Author: kiwislisten

Marmalade Goes “Sober”

Indie Rock

Indie darlings Marmalade brought the magic to our Monday night with a listening party for their debut EP ‘Sober’. A cosy crew of friends and contributors munched on focaccia and cookies made by Jemilah. The ethos of the evening was to celebrate the moments before rat-racing on to the “next big thing”, and in the whirlwind of industry burnout this is a sentiment I hold close. With home brewed strawberry kombucha in my left hand, and a stunning lyric sleeve (featuring the photography stylings of Flora Driessen) in my right, I settled into the couch for my first listening experience of ‘Sober’. 

It begins with the surfy wash of “Bright” – a track pondering on the elusiveness of rockstar status. Marmalade have managed to capture the sound of nostalgia through their production – something in the wash of the sound brings me back to wondering about my future. The room claps for Liam’s guitar solo, and there are a few who can’t resist singing along to the chorus they’ve come to love through the release of ‘Bright’ as the debut single. Perhaps my favourite thing about the track, and Marmalade’s sound as a whole, is the contrast between the smooth sound of Jemilah’s voice and the gravel in Koen’s.

‘Awkward’ begins with a soundbite, which we’re told is taken from a real conversation that happened at MoveSpace. I’m not sure whether it’s the experience of listening for the first time with friends, but there is something social about Marmalade’s sound. The content in ‘Awkward’ is delightfully relatable for a city-slicker with memories of overcommitting. I’ve always loved this track live, but the production allows me to take in the joy of the arrangement. A highlight for me is the layered chorus at the end with group vocals, followed by an abrupt (perhaps awkward?) ending.

‘Houston’ drops a more serious layer onto the EP, as the band addresses the barrier stopping so many of us from reaching out when help is so clearly needed. There’s something moving about the line “somebody help me out” being yelled by a group of friends and flatmates at the end. I think it reminds us that everyone feels isolated sometimes; I can picture the band sitting in their respective rooms with the same need for connection. After listening to ‘Houston’ I made a mental note of who I’d like to reach out to this week.

You can’t beat the rhythm section in ‘Caffeine High’; it’s just so fun. Hearing Jemilah reflect on her time as a barista once again brought me back to my early 20s, and all the fleeting connections made over the top of a till. ‘Caffeine High’ is an ode to the third space. The lyrics are fun, the production swings between funky and dreamy, wrapping up with the signature Marmalade vocal layers. 

One mindblowing revelation for the evening was that Koen is not only a talented multi instrumentalist, songwriter and producer, but he is also a gifted bird impersonator. ‘Cigarette Habit’ begins with a highly convincing bird song, count in, and a generous instrumental section. Koen and Jemilah reflected on the length of the introduction – an anomaly to our tiktok trained ears – but I love it as a pensive end to this dreamy EP. It’s the perfect end to this 20-something experience of a collection. 

A special shout out to some of the friendly faces that I know stamped their mark on this EP in one way or another – the Auckland music scene is alive and vibrant. 

KiwisRetrospective – “Almost Natural”

Acoustic, Easy Listening, Folk, Singer Songwriter, Uncategorized

Almost natural is a hidden gem from 2021. I stumbled upon this album by accident, by being familiar with Jonathan Meyer from the multitude of bands he plays in (Underscore, the late Odds & Ends, Club Ruby, Max Earnshaw, and more, so many more). Jono is usually shredding an electric guitar or keeping the band in line with funky grooves from the bass, but with his solo project he takes a more gentle approach.

The journey begins with eerie guitar and soft saxophone with the intro track Warm. Soft BVs with crunchy harmonies ease us into what is a much more vulnerable and intimate piece of work than what Jono usually is involved in. The album touches on the usual subjects of love with “3AM” and “Foreign”. 3AM  features a 10/10 guitar pop pre chorus and some seriously tasteful guitar licks and a big echo chamber solo. Foreign takes a different approach with a very Jack-Johnson-like funky guitar groove. The lyrics are a clever spin on the trope of describing a girl as an angel fallen from heaven (i think) but much less cheesy.

Throughout these songs and much else of Jono’s work we get a strong influence from the 2000s alt rock era. Open stringed chords and octave riffs make this apparent. And this influence comes strongest with the acoustic ballad “Smile”. Smile could’ve been the acoustic hit single on any emo album from 2000. Though I’m not sure of the influence of this track the lyrics are poignant and really hit home the power of a positive outlook.

“Never made it home” is a personal favourite. It tells the tale of a young soldier who snuck onto a boat in the US to join the war effort in Europe in WW2. I’m not sure if this track was inspired by a grandfather figure or just a take on a not so unfamiliar story, but the tale is captivating none the less, and the chorus pops into my head every few months.

A common discussion point I hear from musicians is that the real beauty of art can come from the true authentic moments, the organic little mishaps that can happen and create someone with real human charm. People can strive to create this artificially in the studio, but I don’t think this really comes through unless you have a one take recording that doesn’t try to polish anything. “A song from my dad” combines the charm of getting your father in to help on a project with this kind of magic. It’s a beautiful piece of instrumental piano music that is simple, but effective, and adds a lovely point of distinction to the album as a whole.

“All I needed” is the finisher. The song is built on dreamy synths and lullaby guitars that could sit on an early Bon Iver cut. The lyrics could go either way representing love or a spiritual side of Jono not really delved into yet at this stage in the album. It’s a beautiful finisher either way.

Overall the album is a lovely piece of work. Very unique from the usual projects Jonathan is involved in. It’s a great showcase of his songwriting with interesting lyrical ideas, cliche free harmonic progression and very emotive singing. I’ll be keeping this album in regular rotation.

KiwisRetrospective – “The Tapes Etc”

bedroom pop, indie pop, Pop

I’m a sucker for sad boy music. When I need to indulge in my sad boy feelings and have overplayed Cavetown, Wells* is a good fill in.

Wells* is the moniker of producer/songwriter/keys for hire Josh Naley. If you’ve seen Robinson or Navvy on tour you may have noticed a friendly bowl cut bobbing on the ivories making tasty synth sounds. 

I first heard Wells* music through his Tapes series, an annual drop of a single with some supporting tracks which always had the steeziest artwork (credit to Matthew Twyman). These small bodies of work eventually were compiled with a few other tunes into the album “The Tapes Etc”. Each track brings you closer to the acceptance of a break up, with all the petty emotions along the way.

The album kicks off with “Back To You”, a massive sounding track with constant developing layers. The first chorus chord is very leading, like it’s asking the question in the lyrics which some nifty word painting. The song seems to be a gesture of good will to an ex, but mostly its a solid pop bop. Though it didn’t grab me at first, I’ve found over time this track has the most replayability in the album.

“Anytime soon” is a more low energy track about waiting for an impending break up. The lyrics in here are quite humanising and direct, I like the lyrics “you find it hard to work when you want to have a dinner party”. I vibe with that.

“Jealous” drops in with a very distinctive synth lead, and slowly builds with the percussion to a big heavy stomp clap groove. The lyrics are petty, but sometimes that’s how you feel. All the sounds and timbres in this song are really interesting, a stand out on that front.

The next tune “Night and Day” is a bop with a latin feel. This would go off in a club, all about being available for a rebound anytime, classic. I like the high pitched record scratch part way through, a lovely bit of ear candy.

I’m a sucker for implied tension in songs, where the bass is just held off for ages, and you know it’s coming, but the song holds off until the breaking point where it finally hits. “You’re never coming back” does this excellently with its distorted vocal bridge which drops into a massive chorus, well worth the journey. It’s also the first song which seems to address the grief of a break up which feels like a bit of maturing in the story of the album.

Wells* goes full Ken after this and pulls out a guitar for “Baby that’s you”. The acoustic start is a reprieve for the ears after heavy production so far and Josh get’s to showcase his ability to write distinctive vocal melody’s and interesting chord progressions in a classic singer songwriter style. Production elements are still toyed with with some autotune at the end of chorus lines. The synth solo at the end is a lil quirky.

“The Worst Optimist in the World” is my favourite track on the album, it’s just so raw. When I listen to it, I feel like I’m reading someone’s journal after they’ve just had the worst year. “It’s a bad day when I wake up” is a tough line. Wells* does a heartbreaking vocal performance on this and builds up into a groove by the end which lets you transition back into the fuller sound at the back half of the album.

I think I lied, “Depressed” is my favourite song on the album. At least it’s the one I’ve played the most. The guitar and bass are fat and the drum fills are big and it just makes you move. It’s a classic sad-lyrics-but-a-bop vibe with an underlying tone of optimism which feels like a response to “The worst optimist in the world”. “Depressed” was released with Wells* first music video (shout out Molawin Evangelista for the stellar direction here, the video is tight). Highly recommend.

“Therapy summer” kicks off with a chorus of Wells* singing. This builds with a heavy groove and beautiful shimmery synths through the chorus. This song just sounds beautiful, I think it’s the best production on the album. Molawin Evangelista directed another stunning video for this with Wells* performing in an empty theatre surrounded by a large screen, the visuals are as beautiful as the synths, the full whited out screens are particularly striking.

“Quitter” seems to have more of an element of acceptance to previous tracks talking about how “we both messed it up in our own way”. The track seems to have a comical view of a obsessive ex just not being a “quitter”. A fun take,

“The End” provides a solid coda saying “goodbye to my highschool sweetheart”. It’s a fitting end to the journey through the breakup and wraps things up nicely.

Wells* has been a bit quiet since the release of his debut album, and hopefully will be back soon. It will be interesting to see what new musical direction his music could take. In the meantime, I recommend “The Tapes Etc”

Pretty Stooked debut “My Line”

Uncategorized


We first discovered Pretty Stooked last year at a spontaneous Wunderbar gig post lockdown. We were taken by the humble way he owned the stage, and his epic songwriting. Christchurch was riding the high of any kind of outing, and the audience clung to each moment of music and magic. Eddie, the man behind Pretty Stooked had just returned from a stint in Melbourne and was hoping to gain momentum in the NZ music scene. A packed out Wunderbar served as an excellent welcome home party.

Over a year later it’s exciting to see Pretty Stooked backed by a star studded five piece. The band have already lit the fire, touring the South Island and playing a sold out headline show at Grater Goods. Now, with the help of Josh Logan (Loho Studios), they’ve prepared their debut single “My Line” for your ears.

Groovy from bar one, “My Line” is a meandering tour through the much loved indie pop-rock genre. The opening lyrics reveal that Pretty Stooked can’t sleep at night, wondering if they’ve lived their life the right way. The soundscape is one of pensive melancholy – they’re reflecting on mistakes, but not outright defeated by them.

The drop into the first chorus is satisfying, as Eddie holds back on a full belt, delivering the defeated line “I want you to feel it”. It’s a controlled performance; each moment feels intentional. This isn’t a proper breakdown, but these thoughts have lived in his head for a while now. Eddie’s brother Cullen Kiesanowski keeps it groovy with a driving bassline, and Mitchell Bowley-Black (The Hootz) keeps it steady on the drums. His tasteful fills in the chorus drops added energy without detracting from the vibe. Jayden Bowley builds a dreamscape with his affected guitar lines, aided by Tyler Robbins on the keys.

The track comes with a stunning music video. Colour graded and filmed to perfection, the team (Adam Hogan and Soane Jones Pamatangi) capture the natural overthinking state of your 20s. The slow motion shots and dreamy garden-city moments were so familiar to me, having grown up in Christchurch and spent enough time doing “nothing much”. “My Line” a stellar first track, and I can only imagine where Pretty Stooked will go from here. The band have plans to slow release an EP over the next 12 months.

Grab your safety hats kids, because Odds & Ends dropped “Picture” today and it hits hard

Uncategorized

Grab your safety hats kids, because Odds & Ends dropped a track today and it hits hard. After leaving us waiting for two years their much anticipated single “Picture” tackles the tricky subject of mental health. “Picture” is a gut-wrenching exploration of life on the brink, driven by musicality and power wrapped in an indie rock bow.

Powerhouse vocalist Koen Aldershof captures what it’s like to scream into the void. “Picture” boasts a stunning and emotional delivery of sensitive lyrics. The hookline “let’s take a picture by the edge… I’m not scared in case we fall down” promises to both rile you up and give you chills. It’s a timely reminder, with New Zealand’s latest lockdown to check in on your mates.

While this latest track takes on a “darker flavour” than the band’s tasty earlier work, it’s still characteristic of the Odds & Ends sound. “Picture” features cheeky verse licks and a monster guitar solo that shreds like a cheese grater. Josh Johnston delivers a heart palpitation of a rhythm section, while Jonathan Meyer (underscore) holds it all together with steady bass.

Don’t forget to support the lads on Facebook and Instagram, and raise those dreamy streamy stats on Spotify / Apple Music.

Never Coming Back – Underscore

Indie Rock, Uncategorized

After an enticing build up for their new single on Tik Tok, Underscore have finally released their sophomore single Never Coming back, and oh boy it slaps like a prima donna.


Unlike their first release Dirty Word, Never Coming Back hits hard and heavy with a lumbering blues groove that finishes on a crunchy chromatic descent. Front man Jonathan Meyer describes the track as a “bitter breakup song that draws on progressive rock influences”. Never Coming Back builds on this idea switching between sarcastic verses and emotionally charged choruses. A soulful solo leads into a fast paced bridge that carries the song into a final heavy iteration of the tracks iconic riff.

Underscore features Hon Manawangphiphat on bass guitar, Josh Johnston on drums, and Jonathan Meyer on guitar and vocals. The trio started playing music together as students at the University of Auckland, and have performed shows throughout Auckland ever since. While Jonathan is the principal songwriter and guitarist, the whole band brings together their backgrounds in pop, rock, metal, and jazz to create the one-of-a-kind sound Underscore is known for.

This track was a lot of fun to listen to, and we’re keen to see where Underscores following releases take them.

Make sure to follow them on Spotify, Facebook, Instagram and Tik Tok.

KITA – Self Titled Debut Album

INDIE, indie pop

KITA is the debut self-titled album by Wellington musical alumni Nikita Tu-Bryant, Ed Zuccollo and Rick Cranston. Between them, these talented musicians have played with such artists as Holly Smith, The Black Seeds and The Bushman. Combine this with Grammy award-winning producer Tommaso Colliva and you have an album heavily influenced by a wide range of genres and styles.

The overall feel of the album is very calm and down to earth, with rich instrumentation, warm tones and a rain motif featured in more than one track. I particularly enjoyed the solos and licks that showcased the skill of the musicians without overpowering the vibe of the track – KITA feels like the perfect album for a midnight swim, drive down an empty street or to have a quiet drink in a dimly lit speakeasy. Almost as though they are aware of this, KITA found a few moments to check if you’re really listening with massive musical moments. For this reason, a personal favourite was River in My Veins.

The single from this album is Everyday, released with a music video one week prior to the album release. The relaxed jazzy, indie pop feel of the song is perfectly portrayed in a music video of slow, dead-pad dancing and soft pink and blue lighting. This track is a great introduction to some of the more complex songs on the album. Tickets are on sale now for their album release tour and I reckon it will be one to catch!

Can’t get Keeley Shade’s track off my mind

Ambient, Folk, INDIE, indie pop, Pop

Canadian born alt-pop-folk artist Keeley Shade seems to have materialised from nowhere. Her debut track On My Mind has sparked intrigue, featuring on the NZ top 20 and earning over a thousand streams on Spotify. The track is an impressive first release, establishing Shade as a force worth watching.

Keeley Shade’s On My Mind swells into existence like waves on the sand. The instrumental intro is built by fading piano and a crackling microphone. The producers use every ounce of sonic space. The simple melody in the first verse allows the dreamy soundscape to speak for itself, and Shade’s lyrics are mysterious, allowing for an open interpretation.

The introduction of high guitar in the interlude feels like your mind opening. One My Mind’s production is flawless and creative, experimenting with texture and painting colours. The empty space is always meaningful, building a pensive atmosphere. The purity in Shade’s vocal delivery is calming.

The bridge provides a low moment in the song, as Shade thinks about throwing it all away. The backwards vocals are otherworldly, giving the sense that we are caught in a trance as the piano plays reverberating scaled. The sudden shift in tone is a risk that pays off when the track returns to its original vibe.

On My Mind is an innovative first release, and I look forward to seeing where Keeley Shade goes next with her sound. You can keep up with here on Facebook and Instagram.

Ministry of Folk – Hoop, Jazmine Mary, Being., Looking for Alaska

Acoustic, Folk, folk rock, Live Music

Artists meet sporadically at the Ministry of Folk to deliver intimate live performances in an old church hall. The audience munches on snacks brought from home, enjoying the fairy lights and ambience. The event is hosted by the inimitable Hoop, who make the stage feel like the lounge of a family friend.

Running a little late, we stumbled through the door at 7.35 with a bottle of what we’d just realised was cork wine. Hoop’s talented and kind violinist Emily welcomed me into the kitchen where we found a rustic corkscrew, and their drummer used brute strength to release the stopper. The band was huddled in the kitchen for a pre show chat; it’s clear that they’re a well bonded and comfortable group of musicians.

Hoop opened the stage like the audience were old friends. Based on the Australian bush fires, Devil’s Choice is a stand out track written in 5/4. The violinist imitated an ambulance’s siren, and the band built the atmosphere with a jungle rhythm on the flute. Nick and Al’s voices blended impeccably, allowing for that classic “folk” sound riddled with harmonies. 

This Year was written from the perspective of a family who had battled COVID, cancer and chemotherapy throughout 2020. The song claims 2021 as a new and brighter year – a sentiment the room was holding on to with hope. It was a pleasure to watch Hoop perform again.

Jazmine Mary and Being. are a duo founded on the common ground of the name Jasmine. Both artists appeared comfortable on stage, drawing the audience in with sarcasm and a genuine friendship. The set began with Jazmine Mary’s latest release Dancer. The track is melancholy and features impressive vocal depth from Jazmine Mary. We rediscovered our love for Dolly Parton when the pair delivered a haunting cover of Jolene. 

Being. fronted the second half of the set. Her music was driven by modal shifts and a precise vocal performance. Count Me In was moving, arranged with sliding synths under a soft guitar. Beings.’s lyrics have a poetic quality to them, as she described the feeling of defeat as “dragging around a lifeless body. Truly, the clarity in her voice held the audience captive.

The final set for the evening was performed by the enchanting Looking For Alaska. What defined their time on stage was the mesmerising stories they had to share. Each song was driven by human emotion; frontwoman Amy told the tales of her late little cousin and a Grandmother who used to laugh so hard her teeth fell out. The duo’s trust for each other was tangible. It was a mesmerising set.

It’s difficult to pick any one piece that stood out, as each song boasted a certain ‘X Factor’. Where Have You Gone was a sultry slow jam with tight harmony that built to a phenomenal belted section. Home drew the audience to sing along and Hey You was a display of love coupled with a drinking game. Each song in the set was polished and precise, featuring flawless guitar playing from Aaron and out of this world vocals from Amy. The duo’s voices blended impeccably.

Part way through a song the room erupted into surround sound alert level 3 warnings. Despite the anxiety the sound always entices Looking For Alaska remained comfortable on stage, and soon had the audience yelling for several encores. I’m glad we spent our last night of freedom listening to such an astonishing display of musicality.

CHRIS PIDSLEY – Listen to Your Mum

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We like to think we know better than our parents, but sometimes we really need to listen to our mum.

With his latest single, Chris Pidsley talks through the confusion of navigating a relationship with struggle, and the value of just taking advice from your parents who often do know what’s best. The lyrics are beautiful and evoke a general nostalgia that leaves interpretation up to the listener. He takes the song in a similar direction to Cavetown, who also write looking back to teenage years. The sound is fitting and works well.

Chris collaborated with other musicians for the first time with this track, bring in brass from his friend Ryan. Lockdown hasn’t stopped Chris making new music, as this was all done virtually and has come together swell.

Listen in to the full arrangement or the acoustic version below.