Lewis" and the "David Watts" rewrite "Geoffrey Ingram," and the re-recorded version of the earlier single "I Know Where Syd Barrett Lives," complete with deliberately intrusive prerecorded bird sounds, is one of the most charming things Television Personalities ever did. This album must have sounded hopelessly amateurish and cheaply ramshackle at the time of its 1981 release, but in retrospect, it's clearly a remarkably influential album that holds up extremely well.
[Stewart Mason, allmusic.com]