Tag Archives: flying nun

Far Out Distant Sounds in New Zealand: Interview with Ricky Maymi

Owing to the wondrous power of the innernette, I’ve had the pleasure of knowing Ricky Maymi for a few years now. Known to many as guitarist of the notoriously volatile Brian Jonestown Massacre and The Imajinary Friends, Maymi is also synonymous with the promotion of Chinese indie rock abroad, specifically the Beijing bands that emerged in the late-2000s and have since taken off in a cloud of cigarette smoke on Maybe Mars.

I first came across him when I was living as a student in Beijing, astray in the #wednesdayfreeshotsforladies, all you can drink KTV, shopping mall wasteland of Wudaokou, which post-D22 had become a cultural black hole. Beyond the Katy Perry club remixes, I was ecstatic to discover some of the city’s most cherished acts such as Hedgehog, P.K.14 and Carsick Cars on websites such as Josh Feola’s pangbianr, Tenzenmen, and of course Ricky’s blog Far Out Distant Sounds. Even better, all these bands were just hanging out downtown. Salvation.

Years on, in collaboration with Genjing Records all round GC Nevin Domer (who I met at Carb on Carb and God Bows to Math’s Beijing show in 2013), Far Out Distant Sounds has developed into a distribution, promotion and touring agency for some of Beijing’s finest acts.

We’re comrades as such, music nerds that geek out about Chinese indie rock on the internet all day. As such, it was only a matter of time he was featured here on Kiwese. There just had to be something… remotely… relevant… to New Zeal… oh, yes, here it is!!

Birdstriking from Beijing are in New Zealand this week playing two shows in Auckland on Friday 17 February and Wellington on Saturday 18 February.

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Birdstriking @ 凹 Club, Guangzhou, Sept 2015. Photo: Kiwese.

The jewel of the Maybe Mars crown, this triple guitar, noise-punk five-piece have gone from strength to strength over the past few years, releasing their banned in China album Birdstriking (2012) on Anton Newcombe’s label A Recordings and heading abroad to tour the U.S. and UK alongside the Brian Jonestown Massacre.

As remote as you can get, New Zealand seems to be the optimal next stop for Far Out Distant Sounds, meaning things finally seem to be heading south for Chinese indie rock – and I mean that in a purely geographic sense.

We caught up with Ricky to find out more about Birdstriking’s Australian / NZ tour, how he got involved with the Chinese music scene and whether he likes pies or not.

Spoiler: Ricky Maymi loves pies. Thank god.

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Ricky with his son, Otis. Image courtesy of Ricky Maymi.

KIWESE: Where are you right now?

RICKY MAYMI: I’m in South Fremantle, Western Australia. Visiting with my son, Otis and producing an album for a guy named Michael Savage. I’m pretty sure if he was from NZ, Flying Nun would be all over him! He’s got elements of Shayne Carter and Andrew Brough (Straitjacket Fits), David Pine and Matthew Bannister (Sneaky Feelings), James Milne (Lawrence Arabia) and a touch of maybe Alasdair Maclean (The Clientele)… This is our second time making an album of his together. The first one is called Used To Write. Look it up!

Maymi is an interesting surname, where is it from, can you talk a bit about your heritage?

It’s a Corsican name, though my Father was from Nicaragua. He was the kind of guy that shouldn’t be talked about too much, if you know what I mean…?

They made a movie about one of his old business partners, George Jung, entitled Blow. The one with Johnny Depp. Anyhow… I’ve heard there are also Maymi’s in Russia.

You are from San Fran. What was it like growing up there, how did you first “get into music”?

It was always a diverse environment, in every way, in the 20th century. I was raised to be an open minded, accepting person and in SF it would completely work against you to be any other way.

My uncle, Vince Welnick was in a legendary SF band called The Tubes (famous for “White Punks On Dope” and “Don’t Touch Me There.”) He would always be coming back from places like Japan or Europe after touring with someone like David Bowie or The Stranglers and him and my aunt Laurie would always have exotic toys and gifts and cassettes like Hunky Dory (Bowie) or Country Life (Roxy Music) for me and the family – and this obviously made a lasting impression. Vince later joined Todd Rundgren’s band, and The Grateful Dead after that.

My other uncle, Ed Dorn was also a working musician who had played in some fantastic bands like Zolar X and The Aurora Pushups (later The Pushups) and he went on to work on studio projects for bands like True West and many other Bay Area greats. Ed had me listening to things like Bill Nelson and The Human League back in the very early 80’s.

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Young Ricky (right) and friend. Circa 1981. Image courtesy of Ricky Maymi.

“I consider myself very fortunate to have grown up in SF through the 70’s, 80’s and 90’s
I believe I caught the tail end of a great cultural renaissance of the 20th century.”

My mother was a huge Beatles fan so there was also no avoiding the British Invasion bands for me as a young child. Her partner after my father is a real folk music lover and exposed me to Bob Dylan, Tom Rush, Paul Simon and all the rest. He also has a huge appreciation for classical music, so I had a fairly well rounded musical upbringing.

I also played Clarinet, Saxophone and Double Bass in school from an early age.

Prior to getting hooked on Chinese indie music, what kind of awareness and exposure to Chinese culture did you have? I know there is a deep-rooted Chinese community in San Fran and a huge Chinatown.

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San Francisco’s Chinatown, view to Oakland Bay Bridge. Image: Panoramio.

Looking back, I had very little knowledge before getting involved with the music scene in China and visiting there, which I have now done several times. All of my life in SF I’d always been drawn to Chinatown – for the food, the art, the people and the culture. Some of the most beautiful people on Earth. A glimpse in to another, older world.

In college in SF I was exposed to more of the history of Chinese American culture through either my theatre classes or my writing classes.

How did Far Out Distant Sounds come about and what was your inspiration for starting it? Does it basically operate as a booking agency/distro for Maybe Mars?

It started as a scrapbook style blog (www.faroutdistantsounds.com), with links to hear the music – just somewhere one could go online and get a sense of what was happening. Not a comprehensive list of Chinese indie bands but a good selection of the stuff that interested me enough to investigate further… Like a gateway drug.

I had hoped the blog would inspire people to do the same, and to some degree, it appears to have done that.

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Ricky with Birdstriking, 2016. Photo courtesy of Ricky Maymi.

What do you look for as a US-based promoter of Chinese talent and how do you go searching for it, with the firewall and all, and various language barriers?

I am not exactly US-based. I’m Earth-based. Also, there is no real scouting going on from my end. I work closely with Maybe Mars in Beijing and when they have a new release to promote and a band they want to tour outside of China, I become involved through a more organic process as this is all done out of love, admiration and respect.

“Everyone involved understands that this movement is distinctly, extraordinarily significant.”

My main focus has been Birdstriking, Chui Wan, Carsick Cars, White+ and Gate To Otherside. Just a handful of the acts on Maybe Mars.

How often do you come to China? Had you visited China prior to being exposed to bands like Skip Skip Ben Ben, Birdstriking and P.K.14 in 2012?

I had never been to China before 2015. I have been there four times now. Can’t wait to go back! I would absolutely live there if I could – I am in love with Beijing!

Beijing is political centre of China and the undisputed mecca for indie music. How do you view this relationship between politics and alternative music?

It definitely plays a hand in informing the artist’s way forward. Gives them something to rail against, but they don’t do that in obvious, trite ways. They are more clever than that…

What’s your personal connection with NZ? 

My first trip to NZ was in February, 2008. I was visiting Shayne Carter, who I had become good friends with after his band Dimmer toured with my band in the US. He arranged for us to go to Dunedin as he knew how much the music from there had meant to me. I got to see Martin Phillipps play a solo set in the park at midday by surprise. I got to know Robbie Yeats and stayed with Graeme Downes for a few days. Caught up with some folks I had already come to know in America, David Kilgour and Bob Scott. I got to see Bachelorette, Die! Die! Die! and Ned Collette all for the first time. Also heard Lawrence Arabia for the first time. It was an epic visit! I had an amazing time and every moment was like walking through a dream.

I’ve been back several times since, mostly to tour with BJM, but once with Steve Kilbey from The Church. Him and I went to Napier as well as Dunedin to perform in addition to Christchurch, Wellington and Auckland.

I’ve had the odd relationship with women from NZ as well. Unfortunately, it’s always been just that… Odd! Small country… 😉

Do you like pies?

I, of course, love pies!

In an interview with Slinkrat in 2013, you said “Unlike the rest of the world, [Chinese indie rock] isn’t preoccupied with fitting in to something pre-existing in the entertainment world, which is why it reminds me of Flying Nun in the 80’s.” How do you respond when critics say Chinese indie bands are just imitating Western rock standards, something that could never be directed at Flying Nun bands?

Well, they clearly aren’t listening closely enough and they are judging through the context/filter of Western standards which simply do not apply here.

It’s a bit of passive-aggressive, xenophobic elitism playing in to that perspective as well. Alan McGee said himself that there is no such thing as Chinese rock. So did the NOFX dude. They clearly do not know what the hell they are talking about, but you can’t teach an old dog new tricks. They see it the way they want/need to see it to suit whatever agenda they have – that’s fine because enough people know otherwise.

“Even The Beatles had to start somewhere, the most innovative pop band on Earth were covering Chet Atkins and Motown hits of the day when they started.”

The bands from China I work with have obvious Western influences such as Sonic Youth, Velvet Underground, modern composers and experimental music.

None of these kids had the luxury of “growing up” with the Beatles or Bowie the way I did, for example. Or the critics, for that matter and that’s what they need to understand when critiquing this stuff.

Context. It’s from another world. You could hand the same influences to a Western band and they will never come up with the melodies Chui Wan or Birdstriking come up with.

Or have the sonic, aesthetic sensibility of Zhang Shouwang (Carsick Cars, White+), because they are a product of a different world who’s culture is largely unknown to the Western masses.

They aren’t really thinking about it enough or taking these prime factors in to consideration, so I believe their criticisms are lazy and uninformed.

I guess an extension of the above question, and I may be projecting here, but in the past, Chinese acts that get chosen to play internationally are ones that possess some kind of quintessential Chinese characteristics recognizable by international audiences or purveyors of “world” music. Those who do not fill this oriental role are labelled imitators of Western music. Comment.

Again, lazy journalism. The safer stuff that is a truer representation of pure, traditional Chinese culture is always going to be prioritized and given the green light for grants funding or government approval. There is nothing subversive about it. Overtly, if at all. It will be more easily accepted in the West because it doesn’t compete with Western art in any way. Its it’s own thing.

Again, the views of these so-called critiques on Chinese rock stem from a Western Capitalist (capitalism=racism) perspective. The white man lives in fear of China, period. Think about it…. That is one reason I love doing this. Challenge what it is people believe they know about an entire culture that they actually are too afraid and pre-programmed to ever learn anything about. Everyone is mad at China for buying everything up but no one is getting mad at the people pushing the product.

God forbid those evil Chinese would take a Western folk-art (rock music) and serve it back in a fresh, not jaded, more intriguing way. It’s just impossible, right? Wrong! 😉

Tell us about your relationship with Birdstriking. Do you remember the first time you heard them, or saw them live?

I  first heard them in Melbourne in August 2012 with my friends Julian Wu and Shayne Carter. Julian is a Chinese Australian and he had just returned from China with a suitcase full of CDs of all these great Chinese bands. Shayne and I happened to be both staying at Julian’s at the time. It really struck us how much Birdstriking had this 3D’s/Die! Die! Die! thing going on!

I first started to communicate with Wang Xinjiu from Birdstriking around this time. He was on Facebook and was studying in Cardiff, so no firewall. After being in touch with Maybe Mars and helping them to sell a bit of stock in SF, they asked me to help set up shows for Carsick Cars, White+ and The Gar in SF and LA. We did this and it went over pretty well.

At the time, Birdstriking’s vocalist, He Fan was also playing bass for Carsick Cars. He was the first one I met in person. In 2014, Carsick Cars were booked to open for Brian Jonestown Massacre in the UK. Shouwang was ill at the time and couldn’t make it, so we had Birdstriking take their place. This was advantageous as Birdstriking’s album, which was banned from release in China for it’s lyrical content was licensed by BJM’s label and his since been properly released worldwide (excluding China) on A Recordings on CD and vinyl.

Since then, I’ve booked and tour managed an extensive North American tour for Birdstriking in 2015. I went back to Beijing in ’15 and ’16  and produced Birdstriking’s new, upcoming album to be released this year.

It is very exciting, a Chinese band playing in NZ without representing the Embassy or playing at a Chinese cultural festival covered in bank branding! How did this Australia/NZ tour come about? Can we consider it a recon mission for future tours?

Talk to Andrew from Die! Die! Die! – they’ve just recently toured in China with Birdstriking. When I was in Auckland in December having lunch with him and Mikey telling them about the AU dates, they offered to help with NZ. Now it’s all happening. Bless ’em! They are solid guys and kindred spirits. BJM were lucky enough to play some gigs with them in Europe in mid 2008.

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Die! Die! Die! play NU SPACE, Chengdu, Sep 2016. GIF: c2.

Favourite Chinese acts at the mo?

Chui Wan, Carsick Cars, White+, Gate To Otherside, Dear Eloise, Mr Graceless, Duck Fight Goose, Streets Kill Strange Animals, Hedgehog, New Pants, Da Bang, Zhan Pan, Future Orients, Skip Skip Ben Ben, P.K.14... the list goes on and on…

Favourite NZ acts at the mo?   

Lawrence Arabia, Salad Boys, Surf City, Street Chant, Avoid!avoid, Prophet Hens, Shifting Sands, Bachelorette, Tiny Ruins. Then there’s all the more obvious ones. The new ones by Shayne Carter, The Bats, The Chills, I’m a long time fan of kiwi indie bands!

Are there any projects you are working on at the moment that you’d like to talk about?

My band The Imajinary Friends has a new album coming out this year featuring guest appearances by Marleen Nilsson (Death & Vanilla) and Stephen Lawrie (The Telescopes).

Also the other band I play in, Brian Jonestown Massacre, are about to release a new album as well.

Hoping to send Chui Wan, Gate To Otherside, Bedstars, Hiperson, Future Orients and Dream Can to the Southern Hemisphere over the next 18 months or so.

What advice would you give to bands (Chinese or otherwise) wanting to look outward, and/or tour internationally in future?

Create a demand for, and culture around your music and make friends with people in the places you want to play in ahead of time. People who can actually help you set up worthwhile shows. Your hometown is bottom priority.

Thanks and happy new year!

Same to you!


BIRDSTRIKING were one of the most important bands to emerge from the Chinese DIY scene based around the legendary D22 venue. The Noise Punk band have been likened to a Chinese Surf City, highlighted by their unflinching obsession with Sonic Youth and the Brian Jonestown Massacre.

Birdstriking will play only two shows in New Zealand before their Australian tour with label mates Carsick Cars.

birdstriking-nz-poster

2.17 BIRDSTRIKING W/ CARB ON CARB, DAILY KENO
@ GOLDEN DAWN, AUCKLAND

2.18 BIRDSTRIKING W/ PRIZEGIVING, MR AMISH
@ CAROLINE, WELLINGTON

TICKETS AT UNDERTHERADAR.CO.NZ for the OUTRAGEOUSLY 便宜 PRICE OF $7 A POP. GET IT.

Shocking Pinks head for China! 震惊粉红色来中国!

Ten years after their maiden tour, Christchurch’s multi-instrumentalist, DJ and lo-fi king Nick Harte aka Shocking Pinks is once again pairing with New Zealand house(party)hold name Ian Jorgensen aka Blink to celebrate the re-release of his 2004 debut Dance, the Dance Electric with a three month A Low Hum world tour, including shows in both China and New Zealand!

将近十年前,来自基督城的多乐器演奏者,DJ和低保真大师Nick Harte也称为震惊粉红色跟新西兰家喻派对的名字Ian Jorgensen 人称Blink一起去做他们的处女巡演。今年,震惊粉红色将由在A Low Hum重新发行他2004年的首张专辑《Dance, the Dance Electric跳舞,跳舞电子》,而且要去大规模国际巡演,包括中国和新西兰站! 

Shocking Pinks is a one-man band formed by Nick Harte in 2002. Following a long hiatus from releasing music, Harte returned stronger than ever in March last year with his triple album Guilt Mirrors on Stars and Letters, a Brooklyn-based label that may ring bells for fans of Wellington’s (sorely missed) Black City Lights (R.I.P). Guilt Mirrors echoes the solitude that accompanied the traumatic 2011 earthquakes in Harte’s hometown.

早在2002年,Nick Harte成立他一个人的乐队:震惊粉红色 。随着几年的中断,震惊粉红色回来了比以前更强烈的,去年3月在布鲁克林独立唱片公司Stars and Letters,惠灵顿 已解散的Black City Lights的粉丝应该知道这个唱片公司,发行了三重专辑《Guilt Mirrors罪镜子》。 这个专辑录音了他2011年基督城地震发生的创伤事件和孤独。

Back in 2004, just a year after Myspace was born, Harte released his debut album Dance, Dance the Electric on Pinacolada Records in Christchurch, a small indie label that housed other well-loved acts such as Pig Out and Tiger Tones. Upon positive reception from NZ and international listeners, the Shocking Pinks signed to Flying Nun and released Mathematical Warfare and Infinity Land in 2005, before ditching the ‘The’ and releasing the self-titled Shocking Pinks in 2007 with New York-based DFA Records, run by James Murphy of LCD Soundsystem.

During the long empty space in between and his explosive return to the scene in 2014, Harte’s debut has become a rare and highly sought after record that is longed for with the same collectable reverence as an ancient museum artifact among his international following of lo-fi bedroom dwelling discopunks.

Murmurs of a re-release a few years back on Flying Nun remained unfulfilled, but now in 2015, Dance, Dance the Electric will be re-released on A Low Hum, with an epic international tour and an awesome live band from Wellington to boot!

在2004年,Myspace创建一年后,Nick Harte以 ‘The Shocking Pinks’ 之名由基督城Pinacolada Records发行了首张专辑《Dance, the Dance Electric跳舞,跳舞电子》,但现在这个小唱片公司和它原来的乐队Pig Out 和 Tiger Tones已经看不见了。这张专辑受到了新西兰和国际听众的高度评价后,他和Flying Nun签约,然后2005年发行《Mathematical Warfare数理战争》和《Infinity Land无限地》。2007年时,他由纽约LCD Soundsystem的James Murphy管理的 DFA Records发行了同名专辑《震惊粉红色》。

从他长期的潜伏到他2014年爆炸的归来,他首张专辑《Dance, the Dance Electric跳舞,跳舞电子》已经成为一张十分稀罕的被国际迪斯科朋克粉丝渴望着的唱片,收藏价值就像一个古代的藏品。

几年前有传闻Flying Nun会重新发行这首张专辑,结果没有。可是,今年《Dance, the Dance Electric跳舞,跳舞电子》将由在A Low Hum 重新发行,而且震惊粉红色跟他了不起的乐队要去做全球巡演!

Then there were three. Image from A Low Hum.
Then there were three. Image from A Low Hum.

Shocking Pinks live shows have been few and far between in recent years. Last year I was lucky enough to attend the Guilt Mirrors album release gig at Puppies in Wellington (R.I.P). It was an incredible show, with the new Shocking Pinks live band lovingly tossed together with locally sourced ingredients from Secret Knives and a Wellington drumming powerhouse, coming together to form the crunchiest, most perfectly seasoned dish imaginable.

Harte’s crying wails of amplifier feedback swum beneath echoes of bare lyrics decoded from his piles of A4 paper. The Shocking Pinks sound came to life with warm, pulsating bass lines, syncopated cow bell rhythms and razor sharp jazz-precision of the drums.

Both intimate and mesmerising, powerful and confronting, it seemed Harte had completely reinvented his sound and performance style since I first saw him at Camp A Low Hum in 2010. After the show, I immediately set about hunting down the pink vinyl release, eventually tracked down at good ol’ Slow Boat Records.

最近几年震惊粉红色的演出并不多见,所以我去年有幸参加《Guilt Mirrors罪镜子》专辑发行演出在惠灵顿的“小狗”(Puppies)。这个演出棒极了,他新建的现场乐队包括来自惠灵顿的Secret Knives乐队成员和一个又熟知又强大的鼓手。他们三个在一块正合适,像一个很脆爽有完美调味的美食。

Harte的刺穿耳膜放大器的反馈和从几堆纸唱出来的精简歌词融合在一起,夹杂着激情四射的贝斯节奏,切分的牛羚律动和尖锐的鼓点,震惊粉红色的声音就活跃起来了。

这个演出即亲密又迷人,观众面对强大的声场,跟我第一次看到他在2010年Camp A Low Hum音乐节现场时已经完全改变了。演出之后,我马上开始搜索粉红色的黑胶唱片,到底在Slow Boat Records买到了。

Shocking Pinks…Is it shoegaze? Is it lo-fi?

It is dance music. Deliciously hypnotic dance music.

震惊粉红色是什么风格?是自赏,还是低保真?

就是舞曲。了不起的迷幻舞曲。

Can’t wait! See you at the Beijing show.

超级期待,在北京见!

Shocking Pinks NZ/China Tour Dates 2015:

Goodbye, New Zealand! 再见新西兰!

8月28日 Aug 28 – Whammy Bar, Auckland 奥克兰

9月5日 Sept 5 – Puppies, Wellington 惠灵顿

China 中国

9月17日 Sept 17 – Dada (DJ Set), Beijing 北京
9月18日 Sept 18 – School, Beijing 北京
9月20日 Sept 20 – Echo Park Festival, Shanghai 上海
9月22日 Sept 22 – Loft345, Guangzhou 广州

New Zealand 新西

11月27日 Nov 27 – Darkroom, Christchurch, NZ 基督城
11月28日 Nov 28 – Chicks Hotel, Dunedin, NZ 达尼丁
12月   3日 Dec 3 – The Lyttelton Coffee Co, Lyttelton, NZ 利特尔顿
12月   4日 Dec 4 – Barrytown Hall, Barrytown, NZ
12月   5日 Dec 5 – Tim’s Place, Marahau, NZ 玛拉豪

See the full tour dates here on A Low Hum.

情点这里

Some TING! 听 #004 P.K.14 & Die! Die! Die!

Feel the sweat-dripping, head thrashing angst of post-punk/experimental local heroes P.K.14 and Die! Die! Die!

>>>>>P.K.14 formed in Nanjing in 1997 during the Rotten Generation movement. Their permanent move to Beijing in 2001 and regular slots at D-22 could be said to have sparked the rite-of-passage pilgrimage to the capital that has seen the Beijing music scene grow over the past few decades. Frontman Yang Haisong 杨海崧, who is the only remaining founding member, leads the formidable quartet of guitarist Xu Bo许波, bassist Shi Xudong 施旭东 and drummer Jonathan Leijonhufvud with their dance-inducing, razor sharp rock music laden with the flying saliva of disillusioned youth and urban life.

Photo by John Yingling from 'Touring the China Underground' in Impose Magazine. READ THIS.
Photo by John Yingling from ‘Touring the China Underground‘ in Impose Magazine. READ.
Yang Haisong. Photo via Lost at E Minor.
Yang Haisong. Photo via Lost at E Minor.

Check out their albums 上楼就往左拐 Upstairs, Turn Left (2001), 谁谁谁和谁谁谁 Whoever and Whoever (2004), 白皮书 White Paper (2005), 城市天气的航行 City Weather Sailing (2008) and last year’s incredible 1984 (2013), arguably their finest album to date, to see why P.K.14 are often hailed as the most influential, enduring, ground breaking indie band in China. P.K.14 are signed to Maybe Mars and are part of the Tenzenmen whanau.

Check out this Vice piece on them, includes interviews and subtitles.

Video for ‘Behind All Ruptures’ from City Weather Sailing (2008)

‘1984 II’ live at Yugong Yishan in 2012!

>>>>>Die! Die! Die! are about as abrasive as the name suggests. They are a three-piece noise-pop/post-punk/hardcore band from Dunedin, Aotearoa, the home of Flying Nun, their former label. Guitarist and vocalist Andrew Wilson and drummer Michael Prain are the original members of the band, while Michael Logie (formerly of the Mint Chicks, F in Math) has been onboard as bassist since 2012. I’ve seen them a bunch of times over the years and they never fail to put on a fucking incredible show.

A.T.T.I.T.U.D!! Live in 2008.
A.T.T.I.T.U.D!! Live in 2008. From the band’s Facebook.

Big Stage at Campus A Low Hum 2010, the first time I saw Die! Die! Die!

Video for ‘Crystal’ off their upcoming album S W I M, out 15 August! 

Their first release, Die! Die! Die! EP (2005) was followed by the full length album in 2006, along with Locust Weeks EP (2006) in the same year. The band have toured relentlessly through Europe and the US with the albums Promises, Promises (2008), Form (2010) and Harmony (2012), with another tour lined up for S W I M, which is set to be released on 15 August.

Die! Die! Die! L-R: Michael Prain, Andrew Wilson, Michael Logie. From their Facebook.
Die! Die! Die! L-R: Michael Prain, Andrew Wilson, Michael Logie. From their Facebook.

P.K.14 and Die! Die! Die! have a link through the notorious, now defunct D-22 in Beijing!

Die! Die! Die! were one of the first Kiwi bands to officially tour China, back in 2011 with the help of Tom Matessi from This Town Touring.

Die! Die! Die! – June 2011 China Tour:

6.3 – Beijing, D22

6.4 – Wuhan, VOX

6.5 – Changsha, Vigor Bar

6.8 – Ningbo, City Gate

6.9 – Suzhou, Wave Livehouse

6.10 – Nanjing, 61 House

6.11 – Shanghai, Yuyintang

6.12 – Hefei, Hefei Music Festival

6.16 – Shenzhen, Hot Sugar Bar

6.17 – Guangzhou, 191 Space

6.18 – Hong Kong, The Wanch

Enjoy! Some TING! 听 else for you next time.

Some TING! 听 #001: Carsick Cars & Ghost Wave

Introducing… Some TING! 听 (tīng, ‘to listen’) sharing independent music from both China and Nu Zilland.

This week we’ve got Carsick Cars and Ghost Wave. Jangly guitars, surf rock, sunglasses and cigarettes.

>>>>>Carsick Cars are a guitar-bass-drum trio from Beijing that formed back in 2005. Despite a few line-up changes in recent years, the band have retained the catchy, guitar-driven melodies that have made them one of the biggest indie bands in China today. The band are signed to Maybe Mars and are part of the big Tenzenmen family. You can buy their third album from the Maybe Mars Bandcamp.

>>>>>Ghost Wave are a rock ‘n’ roll band from Auckland who describe their sound as ‘somewhere between the Flying Nun bands of the ‘80s, the British explosion of the ‘60s, and the wayfaring dubs of Lee “Scratch” Perry.’ They are currently signed to Flying Nun and Arch Hill and their first album Ages is out now.

Carsick Cars. Photo from Northern Transmissions.
Carsick Cars. Photo from Northern Transmissions.

^You may have heard this extremely catchy and endearingly repetitive song in the Ai Wei Wei documentary Never Sorry.

Ghost Wave. From their Facebook page.
Ghost Wave. From their Facebook page.

Both bands have toured their latest albums in their home countries and in the US, where their surfy psychedelic stylings seem to fit right in. Carsick Cars just wrapped up their tour last month, while Ghost Wave are working on their second record for independent release.

Shouwang, the frontman of Carsick Cars plays in the experimental electro outfit White+ (白+).

Ghost Wave’s drummer Eamonn is also responsible for the chill beats of Lightening and plays in the ambient electronic duo Team Cat Food with Liam aka Forest Spirits.

Enjoy! Listen! Ting! 听! There will be Some TING else for you to check out next week.