Christchurch Venue Map

Note: This is a work in progress and will have additional content added both in the Map (i.e. venue images) or in the body of this post (i.e. a list of the venues in questioned, grouped by status etc).

Feel free to comment, give suggestions etc – this was put together as part of thebigcity’s on-going Venues archive.

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Guitar Wolf and the Transistors at the new Dux Live!

Guitar Wolf
Guitar Wolf

Ok so what would be the best possible way to debut a new venue, replacing a landmark institution in an earthquake-hit city? Why have Guitar Wolf play the opening of course! Oh and make it free! Oh and the Transistors can open too!

Guitar Wolf
Guitar Wolf

Holy heck what a night. Gorgeous summers evening, hanging in the new, rather large, but still inviting Dux Live, with the massive side-doors wide open to show off a lovely sun-set, enjoying a Ginger Tom or 3… then the Transistors came on and kicked arse – James was climbing around the the furniture, trying in vein to get up to the overlooking 2nd story.

Transistors
Transistors

I thin Guitar Wolf may actually be undead. These guys have been playing Ramones-style super fast ‘lock and loll’ since 1987, and since they take no breaks between songs, they whip up a bit of a maelstrom of raunchy party-vibes and killer rock’b’roll moves. Great show-men, addictive energy, just plain all round great show from these Japanese legends.

Guitar Wolf
Guitar Wolf

Looking forward to a ton more shows at the new Dux Live.

“The Dux de Lux: The Unofficial Cultural Centre of Christchurch” by Dr. Sharon McIver

The Christchurch Eathquake Community Journal have posted an article by prominent local music journalist Dr. Sharon McIver on her experiences at the Dux de Lux, in light of their current plight. It’s a good read for those that can (and/or want to) remember the 90’s!

“The Dux de Lux: The Unofficial Cultural Centre of Christchurch” by Dr. Sharon McIver

Shaft [15/11/06]

shaft, the situations poster shaft

w/ the situations, at the dux de lux, nov 15th 2006

Pretty exciting show at the Dux. I caught the Situations years ago back when they were called Devils Gate Drive and I reckon they’ve come along way. Probably helps when your also the new band for the mighty Bob Cardy; the new live and loud Shaft.

Pretty small, but enthusiastic crowd; I think Bob sold a few cds and t-shirts, and the punters took in some good old fashioned pop and rock.

See more photos from this show at Flickr

Springloader

Biography

Formed in late 1993 by Rob Mayes, Springloader was principally a vehicle for Mayes own compositions, predominantly melodic based indie rock, combining the pop of Mayes previous outing in Throw, coupled with the heavy leanings of Dolphin, and a new darker extended edge, Mayes shifting to guitar.

Mayes collaborated with drummer David Toland as an instrumental 2 piece originally with the pair developing a power pop sound progressing and following on from the sound of Mayes previous musical outings Dolphin and Throw.

Mayes had spent the last year working on the Avalanche project and associated ventures, and this leading to a heavier guitar sound.

After a couple of months Mayes invited singer/guitarist Micheal Oakley to join the group on vocals. Oakley had been a regular attender at Throw and Dolphin gigs and came to Mayes attention through his own song writing in Field, which featured Chè Rogers on bass.

Field were almost a tribute band to Mayes own band throw, the band being big fans of Throws music and stylistically similar. Rogers and Oakley were a regular feature on the local pop gothic scene and had been in a number of musical outings together that made waves in those circles, notably CR Eye, and Elder Sign, both bands developing a following at various successful indie all age concerts the band self promoted and arranged.

Oakley bought Rogers into the band and within a month Springloader had arranged their debut performance on February 5th, out of town at Wellingtons Bar Bodega with fellow Christchurchers Atomic Blossom.

This event hinted at problems which would later see the band split with Toland due to his unreliable nature, as Toland misses the plane to Wellington and must fly on a later one, narrowly making the gig.

The band followed this with a support slot for Auckland’s The Nixons (aka EyeTV) in Christchurch and the band hitting further problems with Toland, who went missing the night before the concert leaving the band to arrive at the concert alone.

Toland later arrived and played the show. Wounds healed, the band arranged a local show at the Dux De Lux, Toland once again going missing during the bands pre show rehearsal and arriving again just before the show.

Band relations were heavily strained by this stage but the band agreed to embark on a South Island tour to Dunedin and Invercargill. The band once again hitting trouble with Toland arriving minutes before the bands were due to start playing. Toland was also playing in the support act, the fledgling Future Stupid, the bands first live performance.

The bands played their show in Invercargill successfully before a stressful return to Christchurch and a final blow out before Toland and Springloader parted company.

The band did 2 recording sessions with the original line-up, the first in January and the later in April, recording a total of 14 songs. One track ‘Now I Know’ was included on the ‘Good Things’ compilation. The others have not yet appeared on official release but will be available at some stage.

In September 94 Mayes enlisted new drummer Andrew Kerr, and the band recorded a New Zealand On Air funded video for the track one more thing.

Mayes continued to work on the bands music till the band performed one last time in April at the Dolphin album release party. Mayes left for London in October of 95 to concentrate on his work with Dolphin.

In 2005 the previously unreleased ‘Just Like Falling’ finally saw a commercial release as part of Mayes archival ‘Retrogenic’ series.
– Failsafe Records

Members

  • Rob Mayes (Guitar, 1993 – 1995)
  • David Toland (Drums, 1993 – 1994)
  • Michael Oakley (Vocals, 1993 – 1995)
  • Che Rogers (Bass, 1993 – 1995)
  • Andrew Kerr (Drums, 1994 – 1995)
  • Kevin Stokes (Guitar, 1995)

Discography

Links

 

Throw

Biography

The strange and confusing career of Throw has spawned some of the more successful and impressive releases for the Failsafe label. The band sprung from Failsafe boss Rob Mayes desire to create a studio based song writing ensemble which would have a transitional line-up as the song required.

In late 91 Mayes enlisted drummer Steve Birss again, the pair having patched things up (once again) after Birss’s split from Dolphin in early 1990. Birss had been playing in British influenced four piece Elevation (with David Hunt – guitar, Dylan – bass and Jeremy Talyor – guitar and vocals).

Taylor was enlisted for Throw to add vocals and guitar and in mid 91 Throw did their first ‘rehearsal’ , nutting out a few ideas which were to spawn the tracks ‘Honeyblonde’, ‘Time untied’ and ‘Blinder’. The next week the band recorded their practice and sent away the three songs to the QEII Arts Council for grant consideration.

At the end of that week Throw performed their first gig in support of Naked Lunch at a private party, followed the next week by supports for The Bats and Breathing Cage. Throw quickly built up a strong set of material and in the space of a few weeks had penned the 17 songs which became their stable set.

A month later Throw were headlining their own show at the Dux de Lux followed by a trip to Wellington with co-Christchurch bands Naked Lunch and Loves Ugly Children, playing a gig at the new Carpark to average attendance, and an Upper Hutt show to 6 locals and a bunch of locals who hung out in the other bar, who didn’t like anything you couldn’t ride your motor bike to. Throw also picked up one extra show at hip and happening venue Bar Bodega with ex-Christchurch man Nigel Mitchell’s new outfit, now Wellington based.

This proved to be a luck move for Throw, impressing the local crowd and particularly bar owner Fraser McInnes who took a strong liking to the band and immediately booked them to perform again. McInnes championing of Throw would spill over to Taylor’s post Throw project Cinematic, resulting in Bodega releasing the bands first album.

The Throw project in effect snowballed away from the original intention of keeping the line-up fluid and studio based and the Mayes/Birss/Taylor line-up found themselves heavily occupied with recording and performing over the next 12 months. After the initial rush had died down the band hit some internal political problems with singer Taylor wanting to claim full song writing credit for all material.

Mayes objected to this on the grounds that at least half of the bands music was written or originated from Mayes ideas, and all the material the band performed was worked on and contributed to by all members. Taylor being somewhat of a jukebox for modern pop songs, if he has heard a song he can most times play a version of it.

Taylor later conceded sometimes he couldn’t remember which stuff he’d written and which stuff he’d memorized from music he’d heard. This proves to be somewhat of a problem for the band during writing stages for the group as tunes initiated by Taylor sometimes bore strong resemblance’s to music Taylor had recently heard, and in some cases to Mayes own material he had presented at previous rehearsals.

After a few months of heated contemplation the songs were eventually registered with 1/3 credit to taylor/Mayes/Birss, but the situation had led Birssto limit his commitment to the project and Birsswould now only perform in Christchurch, and for recordings. Mayes enlisted Caroline Easther to drum for the bands North Island shows, Mayes being a fan of Easther’s drumming since her days in Beat Rhythm Fashion, through to The Chills, Verlaines, and Easther’s own band.

Relations with Taylor continued to strain, perhaps due to Throws instant success, something both Mayes and Birss had been used to with their work in Dolphin, but the young Taylor (20) had difficulty with, falling foul of the rock and roll ego syndrome.

Taylor, Mayes and Birss shoot a video for the lead track ‘Wishes from her heart’ on the forthcoming ‘All different things’ EP at the picturesque Castle Hill, the band perched precariously on rock top, during intermittent snow and sunshine. Throw continued to perform around the country working to ward their Arts Council Fund debut EP release. Throw’s work with Taylor culminated in a series of concerts building up to the release of the ‘All different things’ EP.

Taylor and Mayes played shows in Hamilton and Auckland (Powerstation with Semi Lemon Kola and The Nixons) with Easther drumming. These shows were followed by a Wellington date with Easther and a Palmerston North show as two piece with drums on backing tape, at the Feast of Stevens own EP release party. Throw were joined by Feasties drummer Glen Fletcher for the last song of their set away, a tense controlled number.

Fletcher had that day committed himself to a psychiatric hospital for mental stress, leaving the Feast of Stevens to spring him for their gig. Throw started ok with “away” but by the end of it the song was racing out of control, leaving everyone present much amused.

Taylor and Mayes drive back to Wellington straight after their Palmerston North set and find themselves at Bar Bodega with a small crowd of people and so play their two piece line-up set to excellent response. Mayes and Taylor return to Christchurch to prepare for their EP release concerts which entail a release party at Mainstreet Cafe where the band were to perform in a stripped back fashion as opposed to their normally full on power gigs, and a concert at the Dux de Lux.

Tension between Mayes and Taylor had been brewing progressively over the previous few gigs and the situation came to a head on the day of their Mainstreet Cafe release party, resulting in Taylor refusing to attend. Throw played their last performance in the original line up at the Dux at the end of September with the band not saying a word to each other throughout the gig. Mayes takes the next few months to work on the album, finishing off the songs the band had laid the basic tracks down for at the time of recording the EP.

The album is finished in mid 1994 with initial singles being released to New Zealand on Air for inclusion on the ‘Kiwi Hit Disc’ series. Taylor’s desire to pursue his solo song writing leads him to form Cinematic and he recruits bassist James Gutherie, guitarist – and drummer Steve Birss. Cinematic go on to record and release a debut album with that line-up, followed by a further two albums in the mid to late 90s. ‘Falling inside me’ is released as a single backed with ‘Freefall’ and receives a video grant from New Zealand on Air.

The video is directed by Jonathon King and features Auckland actress Rebecca wandering round Auckland rooftops looking pouty and plaintive. The finished video is some way away from the brief given to King. A still from the video is used for the ‘Rememory’ album cover. In march 95 the ‘Rememory’ album is released. ‘Nowhere near’ is released as a single backed with ‘Time untied’, a track with it’s origins in Taylor and Birss’s previous band Elevation. The track also receives an NZ on Air video grant, the video being directed by film maker David Reid.

Mayes is again unimpressed with the directors interpretation of the bands music, the finished video result being some sort of a yuppy pool room love story. In June 95 Throw get another video grant this time for the track ‘Honeyblonde’. Mayes decides to work with camera man Brett Nicols and director and animator Gregg Page who had worked on the springloader video. Mayes also attends the film shoot and assists page on the video which is an animated claymation performance based video, showing the band performing as clay figures.

The video was nominated for a New Zealand music award as best music video, along with videos from Supergroove and Shihad. In August 95 ‘All different things’ receives a video grant and Page and Nicols again make a video for this track, based on the story of a scientist who creates a three piece band to perform a love song to impress a girl.

Mayes shifts to London in November 95 and continues to work on material for the follow-up album, ‘Dream baby good-bye’, which features unreleased re-worked material from the original 1992 sessions as well as recently recorded material.
– Rob Mayes of Failsafe Records

Members

  • Rob Mayes
  • Jeremy Taylor (Guitar/Vocals)
  • Steve Birss (Drums)
  • Caroline Easther (Drums)

Discography

  • Falling Inside You Single (Failsafe Records)
  • All Different Things EP (1992 Failsafe Records)
  • Rememory (1995, Failsafe Records)
  • Nowhere Near Single (1995, Failsafe Records)
  • Dream Baby Goodbye (1995, Failsafe Records)

Links

Voom, the Sneaks and The Undercurrents @ the Dux de Lux [21/03/07]


At the Dux de Lux [21/03/07]
So after catching Hot Fuzz (a cop film from the makers of Shaun of the Dead – Fantastically funny) we made it down to the dux in time on a lazy wednesday night to fill out the crowd a little; i guess $15 is probably a little steep on a wednesday…

Anyway we caught most of the Undercurrents, and there set was excellent; i love it when they’re restrained and mellow, all those lovely textures come rolling out, showing off their quality tunes.
speaking of which, its no secret the Sneaks are one of my fav NZ bands due to their knack with quality, catchy pop songs. They rocked through a class set of tracks like ‘Godzilla’, ‘Kuzai Heart U Girl’, ‘You Suck!’ and ‘Hot Amyl Nitrate’ as a bunch of us fools jumped around in front of them; so much fun and apparantly the albums out soon! choice!
Voom were Voom. A couple real good crowd-favs, but im always left feeling a little passive with those guys. Still ‘Be Your Boy’ is a great track and with the new lineup they;re certainly tighter than a ducks bum.
see more photos from this show at flickr

Substandard – Low Electric City Pulses EP / Global Research Centre

2002, Failsafe Records

Two wonderfully hand-packaged releases from local 3-piece Substandard.

Best described as an instrumental band with involving guitar textures (Danny Bare), driving bass guitar (Gareth Heta) and funky drumming (Andrew Robbins); they been highly prolific around town this year, and their release party at The Dux was the icing on the cake.

There’s the 3 (+1 hidden track) EP from earlier in the year, and the full-length debut ‘Global Research Centre’ which expands on the earlier release with a fuller, more fleshed out sound. The end result is actually pretty close to their live performance, with some stunning subtle guitar drenched in echo and reverb.

Coming from the Hiss Explosion / High Dependency Unit school of guitar-workmanship (creating wonderful cascades of sound from a plethora of toys), its quite evocative stuff. Perfect driving music, the album sweeps from gentle willowing numbers right up to powerful, full-tilt rockers reminiscent of the (now defunct) Subliminals. Highly recommended.

Atomic Blossom

Biography

The brainchild of Christchurch musician Dean Karena who first came to local prominence with his previous band Naked Lunch in 1990. [Atomic Blossom had] their first performance at an outdoor concert at the Dux de Lux in Christchurch, first up on a rainy outdoor show featuring Cinematic, The Headless Chickens and Dave Dobbyn.

Trevor Hall had previously worked as an Orientation and Activities co-ordinator for University events, but he was a relative newcomer to drumming, and the band felt they had to replace him almost immediately, shifting Hirtzel from bass to drums and bringing in Layton Pace (Trawler, Swirl).

This line-up quickly cemented itself and recorded 5 songs almost immediately, one track appearing on the Good Things compilation, the other 4 eventually being re-recorded toward the band’s album. Pace left the band after 6 months choosing to commit himself to Trawler, where he got to sing and write his own music.

Pace was replaced by Matt Monopoly and this line-up stayed solid till the band eventually disbanded in disastrous circumstances in New York in 1995. The story goes that the band continued to grow in popularity, working toward their self-released album, and building a strong following for their heavily British sonic guitar sound.

The band secured support slots for Smashing Pumpkins on the 1995 New Zealand tour, impressing the Pumpkins and management. Meanwhile Atomic Blossom’s manager was in the US working at securing the band industry support and arranging concert dates for them stateside.

AB put the finishing touches on the CD and pressed 500 copies. This was used as a demo of the bands material and hardly any of them saw public release. The album remained pretty much impossible to obtain for ten years, until Failsafe Records remastered and re-released it in 2005.

At the end of 1995 Stone left for the US, the rest of the band were to follow early in 1996. Unknown to the rest of the band Stone had tired of playing in the band and felt her leaving for the US was indication enough to the others that she wanted to leave. The other members followed in 1996 and the band united to play American concerts which secured them heavy interest from US labels, notably Maverick Records.

A record deal was as good as signed apparently before Stone chose this opportune moment to abandon the band, effectively scuttling the project.
Stone stayed in New York, and Karena, Hirtzel, and Monopoly returned to NZ and disbanded. Karena left NZ for Australia, probably disheartened by the turn of events. Hirtzel concentrated his efforts on his other band Debris. Monopoly has since moved to the UK and is presently rehearsing with Jeremy Taylor toward possible work as Cinematic.

– Failsafe Records

Members

  • Dean Karena (Guitar/Vocals, 1993 – 1996)
  • Prudence Stone (Guitar/Vocals, 1993 –  1996)
  • Greg Hirtzel (Bass/Drums, 1993 – 1996)
  • Trevor Hall (Drums, 1993)
  • Layton Pace (Bass, 1993 – 1994)
  • Matt Monopoly (Bass, 1994 – 1996)

Discography

Links

 

Into The Void [March 2005]

When a band’s been around a scene a long time, they start to develop a certain aura about them. Into The Void were always something of a notable band, with a vested interest in the local music and art scenes, they rose to national attention in the late 1980’s, released an unrepresentative debut album, then returned to the Christchurch underground.

An Into The Void show is an experience. Over the course of their lengthy existence, the void have crafted sturdy, rhythm driven songs that can explode with tremendous shards of guitar and machine-gun drumming, based on an atmospheric mix of heavy, repetitive bass-guitar and scratchy, scattered gramophone projections and often fronted by a frantic, free-roaming showman of a vocalist.

Approaching twenty years on the live scene and 10 years since their last line-up change, i spoke with newest member, bassist Dave Imlay and gramophone operator / sound manipulator Paul Sutherland, shortly after the release of their 2nd album from their practice space in central Christchurch.

Paul: Jason [Greig] and Mark [Whyte] went to art school together, and they bought a guitar together and they used to come up here. I don’t know what they did

Dave: They must have taken turns [laughs].

Paul: They called themselves the Deaf Mutants. I think at that stage Hamish Kilgour’s drum-kit was up here, as Bailter Space practiced at this space, back when they were called Nelsh Bailter Space (1986-7 maybe). And then at one stage i ended up doing something with them, playing electric recorder or something. At that stage Jason was playing guitar; somehow Ronnie [Van Hout] turned up.

(Dave interjects) Art school…

Paul: Ronnie was just part of the scene, and so he just turned up, but it was pretty obvious he couldn’t play an instrument, so he became a singer and we were a band.

Paul: I was conned into buying an amp and a bass guitar ’cause the others didn’t think an electric recorder would go down in public.

Paul: They bought me a ‘how to play bass guitar’ book by Geezer Butler [laughs]. I was so serious about it – trying to play a riff; it came with this flexi-disc of Geezer Butler playing bass, which made it into a Flying Nun exhibition.

As with vocalist Van Hout’s rise to prominence on local and international art scenes in the early 1990’s, the band themselves started getting attention. The recently Auckland-based Flying Nun committed to the band, though it would take around 2 years for their debut to finally be released (after initially appearing on the ‘Freak the Sheep‘ compilation).

Paul Sutherland quit the bass to play the gramophone full-time. James Greig joined as bass-player but he gave the bassists’ slot to Dave Imlay, so he could work on the guitar. Ronnie Van Hout and James Greig both headed overseas but still continue to work with the band when back in the country.

Thankfully, the band has kept going throughout the 1990s and into the 21st century. With an expanding and retracting line-up, the Void have always had an eclectic and variable sound but one thing has always been constant; volume.

Paul: James Greig’s experience as being our bass player was he managed to make a speaker burst into flames. That was pretty impressive. He tried blowing on the speaker to fan the flames, but that made it worse. Actually we blew up a PA at Warner’s once as well.

Paul: The volume thing is an interesting thing, (in the early days) we had a gig at the Subway were nobody stayed in the room, everyone had to leave the room because it was so loud. That was because our sound-person had just taken some drugs and didn’t know what he was doing.

Dave: I was there at the time; i think i went off to the poolroom.

In the late 1990s the Provincial Lounge on Cashel Street was an active and eclectic place to be. Thanks to Chris ‘The Hippy’ Wilson’s huge PA stacks, this tiny, decrepit venue was able to generate a fair racket, especially when a band so inclined to explode as the Void took the stage.

I have very fond memories of the Provincial, but standing in front of Into The Void, consumed by a wall of guitar, bass, and tom drums is probably what first comes to mind. Already pushed to the limits of volume, with my ears starting to feel every tonal change directly, their drummer unleashed his trump card – an apocalyptic assault of double-kick, heavily amplified through these giant wooden speaker stacks. My ears were ringing for almost 4 days.

Paul: When we started practicing we had like 10-15 watt amps. We definitely were not loud then. Mark was playing Hamish’s drum-kit, which is basically a folk-rock kit. But then a few other things changed, Jason bought a real guitar and amp, i got a proper bass amp.

Dave: Mark bought that drum-kit, which is the loudest drum-kit in the world

Paul: Ex The Androidss

Dave: I think we’re quieter now than we were a couple years ago.

Paul: I think it’s an internal tension thing, too. But i think we’re more intense, the last 2 times we’ve played the sound’s been better, i don’t think we’ve been as physically loud, it’s just more intense. Like Mark’s drums – it’s just a physical element.

There were times like when the Void played on the roof of Dave Imlay’s High Street store, confusing many passers-by. Or the time their full line-up packed the Dux de Lux, with Ronnie spouting his own off-hand take at the Fall‘s ‘L.A.’ to the jeers of the crowd. And of course there was the phenomenal Media Club gig that saw an entire room of normally restrained scensters take to the dance-floor, grooving down to a tight and engrossing Into The Void ripping out ‘Interstellar Overdrive’ and familiar Black Sabbath-like riffs, a truly visceral release.

Dave: I think it was because i could never follow what the others were doing. When Jason starts playing something, he changes it all the time, so i decided to come up with a bass-line that just repeated over and over. Repetitive riffing, though not all the songs are like that. I play it like a guitar, play chords and use an overdrive and that. Though i guess as time’s gone on i’ve become more like a bass player, more by accident. I’ll play something and (Jason and Mark) will say ‘that sounds like Geezer Butler!’ [laughs]

How does the band get it together with the overseas members when they’re away so often?

Paul: There’s two parts to that. When James visits, it’s pretty intense. He comes and lies on the floor and plays really loud and doesn’t listen [laughs].

Dave: I think we’ve gotten used to playing (with a smaller line-up), but when James comes along it takes a few practices for him to get back into it.

Paul: Where as Ronnie; it’s interesting you read – in the art world of Ronnie referred to as ‘collaborating’ with Into The Void, i don’t know what that means. Ronnie snaps in pretty well.

Dave: We had 3 or 4 practices with Ronnie last year though we didn’t play live, and we seemed to get something out of each one that was pretty good. Still, maybe it’s easier to add vocals to music that’s already figured out than to add new guitar parts.

Some time ago a date was scheduled for a recording session. The then Melbourne-based Ronnie was going to be in town for a few days (James still lived in Christchurch at the time). The album was put together from a 4 day session at John Kelcher’s National Grid studio – which had been recommended by friends, with opening track ‘John Hore’ coming from a much earlier session at Arnie Van Bussel’s Nightshift studio, after initially being discarded.

Dave: It was before i joined. ‘John Hore’ – with Ronnie playing bass.

Paul: I was sick or something, but i went to the mix down and that was really weird.

Dave: Arnie thought it was a kind of 70s prog-rock thing or something, he was trying to make it sound like yes or something.

Later Rob Buick (of the Black Panthers) turned up for a session at Nightshift, found and recovered the tape, giving the band a mix down for a song the band thought they had lost. The National Grid sessions were significantly more productive, as the band were well aware of their time limitations and were aiming for a completed album inside of 4 days of recording.

Dave: The one with John – it was done in a tiny little studio. And there were all sorts of things that weren’t supposed to happen, Ronnie doing vocal backups with himself (due to tape spillage) – it sounds great, but it was just an accident, so there were all sorts of incidents that happened with the equipment at the time. Ronnie was there dancing around for the first 3 days when we laid down the music, he would write things down at the session and work on lyrics overnight. It all came together on the last day when he added his vocals.

In time-honored void tradition, there was a long period before the album finally saw the light of day. Searching for a label proved fruitless, so the band has released it themselves on their A.Void music label.

I can say without any reserve that it’s the best thing they’ve committed to tape. Though no longer connected to a more commercially-orientated Flying Nun, you should be able to find ‘2’ in most record stores in New Zealand – i thoroughly recommend it.