Release of the Vengeful Millennial

Electro Rock, INDIE, Indie Rock, Rock

Pop in your air-pods and grab your avo-toast, Hazza Making Noise’s Debut EP Vengeful Millenial is here, and it’s solving the housing crisis.

Harry Platt, the face behind Hazza Making Noise, has been releasing a string of singles since 2018. Each track takes a unique spin on re-imagining the grunge era through electronic music. Singles such as Do You Wish To Print A Receipt cracked the algorithm to break into a hallowed Spotify editorial playlist. Regular single release shows with backing band, The Ellice Road Boys, have helped build up a loyal fan base eager for the first debut EP.

NoMoreGaps is the opening track of the EP, and it starts tentatively. A mellow take on the lead riff begins to fade in with samples taken from the countdown self-checkout aisle, a subtle node to an earlier single. The track then swells in with its catchy synth lead and builds to a fast pasts chorus with off kilter rhythms and shouted vocals. “The duelling riffs in the verse is probably one of my favourite things I’ve stumbled into” says Harry, “The bass and guitar really groove out, and the beat just sews it together”. The track continues bouncing between ambient verses and bridges and its “bipolar punk rock chorus” which talks of liberating oneself to all sorts of vice to fill the gaps.

Boomers is Disguise is a punk rock football stadium chant that comes in hard straight out of NoMoreGaps. The track previously came out as a single with artwork showing ol’ Winnie Peters sporting a fantastic pair of Groucho glasses. The track goes hard with mellow verses teasing the reckless pace and chanted vocals of the chorus. The track came from an old flatmate who dared Harry to write a “rock-opera about baby boomers”. This becomes clear in the bridge where the chorus fade back for a chorus of Harry’s to slowly sing the mantra “Blame the Baby Boomers, Blame the Goverment, Blame the Baby Boomers, It’s all their fault”. Its a hard hitting tune, definitely slaps.

After the two fast paced singles, we’re lead into a reprieve with a slightly western guitar riff over some ambient instrumental loops. Harry starts with introspective lyrics with self doubt and wistful thinking of the past. This builds with a heavy kick groove then proclaims the track title, Rewind Time, Return Desire, in true stadium rock fashion. The instrumentation does a fantastic job of setting the tone of pining for a passion now lost.
“How can a treasure become a monotonous curse?
We follow each other’s lives like two satellites orbiting different Earths””

The ambient instrumental loops begin to speed up as a the bass guitar takes the lead in A Ship Came Into Harbour. The catchy riff is backed up by a soft guitar with a delay that almost makes it sound like a robotic cello. The track takes a twist on the drinking game, describing people as ships struggling to retain control in the ocean, holding the precious cargo of their hopes and dreams. The track builds into a big guitar solo distinctive with its heavy delay, which gives way to a strings led bridge with a final iteration of the chorus in a hard hitting half time.

The music suddenly drops into a menacing groove with the same guitar tone with heavy delay, electric drums and a soft piano line, reminiscent of Gorillaz. NoMoreCows is a scathing critique of people ignorant of their privilege and selfishness from a self proclaimed “Doctor Truth”.

“The diagnosis is not looking good,
with medium to high chance you’re an ignorant fool
Roaming around this stolen land,
All that bastard freedom, can you not give a helping hand?
But alas it’s the divine meritocracy,
a product of your own making that you foolishly believe”

The track also includes some self reflection considering Harry’s own privelege stating he is “Riding [his] bike in a tailwind”. After proclaiming that “this race must be rigged” the track drops, and lets anticipation build. This finally drops into a filthy heavy riff which takes the prize as THICCest groove on the EP.

Vengeful Millenial was a switch up from HMN’s usual exploratory singles to form a cohesive body of work. “I always wanted to do a project where each song blends into the next” says Haryy “I like the sense of journey that is created when the record doesn’t break between songs, and there is relationship between themI mean it’s probably a f*cking terrible idea in the age of streaming and the dominance of single tracks and playlists … but sh*t sometimes you gotta just do want you want first.”
Personally I’m a big fan of through album listening. It’s good to finally have a cohesive bit of HMN to delve into. Here’s to many more.

Listen in to Vengeful Millennial and Follow Hazza Making Noise on Spotify, Apple Music, Facebook, Instagram and Twitter.

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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.

Finally some dirty words from Underscore

Indie Rock

Underscore has been kicking around the pop school indie rock scene for a while, playing shows, reviewing sandwiches and rebooting the Skype soundtrack. Despite this varied experience they’ve never had an official release until now, with Dirty Word.

The track starts with an infectious indie rock riff that Franz Ferdinand could’ve been proud of, and some juicy chords that could’ve taught them a thing or two. Underscore keeps you interested with constant rhythmic mix ups, changes in tone, and a cheeky lil modal shift in the chorus that gets the nerdy musos raising an eyebrow and nodding in approval. The bridge of the track lets lead singer Jono really open up his pipes and put on some gravel to belt out some big notes.

Despite my juvenile hope that the word in question would’ve been more dirty, I feel that Underscore has skilfully brought an important message into a fun and energetic song to improve awareness of mental health, and letting us all know it’s okay to ask for help. It’s really a message we as a community can’t hear enough of.

We look forward to hearing more from Underscore! And hopefully an EP will be on the way. Keep tabs on them on Facebook, Instagram and Spotify.

I Don’t Wanna Be In Love – Mikaela Cougar

INDIE, Indie Rock

Following the release of her singles “See Straight” and “Lucky Star, Mikaela Cougar is back with another banger. “I Don’t Wanna Be In Love” channels nostalgic 90s girl band vibes combined with that laid back bucket hat aesthetic we know and love.

In this track Mikaela reflects on passing pages of life as she walks into a new chapter. She found the track “basically wrote itself… like a stream of consciousness.” The artist’s choice of conversational lyrics brings an element of “realness” to the song; like we’re sharing a beer as she externalises her thoughts. The hook line “I don’t wanna be in love because it’s way too hard” is charmingly matter of fact. There’s no need to dress the sentiment up in poetry and metaphors; it stands on its own with intrigue and vulnerability.

I loved the pauses in the first chorus, as Mikaela chose to match the rhythms of the instrument with her rambling lyrics. Moments of silence can be what makes a song, and she utilised these to their full potential. The psychedelic breakdown and Gwen Stefani vocals in the bridge lifted the song to that “effortlessly cool” sound that Mikaela is famous for.

The blending of bitter lyrics with an optimistic soundscape in the chorus were effective in capturing the hindsight that comes with stepping out of a situation. Mikaela has moved on; the negativity of this failed relationship can’t touch her now. Overall, “I Don’t Wanna Be In Love” is another killer track from what is quickly becoming one of my favourite emerging artists. I can’t wait for the 2021 release of the full EP.

Big Bam Boom – The RVMES

INDIE, Indie Rock, Uncategorized

Dynamic and bold, The RVMES are a genre-defying “stir-fry” band of brothers from the big smoke. The four piece waste no time, and in their short two years as a collective they have “caused mayhem” on a 10 day North Island tour, and released a self titled 9 track EP. The RVMES show no sign of stopping with banger after banger under construction and a brand-spanking-new single Big Bam Boom out September 12.

RVMES’ latest track starts with as much of a bang as you’d expect from a track so bold as to go by Big Bam Boom. The lads launch into a scurrying rhythm section and gang vocals to sing the title line, before a stupidly catchy falsetto “ooh”. The vocals lie somewhere between indie-rock and acoustic rap as lead singer Edwin Judd riffs about people watching.

The arrangement is so fun, and so creative. It’s impossible to send praise in one direction in particular, because the band refuses to sit still for a micro second. The rhythm section diversifies with every bar, finding epic moments where drums, bass and guitar can lock together. While the verses themselves are riddled with cool lyrical and instrumental moments, nothing beats the soaring Big Bam Boom chorus. If that’s not enough for ya the band launches into a killer instrumental section at the end enough to have your fitbit asking if you’re okay.

The energy is r e l e n t l e s s l y e l e c t r i c . I’ve never had the pleasure of witnessing Big Bam Boom live, but I can feel the floor rattling with the mosh pit through my headphones. You can hear how much fun The RVMES had recording the beast, and it makes it a riot to listen to it. Keep an eye out for their live gigs on Facebook and Instagram – I might see ya there.

Age of Reason – Georgia Maria

Ambient, Folk, Indie Rock

Georgia Maria is back with more sharp edged ethereal magic. Age of Reason builds like a storm from bar one. It starts with a gripping fingerpicking line which dissolves into a rhythmic moment matched with the percussion. She then introduces an epic distorted guitar, and that’s just the first five seconds. As always, I was struck by the complexity of Maria’s instrumentation and writing; no decision is a filler as she modulates and shuffles metres with engaging precision.

Maria’s lyrics are once again poetic, and almost prophetic, too. Featuring killer guitar lines, rumbling percussion and eerie vocals her sound could be described as “apocalyptic jam”. The chorus and verses are rich with chaotic drum fills and guitar lines that move with the vocals.

She brings diversity with a brief palm muted section and breathy vocals warning the listener to “beware of where (they) tread”. It feels like a key cinematic scene riddled with foreshadowing. Maria doesn’t pause here for long though; it’s straight back to a driving rhythm section and full noise from the guitar.

Georgia Maria is a name to watch out for— we certainly are doing just that. Keep up with her edgy brilliance on Facebook or Instagram, and listen to Age of Reason here.

Chris Pidsley – Cinnamon & Berryhead

Acoustic, INDIE, Indie Rock, Singer Songwriter, Singer Songwriter


Chris Pidsley has dropped a couple of tasty indie-rock tracks recently which we can’t get out of our heads! Cinnamon & Berryhead show Chris Pidsley’s increasing talent as a song writer and mastery of creating a relaxed, happy soundscape.
Cinnamon has an intro that’ll be sampled into a chill-hop track any day now. The track moves into classic up-beat indie rock vibe with retro synths, chorused guitars and lazy vocals. Chris uses rhythmic flourishes and tasteful layering to keep us listening throughout the track. The track is about “the excitement and emotions you feel when you kiss someone for the first time.”
Berryhead is the sleepy b-side to Cinnamon. The song is a beautiful lullaby reminiscent of Jose Gonzalez, Cavetown or Syd Matters that would sit perfect on the “Life is Strange” Soundtrack. Chris has beautiful strings and synths to accompany his multi-tracked vocals the combines into a beautiful elixir that washes over the senses to put you at ease. Chris wrote Berryhead “…whilst on holiday in Torquay. On a walk to Berryhead I saw a bench dedicated to a couple who said that spot was their favourite spot in the world. I based the lyrics on this idea of a couple growing old there and the beauty they saw in each other as well as the location.” Berryhead might be my personal favourite track from Chris Pidsley so far.

Make sure to check out Chris Pidsley over on Facebook, Instagram and Spotify.

Weightless Without – Bridges

Indie Rock

Weightless Without by Bridges is a song made to be played in a stadium.
The track is big, the drums are booming, the listener is lost in a sea of guitars and BVs. It’s an epic track that deserves a seat in the climax of a film.

Following her well received debut single Sister, Weightless Without is the second single from Kiwi artists Bridges.
Bridges has built a solid reputation in Auckland city playing in spaces such as Movespace, and playing on the air at RNZ.
Bridges started out in Christchurch known as Rachel Hamilton performing as an acoustic singer songwriter, but made the move to Auckland to study and redefine her sound as an indie-pop artist.

RNZ premiered the cinematic lyric video below for Weightless Without on the 28th of May.

Make sure to keep track of Bridges new music on her Facebook, Instagram, and Spotify.

Down Down – Screams From The Sun

Electro Rock, INDIE, Indie Rock, pop rock

Down Down from Screams From the Sun is one of the most fresh tracks we’ve reviewed at Kiwi’s Listen. Unable to be held back by the pandemic, they recorded this pop-rock banger in isolation. The duo blends “emo feels” and “80s Hollywood Blockbuster” into what we hear as a darker Twenty One Pilots. The soundscape is quite electronic and alt-pop reminiscent of groups such as Everything Everything and Linkin Park’s ‘A Thousand Suns’. However this group undeniably has the energy of 2000s emo rock groups driving it. A heavy distorted sliding synth unapologetically supports the chorus line “Down Down”, but really helps provide the key hook to the track making use of the empty space around it.

The Duo Mimi and Francis originally met in 2017 when busking, they paired their skills and spent a year writing and busking around London, getting established with venues and unsigned festivals. Screams From the Sun has successfully got themselves on Rolling Stone France and even played with Jared Leto during a performance outside the BBC Radio1 in 2018.

We’re excited to hear what new music comes from the dynamic duo! Make sure to follow them on Facebook, Instagram, Twitter and Spotify.

Die in Time – Las Ritas

Indie Rock

Born from a late night of drinking oneselves silly, Las Ritas take their name from the fabled lager of choice that evening, Budlight lime-a-ritas. Fittingly so, the group writes about drunken sadness, heartbreak and mania. Their sacred message is coupled with dancey vibes and wavy guitars reminiscent of a Mac Demarco track.

Their latest single Die in Time starts slow with dreamy guitars that build into a groove you can happily bop to with a bottle of cheap beer. The sound is strikingly similar to Kiwi favorites Daffodils who strike a similar sound with their music. Hopefully the two can create an international tour of New Zealand and California!

Die in Time is only one track of a stellar EP by the same name of groovy indie rock bops definitely worth tuning into! Check out Las Ritas on Instagram and Spotify.