Skip to content

Figure 60

Heavy free-noise-metal from Auckland 3, occasionally expanded to a 4 piece with the addition of Constant Pain’s Cameron Bain.

Superette

Dave Mulcahy‘s first post-Jean Paul Sartre Experience band was the unfortunately short-lived Superette, who sprung up in Auckland in 1993. With Mulcahy taking guitar and vocal duties, he pulled together former Blue Marbles duo Ben Howe (Bass) and Greta Anderson (Drums/Backing Vox) to record the rough, thematically scary, but thoroughly charming Rosepig EP. From here the band became known as one of the better live pop-rock acts around New Zealand, and where one of the defining bands (along with the 3Ds) that turned me on to New Zealand bands.

Every Secret Thing

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.

Toerag

An early to mid 1980’s alias for Onset/Offset records Campbell McLay. A strictly DIY affair, engineered like a million other Christchurch records at the time by Arnie van Bussell at Nightshift Studios.

The Enright House

The Enright House was the not quite pop, not quite post rock, brain-child of German born Mark Roberts.

The live band consisted of Roberts along with Thomas Lambert on guitar (also of A Flight to Blackout), Simon Gemmill on Drums and Evan Schaare on synths.

Ripper Records

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.

Christchurch Media Club

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.

Alec Bathgate

Alec Bathgate’s always kept a couple steps back in his fellow Enemy, Toy Love and Tall Dwarfs shadow, but released a lovely little Byrds-jangle-pop album (with heavy Beatles and Beach Boy flourishes) in 1996.

More technically competent than Knox, and somewhat reserved (in comparison at least), Bathgate is a reflective, precarious song-writer of great talent.

The Incisions

Nick ‘Harte’ Hodgson’s loud rock’n’roll outfit.

Started life as Tony Valens and the Incisions in the mid 90’s and were mostly concentrated on primal rhythms and harsh, noisy guitar flourishes – creating some absolutely brilliant sounds far outside the commercial scope of rock’n’roll.

The Loons

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.

Techtones

4-piece early 80’s group from Auckland. Key single ‘That Girl’ is a slice of British-style power-pop:

Put out some sought after releases on the iconic Ripper and Propeller labels in the early 1980’s and were included in Propeller’s terrific ‘Doobie Do Disc’ and ‘It’s bigger than the both of us (NZ Singles 1979-82)’ compilations.

Juricevich and Roach came from 2nd gen punk outfit Sheerlux (previously the Stimulators), Chris Burt would go on to join the Stridulators and work with the Headless Chickens, and Solomon would go on to form The Rapture.

Goblin Mix

Short-lived David Mitchell 3 piece, and the last of his Auckland bands. This is when he truly found his voice, with support from Phil Moore, Andrew Moon and (Flying Nun alumni) Alf Danielson. Their complete recordings would later be compiled (along with The Exploding Budgies complete discography) as a compilation CD in 1991.

Live: Stinkfest 13! Day 2

Flashback to December 16th, 2011 at the Darkroom with a fabulous showcase of the legendary Stink Magnetic record label.

Performances from I Drink Your Blood, Ritchie Venus, Planet of the Tapes and Golden Axe.

#nzmusic #livemusic #darkroom #stinkmagnetic

Children’s Hour

Whilst Chris Matthews was struggling within the pop-confines of the Prime Movers, Johnny Pierce (Bass), Grant Fell (Guitar) and Bevan Sweeney (Drums) were forming their own sound as Children’s Hour.