It's time for some normal shows in Auckland bars. Bond Street Bridge have spent the Summer out in the cold sunlight,
playing shows from the dust of the Lyttelton Petenque Club to the very
backyards of the horrifying zombie mansions that line Luckens Reserve in
Auckland's West Harbour. From the shores of Lake Okarito where
the white herons nest to the flaming braziers of the Sawmill at Leigh,
from the stalactite-hung weirdness of the Playhouse in Nelson to the
ancient beer-sticky boards of the Napier's Cabana, from the haunted
halls of Chick's Hotel to the Blue Ice Cafe where the wind blows
straight in from the Fox Glacier and back to the baroque bizarrity of
the mask-hung walls of the Grainstore Gallery in Oamaru's white stone
port district, we have slung guitars, beaten drums, tapped laptops and
whispered tales of glory.
Now we are ready for the Golden Dawn.
DJ House and Garden is a Golden Dawn veteran. His caped silhouette
looming powerfully behind the wheels of steel is a welcome sight to
those liquor-swilling denizens of the Inner-Auckland evening who haunt
his dancefloor - but everything must pass, ladies and gentlemen. After
one last ever final An Emerald City show (28th of April, St Kevin's
Arcade on the dot of 8pm), Reuben P. 'House and Garden' Bonner will
return to Berlin to fight the forces of badness and keep the northern
hemisphere safe for rock and roll. This last Golden Dawn set for quite
some time will be an excellent oppourtunity to witness DJ H&G
dropping 'Ramble On' on an unsuspecting Ponsonby Road the way only he
knows how, so let us hope to god he does that.
The whole turkey-shoot costs only five bucks as well, so you would be beserk to miss this. It's next thursday (19th of April) at Golden Dawn Tavern of Power, tucked away on Ponsonby Road there. To answer your next question: yes, it does feel weird to be playing somewhere in central Auckland that is not the Wine Cellar. We're just mixing things up a little here.
And, by dint of either planetary alignment or great judgement, we're also playing a show in Auckland the following night. This one's at the Wine Cellar of course, with a bunch of other sweet bands. They'll have wine cellar and whammy bar opened up and it will all get quite fun. The bands are us, Mulholland (in their only NZ show for some time), Coach (with a bunch of new stuff I believe), Nikita the Spooky and the Circus of Men, (who sound pretty awesome), Brendan Turner and Callum Stembridge, and Brendan has as usual put together a pretty alarming poster.
So, details:
Bond Street Bridge and DJ Reuben P. 'House and Garden' Bonner: 19th April, Golden Dawn, 9ish
Mulholland, Bond Street Bridge, Coach, Nikita the Spooky and Circus of Men, Brendan Turner, Callum Stembridge: 20th April, Wine Cellar and Whammy, 8:30 start.
Friday, April 13, 2012
Thursday, March 15, 2012
In The Pines
A couple of days ago we took our coffee for a walk through the pines behind the zoo, which is where we go usually when life is getting a bit samey and we want to see the elephant. I'm not sure how many people know this, but there's a few places around Western Springs where you can get a good look at the elephant, and she quite likes it I think when we go and say hi, because she doesn't have a buddy anymore since Kashin died and the horse the zookeepers said they were going to get her as a pet doesn't seem to have turned up yet.
But anyway, for whatever reason the zookeepers decided that the elephant didn't need a pet horse after all, so she just sort of mooches round her field and tries to make friends with the rabbits, who aren't really up for much. We go and visit her once in a while, as I said, to keep her spirits up, and I think she appreciates the company, even at a small distance. Elephants are OK to look at from a distance because they're reasonably large.
This time round, we were peering though the pine trees and waving a little bit so she could see we were there, and we were suddenly reminded (presumably the association was with the loyal Elephant Cavalry of Imperial British India) that this year is the Queen's Diamond Jubilee. That elicited a round of back-slapping and respectful congratulations with coffee-mugs raised generally Northwards, very much in the tradition of Scott's men when they were on the ice. Then, since we were in a remembering mood, I remembered something strange that happened a long time ago and I'd almost forgotten.
"Have I ever told you the story of the time I played the tambourine By Royal Appointment?" I asked.
"Nope. Have you been saving it up?"
"Well, I'd almost forgotten in fact. These sorts of things happen tediously often, you know." I was adopting an airy tone, suitable for the out-of-doors in reasonable proximity to wildlife.
"They don't at all, you know. It's just that your memory isn't what it was because you tend to make things up instead of actually trying to recollect them."
"That's a good point, but this did actually happen I think. Somewhere, I have a green T-shirt with a crown on it, about the right size for a goofy-looking ten-year-old."
"That sounds like the kind of thing you would have worn when you were about eighteen, actually, and picked up in any op-shop in Lower Hutt."
"Well. I confess I did try to wear it then, but it was pretty tight even on a goofy ten-year-old. On a goofy eighteen-year-old there was just too much midriff. I can't remember though whether that specifically was the problem, or whether it was just that it didn't match my eyes, but anyway I did try and fail to wear it as an eighteen-year-old. The provenance of the shirt, however, was not in doubt. It was handed to me, I recall, shrink-wrapped, by a matronly-looking woman standing in an enormous warehousey thing in Earl's Court Stadium. I think it was a stadium. Something like that."
"Why was she handing you a t-shirt?"
"She was handing it to me, I think, because I could not be otherwise persuaded to leave the buffet table. I think we were supposed to go up to the front and get them ourselves, but there was an abundance of free food and I didn't have many manners in those days."
"That sounds very likely. But why were you there in the first place?"
"Well. As a Tambourine Player by Royal Appointment, it was my duty - my honour, really - to play the tambourine for Her Majesty on the occasion of an earlier jubilee. The fortieth, I think. Silver? Gold? Is that fortieth?"
"I'm not sure. It would definitely be a metal though I'd say. Let's call it silver, and leave gold for fifty. That seems reasonable."
When we got home and consulted the Commemorative China, we realised
that silver is actually 25 years, and it happened in 1977. We still don't know
what metal forty is. All other details in this story are accurate though, more or less.
"OK, it was the Queen's Silver Jubilee. So she got me to come an play the tambourine for her."
"In a tight green t-shirt with a crown on it?"
"Naturally. This was 1992, of course, and tight green t-shirts with crowns on them were the very height of goofy-looking ten-year-old fashion."
"OK. What were the princes wearing?"
"Um. I don't know. Suits, I'd imagine. You have to remember that even as a Tambourine Player by Royal Appointment, you don't necessarily get to access all areas. I have to confess I don't recall seeing the princes."
"Not at all?"
"Not that I recall. There was a lot going on though. I'd just been introduced to Dungeons & Dragons, for example, so I was a bit distracted."
"Introduced to Dungeons & Dragons? By the matronly lady with the t-shirt?"
"No, she only features in this story as a t-shirt deliverer. The Dungeons and Dragons vector was a boy called Colin. He was, I think, a Triangle Player By Royal Appointment."
"So this wasn't a solo performance?"
"No, I had a band I guess. Sort of."
"Oh, that's a shame, I kind of imagined you in the drawing room at Buckingham Palace waggling a tambourine like that boy from Extremely Loud And Incredibly Close, all by yourself on the Royal Carpet."
"Transfixing the corgis with my scintillating rhythm?"
"Yeah."
"That would have been cool. In my green T-shirt."
"And the Duke could have dropped a race-bomb, and you wouldn't have even know because you were only ten."
"And a little bit goofy-looking."
"With a crown on your shirt." The elephant did a bit of a snort around now, showing that not everybody wanted to hear about this couterfactual scenario.
"And you would have eaten all the asparagus rolls at the garden party."
"For sure. No, the real life thing was different. It was like, every country in the Commonwealth had to send some kids along to this thing called The Great Event at Earls Court Stadium. I think it was a Stadium. Something."
"Sort of like The Hunger Games?"
"Yeah but way more lame. Like nobody got to do any fighting or anything, and I don't think there was a death penalty involved."
"That already sounds lamer than what I know about the Hunger Games."
"Which is actually not heaps, eh?"
"You're right, it's practically nothing. So it wasn't really like the Hunger Games at all then?"
"I don't think so. I don't really know anything about the Hunger Games either, so let's say it was more like the thing at primary school where all the choirs have to go to the Lower Hutt Horticultural Hall and do a performance."
"Oh yeah and you sing something like There's a Fraction Too Much Friction and the singing teacher gets real grumpy because all the kids sing essentially the same word for Friction and Fraction and it makes her look bad in front of all the other singing teachers."
"That's the one. Except instead of Schools, it was Countries, and instead of the Lower Hutt Horticultural Hall it was Earls Court Stadium."
"Or something."
"Yeah, or something. And instead of singing teachers, it was - I'm pretty sure I'm remembering this right - some dudes from the Army."
"Seriously?"
"I think so. It kind of makes sense, like maybe they were the Brass Band or something."
"So these guys from the army taught you all to sing a song?"
"That was the interesting thing, actually."
"Finally." The elephant looked up expectantly as well.
"Nah, stay with me here. This story has The Queen in it, remember? No, the thing was, they figured we would all be way too unruly and retarded to learn a song, so-"
"So they gave you, what, a bunch of percussion instruments?" Millicent Crow has a post-graduate diploma in Primary Education, but you don't need one of those to know that this plan was doomed from the start. The elephant shook her head.
"Counting Zimbabwe?"
"Yep, this was 1992, remember? They were still in the club then."
"Right. Um, no idea."
"Me neither, but I reckon fifty or so. And there were about six or seven kids just from New Zealand, so that makes, what? Heaps of kids."
"Heaps of kids."
"Way too many to make it a good idea to hand out percussion instruments. But they did! I think I lost faith in the Army as an institution around about then."
"I bet you didn't, because you've already told me that there was an unlimited buffet."
"You're right. Sorry. I shouldn't impose my current prejudices on my goofy ten-year-old self. No, plus I think I thought their uniforms were pretty cool."
"That sounds more likely."
"So they had these percussion instruments, and all these kids, in a massive warehouse-"
"You said stadium."
"It was more of a warehouse. And they gave us our lunches in paper bags."
"Not a buffet?"
"I think - I think - there was both. Which would make this about the best thing that had ever happened to me up until that point and probably quite a bit further on as well." I grew a little bit misty eyed, and the sun slanted through the pine trees in a Golden Age kind of way. "And we were there for two days!"
We were there for two days, I remembered. Oddly enough this was all coming back to me as we were talking, although it seemed like a strange sort of thing to forget in the first place. Two days in what I remember now as a large empty warehouse or aircraft hangar, presumably somewhere in London - possibly behind Earl's Court, which is more of a hall than a stadium now I look at it on the Internet - with children from all over the world, many of them in colourful national costume (we got the t-shirts, apparently New Zealand doesn't have a national costume) and everybody milling about, hitting woodblocks and cymbals, twirling around and getting underfoot, eating asparagus rolls handed out by a bunch of crewcut blond dudes in military dress uniforms. It was sort of like if you got Baz Luhrman in to design a high-concept refugee camp, with a lot of emphasis on camp. A really good place at any rate to get recruited into the ranks of goofy-looking ten-year-old Dungeons and Dragons players.
Each group of kids had to learn the rhythm - just the rhythm, no words or even actions or anything - to our 'national song.' At least the main hook to that tune, anyway - the killer middle eight that would get Her Majesty sitting up in her seat reflecting on the loyalty of her subjects and the vastness of her empire. This was 1992, so it was still OK to say 'empire,' of course.
"So what song did you guys learn?"
"That was one of the weird parts. It had to fit in with this big long piece that the orchestra was playing" (let's say it was the London Philharmonic, or at least the BBC Pops, something with a little class) "and it was really quite long, so they sort of squished us in a bit."
"Squished? Like how?"
"Well, we all sat on this big map they'd painted on the floor of the stage, all the kids on their own countries. Or it our case and with like Fiji and stuff, it was more that we were sitting in the sea near our countries, because they were using azimuthal projection, which unfairly favours the Northern Hemisphere. The Canadians were positively rattling around, and Northern Ireland had plenty of room. Didn't stop them stretching their legs South a little though, bless their Loyal hearts."
"So there you were, sitting in the sea."
"There we were, sitting in the sea. And for some reason - I don't know who the arranger was or anything, but we were getting the short straw left and right. Not only did they give us this tiny little squiggle to sit on" - here I was becoming indignant, no wonder I had buried this memory - "Not content to squeeze us into the sea, guess what our 'national song' was?"
"Ooh, um? Gosh... Blam Blam Blam, There is No Depression In New Zealand?"
"Try again. National song. Synonymous in the minds of the Royal Family with these shaky isles and their verdant land uplifted high."
"No, I give up. Go on."
"I'll tell you: Waltzing. Matilda. Waltzing Bloody Matilda. The national song of the Loyal and Ancient Dominion of Australiaandnewzealand, apparently. That's when I became a communist."
"No you didn't, that was later on at University when you saw a picture of Che Guevara looking smoking hot."
"OK, you're right, but I should have. Anyway, we got our own back in a way. It really is a daft idea, giving a pack of kids percussion instruments and expecting them to wait quietly until their cue. We really wanted the Queen to notice us, so we sort of joined in with the other National Songs as they happened. Lots of vim and enthusiasm, but my god some of those National Songs are tricky! Talk about embarrassing your singing teacher - I expect the Army Brass Band guy in charge of training the ANZAC contingent is scrubbing latrines in Afghanistan as we speak."
"Do you think she noticed?"
"Well. This was twenty years ago, and she's had two chances since then to invite me to play at her Jubilees. Which, conspicuously, she hasn't done. So my guess is yes, she noticed."
"Not amused?"
"Not only that, she hasn't even come to visit since then. She keeps sending the kids instead. Or going to Australia."
"Which she obviously thinks is the same place anyhow."
"Yeah. Waltzing Bloody Matilda."
I shook my head. My faith in the Great Chain of Being had been dealt another blow. The elephant snorted, took a final trunkfull of grass, and ambled back inside her Elephant Hutch. The rabbits sniffed the air and bolted for their burrows as the baboons across the creek began their post-prandial howl. The light had gone from gold to red and we toasted the Queen, packed up the picnic, and headed for home through Western Springs Park.
Monday, February 27, 2012
Hope and Wire
I just watched the video for the 'the letting go' from the Eastern's new double album Hope and Wire, and I don't mind who knows that I sat on my bed on on a sunny morning in Auckland City and cried like an orphaned baby seal. What a sad-sack, I guess, but I'm normally way tougher than this so don't worry about me. It's just, you know, theres a lot going on on this album they've made here. A lot more than you get in a lot of albums from a lot of bands: a lot more hope for one thing and also a lot more wire. Hope and wire - I couldn't think of a better line to capture the feeling of Christchurch since the earthquake, and I can't think of a better band than the Eastern to put it on a record.
I've seen this hope and wire in the past year. Playing music around the country I've been through Christchurch for shows a few times since the quake, throwing myself every time on the unstinting hospitality of the Eastern Family, the way we have done for years. In June I was travelling with the Teacaddies and we were booked at the Wunderbar. That was one of the very few venues that was operating at the time, having just reopened after the first quake knocked out the stairs back in September of 2010. Then the June 2011 shake happened and the place closed up again, so we needed somewhere to play. Not the biggest or most important problem by any means in a city of problems, but Adam and Jess got on the case, and I got my first taste of hope and wire in post-quake Lyttelton. We played at a jury-rigged weekly club night at the Naval Point Yacht Club hosted by Al Park of the red-stickered Al's Bar, with an ancient PA, Axminster carpet on the floor and a roomful of people happy that things were happening, that there was a place to go in a town in ruins. We went back to Eastern HQ that night with some guitars and we heard the songs they'd been writing, heard about all the street-corner and backyard shows they'd been playing since February, keeping the music going and spirits up. That was hope.
A couple of months later I came through with Luckless and we played a live to air on RDU. I'd been hearing about how they'd come through the early part of the year badly, they'd lost their studio on the University campus and they were broadcasting out of a van of some kind. What I hadn't heard was that the van they were broadcasting out of was actually the bastard child of Barbarella's deep space love capsule and a Mad Max war truck, as imagined by Heath Robinson after a solid morning in front of a bottle of absinthe - basically the best vehicle of any kind that I saw in all of 2011. Imagine this: It's a horse float. It's got a perspex bubble in the roof like the tank that Tintin drove on the moon. It's got a generator and all the switches, knobs, dials and oscillators you need to run a fully-functioning radio station. The inside walls are lined with astroturf. And! The side wall folds down into a stage, so you can set up a band anywhere you want, and broadcast the performance live. We rolled up to the show at C4 Coffee company on the edge of the red zone in Tuam street to find them set up and ready to go, Gabe the programme director grinning from ear to ear with dreadlocks all the way down his back.
'We've got a sweet signal,' he said. 'I climbed up the back of the building with the antenna cable and tied it to the downspout. Direct line of sight to the repeater on the Port Hills.' That was wire.
Ivy and Will rocking the RDUnit: Note the astroturf.
I can't think of Christchurch without thinking about The Eastern. They're a touring band, they work harder probably than any other group in the country and they're on the road a lot. As much as they're away, though, they're a local band. Their songs, their artwork, the way they operate, they're all about Christchurch and they're especially all about Lyttelton Harbour. Jess Shanks writes about being a Southern Girl, Adam writes about the harbour lights and the bars on London Street. There are pictures of the Port Hills on their album covers, and before the quake they could be found any night of the week playing in bars around town because that's their job. Like a lot of bands, we get help from the Eastern every time we come through Christchurch, and that night they were putting us up at this house they were recording at, in Dallington. We had a late show at the Brewery and we'd been up at all hours in Oamaru the night before when we managed to lock ourselves out of our accommodation at four am, so everyone was a little wired and shaky as we followed Adam's directions from Tuam street.Dallington was fucked. Christchurch locals have got used to lumpy roads apparently, but to an out-of towner it's very disconcerting driving on tarmac rumpled like a quilt and full of holes. Crossing the Avon on a twisted bridge, we could see that this part of town was mostly abandoned. The verges were overgrown, the driveways were blooming with poppies, it was spring time and there was nobody mowing the lawns. Rooflines sagged and windows were empty; it felt creepy peering into people's deserted living rooms so after a couple we stopped looking. At what we thought might be the right letterbox we killed the engine and looked around, listened to the quiet. This was clearly not the right place, couldn’t be. Nobody lived here. This was Poland, this was East Berlin, this was an abandoned suburb in the second-biggest town in New Zealand. We were not ready for this, nobody was ready for this. These directions, we thought, must be wrong. Some tension in the car, cracks. Sobering. Depressing, even. Then we heard a guitar, laughter, people, a dog. We piled inside and there were amps and a drumkit, cables and mics, preamps everywhere, lyric sheets stuck up on the wall and guitars on every surface, they had the electricity going and there was beer in the fridge. In an abandoned house, in a suburb full of abandoned houses waiting for insurance companies to come and tear them town, The Eastern were making a record. Hope.
Sign on the wall at the recording house. Adam has also taken to carving his
name into the floors of venues with a knife, I am told.
A month or so later I came back through with the Broken Heartbreakers and we stayed at the recording house again. The whiteboard on the wall showed that the album was nearly ready, ticks in most of the boxes. There had been a couple more shakes in the meantime and the driveway was covered with fine liquefaction dust that got in your mouth when the wind blew. The house had settled a bit and some of the doors that opened last time were jammed shut now, but it felt like a place where a good thing was happening. I asked Adam to play me some of the tracks. 'You can wait,' he said. Fair enough.
We were playing at the Brewery again that night, but thanks to Carmel from Volcano Radio we had an afternoon gig as well, at the Lyttelton Petenque Club. Some years back me and Emily had stayed in a well turned-out hostel on London Street, an Art Deco place that wore its age well and kept clean rooms. It's dust now, a pile of gravel. The corner where it stood isn't empty, though - the gap has been filled by the open-air headquarters of the raggedy rough and ready Lyttelton Petenque Club, because really, can you think of a better use for a gravelly lot? There's a community garden there too, and people selling coffee and markets once a week: a place to go amongst the ruins, see the neighbours, chuck rocks about. We set up our PA in the corner of the dusty lot and played our set, got a sunburn. People were hanging out, smiling, filling the gap. For the rest of the tour all of our gear and our cables were covered with dust and we didn't mind. Hope and wire.
Listening to the new album this morning I could hear all of this and so much more. So much more – these guys live there after all and I just blow through sometimes. I’ve got some anecdotes, they’ve got a year of dust and rubble, friends killed and maimed, confusion, uncertainty, hope and wire. They put all of that into this record I think. The video made me cry though (not as in ‘brought a tear to my eye’ or anything so restrained, I’m talking about crying, Roy Orbison-style: no control, great choking sobs and tears rolling onto my laptop) it made me cry because before all this happened, I walked in those hills with that exact dog, I played in those bars with my friends, I rode the ferry to Diamond Harbour and looked back at the Timeball Station above the port, I woke up to the valleys around the harbour white with snow on a morning in August. I love that town and the ruins break my heart. Lyttelton isn’t my place, but it’s a place I love, and The Eastern have made the album that Lyttelton deserves.
Millicent Crow with Shank's dog Banjo above Lyttelton Harbour in 2009.
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