[{"id":261181014167,"handle":"friends","title":"Friends","updated_at":"2022-05-16T10:46:13+12:00","body_html":"","published_at":"2021-03-06T12:05:26+13:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Friends"}],"published_scope":"global"},{"id":211731349655,"handle":"hamish-kilgour","title":"Hamish Kilgour","updated_at":"2021-11-15T09:12:03+13:00","body_html":"","published_at":"2020-08-09T19:22:08+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Hamish Kilgour"}],"published_scope":"global"},{"id":227113894039,"handle":"shop","title":"Shop","updated_at":"2022-05-20T17:20:04+12:00","body_html":"","published_at":"2020-09-21T21:27:50+12:00","sort_order":"created-desc","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"Shop"}],"published_scope":"global"},{"id":211728040087,"handle":"the-clean","title":"The Clean","updated_at":"2022-05-18T11:36:05+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/The_Clean_Flying_Nun_1024x1024.jpg?v=1598257731\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat can be said about \u003cstrong\u003eThe Clean\u003c\/strong\u003e? In 1978, they were the seeds of New Zealand punk and the reason for the founding of \u003cstrong\u003eFlying Nun\u003c\/strong\u003e, one of the greatest record labels that ever existed. They carved out a big sandbox for everyone to play in, and their influence resonated not only in New Zealand but around the world. Not only do bands like Yo La Tengo, Guided By Voices, Sonic Youth, Pavement, and their ilk owe a debt to The Clean, but many of today's young upstarts such as Times New Viking, Eat Skull, and a band from China called Carsick Cars have the Dunedin godfathers deeply etched into their DNA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI've personally witnessed four or five waves of rediscovery of \u003cstrong\u003eThe Clean\u003c\/strong\u003e in the years since I first heard them in 1986, and the stuff just continues to educate. Homestead's US issue of Compilation in the late '80s and Merge's double-disc Anthology from 2002 both laid out a complete rulebook, and a pretty in-depth one at that. Nevertheless, if someone else compiles them again in 2015, it's going to resonate just as strongly. Simply put, the music of the brothers \u003cstrong\u003eKilgour\u003c\/strong\u003e and \u003cstrong\u003eBob Scott\u003c\/strong\u003e holds up pretty damn well in 2009 for anyone checking them out for the first or 5,000th time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"1120\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/7tf1wzg4rdE\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat's the sound? It's completely theirs but draws on everything from the psychedelic paste of Barrett\/early Floyd to vintage Velvets propulsiveness to almost everything else under the sun. In the case of the live staple \"Point That Thing Somewhere Else,\" here is a song that levitates any room in a way that makes you swear the band just stepped out of Conny Plank's studio in Germany with all the bulldozing power of Hawkwind. Their jubilance at times (the organ-laced \"Tally Ho,\" \"Beatnik,\" \"Whatever I Do\") makes the Banana Splits sound like Bauhaus while simultaneously exhibiting dark undercurrents, making Bauhaus sound like the Banana Splits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey created both full studio sound and lo-fi recordings before, during, and after the various waves of the 4-track revolution, making both recording modes work with no loss of the band's identity. As far as other influences, you can hear Arthur Lee, Shirley Collins, and the Rolling Stones, among others, but it's never a kind of forced appropriation; while some bands seem to say, \"Look at my record collection,\" in the case of The Clean, it's organic, seamless, and inimitable. Though hardly as prolific as The Fall, another maverick group of originality, The Clean have endured for almost as long while maintaining a completely unique, quality stamp that's often replicated but never quite mastered by anyone but themselves. They're also one of the best (and sometimes loudest) live bands I've had the pleasure of seeing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e- \u003cstrong\u003eBrian Turner\u003c\/strong\u003e, New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/The_Clean_Flying_Nun_-2_1024x1024.jpg?v=1598867702\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","published_at":"2020-08-09T18:58:18+12:00","sort_order":"created-desc","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"The Clean"}],"published_scope":"global","image":{"created_at":"2020-08-24T20:29:16+12:00","alt":null,"width":1334,"height":1333,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/The_Clean_Flying_Nun.jpg?v=1598257756"}},{"id":211728728215,"handle":"the-dead-c","title":"The Dead C","updated_at":"2022-05-16T13:36:39+12:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/The_Dead_C_Flying_Nun_1024x1024.jpg?v=1598674854\" alt=\"\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTHE DEAD C \u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e- JON DALE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJanuary 1987 was an auspicious month in the history of New Zealand music, for it gave birth to \u003cb\u003eThe Dead C\u003c\/b\u003e, parented by a likely triumvirate of punk rock endeavour, DIY culture, and warehouse living. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe then-Dunedin based trio of Bruce Russell (guitar, electronics), Michael Morley (guitar, electronics) and Robbie Yeats (drums, electronics) had prior form within the Flying Nun milieu – Yeats as drummer with \u003ca href=\"http:\/\/www.flyingnun.co.nz\/artist\/12\/show_group\"\u003e\u003cb\u003eThe Verlaines\u003c\/b\u003e\u003c\/a\u003e, Morley as leader of \u003cb\u003eThe Weeds\u003c\/b\u003e and \u003cb\u003eWreck Small Speakers On Expensive Stereos\u003c\/b\u003e, and Russell as helper\/correspondent at FN headquarters. Yet, while their music, a detourned version of rock sometimes called noise-rock or free-rock, drew from the well of inspiration offered by their Flying Nun predecessors, The Dead C pushed further, farther, for far longer. (Imagine Patti Smith’s “Radio Ethiopia\/Abyssinia” extended out into eternity, while huffing on fumes from Donald Miller’s guitar amp.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReleasing their first two albums, \u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/99\"\u003e'DR503'\u003c\/a\u003e and '\u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/98\"\u003eEusa Kills' \u003c\/a\u003eon Flying Nun, with various cassettes and LPs appearing alongside – some of the cassettes released via Russell’s Xpressway and Morley’s Precious Metal imprints – these early recordings best document their uneasy alliance with the rock beast. Morley’s songs are repeatedly flayed by Russell’s untutored guitar noise, and Yeats’s drums regularly seem to be leading the songs, usually off the edge of a cliff. This period reaches its peak with 1992’s 'Harsh ‘70s Reality', a double album whose concept is as ungraspable as the four sides of vinyl are elemental, hallucinogenic. Still considered their finest hour by many, it’s the point at which they broke through and beyond the confines of the song, and many of their next batch of albums, 'The Operation Of The Sonne', 'Repent', '\u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/97\"\u003eThe White House' \u003c\/a\u003eanon, essayed an uneasy, unravelled form of improvised rockist grunt that undid itself as it poured forth from the members’ fingertips.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith the group a divisive presence in their homeland, they found greater favour overseas, and indeed they have shacked up with a number of American labels (\u003ca href=\"http:\/\/www.siltbreeze.com\/\"\u003eSiltbreeze\u003c\/a\u003e, \u003ca href=\"http:\/\/www.badabingrecords.com\/\"\u003eBa Da Bing!\u003c\/a\u003e, \u003ca href=\"http:\/\/www.forcedexposure.com\/\"\u003eForced Exposure\u003c\/a\u003e, \u003ca href=\"http:\/\/www.subpop.com\/\"\u003eSub Pop\u003c\/a\u003e), earned the patronage of \u003cb\u003eSonic Youth\u003c\/b\u003e and \u003cb\u003eLou Reed\u003c\/b\u003e, and inspired a cabal of international noise and rock artists who channel, extend, or sometimes just outright rip off The Dead C’s disobedient take on rock music. Their closest peers are (or have been), perhaps, Keiji Haino’s now-defunct \u003cb\u003eFushitsusha\u003c\/b\u003e, the USA’s \u003cb\u003eCharalambides\u003c\/b\u003e, or England’s \u003cb\u003eSkullflower\u003c\/b\u003e – all groups whose tangential relationship to the formal concerns of rock, combined with a reverence toward the genre at its most ‘out’, has them posted on an aesthetic precipice whereby their music sounds like the simultaneous destruction and re-construction of its basic building blocks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the later part of the ‘90s, and a good portion of the ‘00s (please, don’t call them the noughties), The Dead C lifted their anchor and sailed free of structure, essaying some of the most elevated dawn raids on modern electronic improvisation – that they did this with low-cost kit that often sounded like it was standing on the verge of falling apart suggests alchemical processes, magic in the air. When they did return to songs – “Trust” on \u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/91\"\u003eThe Damned\u003c\/a\u003e, most of '\u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/101\"\u003eSecret Earth'\u003c\/a\u003e, or a hilarious appearance on New Zealand music television show Ground Zero, where their rendition of “Sky” terrified the early twenties dunderhead co-hosts – they hit with renewed force, as though the song was well overdue to be desacralized.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll this, and more – Russell has also run two labels, Xpressway and Corpus Hermeticum, records solo, is the key conceptualist of \u003cb\u003eA Handful Of Dust\u003c\/b\u003e, a free-improvising duo with Alastair Galbraith which is also a sometime trio with Peter Stapleton, and is a noted writer and polemicist, contributing to music magazine \u003ca href=\"http:\/\/www.thewire.co.uk\/\"\u003eThe Wire\u003c\/a\u003e, and recently publishing a book of essays, Left-Handed Blows. Morley, one of New Zealand’s most significant contemporary artists, also records solo as Gate, and has recently been found on record with Sonic Youth’s Lee Ranaldo. Yeats has done time behind the kit for The Renderers and Trash, among others, including an astonishing turn on Mary Rose Crook \u0026amp; The Renderers’ Ghosts Of Our Vegas Lives. In recent years, The Dead C have toured America, been invited to perform at the All Tomorrows Parties, Le Weekend and What Is Music festivals, and overseen a series of vinyl reissues of earlier titles – including, finally, the re-appearance of their very first cassette, \u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/100\"\u003e\u003cb\u003eThe Dead See Perform Max Harris\u003c\/b\u003e\u003c\/a\u003e. About time!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the song titles on their 2007 album, \u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/102\"\u003e'Future Artists'\u003c\/a\u003e, has The Dead C as “The AMM Of Punk Rock”, which is a fair enough call. English ‘laminar’ improvising outfit AMM have spent the last forty-five years liberating free music from its orthodoxies, suggesting ways forward for players locked in entente cordiale in real time. The Dead C do something very similar with punk rock. And yet, the title they should claim, as is their right, is even simpler, yet just as true – the greatest rock group of the Southern Hemisphere.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003e- JON DALE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003eJon Dale writes about music and culture for Uncut, Dusted, Signal To Noise, Resident Advisor and more. He is researching DIY aesthetics, English post-punk and Industrial music for a PhD at the University Of Adelaide. Previous work includes teaching at the University of Adelaide and University of South Australia; guest curation for Adelaide's Mercury Cinema; research into body\/performance art, experimental film, conceptual art, and critical theory; running record labels, making music, self-publishing, writing for The Wire, Australian Book Review, etc.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTHE DEAD C ARE FROM OUTER SPACE? - ALAN HOLT\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMy first reaction when Roger asked me to write something on the \u003cb\u003eDead C\u003c\/b\u003e was to ask if it would be ok if it was fiction - I was envisioning some kind of Sci-Fi horror involving time travel, silver robots, semi-translucent winged monsters and maybe a fairy princess.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoger said ‘of course’ (I hadn’t mentioned the robots etc…) On reflection it occurred to me that this idea was borderline dumbass and the results would not really contribute much to the casual fan’s (or anyone’s for that matter) understanding of the band, even though it would have been fun for me re-imagining the band as a cadre of cosmic post-apocalyptic multidimensional freedom fighters – which, I guess, in away, they kind of are anyway.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMy first Dead C purchase was their second album '\u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/98\"\u003eEusa Kills'\u003c\/a\u003e. I am not sure why I bought it. It may have been from hearing Bad Politics on student radio, or it may have been from reading an advert in RipItUp comparing them to Peru Ubu and early Black Flag. Perhaps it was the cover with the back cover text about the sacred chickens…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRegardless, at that time, they were not real popular with my peers; only one of my friends had a copy of \u003ca href=\"https:\/\/www.flyingnun.co.nz\/shop\/99\"\u003e'DR503'\u003c\/a\u003e and she did not like it, saying it was unnecessarily difficult listening and intentionally annoying – this coming from a Pussy Galore fan, go figure… Any way I remember getting the record home putting it on the stereo and for some reason my first thought was ‘not this is annoying semi-formless crap’ at all but a resounding “YES!”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMy purchase of the record came soon after purchasing, and having my mind blown by, Daniel Johnson’s album 'Hi, How Are You?' One of the qualities that linked the two albums together was a similar creative philosophy of making music with whatever instruments and recording devices were on hand regardless of said instruments or devices being considered ‘professional’. Daniel recorded on a cheap cassette deck and for one song sang over a scratchy instrumental record. The Dead C used Michael’s cassette 4-Track, cheap microphones, battered guitars\/drums\/CD players… whatever they had sitting around… to get the job done. In a time when everyone in Auckland, New Zealand was using the ‘best’ band gear they could buy, racking up huge bills at expensive studios and waiting until I dunno they were discovered and someone really important could come on the scene and make their decisions for them, the Dead C demonstrated to those who would listen that there was another way, that actually, there were no rules.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo instrument or sound-making device is off limits for the band. ‘Cheesy’ synths, antiquated shareware apps, culturally inappropriate Playstation games and tacky kids toys have all been used to make music that subverts, surpasses and recontextualizes the ‘low class’ status of it’s origination. Also – for a bunch of guys who make ear-splitting noises for fun they actually all have incredibly fine-tuned ‘musical’ ears. One of the genius aspects of the Dead C is that they do not just play their instruments; they also play their amplifiers, their cables, the room they are playing in and ultimately the recording gear itself. The mark of a great band is that no matter what instruments they play or how they choose to play them they always sound like themselves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Yeah they sound like a bloody racket!” I can hear you yell outside my second story window. Yes that’s true, but when they make this racket they sound like absolutely nobody else. This is a good thing. See most bands who make a racket sound like each other, they sound generic, but when the Dead C fire all their guns at once and explode into spaces they \u003ci\u003ealways\u003c\/i\u003e sound like The Dead C…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003e- ALAN HOLT -\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eThe Ex-Flying Nun Guy\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-08-09T19:04:15+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"The Dead C"}],"published_scope":"global","image":{"created_at":"2020-08-29T16:21:07+12:00","alt":null,"width":997,"height":997,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/The_Dead_C_Flying_Nun-SQUARE.jpg?v=1598674867"}},{"id":211732529303,"handle":"the-mad-scene","title":"The Mad Scene","updated_at":"2021-11-15T09:12:04+13:00","body_html":"\u003cp\u003e\u003cspan\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/files\/Mad_Scene_Flying_Nun_copy_1024x1024.jpg?v=1600763757\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHamish Kilgour and Lisa Siegel formed Monsterland, the first incarnation of their band, in Auckland, New Zealand, in 1990 with Danny Manetto. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHamish, former member of \u003cstrong\u003eThe Clean\u003c\/strong\u003e and \u003cstrong\u003eBailter Space\u003c\/strong\u003e, and Lisa, a New York native, found a like-minded comrade in Danny, whose previous musical credits included that amazing cello noise at the start of \"She Speeds\" on the Straitjacket Fits' Life In One Chord EP and playing in Robert Scott's part-time Dunedin outfit, Electric Blood.\u003c\/p\u003e\n\u003cp\u003eThe three shared a musical attitude in Monsterland that transcended normal, straitjacketing instrumental assignments. On the group's one major live outing -- supporting The Clean on their last NZ tour -- bass, guitar and drumsticks were passed from member to member from song to song.\u003c\/p\u003e\n\u003cp\u003eThe same principle applied to their Auckland recording sessions with engineer Gordon Rutherford which make up the bulk of A Trip Thru Monsterland. Their pastoral, sometimes Fall-ish sound leaps from quiet naivety to a messy celebration kind of picnic pop. Hamish pioneered this musical attitude of do-it-yourself and no-instrumental-hierarchy in The Clean and Great Unwashed but, among the three songwriters, it's perhaps Lisa's songs which especially benefit from the charm of this approach.\u003c\/p\u003e\n\u003cp\u003eThe story of the rest of the material on A Trip Thru Monsterland -- and of the group's change in name and the absurd wait there's been for this release -- has to do with Hamish and Lisa heading back to New York in 1991. In America, they kept the band and songs going but had to change the name cos there was already a band in NYC called Monsterland. So they became The Mad Scene and developed a reputation in New York's indie-alternative scene, releasing a 7\" EP on Homestead Records and recording the rest of what is here at Toxic Shock studio in 1991.\u003c\/p\u003e\n\u003cp\u003eHamish and Lisa returned to New Zealand in 1993 to complete the mixing and artwork for this 14 track CD with Danny, who has since been playing in Auckland bands Shaft and Steam. The Mad Scene's on again off again career continues Stateside, except now we hear they're called Top Cat...\u003c\/p\u003e","published_at":"2020-08-09T19:30:21+12:00","sort_order":"best-selling","template_suffix":"","disjunctive":false,"rules":[{"column":"tag","relation":"equals","condition":"The Mad Scene"}],"published_scope":"global","image":{"created_at":"2020-09-22T20:36:09+12:00","alt":null,"width":1000,"height":1000,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/collections\/Mad_Scene_Flying_Nun.jpg?v=1600763769"}}]
["Ba Da Bing","Friends","Hamish Kilgour","New Zealand","Shop","The Clean","The Dead C","The Mad Scene","Vinyl"]
Incredibly, after all his work as a founding member of both The Clean and The Mad Scene, Hamish Kilgour has never released a proper solo album of his own, until now.
Fans of his work over the years will no doubt be pleased with this debut release. All of It and Nothing is an ode to the power of jangle, highlighting Kilgours innate ability to both gleam the melodic cube and let the choogle of a chord progression ride itself to greatness. Written and recorded in collaboration with Gary Olson, who captured the album at his Marlborough Farms studio and accompanies Kilgour on some songs, the album carries a distinct hushed intimacy, full of soft-spoken phrases and light guitar play that belie the power of the music it provides.
TRACKLIST
Here It Comes Going Out Strength of an Eye Crazy Radiance H.K. Eleven Eight Smile Turn Around Hullabaloo Rave Up (For the Yellow Dogs) Get on Up Last Song
