She’ll Be Right Records

Jody Lloyd started producing his own material as Trillion in 1997, and formed She’ll Be Right records the following year. She’ll Be Right proudly bill themselves as “New Zealand’s only dedicated natural accent focused recording label”, and have a recording roster that includes Billy Wilson, Duff, Lindon Puffin, Jeremy Taylor, St Lucy, Bazuki Joe, Ragamuffin Children, Mustard, Delaney Davison, Tono, John White, Phil Johns, Andy Gibson and Lloyd’s own outfits Dark Tower, Trillion and The Trillion Band. The label is also responsible for publishing the Christchurch-based Catalyst Poetry books (under the Neoismist Press inprint), which have been in print since 2003.

Lloyd is an excellent producer and has created a huge catalogue of collaborations, compilation albums, remixes and other releases. His website (trillion.co.nz) is a terrific archive of all things related to Trillion and the She’ll Be Right label.

Compilation Discography
Picks In Bold

  • Shadows on a Flat Land [1998]
  • Fresh Jams [2002]
  • Catalyst Poetry Series 1 [2005 w/ Neoismist Press]
  • Audio Agriculture in the 21st Century [Trillion Remix Album 2007]
  • Catalyst Poetry Series 7 [2008 w/ Neoismist Press]
  • Catalyst Poetry Series 9 [2011 w/ Neoismist Press]

Websites

  • Trillion.co.nz [Official Website]
  • BandCamp
  • YouTube
  • Facebook

    Contact Details

  • Trillion

    The most prolific recording alias of Dark Tower member Jody Lloyd, who has been releasing material under the alias since the excellent Shadows on a Flat Land album in 1998. In 2003, Jody started performing his solo material (and even the odd Dark Tower hit) with a newly formed 5-piece band, dubbed the Trillion Band.

    Lloyd had previously formed Dark Tower in Christchurch way back in 1993. Originally a 2-piece rap-crew (alongside fellow vocalist Eli Foley), the duo had considereable success with their Genuine Kiwi Accent Hip-Hop and heavy Kiwiana themes in their original material.

    Lloyd started producing his own material as Trillion in 1997, and formed She’ll Be Right records the following year. She’ll Be Right proudly bill themselves as “New Zealand’s only dedicated natural accent focused recording label”, and have a recording roster that includes Billy Wilson, Duff, Lindon Puffin, Jeremy Taylor, St Lucy, Bazuki Joe, Ragamuffin Children, Mustard, Delaney Davison, Tono, John White, Phil Johns, Andy Gibson and Lloyd’s own outfits Dark Tower, Trillion and The Trillion Band. The label is also responsible for publishing the Christchurch-based Catalyst Poetry books (under the Neoismist Press inprint), which have been in print since 2003.

    After relocating to Melbourne in 2009, Lloyd (who had performed several times in Melbourne with The Trillion Band) joined local group Pataphysics, but continued producing Trillion albums and music videos.

    Musically Lloyd mixes roots music (Country, Folk, Bluegrass) with Hip-Hop and Electronic downbeat elements. After establishing himself with a strong Kiwiana vibe on early releases, his lyrics and topics have become more and more political – even releasing a handful of topical music videos that show his strong political ideas. Lloyd is an excellent producer and has created a huge catalogue of collaborations, compilation albums, remixes and other releases. His website (trillion.co.nz) is a terrific archive of all things related to Trillion and the She’ll Be Right label.

    Discography (picks in bold)

    • Shadows on a Flat Land [1998 She’ll Be Right]
    • Trillion Presents: FRESH Jams [2002 She’ll Be Right]
    • At A Lucid End [2003 She’ll Be Right]
    • This World And The Sadvipra Diversion [June 2004 She’ll Be Right]
    • The Gray Between Shadow and Shade [Sept 2005 She’ll Be Right]
    • Rusty Springs EP (As Trillion and the Incredible Braking Wheel) [2007 She’ll Be Right]
    • Audio Agriculture in the 21st Century (Remix Album) [2008 She’ll Be Right]
    • SILENTinvisible [2008 She’ll Be Right]
    • Loops of Love [2009 She’ll Be Right]
    • Everything Is Under Control [May 2010 She’ll Be Right]
    • Starve the System EP [Dec 2010 She’ll Be Right]
    • Sky Is Falling Park 1 (Instrumental) [Jan 2011 She’ll Be Right]
    • Sky Is Falling Park 2 (Instrumental) [June 2011 She’ll Be Right]
    • Sly Circus and the Grotty Plot EP [July 2011 She’ll Be Right]
    • Sky Is Falling Park 3 (Instrumental) [Dec 2011 She’ll Be Right]
    • 2012 Get A Job [with Lewka March 2012 She’ll Be Right]

    See-Also

    Cloudboy – Down at the End of the Garden

    2001, Arc Life, ARC010

    Demarnia Lloyd is something of an enigma in the Dunedin music scene. Over the past 7 years her involvement in former rock outfit mink and current band Cloudboy, as well as her solo material as cloud coupe and under her own name have kept the charming vocalist very busy.

    Demarnia (daughter of noted New Zealand folk artist David Lloyd and sister of Dark Tower’s Jody Lloyd) doesn’t just limit herself to music either – for the release of last years debut down at the end of the garden, she orchestrated an entire live performance for live performances.

    The album is something of an epic body of work – spanning the 5 years and containing songs that have been worked and reworked numerous times over the course of their existence. The end result is an exceedingly atmospheric, dramatic soundscape – but one that can at times over-shadow Demarnia’s heartfelt lyrical content and emotional vocals.

    The album starts with a rising crescendo of sitar, tabla and violin on ‘Teaboy’ – multi-instrumentalist Craig Monk making a strong impression. Demarnia over-pronounces and creates waves of dreamy vocal haze with her tremendously breathy vocals. ‘Red Rubicon’ establishes a lyrical theme throughout the album – she describes relationship in an imperfect, often disjointed fashion, but that she is there to heal all wounds. The song mixes layers of simple keyboard drum patterns with some spicy guitar work and trumpet – traces of marimba and hefty dashes of double bass create a vast tapestry of sound.

    ‘Cup of Roses’ starts with hefty, pounding drum beat, breaking down to a singular bass line and layers of violin floating in and out – a huge departure from the songs original composition many years ago. Unfortunately this distracts from the melancholic beauty of Lloyd’s vocals – which often express so much emotion, but are somewhat lost under the layers of multi-tracked voices and instrumentation. Thankfully the soaring cello mid-song goes a long way towards re-establishing that emotion climaxing this song of absent love. ‘(You’re so) pretty’ continues on with Lloyd’s lovelorn desires – this time over a bed of synthesizer haze, droning bass and a bed of accompanying vocals.

    A storm brews throughout the claustrophobic ‘feudal’ with many string and synth rhythms creating an environment of unease (as the song expresses lyrically). A perfect example of lloyd’s visual approach to creating music – track pulse in and out like a real storm, with waves of sound flowing in and out and engulfing the listener. ‘Tebo’ carries on Lloyd’s desires for love that’s passed her by “Driving me insane, that you couldn’t stay – Tebo” over a gorgeous driving plucked guitar piece from Johannes Contag and some coloring in the form of David Lloyd’s flute and tin whistle. Following a simple rising rhythm and a drone bass backing, the track is an album highlight for me.

    ‘Daydreamland’ adds a layer of funkiness to Cloudboy’s sound – Contag’s funky bass along with part time contributor (and ex-Mink drummer) Heath Te Au creating more upbeat backing for Lloyd’s vocals to float. On ‘The play’, some sampled trumpet and guest john bell’s vibraphone complement the rolling rhythm – carrying on the jazzy vibe ‘Daydreamland’ created.

    Cloudboy have succeeded at creating a detailed tapestry of sound, the album literally flows from song to song, drawing heartfelt emotions from Lloyd’s charismatic vocals and the ever-soaring string arrangements, and is beautifully complemented by the instrumentation coloring that Contag, Monk and Te Au bring to the album. I do feel however that as an aspect of Demarnia’s vocal style and emotional connection to these songs, that they’re perhaps better suited to a scaled down, personal approach, as she has shown many times as a live performer.

    Dark Tower – Canterbury Drafts

    2001, She’ll Be Right, SBR98912

    Six years is a long time to be waiting for a debut album. Christchurch, New Zealand hip-hop duo dark tower started strongly way back in 1995 with a killer lead single and subsequent EP entitled Zealman which established their intentions as being perhaps the only culturally conscious New Zealand rap outfits around.

    The EP seamlessly weaved a plethora of kiwi references (everything from rhyming Weetbix to the EP sleeve, which depicts the ‘Edmunds Cookbook’ cover – a kiwi tradition) along with a playful musical backing and some excellent, dry vocal delivery.

    Over the course of the late 90’s the boys (duo Jody ‘The Earl’ Lloyd and Eli ‘The Eel’ Foley) continued to develop their live sound. They created a strong body of songs that was continually redeveloped and reworked, releasing a number of singles – the majority of which are present on this album. The group eventually took on a third member (Jamie), who left the group just as it was about to put out further delayed the album’s release as the group once again reworked songs to remove Jamie from the proceedings.

    The end result is somewhat disconnected, over-produced, yet amazingly intricate. Lloyd has a knack for developing dark moods with his backing instrumentation, incorporating a number of guest musicians into the mix (including his father David – a seasoned folk musician, and pop-superstar-that-never-was Lindon Puffin).

    The heart of the album is still very present ‘the land of the long white cloud’ details the duo’s love for their fair city, creating imagery with their thickly accented drawls over some lovely reed whistles from David Lloyd. Their big recent single ‘baggy trousers’ has been reworked, still retaining the fun, humorous aspect of the single version – but really it’s a throw-away joke hip-hop at the best of times.

    The duo of tracks entitled ‘That’s right’ raise the seriousness of the album – answering back to the various hip-hop crews who have criticized dark tower for being too ‘New Zealand’. Along with erstwhile old-school crew Upper Hutt Posse, Dark Tower represent New Zealand as it is without being forced into Americanized stylistic traits, yet some took their angle as merely a demoralizing joke on hip-hop itself. Eli and the Earl complement each other nicely on the tracks – Eli being something more of an alto rapper whilst the Earl sticks to a low, almost spoken lyrical flow.

    Overly moody overtones make ‘southward bound’ something of an album highlight. Perfectly illustrating the eclectic instrumentation of the album with some tasty guitar work along with a number of unidentifiable bowed sounds and sample manipulations – the track ebbs and flows before Lindon Puffin adds his voice to the sarcastic punch-line: ‘…Coz if you don’t go and take your time to do that helpful dead, then no ones gonna bloody help you, in you time of need’.

    The second of their redeveloped tracks, ‘sons of the south’ actually manages to improve on the original – a fully realized take on Lloyd’s (otherwise over-produced sounding) new style, with the boys showing incredibly tight flow. The track builds through a number of different styles, the bass squelching and out whilst the likes of turntable, old-TV theme show music, and full orchestral back builds and drops out.

    ‘Zealman ii’ totally changes the context of the original track, turning it into an epic, guitar and turntable fueled reinterpretation. Sounding somewhat overblown – the track reads like a manifesto of lyrical prose. Dark tower obviously have a great knack for building complex vocal treatments – ‘we share a common thread of history with much of the world / in that we live in a land which was forcibly colonized by a white culture’ flowing like water at the mouth for the Earl.

    Basically the album is a very personalized, over-developed and intricate document to a well-defined culture. It’s an answer back to dark tower’s critics, and on that perspective it succeeds immensely, but at times that feeling distracts from the album being enjoyable on a purely audible level. Thankfully there are enough highs to keep the album afloat, and the numerous in-jokes and New Zealand-based humor add to the albums appeal greatly.

    Dark Tower

    2 piece (then 3 piece, now back to 2 again) hip-hop outfit coming out of opawa, christchurch. jody ‘the earl’ lloyd and eli ‘the eel’ foley started performing together while still in high school, and with the help of brilliant debut video, the duo became something of a cult of personality with the ethos of the single ‘zeal man’. celebrating all that is kiwi, the dark tower boys we’re shunned by the new zealand hip hop scene, but loved by their christchurch audiences.
    unfortunately it took the better part of a decade for them to release their debut, the underwhelming (yet appropriately named) ‘canterbury drafts’, which featured cameos from christchurch compatriots lindon puffin and jody’s folk-musician father david lloyd. more a problem with over production (the album was prepared, remixed and rerecorded many times before its eventual release) than a lack of good songs, the dark tower boys we’re now however playing to a national audience thanks to the success of their daft ‘babby trousers’ ep (which featured one-time member jamie greenslade), and with its release lloyd went back into the studio to concentrate on his own solo material, now being released as trillion.
    discography
    picks in bold

    • zeal man ep [1995]
    • the new outlook cd single [1999]
    • the baggy trousers project ep [2000 she’ll be right]
    • canterbury drafts [2001 she’ll be right]
    • the pacific sandal [instrumental] [2005 she’ll be right]
    • the dark world [2005 she’ll be right]

    recommended songs
    download from mp3.co.nz

    • zeal manrn
    • land of the long white cloudsrn
    • land of freezing days [jody lloyd]
    • take me away [jody lloyd]

    Jody Lloyd

    forming dark tower while still in high school, jody lloyd came from a very musical family. sister demarnia was already setting the seeds of her career in dunedin popsters mink when the young lloyd (son of david lloyd, a respected cantabrian folk musician) released the ‘zeal man’ with his dark tower partner eli ‘the eel’ foley. zealman was an absolute smash, a terrific rap based around new zealand references and in-jokes, showing fierce kiwi pride, the site of which had never been seen before in new zealand hip-hop.
    in 1998 jody released a collection of trip-hop flavoured collaborations as shadows on the flatland to unanimous acclaim. a tempered journey of an album, it sounds like a soundtrack to the canterbury countryside and features contrbutions by a large number of the regions residents, including the lloyd family and james taylor.
    in 2003 lloyd again surfaced as a solo musician – now recording as trillion, the more electronically produced and independently recorded and released at a lucid end has so far gone unannounced.
    discography
    picks in bold