| Hospital Productions – HOS-400 Part One 4GB FLAC files Part Two 4GB FLAC files Part Three 2.36GB FLAC files |
Sunday, February 20, 2022
Skin Crime - (2016) Case Studies In Early Taxidermy Techniques 20xCD
Thursday, February 17, 2022
Wednesday, February 16, 2022
Tuesday, February 15, 2022
Monday, February 14, 2022
The Kiwi Animal - (2019) Mercy
DIGITAL REGRESS – DR41
Digital Regress's foray into the fabled NZ underground hops over to the North Island for two exquisite pieces of acoustic DIY and shadowy, cracked pastoralia. After a few years spleen venting at the front of Wellington art brutes SHOES THIS HIGH, BRENT HAYWARD struck out on his own, self-releasing a few EPs as SMELLY FEETt before forming THE KIWI ANIMAL with JULIE COOPER in 1982. The duo released their first album, Music Media, on Massage Records (their own imprint) in 1984. With the addition of PATRICK WALLER on cello and sundry other instruments, 1985's Mercy finds an augmented Kiwi Animal trying on what at first glance is a more refined, melancholic sound. But the group's experimental bent, largely restrained on Music Media, soon shows its hand. Pinprick ur-folk guitar themes, blinking on and off, buffeted by radio interference and toy piano; woozy bedsit slow-burns; the arresting croak of Hayward's penpal, William S. Burroughs; even a foray into dosed synth-pop: MERCY presents a unique yield of fraying, autumnal DIY songcraft. The music of The Kiwi Animal, moody and intelligent and often abruptly gentle, works subcutaneously, propelled by guitars that churn and weave – no jangle here – and a his 'n' hers vocal delivery for the ages. Digital Regress is happy to make these essentially perfect records available again.
Midnight Mines - (2019) Create Disturbance In Your Mind 2xCD
| Independent Woman Records – I.W.R C.D 005 Midnight Mines started between 7 and 10 years ago. Neither of the core duo of Sorrow & Saturday can remember now. Both endure busy lives in the tunnel hive, so the concept was hatched of occasional meetings to record spontaneous compositions, subsequently chopped up and dubbed into shape. Improv attacked with a primitive garage band mentality and a love of the endless prism of the JA version excursion - the same material re-purposed and looped to make something new. We’re grateful to Independent Woman Records for this opportunity to present a selection of tracks from our tiny universe of homemade fun. |
Scorched Earth Policy - (2020) Keep Away From the Wires CD
Medication – 004
SEP followed the Victor Dimisich band and lasted from '82-'86. Stapleton and Mary Heney continued on from VDB but the most important new element was Brian Crook... Brian Crook's guitar playing sounds like the result of a thirty day wander through a desert. It's psychedelic in the way that alchol poisoning and sunstroke are. I don't even think they have desert in New Zealand, but if they do - even 10 square feet - I'd wager Crook has toured it extensively, and frequently on hands and knees. The Scorched Earth Policy sound wasn't quite as obvious as the name - a baked, churning mixture of punk rock, 60s garage and psychedelia and a tinge of country. The lyrics began taking a turn from the arty to the bad trip and horror movie side of things. Male/female vocals and some of the most excellently raw production in my memory gave the music a sound that is somehow 1960s, somehow timeless. Not "paisley revival" bullshit, this, but an atavistic rebirth, a slavering and weird new thing from old roots.
Subscribe to:
Comments (Atom)