A Sample Of The Music To Be Found @ Mp3.Net.Nz

Published: Mon 10 Jul 2000 11:21 AM
The Datsuns
The Datsuns mixture of high-octane rock n’ roll and manic live performances will rock your ass louder than a V8 and give you butterflies like that first real kiss. The band has played with the likes of Jebediah, HLAH, The Hasselhoff Experiment, Shihad and Regurgitator.
After sweeping the 1999 Ufm Battle of the Bands The Datsuns headed into the studio to lay down some hot tracks. Not satisfied with the recordings the boys decided to do it themselves and are currently in the midst of recording their debut album.
Once completed the boys will be eager to take their rock n’ roll onslaught to the nation in preparation for the mid 2000 release.
The Racketeer represents sweet & sour Drum and Bass excursions from Nick Roughan of the NZ music legends Skeptics, a music innovator for two decades.
Nick Roughan's association with the Skeptics has tended to overshadow subsequent work, despite his contribution to the New Zealand music from his time at Writhe and York Street Studios.
Roughan has worked with a roll call of New Zealand’s best: Shihad, Bailter Space, JPS Experience, The Clean, Head Like a Hole, The Headless Chickens and the Verlaines.
Roughan admits that in the mid 80s that he began to find the guitar band thing limiting and became engrossed in electronic music. The Skeptics wound up in 1990 after the death of David D’ath.
The Racketeer has been six months in the baking, combining D influences with soundtrack moods, creeping bass noodlings, synth squelches and free noise.
Cuba and Gizmo, aka Dean (Mr Cuba) Godward and Isaac (Gizmo) Tucker, are committed to pushing the boundaries of drum and bass music.
Not content to follow the lead of the London scene, Cuba and Gizmo are drum and bass innovators. They blend other music forms such as trance and hip hop with world music, electronic samples, driving beats and subterranean bass to create their own unique soundscapes.
The group also successfully take electronic music into the live performance arena incorporating electronic drum kits, percussion, samples and synths with guest appearances of MCs, log drummers and other surprises.
They burst into public awareness with their remix of the Fiona McDonald song ‘Sin Again’. Since then they have created a huge live following and their up-coming album is much anticipated.
Proudly holding aloft the torch of the ‘dangerously jangly pop with catchy chorus’ tradition are Fang - comprising of Sonya Waters (Gat), Ben Howe (Bass) and Andrea Holmes (Drums).
Hanging out together for about a year and a half now, the band have generated bNet radio interest with their gorgeous ode to the McJob, 'Employee of the Month.'
Sonya and Ben have both worked in retail hell and it was the combination of steely eyed capitalism and ‘crystals hanging in the window’ new-age-ism that inspired the hit.
Sonya now works as a music teacher, her favourite scale (one that they use to fine effect in their hit) is the mixolidian (or so they say – I’d have no idea, they could be pulling my leg for all I know).
Ben’s studying the anthropology of pop music at Auckland University but obviously has already learnt the bit about writing tunes that you can’t get out of your mind.
New Zealands ablest gat-man Joel Haines has finally released his debut solo release ‘Seniah LeoJ’ after years of playing in other peoples bands.
The Haines name has long association with Jazz, through the work of Joel, his brother Nathan (Reeds and Flute) and Father Kevin (Double Bass).
But Joel insists his album is not Jazz.
“Improvisation is what I use and something I learned from Jazz' and he concedes, 'there are some Jazz forms on there, but don't like to use the term Jazz, because I believe Jazz has been misinterpreted, people don’t know what it is.'
The 'Seniah LeoJ' album – which is being released exclusively though - contains material up to 6 months old, mostly recorded in a two week period, 'the recording part of the process is no big deal, because I play every day.'
Haines's perfectionist streak saw him recording everything on the album, the only sound that's not a guitar is a 'shaker'[percussion instrument] on one track. 'The orchestral sounds on the record are created by bowing the guitar 'Jimmy Page' style' says Joel, laughing.
Whilst the recording was painstaking it seems naming was unimportant, 'We picked names out of a hat,' Joel revealed, 'the only song that had a name the whole way through was Charmaine's song', referring to the lady in his life.
As the dark horses of the Auckland music scene, pop trio Smoothy has managed over three years to accumulate a solid core of critical and public support through the usual route of student radio play, dodgy gigs in ropey bars and supports for 'recognised talent.'
Smoothy, have proved it is possible to become tops in their field without resorting to the loud unintelligible sounds that can hardly be understood through the overpowering beat of much of today’s pop music.
The recipe for this particular Smoothy is a simple one: take a jigger of Memphis, a tablespoon of London, equal quantities of Detroit and the West Coast (any west coast) and just simmer down with a bunch of friends.
Smoothy are a happy marriage of sound and ideas which produces a fascinating and very distinctive rhythm pattern. The magic of Stevie’s bass-playing old blues-soul voice! The demon-like antics of Kim at the drums and Dom’s at times racy yet relaxed guitar work.

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