Planet Hunter Northern Tripping – Auckland and Kaitaia

Planet Hunter Northern Tripping Poster
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Recently I’ve been reading breakfastandtravelupdates, the tour blog from The Beths bassist Benjamin Sinclair. It reminded me of the joys of tour blogs, so I decided that I should document the Planet Hunter Northern Tripping tour in May. They released debut album Moscovium late last year (review from Craig Leahy), and are finally heading out on the road to bring their music to the masses.

I consider Planet Hunter the best band in Wellington. It’s an easy choice, as far as I’m concerned. Few bands come close in terms of entertaining live performance or musicianship. Their songs have such strong groove that they’ll get people dancing, while moving in an out of weird time signatures.

They’ve been around for a long time now, and three of them have history playing together in previous band Mangle and Gruff. Years of experience writing and performing together have melded them into a tight unit who excel as a musical force to be reckoned with.

Northern Tripping Whammy Backroom Auckland poster

Whammy Backroom, Auckland

w/ Thousand Limbs and Empress

Cormac had created an itinerary with times, destinations, stops, addresses etc… We had a lot of driving ahead so it made sense to have all this planned. I did find it funny that Cormac had included “drop kids at school”.

Cormac has a Toyota Voxy, a big van that fit the five of us, our music equipment and our personal gear. It’s been named “The Mothership”, and is spacious and smooth to drive.

Van life

L-R: Me (Joseph), Will (guitar), Jed (bass), Cormac (vocals, guitar), Dave (drums)

We created a driving playlist to listen to. The rule was that no band could be repeated, although there were work arounds eg Ozzy Osbourne featured both solo and in Black Sabbath. The playlist is called “Tanks and Rainbows”, named after things we saw whilst driving Desert Road. It’s a pretty wild mix, but it was a lot of fun to listen to during our many hours on the road.

The drive to Auckland went well. We stopped at Taihape for the obligatory photo in front of the gumboot. Tokoroa had impressive looking wharepaku, underneath a taniwha-looking cover.

Auckland traffic sucked, which is to be expected. But we got to the venue around the time we had planned for. Parking also proved difficult, but isn’t that an intrinsic part of any Auckland experience? I asked an Auckland based friend for kai recommendations close to the venue. He suggested Sneaky Snacky, directly across the road. I ordered a fried chicken burger with a donut for a burger bun, and fries with MSG. My arteries weren’t happy about it, but my mouth was in heaven.

Sneaky Snacky

A heart attack in food form. A delicious one, at that

Whammy Backroom was an interesting space. Three venues: Whammy, Whammy Backroom and The Wine Cellar all come off St Kevin’s Arcade in the Auckland CBD. They’re fairly small spaces, all connected and run by the same people. Paddy the sound tech told me that sometimes there will be a mini festival event, with three stages running concurrently, and attendees able to move between them.

One of the disadvantages of the three venues being so closely connected is that lots of people got confused and went to the wrong venue. One of my friends accidentally went to the other Whammy, and the guy on the door was difficult to deal with when we explained the mistake, and refused to refund her until I really put the pressure on.

Empress at Whammy Backroom

Empress

Empress opened the night, a duo from Kirikiriroa. The two of them have played together for a long time, previously in a trio named Cheshire Grimm. Lora the vocalist used looping pedals with her guitar to build the sound up while Craig maintained the beat on drums. My favourite song’s lyrics were quotes of things people had written on community Facebook pages, which I found very funny. It reminded me of Housewitches.

Post-metal Thousand Limbs took the stage next, a post-metal quartet. Two of the guys are highschool music teachers, and some of their students were playing next door at Whammy, with a handful of their other students also attending our gig. This is super wholesome and indicates that they must be awesome teachers. Thousand Limbs were great, and they reminded me of some of the acts I’d seen at dunk!USA in Vermont.

Thousand Limbs at Whammy Backroom

Thousand Limbs

Anyone who knows Planet Hunter will know that Cormac always comes up with crazy visuals. He’d specially made a new mask for this tour, which featured the face from a CPR dummy. He looked glorious onstage, with a silvery flowing poncho, and elongated head with the creepy dummy face. It was hilarious to see him twerking to the music in this get up, but I tell you what, it adds a certain je n’est ce quoi to the performance.

Planet Hunter at Whammy Backroom

Planet Hunter Whammy Backroom

We had been told not to start the gig before 10pm, we think possibly so it wouldn’t disrupt the gigs at the two connected venues? So it went late. Planet Hunter started at 11.45pm. We were spent by the end of it, but the set was great. We stayed with Cormac’s dad on the North Shore.

Kaitaia MetalFest 3

Kaitaia Metal Fest 3

w, Teraset, FNA, The Shard

We got up early for the drive to Kaitaia. We knew the far north had been hit hard by cyclones earlier in the year, and weren’t sure what to expect about the roads. I don’t know those roads, but to be honest, other than a small detour and lots of potholes, the drive was pleasant and easy.

Will told me that this animal is a zebra.

On the way up we stopped at an exciting South African shop that had animal sculptures and biltong. But the most exciting stop was Kawakawa. It has the famous Hundertwasser toilets (visually appealing, but very smelly), a train going through the middle of town, and a painting of a cat anus on a public bench. All three of these things made me very happy.

Kawakawa, home of the famous Hundertwasser Toilets

Kawakawa, home of the famous Hundertwasser Toilets (near this location)

cat butt

Arriving in Kaitaia, we had to take the obligatory photo in front of the Kaitaia Metal Fest 3 billboard. Frankie the promoter came out to great us and gave us a wee care package that included Kaitaia Fire hot sauce, honey, and a voucher for a breakfast at a bakery the following morning.

Kaitaia MetalFest3 Billboard

The Kaitaia MetalFest3 Billboard. L-R: Jed (bass), Will (guitar), Dave (drums), Cormac (vocals and guitar), me (Joseph)

Collards Sports Bar was a cool space. There was a small stage in the corner, and it was suitably sized for the audience we were anticipating, along with a covered outdoors smoking area. After soundcheck we dropped our things at our accommodation and had a rest. It’s weird that after having sat in the van all day, it felt so good to just sit down on the couch.

The Shard Kaitaia MetalFest3

The Shard

Arriving back at the venue, we were pleased to see a great turn out. Ticket sales weren’t a great gauge of how many people to anticipate, lots of people just rocked up on the night. A few people had mentioned to me that the Northland music scene was monopolised by reggae, but it was a solid turnout and clear that many metalheads resided in the area.

The Shard started the night off with a bunch of metal and rock covers. It was a short but fun set. I was particularly impressed with how well the Rob the vocalist nailed his impressions of the singers of each band that they covered.

FNA at Kaitaia MetalFest

FNA

FNA stands for Far North Automotive. Again, the vocalist proved to be the stand out member of the band. I’ve been teaching myself to sing while I drum in recent years, but my skills are nothing compared to what we saw from Grant the drummer during the FNA set. I was in awe of his abilities, holding down the beat as he belted out the vocals. They roped in a mate for guest vocals during a cover of Rage Against the Machine’s “Killing in the Name of”, which was extremely well received, as you’d imagine.

Teraset at Kaitaia MetalFest3

Teraset

Teraset were a last minute addition, stepping up to fill in for Teeth and Nails, who had to pull out. You may recognise drummer Will Stairmand, who hosts The Distorted Transmission. They were easily the heaviest band of the night, and the dancing was replaced by more headbanging.

And Planet Hunter finished off the night. I loved seeing the looks of surprise on everyone’s faces when Planet Hunter started. Their sound is impressive enough – Grant from FNA could not get enough of our Dave’s drumming- but Cormac’s crazy outfit was enough to make people do a double take as well. Cormac does lots of squatting and big movements as has dances to his music, and I got a real kick out of seeing the entire front row reflect his movements, almost like an aerobics class.

All in all it was a fantastic night. Good turn out, and everyone had loads of fun. Props to Frankie for doing such a stellar job of organising and promoting the event, and hopefully Kaitaia MetalFest 4 is ever bigger and better!

Planet Hunter Kaitaia MetalFest3

Planet Hunter at Kaitaia MetalFest3

Sunday

Sunday. Time for the biiiiig drive home. We’d been up pretty late but the partying hadn’t affected anyone too much, and we were still buzzing from the successful night before. We stopped into Coast to Coast Bakery and grabbed some pies for breakfast – Frankie had generously arranged for a voucher – before hitting the road. Thankfully the roads were still passable and we missed the crazy weather that hit not long after we left. I don’t have too much to report on the drive. It was a long way to go and we tried to minimise stops. I did insist that we stop at Matakana in Kerikeri for the guys to buy treats for their better halves. You know how it is: happy wife, happy life. This hopefully ensured that we have ongoing permission to do of these weekends away in the future. We enjoyed adding songs to our Tanks and Rainbows playlist, talking rubbish, taking in the scenery and throwing metal salutes to every herd of cows that we passed.

Planet Hunter are playing Moon1 in Wellington on Saturday 20th May

 

UPDATE: Some of Joseph’s photos were used in this NZ Herald article, which gave good coverage of Kaitaia Metal Fest 3: https://www.nzherald.co.nz/northland-age/news/heavy-metal-alive-and-well-in-the-far-north/3RPKET23JJHGDDTUSHEZKLYKH4/?fbclid=IwAR2-Nou-e-NSxb4-RRsWhtdBeuRU5S4b1elN7ePruCuHRrzJjyVWBOdzObw

Planet Hunter Northern Tripping Tour 2023

Planet Hunter Northern Tripping Poster
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Wellington’s greatest live rock band is taking their show round the North Island this May, with their Northern Tripping Tour. Having released their incredible album Moscovium in September, they’re finally taking it around the North Island and treating music fans with their unmissable shows.

Come check out their hypnotic grooves, infectious riffs, and witness their out-of-this-world sci-fi stage presence!

Planet Hunter Northern Tripping Poster

Whammy Backroom, Auckland

Friday 5th May

with Empress and Thousand Limbs

Tickets: https://www.undertheradar.co.nz/gig/83447/Northern-Tripping.utr

Kaitaia MetalFest 3

Kaitaia MetalFest 3

Saturday 6th May

Also featuring:

Teraset
F.N.A
The Shard

Tickets: https://www.eventfinda.co.nz/2023/kaitaia-metalfest-3/kaitaia

Northern Tripping Moon Wellington

Moon, Wellington

Saturday 20th May

with BXRT and Mana Mushroom

Tickets: https://www.undertheradar.co.nz/gig/83472/Northern-Tripping.utr

Planet Hunter’s website: https://planethunter.band/

Live Review: Frank Turner at Meow, Wellington

Frank Turner Meow
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Frank Turner (show 2745)

w/ DEE
Meow, Wellington
Monday 27 March 2023

This was an unexpected gig. Counting Crows announced a tour late last year. They’re a band that I’m neutral on. I don’t mind them, but wouldn’t choose to listen to them either. But when Frank Turner was announced as the support act I decided I was going immediately. Part of me winced as I dropped $150 on a ticket so I could see someone play a 30 minute support slot, but hey, money comes and goes, my love for Frank Turner is forever.

So imagine my delight today when I hear that Counting Crows have cancelled their show at Michael Fowler Centre, but Frank Turner has arranged a consolation gig at Meow. My condolences to Counting Crows fans, but that wasn’t the band I wanted to see. And this Meow show was free! I would have happily paid, but I won’t complain. This way I got to see a full Frank set!

I made sure to arrive at Meow early, wanting to avoid the risk of missing out if the venue hit capacity. When I got there around 6.30pm, there was already a queue snaking down the alleyway. We were let inside at 7pm and the venue was close to full at that point.

DEE opened the night with sweet, shimmering folky music. She was glowing under the blue light, with a sparkly sheer shirt and glittery make up. Her music was pretty sleepy, but her voice was stunning and carried plenty of personality. She was clearly chuffed that she’d been called in to open last-minute, but if she was nervous it didn’t show.

Frank Turner came onstage to rapturous applause. I think it’s fair to say that many people were like myself, and actually glad about the turn of events that led to this. Nothing against Counting Crows, but this sure beats only getting a short 30 minute opening set.

Always one to please his loyal fanbase, he touched on eight of his nine albums out to date, as well as playing the title track to his forthcoming album, Undefeated, and an obligatory Counting Crows cover, which made perfect sense. He shared how he grew up on metal and punk music, but learnt to play every song on his sister’s Counting Crows record because the guitar playing was easier to learn than Megadeth solos. 

This is the second time I’ve seen Frank play solo. There were times that it seemed as if something was missing – obviously the music sounds better fully fleshed out by a band. But Frank had us help out, humming lines that would usually feature guitar solos, or clapping where a strong drum beat was needed.

He’s clearly a master at what he does. I guess you can’t help but attain excellence after playing 2744 shows. He knew how to play dynamically, where to invite crowd participation, and had great banter.

I’m always surprised by how much of Frank’s music is shouted – as opposed to sung – in a live context. But this is perfect for a fired up crowd wanting to join in. I’ve listened to these songs hundreds of times and I made sure to belt out the words along with everyone else. The energy was contagious. 

I think one of the things I find most appealing about Frank’s music is that he can articulate feelings that I find incredibly relatable. I remember last time I saw him, he started his set with “Don’t Worry”. And as corny as it sounds, it felt like all the stress I’d been carrying just melted away. I love the fired up songs about the power of punk rock, about rejecting Nazis, about but I also love the sincerity of some of his more vulnerable moments. Tonight, “Get Better” and “Haven’t Been Doing So Well” struck a chord. Frank doesn’t know me at all, but I felt seen, and somehow supported, knowing that I’m not always alone in how I feel. It’s powerful.

And as soppy as it sounds, I think it is because Frank genuinely cares. He’d spent the day working on his pronunciation so that he could say “Aotearoa”. He played the song “Miranda” at special request from a 6 year old fan in attendance. And also mentioned how this song was topical, in light of the recent protests around Nazi anti-feminist figure Posie Parker visiting New Zealand to spread a message of hate.

And he put on this free show for us tonight.

Because he cares about his fans.

I came out of that show feeling revived. I was energised and refreshed and willing to take on the world. Now who’d have thought that after all, something as simple as rock ‘n’ roll would save us all?

 

Joseph James

Live Review: The D4 at San Fran, Wellington

The D4 tour poster
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The D4

w/ Dartz
San Fran, Wellington
Saturday 4 March 2023

It’s awesome to see the rise of Wellington punks Dartz. They’re fast gaining momentum as a band to be reckoned with, especially with the recent release of their debut album, The Band from Wellington, New Zealand.

They are fast witted and forthcoming with the banter, and their songs are relatable, capturing a slice of NZ life. Drinking beers, driving crap cars, living in substandard housing, struggling with the cost of living… These are things that almost everyone in our country has experienced. Somehow they ride the line between being both silly and fun, and authentic.

I especially enjoyed their cover of Deja Voodoo’s “Beers”, which proved fitting within their repertoire. “Dominion Road (Dumpling House)”, a reworking of The Mutton Birds song, also proved endearingly nostalgic, with a breath of fresh life breathed into it.

Dartz San Fran Dartz San FranDartz San Fran Dartz San Fran  Dartz San Fran Dartz San Fran Dartz San Fran


The press release for this tour details how The D4 created a world of recklessness and high octane energy, touring the world relentlessly with incredible rock and roll bands. Their big album 6Twenty came out in 2002, so they’ve re-released it as 6Twenty One and given it the vinyl treatment for the twenty-first anniversary, along with this tour.

My first exposure to The D4 was the song “Sake Bomb”, on a CD sampler. I know that I’m showing my age here, but I didn’t have a have clue what Sake Bomb actually was. I thought it may have something to do with warfare. My exposure to alcohol at that stage was limited to the scrumpy, Speights and awful RTDs that we drank at highschool parties. It certainly didn’t extend to Japanese spirits.

I guess that I’m just slightly too young to have known The D4 when they were big. I do remember Jimmy Christmas’ next band Lugar Boa having a strong presence on The Rock radio station and at many gigs during my later teenage years.

I have actually seen them play before, at this same venue in 2018 with The Datsuns. But in all honesty, the only memories I have of that night are reduced to remembering that it was extremely hot, and of being concerned for my friend Conor, who got knocked out during The Datsuns’ set.

Well it’s a shame, but nothing felt especially knockout about tonight’s set. The musicians were all clearly weathered players, but it lacked that feeling of danger or excitement that I’d want from a band who writes so many songs about partying and drinking. They have a history of sharing the stage with Guitar Wolf – one of the most exciting rock bands I can think of. But this just felt pedestrian.

Dion Palmer appeared to put the most into the performance, with a bit more movement and plenty of guitar solos. He really should have been centrestage. “Out of my Head” had a bit more oomph, and the aforementioned “Sake Bomb” was fun – possibly because it was a lot faster and more energetic than many of the other songs.

They finished up with the encore of “Exit to the City”, “Feel Like It” and “Invader Ace”.

All in all it was fine, but lacking the energy that I expected from a band of their reputation. Many bands do anniversary tours these days. One punter was wearing a tour t-shirt from when Shihad played Killjoy and The General Electric albums in full. I remember those being killer gigs. In recent years I’ve seen David Dallas play The Rose Tint, and Jakob play Solace. Both were incredible nights. But sometimes these anniversary tours just feel like stale cash grabs and tarnish treasured memories about music that used to feel vital.

The D4 San Fran Wellington The D4 San Fran Wellington The D4 San Fran Wellington The D4 San Fran Wellington The D4 San Fran Wellington The D4 San Fran Wellington The D4 San Fran Wellington

Words and photos by Joseph James

Album Review: Winter Dust – Unisono

Winter Dust UNISONO album art
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I first discovered Winter Dust through the first A Thousand Arms compilation, Open Language. I was instantly hooked. The song was called “There”, from the Thresholds EP – one of the best EPs I can name from any genre of music. It was emotive, passionate, raw, compelling. It just sucked me in completely.

Their next release, Sense By Erosionwas just as incredible, channeling more of that intense emotion into truly incredible music. In my review I wrote: “By taking the beauty of post-rock, the intensity of hardcore and the emotional aspects of emo, Winter Dust have fused their own sound that ticks all the right boxes for me.

That was in 2018. The “before times”, if you will. Things have changed a lot since then.

Winter Dust faced some tragedies. In December 2019 they were involved in a car crash, totaling their van and destroying a lot of their instruments and musical equipment. And then in 2020 the world came to a standstill, with Italy hit especially hard.

I was planning to return to Europe in 2020 with my American brothers in Ranges, and we were to tour and play at dunk!Festival. I was really excited for that trip, and was planning to visit Italy for the first time to meet the members of Winter Dust, and possibly even see them play live. I’m online friends with a some of the members of the band. I remember them painting a scene that I interpreted with absolute terror, discussing how the pandemic was ripping through Italy at a pace that the medical professionals couldn’t defend against. Maybe I’m wrong, but I think I recall someone discussing mass graves. I do recall the sense of shock and disbelief. It was gut wrenching. The world was coming to an end.

In March 2020 Winter Dust made a post on their band page: “Here in Italy shows are banned, and so will be everywhere, soon.” And sure enough, their damning prophecy came true.

I felt so isolated, living on a small island nation, stranded in the Pacific. Just a few months earlier I was so full of hope – so excited – with plans to see the world and go traveling and meet up with foreign friends. And in a short space of time that was taken from me. It’s not fair to compare – and New Zealand had a lot better experience of the pandemic than most – but I found it extremely difficult to process. I grieved the loss of live music, and struggled with the feeling of complete helplessness over what was happening throughout the world.

A lot of what I just discussed hasn’t got much to do with the songs that Winter Dust write. But it provides context for what I’m reliving as I listen to this new album. The music is so emotionally potent already, and now brings up strong personally feelings and memories.

I’ve just scrolled back through the Winter Dust Facebook feed and found two posts from that time. I remember the feeling of dread and uncertainty, but looking back with hindsight on my side, I commend how they worded those posts. They were pragmatic, sending a message that yes, times are hard. But they also shared a message of hope: that we will get through this. Here is a post not long after their car crash, and here is a post about the looming pandemic. They were so strong in the face of all they were going through, and I’m so glad that they survived. And I’m grateful for this new album: Unisono.

Something to differentiate Unisono from Winter Dust’s previous works is that it features Italian singing. Which is awesome. Why wouldn’t a band from Italy sing in Italian? In a recent interview with DafenProject, Marco Vezzaro (vocals and guitar) explained that he could only express the things he needed to convey on this record accurately in his native tongue.

I don’t understand Italian and I feel that to put the lyrics through an online translator would somehow tarnish the music or cheapen the experience. But I don’t see this as a barrier. The music is still beautiful, the singing compelling. I don’t understand the words, but I can hear the emotion.

The magnificent guitar tone that opens “Castelli de Sabbia” is one of my favourite moments of the record. I don’t play guitar so won’t be able to do it justice with any description, but it’s so full sounding, especially when coupled with Vezzaro’s throaty vocals. It’s so central to what I love about Winter Dust’s sound, so familiar. Almost homely, in a weird way.

My two favourite tracks on Unisono involve guest appearances by fellow Italian duo Six Impossible Things. “Buio Presto” features such sweet singing courtesy of SIT singer Nicole Fodritto, with the music slowly elevating the mood, especially with snare-heavy drumming. And then BOOM, the guitar comes in and everything steps up a notch, with Vezzaro’s impassioned hardcore vocals bringing a touch of anger.

And lead single “Due Novembre” launches straight into it, with the band coming in full force, while Fodritto and Vezzaro harmonise. It a wonderful blending of textures. I love how they bring the song down to a simmer, Fodritto easing us out as the galloping drums cease and the other music trails off.

Some of these songs are shorter than I would have expected, and could use a bit more fleshing out, with more instrumental breaks for breathing room. I guess I’m used to the post-rock passages that take the time to unpack and explore musical ideas. These elements are still present, but Unisono leans more on the hardcore aspect of Winter Dust’s sound, being more direct, aggressive and concise.

There are many layers within the music, but I wouldn’t call it dense. It feels well balanced. Twinkling piano sits beside the distorted guitar. Overdriven intense passages are spaced out with reverberating breathing moments. There are six musicians in the band, plus the guest appearances from two members of Six Impossible Things. And together they pool their expertise to span the spectrum of music and the feelings that it can convey.

The last record, Sense by Erosion, featured a single called “Duration of Gloom“. I know it’s not the correct lyric, but I always hear the opening line as “Setting fire to the sun!”. That doesn’t even make sense, but the vocal delivery is so visceral. I picture Vezzaro delivering his searing call to arms as he cries out to the universe, shouting out to any who will listen. This is often what comes to mind as I listen to Winter Dust’s music. The impassioned vocals of someone crying out to the void, with brilliant music that carries just as much power and emotion to match.

And this is what has always struck a chord with me about Winter Dust. And it remains true with this latest album as well. We hear pain and anguish and frustration. But we also hear tenderness and beauty within the melodies. Unisono, is cathartic, to say the least.

I’m passionate about music. I wouldn’t have gone to the efforts of creating this website if I wasn’t. I’m a busy guy, but take time to write about music that inspires me; that I believe more people should hear about. And of the many bands I’ve written about over the years, I think Winter Dust is one of the bands most worthy of more attention.

Listen to Unisono. It’s an absolute triumph. And listen to Winter Dust’s older material too. Buy their records and a t-shirt. They are truly one of the best bands out there and they deserve all the support they can get.

Winter Dust

Winter Dust are Marco Belloni (keys, piano, programming), Giulia De Paoli (grand piano, keys), Fabio Gallato (guitar), Marco Macchini (drums), Marco Lezzerini (bass), Marco Vezzaro (vocals, guitar, looping).

They’re based between Padua (IT) and London (UK).

Winter Dust links:

Facebook: https://www.facebook.com/winterdust

Bandcamp: https://winter-dust.bandcamp.com/

Instagram: https://www.instagram.com/winterdustmusic/

YouTube: https://www.youtube.com/@winterdust

Twitter: https://twitter.com/winterdustmusic

 

Keep an eye on Voice of the Unheard Records for potential physical releases.

 

Joseph James