gas

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.
stop press!
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!!!”
discography
picks in bold

  • peculiar atmospheres [1996 self-released]
  • erotic neurotic [unreleased]
  • dark side of the cusp lathe-cut 10″ ep [self-released]

glovepuppet

stephen stedman, simon haggitt, earle goodfellow and greg cain.
discography
picks in bold

  • someone else’s dream [1992 live recording punch PUNCH001]

Glory Fckn Sun

Formed in 2003 as a conduit for intense ritualistic sonic exploration Glory Fckn Sun is the ecstatic psyche-noise trio of Antony Milton (guitar/electronics), Ben Spiers (guitar/violin/electronic) and improv percussionist Simon O’Rorke (gongs/percussion).rn’Vision Scorched’ collects together one studio track and two live pieces. These range through long form rumbling distorted deep space explorations (complete with supernova and the odd blackhole), intense yet ethereal harsh noise to close with a droning metaphysical raga-esque paean to the great cosmic inevitable of the collapse of the sun, And of light itself.rnGlory Fckn Sun have been described as having a sound that is like a cross between Flies Inside the Sun and Keiji Haino.rnNearly 2 years in the making and continuing in the PseudoArcana tradition of fantastical over-the-top packaging (…) ‘Vision Scorched’ is presented in a professionally bound 72 page picture book of sun related imagery with hand printed covers. This is a limited numbered edition CD of 200 copies. [Pseudoarcana]
Discography
picks in bold

glorias peccadilloes

terribly titled outfit who put out an ep and an album on ode in the mid 80s.
discography
picks in bold

  • you never had it this fresh ep
    [1985 ode SODEP 216]

  • sound device [1985? ode SODE325]

gina rocco and the rockettes

a dunedin 5-piece fronted by guitarist, vocalist and song-writer gina rocco, with onanon‘s ants anema (drums), glen ross and donald ferns (guitar and vocals), plus the iconic robert scott on bass. after gina’s self-released debut ep in 2004, the band put together their full-length sea tulip on the auckland-based powertool records.
discography
picks in bold

gilks, alex

discography
picks in bold

  • scrap lathe cut [self-released]

ghostplane

4-piece wellington melodic pop-rock outfit that spawned out of dana eclair in 2003. created quite a bit of critical interest with their debut ep ‘panther valley country club’ on ben howe’s arch hill label. a very tight live unit with nice touches (guitarist achilles botes showing off some fine licks) formed around dana eclair members botes, mark dryburg (guitar / vox), andrew grayson (drums) along with newcomer ash hammer (bass).
discography
picks in bold

  • panther valley country club ep [2004 arch hill AHR010]
  • beneath the steel lagoon [2005 arch hill]

gideon, david

as the iconoclastic front-man for christchurch rock outfit gideon, and in a solo capacity, david gideon has been a regular to the christchurch music scene as long as just about anyone in the garden city, but despite several high-profile support slots and various international connections he has yet to taste any kind of significant recognition.
discography
picks in bold

  • ‘new winter’/’the mary jane song’ lathe-cut 7″ single [self-released]

gennett, john [and the vespas]

along with the vespas (crash johnson, greg purcell and jaime foot), john gennett released the ep ‘only naked’ in 1986.
discography
picks in bold

  • only naked [1986 records revolving RR01]

genie and the wild children

[profile thanks to rob mayes]
with their new age hippy name this band were a lot more than met the eye or ear as time would tell. the band consisted of 2 musically prolific writers in guitarist/vocalists david hunt and brett lupton. lupton was fresh from drumming with all fall down and showed an adept talent for sweetly melodic well crafted guitar pop, as did hunt. the band members were all at early stages in their musical careers but the seeds of talent were growing, and genie and the wild children had some pretty good melodic ideas going, if in need of a little pruning. the band originally performed as a 2 guitar led 3 piece, with drummer marcus puentener filling out the rythms in a speed up slow down kind of way. they eventually enlisted bassist mark tyler before disbanding. they recorded 3 tracks before splitting, one of which ended up on the failsafe south compilation. lupton, hunt and tyler went on to form catherine wheel.
discography
picks in bold

  • no major releasesrn