Listener are a polarising band. Intensely poetic – with strong focus on vocal delivery – they either draw you in with their rich lyrically constructed worlds, or push you away with the non-conventional vocals. Maybe you’re already familiar with Listener. If you like other acts like La Dispute and mewithoutyou you should really check them out.
Half the fun is interpreting the lyrics. Both descriptive and cryptic, they can rip your heart apart or restore your faith in humanity. It all revolves around frontman Dan Smith’s impassioned delivery. His voice cracks with intensity. You can picture him on the cusp of collapsing into a teary mess. But he also has the ability to tenderly pick you up and tell direct truths that demonstrate beauty and hope.
Being Empty : Being Filled is Listener’s fourth record, a concept album that explores the lives of notable inventors. The songs were released over an eight month period across a series of 7 inch vinyl EPs and Youtube videos.
Listener delve into the lives of the inventors. Who are these people who the songs centre around? Maybe we know what they are famous for, but do we know about the lives that they lived? It is a fascinating concept. I wouldn’t even say Listener necessarily chose inventors that they look up to and admire. But no matter how useful the invention (ranging from cryogenics to denim jeans), each inventor still has a story.
The figures in focus range from groundbreaking scientists like Robert Oppenheimer (The Father of the Atom Bomb) and Nikola Tesla; to others who may seem mediocre by comparison, but are no less essential (such as Levi Strauss, and Moms and Dads). Good to see that they included some female inventors in their selection too (Stephanie Kwolek – known for kevlar, and Marie Curie – who studied radioactivity).
Dan Smith’s solo Still Life EP (2015) – the last Listener-affiliated release – was a stripped back affair. By comparison, Being Empty : Being Filled is a full sounding rock record. I was actually shocked by the opening chords of the album. It sounds surprisingly full, considering how in the past the music has taken a backseat to allow the vocals a chance to shine.
Smith’s vocals don’t take up so much of the spotlight this time, but he is still compelling. Energy, emotion and dynamic delivery are three critical factors that help us relate to music, and Smith offers it all in spades. He bellows cryptic lines with accusatory tones, maybe not in condemnation, but with enough passion to invite interest. Take this lyric, for example: “October is my favorite color”. What does that mean?
The brilliant music help to add gravitas to these stories of struggle and success. Victorious trumpets support Levi Strauss’ triumphant work ethic. Sparse, lingering notes recount the forlorn tale of Rudolph Diesel, who managed to create his engine, but separated himself from his loved ones in the process. In “Plague Doctor” screeching feedback and frenzied distortion transforms into electrifying, foreboding doom.
Layers of emotion and intensity overlap as the music syncs with the stories. I wouldn’t even say that the tone of the music matches the tone of the stories. I would attach feelings of hope and wonder with conceiving and raising a child, but dense, distorted chugging creates a sense of desperation in ” Little Folded Fingers”. And during “Manhattan Projects”, when we hear Robert Oppenheimer’s immortal line (“I am become death, the destroyer of worlds”) the melody is light and wondrous – followed soon by guitar chugging that mimics dropping bombs – but then offset by a lovely trumpet tune. But my interpretation of themes are subjective, and whether the messages and musical moods marry or not, they both offer engaging and compelling listening.
Being Empty : Being Filled is vastly different from Listener’s previous output because it feels more fleshed out. The music is intense and dynamic enough to match the vocals. Enough riffs to rock out to, enough intrigue to pique interest, enough poetic lyrics to keep you thinking, and enough pathos to make the album feel like an experience. I’ll award bonus points for exploring such a compelling concept as well. This album has motivated me to research some of the figures who Listener pay homage to with these songs.
Admittedly, I was already a Listener fan before this record came out, but I find it a vast improvement upon their previous output. Give it a listen. Even if you don’t like it, I’m sure you can admire the originality and creativity injected into it.
I became friends with the guys in Tides of Man when on tour with Ranges last October. The two bands shared three dates on tour, as well as both playing the inaugural dunk!USA festival in Vermont. The day that I really got to know the guys in Tides was in Clifton, NJ. We got to the venue with plenty of time to spare, so after loading our gear into the venue we went on an adventure, exploring some nearby drains nicknamed “Gates of Hell”. Nothing like a shared adventure to help form a friendship!
That night I got locked backstage while the band played. It was during that set that I realised just how good the band was. I was already a Tides of Man fan based off their album Young and Courageous, but being able to watch them play that night, and the few nights that followed, added to my appreciation of the band.
I’ve been eagerly awaiting this new album since then. I was lucky enough to hear some of the new tracks played live in America, and again at dunk!festival in Belgium this May, so I knew that the record was going to be great.
Technically, this record is excellent. Most of the guys moonlight as sessions musicians, so are clearly adept at their craft and know their way around a studio. Not to mention that they have already released three other albums with which they could refine their sound and gel as a group.
I’ve listened to Every Nothing on heavy rotation for a month now. It’s an album that ages with time. With Every Nothing they’re trying new sounds, new textures, new feelings. And it’s stunning.
Most people’s first introduction to the album will be through the track “Static Hymn”, seeing as it is both the first single, and first track on the album. It warmly beckons us in, enveloping us with swirling haze. There’s a lot going on without it sounding overly busy. At 2.40 the music launches into blast beats and drill picking, melding a new hybrid of sounds that I’m going to nickname hope thrash – both intense and inviting.
Exploring sonic textural possibilities has paid off, because Every Nothing sounds so warm! They paint moody atmosphere with every masterful stroke. I can’t wait to get a copy on vinyl to hear it in its full glory.
It must be mentioned that Alan Jaye is a brilliant bass player. He dials his tones in – from the in-you-face intro of “Everything Is Fine, Everyone Is Happy”, to the spacey feel of “Outside Ourselves”. The solo bass during the drop out of “Waxwing” hits the spot so well.
His rhythmic counterpart Josh Gould matches him with talent and diversity, with plenty of interesting moments like the distant percussion outro in “Mercury Fields”, the open/close hi-hat playing in “Mosaic”. One hang up I have is that Josh’s drum tones could cut through more at times when his bright washy cymbals dominate the mix. I can’t fault his playing, I would just like to hear it more clearly in certain sections.
Possibly the best example of this Josh’s playing can be found in “Outside Ourselves”. Saturated with feeling, and offering sweet melodies, it is one the leviathan tracks on the album. Josh shows off his chops with prog drumming, playing around the beat with subtle finesse.
“New Futures” is one of the standout tracks, boasting powerful drumming and defined guitar playing. I dig this articulate sound, picking up Lost In The Riots kind of vibes. Josh brings us in on drums, with crisp rapping on the rims and alternate sticking on the hi-hats. The guitars come in looped layers of delay.
I hear a new side of the band in piano ballad “Far Off”. Solemn, ghostly and ambient, it’s a song with strong gravitas. And, going off on a wild tangent: what do we hear in the background at 1.19 mark? A child shouting something?
The This Will Destroy You influences are noticeable in “Death Is No Dread Enemy”. It’s hard to tell how much is digital or analogue within the mix, but there are certainly elements that sound electronic/triggered and offer fresh new textures and timbre. A brooding, searing piece that fluctuates between introspective and intense.
There are many brilliant moments to be found throughout Every Nothing. There are too many to list, but some of my favourite moments include during “Old 88″, when the sadness and longing explodes into something raw and defiant; The outro of “Keep Telling Yourself” with plucking sounds that mimic a lullaby music box; And the piece in “Waxwing” that transitions from harmonic riffing, to a bass solo, to everyone coming back in full force after the drop-out.
Strong emotions arise when I think of Tide of Man’s music. Being overwhelmed with joy when dancing along to “We Were Only Dreaming” every time I’ve seen them play it; Having raucous, carefree laughter as we drunkenly ‘sang’ the lead melody of “Young and Courageous” to some uninducted French Canadians in the back of a van after dunk!festival; Experiencing bittersweet sadness as Joey put on Young And Courageous in the tour van as we drove through New York state the day that our bands parted ways.
Every Nothing replicates these feelings, spanning the emotional spectrum as the band explores both the meaningfulness and monotony of life. Tender, mournful moments sit alongside intense elated explosions.
It’s a grower of an album, for sure. Bound to blow you away at first, but also rewarding you with new discovered intricacies upon repeated listens. There’s an undeniable homeliness to the record, being so warm, comforting and familiar. But even though it is settling, it also tugs you along on an epic adventure filled with exhilarating danger.
It was obvious from the first single that Jon Toogood’s new The Adults album possessed something different. The African influence and feminist leanings made the video look like it’d been lifted directly from the recent Black Panther movie. “Bloodlines” is a banger of a track, with raw primal energy, incredible percussion, powerful themes and a hip-hop direction. One listen and Toogood had my attention. I needed to hear the rest of the album!
Toogood released the début eponymous album by The Adults back in 2011. A collaborative project that involved inviting some of NZ’s première musicians to help write and record songs that didn’t fit the Shihad mould. Seven years later, Haja is a follow-up that loosely follows the same set up, but with far different results.
The story behind Haja is neat. When Toogood married his wife in Sudan he became enraptured with the traditional music played at the ceremony: Aghani-Al-Banat – which roughly translates as “girl’s music”. He asked the band to play with him for the new record, and then asked NZ musicians he admired to add their touches.
Now this isn’t exactly low-fi quality, but many of the tracks originate from phone recordings. Not that you’d know. They sound great, brimming with liveliness. Kudos to sound engineer Devin Abrams for creating something so good from what he had.
Opening track “Boomtown” lets us know from the first bar that we’re in for some fun, with pulsating bass, a beat you need to move to, and infectious African background vocals. Chelsea Jade’s cooed singing and hooks contrasts against Raiza Biza’s rapped verse, and both artists add authenticity to the track, having been born in African nations and immigrated to New Zealand. “Boomtown” is a strong, vibrant start to the album.
Title track “Haja” – an Arabic title of respect that means older/experienced woman – blends music from various cultures beautifully. The traditional Sudanise Aghani-Al-Banat music of vibrant drumming and chanting carried by bass lines. Two thirds into the track guitar comes to the forefront, which adds a light boogie feel to an already dance-able song [it reminds me a lot of “Plot A Course” by Barouche].
It wouldn’t be fair to say that “Take It On The Chin” drags, but within the context of the album it certainly lacks the energy of many of the other tracks. That said, it can’t be faulted when judged on its own merits. A lazy bass line, smooth flow courtesy of Kings, and some catchy hooks come together to culminate in a chilled yet triumphant track.
Likewise, “Because of You” is fine, but feels flat stacked against most of the other tracks. The vibrant Aghani-Al-Banat beats that provide a basis for most of the album colour those tracks so brightly that the songs without African drumming struggle to stand out. Toogood’s bass playing is a strongpoint throughout the album, and really carries this track, along with shimmery pads and synthetic sounding metronome that provide momentum.
“That Gold” feels like a throwback to the original The Adults album, with a Police-esque beat and bassline. Raiza Biza makes a second appearance; and Aaradhna’s soulful singing, Biza’s rapping, and Sudanese chanting overlap beautifully to offer complex vocal layers.
Album closer “Gisma” (the name of the leader of the Aghani-Al-Banat band) ventures into The Cure territory, with some introspective lyrics sung as a love letter from Toogood to his wife. It’s a tender side of Toogood that we don’t often see with his main band. I’m reminded of Shihad deep cut, “Lightbulb” from the Beautiful Machine bonus disc, or the acoustic Pacifier sessions they recorded at Radio New Zealand’s Helen Young Studios.
Shihad are one of my favourite bands, and by extension Toogood is one of my favourite singers. So I find it interesting that he has put out a record that you hardly hear him sing on. You could question why a New Zealand male is writing Sudanese music for girls [loosely paraphrased], or why a rocker is making a hip-hop album. But it works. It’s a great record. Maybe it’s wrong to consider it a Toogood record – because he’s not the star, but more the string that ties all these estranged influences together. Of course, this could explain why he chose to put this release out as The Adults, and not under his own name.
Haja is a short yet powerful record, carefully cultivated and packed with infectious energy. I can’t say I expected African feminist hip-hop from the singer of one of my fave hard-rock bands, but here you have it. Give it a listen and let the rhythms sweep you away.
I befriended Florida-based Tides of Man last year when they played a handful of shows with the band Ranges, who I was on tour with. We fast became friends, and hearing them play unreleased songs every night raised my expectations of upcoming album, Every Nothing.
They called me by my nickname of Baggins – a New Zealand/ Lord of the Rings reference that Ranges started – and we shared some great times on the road. It was a ridiculously fun week involving lots of beer, Taco Bell, sleeping in tour vans and listening to great music. I was fortunate enough to see them again half a year later, when they played dunk!festival in Belgium this May.
Their last album, Young and Courageous, stands as one of my favourites. And Every Nothing follows suit as a well-crafted, emotionally charged masterpiece.
I interviewed guitarist Spencer Gill to find out what Tides of Man have been up to in recent years, and to learn a bit more about the new record coming out.
Spencer at dunk!festival 2018
Joseph James (Baggins) – Will Not Fade: First up, congrats on the new album. I know you’ve put a lot of time into Every Nothing, so it must feel good to see all that effort coming to fruition.
Let’s go back a bit to start with. Tides of Man started off as an entirely different sounding project. To me, your earlier albums sound like Coheed & Cambria. Then Tilian (vocals) left, and after failing to choose on a new singer, you decided to continue without one. How did your old fans react to Young and Courageous being an instrumental album?
Spencer Gill – Tides of Man: Our old fans were very open to our new sound. We had overwhelming support on our crowdfunding campaign from our existing fanbase and a lot of people were very happy with the transition. Of course there were people who didn’t appreciate the transition, but that’s completely natural in any big change I think.
How does writing instrumental music compare to writing music that features lyrics?
It’s definitely different. You can’t rely on a Verse/Chorus structure, and you have a lot more space to fill than if there were vocals there. I think each part has to be chosen carefully and you have to keep the melody interesting. The feel of a build, or the tone of an individual instrument suddenly becomes very important when it’s not sitting back in the mix underneath vocals.
Does your music have a message? What inspires the songwriting process?
We like to be subtle with our message. We feel that music (especially instrumental) has a lot to do with the listener’s personal connection to it. We definitely have a certain theme in mind for each album, but we like to leave a little interpretation there for the listener.
Inspiration for us comes from so many different things. Dan could be listening to a new record and really like the tone of some guitar and then we kind of pull from that and write a whole new song. We could be jamming in the practice space, and all of the sudden Alan and Josh just lock into some cool groove out of nowhere. A lot of our songs start off like this, then we quickly record them and rework them until we are completely happy.
I know that a lot of people I’ve talked to discovered Tides of Man through Audiotree. Tell me about the experience of recording an Audiotree session.
That was full-on nerve racking. But the guys at Audiotree made it so smooth, and were very nice to us. They guided us through the whole thing.
We thought it turned out great, and the recording quality was unreal! We are super thankful to Audiotree for having us on there, and we have definitely noticed that as one of the top ways that people have discovered our new music.
It has been four years since you released your last record. Talk me through what you’ve been doing since then.
Writing, jamming, re-writing, scratching everything all together, fully second guessing all of our ability to write anything again, then re-writing again. In the end, we are finally happy with our new record and proud to put it out. We have put a lot of late nights into this album and we made it a point to never compromise if we didn’t like something. We kept working at it until we were happy.
Dan at dunk!festival 2018
This is your fourth studio album. How have things changed since you released your first EP ten years ago?
Ha! We are better musicians for sure. We know our way around a studio now, and can really focus on getting great tones and making the studio make the song even better. Before, we were scared of the metronome, and had no idea what we were doing as far as amp selection, drum selection, production, etc. But I think every band goes through that transition of getting familiar with the studio and then using it to their advantage.
Are emo fringes ever going to come back in fashion?
Did they ever go out of fashion? Is this because we used to rock that haircut?
Haha maybe…
You used crowd funding when recording Young and Courageous. Why didn’t you opt to do that again for Every Nothing?
The last crowd funding campaign was awesome, but we always intended to make the band support itself as a business. Putting out Young and Courageous on our own without a label allowed us to make that a reality. We wanted to make the band do Every Nothing on it’s own dime. It forced us to make decisions with our money and be responsible not only as musicians, but as a business.
Alan at dunk!festival 2018
On a related note, how does recording and releasing an album independently compare to when you were signed to Rise Records?
There’s a lot more work involved to be short. When you are on a label, you get booked in a studio and show up to record your album. They take care of marketing, packaging, design, distribution, etc. That’s all on us as an independent band.
We are involved in every aspect of the release of the record, right down to arguing about what exactly should be on the center label of the vinyl.
A Thousand Arms are awesome, and I love those guys so much, but is there an easier option for ordering the record for those of us who don’t live in America?
We are in the works of setting up European distribution of vinyl.
Every Nothing sounds a lot heavier than Young and Courageous. Was this a conscious decision you made when songwriting?
I think it was a natural progression that just sort of happened. The quiet parts are quieter, and the loud parts are louder. That’s how we felt at the time of writing these particular songs.
Tides Of Man setlist from their US tour last year
I notice that the song names written on your setlist from tour last year differ from the new album track names. Have you renamed them, or are there some b-sides in the works?
We have horrible working titles for our tracks, and we have them for so long that we tend to remember them as that title rather than the actual title on the record. A B-Side or two may be in the works, but no promises.
Joel Frieders discovered that on your last album, the track “Hold Still” starts like the Yo Gabba Gabba song by the same name. Have you hidden any Easter eggs like that on the new record?
Ha! That was an absolute coincidence. Someone told me the other day that it apparently has a train noise in a section of it too.
As far as we know, there are no similarities to any children’s tv shows in our music, but we would be happy to find out after the fact that we accidentally ripped off Barney.
Many of you work as studio musicians. Which has more pressure: playing for other musicians, or working on your own project?
Playing for other musicians is definitely a job in and of itself, and we always want to deliver exactly what each client wants, so there is pressure for sure.
But writing your own music has so much more. It’s hard to explain why, but it feels like you are laying your identity on the line with each note, and if you mess it up you’re done for.
I know that the artwork was one of last things that you sorted out for this album. Would you care to talk about the album cover and general art direction? I know that Dan does design, and Alan is a photographer, so the visuals must be important to you.
Design is definitely important to us. As an instrumental band, all we have to communicate the feel of the record is the design and song titles, so we spend a lot of time throwing ideas back and forth on the direction and how it fits the album. On this one we wanted something that showed mundane everyday existence against pure nothingness. The album is really about the interplay between our fixation on mundane, meaningless things and the bigger picture that we forget to look at.
I should also add that the video for “Static Hymn” is great.
Thanks! Stephen Mlinarcik brought that idea to life! He was awesome to work with.
Tides of Man is based in Tampa, Florida, but Josh lives in London, and last I heard, Alan lives in LA. How do you make it work with such big distances between you all?
Luckily we all enjoy traveling. We always have a home base in Tampa, and Josh and Alan never hesitate to fly in and stay for a while. We’ve never had a problem with the distance.
I’ve seen you play at dunk!festival in both the US and Belgium and you have Arctangent coming up. Does your approach change between playing festivals and standard shows?
We try to simply play our music well and feel it with the crowd. I don’t think that should be any different between festivals and standard shows.
You’ve played with some great bands during your career. I can imagine that the Karnivool tour would have been incredible. And you were all buzzing when I last saw you in Europe after playing with EF and aswekeepsearching. Which bands have you most enjoy playing with, and who do you still to aspire to share a stage with?
Karnivool was definitely a treat to watch every night. We also really enjoyed playing with Rare Futures (formerly Happy Body, Slow Brain). Of course, touring with Covet and Vasudeva was awesome! Those guys are super talented. Ranges was also awesome to tour with. There’s too many good times to pick and choose which tour we were most grateful for. We have made amazing friends from all over the world because we are able to go out and tour. It’s just been amazing from the get go.
In the future we’d love to tour with This Will Destroy You, Russian Circles, Mogwai, Circa Survive, Thrice, and many more.
Vinny Capitani playing with Tides of Man at dunk!USA festival 2017
We’ve all spent our fair share of time sleeping in vans. Do your wives/girlfriends get jealous that you sleep beside Vinny Capitani on tour?
They were absolutely jealous until he removed his beautiful locks. Now, not so much.
What are some of the most important lessons you’ve learnt about touring as a band?
If you don’t constantly try to improve as a band, and tackle something bigger you end up nagging at each other over stupid shit. We’ve learned this from personal experience. You always have to be pushing yourselves towards being better as a band, and you can never get stuck on the losses.
You’ve all eaten a lot of taco bell in your time, having been sponsored by Taco Bell through the Feed The Beat program. What are your top tips for making the most of the Taco Bell menu? I’m happy to hear vegan options too, seeing as a few of you are vegan.
Order anything grilled “extra crispy”
Add a lot of Fire Sauce
Get that creamy jalapeño sauce too
If you’re vegan, get on that Fresco menu. It’s great.
My favourite memory of the times spent with Tides of Man was when we went on an adventure in New Jersey, exploring the “Gates of Hell” during the time between load in and sound check. What are some other memorable adventures that you’ve been on as a band?
So many amazing memories as a band! Driving all night to see Moab, Utah at sunrise. A day off at Cedar Point Park back in 2010 when we rode coasters all day with the entire tour party. Sky Diving at sunset on the coast of California. No A/C in the van for 5 days in Texas. Holding up signs at shows to find a place to stay for the night. Seeing Europe and the UK for the first time. Taking shots of “Red Death” in Tours, France. These are just a few.
Every Nothing is due out in August. What upcoming plans do you have for the band?
We are playing Fete De Lion festival August 3rd, and then ArcTanGent festival August 18th, and we plan to do a Europe/UK run in-between the two. Later in the fall we will be doing a US run.
Thank you so much for taking the time to answer these questions. I’m enjoying the new record and I’m sure that you are excited to share it with the rest of the world shortly. Is there anything else that you would like to mention?
Yes, thank you Baggins. Only other thing to mention is that you can pre-order our album now over at A Thousand Arms website. Check it out.
Mythical Māori figure Tūmatauenga is known as the god of war, among other things. That should give you a fair idea of what to expect when considering that metal trio Alien Weaponry have named their debut album after him.
Tū commences with “Waikōrero”, a haunting welcome recorded in some Waipu caves. The air hisses and hums as a purerehua [Māori bullroarer – literally translates as moth/butterfly] spins around overhead, while koauau [traditional flute] pierces the atmosphere with shrillness. Henry de Jong recites a welcome in his native tongue. This is how you set the mood.
Which makes the hard-hitting aggressive nature of first song “Rū Ana Te Whenua” all the more powerful by comparison “Listen up!” they cry: hear our message! Cue savage riffs and frenetic blast beats as they chant about the forces of nature unleashing. Death is coming! They reference caves where the dead lie resting, possibly similar to the caves where they recorded the “Waikōrero”. All this mention of death and destruction works in well with the heavy nature of the music, especially considering the warrior-like cries that the band emulate. The boys derived inspiration for the track from the stories of their tupuna [ancestor], Te Ahoaho, who fought the British at a notable battle of Pukehinahina (Gate Pa) in 1864.
I should mention that most songs on this album are not sung in English. New Zealand has two official languages: Te Reo Māori, and NZ Sign Language. [Surprisingly English isn’t an “official” language of NZ, although may as well be considered so by default]. Obviously sign isn’t going to feature in audio music recordings. And Māori is criminally under-represented.
Which makes Alien Weaponry unique, even within New Zealand. Sure, we’ve got a few token songs sung in te reo that charted here and there. Taika Waititi’s film Boy brought “Poi E” back to public conscious in 2010. I still remember the goosebumps I got when watching Tiki Tane perform “Tangaroa” at the NZVMAs as a teenager. Personally, the only use of reo I had in my music collection before Alien Weaponry was Kerretta using a karanga on “Kawea Tātou Ki Ngā Hiwi“.
This is obviously a big point of difference for the band. And it’s done with authenticity. The haunting mournful cries reflect karanga, and the strong chants could be compared to haka and war songs. They even use traditional instruments, which are effective in setting the tone as well as adding cultural value to the music.
Don’t let this put you off. You may not understand it all (I don’t), but this does little to detract from the music. I think it enhances the music by adding unique elements. Half of the tracks on the album are written in English anyway, with many songs also featuring dual languages.
Lewis de Jong playing in Porirua on Waitangi Day. Image: Joseph James (Will Not Fade)
They touch on some heavy themes. “Holding my Breath” looks at struggling with anxiety, “PC Bro” explores the effects of social media, and how we can create false realities through it, and “Nobody Here” also explores the addictive nature of it. Fighting racism and retaining cultural identity are themes woven all throughout.
There’s also more than a few nods to their whakapapa [family history], with references to pre-colonial times and New Zealand historical events that happened once the European settlers arrived. “Kai Tangata” – the name a reference to war parties and cannibalistic practice – looks at how one Ngapuhi iwi [tribe] slaughtered another iwi with the use of muskets, which obviously outmatched traditional weapons that Te Arawa possessed. “Urutaa” tells a tale of how Europeans brought illness that Māori had no immunity against, which led to misunderstanding and paranoia.
“Raupatu” – the standout track on the album – is heavy, memorable and features a brutal breakdown. It translates as “Confiscated”, and discusses how the colonist government stole the lands from the native peoples, and set about trying to destroy Māori rights and identity. For many years Māori children were beaten at school for speaking their own language, the language that Alien Weaponry sing. But the message from the bridge is unmistakable:
“You take and take But you cannot take from who we are You cannot take our mana – (dignity) You cannot take our māoritanga – (cultural identity) You cannot take our people You cannot take our whakapapa – (family heritage) You cannot take, you cannot take Raupatu!”
One criticism (if you can call it that) is that the sample at the start of “Whispers” is an interview with prominently racist politician Don Brash. The problem with this is that he is a lazy and ignorant man, and mispronounces the word ‘Māori’. I just wonder if international listeners would think that this is correct pronunciation, considering that they’d have no reason to know otherwise.
The production is decent. Tom Larkin from Shihad played a part in production, which earns them bonus points from me. I could certainly see an extra guitar coming in useful for filling out the sound, but they trio sound damn good for just a a three piece. And although it is thrash metal, they use dynamics well, as well as the traditional Māori instruments already mentioned, so it’s not all just a chug-fest that gets tired quick.
Put simply – this is an incredible release. A strong statement both musically and thematically, and all the more impressive when you consider that three school boys are behind it all. I am proud of Alien Weaponry for what they have achieved to date (including raising over USD $12,000 to record this album, and signing to Napalm Records), and can only see them gaining more success as they introduce their strong cultural identity to the world.
