Scroll down to read online, then check out behind the scenes
Hello Presence fans!
It's been a few months since we last talked, but never fear, it has been a good few months of hard work, to bring you issue 7. Alas, you were not forgotten.
So the big question is, have you checked out the website recently? It has had a huge revamp and is looking quite awesome. We have now fully geeked out and got ourselves a Twitter, so please give us your feedback on this issue via @presencemag. I got some tweets to print in this issue and here is the best one:
PeterRobinsonYo
@presencemag if you shaved a ginger cat would it have freckles? 10:28 PM Jun 30th via Brizzly
Anyway, we had a lot of fun in the photo shoots this issue, hope you enjoy!
Greta
Article by Dedee Wirjapranata
Photography by Greta Gotlieb and
Nally Naran
Cluedo © 2010 Hasbro. Used with permission.
'Postcards from Uranus' is the latest EP from Auckland five piece The Drab Doo-Riffs. When they told me the name, I must admit I let out a childish little giggle, but it's deadly serious, and refers to their Space Age influences. The topic of the Space Age ended up coinciding with our discussion of the 1960s, which was a significant era for frontman Karl Steven's record collection and some of the bands' influences. "The Space Age was a very important time philosophically, when the whole of human consciousness engulfed the globe" says Karl, seamlessly segueing back into his knowledge of philosophy that he picked up doing his PhD at Cambridge in between bands.
The Drab Doo-Riffs are straight up, a party band. They first formed in March 2008 and since playing their first gig in September that year, they've built up quite a name for themselves. They deliver hugely energetic sets, with the gnarliest of surf rock grooves, often sustaining a range of daring and comical onstage injuries. The band is made up of Karl Steven, of Supergroove, on vocals, synth and harmonica;
Caoimhe Macfehin on vocals, percussion and a whole lot of dancing; Lucy Stewart (guitar) of Sleepless Nights and Vietnam War; Mikey Sperring (drums) of Don Julio and Street Chant, and Marcus Joyce (bass) of Boxcar Guitars and Demi-Whores. They are also purveyors of such an irresistibly infectious groove, that their first EP 'Bury Me In Drab' sold out in no time.
Karl Steven returned to his roots with this bluesy rock'n'roll sound. There's lots of howling harmonica and distorted guitars, with plenty of pounding driving it along. It's the kind of music he's always been into. The band has drawn some comparisons to the B52's and even though Caoimhe doesn't have that huge beehive hairdo, she is affectionately referred to as the 'Bez' of the band; with her crazy dancing and being a buzzing ball of energy. Whereas Lucy stands quite staunchly anchored to the stage, fully focused on her guitar. They're an interesting bunch of characters.
To add to their energy on stage, they managed to incorporate a stunning burlesque dancer to their set, Tanya Thompson - aka Auckland designer, Misery. She agreed to dance to their song 'Hot Tanya', and started making the costume, whilst practicing in secret, and then proceeded to "blow everyone's minds and loins off" as Caoimhe put it.
Having seen the DDRs a few times now, I have been treated to the controlled chaos that they create on stage. Some decent injuries are always inevitable. Like the time Karl threw a glass in the air and it smashed on the stage at Cassette, was that on purpose? "I didn't know it would break, but I guess I didn't place it carefully on the stage, yeah..." Karl replies."The thing that gets the most injured traditionally in a Drab Doo Riffs set is Karl's mic stand." adds Caoimhe, to
which Karl agrees. "Karl breaks a mic stand every time we play. Every time." It has to be said that he does throw them around a lot, in quite a skilled way. But he usually catches them, because if he didn't, he'd take an eye out.
Other injuries would include his knees and feet. "I kick and punch the pole at Whammy bar a lot, I have a special abusive relationship to it, and it gives as good as it gets." It made me wonder if the rest of the band were as susceptible to onstage injuries. "I haven't hurt myself at all I don't think. I don't have any memory of hurting myself, I'm very sensible." Lucy explains. "What I actually do, is I have Karl in my peripherals cos he's the nearest to me, so I just move around every time he comes slightly close y'know? Just to make sure, cos he has banged into me a few times, y'know." she adds.
It's almost like watching bumper cars onstage I think, but then Karl says it's more like Jujitsu, which is more accurate since they're trying to avoid smacking into each other too much. "Y'know, you use the energy of your attacker." Caoimhe agrees, "yeah, cos I swing away, and then Marcus headbangs his hair towards me and you flail your arms round." "It's like capoeira, y'know…" says Karl. This brings a huge chorus of "Oh no!" from the girls, but despite their horrified reaction, I can see what he means.
When asked about their favourite bands and musicians, they oblige with an impressive list of classic rock and blues icons, among others. Karl lists Little Richard, Bo Diddley, Chuck Berry, as "three very important dudes." "And Dr Dre. Us doctors gotta stick together." Caoimhe mentions Wanda Jackson, The Shangri-Las, The Ronettes and The Marvelettes. Plus The Monks, Lesley Gore and Screamin' Jay Hawkins. Lucy talks about The Crystals and country stuff in general, she also likes The Ramones, The Vivian Girls and a punk/surf band called The Trash Women. They like a lot of older music, but they also like some of today's bands too. "I like Vietnam War and I like Expressive Men." adds Caoimhe. "I quite like Andre Williams, and Jay Reatard, he's one of the only people where I've bought every single one of his albums. And I like the Dirt Bombs, and oh, Lesley Hall man! I love Lesley Hall, she's great." says Karl.
Many of you will have spotted the Korg electribe placed centre stage to add some super fuzzy, spooky synth noise to the mix. This prompts me to ask Karl if he has a bit of a collection at home. "I've got an 808 drum machine, and I do like the electribe very much. The last song on Postcards from Uranus is an electric kinda track, it's like one of our songs got colonised by nanobots or something. Have a listen, that's got some drum machine action on it."
When asked about the weirdest or rarest records they own, Karl comes up with some real gems. One he stumbled across was a Karl Denver record 'Wimoweh' which he brought to play on bFM when asked to choose his favourite rarities for the listeners. "I think he's from Glasgow? He was big in England in the 60s, he was a sailor and he had this bizarre falsetto style of singing. That's my weirdest one." Another he recently found in a trunk, was a weird Chinese orchestral record that his Dad bought back from a trip to China in the 70s. "It's a kind of strange Chinese orchestral pop, very Western influenced, but definitely using Chinese orchestral instruments. I listen to it from time to time whenever I'm getting bored with the musical world, and I think - whoa."
The Drab Doo Riffs are a band of worthy musicians that enjoy music from other worlds and older eras, who have brought us their own brand of Space Age-surf rock, seemingly from another planet. If you're new in town and haven't yet sampled their intense mix of blues, rock and musical time travel, you should definitely check them out.
Article by Alaister Moughan
Photograghy by Greta Gotlieb and
Alaister Moughan
Every Thursday at 3.30pm, the Red Bull Studio Live Sessions give local artists a chance to showcase their live prowess. You can hear these sessions live on your local bNet station. Presence decided to head along and take in firsthand what they had to offer. In just the two sessions attended, I was treated to a variety of enjoyable local talent on different ends of the genre spectrum.
First up was Bemsha Swing. The Bemsha Swing is made up of Shane Warbrooke, Andy Watts and faithful 'Frankie', the drum machine. The bands limited line-up has three main
advantages; reducing arguments, eliminating "the drunken drummer" issue, and giving their sound a distinctive flavour, similar to other drum-machine-backed-punks, such as Big Black. Indeed by necessity, the drum machine led each number requiring Watts to switch it on before the band could begin. However, the unrelenting drumming proved a perfect background for their punchy noise rock.
The band builds on these foundations with Watts' rumbling bass lines, reminiscent of early Die! Die! Die!, which provide the rhythmic backdrop for Warbrooke's hoarse vocals and atmospheric guitar riffs. Opener, 'Das Vadanya' began with a slashing guitar and pummelling bass line, immersed with Frankie's mechanical beats. The pace stays up with a blaring chorus, before entering a screaming one word chorus. Next up was 'We Got Out', whose tribal drum machine leads a more subtle take on the band's sound, before launching into a rebellious chorus.
Lyrically, the bands topics feature the fairer (or maybe not so fair) sex, with phrases "sweetheart" and "honey" featured all over, usually in a cynical tone. Indeed the track 'Spitting Spite' seems to summarise the lyrical content concisely. Elsewhere in the set,
'Question Marked', with a blistering rhythm section and the harmoniser pedal effects on "My Muse is a Bitch", provide an alluring mixture of the bands central sound. Armed with greater studio recordings, the band's sound has the potential to be emancipated into something particularly compelling.
My second session featured hip-hop group Team Dynamite. Team Dynamite were definitely up and ready to deliver a high energy performance, with the complimentary Red Bull fridge being the hive of activity before and during their session. However, the group hardly needed such external supplements, as the chemistry and lyrical flows between them seemed extremely natural. 'Vibe On', with its smooth beats, and flute sample set, opened up allowing MC's Tony Tee's and Lucky Lance's flows to takeover. Their laid back jazzy beats, and MC delivery was reminiscent of a supra mischievous, A Tribe Called Quest, that is if A Tribe Called Quest came from Mount Albert. It's the laid back humour that makes the group stand out, whether in their lyrics, beats or even when the recording button is left on whilst one member enquires about ringing up Dominos for a pizza.
The group decided to only play "just the bangers", rather than their slower tunes, which meant an unrelenting energy lasted throughout the groups set. Closing tunes 'Jah Kids' and 'Pea Knuckle' being highlights. 'Jah Kids' is the Dynamites' autobiographical call to action, for the "rap superstars", "heading up from the basement". In contrast 'Pea Knuckle' uses schoolyard rhymes to create an infectious hook; whilst the MC's lyrical chemistry in the verses remained as strong as ever.
Both sessions provided something really intriguing for different tastes. With both bands giving away free material on their respective BandCamp pages, checking them out is not only recommended, but also complimentary.
Article and Photography by Sophie Pollak
Lets be honest, cute is a word that is thrown around a lot these days, but in this instance, Auckland's Pleased To Meet You boutique is just that cute. But it's not just that, it is playful, quirky and welcoming too. Opened late last year in St Kevins arcade, Pleased To Meet You is a unique little gem, adding a little sunshine to all who enter on a cold morning. The store is the newest venture by the Thompson sisters, Tanya, aka the artist Misery and Meg. The venture is a collaboration by the two artistic sisters. Meg, a graduate from AUT's fashion school, focuses on the clothing, while Tanya's obvious focus is the art. Their aim was to try something different, an aim which has succeeded.
One theme that seems to run through the aesthetic of the store is 'the playful'. This is embodied in a happy looking banana character, which is featured on the stores window and t-shirts. Apparently he doesn't have an actual name, but this walking, smiling 'banana guy' is just one of the reasons I love this shop. He is featured on a very cute t-shirt ($55), smiling in all his glory.
Pleased To Meet You is fun and quirky, which is a direct reflection on the sisters, as they are people who don't take themselves too seriously. What better way to show this, than through the personification of fruit! Visually, the store is also a very playful feast for the eyes. Here, art meets fashion in a swirl of colour. The décor is part Mexican fiesta-part jungle and part vintage
boudoir, all teamed with some pretty cool artwork. The inspiration for the shop, according to Meg, was for it to be a 'splash of colour', something which has come into fruition in the best way.
The boutique has something to offer everyone; men, women and the often neglected fashionable youngsters of Auckland. In a world that so often excludes children, at this store, children are embraced. Surprisingly, children are Miserys' biggest fans and apparently they go "nuts" for her stuff. This is something I saw firsthand during my visit; two little girls and their dad came for a look in the store, while the dad had a quick squiz around, the girls independently and excitedly picked through the collection. The
For the grown-ups, Pleased To Meet You has just as much to offer. Along with a large range of Misery printed t-shirts for the girls and guys, the shop stocks its own women's label 'Teach me Tiger', which is currently going through a name change to 'Cuda Sisters'. At the moment, each piece of the range is a labour of love for Meg, who sews all the garments herself. The range is small, but lovely. It contains several cool basics, which will slot into any wardrobe and some particularly quirky patterned shorts. My favourite was a very attractive black lace dress ($180). The store is shifting its focus to their summer range now. Meg says her creative process is for Tanya and herself to work in themes, which they will pick together and then she will go from there.
Vintage is also on the menu at Pleased To Meet You. The store stocks one off vintage pieces handpicked from Hong Kong and Thailand. Two pieces in particular caught my eye: a bold, purple and yellow floral dress ($65) and a very stylish brown leopard print dress ($55). The vintage collection is small, but every piece seems to fit perfectly in its setting. Alongside the clothing, the shop also stocks an assortment of accessories, shoes, scarfs and knick-knacks, as well as Miserys' 'Cute As Hell' bath range.
One of the things I loved most about Pleased To Meet You, is that it is so much more than a shop. This is deliberate and key to the sisters' multi-faceted vision for it. The store has had somewhat of a revamp since it opened. It started out with a colourful bang, but needed to be, in Megs words, "toned down" in order to use the wall space as a gallery style-art exhibition space that the sisters had intended. The store currently contains works from a number of very cool individuals on the New Zealand art scene. These include Adam Craft of Tattooed Heart and Lanterns by Tom McMillian. Pieces are also included by graffiti artist Elliot "Deus" Stewart. Both artists teamed up with Tanya for the 'Love Hurts: a tribute to tattoo art' exhibition in 2009. Needless to say, I think these sisters have some pretty cool friends. Naturally, works by the great Misery are also on show. The store is also an interactive venture, at the time of my visit, a table was set up outside with art supplies for children to use and Meg had just recovered from hosting what can only be described as awesome sounding tea party.
range available for them is far from the overpriced, flouncy alternatives of designer kidswear. The range consists of brightly coloured t-shirts, with my favourite banana guy or Witchy Goo characters ($35), hand painted shoes and the coolest range of kids costumes I have ever seen. The girls' Mexican outfit ($60) was particularly impressive, but to my disappointment, they do not carry these in adult sizes.
For Tanya and Meg the shop seems ever evolving, which is something I really liked. The message of the store is clear; fashion is playful and fun. At the end of the day, this is more than just a clothing store; this is a place of creativity - whether through clothing or art. As the smiling heart caricature which greets you at the door suggests, this is a store with a lot of heart, not just in the family bond of the two owners but in every aspect of their business.
Article by Charlie Godinet
Photography by Nally Naran
On a crisp winter's afternoon, I was whisked into the Auckland CBD with word of a newfound hub of coolness. Interestingly enough, we turned up at Cassette Number Nine, which by day seems relatively low key - I mean who thought it was even open? But nonetheless it was, and to my surprise, the land of the deadly teapots and crazy typewriter relics has its own markets!
Yup, the recently opened Saturday Cassette Super Markets provide the definitive, alternative shopping experience. With offerings of craft, clothing, home baking, jewellery and music, these markets have it all. Starting from around 12pm, the eclectic range of stalls is set up on the bars tables and in cubbies, transforming the bar into a new world in which to explore.
With a central theme of like-minded people helping each other out, the vibe within is really positive and fresh. You get that "wow this rocks" feeling as soon as you step inside, with everyone involved showing notable talent. Whether it is clothes that they have collected, jewellery they have crafted or cupcakes they have baked, this market isn't your general flea fest, they have the goods! But I feel the best thing this quaint market has going for it is its realistic view on price. Unlike its K Rd and central city competitors, everything here is really inexpensive! With tops for a fiver, necklaces for a tenner, and an awesome trench coat (that I was so stoked to get) for a max of twenty - you really can't go wrong! It's nice to see that even a place as cool as this recognises that ridiculous prices for pre-loved goods never work.
Notable mentions include, Erin Dunn of 'Ferrit', who makes intricately hand sewn and screen printed jewellery. This talented designer has creations of bows and roses, each of which has their own uniqueness. Also, Monique of 'Bones Designs', hand sculpts fimo bones, which are an essential accessory for any indie girl.
So I strongly suggest that the next coming Saturday you get your ass down to Cassette and check it out (unless you a reading this article on Saturday, then go now!). Head down, have a shop, have a beer and enjoy.
Article by Deborah Pathak
Photography by Greta Gotlieb
Don't be put off by the title. At the risk of making this article sound like it belongs in a girly magazine, it has to be said that Jordan Barnes is the kind of guy that girls cannot help but crush over. Spend half an hour with the man and the title will become less stalkerish and more logical.
Having just come out of a show at New Plymouth's KINA Gallery, and with his single "Every Now and Then" just casually airing on Juice TV, MTV and now C4, this is definitely the year for Jordan Barnes. Physical attributes aside, it hardly seems fair that so much talent has decided to manifest itself in one person. Sing, play the guitar, pose for magazine shoots (see photos), surf, and paint – this guy really can do it all.
With this in mind, it has to be mentioned that while this article is intended to focus on Jordan's artwork, it is impossible to write about one of his talents without at least mentioning the others. Part of what makes up this fellow, is the combination of them all. I think it is also fair to say that it's not often you see a person who is so talented in so many different areas (think of Mariah Carey in Glitter).
Born and bred in New Plymouth, this Taranaki native isn't shy about his love for his hometown, his family and his friends. He also wasn't shy to mention the homesickness he suffered during his stay up in Auckland last year. And surprisingly, he wasn't shy in mentioning his love for Justin Bieber (I prefer to ignore this, so there will be no more mention of that topic).
These days it's hard to find art that just exists for art's sake. Philosophy and art theory pervade nearly every orifice of contemporary art, and while it is not at all a bad thing, it is refreshing to meet someone who has a genuine love for the craft – a love for art and not the industry. When you look at Jordan's work, and especially when you talk to him, the love that he has for his craft – be it painting, drawing, or music – is tangible. I have met a fair few artists in my time, but none that have infected me with as much enthusiasm for the process of art making as Jordan.
At his latest show, "The Pop Show" at KINA Gallery, viewers were treated to 3D glasses to
view his collection of paintings and film. These featured works from snap shots of moments in his life, to popular imagery, akin to that of the pop artist, Andy Warhol. The juxtaposition of sentimental snippets of his life, with the emotional absence associated with pop art, allowed for an interesting coupling. While this appears to be a contrast that would seem to create an unhappy marriage, it worked. The viewer was left with a selection of works that suited every taste. A cohesive feel was also established, as Jordan has developed his own definitive style, allowing for a distinctive aesthetic that connects the works together. This allowed the viewer to see the show as a whole and not just as a separate series of paintings that just happened to have found themselves in the same gallery.
So what drives the subject matter of his works? With such a contrast to his paintings, it is obvious that his influences are varied. A clear influence is the little moments in his life – in particular, moments from photographs, which attempt to capture a moment in time. Jordan photographs things that he wants to remember, with the intention of painting them later. His fear is that time and other experiences may influence or distort the moment. This technique, he says, comes from an interest in the German artist, Gerhard Richter's work. Richter also uses photography to capture particular moments.
What is a notable influence on Jordan's work is Richter's belief in separating art from the constraints of art history; focusing on the image and not history. Like Richter, his work is not motivated by theory and philosophy, but is purely a moment captured in time, or an image that he just decided he wanted to paint. Jordan's style is also characterised by a strong visually pleasing aesthetic, appealing to Richter's ideals of art being image-focused.
You may be wondering, what's the point in re-painting something you've got a photo of already? This comes back to this idea of art for art's sake – he paints them because he wants to paint them. There is richness and beauty about the amount of time he puts into recreating a moment that he felt was special enough to capture and then recapture on another medium. He has an appreciation for the small moments that make up our lives, and shape who we are.
This, naturally, brings me onto his more pop inspired work. In particular, the painting "Andy Warhol in a space suit (page 6)." The work was begging me to ask: why is Andy Warhol in a spacesuit? Well, why the hell not? – It's just Andy Warhol in a spacesuit. I decided that this was exactly the reason I wanted. Why the hell not?
The two sources of subject matter clearly have two different driving forces. However, one thing stays the same: he wants to leave room for the viewer to create their own story. This is the theme that marries his works together. Regardless of their basis in real life or their utter absurdity, the commonality is that the viewer can decide on the story they want. I decided that I didn't care why Andy Warhol was wearing a spacesuit. However, someone else may decide that Andy Warhol wasn't actually shot, and instead took a long trip to the moon. Because of this, I call Jordan's style, democratic painting – we all get a say on what it means.
In saying that though, his work is not always devoid of any of his own emotion. At times a slight uneasiness can be picked up. Not that this is necessarily intentional, but rather focuses on the idea that a piece cannot always be completely stripped of emotion – art is inextricably linked to emotion, so someone's going to feel something, regardless. Art for Jordan is about having a piece of you in the work for the viewer to see. All of his work is a part of him, regardless of whether he feels that a work is beautiful. This is not affected by how the viewer sees it, as he has a connection with the work that will never be usurped by someone else's view.
The same can be said for his approach to his music. The creative process is exactly the same. As I have already mentioned, the talents he possesses are all inextricably linked. It is impossible to consider one aspect of Jordan without taking into account the other. His work is dictated simply by the love of creating art – both visual and musical.
There is no pretension in Jordan's work, making it palatable for most people. This, coupled with his very infectious love and enthusiasm for his work, make it near impossible not to feel the same way. It is this that has ensured, and will continue to ensure, Jordan's success. I mean, who can rock up to Juice TV and impress them enough to let them air their music video?
Jordan Barnes can.
Article by Lyndon WalkerThe Gladeyes formed about seven years ago, when Jade Farley and Gwen Norcliffe met at Elam School of Fine Arts and bonded over music and cool band names. They produced a variety of pieces of music, video and art together for their courses, and performed their first show together at Elam. However, they are quick to point out that they felt their first 'real' show was when they performed at The Kings Arms with The Coolies. Their initial recordings were recorded onto a dictaphone, but with the help of The Brunettes frontman and Lil Chief co-founder, Jonathan Bree, they recorded further and eventually released two EPs. They subsequently released their first full length album, Psychosis of Love, late in 2009 on the Lil Chief label.
The pair list influences that range from the likes of The Carpenters, Bob Dylan and Van Morrison, through to the Dum Dum Girls and Chicks on Speed. They describe their sound as "punk folk" and as a result, Psychosis of Love manages to span musical generations. The title track to the album features rapped verses that are reminiscent of Deborah Harry, while the opening track, Monika, features multi-tracked backup vocals, over 60s styled acoustic guitars. Their creative backgrounds are reflected through the narratives that thread into their songs and they have produced work that ranges from art gallery video screenings, to cakes decorated with insults about the band.
Both Gwen and Jade play multiple instruments, but are happiest with a guitar in hand. Typically, tracks are written on guitar and then transferred to other instruments. Although the band isn't considered to be gearheads, Gwen talks about
their Jansen amp as "a gem". Hearing their music on a CD for the first time was a special moment for the pair. Gwen described how she enjoyed hearing the interpretation that other musicians made of their music during the recording process.
Their favourite gig to date would be the Proud Mary Club Night at 4:20 in May this year, although they always enjoy playing at the Wine Cellar. "It has a great atmosphere and people are able to sit back and appreciate the music", explains Gwen. Jade adds that they enjoy playing gigs where there is a variety of styles amongst the artists, "like bands that are different to us". When asked who they would most like to perform with, indie favourites Bonnie Prince Billy, Sleater-Kinney and Half Japanese are first on the list. Both agreed that performing gigs overseas is also an aspiration they have.
Where to for the future? The girls have signed up with Hex Work management and are working hard on material for a new album, a band website, and are applying to perform at a number of overseas festivals. The first album took two and half years to produce and "started to lose freshness", so they hope to complete the new one in a shorter time period. The pair is also in the process of producing music videos for the current album and producing a book that they hope to release in August.
Reviews by Andrew Tidball and
If you enjoyed these CD reviews, head along to Eavesdrop, every second Wednesday at Wine Cellar. Check out their facebook for details.
CRYSTAL CASTLES - Crystal Castles (Fiction Records)
Crystal Castles' second eponymous album (their first one was too) is the sound of everyone you know, everyone you love, everyone on the planet being annihilated. Simultaneously. Destroyed. Killed. Mercilessly. But the beauty of mankind's ultimate demise being the final solution to the gradual destruction of the planet and Earth's salvation, becomes overwhelming. This is an album of extremities. Polarized. Disparate. Horrifying one moment and sublime the next. It is the sound of the welcomed apocalypse. The salvation we shalt not want. The global euthanasia of Earths most insidious, destructive, raping parasite will sound like it, too, was recorded in a church in Iceland, a garage in Detroit and a log cabin in Ontario. The refrain "Do you pray with your eyes closed… When it's cold outside, hold me tight, hold me" will echo long after our collective final breath is exhaled. From our darkest hour shall become our brightest and we shall, upon our own un-marked graves, dance. With strobe lights. - AT
THE DRAB DOO RIFFS - Postcards From Uranus (self released)
Not since Figrin D'an and the Modal Nodes were groovin' out, a long time ago, in a galaxy far, far away, at the Chalmun's Cantina, at 3324 Outer Kerner Way, Mos Eisley, on Tatooine has a band captured the discerning attention of spaced out kids, aliens and monsters, as Auckland five piece The Drab Doo Riffs - led vocally by the duelling talents of Karl Steven and Caoimhe Macfehin. Drawing their influences, obviously, from swamp-surf championships on Dagobah and the under-reported swing-parties of the Federal Starfleet, in particular on the starship Enterprise, where things apparently got quite freaky (it's well known, by now, that William Shatner was a kinky-as mofo). It's the 1960s, 1970s, 2010 and some yet-to-defined year in the future, all at once in some sort of musical-time-travel-washing-machine on a spin-cycle that'd make R2-D2 blow a fuse and project some hot babe (called Tanya) hologram on loop. - AT
SLEIGH BELLS - Treats (Liberator Music)
I was just thinking, while listening to this, the debut and much anticipated album from Brooklyn based duo Sleigh Bells that, logically, if two things are opposite to each-other, when placed side by side, if must be false then that both things are true. But when you start to challenge that rather simple piece of logic, that's when shit gets interesting. Like, when you take something the size of a pin point and expand it to the size of a universe (something I like to think I could do, like, if I really wanted to), is that the same as taking something the size of a universe and compacting it to fit on a pin point. What if you did that simultaneously? Would the reverse of an action be, in fact, the same as the action itself? Presumably, the duality of the actions, if achieved in unison, would null each-others effect?
But, when the noise of Derek E Miller meets the melody of Alexis Krauss, here as Sleigh Bells; simultaneously, it is clear that the effects do not null each-other, but rather amplify them. Both becoming more true, not despite each-other, but because of their disparity. This is all a bit confusing. All I think I am trying to say is that this record is a little bit the imagined sound of a universe collapsing in on itself and inside out to expand into a new one that's twice the size of it's original self. - AT
BARB - BARB (New Adventure / Liberation)
Two things can happen when you put a bunch of talented friends with separately rewarding careers in a room to record an album together. One: it comes out sounding like less than the sum of its parts (...Monsters of Folk?) and Two: it comes out sounding somewhere near as good as BARB, aka Lawrence Arabia, Liam Finn, EJ Barnes, Connan Mockasin and former Mockasin Seamus Ebbs. Opening with the now-familiar "Leo", where Connan Mockasin's alter-ego Don's obsession with Leonardo DiCaprio finally gets explained (PLEASE go watch the video asap). "Alcoholic Darling" follows on with an almost Broken Social Scene-esque slow-groove build, before making way for Finn's finest vocal performance since his solo debut - with a catchy call-back chorus. The equally upbeat "Not A Bird" is next up, with a gang-vocal verse that sounds almost like a joyful military exercise, opening up into a multi-part harmony chorus. Clearly a chance for the famous five to experiment together, as much as spend a month in each others company at Roundhead Studios, BARB rarely strays into in-joke territory. Everyone gets a turn to shine, with EJ's soulful take on Lawrence Arabia's imagined tale of lost lesbian love making, "2004" is another highlight. The album closes with "Nile" - an occasionally raucous epic from Connan, and the fitting book-end "Looking Out Through Barb's Eyes". Notably absent is the tune that started it all - "Having A Baby" - though there is plenty here to saturate the ears in good, good sound. Take a listen, then listen again and again - BARB have layered the cake high with treats. MC
BONNIE "PRINCE" BILLY & THE CAIRO GANG - The Wonder Show Of The World (Drag City)
Not since the 2006 album The Letting Go has Will Oldham quite managed to touch the raw nerve that is at the heart of our human condition. Lie Down in the Light and Beware both certainly had their moments, but here on The Wonder Show of the World, in joining forces with the clearly empathetic young guitarist Emmett Kelly and his band (the Cairo Gang), the Bonnie Prince has delivered his most subtly beautiful and emotionally insightful record in a while. The Wonder Show... is Oldham's rumination on real connecting, with each tune given its deserved time to unravel its message. It's a welcome return, too, for the considered and melancholic
pace that defined his mid-period work. This album doesn't rock, it's not a country jaunt, it's just a gentle collaborative work from two artists who clearly have learned to play nice together. MC
AVI BUFFALO - Avi Buffalo (Sub Pop)
Sub Pop's new little darlings Avi Buffalo burst out into song earlier this year with the impossibly wonderful single "What's In It For?" - a song that attacks the Sub Pop sound with a young-eyed, melancholic take on joy. The self-titled debut album from Avigdor Zahner-Isenberg (aka Avi...) & co doesn't so much follow up with a set of pop hits, as takes its time getting to know you, and eventually shares its post-teenage diary with you. What's surprising though, is just how articulate and laden with charming feeling the diary is. With a voice that comes off like The Shins' James Mercer attempting a Devendra impression, after sucking a little helium (complemented perfectly by the sweet harmonies of band mate Rebecca Coleman), Avi is ever regaling you with stories of summer sex and eager crushing, not to mention the youthfully playful obsession with death. Avi Buffalo: young, full of cum, but not at all dumb. MC
THE NATIONAL - High Violet (4AD)
There are movies that don't rely on CGI and 3D or fast-paced high octane thrill scenes - but rather on a beautiful story being beautifully portrayed. It's those films which are always the most satisfying; the one's that you really never want to end as you allow the story to envelope you. The National have, over the course of more than ten years, become one of those directors and High Violet is, truly, one of their masterpieces - I've literally had this record playing on loop for the past few days and every time I re-hear a song, I fall in love with it all over again. Matt Berninger's deep and warm baritone is a pool that you want to fall right into and his beautiful lyrics are air bubbles which you grasp and gasp - one at a time - to keep from totally drowning in this somewhat clumsy metaphor. It should be noted that this lubberly metaphor is in direct inverted proportion to how wonderful this record is. That said, I have come to the conclusion that part of the National's undeniable charm is Berninger's honest awkwardness - these are the songs we all wish we had the guts to write and sing to the person we are in love with. - AT
M.I.A. - /\/\ /\ Y /\ (Xl Recordings)
The "pop" single on Maya Arulpragasam's third album contains the refrain "you want me (to) be somebody who I'm really not" - is she responding to the masses who really like Paper Planes after they heard it in Slumdog Millionaire? The people who call her Mia - like Farrow? Smacking them in the metaphorical face? I like to think so. And then, with the rest of this record she kicks them in their groins and gouges their eyes out. Metaphorically, of course; using the knuckle-dusters of dubstep star Rusko production and the numb-chucker of Derek Miller (Sleigh Bells) on Meds and Feds, among her arsenal of aural assault. Teqkilla, with both Rusko and Switch joining in production, is likely to give someone brain damage if they're not careful. Lovalot - or as she sings it, stretching out and dropping a consonant "I really love Allah" - she explores and imagines the "mindset of impulsive youth caught up in Islamic terrorism". M.I.A. is pulling no punches or
being careful with her pop-stardom - if anything she's prepared to destroy it in the name of her art. And, that is exciting, invigorating and challenging. - AT
GOLDEN AXE - Fantasy Footwork (self release)
Chris Cudby and Daif Kent have been bemusing and amazing Auckland crowds for years with their lo-fi, packaging-taped-together gear, which has ranged, over the years, from 1980s vintage keyboards to children's toys to Christmas lights to prams and walking frames - but interestingly, it's only recently that the duo acquired a personal computer - and this album reflects the new found fidelity of being able to record digitally at home in Eden Terrace. Golden Axe makes the type of pop music that would have Katy Perry riding a unicorn on a treadmill, with lasers shooting out of its eyes, while cats fly around them in orbit. It's awesome wrapped in fairy-lights and weird. Golden Axe sounds like a million high-fives simultaneously focussed upon each others elbow for maximum awesome. - AT
SIA - We Are Born (Monkey Puzzle Records / Inertia)
Adelaide born Sia Furler moved to the UK in the mid 90s to launch her career as a downtempo R&B artist - and quickly gained the attention of Zero 7. She has a couple of solo hits - she'd be most famous for her ballads - Zero 7's "Destiny" and her own "Breathe Me" in 2006. But, then in 2008 she released Some People Have Real Problems and a dance-ier / poppy-er side was hinted at. Now, though, with her fourth solo album - she's embraced the pop-dance much more fully - while still totally on her own terms - citing a childhood love of Cyndi Lauper and Madonna - covering Maddy's Oh Father, even, here. Perhaps most surprising here is that The Strokes' Nick Valens provides guitar on the album record - and it's a common lynch pin elevating the songs up to places they might not have attained without it. This is a classy slice of pop; it's not so much infectious and addictive; worming its way into your brain / sub-conscious - as all good pop really should.
Two pieces of Sia triv - she's dating ex Le Tigre JD Samson and she's recently been diagnosed with Graves' Disease. - AT
THE BLACK KEYS - Brothers (Shock)
This is a review of the Black Keys album Brothers, and oh Lordy yes, amen to this. The Black Keys have certainly learned a trick or two since their early days as a straightforward electric blues duo, and after 2008's Dangermouse produced Attack & Release, not to mention frontman Dan Auerbach's solo release of last year, its little wonder that the chaps decided to retreat to Alabama for some seriously good old time muddy howlin'. Brothers is absolutely the most soulful of the twosome's releases to date, with Auerbach employing his newly busted-out falsetto nearly as often as his trademark bluesy growl. From the repetitively rhythmic opening track "Everlasting Light", to the Jerry Butler soul cover, it's evident that this is no regular blues record, nor is it the product of a meddling producer. This is just a kick-ass record, that's equal parts blues, soul and what the French call "I don't know what". MC
BROKEN SOCIAL SCENE - Forgiveness Rock Record (Spunk / Arts & Crafts)
"We got a minefield of crippled affection", admits Kevin Drew on the suitably epic album opener "World Sick"... Forgiveness Rock Record by name and nature perhaps? It's a fitting opener for this - the classic Broken Social Scene record they were always going to make. "Chase Scene" comes off like the high drama its title suggests, with Feist and Drew at their most urgent, while "Texico Bitches" and "Forced to Love" deliver out the joyful energy that helped 2002's You Forgot It In People cross the line into essential-listening territory. Andrew "Apostle of Hustle" Whiteman, Emily "Metric" Haines, Amy "Stars" Millan.... the whole cast return, with guests such as Pavement's Spiral Stairs and The Sea & Cake's Sam Prekop, all gathering under the watchful eye of the inimitable John McEntire (Tortoise) - who here produces and weighs in on percussion. I dog-gone love this. MC
As always, huge thanks to everyone that has worked on issue 7 with us!
Business/Art Director: Greta Gotlieb
Editor in Chief, Business Partner and Advertising:
Nally Naran
Editor at large: Sophie Pollak
Contributors: Matthew Crawley, Charlie Godinet, Alaister Moughan, Deborah Pathak, Sophie Pollak, Andrew Tidball, Lyndon Walker and Dedee Wirjapranata
Artists: The Drab Doo Riffs and The Gladeyes
Artwork: Jordan Barnes and Dylan Scott
Musician/Artist Inquiries: Greta Gotlieb
greta@presencemagazine.co.nz
Advertising Inquiries: Nally Naran
nally@presencemagazine.co.nz
Journalism Inquiries: Sophie Pollak
sophie@presencemagazine.co.nz
Thank you contributors, Marcus Joyce, Caoimhe Macfehin, Mikey Sperring, Karl Steven, Lucy Stewart, Jade Farley, Gwen Norcliffe, Megan Thompson, Tanya Thompson, David Vaassen, Matthew Ravenhall, AKZine fest, Anita Ibell, Trystan O'Brien, Grace Boyle and Leigh Gibson, Lesley Auchterloine and Susan Smith of Hasbro.
Also a big thank you to Judith and Gary Gotlieb for their continued support.
