Born Celia Patel (and at one stage known as Celia Pavlova), Celia Mancini was a smart, creative, talented and volatile musician. A born front-woman and general icon within the music community, who was never afraid to speak her mind, and unfortunately passed away at a far too young age.
Patel was born in Auckland but her musical history started in Christchurch, playing in a number of bands in the mid to late 1980’s, as well as managing seminal Christchurch sonic explorers Into the Void.
She was the original front-woman for legendary scuzzy lo-fi group The Axel Grinders (and writing their most excellent single ‘Apparatus of Love’ – Rita Le Quesne replaced her on the recording), fronted the fantastic all-girl group The Stepford 5, and kept things mellow in the lounge group The After Dinner Mints with Bill Vosburgh (formerly of Perfect Strangers).
By 1992 Celia had met Chris Heazlewood and Pat Faigan (aka Duane Zarakov) up in Auckland – kicking off the next phase with what must be her most well known group; New Zealand’s boundary-pushing surf-kings King Loser. For a period the duo also pulled double duty in Peter Gutteridge’s wonderful Snapper.
The group were relentless prolific in the early years – recording their practices to ghetto-blasters / walkman’s and expanding their overseas connections with a handful of 7″ releases plus the original King Loser LP – ‘Super Sonic Hi-Fi’. The album caught the attention of Flying Nun – however Celia noted they never considered themselves a Flying Nun group, and at times conflicted with individuals within the label as it reached its commercial apex in the late 1990’s.
Celia released a solitary 7″ under her own name in 1996, and by late 1997 King Loser were no more. However she did resurface (at least temporarily) in the hard-rocking Auckland group Mother Trucker, plus created a handful of online videos under the moniker ‘Slightly Delic’, including documenting the bFM music awards, where she stormed the stage after failing to be nominated for the ‘Foxiest Chick’ award…
As the 90’s became the 2000’s, Celia disappeared from view. It wasn’t until April 2015 before she was back in the public eye – with a video performance of a reunited King Loser at Audio Foundation in Auckland. Celia sports casts on both arms, but the group rip through the classic ‘Morning Dew’ like they’d never been away.
Further live performance and a short tour followed in 2016, with director Andrew Moore releasing a promo video for a promising upcoming documentary on the band, which seems to shed a lot of insights in to what was going on with Celia (and the other King Loser members) at the time.
Celia passed away in September 2017, the news sent shock-waves through the online community. She was a bright spark and will be greatly missed.
Tell me about your early exposure to music (both listening and playing). I understand your mother worked for the British Forces Network radio station and that you were in a teenage group called the Psychedeliks?
I lived in Cologne, Germany until shortly before my fifth birthday. Although the “Allied occupation” was more or less over the Anglo-American cultural colonisation of Germany, the condition that many German filmmakers of the 1960s and 1970s used as a launching point for their work, was still in full swing. I don’t remember the oompah, thigh-slapping “schmaltz” music that bedevilled popular local music. I remember Elvis and rock and roll when I try to recall Germany. The Psychedeliks were a band in name only and I think I was pre-teen, technically speaking. The only one with an actual instrument was me. I had a Diplomat six-string electric bought from Sedley Wells as a package with an amplifier that dated back to the late 1940s and which took about a week to warm up). I couldn’t play guitar at all at the time but I did come up with the band name and the spelling of it and I decorated the drum kit made out of crates with “crazy” lettering. We were as influenced by the Monkees as we were by anything really countercultural.
What was your perception of Christchurch as a teenager in the 1970s?
It depends a little on which part of the 1970s you are talking about. The early ‘70s felt very exciting. I was a regular, albeit slightly-out-of-place, attendee at local non-pub gigs at places like the Caledonian Hall or English Park. Bands like Butler played regularly and it was like having Hendrix’s cousins living in the same town. I barely noticed the drug culture and was a source of amusement to the core stoners who followed various bands around. I remember an Epitaph Rider bailing me up in a toilet to scrutinise the Maltese Cross I had hung around my neck. That was the happy hippie period for me. Things got weirder as the decade wore on. I remember sitting in the Christchurch Town Hall in what I thought I was a pretty adventurous pin-stripe suit from an op shot waiting for Lou Reed to come in the mid-70s when he was touring Rock and Roll Animal and looking behind me to see several people dressed so outrageously that it made Lou Reed look like an accountant when he finally took the stage. I distinctly remember one Maori gentleman who was dressed in a Hussar’s uniform with an Afro and white make-up. Not long after that I found The Gladstone and the denizens there who seemed bent on carrying on the tradition of Andy Warhol’s Factory irrespective of the bands who played the three-nighters.
What can you recall about the time spent in (Pin Group pre-cursors) ‘Compulsory Fun‘ and ‘Murder Strikes Pink‘? Did these groups have a different sound from the Pin Group?
These were “precursor” bands. I was still learning to play guitar so three-chords/three minutes/buzzsaw music was the norm. The Saints were a big influence for me at that time. But we had a few atmospheric, brooding, plodders that anticipated the Pin Group modus operandi a year or two later. There were also the seminal hangovers from the glamrock and hippy era: Compulsory Fun opened their one and only show in 1980 at the England Street Hall with a cover of Roxy Music’s Virginia Plain, much faster of course than the original, and ended with The Byrds Eight Miles High done in manic overdrive well before Husker Du had experienced their own epiphany on that tune. Murder Strikes Pink used an image of Franz Kafka in posters for its handful of gigs at the Gladstone. Need I say more?
Can you lead me through the events that bought about the very first Flying Nun single? Tell me about the recording and your relationship with Roger in the early days.
In a general sense I think it was the accumulation of hard-to-get DYI punk, post-punk and obscure 60s vinyl coming from the UK and the US shared amongst a handful of folk committed enough to fork out large amounts of cash to pay for imports that led to a realisation that if no-one else was going to back the equivalent energy and garage aesthetic here then we had better put up or shut up. The first Pin Group recording was technically a Flying Nun distribution deal rather than an in-house recording i.e., the Pin Group paid for the recording, paid for the pressings, paid for the screenprinting and sleeves and Roger marketed it outside of Christchurch. You’ll have to ask Roger but I think he got to starting a label by a process of elimination. If you were not going to be in a band but you were not content to just stand there and watch your friends embarrass themselves in bands what else could you usefully do which no-one was doing? Band “managers” were rated about as highly as car-dealers. Label owner in the mould of Rough Trade seemed worthy to all and sundry at the time.
Peter Stepleton was playing in the Victor Dimisich at the same time as the Pin Group – do you remember other notable groups from the era? Did the Pin Group play at pubs or parties, or other locations, and what was the typical audience reception for the Pin Group?
The Pin Group played all of their ten or so shows bar one at the Gladstone. The other was at a Dada Cabaret night in the Arts Centre. Just prior to formation of the Pin Group the Vacuum Blue Ladder Band, the Vauxhalls, Vapor and the Trails and Stanley Wrench and the Monkey Brothers and were notable groups who played regularly in the late 1970’s. 25 Cents, the Volkswagens, Hey Clint, Mainly Spaniards, Ritchie Venus were local contemporaries of the Pin Group. The first wave of Dunedin bands were making their tentative sorties to Christchurch at this time as well. Typical audience reception to the Pin Group was bemusement as far as I could tell. I remember Bill Direen doing headstands on the dancefloor of the Gladstone to one of our songs but I think he was making some sort of Dada anti-art statement. On another night two women in bondage gear whipped one another for another number while a vibrator buzzed happily on a nearby beer-soaked table. Dancing and other expressive audience participation was not common for us so we had to be grateful for what we got.
Were the groups songs trying to evoke a certain mood, feeling, etc? Your later solo releases often contain a cinematic or landscape type feel, and you’ve been involved with theatre.
I think the lyrical content from Peter Stapleton and Desmond Brice was very filmic and atmospheric albeit rather bleak and fraught in a psychological sense. Desmond made no secret of his lyrics as recriminations or self-recriminations and used to refer to himself as Jim Despondent at the time – a not-too-subtle Doors reference. I think both of them were writing words in a film noir style but it took the music that I was coming up with at the time a while to catch up. I think I was getting there about the time of Pin Group Go To Town and it went off more or less on its own after that. Often black and white but also technicolour or at least glorious Sovkino colour. My work with the Free Theatre in the mid-1980s which involved doing sound and lighting design for theatre before straying acting was to begin with less a deliberate choice about honing a particular scene-making or scene-evoking craft than it was about worrying that my girlfriend was going to make off with bohemian members of the theatre group and having to justify my presence at rehearsals and shows. The fascination with working in experimental theatre, which very few people seemed to understand at the time, and the creative scope afforded by its enforced minimalist aesthetic came a little later.
How did the new ‘Ambivalence’ release come about? I understand you worked with Arnie van Bussell on mastering the release – but where did you source the live recording?
I don’t know how much “pre-loading” or seed-sowing was done by Bruce Russell in this matter but Roger Shepherd rang me at some point in 2010 to announce that having reclaimed Flying Nun one of the prime re-release projects he had in mind was the Pin Group. I thought that this was a chance to correct a minor error on the Siltbreeze compilation of 1997 where a Coat demo had been accidentally substituted for the Flying Nun 003 track. The idea of doing a decent Ronnie van Hout artwork package was part of Roger’s pitch but I thought that it could do with an extra dimension if possible. As it happened our house got turned upside down in the September 2010 earthquake including the attic in which a daunting quantity of old cassettes had been carelessly stored. Some poorly labelled but vaguely familiar tapes had floated to the top of the mound of debris. I recognised these as various Pin Group live mixing desk tapes from the Gladstone which were only really meant at the time as working documentation to learn from for future improvement. I took it as a sign that something would have to be done to tidy up these loose ends. Hence the live recording.
Have you ever considered a reunion?
That ship has probably sailed. It was hard enough to get me on stage the first time around which frustrated Peter and Ross, understandably. And although I have mellowed a little in the ensuing decades and I believe that Peter, at some very and genuine fundamental level just loves making music with others I think that Ross, in particular, would struggle to see the point in it. I don’t think the old songs would be too complicated to reprise and our stage act was hardly athletic so we could probably do a reasonable impression of ourselves but it was more about the recordings than the shows back then so it is not an easy case to make.
Wreck Small Speakers On Expensive Stereos were a Dunedin-based duo consisting of Michael Morley (Guitar/Organ/Vocals – before forming the Dead C, 2 Foot Flame, Angelhead, Tanaka-Nixon Meeting, The Weeds) and Richard Ram (Bass/Guitar/Vocals) – though in an early video recording Morley states the group had formed ‘Up North’ before heading to Dunedin. The duo released a handful of handmade cassettes and had an affiliation with Bob Scott’s Every Secret Thing label, with both album releases and compilation appearances. Their most well known material is the River Falling Love EP which was released on Flying Nun in 1986 before being expanded and re-released by US label Ajax in 1993. Morley formed the Dead C in 1987, effectively bring an end to Wreck Small Speakers.
Featuring performances from other Dunedin musicians: Denise Roughan (Recorder/Vocals – Look Blue Go Purple, The 3Ds, Ghost Club), Ivan Purvis (Guitar – Love In A Gas Oven, Alpaca Brothers), Lesley Paris (Drums – Look Blue Go Purple, The Puddle, Olla), Bruce Blucher (Drums – Cyclops, Trash, Fats Thompson, Brown Velvet Couch, Alpaca Brothers) and Martin Kean (The Chills, Doublehappys, Fats Thompson, Stereolab). The groups recordings are based around strong rhythm tracks – usually plucked bass guitar and drum machine, with shout-sung vocals, fractured guitar riffs and organ squeels, with samples and other sound manipulations added into the mix. Though experimental, Wreck Small Speakers retained a high level of musicality and accessibility.
Both their creative genius and the quality of their songs really shines through on the groups lo-fi cassette recordings. The slinky, funky bass and proto-rap vocals on ‘Over My Skull’, the low-key beauty of River Falling Love highlight ‘All Of This’, and Denise Roughan’s wonderful appearance on their most well-known song ‘Rain’. Small scraps of the bands fairly substantial discography have appeared in the digitally archived era, however if ever there was a Flying Nun associated act that could use an anthology release it would be Wreck Small Speakers – its been almost two decades since Morley’s Dead C band mate Bruce Russell released A Child’s Guide To Wreck Small Speakers on his own Xpressway label.
Michael Morley (Guitar/Organ/Vocals, 198?-1987)
Richard Ram (Bass/Guitar/Vocals, 198?-1987)
Denise Roughan (Recorder/Vocals, 198?)
Lesley Paris (Drums, 198?)
Ivan Purvis (Guitar, 198?)
Bruce Blucher (Drums, 198?)
Martin Kean (198?)
My Blue Fairy Godmother [1983 Wrecked Music WRECK14]
3.V.M. EP [1983 Wrecked Music WRECK20]
Over My Skull Cassette Single [1984 Every Secret Thing EST 06]
Cave Cassette [1984 Every Secret Thing EST 21]
Worlds Fall Apart cassette [1984 Every Secret Thing EST 24]
A Summer In Taradale Cassette [1985 self-released]
River Falling Love ep [1986 Flying Nun FN068]
A Child’s Guide To Wreck Small Speakers Cassette [1988 Xpressway XWAY03]
Ian ‘Blink’ Jorgensen starting calling the events, zine’s, festivals and tours that he organized ‘A Low Hum’ back in 2001, so the 2012 Camp A Low festival marks his 10 year anniversary as a rather prominent force in New Zealand live music, of particular note in independent circles, as well as being the sixth such festival he has helled.
The festival is a full 3-day / 4-nights: on site camping, multiple environments, BYO alcohol, a particularly diverse array of musical acts and attendees. This year was located in the scenic surrounds of Camp Wainui, a campsite located in natural bush in Wainuomata usually occupied by Boy Scouts. The 2012 event brought together 70 booked acts from the USA, the UK, Canada, Germany, Argentina, Australia and New Zealand – along with an equally large of amount of ‘Renegade’ acts, who popped up during the length of the festival.As one of approximately 800 campers I may not be the only festival attendee who drank a little too quickly on the first night and failed to party into the night that evening, and I also may not be the only camper that experienced the delights of acts from across the world, as well as from their very own household – but with my unique perspective in mind I present my own recollections of Camp a Low Hum 2012:
This was my fifth appearance at Camp, however this prior experience unfortunately couldn’t prevent my own excitement on the first day, so the first part of this review ends around 10pm on the first night, a little after catching a returning So So Modern in driving rain, and feeling the pain (fortunately only in my head) of quick drink and not a lot of food.
After a quiet pre-festival night things kicked off proper on friday morning, though a little slowly. It was drizzly and a bit of a breeze was flowing through the Wainui hillsides, but the weary camp goers eventually awoke to the sounds of Wellington based free-style rapper Megalex, improvising rhymes about suggested topics in front of the camps pleasant (though pretty chilly at this point!) lagoon. A surprisingly shy Street Chant vocalist/guitarist Emily Littler is who I caught next. Performing as Emily Edrosa she played a short set of acoustic songs at an intimate site surrounded by band accommodation dubbed the Lawn.
Camp A Low Hum sets are typically around 25 minutes, giving attendees a nice short introduction to an act, whilst not bombarding them with a long set. Performers often play twice, resolving conflicts when simultaneous shows are on (which is throughout the majority of the festival), and so-called Renegade shows can pop up at any time, often resulting in party like atmospheres with enthusiastic crowds. Venues go from typical camp-site rooms where bodies cram in to every corner, to a seated forest site, to expansive lawn areas that can easily accommodate the entirety of the festival crowd.
Adelaide solo act Rites Wild took things back to the lagoon, the first of quite a few loop-pedal warriors that played throughout the festival. Playing very dark synth drones with a lot of reverb – it was quite a somber performance – or maybe that was just the weather, by this stage starting to get on my nerves. However the second loop pedal aficionado, Melbourne violinist Wintercoats was more my style, playing an emotionally driven set of songs reminiscent of Owen Pallett (aka Final Fantasy). Things really kicked in to gear when Auckland based rap duo $noregazZm hit the lagoon, switching slots with an absent Spring Break (who arrived the next day) and playing a spastic, snotty set of songs, enticing the crowd to join in their fun. Their vocalist Lisandru Grigorut had previously made his Camp debut in equally spazzy Dunedin punk outfit TFF, despite being thoroughly under-aged.
While roaming the ample camp grounds and enjoying the setting, food and the taste of my deadly beverage I managed to breeze through performances by rather-great Sydney rock trio No Art, Auckland-based Flying Nun fans Lost Rockets, kitschy but cute and catchy Melbourne keyboards and loop-pedal soloist Kikuyu and Newcastle, Australia based guitar and keyboards soloist Alps – who has been quite a regular visitor to our shores over the past 8 years or so, and plays a very personal style of experimental pop music.
Seems appropriate that it was Christchurch’s own T54 that ushered in the bigger stages in the late afternoon. The recently signed Flying Nun act thrilling with sharp guitar playing, pulsing rhythms, and even a random guest vocalist. I’m not sure if the next act I saw in the Forest was Melbourne trio Absolute Boys (though they seemed to contain the same members?), as they replaced the absent Glass Vaults, but their set of minimal electronics swirled and pulsated and sounded simply wonderful in this idyllic setting. One of the truly great finds of the festival for me was Newcastle, Australia power-trio Bare Grillz; totally at home in a house-party setting with a terrific drummer and two guitarists with equally terrific haircuts. Playing aggressive, dynamic punk numbers punctuated with anthemic shouting and a good dose of humor, I’d thoroughly recommend you check them out if you get the chance.
I think this is when my enthusiasm started to get the better of me. Melbourne punk rock trio Ouch My Face were on the main stage, making a second appearance at Camp A Low Hum in their own sassy, sarcastic way. Meanwhile I’d been indulging in my surroundings, eating and drinking with my friends, girlfriend and fellow campers as the rain started to get stronger, with gusts blowing in to the valley and bringing dark clouds with them. I skipped a couple acts for a dinner break, but returned for the magnificent So So Modern, fighting a killer headache to thoroughly enjoy their great set of songs new and old.
The Wellington trio (now without fourth member Aidan Leong) have become more laid-back than their debut recordings, with a more progressive sound in recent years, so It was a treat for them to run through some of the punchy older hits – a dynamic mix of bass heavy keyboards, stinging guitar, sing-shout vocals and truly ravenous drumming. Wind lashed the side of the stage which was thankfully covered in weather-protecting canvas – thankfully giving me a little respite and shelter as I took photos of the band going full tilt. That was it for the night though, I threw in the towel, formulating a new approach for day two of the festival as rain pounded my tent with my head pounding along concurrently.
Rock Power-Trio from Christchurch City, announced in late 2011 as one of the revitalized Flying Nun records new signings. Led by guitar-slinger Joe Sampson, with productive drumer Matt Scobie (Undercurrents, Black Market Art, Planet of the Tapes) and bassist Sam Hood the group only formed in 2009 but quickly shot to prominence in their home-town before ‘making our way to Dunedin in July 2010 to record 6 songs in Dale Cotton’s home studio’. They’ve since released those recordings on Jasper Bryant-Green’s ‘Gold Sounds’ label, plus a 2nd EP in late 2011.
Another stunning Flying Nun birthday show at the CPSA! T54 we’re a great start to the night, showing why they’re one of Flying Nun’s latest signings with great rollicking tunes propelled by Joe Sampson’s Flying Nun-influenced guitar riffs. Meanwhile some very unusual independent short films we’re playing behind the bands, care of Stuart Page.
The Subliminals ‘United States’ album is one of my favorite 90’s Flying Nun releases, and seeing them last night bought back a flood of memories. ‘Uh Oh’ went off like no other, what a great, driving rock song from one of the label’s most under-appreciated acts.
The Clean played an epic set of songs that stretched from the earliest EPs, through to (almost) now, with the crowd singing along to all the early stuff, and some of the later songs making for surprise highlights too. Hamish was very vocal behind the kit, expressing his disgust at the nights election results, though most of this seemed to fly right past the packed audience.
Another night, another awesome show at the Christchurch Polytech Students Assoc.
Last nights Flying Nun birthday special saw the return of HDU; with support from Christchurch local Delaney Davidson. Delaney has just come back from Australia, but played a great set of memorable songs in his distinctive countryfied style, mixing things up with a dance contest, and building his sound using well-orchestrated loops and hand percussion.
HDU were simply epic. They played a vast set of songs that ran the line from intricate, delicate numbers to full-on blasts of pure energy. Great to see these guys back in Christchurch once more, and the crowd simply lapt it up; getting very enthusiastic as the set went one. Just a simply stunning exhibition of sound. Aces.
Wow. These Flying Nun 30th Birthday shows kick ass.
Popstrangers are an Auckland 3 piece I haven’t seen before, but their rather good drummer looks very familiar… Anyways I enjoyed their set, pretty in your face guitar music with some cool bits and pieces.
Ghost Club are one of my fav still sorta current Flying Nun acts – both their self-titled debut and the follow-up ‘Suicide Train’ are littered with great, powerful songs – plus that old 7″ with Dave Mitchell and Denise Roughan they called ‘The Ghost Club’ is one of my prized singles. Roughan and Jim Abbott seemed pretty subdued for most of the set, but ably backed Mitchell, who set about attacking his guitar, succumbing only to a bout of the tune-ups.
Shayne Carter and his current tour backing band (the old maestro Gary Sullivan on drums and former D4 Vaughen Williams on bass) played a great back catalogue of Shayne’s songs, a real good mix of the more delicate Straitjacket Fits numbers, ace Dimmer drones, bombastic Doublehappys ditties and even the ole Bored Games hit ‘Joe 90’.
The Renderers are New Zealand’s prime example of southern-fried country, and are indeed one of our finest ever bands. Brian Crook formed the Renderers with his partner Maryrose in early 90s christchurch when the Max Block Group failed to go anywhere. He was already part of the Scorched Earth Policy / terminals sequence of bands that was picking up wind again – but the Renderers were the Crooks band (they’ve cycled through line-ups, with John Billows, Peter Mitchell (also of squirm and Hiss Explosion), Denise Roughan (the 3Ds, Look Blue Go Purple et all), Robbie Yeats Dead C, verlaines) and Haydn Jones, whilst the Crooks’ have always remained consistent.
Their early recordings stuck to a strictly country approach and seemed a bit too forced and distant, it wasn’t until the band relocated to port chalmers, a small bay just outside of dunedin that the Renderers really found their sound. Maryrose’s vocal on the 7″ sincle ‘a million lights” is like a defining moment in New Zealand rock. An achingly beautiful, brief song that has since featured on many Flying Nun and xpressway compilations, the song typified the Renderers new found dark and country-tinged rock sound.
Over the course of the 90s, the Renderers albums grew stronger and stronger – culminating in the masterpiece that is 1998’s dream of the sea. Featuring a wonderful cover of Ritchie Venus forgotten gem forbidden planet and a swagger of fine, dark songs themed around the sea, it was welcomed with open arms by the u.s. Underground music scene, whilst going mostly ignored in New Zealand. The Renderers are still going strong, touring sporadically, whilst both Maryrose and Brian have released their own solo material (most notable Brian’s 2002 album as Bible Black, and Maryroses contributions to the Arc Life series of dunedin music compilations).
In early / mid 2004 during the process of organising a christchurch show with the band, i managed to conduct an interview with the duo, and have kept up to date on their schedule for future releases. Since the recent demise of arc life, plans are now intact for the Renderers to start their own label. With Maryrose’s first solo release, a further solo release from Brian in a form similar to that of his fractured solo debut bathysphere under his current Anti-Clockwise performing alias, and perhaps the 5th Renderers release on the way, to boot. circa mid-2005 the group made further line-up changes, this time coinciding with a possible move back to christchurch. Original bassist john bellows was reinstated, and drummer mike daly (also of Eskimo and formerly YFC) become the groups rhythm section for a one-off christchurch show, still preceeding the highly-anticipated 5th album.
Appearing as a one-off 7″ single in 1995 (during a speight of similar projects from the likes of King Loser and the 3D’s side-projects such as Chris Heazlewood‘s solo debut Spacious etc), the rather dubiously Australian-themed ‘A Sort of Holiday’ single was something of an undiscovered gem – and the recording debut of Auckland wacko Edmund Cake (aka Edward McWilliams.
Though the single itself went nowhere, Cake later resurfaced as a critical member of bizarro-pop trio Breast Secreting Cake (later redubbed to the slightly less vulgar Bressa Creeting Cake), who in turn released a heck of a debut album and the left-of-centre video-hit Papa People.