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!
In an era of music streaming and randomized auto-generated playlists, one can easily get lost in the millions of musicians and groups and their discographies. However, one thing that helps us seek out the songs we love is an artist’s signature sound. The book This Is What It Sounds Like by writer Susan Rogers delves into what makes us love the music we love, in which Rogers explains the seven “sweet spots” we all use to determine whether we like certain music or not. Rogers’ list includes a song’s melody, lyrics, rhythm, and timbre — as well as its novelty, authenticity, and realism. All of that, combined with the rawness of listening to music live, still doesn’t answer the question: What’s in the making of a signature sound? Our “Will Not Fade’s 2022 in Review” post highlights the many bands across different genres, from the prog and post-rock The Prog Alliance Tour to Avantdale Bowling Club’s jazzy hip-hop set. Part of the joys of listening to live music is enjoying a band’s sound, the live instruments, the vocals, and their energy. In this post, we’ll attempt to look at certain aspects of music that can help musicians create their signature sound:
Instruments
It is not possible to talk about The Beatles’ signature sound without mentioning the Fenders, the Gibsons, and all the amps and pedals used throughout their different tracks. Case in point, Far Out Magazine‘s feature on iconic George Harrison moments noted that his use of the sitar in “Norwegian Wood” marked a shift in the latter half of the Beatles’ discography. Later, this inspired the Rolling Stones to start featuring sitars in their song “Paint It Black.” Jimi Hendrix also decided to use a Fender Stratocaster — upside down. This not only created a signature sound but a signature look as well. Guns n Roses’ Slash has an inseparable image from his Gibson Les Paul, but like Hendrix, it’s because of how he plays it as opposed to what he played. Clearly, the instruments a musician utilizes are a starting foundation for their overall sound.
Equipment
Aside from the instruments, a musician’s equipment is equally important to creating the sound we eventually hear. Over the years, musicians have come to rely on specialized equipment to help create their music. Jimi Hendrix’s iconic guitar tone results from his pedal setup—a wah pedal, a fuzz pedal, a Uni-Vibe pedal, and an Octavio pedal. All of these helped create Hendrix’s odd-sounding, hypnotic swirly guitars. Like pedals and guitar amps, an artist’s microphone can affect their sound. Shout4Music demonstrates how many microphones available today can serve different purposes depending on the sound you want to produce. Still, some microphones—like the Shure SM58—are such classics that they have become an industry standard and a favorite among music’s iconic names, from The Who to Paul McCartney, for their clear and crisp audio. Indie bands, meanwhile, may use equipment you may have never seen before. A notable example is Julian Koster and his singing saw — a bow on a traditional handsaw — for Neutral Milk Hotel. The equipment the artists use can be considered the unsung heroes of signature sounds.
Technique
Certain artists have a particular sound that you quickly associate with them a few seconds into a song. Barry Gibb of the Bee Gees didn’t know he could sing in falsetto until he did it in “Nights on Broadway,” eventually establishing the Bee Gees’ trademark falsetto sound. And when you think of Mariah Carey, you may think of her whistle tones, the same applies to Freddie Mercury’s belting and use of the mixed voice. Not everyone has a signature vocal sound, but the ones that do will often stick out to you because the technique is present throughout their music. Of course, it’s not all stylistic. Ray Charles’ music is known for his growls and shouts, stemming from his gospel and jump blues background from the 50s—a time associated with emotional, soulful songs. Often, vocal techniques such as improvisations can transcend the importance of lyrics and may be why we can quickly identify certain songs. Overall, an artist’s vocal technique establishes their color as performers, creating music that is unique to them.
Guest post written exclusively for Willnotfade.com by Amy Cayenne
Photo of Tides of Man at dunk!festival 2018 by Will Not Fade
Voted New Zealand’s best outdoor photographic exhibition in 2022 (as judged by D-Photo Magazine), FromThePit New Zealand Music Photography Exhibition is back in 2023, bigger and better than ever!
FromThePit is an annual curated exhibition of music photography, featuring images of New Zealand musicians performing live, captured by some of the best music photographers across Aotearoa.
2023 marks the fifth anniversary of FromThePit and features recent work from over 50 photographers. The exhibition is open to photographers who take images at live music events in an official capacity. Entries are limited to shots of local artists and local venues to promote our homegrown industry.
This year the annual Audio-Visual exhibition is made up of around 100 images carefully selected from the hundreds submitted each year. The aim is to celebrate the breadth and diversity of talent both on and off the stage, showcasing images from established photographers alongside relative newcomers.
FromThePit also has an educational element. Workshops are run throughout the year, and the FromThePit Podcast series focuses on the art of live music photography giving insights and advice for those interested in the genre.
As musicians, venues and the whole creative ecosystem have struggled over the last few years, our images are an important reflection of the power of live music events and a document of our vibrant nation music scene.
FromThePit can be viewed online and in screens across the country during Te
Marama Puoro o Aotearoa | NZ Music Month (May 2023).
See FromThePit.co.nz for more details of this year’s exhibition and events, and
to view our archives.
FromThePit is provided in partnership with Auckland UNESCO City of Music, NZ Music Month, Independent Music NZ (IMNZ), New Zealand Music Commission, Auckland Council, Sony, The Attention Seeker, Epsom, Rock Shop and AgentX.
FromThePit 2023 is designed and curated by New Zealand live music photographers Dave Simpson, Chontalle Musson, Stella Gardiner, Chris Morgan and Maeve O’Connell.
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?
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.
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.
