Beat Happening - You Turn Me On (1992)

It's not kiwi, but it's one of my favorites. Hearing someone slight this record recently was like hearing an attack on an old friend.

Bathed in ambient warmth, You Turn Me On is classic Beat Happening—pure, minimalist fury, driving percussion, and laconic drone—but in panoramic Technicolor. Draping their distinctly adult tales of lust, love, and rejection in the gauzy language of adolescence, the innocence of Beat Happening’s approach is belied by the bittersweet knowledge that such blissful idyll is fleeting. The childlike retreat to the comforting and the familiar is a futile pursuit, but it is often the only language that is available to us. Nakedly emotional and rooted in the present, You Turn Me On is Beat Happening’s most honest record. From the opening strains of “Tiger Trap” to the closing chimes of “Bury the Hammer,” the album is an extraordinary coda to a career of conceptual and lyrical delights. Though its predecessors’ rinky-dink, schoolyard charms were a key aspect of Beat Happening’s sound, the more polished affair of You Turn Me On does not lessen the impact of its songs but rather confirms what had always been clear: in terms of lyrical and melodic prowess, Beat Happening was a cut above the like-minded crop of awkward, cardigan-clad bands that appeared in their wake. The limitations of their sound were never reflected in the strength of their material. On You Turn Me On, the digital effects suit the songs. It is difficult to imagine the lullaby drone of “Godsend” without the sweetly lilting guitar harmonies that blend and swoon together in a transcendent evocation of idealized love. Heather represented the pulsing, human heart at the center of Beat Happening, offering a sweet contrast to Calvin’s guttural food-sex-death metaphors and B-movie diversions, and ”Godsend” is the album’s centerpiece. You Turn Me On is full of such moments, a beautiful and resigned farewell from one of the era’s greatest bands. Heather, Calvin, and Bret: thank you. - Ariel

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The Cakekitchen - Time Flowing Backwards (1991)

Originally released as a four-song EP on Flying Nun in 1989, 'Time Flowing Backwards' was reissued by Homestead Records in 1991 with six additional tracks. 'Time Flowing Backwards' has a bigger, crunchier sound than its predecessor, Jefferies' 'Messages for the Cakekitchen,' though it shares that album's sense of droning urgency. Enjoy this and 'World of Sand.' - Ariel

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The Cakekitchen - World of Sand (1991)

'World of Sand' succeeded 1989's 'Time Flowing Backwards' EP, which was the official debut of Graeme Jefferies' recordings under the Cakekitchen moniker. It may be argued, however, that Jefferies' Messages for the Cakekitchen, released under his own name in 1988, was the true birth of Cakekitchen. The tightly crafted tension and claustrophobic nature of 'Messages...' is less apparent but not lost entirely in 'World of Sand.' A more polished affair, it is still unmistakably Jefferies, whose rich, guttural vocals appear alternatively menacing and tender. The revolving cast of musicians that have appeared in Cakekitchen over the years includes Alastair Galbraith, represented on this album in the haunting, gentle lilt of the title track, and the Clean's Hamish Kilgour. Enjoy. - Ariel

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The Renderers - That Dog's Head in the Gutter Gives Off Vibrations (1995)

This album was Brian and Mayrose Crook's second full-length release as the Renderers, appearing four years after their debut, 'Trail of Tears.' The Crooks would produce their most lasting material with the Southern-fried, psychedelic twang of the Renderers, born out of the anarchic joy of the Max Block; 'The Dog's Head in the Gutter...' is undoubtedly their masterpiece. While 1991's 'Million Lights' 7" announced Mayrose Crook as the perfect vocal counterpoint to her husband, it is with this album that she truly comes into her own as a vocalist. The slow-burn of "So Blind," coupled with the quietly defiant resignation of Mayrose's vocal, punctuated by the piercing guitar tones of Brian Crook, achieves an escalating emotional intensity that sets the tone for the remainder of the album. Positioned after the ominous, dusk-tinged "Unforgiven," the two songs exemplify the weeping humanism at the heart of the Renderer's music, bittersweet yet tinged with the allure of misanthropy. Enjoy this one. - Ariel

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The Garbage and the Flowers - Catnip b/w Carousel 7" (1992)

I apologize for the severe lack of updates lately. To tide you over until the next post--up by the end of the week, I promise--I thought I'd offer one of my favorite New Zealand singles as a peace offering. The Garbage and the Flowers released this cacophonous gem of a 7" in 1992 on the Twisted Village imprint; the band has continued to record, and if you're enticed by the sounds here, a 1997 collection of their material entitled 'Eyes Rind as if Beggars' can be found on the Allegory of Allergies blog. Dusted aptly described the Garbage and the Flowers' sound as "raw gobbets of gray matter, filthy drone, and vintage ennui," and while I think that the band's lo-fi charms begin to wear in the long-player format, this is a near-perfect realization of harsh, dissonant beauty; Helen Johnstone's strong vocals, alternatively defiant and wearied, are the real draw here, anchoring the recordings as they threaten to spiral out of control and collapse in their frenzied rush. The propulsive, feedback-drenched "Catnip" and its counterpart, the austere, resigned "Carousel," offer a bleak vision of modern humanity that is inescapable in its hypnotizing lull. Enjoy! - Ariel

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Peter Jefferies - The Last Great Challenge in a Dull World (1991)

Peter Jefferies' debut solo outing, 'The Last Great Challenge in a Dull World,' was originally a Xpressway cassette release in 1990; the album was reissued on CD by Ajax in 1991 and fortuitously featured the classic 7" single "The Fate of the Human Carbine." That song, telling the sparse, surreal, and strangely poignant tale of its titular figure, and its B-side, the propulsive, dynamic "Catapult," are among the best work of Jefferies' career. The album employs a characteristically primitive recording aesthetic, lending such tracks as the relentlessly bleak "On an Unknown Beach" an air of austere intimacy. This is an impeccably crafted wonder of restrained beauty that is laced with a distinct sense of tension; it is an album perpetually poised before an intangible abyss. If you love This Kind of Punishment as much as I do, this is essential listening. - Ariel

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David Kilgour - First Steps & False Alarms (1995)

Surely a man that needs no introduction. The subtitle of 'False Steps & False Alarms' is "the best of the worst - home demos of demos," and I assure you, it fully delivers on that promise. There are many gloriously lo-fi, embryonic gems to be found amongst the twenty assembled, and the stripped-down style of these recordings really showcases David Kilgour's songwriting gifts. Not that they were ever in question, of course. Songs such as "This Chord," "Another Echo Downer," and a stunning rough version of "Here Come the Cars" are generously shrouded in a layer of echo, an effect that further highlights the sense of otherworldliness present throughout. All in all, this is a fine collection of beautifully drowsy, relaxed, and intimate fragments, not unlike Mr. Kilgour's work in the Great Unwashed. Perfect for a lazy sunny afternoon. My wonderful sometimes co-contributor Gozz--on an extended, indefinite hiatus at the moment and very much missed--posted two of David Kilgour's solo albums back in August. You can get 'Here Come the Cars' and 'Frozen Orange' at the Doledrums here. - Ariel

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Chris Knox - Songs of You & Me (1995)

Hey, it's my birthday! It's Richard Hell's birthday too, and he's released at least one great album, right? "Time" is still a fantastic song, though. This, however, is quite obviously not a Richard Hell album. I've been saving 'Songs of You & Me' for a little while, and as today is my birthday--did I mention that?--it seems as appropriate a time as any to share it with everyone. Do I really need to sell this one? You've probably skipped this bit and downloaded it already. A HUGE thank you to Gomonkeygo of The New Disease for ripping this gem and uploading it for me. Do yourself a favor and visit his various and all very wonderful blogs, including the now sadly retired but gloriously fantastic Time Is A Disease That Only Space Can Cure. I know I always end with "Enjoy!" or something equally banal, but this time, I have a very good feeling that you actually will. So...enjoy!

- Ariel

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Claymation attack!

"Half Man / Half Mole"

The Terminals - Little Things (1995)

Let's get to some of these requests, shall we? First up is this fantastic 1995 album from the Terminals, one of my favorite New Zealand acts; and still releasing fabulous records too! Check out 2007's 'Last Days of the Sun' if you don't believe me. Chronologically, 'Little Things' was the follow-up to 1992's 'Touch,' and both records share a kindred atmosphere: a swirling, claustrophobic maelstrom of sound led by Stephen Cogle's distinctive, warbling baritone. There's a sonic density at work in the best of the Terminals' songs; an ever-expanding wall of noise that threatens to collapse and engulf the listener in its murky cacophony. The Terminals' sound is one to get lost in, an enticing and irresistible mystery. 'Little Things' is a different beast from the 'Disconnect' EP and 'Uncoffined,' but you shouldn't let that deter you from exploring this incredible record.

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

Touch
Last Days of the Sun
Little Things

The Terminals - Uncoffined (1990)

The Terminals' classic sound, perfectly captured on their 1990 debut full-length 'Uncoffined,' invokes barren, inhospitable landscapes at odds with the natural lushness of their native New Zealand. Drummer Peter Stapleton's former band, the looser, more ramshackle Scorched Earth Policy, channeled similarly claustrophobic sounds; this album's "Lolita" is actually a reworking of an early 80's Scorched Earth track. There's a certain unsettling paranoia present throughout 'Uncoffined' that lends even the lighter tracks a sense of uneasiness. That's not to say that they couldn't write a fine pop song as well, as the crisp, garage-derived jangle of "No" proves; the EP that preceded this, 'Disconnect' offers more in this vein. The two were combined on the 'Cul de Sac' release; if you ever see that one, grab it! - Ariel

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"Uncoffined"

Able Tasmans - Somebody Ate My Planet (1992)

This one is for Tydalwave over at the Feelin' Kinda Froggy blog, one of my favorite online destinations for out-of-print treasures. It includes its share of New Zealand gems as well: the Chills, Bailter Space, Able Tasmans. Go forth and enjoy! - Ariel

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]

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Stephen - Radar of Small Dogs (1993)

"I'm a sucker for sweet little melody things. You hear them and forget about life for a few seconds" - David Kilgour

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.

- Ariel

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.")

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Alec Bathgate - Gold Lamé (1996)

By now I suppose I've been outed as a complete and utter kiwi-phile, so enjoy this thoroughly enjoyable and charming little record from that other member of the Tall Dwarfs. Hint: the one whose initials aren't C.K. 'Gold Lamé' is a veritable goldmine of '60s pop hooks, complete with gorgeous melodies aplenty and a joyful dose of quirkiness; all recorded in glorious Flying Nun fashion on a four-track in Bathgate's garage. If you've enjoyed--or in the unfortunate chance that you haven't, please indulge yourself--previously posted albums by the aforementioned Tall Dwarfs or Chris Knox, do pick this one up. - Ariel

It can't be easy for Alec Bathgate. As the "other" Tall Dwarf he always seems to stand in the shadows of the more extroverted Chris Knox. It would be simple enough to dismiss Bathgate as the Jim Messina to Knox's Kenny Loggins (or, more charitably Bruce Foxton to Knox's Paul Weller). And yet, those judgements wouldn't be fair. Perhaps, an XTC analogy might better do the trick in this case-if Knox is the Tall Dwarfs' Andy Partridge, the more low-key Bathgate is certainly their Colin Moulding. As the Tall Dwarfs' primary guitarist, Bathgate has always made major contributions to Tall Dwarfs lps. And that's to say nothing of his songwriting talents-"Pictures on the Floor" from Louis Likes His Daily Dip, "Mr. Brocoili" from Weeville, and 3EPS' "Bee to Honey" are but three of the many jangling gems he's brought to the table. When Knox began his solo career in 1989, the Tall Dwarfs went on the back burner for a couple years, and it wasn't until 1996 that Bathgate followed suit with a solo album of his own. Gold Lamé not-too-surprisingly sounds a lot like a Tall Dwarfs record, with shiny strummed tunes augmented with Casio keyboard, quirky looped beats, piano, xylophone, and the works. Firmly entrenched in the sounds of the '60s, Gold Lamé draws inspiration from the usual suspects-the Beach Boys, the Kinks, and, of course, the Beatles (Bathgate's George Harrison to Knox's John Lennon?? Oh forget it....)

[Michael Jourdan, allmusic.com]

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Kendra Smith - Five Ways of Disappearing (1995)

By Request:

While an inferior and far more inconsistent album than 'The Guild of Temporal Adventurers,' I'd say that Kendra Smith's first and only full-length is still worth a listen for fans of her uniquely skewed and eclectic brand of songcraft. It's a noteworthy album if only for the fact that it was Smith's final release before her self-imposed retreat from the music industry and, by and large, society as well, presumably still living without electricity in her small cabin in the woods of Northern California. - Ariel

Picking up with real studio effort (Smith co-produced with Uberman), Five Ways of Disappearing is the most ambitious and successful undertaking of Smith's career. Both a strong recapitulation and a brave relaunch, the album has it all: quiet Velvety obsessions ("Get There"), cerebral songdom ("Aurelia," "Space Unadorned"), trancey rock ("Drunken Boat"), trad folk ("Maggots"), Kurt Weill's Berlin ("Bohemian Zebulon"), folk-rock ("Valley of the Morning Sun"), new wavey bubblegum ("In Your Head") and one of the best acoustic Led Zeppelin imitations in recent memory ("Bold Marauder"). No two tracks have much in common beyond Smith's enervated singing; even when she might just be aiming to sound ordinary, the record comes off appealingly offbeat. Though some songs are amiss, precious or overly derivative, as a personal sampler, Five Ways of Disappearing is an impressive — and colorful — achievement.

[Karen Schoemer/Ira Robbins]

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Kendra Smith - The Guild of Temporal Adventurers (1992)

Kendra Smith's debut solo outing has far more in common with the subdued, meditative textures of Opal's Early Recordings than the swirling atmospherics of Happy Nightmare Baby, though shades of the latter are present in the dreamlike nature of its soundscapes and, of course, in Smith's characteristically laconic vocals. On this note, especially pertinent with Smith's use of a pump-organ as primary instrument, allusions to Nico are inevitable. Although such comparisons are not entirely unfounded--after all, her previous band the Dream Syndicate followed their Velvets-drenched muse to great success--present in Smith's recordings is a warmth and vitality that are entirely her own. The sense of otherworldliness that permeates 'The Guild of Temporal Adventurers' is a keen reminder of what was missing from the second incarnation of Opal, Mazzy Star, and what was lacking in Smith's replacement, Hope Sandoval.

- Ariel

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The Verlaines - Some Disenchanted Evening (1990)

Though living in the shadow of its predecessor's brilliance, 'Some Disenchanted Evening' is a commendable album, continuing the string of artistic successes that began with 'Hallelujah All the Way Home' in 1985. And that's not even mentioning the band's brilliant early singles, all of which are conveniently collected on 'Juvenilia' for your listening pleasure! Less reliant on the classical orchestrations that dominated much of 'Bird Dog,' 'Some Disenchanted Evening,' tends to dwell in more conventional musical avenues than one is normally accustomed to hearing from the Verlaines. But with Graeme Downes at the helm, even the most straightforward tracks on the album take interesting and unexpected turns. Unfortunately, the album was somewhat lost in the shuffle of fantastic kiwi music that was released in 1990, appearing shortly before the Chills' 'Submarine Bells.' - Ariel

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The Mad Scene - Sealight (1995)

By request, here is the Mad Scene's 'Sealight', a very dreamy affair from a host of talented musicians; fans of Hamish Kilgour/the Clean or the Go-Betweens take note. - Ariel

Recorded in New York but a pure slice of lovely New Zealand pop/rock heaven, Sealight is further proof that the Mad Scene have an ear for instantly appealing music. In comparison to, say, the equally talented but admittedly repetitive Bats, Hamish Kilgour's crew lets the variety really flow forth, especially given that everyone but drummer Bill Gerstel splits the songwriting in numerous combinations. Kilgour's light, quietly passionate voice balances against Lisa Seagul's slightly more withdrawn but not buried performances very well, and both have excellent knacks for wonderful guitar melodies and often sharp lyrical turns. Collectively, the Mad Scene create music that on the one hand is instantly identifiable indie rock and on the other finds its own particular way; it's certainly a product of New Zealand's wonderful traditions, though — sweetness mixed with a definite melancholy and slow-burn intensity.
One of Kilgour's best moments along these lines is "Gotta Get Back (To Something)," starting with a stripped-down, slightly tense arrangement that vaguely hints at Middle Eastern melodies via surf here and there, alternating with just gentler enough sections in a give and take that's subtle instead of forced and obvious. "Marching Song," a beautifully hushed number that builds to a sudden climax before sudden calming down, is another standout, John Sluggett's guest turn on piano worthy of note. Seagul's winners include "Birthday Party," a quietly majestic vision of a hesitant romance not really happening (her lead guitar here is particularly grand, swooping sadly in the background) and the slow, semi-waltz-time lope of "Hoping." On Seagul's wonderful, near-solo "Silhouette," the mix of instruments used by the band and various guests — clarinet, trumpet, Casio keyboards, and even African slit drum at one point — gives Sealight a lushness without being overbearing.

[Ned Raggett, allmusic.com]

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The Chills - Submarine Bells (1990)

Since people seem to be enjoying 'Brave Words', I decided to post this pop gem of an album, the last Chills' release to be featured on this blog. Everything one expects from a Chills album is here: delicately complex arrangements, Phillipps' endearingly fragile vocals, evocative lyrics; an atmospheric carnival of sounds that form the band's definitive mature statement. - Ariel

On a major label for the first time, Phillipps crafted a lovely record indeed, a mere thirty-six minutes and not a second wasted. Lead-off track and single "Heavenly Pop Hit" remains the most famous track and deservedly so — over a rapturous keyboard/rhythm combination, Phillipps sings just that, an inspiring lyric with a soaring chorus, aided by additional backing vocals from guest Donna Savage. From there it's one high point after another, never losing the sense of elegance and drive that characterizes the band's work. Phillipps' at-once strong and amiably regular-guy vocals and astonishingly intelligent but never overly obtuse lyrics are both wonders, while Andrew Todd's excellent keyboard work provides both energy and lovely shading. Add to that a fine rhythm section in bassist Justin Harwood and drummer James Stephenson, and it's no wonder this version of the Chills succeeds as it does. One fantastic example of their work together is "Singing In My Sleep," with Phillipps giving heavy tremolo treatment to his guitar as everyone else creates something that's not too far from Neu!'s motorik throb, in a gentler pop vein. More such Krautrock-inspired chug has plenty of echoes on Bells, following in the same vein as "I Love My Leather Jacket" — check out the brisk delivery on "The Oncoming Day" or the skipping intensity of "Dead Web." Otherwise, there're hints of the gentle folky/medieval touches they enjoy on "I SOAR" and "Don't Be—Memory" and more straightforward rocking out on the sharp "Familiarity Breeds Contempt," where Phillipps' New Zealand burr comes through with intensity. The title track, with serene orchestration filling out the grand arrangement, is a note-perfect way to conclude such a fantastic release.

[Ned Raggett, allmusic.com]

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Ghost Club - Suicide Train (2005)

Formed during 1996, Ghost Club was originally an offshoot of the popular Flying Nun band, the 3Ds. Former 3Ds David Mitchell and Denise Roughan moved from Dunedin, New Zealand to London in 1997, & have continued making music as the Ghost Club adding Jim Abbott to the line-up.


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Tall Dwarfs - Hello Cruel World (1987) + 3 EPs (1994)

Pioneers of the lo-fi aesthetic and towering figures of the New Zealand pop music scene, the Tall Dwarfs were formed in 1979 by singers/songwriters Chris Knox and Alec Bathgate following the demise of their previous band, the legendary Toy Love. Recording on Knox's four-track machine, the duo debuted with the 1981 EP Three Songs, highlighted by the classic "Nothing's Going to Happen." The record was a hit, although it left many Toy Love fans baffled by the pair's new musical direction: Tall Dwarfs' releases were deliberately primitive, the D.I.Y. ethic at its purest — songs were all recorded at home (performed in bedrooms, hallways and the like) and defiantly experimental in nature, presaging the rise of what was ultimately dubbed "lo-fi" as the sound began to grow in prominence and influence over the course of the decades to follow.

[Jason Ankeny, allmusic.com]

Leaving the bulk of their catalog to the Flying Nun label, Tall Dwarfs have found another friend in the Homestead imprint for releasing this excellent collection of tracks from a handful of the group's rare EP's. The New Zealand lo-fi innovators are certainly well-represented with these 22 varied and top-notch sides from the first half of the '80s. With plenty of deft guitar, organ, and handclapping work to go around, fans new to Hello Cruel World will soon understand why it gave the Dwarfs their widest audience after being released in the late '80s.

[Stephen Cook, allmusic.com]

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The Hello Cruel World compilation is the best way to get acquainted with Tall Dwarfs, but if you want just one of their other albums, this is probably the best choice. Recorded in 1992 and 1993, it has just as much variety as any other disc (compilation or otherwise) by the group, but doesn't wear out its welcome as much over the course of the merry-go-round. Some of their most spaced-out stuff is here: the fogged-over hurdy-gurdy waltz of "Bob's Yer Uncle," the stoner psychedelia of "Two Dozen Lousy Hours" (complete with warp-simulation sound effects), the white blues satire (how long has it been since you heard one of those?) "Postmodern Deconstructivist Blues." They can't resist succumbing to numbing repetitive lo-fi fuzz riffs from time to time (as on "Self-Deluded Dreamboy (In a Mess)"), but after a dozen years it seems unreasonable to expect that they'll grow up in this regard.

[Richie Unterberger, allmusic.com]

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"The Brain That Wouldn't Die"
"All My Hollowness to You" (Live)