Tag Archives: genjing records

Interview with Andrew Wilson from Die! Die! Die!

Genjing Records and Maybe Mars are bringing New Zealand noise punks Die! Die! Die! for their second ever tour of China! This year we are very happy to welcome them to the south-west, including shows in Guiyang, Chengdu and Chongqing.

Kiwese had a chat with frontman Andrew Wilson over the phone a couple of weeks ago in Auckland, where he’d just finished class and was preparing to head to London…

Guitarist and vocalist Andrew Wilson and drummer Michael Prain started playing together in bands in high school, forming Die! Die! Die! in 2003 and immediately shaking things up with their fast-paced, abrasive sound in the New Zealand underground. Once they released their first EP Die! Die! Die! recorded by the legendary Steve Albini (Nirvana, Pixies, Shellac, Big Black) in 2005, the band found themselves touring the world for several years, and have basically been touring, releasing music and creating seas of aggressive mosh pits ever since.

London-born Rory Attwell brings a healthy dose of British badassery to the line-up on bass guitar. Having been active in bands and recording studios for over ten years, Attwell has worked with bands such as Yuck, Palma Violets, Veronica Falls and The Vaccines and also recorded Die! Die! Die!’s latest EP aboard his boat recording studio moored off a wharf in East London.

Die! Die! Die! 乐队2003年成立于新西兰南岛第二大城市达尼丁。吉他手兼主唱Andrew Wilson和鼓手Michael Prain在中学的时候开始一起玩儿音乐,也做了几个噪音和车库乐队。在成立了Die! Die! Die!乐队后,他们以快节奏和粗厉的声音震动了新西兰地下音乐场景圈;并且迅速在国际舞台上引起了关注)。自从著名录音师Steve Albini (Nirvana, Pixies, Shellac, Big Black)录制了他们的首张同名专辑,Die! Die! Die!就在巡演、发布新专辑和创造令人着魔的疯狂现场中一直前行。

来自伦敦的贝斯手和制作人Rory Attwell把他的英式风格带进来。他十年多一直活跃在各种乐队和录音室里面,也录音和制作了一百多个乐队包括Yuck, Palma Violets, Veronica Falls和The Vaccines。2015年在他的位于在一个伦敦船上的录音室Attwell Recordings,他录了Die! Die! Die!最近发行的EP.来自伦敦的贝斯手和制作人Rory Attwell把他的英式风格带进来。他十年多一直活跃在各种乐队和录音室里,也录制了一百多支乐队包括Yuck, Palma Violets, Veronica Falls和The Vaccines。2015年在他位于伦敦的一艘船上的录音室Attwell Recordings,他录制了Die! Die! Die!最近发行的EP.

Hey Andrew! What are you studying at university?

I’m studying a degree in sustainable business. Basically learning about making business ethical and sustainable, how we can achieve long-term economic, environmental and ethnical benefits. Its something I’ve gotten quite interested in, I’m concerned society has gotten pretty wasteful, pay gaps and gender inequality…

It is quite funny though, going to university now, I didn’t finish high school. I just wasn’t into school at the time, but was into playing in a band.

What kind of environment did you have as a teen playing music?

It was amazing really. At first we practiced in my mum’s basement, and the neighbours would never complain. Dunedin was quite empty at the time and we managed to get our own studio at this record label called Arclife, which was a giant open warehouse above a café. These things we took for granted at the time. The places to practice were ample, which is quite different to Auckland, though we are really lucky here too.

Me and Michael live here in Auckland. Rory who plays bass lives in London. Me and Michael get together and write music every week.

die-die-die-polaroid

How did Rory end up joining the band? 

In 2012 we were booked to do a European tour, we had Michael Logie playing bass, who was in Opossum with Kody Nielson and couldn’t do both at the same time. I’d been good mates with Rory for a couple years and he joined on bass so we could still go on tour, it was really fun!

Can you tell us about Rory’s recording studio on a boat?

Quite a small world actually – Rory works on this boat with the studio in the hull. Huge – same as the Tug Boat in Wellington. My cousin used to live on this boat in the UK and the guy who owns it is my cousin’s kid’s godfather! We will record in London before coming to China.

My cousin’s band is gonna open for us in London on this tour. He runs a record store in England called Hot Salvation – DIY punk stuff.

The first time I saw Die! Die! Die! play was at CALH 2010, it left a huge impression on me. What are some particularly memorable gigs that come to mind for you?

Definitely the first HDU show in Dunedin. Around the same time I saw The Dead C when I was really young, about 14 or 15. Then I guess seeing shows in Wellington like The Coolies and The Mint Chicks when they first came down from Auckland when I was like 17 or 18. Blonde Redhead, we had the same manager. I remember seeing The Boredoms in New York. Seeing Mogwai for the first time was a really amazing experience, because I’ve been listening to them for years and have heard about how great they are live. To have a band live up to expectation was very validating and cool.

 

I remember when Shihad mentioned Die! Die! Die! as an exciting new band in Rip It Up like ten years ago. That comment gained a lot of traction and switched a lot of people onto your band. How do you think the internet has changed the way people discover music?

Music has changed dramatically and people are making really diverse music everywhere, touring network and the internet. There are so many bands and so much music, people share their own music a lot now too. I personally get into music if trusted friends recommend it to me. Rory got me into a lot of cool bands that he’s recorded such as Evans the Death and Veronica Falls.

You are pictured wearing a The Future is Female t-shirt in a recent band photo. How do you think the music industry could do more to get behind feminism and LGBT issues?

Diversify your audience and your line up bills. I think that’s a massive part of it. That was quite an important thing with Die! Die! Die! when we started. We got so busy and kind of forgot about our core values. When you choose what bands you play with you diversify outside your scene. Some people are really anti multi-genre shows. But coming from a punk background, I used to go see hardcore shows which were just five hardcore dude bands. That’s what got me into seeing other kinds of bands, because I was feeling quite disassociated with that kind of thing.

欢迎到中国来!Michael Prain (drums), Andrew Wilson (guitar, vocals), Rory Atwell (bass)
Michael Prain (drums), Andrew Wilson (guitar, vocals), Rory Atwell (bass)

You guys came to China in 2011, what were your impressions?

That was probably my favourite tour ever, which is why I’ve been so excited to come back. The food was amazing, it was culturally different to where we’d been touring, like the US, NZ, Australia and Europe. In China it was cool to play to a whole new audience who had never seen a band from where we were from. It felt like we were doing something quite new. My favourite thing I’ve ever done, musically.

It seems many fans have accessed your music through live shows. What draws you to touring?

We definitely were a touring band for a lot of the past ten years. I think touring and playing live is a really good way to communicate. I think it’s what we always thought a band was supposed to do, obviously we were really inspired by Fugazi. We didn’t really have much else to do really when we started out. It is fun playing to new people in new places.

Anything to say to the fans in China?

Please come! I think we’ll have a really good time!

Cheers Andrew!

DDD_chinataiwan_poster CN

Die! Die! Die! have toured internationally many times and graced the stages of festivals around the world, including Incubate (Netherlands), SXSW (USA), CMJ Festival (USA), Generic Festival (France), Soy Festival (France), Tour De Chauffe Festival (France), Phono Pop Festival (Germany), Immergut Festival (Germany), Maifeld Derby Festival (Germany), XYEAHX SOMMERFEST (Germany), Deaf Row Fest (Germany), Great Escape (UK), Homebake (Australia), Meredith Music Festival (Australia) Offset Festival (USA), Off The Radar Festival (NZ), Camp A Low Hum (NZ), Homegrown (NZ), Big Day Out (NZ), Rhythm & Vines (NZ), Southern Amp (NZ), L’incourt Festival (Belgium), Hefei Music Festival (China) and soon to be Concrete and Grass in Shanghai.

Die! Die! Die! 已经在新西兰,澳大利亚,法国,西班牙,意大利,克罗地亚,德国,斯洛文尼亚,斯洛伐克,荷兰,英国,爱尔兰,中国,日本,美国,奥地利,捷克,瑞士,比利时,卢森堡,丹麦,希腊,挪威举办过巡演,把他们很强烈的声音带到过很多国际著名的音乐节包括包括Incubate(荷兰), SXSW (美国), CMJ Festival (美国), Generic Festival (法国), Soy Festival (法国), Tour De Chauffe Festival (法国), Phono Pop Festival (德国), Immergut Festival (德国), Maifeld Derby Festival (德国), XYEAHX SOMMERFEST (德国), Deaf Row Fest (德国), Great Escape (英国), Homebake (澳大利亚), Meredith Music Festival (澳大利亚) Offset Festival (美国), Off The Radar Festival (新西兰), Camp A Low Hum (新西兰), Homegrown (新西兰), Big Day Out (新西兰), Rhythm & Vines (新西兰), Southern Amp (新西兰), L’incourt Festival (比利时), Hefei Music Festival (中国) 和将来的上海混泥土音乐节。

They have released the albums Die! Die! Die! EP (2005), Die! Die! Die! (2006), 7” split with High Dependency Unit (2007), Promises, Promises (2008), Form (2010), Harmony (2012), S W I M (2014) and What Did You Expect EP (2015).

他们发行首张专辑《Die! Die! Die! EP》 (2005), 《Die! Die! Die!》 (2006), 《7” split with High Dependency Unit》 (2007), 《Promises, Promises》 (2008), 《Form》 (2010), 《Harmony》 (2012), 《S W I M》 (2014) 和 《What Did You Expect EP》 (2015).


Die! Die! Die! play NU SPACE Chengdu tomorrow night!

Die! Die! Die! (NZ)
Support: Stink Mouth (Chengdu)

Tues 12 September 2016
9pm start

NU SPACE
ADD: 成都市青羊区奎星楼街55号

Tickets 60/80RMB
Presales on Zaomengshe, QR code for tickets link.

die-die-die%e8%b4%ad%e7%a5%a8%e4%ba%8c%e7%bb%b4%e7%a0%81

What Did You Expect? Die! Die! Die! Return to China in 2016

Die! Die! Die! 来!来!来!Hold the press, New Zealand noise-rock / post-punk trio Die! Die! Die! are returning to China for the first time in five years for a ten date tour!

It’s a sweltering Thursday afternoon here in Chengdu and I am still nursing a strained neck induced by overly aggressive head banging at the first annual Punkfest CDC 成都朋克音乐节 at Morning House 早上好 last weekend. Speaking of overly aggressive head banging and sweatiness…

DDD_chinataiwan_poster CN

Die! Die! Die! are such a great band. Their live show is an almost cathartic experience, the relentless thrashing and collision of flying bodies, the unpredictability of vocalist/guitarist Andrew Wilson as to when he will careen off stage. Just thinking about Michael Prain’s drum intro to A.T.T.I.T.U.D. makes me feel like sporadically pogoing into people.

The band first toured China back in 2011 with Tom from This Town Touring, paving the way into the unknown for other NZ acts to follow. This time, with London-import Rory Attwell (Test Icicles) on bass duties, the band will be brought over by Beijing-based punk tour overlord Nevin Domer from Genjing Records and Maybe Mars for ten dates across Taipei, Hong Kong and the Mainland.

With the new high speed rail from Guiyang to Chengdu making things possible, the Die! Die! Die! train is storming west to play Guiyang, Chengdu and Chongqing, plus the main southern and eastern centres! YEAH!!

DIE! DIE! DIE! CHINA TOUR 2016

09/07 (WED)
Revolver, Taipei
Support: Slack Tide, Wayne’s So Sad
NT500 (presale and student price) / NT600 (at door)

09/08 (THU)
Focal Fair, Hong Kong

Support: SECTS, The Bollands
150 HKD

09/09 (FRI)
B10, Shenzhen

Support: Atta Girl
60/80RMB

09/10 (SAT)
Loft 345, Guangzhou

Support: TBC
40/60RMB

09/11 (SUN)
Power Livehouse, Guiyang

Support: MiChe
50/70RMB

09/13 (TUE)
NU SPACE, Chengdu 

Support: Stink Mouth
60/80RMB

09/14 (WED)
NUTS
Livehouse, Chongqing
Support: The Wallflowers
60/80RMB

09/15 (THU)
VOX Wuhan
Support: Birdstriking, AV Okubo
60/80RMB

09/16 (FRI)
Yugong Yishan, Beijing
Support: Birdstriking
80/100RMB

09/17 (SAT) 
Concrete and Grass Festival, Shanghai

DDD_1
欢迎到中国来!Andrew Wilson (guitar, vocals), Rory Attwell (bass), Michael Prain (drums)

Dying to Be Here: Interview with Alpine Decline

“A dream of a shopping cart left in the street in a desolate wasteland is stuck on repeat,” sings Jonathan Zeitlin on Alpine Decline’s latest album Life’s a Gaspa record that echoes the dystopian smog world of Beijing.

Alpine Decline is Beijing-via-Los Angeles husband and wife rockers Jonathan Zeitlin and Pauline Mu. Self-described as “psych, shoegaze, noise rock and ’90s indie, without sounding too much like any of those,” Alpine Decline are currently touring their seventh album Life’s a Gasp across China with long time confidante, producer and bassist Yang Haisong.

Kiwese caught up with Jonathan ahead of their gig in Chengdu to talk about touring and synthesisers in a WeChat conversation littered with baby smoking Hitler emojis.

Pauline Mu, Jonathan Zeitlin and Yang Haisong.
Pauline Mu, Jonathan Zeitlin and Yang Haisong.

KIWESE: Hey Alpine Decline! Where are you guys?

JONATHAN: We’re driving up from Nanning to Guiyang right now and it is fucking gorgeous. Pauline and I are essentially nature-oriented people living in a city that is the antithesis of natural, so this lush landscape really moves us.

Rad, how was the show in Nanning? 

Nanning was great. I think in places that don’t get as many touring acts coming through, the thrills are a little bit more palpable. A strange room and a strange feeling, like someone might bar the doors and some shootout might happen, or evil spirits descend… this is the perfect vibe for us to play.

“Playing for ten people ready to freak the fuck out is often more fun than 200 people who are only listening with one ear.

 

Can you tell us about your tour bus and crew? Sounds huge!

We’ve been on the US get-in-the-van trip quite a few times and will be doing it again in October with Carsick Cars and Chui Wan, but this is the first time we’ve had a van to tour in china, instead of riding the rails. It completely changes the nature of the expedition – in a way we are temperamentally well suited for.

We brought our baby and a babysitter, so that adds two bodies. There’s the three of us in the band, Xiao Bao running sound, our old friend (and veteran of the earliest P.K.14 van tours) 黄师傅 minding the details, and our very trusted driver. For awhile Nevin from Genjing Records/Maybe Mars came along. Little Monster rolled with us from Shanghai to Nantong and that was max capacity.

Logistics aside, I love ripping down the road. I like stepping out of the car in the middle of nowhere. I like the whole ‘Peter Pan leading a pack of gypsy children out into the wilderness’ vibe.

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Riding in the Alpine Decline tour bus. Image / Alpine Decline

This is not the first tour Alpine Decline for little Roland, right? He must be almost ready to join the band as the fourth member haha

This is his fourth tour. He did Australia when he was six months old, then the China tour for our last album GO BIG SHADOW CITY and the subsequent US/Canada tour. He’s pretty natural at it. He gets on really well with everyone and can tolerate the dirty language and rough living pretty well.

With kids, I find you create reality for them… they don’t come into the world with a set of expectations of how things are gonna be. So taking him on tour at first was about us being brave, not about him understanding what’s up. We just felt like it was a bad narrative in the long term to say “we used to tour and make albums and then you were born so it all stopped.” We felt like he could have warmth and support and a reasonable measure of stability and safety while still coming into Pauline and my world, joining our lives and our family.

4.pic

What’s the best thing about being on tour? 

There is a lot of wildness on tour; wild thoughts, the crazy feeling of being cut loose, the daily encounter with my fight-or-flight instincts. You meet crazy people and seem to be endlessly celebrating something, I don’t know what. For us, we are very focused on the shows, because getting in a room with people and playing music every night, there is a possibility we will get somewhere interesting, and that’s really the only reason to tour.

Of course we get tired, nerves frayed and maybe lose perspective of reality a little bit. But I’m going to reach a place every night where the moment opens up and freezes and we are all intensely present for some fleeting interval. so 辛苦? 辛苦我可以收。(hardship, hardship I can take.)

Welcome to Chengdu, what’s your impression of this place?

Chengdu and these western parts always leave a very deep impression on us. Of course in Chengdu as everywhere you witness the crush of development, but there is a kind of frontier vibe that comes on this far from the eastern seaboard that strikes me as romantic.

Would be great to have an Alpine Decline synth set in Chengdu!

Aw, I would have loved to do a synth set in Chengdu! When we were planning the tour and figuring out where we could do the synth stuff, I just didn’t know if there was a community interested in that kinda thing…

I wouldn’t say there’s a ‘community’ but certainly individuals who have an interest.

Yeah, I find on tour there is pretty intense interest in the modular synths and people just trying to contextualize asymmetrical music in general, so that after the synth sets we are basically spending about a half an hour talking to the crowd, showing them the synths and explaining stuff.

We use the synths during the rock set too, so we also have gotten people who come out even though they aren’t interested in guitars or rock, but read somewhere about the synths.

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If it’s not too mafan, are you able to tell us about your synths for all the synth nerds out there?

Ah, so basically we built two boxes and filled then with different modular synth components from a variety of sources. Eurorack is basically a format, a set of standards, so people can build synth components that will be compatible with other peoples modules. so we have basically a collection of oscillators, filters, VCAs, envelope generators, utilities, etc that we can patch together to create any sound we imagine.

We don’t have any presets or memory banks, it is nearly impossible to perfectly recreate a sound, so every night on tour the synths are slightly different, their ambience a little slippery and sorta every variable. plus they are a lot lighter than lugging around big vintage synths like the last tour haha.

I read in an interview that you recorded Life’s a Gasp in a makeshift studio in the mountains?

I think the place was originally going to be like a western style residential neighbourhood in the mountains past Badaling, northwest of Beijing, but the government moved some factories out to the adjacent valley and the place was more or less abandoned by the ten or twelve people that built houses there. Surreal, kind of ghostly, maybe some abandoned dogs, but with the ruins of unrestored Great Wall snaking along the ridgeline. We kinda had a sound design in mind and wanted to find a very big room where we could record drums, guitar and bass live together, and one of these houses became available to us. So we moved there for a week and were able to create a really different, closed-circuit kind of habitat for this part of the recording process.

IMG_20141026_221025

So you guys are rolling in Guangxi right now, a far stretch from L.A. You’ve been in Beijing for a decent few years now, do you still align yourselves and your style with the L.A. scene at all?

No, we don’t align ourselves with the L.A. scene at all. Actually, I don’t have a clue what’s been going on in L.A. the last five years at all. Even before we moved here, we were feeling very disassociated with the music scene, pretty aware of the distance between what we were looking to do and the territory around us.

It might be a little different on a personal level for Pauline, because she grew up there, but especially for me just kinda drifting through from more remote parts, L.A. just seems like a fantasy to me, even when I lived there.

I’m originally from a small town in north-eastern Ohio, a sort of farmland about an hour outside of a big collapsing steel town.

There are brilliant musicians in L.A… I’m in disbelief I had the opportunity to call them my friends and whip up some music together… but we had a different plan when we started Alpine Decline and after about a year knew it wasn’t right in L.A.

L.A is known around the world as the mecca of music and film production, so no doubt full of people trying to make it big. Do you find any parallels between that and Beijing?

The scale is really different. People seeking to make art come to Beijing, but the leading industry in Beijing is politics, not art. In L.A., its almost exclusively entertainment, like a coal town with screening rooms instead of mineshafts. Truthfully, L.A. is really just film and TV, so playing music there is still a little outside… unlike New York or Berlin, perhaps.

I don’t know what “making it big” would look like in China. We didn’t think that was an option here, which was part of the appeal.

Thanks Jonathan!


Alpine Decline Poster small chengdu

Alpine Decline play NU SPACE Chengdu this Saturday with support from the almighty Hiperson!

购票请长按下方二维码:
Press & extract the QR code below for tickets on Zaomengshe:

qrcode-335737-50-purchase-335737-0

Alpine Decline ‘Life’s a Gasp’ China Tour 2016

天津 Tianjin 6.1 周三 13club

合肥 Hefei 6.2 周四 On the Way(大摩店)

南京 Nanjing 6.3 周五 欧拉艺术空间

宁波 Ningbo 6.4 周六 CMK

杭州 Hangzhou 6.5 周日 酒球会

上海 Shanghai(模块合成器) 6.7 周二 Shelter

南通 Nantong 6.8 周三 The Void

义乌 Yiwu 6.9 周四 隔壁

上海 Shanghai 6.10 周五 育音堂

温州 Wenzhou 6.11 周六 米房cei

厦门 Xiamen 6.12 周日 Real Live

泉州 Quanzhou 6.13 周一 动物世界音乐公社

东莞 Dongguan 6.14 周二 红糖罐(769店)

珠海 Zhuhai 6.15 周三 九号仓音乐工厂

广州 Guangzhou(模块合成器) 6.17 周五 Loft345

广州 Guangzhou 6.18 周六 191space

深圳 Shenzhen 6.19 周日 B10现场

南宁 Nanning 6.21 周二 侯朋现场

贵阳 Guiyang 6.23 周四 劲 Livehouse

重庆 Chongqing 6.24 周五 MAO

成都 Chengdu 6.25 周六 NU Space

西安 Xi’an(模块合成器) 6.27 周一 光圈

西安 Xi’an 6.28 周二 光圈

洛阳 Luoyang 6.29 周三 喜堂

新乡 Xinxiang 6.30 周四 Sub Ark

北京 Beijing 7.2 周六 School Live Bar

北京 Beijing(模块合成器) 7.3 周日 fruityspace

襄阳 Xiangyang 7.8 周五 Vox

武汉Wuhan 7.9 周六 Vox(武昌店)

Favourite Releases 2015

From Wellington stoner country to Beijing glitch hop, 2015 was packed with awesome releases from both New Zealand and China. Here are fifteen Kiwese favourites!

Illustration by Ali Pang.


With Knees of Honey in Goodbye Canyon by So Laid Back Country China

(Wellington, NZ)

So Laid Back Country China (or 很放松乡村中国) is a four-piece band fronted by Harriet Ferry and Michael Keane, former members of beloved Wellington folk/country hooligans Big River Chain and John the Baptist.

Originally meant to be an EP, With Knees of Honey in Goodbye Canyon, is a slow-release trip into wide open country spaces, at once soothing and hair-raising in the sparse layering of instrumentation and vocals.

Favourite track: Open Eyed
https://solaidbackcountrychina.bandcamp.com


No Need For Another History by Hiperson
《我不要别的历史》 海朋森

(Chengdu, CN)

Rejoice!! Our long diet of Hiperson demos streamed off Youku was finally supplemented this year, with No Need For Another History released on Maybe Mars in April. Recorded by China’s post-punk overlord Yang Haisong, Hiperson have re-recorded well-loved tunes such as《他打定主意做一个游客》He Made Up His Mind to Be a Tourist and 《门》Entrance, alongside new material that reasserts their guitar-driven, sharp tongued sound.

Those distinctive stabbing staccato vocals from Chen Sijiang, alongside puns such as “这是通往剧院的大路!” yelled in tandem with guitarist Ji Yinan, in my opinion make Hiperson one of the most lyrically talented bands in China today. Check out the Kiwese interview with Hiperson earlier this year.

Favourite track: 《幕布》The Curtain https://hiperson.bandcamp.com


TANGO by She’s So Rad

(Auckland, NZ)

THIS ALBUM IS JUST SO GREAT!!!

TANGO is a joy from start to finish – really tight songwriting and jangly pop melodies led by the band’s Anji Sami and Jonathan Toy. Nominated for Best Alternative Album at this year’s NZ Music Awards, lost out to UMO’s Multi-Love (also excellent).

Favourite track: Better Off On Your Own https://shessorad.bandcamp.com/album/tango


Chinese Football by Chinese Football

(Wuhan, CN)

China’s national football team is unlikely to score points anywhere, but Wuhan’s delightful indie-pop band Chinese Football are winners!

This year Chinese Football released both a self-titled EP and a self-titled full length album, the latter of which I am rating here. Sparkling TTNG-esque math rock riffs, endearing vocal harmonies and brightness. Forever destined to be compared to American Football, Chinese Football’s music would indeed be suited to cruising around the sunny Midwest.

Chinese Football play Chengdu’s Little Bar on 8 January and Chongqing’s NUTS on the 9th. Yay!

Favourite track: 400米

https://chinesefootball.bandcamp.com/album/chinese-football


Carb on Carb by Carb on Carb

(Auckland, NZ)

Aucklandite indie-emo-pop power duo Carb on Carb released their much anticipated self-titled album back in February, what a pearler! James and Nicole have been busy touring the USA this year, making a lot of new friends and forging their own American dreams.

If you are in the market for odes to beloved pets, sweet riffs and breakneck drum rolls, this is where it’s at. Added 2015 bonus, James released the God Bows to Math + Carb on Carb China Tour Documentary in September, which premiered on Kiwese! Good times!

Favourite track: Phenomenal Ladies https://carboncarb.bandcamp.com/album/carb-on-carb


Mù Chè Shān Chū by Howie Lee
《木屮山出》

(Beijing, CN)

Fresh release from the inimitable Howie Lee, just out this month on Alpha Pup. Beijing blazzzze – Mù Chè Shān Chū is packed with those East Asian samples, clicks and tweaks Lee has become known for. Featuring fresh takes on tracks Sinka and Shang from last year’s also excellent Eastside Sampler Series. Future kungfu swag.

Space Epic by Terror of the Deep

(Wellington, NZ)

‘Cos it makes me feel – – – ~ – – –

– – – ~ – – – so unreal!!’

Oh man. I fucking love Terror of the Deep. Their music makes me imagine walking up Riddiford Street with sunglasses on, blue skies, and a hop in my step. Flax and toi toi. Newtown. Space Epic has a much lusher, texture than TOTD’s previous spare and crunchy bass-guitar-drums sound, with the addition of Tom Watson on keyboard and trumpet. Picks up where Permanent Weekend left off, with a re-recording of ‘When the Planets Align.’

Recorded by OOS’s Dan Beban at Pyramid Club and mixed into the galaxies in 2015. A journey through space, to Neptune and beyond… 

Favourite track: Saturn

https://terrorofthedeepnz.bandcamp.com/album/space-epic


Demos on Douban by South Acid MiMi Dance Team
南方酸咪咪领舞队的小样寄在豆瓣上

(Kunming, CN)

Image from South Acid MiMi's Douban.
Image from South Acid MiMi’s Douban.

South Acid MiMi (Shishi, Weilin + Yixiao) are such rad bitches. Straight outta Kunming, this freaky disco punk trio is leading crowds to the dance floor. I saw one of their early shows in January when I was randomly in Kunming and it was the most refreshing thing I’d been to in ages. They sound like… Grimes? Iggy Pop? Karen O?

These bizarre, addictive beats from three keyboards, vocals, a laptop, LED light poi and various bottles of spirits. South Acid MiMi are gearing up to release an album with Ruby Eyes Records in Beijing next year.

Stay tuned for a Lady Lazer Light x Kiwese x South Acid MiMi production very soon!!

Favourite tracks: NUNUDUGU, Lucy in the Sky With Dolphin, Love is Pain, Disco 女孩, The End, so many!!
http://site.douban.com/southacidmimi/


Seed (single) by Mermaidens

(Wellington, NZ)

Mermaidens are Scrumpylicious incantation creators. Seed is a mean tune. Sounds like discordant fuzzy kelp scum, the three-piece creating a bubble of noise that scares off even those freaky fish with lightbulbs on their head. Look forward to more next year.

https://mermaidens.bandcamp.com/track/seed-single


Loop by Stolen《循环》 秘密行动

(Chengdu, CN)

Stolen (pinyin: mìmì xíngdòng) tore shit up this year. I saw them play a countless number of times around the country, bursting with energy at every gig. After signing to Beijing’s new D-Force Records, they had the opportunity to professionally record in Taipei, producing a more refined collection of their excellent free demos.

Dark, chilling, insanely danceable – with Loop and a huge national tour under their belt this year, Stolen have raised the bar even higher. While one hears Joy Division or Kraftwerk when listening to Stolen, their newer material is more electronic beat based, scatty tech rhythms. The boys have been writing new material up in the mountains, so anticipate more from them next year!

Favourite track: A Glossy Flirt
https://mimixingdong.bandcamp.com/album/loop


Womb by Womb

(Wellington, NZ)

Wellington woodland dream folk. Womb is the solo project of Charlotte Forrester, womb companion of Haz Forrester, who she used to play with in Athuzela Brown. This is really gorgeous music. The echoey vocals remind me a lot of Grouper, while the sparse guitar phrasing in ‘Sounds of Our Voices’ definitely brings Electrelane to mind. Sonorous Circle label mate Sean Kelly mixed and mastered these five lovely tracks with some Seth Frightening magic.

Favourite track: Cosmic Dreaming
https://w–o–m–b.bandcamp.com/


People, Society, Money by Fatshady
《人.社会.钱》谢蒂

(Chengdu, CN)

fatshady
Image from Douban.

Fatshady is the biggest rapper in Chengdu. He entered the hip-hop lexicon several years ago with his track 《明天不上班》, empowering audiences to bunk off work in style. He raps completely in Chengduhua, garnering immediate appeal by opposing the bland, standardised Mandarin of TV, radio, school, officialdom…

While the beats are pretty simple (as if ‘shab shabba Ranks’ could come in at any moment), the rapping is second to none. While I can only understand half of his lyrics, his music speaks to my friends unlike any other artist I’ve seen – because he is using their language. There is no one else doing it quite like Fatshady. Out on C.D.C.

Favourite track: 坝坝球
https://site.douban.com/fatshady


 A. Cushion Plant and B. Gold in Quartz by Team Cat Food 

(Auckland via Wellington, NZ)

February saw a Team Cat Food double release. As with everything these guys have released, I love it. Mellow and vibey electronic textures and beats, with i.ryoko and Seth Frightening featuring on each side. Churrrr.

Favourite track: Cushion Plant, Ponderosa
https://teamcatfood.bandcamp.com/


A Million Farewells by Tom Cruise and Katie Holmes

(Shanghai, CN)

Well, this is epic. Shanghai’s famously un-Googleable Tom Cruise and Katie Holmes have released this noisy emotional outpouring on Genjing Records. Former So So Modern drummer Daniel Nagels joins ‘Tom’ – Xiao Zhong of Pairs, ‘Katie’ – Sharon Cee-Q with her dreamy vocals, and Samuel Walsh on bass.

‘My Life is Over’ will have your ears ringing, while other more dream pop/shoegaze tracks act as a welcome counterpoint. Beautiful stuff. Vinyl release through Genjing and Tenzenmen, or you can stream it on Bandcamp.

Favourite track: New Day
https://genjingrecords.bandcamp.com/album/a-million-farewells


Elixir by Totems
(Auckland, NZ)

Elixir is certainly the most mature and cohesive Totems release to date, with nine tracks that flow seamlessly from start to finish. Jungle/drum & bass/echoes of his old trap sound that are equally suited to both chilling and raving. Released in December with Cosmic Compositions, Elixir has already had several plays at Kiwese HQ, also known as my lounge. Chur chur!

Favourite track: Echolocate
https://cosmic-compositions.bandcamp.com/album/elixir


And one more…

Multi-Love by Unknown Mortal Orchestra

(Portland, OR via Auckland)

With only one kiwi member, UMO are arguably not even a NZ act. But they get nominated at the NZ Music Awards and also get funding from NZ On Air so whatever. Multi-Love is the follow up to 2013’s II and it is just really fcking awesome!! More groovy and melodic than their previous two albums, with the addition of a keyboardist/back up vocalist.

Favourite Song 2015: Can’t Keep Checking My Phone


…Where it at?

Mirror in Mirror by Skip Skip Ben Ben 

(Taipei / Beijing)

Ben Ben’s new album has been released in Taiwan on Re:Public Records, and I’m eagerly/impatiently waiting for it to come out in the Mainland on Maybe Mars… Check out the preview below. NEED.


 

Many of these artists have released their music on Bandcamp for the criminally low price of ZERO DOLLARS. Koha where you can! Support independent music!

Haere Mai Nevin Domer: Getting Genjing and Maybe Mars bands to NZ

From heading DIY record labels, playing in punk bands, averting lyrical censorship, booking dozens of tours and crowd surfing on them, to speaking on music panels, Nevin Domer is one of the most dedicated people in the Beijing underground today. Kiwese caught up with him to see if there’s anything in store for us over in New Zealand.

 
So Genjing Records initially started as a way for your band to get stuff out there, but what was the impetus for broadening out to the local/international scene? Just love? 
I originally started the label as a vehicle for releasing music from my own band ahead of our European tour. I realized that vinyl never really went away in underground scenes abroad and was emerging again as the preferred physical medium for fans and collectors so if Chinese acts were planning to travel abroad they should have records to sell. It also became apparent to me that it functions as a bar for media publications who will take bands with vinyl releases more seriously then those with CD only. I was working with a lot of great bands in China that were starting to have more and more opportunities to play abroad and I decided this was a way I could help them. It definitely isn’t for money but out of a desire to have fun and see the scene here reach it’s full potential.
Genjing Records. Est. 2011. From the Genjing Records website.
Genjing Records. Est. 2011. From the Genjing Records website.

God Bows and Pairs! The 7″ split is intriguing. You check out a release from the band you like and are immediately introduced to another one, is that the general idea or does it have other merits than that?The concept of a split release is an old staple of the punk scene and something I grew up on. When deciding what sort of objectives I wanted to achieve with Genjing I was really interested in creating a bridge between the scene(s) in China and those abroad. For me a split release is a great way to connect two bands who can help introduce each other to their own fans and therefor gain from each others mutual support. The same is true for two labels doing a co-release. In the end our underground culture will only thrive if we help each other!

God Bows / Nevin / Carb on Carb. Mao Livehouse, Nov 2012.
God Bows to Math / Nevin / Carb on Carb. Mao Livehouse, Nov 2013.

Can we expect any Genjing bands to come down to NZ this year or are we just too far away? What are the challenges for Chinese DIYs to tour Aus/NZ, it seems the only acts that come are state funded? 

I hope so! I’m putting more energy now in producing, distributing and promoting releases. I want to create a platform and opportunities for bands but leave a lot of the logistics for touring up to them. Pairs has toured NZ and several Chinese bands have been to Australia — Alpine Decline is going there the end of January for several shows. Hopefully after the split release with Pairs and God Bows To Math more fans in NZ are aware of the Chinese scene and a foundation will start to be built for more Chinese bands to tour there and conversely for more NZ bands to come to China! It is expensive but I wouldn’t count on the state to fund anything interesting. It’s our culture we need to work and build it for ourselves.

Alpine Decline at XP. Image from livebeijingmusic.com.
Alpine Decline at XP. Image from livebeijingmusic.com.

Are Genjing releases available anywhere in NZ?

I am talking to several stores and distributors there and plan to have most of the Genjing releases available there by the spring. Things are going forward with Flying Out hopefully they will be able to get my stuff in all the stores you mentioned (Death Ray in Newtown, Slow Boat Records on Cuba Street)!

…and your current favourites in Beijing?

At the moment my favorite act in Beijing is the Molds, but they’ve been my favorite for a long time! I am also really into Alpine Decline whose new album is so so good. Besides that, expect to hear some new music from young bands both in Beijing and across China coming out on Genjing over the next few months.

Liu Ge of the Molds. Picture from Time Out Beijing.
Liu Ge of the Molds. Picture from Time Out Beijing.

…For venues I split my time pretty equally between School (for punk rock), XP (for experimental) and Temple (for getting wasted, haha!)

The Bennies from Melbourne kicking it at School in Yonghegong, Beijing. Nov 2013.
The Bennies from Melbourne kicking it at School in Yonghegong, Beijing. Nov 2013.

People can check the Genjing websiteFacebook and Twitter pages for updates or , if you can’t wait – order directly from PayPal. Thanks for the support and don’t forget to also support your local scenes!

Xie xie Nevin!

Nevin is originally from Baltimore, USA, and has been helping Chinese bands with a variety of shit since 2009. He is the founder of Genjing Records [根茎唱片], Chief Operating Officer at Maybe Mars [兵马司] and the guitarist of Fanzui Xiangfa [犯罪想法]. Chur bol!

(Article photo graciously pinched from Wooozy.cn)

God Bows to Math make some noise in China

Awesome people, free red wine, glamorous poodles, unexpected blackened chicken feet fished out of wonton soups… Kiwese had a yarn with God Bows to Math guitarist/vocalist Martin Phillips about their latest tour, the underground post-punk scene in China and how to make soup dumplings.

The noise they emit is as raw as a dodgy steak. They play each show with a psychopathic intensity, whether its for two people or two hundred. They have played too many gigs to count, dozens and dozens a year for like five years. Who knows, I’m crap at math.

God Bows to Math is Martin Phillips, Sam Cussen and Tom Morrison – the trinity that was resurrected from the dust of previous bands back in 2008. Over the years, they have ceaselessly toured around New Zealand and Australia, making friends, meeting bands and leaving a trail of deafening amplifier feedback in their wake. It’s that “fuck it why not” attitude that led God Bows to Math [神弓至数学 Shén gōng zhì shùxué] to pummel Chinese audiences with their churning fist full of noise last November, and chat with them over a couple of Tsingtaos afterwards.

From left: Sam, Martin, Tom
The boys from left: Sam, Martin, Tom

I hung out with the lovely folks from God Bows to Math and Carb on Carb after the first show of their eleven date China tour in Beijing. Whether it was the hypnotic drone of noise, the fondness of their Kiwi accents or the effects of drinking baijiu straight out of the bottle, I decided to ditch school, call in sick for work, buy some train tickets and catch them again 1,379km south down the country in Suzhou. The fact that a pair of bands from Auckland had come all the way to China to play music was just too much for me!

“他是Tom, 他是Sam, 我是Martin, 我们是God Bows To Math, 谢谢” [He’s Tom, He’s Sam, I’m Martin, We are God Bows to Math] panted Martin into a microphone of feedback, as he introduced the band after blasting through several tracks at MAO Livehouse. Whether it was saying xie xie after each tweak during soundcheck, Tom approving of the sea-salt cream coffee in Suzhou, finding unidentifiable animal parts in our wonton soups; they were here in China and enjoying the differences that were thrown at them.

Tom with aforementioned beverages at Mao Livehouse
Tom with the aforementioned beverages at Mao Livehouse

What drew you guys to China? It doesn’t seem to be the typical next destination after you’ve toured NZ and Aus?

Not many NZ bands seem to look in that direction. But in Australia heaps of bands do, with the Sino-Australia exchange and Shaun at Tenzenmen there are more links between the two scenes. Plus, Australia is closer to Indonesia so a lot of Aussie bands we know tend to tour South-East Asia as well. There’s a growing feeling about China from NZ too – Disasteradio has toured there and so did Die! Die! Die! in recent years. Getting more than one person to do something like that is tough.

Happy times at Rat on Swamp Dog in Shanghai
Happy times at Rat on Swamp Dog in Shanghai

Tell us about how you guys got hanging with Pairs.

We were introduced to China through Pairs in Shanghai. When Rhys and F came to NZ, Benji [MUZAI Records] and I booked their tour for them – so that’s when the idea came about. Rhys basically used the New Zealand tour as an advertising campaign to get people to come over to China. It was a bit of whirlwind tour, we managed to fit in nine shows over two weeks: Tauranga, Wanganui, Hunterville, Wellington, Auckland, Dunedin, Christchurch and a house party in Auckland. It was around Chinese New Year as well so I think they paid a ridiculous amount of costs. It’s pretty hard to convince bands to do that, but those two are always down to do a crazy amount of shows in a short amount of time.

Poster from the Pairs Summer Sweat Tour 2012
Poster from the Pairs Summer Sweat Tour 2012

So the 7” split idea came into fruition from those long road trips down the North Island?

Yeah, Rhys said he knew someone who was interested in releasing a split record so we jumped at that opportunity as well [Nevin Domer from Genjing Records]. We met James from Bomb Shop in the UK through Rhys, as they had released Pairs album over there, and then Shaun Tenzenmen in Australia who again we knew from touring and various people, so along with Muzai, it became this four label, cross-global release.

Split record with Genjing (CHN), Bomb Shop (UK), Muzai (NZ) and Tenzenmen (AUS)
Split record with Genjing (CHN), Bomb Shop (UK), Muzai (NZ) and Tenzenmen (AUS)

Has the split helped you guys get more exposure in China?

Yeah I definitely think so. A lot of it has been Rhys, Tom from This Town Touring, Nevin at Genjing and Dann Gaymer, who have done a lot to promote it over there as well. Same with our album too, it seems a few people had gotten to hear it. Internet wise, we got a Douban page before the tour. We don’t have a Weibo yet, but baby steps! I can’t handle social media, I let Cuss do all the Twitter and that.  

Da boyzzzzz getting ruckus at the show in Zaozhuang
Da boyzzzzz getting ruckus at the show in Zaozhuang

What were your perceptions of the Chinese music scene before coming on tour?

The book Inseparable by David O’Dell. He lived in Beijing in the 1990s, the punk era of bands like Underbaby. It culminates with the rise of D-22 and bands like P.K 14 and Hedgehog, more about the punk and hardcore scene. I know Nevin helped with distro so he would know where to get a copy. I bought mine from Shaun but I think he sold out. [editor’s note: everyone should read this interview with O’Dell]

As far as logistics go, how was touring China for five Aucklanders with no Mandarin?

The whole thing went really smoothly, though when you are on tour, ‘smooth’ takes on a different definition to what it does in normal life, because there’s bound to be things that go wrong. All in all it was definitely one of the easiest things we’ve ever done organization wise because Mattessi took care of most of it then our incredible tour manager Vivian took care of the details. The transport was great – I love China’s fast trains. It definitely beats nine hours of driving. We’ve done Australia where we’ve driven from Melbourne to Newcastle in one day, by the time you arrive at the venue you’re nearly dead and you’re not really in the mood to do a show. Whereas having a nap on the train, reading a book, then having dinner and showing up is definitely a different feeling. We had five people from two different bands on a tour of China, I’m proud that we managed to get there.

Making friends on the road
Making friends on the road

You had studied a bit of the language before coming to China?

“Wǒ xiǎng hē píjiǔ!” [我想喝啤酒, I want to drink beer]. That was a key phrase. I think people were good about me speaking without tones, though I’d like to learn more. It is very difficult to learn a language from books and Chinese pronunciation is pretty tough going. In China I found myself being really drawn into all of the signs and trying to work out the characters!

God Bows with the gigantic poster at Red Sugar Bar
God Bows with the gigantic poster at Red Sugar Bar

Any Chinese food recommendations?

I’m gonna try keep a journal of my efforts to make soup dumplings. It’s a local Shanghai thing. Shēng jiān bāo [生煎包] from Yang’s Fried Dumplings in Shanghai. It’s just incredible and so cheap. I ordered like a dozen of them and a wonton soup as well. Delicious. It’s basically just fat in gelatin, so unhealthy.

shengjianbao

What’s the music scene like in Auckland these days?

I think the scene in Auckland is really healthy at the moment. There seems to be a lot of good bands, more people coming to gigs and enjoying it, which means everything benefits – venues do better, bands do better, people make more of an effort. Though some of the best venues still have trouble keeping their doors open and even when things go well, their share of the night time entertainment audience is still a ridiculously small slice of the pie. I never subscribe to the old Ian MacKaye ‘DIY should be about the music’ vibe, I like going to bars and seeing bands. I like being able to have a beer and watch them. They’ve just changed the alcohol licensing laws and made changes to when bars can close. Whammy and Lucha feel the pinch because they are late bars and have late shows, yet they aren’t the ones that have problems with people spilling out onto the streets and having drunken fights, those are from the shitty clubs which make enough money to stay afloat anyway…

Tell me about your own plans with the China-NZ music relationship.

It’s one of those things that is hampered by a lack of money and a lack of time. I’d like to get some more Chinese bands over here. I tried to convince [Yang] Haisong to get either After Argument or P.K 14 to come to NZ. He appeased me by saying yes but I don’t know if they will [laughs]. That would be a bit of a dream. Hoping to get Nevin’s band Fanzui Xiangfa over at some stage as well. Actually one band is coming in 2015, Guiguisuisui. Most people we speak to are like “woah, whats China like? There’s music over there? That’s crazy!” But China have an amazing underground scene and it would be nice to share what’s happening there. It is fairly easy to find out about the underground scene in America and even Australia, but there’s not much awareness about what’s happening in China. I guess it also has something to do with different mediums, it’s hard to find Chinese bands on Facebook, you don’t have the same avenues for sharing it. We should get links to show people and create a bit more interest. 

Maaaates.
Maaaates.

In recent years there have been a a growing number of DIY bands from NZ touring China, but there doesn’t seem to be a reciprocal effort from local Chinese bands heading to NZ.

I think it has something to do with the size of NZ and the fact that there are more opportunities in China. It’s the same reason it’s harder to get Australian bands over to NZ than it is to get NZ bands to Australia. Carsick Cars have been to Australia heaps. If you had the option to play festivals with some of your favourite bands at home, that’s something you should pursue over going on holiday to NZ. Though if anything people are attracted to the idea of NZ scenery. We lost a lot of money going over to China because we did it like a holiday, but I guarantee you would lose more going the other way. Then there’s the language barrier as well. There isn’t the same network of tour managers in NZ as there is in China. There’s no one who has ever tour managed a band in NZ that can speak both Mandarin and English. Every band we met over in China spoke English a hell of a lot better than I spoke Chinese!

Tightly Wound at Mao Livehouse
Tightly Wound at Mao Livehouse

A few Chinese bands have been funded come to NZ in the past, but they don’t seem to reach the same sort of audience that they do in China. For example, Chinese heavy metal legends Tang Dynasty playing at the family-orientated Lantern Festival in February.

It really depends as a band. It is hard to go somewhere you have never been before and end up in places that you wanna be. I know this band from Germany who got really lucky and ended up booking themselves an amazing tour of NZ playing these underground venues, but it could have just as easily ended up with them playing at the local pub in East Auckland to the wrong people in the wrong environment, billed the wrong way. It is really difficult to know the intricacies of scenes. With metal bands, there would be a lot better places to play than the Lantern Festival, that’s like if we went over to China and played at some sort of NZ cultural event, or even at a televised rugby match, it wouldn’t really feel right.

I guess there needs to be something special to entice bands to come on their own, something they can’t get anywhere else.

The Hobbit. Start a sub-culture of Tolkien underground noise rock.

to be continued…

Deafen yourself and bow down here.

Watch them perform live at Mao Livehouse on Youku, though you might have to sit through a KFC ad first.

Now check out the interview with Nicole and James from Carb on Carb.

Cheers to Nevin at Genjing Records for the insight and Nicole for some of the pics!