Fantastic DIY record label formed by Dylan Herkes in 1999. Originating in small town Manawatu, Stink Magnetic released hand-made Cassette Tapes by a diverse array of underground New Zealand acts: “NZ garage, surf, Hawaiian industrial, experimental country disco, Spaghetti Western, esoteric trash, rap and stone-age punk bands”.
Tiny bar upstairs from the well-known Honeypot Cafe that functioned as a low-key performance space under the venue names Metropolis (1990s) and the Green Room (2000’s), before falling victim to the Christchurch Earthquakes of 2010/2011.
The Otautahi Social Centre was a mid-sized old hall on Barbados Street in Central Christchurch which ran for a couple of years as an All-Ages-Friendly live music venue.
Being an unlicensed youth center, there was no bar or much in the way of formal organization, just a space set up with a small PA system, a few couches and a small kitchen and toilets out back. On occasion some kids would bring alcohol to shows (it was even openly endorsed at some punk gigs), but generally things got along in a friendly, community-orientated kind of way.
Internationally focused Auckland-based experimental / noise label run by Richard Francis (aka Eso Steel) as a sub-label of the now-defunct 20City label he created in the late 1990s.
Though only a total of 27 releases releases have seen the light of day so far (including Japanese experimental artist Kyoshi Mizutani, German visual / composition artist Marc Behrens and Francis’ own solo material), CMR looks to be succeeding the releases of his former label 20City with a professional approach to releasing far-reaching experimental music, so far of the laptop-drone persuasion.
Now defunct label run by Richard Francis – aka Eso Steel. 20City released a total of 4 albums and a handful of single-length releases before Francis re-established the sub-label CMR, distributing both through the Auckland-based Acroma mail-order website.
An experimental / noise label with releases from New Zealand, Japanese and American artists with Richard Francis central to most of the releases.
Mid-sized venue on the South side of Central Christchurch operated by long-time fixture of the Christchurch music scene – Al Park. Al had been a notable figure in the pub rock and (eventually) punk music that sprung up around the Mollett Street performance space in the late 1970’s, but it took until 2004 before Al had a venue of his own.
The scummiest, most rundown, but welcoming and communal venue in Christchurch. Had 2 lives – first as Hex Central (under Squirm’s stewardship) in the mid 1990’s, then as the punk head quarters dubbed The Glory Hole, from 2009 till it’s demise in 2011.
Auckland-based independent label formed by Martin Phillips and Benjii Jackson in 2009, with Michael McClelland (previously a writer for The Corner, but that site appears to be AI generated spam now) and Maeve Munro, completing the team.
The old Canterbury University Students Association building (back when it was based at the Christchurch Arts Centre) which became a wonderful multi-use venue in 1978. Housing a terrific vegetarian restaurant that opens out to the Arts Center courtyard, a lively public bar that always bristled with live music, enjoyed by locals and travels alike, plus an additional private venue and offices up stairs. The Dux was an institution in Christchurch until the Earthquakes struck in 2010/2011.
Large old school hotel with upstairs lodging, a pokie room, kitchen and a large live music bar that’s went through quite a few changes between the early 1980’s and when it was closed, just prior to the Christchurch Earthquakes.
Every Secret Thing (aka EST – also the name of a comic/fanzine that Scott published) was a home taping label established by Rob Scott and incorporated a lot of his home demos (usually as Electric Blood, but also in many other totally unknown bands) along with ultra-rare recordings from the likes of Wreck Small Speakers on Expensive Stereos, the Weeds and various compilations featuring many Dunedin and Christchurch bands.
Legendary and short-lived indie punk label that debuted right on the cusp of the New Zealand underground explosion (i.e. they predate and are noted as a precursor to Flying Nun). Ripper was basically where New Zealand punk first surfaced with the likes of the Suburban Reptiles, the fleetingly popular Swingers, Scavengers etc – basically the cream of the early New Zealand punk scene.
The Christchurch Media Club was a large building on Armagh Street, next to the notoriously seedy Centennial Pool. Broken up in to several parts – It had a mid-sized hall with hard-wood floors, a large performing stage and bar (used mostly for Media Club patrons, housing pool tables, darts etc), the smaller ‘Winter Garden’ ballroom where most live performances occurred – which was carpeted and decked out in ornate ceiling alcoves, plus a hallway, toilets and a small kitchen.
The Loons has been an integral, significant and well-known part of the Lyttelton community for over a century. Built in 1905, the building housed a range of commercial premises through to 1944 including a grocery shop and the Loons garage. In 1944, the building was purchased by three watersiders and around that time the premises was converted to become the Waterside Workers Social Club known locally as ‘The Loons’.
With post-earthquake renovations completed in December 2020, the Loons has been transformed into a state of the art performance venue with facilities to match. The Loons caters for Theatre, Arts and Music to the people of Lyttelton and the wider Canterbury area.
The Penthouse (sometimes just referred to as ‘Level 5’) was a venue name given to the 5th floor of Unlimited Paenga Tawhiti School in Central Christchurch, above the old Hallensteins building in Cashel Plaza.