fruit-ball lo-fi solo artist and the head-loon behind the demi whores, edward gains has been making his own bedroom recordings since the mid 1990s – initially in dunedin, though he didn’t really produce anything until being holed up in london.
catherine george, amanda hedley, steve hemmens, richard caigou and steve hinderwell.
picks in bold
- gardening angels [1993 hair shirt music HAISH001]
- inflorescence [199? hair shirt music HAISH002]
wellington outfit that featured torben tilly, paul ling, yuri frusin and helen johnstone (also both of dress). since disbanding in the early 1990s, all the members have relocated to australia, tilly forming minit with jasmine guffond and flabergé with the since-relocated fruisin and johnstone.
picks in bold
- ‘prince of thieves’/’your william baby’ 7″ lathe-cut single [world resources] rn
- ‘capitol’/’carousel’ 7″ single [world resources]
- eyesrindasifbeggars [new sound now12]
jeremy eades’ garageland (along with andrew gladstone, mark and debbie silvey – who was later replaced by andrew claridge, who eventually made way for dave goodison) were originally billed as new zealand’s answer to pavement, they went on to find some level of success on american shores as the 90s turned into the 2000s, releasing their sophmoric album ‘do what you want’ to an enthusiastic u.s. critical audience, but little in the way of actual sales.
their debut ‘last exit garageland’ was a more manic, fun-filled album, somewhere between key influences the pixies, pavement and the 3ds and enjoyed local success with a handful of singles – ‘come back’, ‘fingerpops’ and the chripy ‘bee lines to heaven’. ‘do what you want’ was a purposeful attempt to intellectualise their sound – and it seemed to work as lead singer and primary song-writer jeremy eade was soon lavished with critical praise for his mature, reflective repproach. their follow-up ‘scorpio rising’ – which has also been released by us independent food chain records didn’t quite make the same ripples though, and they’ve since been a little quiet.
picks in bold
- comeback special cd ep [1995 flying nun FN335 / FNUS9335]
- ‘comeback’/’pop cigar’ 7″ single [1995 flying nun FN335]
- last exit garageland [1996 flying nun FN350]
- ‘fingerpops’/’something’s got a hold’/’the floribundaimpetigo experience’/’cherry cola vodka’ cd single [1996 flying nun FN358]
- ‘fingerpops’/’something’s got a hold’ 7″ single [1996 flying nun FN358]
- ‘beelines to heaven’/’bus stops’/’cut it out’/’us trips’ cd single [1996 flying nun FN367]
- ‘beelines to heaven’/’bus stops’ 7″ single [1996 flying nun FN367]
- ‘i’m looking for what i can’t get’/’shouldn’t matter but it does’/’one shot’/’spin’ cd single [1996 flying nun FN388]
- ‘pop cigar’/’fay ray’/’what will you do?’/’struck’ cd single [1996 flying nun FN392]
- ‘pop cigar’/’what will you do?’ 7″ single [1996 flying nun FN392]
- feel alright cd ep [1999 flying nun FN405]
- the not empty cd ep [1999 flying nun FN422]
- do what you want [2000 flying nun FN423]
- scorpio righting [2001 flying nun FN452]
- gone cd single [2001 flying nun FN453]
rianz awards 1997
- most promising group of the year garagelandrn
hard-working blues muso, heavily chronicled in the (brilliant) ‘stranded in paradise’ book on kiwi music. continually toured nz, forming a great number of bands over 20 years, and releasing a handful of albums.
picks in bold
- hammond gamble [1980 wea z22004]
- every whisper shouts [1983 c.s.m. CSM001]
- plugged in and blue [1995 scoop de loop SCD025]
an accomplished violinist and a naturally talented song-writer (who cut his teeth in his mid teens with the brilliant but under-recorded the rip), galbraith has quietly gone about producing a number of excellent solo albums through a long, consistant career, and has often featured guests by the likes of shayne carter and david mitchell.
in 1986 a now quickly expanding
michael morley, david and sid merritt, a 90s experimental 3-piece putting out acknowledged material on morley’s own precious metal imprint. gate have even managed a collaboration with sonic youth’s thurston moore.
picks in bold
- island of memory [198?]
- fear of music cassette [1989 precious metal PM03]
- hate cassette [1990 precious metal PM07]
- metric cassette [1991 precious metal PM10]
- cropped silver hi-lo cassette [1991? precious metal PM11]
- cachian cassette [1991? precious metal PM12]
- ‘trig’/’tonken’ 7″ lathe-cut [precious metal PM13]
- i.o.m. (1967-1992) 7″ lathe-cut [precious metal]
- ‘577 crash’/’latent hm rights (part 2/part 3)’ 7″ lathe-cut [precious metal PM22]
- guitar [1993 majora]
- the dew line (aka ‘table of elements 22’ [usa]) cassette [1993 precious metal PM24]
- lounge [1993 twisted village TW1032]
- usa 1994 12″ lathe-cut [1994 precious metal ]
- golden [1995 imd IMD10050]
- boston / nyc [1995 poon village]
- my dear sweet reluctant sweetheart [2001 hell’s half halo]
- the wisher table [2002 precious metal PM77]
- the lavender head double-lp lathe-cut [2003? precious metal PM79]
- gate experience (parts 1-4) 7″ lathe-cut [w/ julian dashper precious metal]
former singer song-writer with late 70s auckland 3-piece waves (who made light and vaguely hippy prog-rock), graeme gash his solo debut with after the carnivel in 1981, which saw some praise in john dix’s ‘stranded in paradise’.
picks in bold
- after the carnivel [1981 siren KTLP1001]
from the gas webpage:
“gas began in 1995 in an upstairs room in columbo st. three multi-instrumentalists, gene-pool belmondo , ian blenkinsop, and mick elborado began to melt down a number of influences in belmondo’s living room. among the early precepts was a staunch dictum that no live drums be used. this meant finding different methods for establishing rythms, including cassette samples (provided by belmondo’s peavey delay pedal and blenkinsop’s casio sk-1) and manual analogue keyboard drums. many of elborados tended towards an all-guitar lineup. during this fertile period many songs were written. one of their first was blenkinsops “do the cobain”, a piece of black-humoured punk-pop set to a sped-up joy division drum-sample. songs came quickly; for instance “cubicle” (immortalised on the peculiar atmospheres cassette and on televisions catv) was put together by blenkinsop and elborado in the time it took belmondo to make some coffee. there were many which didnt make it much past this era, including belmondos lengthy drone-out “the worlds a balloon”. gas first live appearance was in a bedroom at a friends party. in a strong prefiguring of the problems the band would face with their low-tech approach, at the crucial hour the tape recorder didnt work and the cassette rythms gas were working heavily with at the time were abandoned perforce.
from the first, gas recorded their music on four-track machines. despite many recording sessions over the years, the bands recorded output remains slim. in 1996, gas released a 10-song cassette entitled peculiar atmospheres. the next project was a contribution to a mooted but unrealised local tribute album to australian punk pioneers the saints. a long-time favourite band of scollays, the song chosen was “erotic neurotic”. rather than try to out-punk the original, gas interpretation kept the brutal buzzsaw guitars (played by belmondo and elborado) and ramone-bass (scollay) but deviated wildly with a theremin-like sci-fi synth (blenkinsop), half-serious wagnerian vocals (by the whole band) and in place of guitar solos, elborado filled the sound-space with wild squalls of free-synth rasp, hiss, rumble and squiggle. all of the above was anchored to a steady, massive heavy-industrial clamping sound provided by a swans sample. the album was never compiled, and so gas unique translation of “erotic neurotic” was shelved.
another shelved project was a one-sided geraldine single. this was to have featured some of the bands shortest songs and in a packed five minutes offered scollays “league of the golden maidens”, a sound-collage by belmondo, elborados “town called anger” and blenkinsops minimalist masterpiece, “fearhide” with its infectious bicycle-pump rythm. the single was never released and again, the contents were shelved. scollay amicably departed the band a few months later. gas only other actual release was 1998s gas, a seven-song 10-inch geraldine ep recorded early in the year and engineered by dave khan of the experimental kkrrkk label.
while never exactly frequent, gas live appearances continued to be entertaining if problematic in terms of equipment, particularly in the rythm department. although not a new development (the concept was first unveiled at the short-lived his lordships hotel venue back in december 1996) increasingly, real drums featured in live appearances. while gas had plenty of original material, many cover versions were performed live, including “ambivalence” (the pin group), “are “friends” electric?” (tubeway army), “books” (teardrop explodes/echo and the bunnymen), “love will tear us apart” (joy division), “fraulein love” (space waltz), “let it all hang out” (the hombres), “the green manalishi” (fleetwood mac), “thanks to you” (mr. lee grant) and “trash” (both robin hitchcock and suede).
a curious interlude in gas history was the bands temporary mutation into the masons. for much of 1998 belmondo, blenkinsop and elborado were joined again by guy scollay, this time to play an entirely-original set composed exclusively of scollays songs, and in a fixed two-guitars (elborado and scollay), bass (blenkinsop) and drums (belmondo) beat-group lineup. despite belmondos initially-uncertain drums, the band had power and songs (“augury”, “the human torch”, “my example”) to burn. unfortunately, the masons concept was abandoned when the mercurial scollay lost interest in music altogether. there were a few live appearances but aside from two-track cassette practice-room and live tapes, no recording was attempted.
gas continued to record and play live, gradually assimilating new forms of technology in the course of their work. in 2000, live audiences were treated to a new version of “hinged and unhinged” which did away with all the tactile instruments entirely and instead utilised the band’s acapella vocals (and bad dancing) over a midi simulation. the effect was a parody of the plethora of boy and girl bands which made the pop-charts an adult-free zone at the time. audiences were also faced with an odd situation when the growing section of the set featuring traditional live drums eventually separated late in the year and on the 4th of november gas performed an entire hour-long foot-on-the-monitors rock’n’roll set.
in late 2000, gas recorded for the first time with computer technology. the results were blenkinsop’s “peculiar atmospheres” a long-time live favourite (and no relation to the tape cassette) and “we have nothing”. the latter was a spontaneous three-way collaborative effort in which a simple rythm-track was concocted out of two beats sampled from a 1960s dave dee, dozy, beaky, mick and titch song (“hold tight!”) and a wash of white synth-noise, with a long litany ( we have nothing to shit but shit itself/we have nothing to humour but humour itself ) chanted over it. a layer of synth and harmonica-texturing later it was finished. and for 2001? no dumb puns. more gas and better at it.
gas have been appearing as unannounced support band playing a virtually full rock’n’roll set, their equipment for playing back up tapes being somewhat unreliable at this time!!!”
picks in bold
- peculiar atmospheres [1996 self-released]
- erotic neurotic [unreleased]
- dark side of the cusp lathe-cut 10″ ep [self-released]