Tag Archives: Lawrence Arabia

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.

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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.

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Vinyl Destination: Interview with Cian O’Donnell from Conch Records

In this content-saturated Internet age of free digital downloads and infinite streaming, Cian O’Donnell is among those still repping the power of wax over at his well-loved shop Conch Records, which has been spinning records in the City of Sails for the best part of two decades. Kiwese caught up with the voice so familiar to George FM listeners ahead of his upcoming vinyl DJ sets at JUE | Music + Art Festival in Beijing and Shanghai next week.

KIWESE: Hey Cian! You are coming over to China next week, how did the connection with Lost Cargo and JUE Festival come about? CIAN: I met a lass called Olivia at Conch in Auckland last year. She never really told me what she did back home, but she’d come in, buy records and listen to a whole bunch of stuff in store, then came to one of the monthlies we organise called The Turnaround. Before she left, I invited her up onto my radio show [Earshot on George FM] to play a selection of young, fresh, Chinese beat makers. The stuff she brought up was so good! We got really good response on the text lines, so talked about doing some kind of collaborative promotion of artists in China and over here. Awesome! Who is she? Shanghai local? She is a promoter for The Shelter in Shanghai – which I’d heard about through people I know that have played there. It’s an old underground bomb shelter, definitely Shanghai’s underground (for use of a better word) alternative club, where different promoters come on and do different evenings, from hip hop to electronica to trap, footwork and whatever, with artists from James Pants to Kode9 and so on.

Listen up Beijing & Shanghai! Poster image from Wooozy.cn.
Listen up Beijing & Shanghai! Poster image from Wooozy.cn.

With JUE I’m gonna be speaking on a panel of four people, including Awesome Tapes from Africa, discussing the importance of communities that grow around important around music-related blogs, venues or events.

“A record shop is more than just a standard retail space – it ends up being a hangout, a communal meeting spot. Bands are formed, friends are made, gigs are staged.”

Can you tell us about the early beginnings of Conch Records? Living in Auckland in the mid ’90s, I was getting tired with finding the same records in every shop. So I started doing small orders with some of the distributors I used to work with overseas, mostly from Europe, then a friend who started the Aotea Square Markets approached me about doing a stall. I used to take down my turntables, two or three crates of records and a suitcase of CDs. It was a real success. After that, my now partner in Conch, Brent Holland, took a space in an old arcade on High Street, fitted it out with everything handmade timber and made it look amazing – it looked like a big packing crate. We stocked a really good alternative selection of Jamaican 7″s, independent hip-hop, quirky house, reggae, Brazilian, Latin… But although it was really loved and respected, it never really made any money. So we started looking for a bigger premises with more foot traffic. At our current premises on Ponsonby Road, it started with a small coffee shop and a few seats out front. Now we’ve managed to expand with a courtyard out back, its licensed and the whole bar and restaurant aspect has kind of overtaken the record store. This year the plan is to get back on track with the retail side. I’ve had the pleasure of going to Conch and thought the food and service was great. Do you think the gentrification of Ponsonby has resulted in a shift in focus from selling records to providing a dining experience? In some respects if we had opened up Conch right from the start eight years ago as a café/restaurant/bar, we would’ve smashed it. Because now, as you say, the whole area has been gentrified and there are just so many restaurants, cafes and bars competing along that whole area. The only reason we have recently changed focus is because we weren’t able to survive solely selling coffee and records.

“You hear all these stories about the resurgence of vinyl and the rest. Yes, maybe in a city of 20 million people where there is a history of vinyl; London, Tokyo, New York

But in little, old Auckland, where Serato was invented and where people like supporting homegrown products, more and more vinyl buyers are going digital.”

In saying that, all of Conch’s biggest sellers have been local releases. Our biggest selling 12” was Manuel Bundy’s Solephonic EP, we must’ve sold about 150 copies. We’ve also sold a lot of local 7”s. There is a label in Japan called Wonderful Noise which have signed up the crème de la crème of New Zealand beat makers. kitchen-slider-slide-3

Drool worthy meals from the Conch menu. Image from Conch.co.nz.
Drool worthy meals from the Conch menu. Image from Conch.co.nz.

You are originally from Hereford, England, how did you end up in New Zealand? I ended up here by mistake actually [laughs]. I was backpacking and travelling around when my visa in Australia was set to run out. That was 1988. I only had enough cash left to get to New Zealand and I had a contact in Wainuiomata. It was raining the whole time and I thought “what the hell am I doing here!” I managed to get a full time job at the old EMI store, where Rex Royale is now on Cuba Street, and got to meet Matt Poppelwell, one of the main DJs around town, who introduced me to what seemed like a third of the population of Wellington [laughs]. A lot of DJs will say they ‘play everything’ and that they are really eclectic, but this guy Matt really was. What were your initial impressions of the Wellington club scene in 1988? It was a bit scary [laughs]. If you went to a standard club, people were still listening to white boy electronic music like Depeche Mode, New Order and Fine Young Cannibals. I left just when the whole Acid House era kicked off in the UK. When I got over here, it still hadn’t really hit. So I would go with my Polynesian mates to some of the Poly clubs – they were playing modern RnB, Brit soul, American street soul… I loved those clubs. Much more black orientated than my white honky roots [laughs]. I grew up listening to Tamla Motown and that. What made you want to move to Auckland? The first time I came to Auckland I met a bunch of people who ran Planet Magazine and they really became my family over here. When I was over in London in the mid ’90s, they called me up and asked me to be the resident DJ in the space we used to live in for a new venue they were starting – the Khuja Lounge. This is back when Auckland was a much more interesting city and people used to live really interesting inner city spaces.

“We had the whole third floor on the corner of Queen Street and K Road for $50 a week.

There was nothing like it. We had old Indonesian furniture, a massive communal weaving table with scattered cushions around it. I’d start at 8pm and play till about 4am, Wednesday to Saturday. For any real DJ, that’s your dream gig, man. On the same floor, we’d opened up a talent agency called Saama Productions, which specialised in signing people from indigenous backgrounds. As a result, the Khuja was a real melting pot of all different styles and characters – everybody from models, actors, comedians and dancers were there. For about three or four years, we smashed it. It was the most enjoyable place I’ve ever played.

Image from George FM.
Selector and collector. Image from George FM.

Right now, Auckland could do with more…? Hmm… People that go on out and play more of a variety of music and take more risks. Venues that actually take time money and effort to put in proper sound systems and maintain them. Less of these kind of Pack Group bars and Mac Brewery Bars, with the same kind of soundtrack, the same kind of crowd. I don’t know if it’s the same in Wellington, but Auckland just feels like it’s been totally whitewashed. It feels like it’s the North Shore and Hamilton transplanted into the city on the weekend… Nowadays people become DJs overnight when their mate gives them a USB stick with 5000 records on it, with no experience or knowledge of any of the music… No time into digging, or money. Everyone’s a bloody DJ nowadays. What are you expecting from your time here in China? Never been to China before, I’ve always wanted to go. I fly out Tuesday night. I really hope this is the start of me being able to come out more regularly. I’m looking forward to everything! Shanghai sounds like such a crazy mix of the modern and old. I love big cities and what they have to offer and the whole energy. Any favourite Chinese beats at the moment? Favourite vocalist out of China is a lass called ChaCha. I’m not sure who is making her beats, but she rules! Favourite locals? Local stuff, whew! Coco Solid, Lord Echo, Julien Dyne, Electric Wire Hustle, Christoph El Truento, my mate Submariner, Stinky Jim (who doesn’t release stuff), Lawrence Arabia… so many, theres a lot of good music coming out of New Zealand! Chur Cian, hope you enjoy Shanghai and Beijing!

logo Read more about Conch Records, Cafe, Bar and Restaurant www.conch.co.nz Check out Cian’s weekly show Earshot Radio on George FM www.georgefm.co.nz | Every Sunday 10am – 12noon (NZ Time) The JUE Music + Art Festival program is here Next week Cian will play at DADA Beijing on Friday 13th March, followed by the Shelter in Shanghai on Saturday 14th!