[{"id":211726598295,"handle":"bailter-space","title":"Bailter Space","updated_at":"2022-05-09T17:11:34+12:00","body_html":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Bailter_Space_3fe29a34-eb84-4575-a94c-aedeb7466fce_1024x1024.jpg?v=1607415969\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBefore \u003cstrong\u003eBailterspace\u003c\/strong\u003e there was \u003cstrong\u003eThe Gordons\u003c\/strong\u003e. Formed 1980, Christchurch, New Zealand. Future Shock 1981, still electrifying. Then, there was \u003cstrong\u003eNelsh Bailter Space\u003c\/strong\u003e. Then \u003cstrong\u003eBailter Space\u003c\/strong\u003e. \u003cstrong\u003eAlister Parker\u003c\/strong\u003e (guitar, bass), \u003cstrong\u003eBrent McLachlan\u003c\/strong\u003e (drums\/percussion, samples) \u003cstrong\u003eJohn Halvorsen\u003c\/strong\u003e (bass, guitar) - the core. \u003cstrong\u003eHamish Kilgour\u003c\/strong\u003e (The Clean) and \u003cstrong\u003eRoss Humphries\u003c\/strong\u003e (\u003cstrong\u003eThe Terminals\u003c\/strong\u003e, the \u003cstrong\u003ePin Group\u003c\/strong\u003e) came. Then they went.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOver seventeen years \u003cstrong\u003eBailterspace\u003c\/strong\u003e mobilized recording technologies to capture audio. They organised noise. Audio was reproduced into seven different longplayer phonographs. \u003cem\u003eTanker\u003c\/em\u003e, \u003cem\u003eThermos\u003c\/em\u003e, \u003cem\u003eRobot World\u003c\/em\u003e, \u003cem\u003eVotura\u003c\/em\u003e, \u003cem\u003eWammo\u003c\/em\u003e, \u003cem\u003eCapsul\u003c\/em\u003e and \u003cem\u003eSolar 3\u003c\/em\u003e. Plus manifold extended player (EP) phonographs. These were disseminated via \u003cstrong\u003eMatador Records\u003c\/strong\u003e and \u003cstrong\u003eFlying Nun Records\u003c\/strong\u003e. The populace procured the multiple reproductions of this audio. They were amazed at what they heard.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom Christchurch, which is also the only air departure terminal for Antarctica, the band migrated north. First Wellington in New Zealand, then New York, in the United States of America. In many urban settlements, Bailterspace performed their work to the public. It was a mosaic of radiant frequencies. Metrics and decibels. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1999 the mass media communications outlet Pitchfork described them as \"a huge mess of sound that's simultaneously beautiful, jagged, atonal, and supremely melodic\"\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-08-09T18:44:01+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Bailter Space"}],"published_scope":"global","image":{"created_at":"2020-08-25T21:34:58+12:00","alt":null,"width":1000,"height":1002,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Bailter_Space_Square.jpg?v=1598348099"}},{"id":211727974551,"handle":"chris-knox","title":"Chris Knox","updated_at":"2022-05-09T17:34:24+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Chris_Knox_Flying_Nun_1024x1024.jpg?v=1598260692\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI first met Chris Knox in my shop Records Records, where he would come after he had finished his postie run. He would usually denigrate some of the vaunted albums in the Recent Arrivals bin, always with a smile, lovely teeth, and then drift over to the One Dollar Cardboard Box, where, in those incredible days, he was able to buy Pip Proud for just that one dollar. I had tried to sell Pip Proud for more, but nobody wanted it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChris also worked, variously, at the Cadburys Chocolate Factory and Brian Snell's Hi Fi Shop. He flatted behind Snells, and shop manager Ron Esplin was fond of telling people later on when Chris' musical stature grew, that one morning when Chris didn't turn up for work, he went over there to yank him out of bed, only there was someone else in the bed as well. Ron, with the highly developed Presbyterian moral ethic so common to those of us who live in the south, was shocked. But he liked Chris, he kept him on.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Enemy was put together a year or two later. I knew Chris quite well by then, but didn't go to any of the practices, unlike others in our group, who reported back breathlessly that the songs were amazing. Like a number of others, I was asked to come and try out for the band with my Diplomat copy guitar, but I knew my limitations and said I was busy that night.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Beneficiaries Hall debut confirmed The Enemy had amazing songs. Talk turned quickly to getting them down on tape. I had a good reel to reel, a Revox A-77 (which I later sold to David Kilgour, his song Tape Machine is about that) and a bad microphone, so I hauled the two along to the old Cellar Club in Manse Street to record a gig on Alec Bathgate's birthday. Chris had given me a tape I could use - \"Don't worry about what is on it, just wipe eberything off, they're just really old songs I used to write, they're crap.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNone of us had a sense of history then, not even me, who was older, and should have understood history. So I didn't even play the tape before I erased it with The Enemy at The Cellar Club. This would rank as one of the top ten studpiest things I have ever done in my life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnfortunately the cheap microphone had the final say that night. The band dutifully came up to our house on the following Monday and we listened to the tape through a big Jansen valve amplifier to try and get that raw rough live sound. Everyone got very depressed, tape recorders can be cruel when you have only performed in public a couple of times. But Chris was great all the way through, trying to pull the project up from under the water in much the same way he tried to rescue the Toy Love album years later, singing his heart out. Talk turned to doing covers. Yes please, said Mick. No, never, said Chris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Enemy took all those good songs into Toy Love and records were finally made, chart positions achieved, and then came Flying Nun. When the label produced a pack of cards on their tenth anniversary with drawings by Chris, he did one of me, calling me The Godfather Of The Dunedin Sound. Wrong. Chris was always that. Everyone deferred to him, hung on his every word and piece of advice, and used his evaluation of their performance as a barometer of where they stood. Most of all, Chris helped so many of them, often reserving his most fulsome praise and material assistance to the ones who were at the bottom of the totem pole, the Pip Proud One Dollar Cardboard Box ones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI went up to see Chris in Auckland this year, well after his debilitating stroke. I had been told a variety of distressing stories, I didn't know what to expect. But the old Chris was still there, wordless maybe, but the eyes and the smile and the expressive face said so much. As it always did. I had always meant to mention that silly story about him not making it to work that morning at Brian Snells, somehow it had just never come up. Probably because it was silly. It seemed the time now, the moment was ripe for something right off the wall. But Chris was getting tired. I saved it for another time, and used the extra few minutes it would have taken to tell to hug him that much longer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChris would have laughed though, he would have really laughed.\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-08-09T18:56:44+12:00","sort_order":"created","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Chris Knox"}],"published_scope":"global","image":{"created_at":"2020-08-24T21:18:30+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Chris_Knox_Flying_Nun_Square.jpg?v=1598260710"}},{"id":211728302231,"handle":"cul-de-sac","title":"Cul de Sac","updated_at":"2021-11-15T09:12:01+13:00","body_html":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Cul_De_Sac_600x600.jpg?v=1598949185\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\"There's this band that I like called Cul De Sac - very ambient, very cool\". Lou Reed, Mojo, March 1996\u003cbr\u003eRobin Amos - keyboards \u003cbr\u003eChris Fujiwara - bass \u003cbr\u003eGlenn Jones - guitars \u003cbr\u003eJon Proudman - drums\u003cbr\u003e\u003cbr\u003eKrautrock, space rock and especially post rock are the cool terms to drop at the moment, often lazily applied to bands impossible to categorise. Cul De Sac are one of these bands. China Gate is their third album.\u003cbr\u003e\u003cbr\u003eWhen the band's second album I Don't Want To Go To Bed was released last year, Cul De Sac were grouped in with all the other so-called post rock\/Krautrock bands. Yet for all their experimentalism and Germanic influences(Faust, Neu and of course Can), this powerful and unique instrumental Boston four piece combine so many elements of different musical genres (sixties psychedelia, Jazz and 20th Century American folk(!)) they are impossible to catagorise as either. They have created a sound, which as English critic David Stubbs explains, \"isn't post or anti-rock, but one which opens up a whole index of directions in which rock music could go right now\".\u003cbr\u003e\u003cbr\u003eAs with their two previous albums I Don't Want To Go To Bed and Ecim (1992 - to be re-released later this year) the 20th Century American folk influence remains an important touchstone on China Gate, elevating the vocals and melodies from the deep krautrock grooves and thus the band from the good to the very special. According to the band, the basic concept of China Gate was to combine Glenn Jones's melodic sensitivity (he writes most of the songs) with idiosyncratic guitar playing (Hendrix and Fahey influenced) and Amos's orgy of electronic experiments, whilst making sure that a sharp, propulsive groove generated the whole process.\u003cbr\u003e\u003cbr\u003eFrom the furious excitement of 'Colomber', the heartbreak of 'Nepenthe' and the late night driving grooves of 'Utopia Parkway' and the reworking of 'Doledrums' (first featured on I Don't Want To Go To Bed) China Gate is Cul De Sac's most far-ranging musical expedition yet.\u003cbr\u003e\u003cbr\u003eChina Gate hears Cul de Sac playing with a greater assurance than on previous records, delivering all the components of a good diverse album. Whereas I Don't Want To Go To Bed was recorded on one microphone a four track in a tiny practice space, China Gate was treated to proper production and mixing, which, apparently had its problems. Bassist Chris Fujiwara recalls the album as a 'post produciton nightmare, but yet worth it, because without detriment to the spontaneity of the playing, we got these dense textures in which sound move around in interesting ways - each instrument beautiful and hypnotic in itself. Everyone played on the album at fever heat\", he continues, \"in fact we were all quite delirious.\"\u003cbr\u003e\u003cbr\u003eAlbums listened to during the recording of China Gate were John Coltrane's Ascension and the Breakfast At Tiffany's soundtrack.\u003c\/p\u003e","published_at":"2020-08-09T19:01:46+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Cul de Sac"}],"published_scope":"global","image":{"created_at":"2020-09-01T20:34:00+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Cul_De_Sac_SQUARE.jpg?v=1598949240"}},{"id":211728957591,"handle":"dimmer","title":"Dimmer","updated_at":"2022-05-11T13:03:08+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Dimmer_Flying_Nun_1024x1024.jpg?v=1598524997\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLanding with the impact of a late-night drive-by, Dimmer's new single is a sonic melting-pot stirred by band-leader and legendary enfant-terrible, Shayne P Carter. Ingredients for Don't Make Me Buy Out Your Silence and two more songs here include some solid rock thunder, a sly groove and an array of noises screaming in from the dark edges. Mr Carter stands in the middle of this first major Dimmer release, directing a storm of different variations on pop-noir from those he unleashed as leader of New Zealand's premier contenders for the world crown, Straitjacket Fits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eStraitjacket Fits offered up some of the most riveting rock music of the last decade. Dimmer has uncovered a new sound that is once more contemporary and compelling. With a combination of the musical equivalent of chloroform and kosh, \"Don't Make Me Buy Out Your Silence\" and the accompanying songs are a first-class knock-out indeed.\u003c\/p\u003e\n\u003cp\u003eShayne has only stepped out of the shadows to offer us the briefest glimpses of Dimmer before now. It's two years since he followed the demise of Straitjacket Fits by putting the first Dimmer line-up together in Dunedin and over a year since Dimmer first surfaced on record with the Flying Nun\/Sub Pop 7\" single \"Crystalator\". The band's live appearances in the intervening period featured a string of talented sidekicks and showcased a developing ferocity amidst some righteous trance-rock\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","published_at":"2020-08-09T19:05:42+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Dimmer"}],"published_scope":"global","image":{"created_at":"2020-08-27T22:22:46+12:00","alt":null,"width":1030,"height":1030,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Dimmer_Flying_Nun_SQUARE.jpg?v=1598523767"}},{"id":392313798900,"handle":"flying-nun-catalog","title":"Flying Nun Catalog","updated_at":"2022-05-20T17:20:04+12:00","body_html":"The full catalog of Flying Nun Records releases, including many rare and collectable records released on 7' 12\" vinyl, cassette, CD and download. Many of these albums are out of print or no longer available, while others have been re-pressed and can be bought in our record store. If you find one of these going cheap in your local junk shop - snap it up!","published_at":"2021-12-04T16:32:39+13:00","sort_order":"created","template_suffix":"","disjunctive":true,"rules":[{"column":"tag","relation":"equals","condition":"Flying Nun Catalog"},{"column":"tag","relation":"equals","condition":"Flying Nun"}],"published_scope":"global"},{"id":211730530455,"handle":"garageland","title":"Garageland","updated_at":"2022-05-02T19:30:06+12:00","body_html":"\u003cp\u003e \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Garageland_Flying_Nun-6_1024x1024.jpg?v=1598674582\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAuckland's Garageland made a big splash with their debut record \u003cb\u003e\u003ci\u003eCome Back Special\u003c\/i\u003e\u003c\/b\u003e\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003ein August 1995. The BFM favourites came out with five fresh pop songs that suggested a new wave of musicians were clutching the classic Flying Nun catalogue for inspiration and taking off to the garage to jam.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith their guitars turned up to warm reverb and tossing off words not just with the lazy abandon so favoured by the modern American underground but in the way that great NZ bands have always mumbled their way through a catchy tune, Garageland were mining a rich musical vein.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn order of appearance, these songs also suggest that\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e(1) the line \"come back, all is forgiven\" is something worth shouting at the rooftops if you truly believe a former loved one doesn't know what they're missing,\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e(2) Billy Joel is an arsehole,\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e(3) you can't go wrong if you try and write thundering riffs like The Clean.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e(4) ditto on the riff -- but add some guitar squall for tasty spicing, and\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e(5) Sonic Youth should maybe lay off the weed and try a pop cigar if they really want to stay young.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eThe band's released their full-length debut in 1996, \u003cb\u003e\u003ci\u003eLast Exit to Garageland\u003c\/i\u003e\u003c\/b\u003e, and broke into the Top Five on the country's charts. The Auckland-based band moved to England in early 1997, but Debbie Silvey chose to stay behind. Once the group settled in, they met guitarist Andrew Claridge, who promptly joined on for several tours that year. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe group returned to New Zealand for a tour in early 1998 and the US, but it wasn't till early 1999 that second album \u003cb\u003e\u003ci\u003eDo What You Want\u003c\/i\u003e\u003c\/b\u003e was recorded and the band relocated home. Repeating their debut's success, it went gold in New Zealand, and was release in the US and picked up by U.K. music publications including Melody Maker and NME.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe band released their third and final album \u003cb\u003e\u003ci\u003eScorpio Righting\u003c\/i\u003e \u003c\/b\u003ein 2002 before calling it a day, however they did re-form for a one-off gig in Auckland in November 2007.\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-08-09T19:16:26+12:00","sort_order":"created","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Garageland"}],"published_scope":"global","image":{"created_at":"2020-08-29T16:15:41+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Garageland_Flying_Nun-24_SQUARE.jpg?v=1598674541"}},{"id":211732168855,"handle":"king-loser","title":"King Loser","updated_at":"2021-11-15T09:12:04+13:00","body_html":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/King_Loser_Flying_Nun_1024x1024.jpg?v=1598346542\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eHow many times has the sweet tasting wine escaped your trembling lips? Taking in the glam, the sham and their righteous poseuring, these fascist infidels of fanaticism give you their third album Caul of the Outlaw.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eA dirty dozen of original songs by four original people, this album is something of a watershed for our King Loser; no roulette of drummers, no trawling of previous recordings. Straight up, Downtown, Nowhere. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eHeazlewood sits at the helm, having recorded and engineered most of this at K.L.H.Q. over a couple of months. O'Reilly plays some of the best guitar since Adam learnt the E major chord in the Garden of Eden. Celia comes on like a chanteuse changing her mind while Tribal Thunder lays down the demon beat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eA personal crusade through Hell while laughing at the top of their lungs, this is Necessary Evil. You know you want it. Elemental and primitive yet sophisticated, leather clad of cloven hoof, these cats will blow the roof then ask to be bought drinks. What have you got to do?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eNot a Surf Band, not here anyway; take one part indomitable spirit, one of rebellion, and another of attitudinal flux. Mix with an endearing obnoxiousness and appetite for obstruction and you have four from the dark side. Itching to set the night on fire but reduced to playing with matches and a can of lighter fluid, they summon the power of a rock'n'roll band. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"arial\" style=\"font-family: arial;\"\u003eAncient rites of forgotten primitivism get mixed up with 21st century blues. Ride the Arcane. Mixed up with mixed up kids, nurture strength of spirit cruel and kind, nothing stops your surrender into time........to be cont'd.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/King_Loser_Flying_Nun-3_1024x1024.jpg?v=1598866995\" alt=\"\"\u003e\u003c\/p\u003e","published_at":"2020-08-09T19:27:40+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"King Loser"}],"published_scope":"global","image":{"created_at":"2020-08-25T21:09:34+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/King_Loser_Square.jpg?v=1598346575"}},{"id":211732234391,"handle":"labradford","title":"Labradford","updated_at":"2021-11-15T09:12:04+13:00","body_html":"\u003cp\u003eConsisting of bassist Robert Donne, guitarist\/vocalist Mark Nelson, and Carter Brown on keyboards, \u003cstrong\u003eLabradford\u003c\/strong\u003e are an experimental ambient\/post-rock group from Richmond, Virginia. Incorporating electronics as well as non-traditional arrangement and production techniques, the group's soundtrack-y, effects-heavy sonic landscapes operate in a vein closely allied with groups such as Experimental Audio Research, Flying Saucer Attack, and Gastr del Sol, and have earned the group high praise among a diverse variety of different audiences. The trio have released material through American indies \u003cstrong\u003eMerge\u003c\/strong\u003e and \u003cstrong\u003eKranky\u003c\/strong\u003e, as well as \u003cstrong\u003eFlying Nun\u003c\/strong\u003e and \u003cstrong\u003eStereolab's Duophonic\u003c\/strong\u003e imprint.\u003c\/p\u003e\n\u003cp\u003eThough occasionally incorporating vocal and rhythmic elements, the group rely most often on the drone aesthetic, mixing looping guitar effects and long keyboard passages with snippets of barely-audible voice and assorted found objects on records like 1994's \u003cstrong\u003ePrazision\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/WfFdk7vngvQ\" height=\"720\" width=\"1120\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","published_at":"2020-08-09T19:28:18+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Labradford"}],"published_scope":"global","image":{"created_at":"2020-09-21T20:26:02+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Labradford.jpg?v=1600676763"}},{"id":211732463767,"handle":"loves-ugly-children","title":"Loves Ugly Children","updated_at":"2022-04-09T23:30:06+12:00","body_html":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Loves_Ugly_Children_Flying_Nun_1024x1024.jpg?v=1599474289\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the raw power end of the New Zealand music spectrum, Loves Ugly Children come crashing the party with a new album in hand. And while they've been steadily building a reputation as a band with a unique brand of rock'n'punk sensibilities on previous album Cakehole and the outstanding Suck EP, Showered In Gold delivers Loves Ugly Children to the kids in full glorious, action-packed effect. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe trio of Simon Ugly (guitar), Floss (bass) and Jason Young (drums) unleash their best set of songs here and, with the aid of producer Matthew Heine, they display the ability to shape Showered In Gold into something special.\u003c\/p\u003e\n\u003cp\u003eThe record buzzes with the passion and feeling that has made them a thundering (and very loud!) fixture on the NZ live circuit and taken Loves Ugly Children overseas to impress Australians and citizens of the UK.\u003c\/p\u003e\n\u003cp\u003eAnd what's more, Simon Ugly writes with those timeless rock'n'roll themes of Bad Girls (\"Voodoo\" and \"Motorbike\" Girls respectively) Bad Behaviour (\"Six Pack\", \"Junk Food\") and Bad Attitude (\"Don't Need A Reason\" alright).\u003c\/p\u003e\n\u003cp\u003eLoves Ugly Children kick down the garage door with opener \"Coming For You\", a hot-wired trash epic that sets the tone with destination to your heart scrawled on its belly. From there, the first half of the album is unrelenting good fun as the band delights in playing up to that trashy rock'n'roll vibe in \"Six Pack\", \"Pump It Baby\", those two great Bad Girl tunes and \"Junk Food\". It's a glorious mix of the heads- down thrash of Cakehole with the post-grunge swagger first recorded on the \"Suck\" EP. All in all, this half of Showered In Gold is the most explosively listenable 20 minutes of adrenalin-charged rock to appear so far this year.\u003c\/p\u003e\n\u003cp\u003e\"Suck\" itself is an energetic high-point of the second half of Showered In Gold, but the songs surrounding it alter the mood somewhat. \"You Don't Hate Me\" is as musically fragile as this lot get, but that's over-turned immediately by the unsettling heavy metal riffery of \"Seven\" and the brilliant \"Don't Need A Reason\", a lost oasis of slide guitar action courtesy of producer Matthew Heine. \"It's In My Blood\" closes the album, lurching from Able Tasman Graeme Humphreys' drunken organ into one of those Biblical epics that Simon Ugly just can't keep himself from writing (this is the man who penned \"Jesus Christ Satan\" for a previous b-side!).\u003c\/p\u003e\n\u003cp\u003eOne of the greatest traditions in the fine art of rock'n'roll exists through those bands labelled as \"punk\" ever since the Stooges and Velvet Underground laid waste to the groovy-isms of sixties rock. But those bands and the ones that followed -- from the Ramones to today's Loves Ugly Children -- looked to create the most exciting music possible out of the so-called 'primitive' tools of the rock'n'roll trade, mostly by fuelling it with speed and desperately screaming something of your own.\u003c\/p\u003e\n\u003cp\u003eIn making this album, all shiny and showered in gold, Loves Ugly Children have pointedly screamed something of their own alright and like all good innovative traditionalists (!) they've kept true to the style. Love it to bits.\u003c\/p\u003e","published_at":"2020-08-09T19:29:53+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Loves Ugly Children"}],"published_scope":"global","image":{"created_at":"2020-09-07T22:25:27+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Loves_Ugly_Children_Flying_Nun_SQUARE.jpg?v=1599474328"}},{"id":211745046679,"handle":"snapper","title":"Snapper","updated_at":"2022-04-09T23:30:06+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Snapper_Flying_Nun_1024x1024.jpg?v=1598869186\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSnapper's\u003c\/strong\u003e music has been criminally under-represented on record -- since their first self-titled EP release in 1989, they have released the album \u003cstrong\u003eShotgun Blossom\u003c\/strong\u003e (1992), a seven inch single \u003cstrong\u003eGentle Hour\u003c\/strong\u003e (1993) and \u003cstrong\u003eADM\u003c\/strong\u003e (1996). The hypnotic attack of every Snapper release has been greeted with acclaim, receiving rave reviews in the UK, US and NZ press and gaining a loyal following (including the likes of Stereolab and the Jesus and Mary Chain).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003ePeter Gutteridge\u003c\/strong\u003e was a co-founder of \u003cstrong\u003eThe Clean\u003c\/strong\u003e he live-in-1979 tracks on the long-deleted \u003ci\u003eOdditties 2\u003c\/i\u003e cassette – including the first recording of \u003cem\u003ePoint That Thing Somewhere Else.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlan Haig\u003c\/strong\u003e and \u003cstrong\u003ePeter Gutteridge\u003c\/strong\u003e played together in the original line-up of \u003cstrong\u003eThe Chills\u003c\/strong\u003e, but after hearing Gutteridge's tapes, Alan and Peter then started playing together again in 1986, recording songs on the 4-track, Haig metronomically replicating the drum machine with his live, motorik rhythms. \u003cstrong\u003eDominic Stones\u003c\/strong\u003e moved from Auckland to Dunedin and joined \u003cstrong\u003eThe 3ds\u003c\/strong\u003e and \u003cstrong\u003eSnapper\u003c\/strong\u003e. \u003cstrong\u003eChristine Voice\u003c\/strong\u003e joined them and suddenly they were \u003cstrong\u003eSnapper\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 2013, \u003cstrong\u003eFlying Nun\u003c\/strong\u003e re-released the self-titled Snapper EP on vinyl. This EP includes \u003c\/span\u003ethe bands best known track \u003cem\u003eBuddy\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003eSadly, in 2014 Peter passed away. \u003cbr\u003e\u003c\/p\u003e","published_at":"2020-08-09T21:18:27+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Snapper"}],"published_scope":"global","image":{"created_at":"2020-08-31T22:19:56+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Snapper_Flying_Nun_SQUARE.jpg?v=1598869196"}},{"id":214315335831,"handle":"stereolab-1","title":"Stereolab","updated_at":"2022-03-24T13:55:17+13:00","body_html":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Stereolab_2_1024x1024.jpg?v=1600678434\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eFormed by \u003cstrong\u003eTim Gane\u003c\/strong\u003e (ex-McCarthy) and \u003cstrong\u003eLaetitia Sadier\u003c\/strong\u003e in 1991, Stereolab's sound has evolved into an appealing blend of massed keyboards, including classic early synthesisers, over sturdy rhythms and sweet female vocal pop harmonies on top. Laetitia's French accent and her enigmatic lyrics -- often blending Marxist polemic with everyday observations -- have added a sense of mystery to the Stereolab sound.\u003c\/p\u003e\n\u003cp\u003eStereolab are also one of the most prolific bands around, writing new songs for any radio session, magazine giveaway or compilation they get involved in. They have also released a string of singles on small labels and their own record label, Duophonic Ultra High Frequency Disks. From the outset, there has been a commitment to release records according to what felt right rather than music business dictates.\u003c\/p\u003e\n\u003cp\u003eThis attitude has paid off handsomely since the release of the debut \"Duophonic Super 45\" single. The Melody Maker has hailed them as one of the most important bands since the Smiths and if that paper hasn't made a release \"Single Of The Week\" then the NME has. Not only has the UK seen a flurry of activity on the touring and recording front but the band has backed it up by constant touring in the US and Europe. Lollapolooza saw them covering the whole of America while a support slot with Pavement did the same in Europe. And while the critics have mused and abused, Stereolab has attracted one of the most loyal audiences in the independent music world. In the UK, the \"French Disko\" single (included on this album) broke the band onto the Radio One airwaves and into the Top 40 last year and their profile increased further when Laetitia sang on Blur's hit single \"To The End\"!\u003c\/p\u003e\n\u003cp\u003eAll this has brought Stereolab an entirely new audience who ensure the band will never be trapped in any 'indie' ghetto. Unsurprising, given the band's sound, which has been described as the point where Can, the Velvet Underground and the Mamas and the Papas are filtered through a mixture of Herb Alpert' s arrangements and Francoise Hardy's accent -- you don't come much more commercial than that!\u003c\/p\u003e\n\u003cp\u003eRefried Ectoplasm is the band's sixth album and possibly their best. It's a round-up of extremely rare singles, collected here for the first, last and only time. For fans, it's an opportunity to hear many tracks that were impossible to find down in New Zealand. For neophytes, it's a perfect introduction to a band that will, without doubt, be a major influence for years to come.\u003c\/p\u003e","published_at":"2020-08-22T13:18:47+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Stereolab"}],"published_scope":"global","image":{"created_at":"2020-09-21T20:54:30+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Stereolab.jpg?v=1600678471"}},{"id":211745734807,"handle":"superette","title":"Superette","updated_at":"2022-04-30T13:56:37+12:00","body_html":"\u003cp\u003e\u003cstrong\u003eSuperette\u003c\/strong\u003e must love animals. Last year, the group named their debut EP \u003cem\u003eRosepig\u003c\/em\u003e after the dog that featured on the cover. The cover of their recent single, Touch Me, was adorned by a mouse and a birthday cake. No prizes then for guessing what to look for when you head to the record store to buy their fantastic new album, Tiger.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTiger\u003c\/em\u003e was created by the same line-up that brought us \u003cem\u003eRosepig\u003c\/em\u003e but lead singer\/guitarist \u003cstrong\u003eDave Mulcahy\u003c\/strong\u003e, bassist \u003cstrong\u003eBen Howe\u003c\/strong\u003e, and drummer \u003cstrong\u003eGreta Anderson\u003c\/strong\u003e have stretched \u003cstrong\u003eSuperette\u003c\/strong\u003e into a more powerful musical unit than Rosepig would ever have suggested possible. That means the clean instrumental drive of the three-piece band is augmented by vastly more assured arrangement and studio production from the band and engineer \u003cstrong\u003eNick Roughan\u003c\/strong\u003e over a set of twelve songs that confirm their quality songwriting talent.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eKiller Clown\u003c\/em\u003e is the only EP track present on \u003cem\u003eTiger\u003c\/em\u003e. \u003cem\u003eTouch M\u003c\/em\u003ee, also here, gives more indication of what to expect from Tiger -- confident, strident performance and extra throttle added to the group's vocals by Greta and Ben joining Dave at the mic throughout the album.\u003cbr\u003e\u003cbr\u003eComparisons to \u003cstrong\u003eJPS Experience\u003c\/strong\u003e, Dave's previous band, are inevitable but \u003cstrong\u003eSuperette's\u003c\/strong\u003e smart, distinctive music sounds increasingly like its own thing: a blend of chunky riffs and sweet melodies that makes real comparison hard. But if you blend the attitudes of a certain \u003cstrong\u003eSonic Youthness\u003c\/strong\u003e in the second half of Tiger and a hint of \u003cstrong\u003eT Rex\u003c\/strong\u003e, especially by the slower songs, with your classic Flying Nun songwriting ingredients then you may have it. Add the cryptic lyrical sense that has always characterised Mulcahy's writing and there's definitely something special here.\u003cbr\u003e\u003cbr\u003eWhat's certain is that there is variety aplenty. The ragged rocking of \u003cem\u003eUgly Things\u003c\/em\u003e and \u003cem\u003eI Got It Clean\u003c\/em\u003e are followed by \u003cem\u003eSaskatchewan\u003c\/em\u003e and \u003cem\u003eTaiwan\u003c\/em\u003e, each with a bizarre geographical hook. The bright hooks of \u003cem\u003eTouch Me\u003c\/em\u003e and \u003cem\u003eKiss Someone\u003c\/em\u003e contrast with upright heavy riff-monsters like Funny Weather and Felo de se. The mood then extends to gentler moments Bye Bye and Dave's beautiful solo album closer, Waves.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSuperette's\u003c\/strong\u003e videos for \u003cem\u003eKiller Clown\u003c\/em\u003e and \u003cem\u003eTouch Me\u003c\/em\u003e have already received plenty of attention. \u003cem\u003eKiller Clown\u003c\/em\u003e, a surreal adults-as-children party sequence starred the dog \u003cstrong\u003eRosepig\u003c\/strong\u003e. \u003cem\u003eTouch Me\u003c\/em\u003e features pretty much the same cast involved in some badass peepshow action. Another epic Superette clip is due shortly for album track Kiss Someone, and they're promising this one is a safari video with the usual cast.\u003cbr\u003e\u003cbr\u003eThose twisted visuals match Superette's song sensibility all too well. There are definitely some strange depths in their music. That just makes it all the more interesting and certainly adds to the fun. Tiger: all sorts of strange fun and definitely worth a ride.\u003c\/p\u003e","published_at":"2020-08-09T21:25:38+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Superette"}],"published_scope":"global","image":{"created_at":"2020-08-26T21:36:47+12:00","alt":"Superette","width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/IMG_0111.jpg?v=1651283797"}},{"id":211736625303,"handle":"the-magick-heads","title":"The Magick Heads","updated_at":"2022-04-09T23:30:06+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Magik_Heads_1024x1024.jpg?v=1598524415\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs the sweet and wondrous sound of Jane Sinnott's voice floats through 14 songs on a musical bed made of equal parts folk, country, and good old rock racketeering, the \u003c\/span\u003e\u003cb\u003eMagick Heads\u003c\/b\u003e\u003cspan\u003e carry the listener away with their second Flying Nun album, Woody.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIt's a musical brew that proves the Magick Heads to be pop alchemists of the highest order, but also shows them to be a group whose many and varied stylistic impulses are all subservient to the good cause of the Song.\u003c\/p\u003e\n\u003cp\u003eThe band's principal songwriter since the Magick Heads' inception six years ago has been guitarist\/vocalist Robert Scott (already an accomplished writer in The Clean and The Bats and no stranger to a powerful tune). Woody, however, is a more collaborative writing effort from the band than their first album, Before We Go Under (1994) and shows a distinctive sound emerging. This is aided in no small part by Jane Sinnott's ever-increasing guitar proficiency and the dependable support of the Strang brothers rhythm section (drummer Jim was on the first album; bassist Richard joined shortly after its completion).\u003c\/p\u003e\n\u003cp\u003eThat leaves guests David Mitchell (3Ds guitarist) and Alan Starrett (with an instrument for every moment, including violin, hammer dulcimer, cello and accordion) to add more colour and the occasional rough edge to the songs. Although with the band's tight performance and the marvellously polished instrument that is Jane's voice out front, there's an intimate feel to the songs and moments like the guitar-heavy \"Take It On Down\" are rare.\u003c\/p\u003e\n\u003cp\u003eIf you're looking for comparisons, Australia's often-overlooked Triffids might be a good place to start. The 'edge of the continent' feel that Perth gave the Triffids is hinted at by the geography of these tunes (\"On the Rocks\", \"12,000 Miles\", \"Particularly Nasty Weather\") written in another isolated musical centre, Dunedin. And the lonely observations of two of the stand-out tracks here - \"Who's Watching Out For You\" and \"Mystery Train\" - make for sturdier cousins of the Triffids' fragile classic \"Raining Pleasure\".\u003c\/p\u003e\n\u003cp\u003eOver the course of its 14 songs, the album's considerable charms seep right in. And in an age where so much of what passes for pop music is made of clamour and clatter, the warmth of the Magick Heads' approach is more than welcome around these parts.\u003c\/p\u003e\n\u003cp\u003eWe asked Dunedin renaissance man Roy Colbert, who claims to be their smallest and biggest fan both, for a comment or two on the Magick Heads. Here's what he has to say about the band (and Chris Knox!):\u003c\/p\u003e\n\u003cp\u003e\"The Magick Heads? Well, when they started they were three things, Bob Scott's wonderful pop songs, the unique sight of David Mitchell on drums, and a lovely new voice in town called Jane Sinnott. So it was kinda nice and kinda weird. Jane seemed to sing about two octaves higher than anyone else, and when you listened to her on tape, she seemed an octave further up again. And she danced weird on stage, not like any of the other Flying Nun women at all. I've never seen Natalie Merchant from 10,000 Maniacs, but I've read interviews with her, and I betcha she floats around a bit like Jane. I asked Jane not so long ago what she was listening to, and she said Tiger Lily by Natalie Merchant was really setting her tent on fire. Okay.\u003c\/p\u003e\n\u003cp\u003e\"The years went by, David Mitchell moved on - as did fellow 3D David Saunders - and Jane's voice seemed to drop down a little, or maybe we all got used to it. One of Flying Nun's veteran singer-songwriters told me \"she used to sound like a girl singing in front of the mirror in her bedroom - now she sounds real good \". Chris Knox, another Flying Nun veteran singer- songwriter and not the one I mentioned before, stood before the Magick Heads in Dunedin at Nunfest and asked the woman from Melody Maker how she felt flying right across the world to hear Steeleye Span. In 1978, Mick Dawson would bring his songs to the Enemy practices and Chris Knox would say they sounded like Steeleye Span. What is it with Chris Knox and Steeleye Span?\u003c\/p\u003e\n\u003cp\u003e\"So gradually the Magick Heads became a hard-rocking little band with unchanging personnel, they even toured. Released a beautiful album called Before We Go Under that all my friends in America thought was pop perfection but which didn't make the charts or anything. Jane started writing too, good songs, and she stopped dancing so much because she had learned to play guitar. Bob still wrote killer pop songs. Everyone kept saying the Magick Heads have got really good haven't they.\u003c\/p\u003e\n\u003cp\u003e\"But hey - they were really good when they STARTED Trevor, they're EXCELLENT now\"\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Magick_Heads_Flying_Nun-2_1024x1024.jpg?v=1598868872\" alt=\"\"\u003e\u003c\/p\u003e","published_at":"2020-08-09T20:18:54+12:00","sort_order":"created","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"The Magick Heads"}],"published_scope":"global","image":{"created_at":"2020-08-27T22:26:17+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Magik_Heads_Flying_Nun_SQUARE.jpg?v=1598523978"}},{"id":211746554007,"handle":"various","title":"Various","updated_at":"2022-05-14T13:37:49+12:00","body_html":"","published_at":"2020-08-09T21:30:58+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Various"}],"published_scope":"global"},{"id":262153961623,"handle":"various-1","title":"Various","updated_at":"2022-05-14T13:37:49+12:00","body_html":"","published_at":"2021-03-18T22:15:56+13:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Various"}],"published_scope":"global"}]
