Vorn profile on Audioculture

Michael Hollywood, who runs the excellent blog everythingsgonegreen, has written a great article on Audioculture about the one and only Vorn Colgan.

https://www.audioculture.co.nz/profile/vorn

Vorn is one of my favourite musicians, playing in numerous amazing Wellington bands such as Vorn, The Wellington Sea Shanty Society, Crash Bandihoot and many more. I contributed some photos to the article so thought I should share.

I have also reviewed the past two albums from Vorn’s eponymous band, The Late Album (2023) and The Winter Sessions (2017), if you would like to read some more about his works on Will Not Fade.

Will Not Fade’s 2024 In Review

It’s always fun to look back over the past year, to celebrate memories worth cherishing, and reflect on things.

I kicked off the year on a great note, seeing Princess Chelsea play a postponed gig in support of her recent record, the Taite Music Prize album Everything is Going to be Alright. I love how Chelsea’s music is so fresh and unapologetic, but is seeing commercial success and acclaim at the same time. It stands as one of the best gigs of the year for me. One of the photos I took that night was featured in FromThePit later in May.

Princess Chelsea at Meow

Later that month I saw Foo Fighters play, who had been one of my favourite bands when I was a teenager. They were significantly better than last time I’d seen them. Taylor Hawkins was a huge influence on me as a drummer and it is sad that he is no longer with us, but Josh Freese proved himself to be a suitable replacement. I’d stopped caring about Foo Fighters years ago, but I figured I may as well catch a gig in Wellington – seeing how I wouldn’t have the additional expenses that come with travelling – and I’m glad I did. Stadium concerts can be incredibly fun spectacles, or can feel souless with the loss of intimacy, but this was a great night out.

March is always a busy month for music in Wellington, with Cubadupa, Homegrown, Newtown Festival all being big festival fixtures that we look forwards to.

Shepard’s Reign at Cubadupa

May was my highlight though, flying to Europe to reunite with my good friends in Ranges, who played three dates in the UK along with FORT and Din of Celestial Birds, and then dunk!festival in Belgium. It was such a blast to see my friends again after six long years. You can read about it in my tour blog.

Other than Ranges, my standout bands at dunk! were Maserati and sleepmakeswaves. I made a point of trying to get to a bunch of gigs in Europe, and succeeded on that front, catching acts such as Tenacious D, Olivia Rodrigo, Danny Brown, Cancer Bats and NOFX.

sleepmakeswaves dunk!festival by Will Not Fade

sleepmakeswaves at dunk!festival

I had loads of fun helping Planet Hunter film their music video for “Valleys”, and spent time with them in the studio as they recorded their next album with James Goldsmith. Recently they played Sanctuary Sounds festival, which was a great weekend away. I wasn’t there, but they also supported Sparta when they came to Wellington in May, which is a cool achievement.

Local emo Happy Valley said farewell with an EP and tour. They have been hugely important for the music scene, helping to provide venues and run gigs for new bands. I’m sad to see them go but they’ve left a great legacy. Some individuals in the local hardcore scene have come together to form Start Today Crew, who run all ages shows at Thistle Hall once a month and are doing amazing work.

I was honoured when Michael Hollywood asked if I could contribute photos to a Audioculture profile of Vorn that he was writing. Vorn and I go way back. I’ve taken photos of a bunch of his bands this year, including the Vorn album release show for The Late Album in April, Crash Bandihoot, and a recent weekend when Wellington Sea Shanty Society played at Breaker Bay Hall.

Wellington Sea Shanty Society at Breaker Bay Hall (Vorn on accordion)

We have a new venue in Wellington called Meownui. I see the name being problematic – being so similar to Meow. I’m just waiting for the stories of people showing up to the wrong venue and getting confused. I only attended one gig there before it was fully finished, but I can see it being a great asset to the live music scene. It is wide and shallow with a mezzanine floor, so I imagine you’ll feel close to the stage from wherever you choose to stand, despite the 1000 person capacity. Auckland also combined two smaller venues into the larger Double Whammy, but I haven’t been so cannot comment on that.

The Beths were supposed to play at Meownui but it wasn’t ready yet so they played at Massey University Great Hall. They’re such great songwriters and basically tour non-stop so they’re very good at what they do.

Dartz have been some of the winners of 2024. Their album release show at San Fran was fantastic, as was their surprise set at Newtown Festival that weekend. Dangerous Day to be a Cold One reached #1 on the charts and the band toured in Europe and Australia.

Dartz at Newtown Fest

Dressed in Wax are back with a new lineup and released a new EP. Their EP release at Moon was fantastic.

Amy Shark has long been one of my favourite artists. I’ve had her new album Sunday Sadness on steady repeat and went to Auckland for her first NZ show in many years. It was a long drive up to Auckland for the show, but well worth it.

I’ve long championed Adoneye as one of my favourite local bands. I was pleased to see them win the National Battle of the Bands this year, and hope that they can capitalise on this success and get their name out there for.

Adoneye at Newtown Sports Bar

Japanese math-rockers Toe released a new EP, and also came to Wellington. I couldn’t believe that one of my bucket list bands had come here. It was incredible. The sheer muscianship and passion that shone through made for a captivating show.

Two big disappointments were Blink-182 and Tenacious D. My sister and I bought tickets to see Blink-182 play in Christchurch years ago. They played Auckland, but cancelled their Christchurch date without any official explanation, leaving me out of pocket for flights I didn’t end up using and disappointing many fans. The silver lining to staying in Wellington that weekend is that I managed to see Mogwai, Dartz’s sold out album release show, and Newtown Festival.

I actually did see Tenacious D in Paris in May. I didn’t write a review because I was was busy on holiday, and figured that I could just cover them when they play in Wellington later in the year. Paris was an extremely fun night, especially sitting in an enormous, packed-out arena with thousands of other fans who all know the lore behind such a ridiculous band. The skits and theatrics are still funny.

I was excited to see them play again in Wellington, but the band pulled the plug a few nights before. Kyle Gas had his birthday during their Australian leg. He made an insensitive comment alluding to the recent assassination attempt on Trump for his birthday wish. This got a bit of attention online and suddenly right-wingers were jumping on it, calling for the band to be cancelled and deported. I see this as a major over-reaction to a throwaway comment from a member of a band that have built their entire career on inappropriate and juvenile jokes, but someone made the call, the remaining tour dates were cancelled, and it looks like the band is finished. Jack Black continues to have a lucrative career, voice acting in big budget Hollywood animation films.

I haven’t been listening to loads of new music this year. One of my favourites releases that I haven’t mentioned yet was a collection of songs Into It. Over It. compiled and put out under the name Interesting Decisions.

FVKVSHIMA at Cubadupa

And FVKVSHIMA have dropped a few singles. I was pleased to be part of their first release, “Kuato”.

2025

February is going to be busy for me. I’m flying to Nelson to see Shihad – one of my favourites – play on their farewell tour. Then God is an Astronaut, Hot Water Music and King Brothers are all playing in the same week. If you like crazy rock music I urge you not to sleep on King Brothers. I saw them back in 2018 and and it was absolutely incredible.

I’m also looking forward to seeing Supergroove. I was a bit too young to have been around when they were a thing, but I saw them at the second Homegrown festival when I was a teen and it was amazingly fun, so I’m jumped at the opportunity to see them play again.

I’m excited for a debut EP, Tilt, from Taylah, who has also been working with Fly My Pretties lately. She is incredibly talented and I’m very excited to see her doing so well.

Taylah at San Fran

And in the world of post-rock, I know we have new music in the works from Astodan, distance, Jakob and potentially Spook The Horses (they played a few new tracks when opening for The Ocean).

I’m going to try to get to Indianapolis for Post. Festival in July. I was in awe of their lineup this year and felt mad FOMO. They’ve announced seven bands already and I’m so hyped that Pillars are back and playing their incredible album Cavum.

Words and photos by Joseph James

Will Not Fade’s 2023 In Review

Time for the annual wrap up. It’s always interesting to look back at the year and reflect on the highlights, and how things have changed.

It’s pretty wild that the covid pandemic seems so long ago now. International bands can tour here again, we don’t have restrictions for gatherings, life goes on. For the most part this is a good thing, but the local music scene was really flourishing for a while, and it feels a lot harder to book gigs now that we have to compete with bands from overseas again for use of venues.

Not that I’m complaining. I saw some incredible bands this year from both Aotearoa and abroad, and that’s how it should be.

I’ll start with bands I saw overseas. I’ve loved Gyroscope ever since I discovered them as a teenager. They’d played in NZ a few times but I was too young to go at the time. They’ve sat firmly on my bucket list of bands to see for a long time now. So when they announced that they were playing Breed Obsession – the album I loved so much – in full, I was sold. I made the trip to Melbourne and it was everything I’d hoped for. Honestly, so, so good. “Snakeskin” was an obvious highlight – featuring an appearance from original drummer Rob Nassif. “Australia” was a big singalong moment. And surprisingly enough, album closer “Time” went hard. Usually it’s very soft, but for an album comprised mostly of ballads, the set was pretty heavy. I went to the matinee show the following day as well, which was just as great again. Bodyjar also played their blistering punk rock which was a lot of fun, but my trip was about Gyroscope and it was well worth it. It was also nice to finally meet fellow music writer Gilbert Potts in Melbourne.

I managed to see Frank Turner play twice this year. The first time was a last minute solo event after Counting Crows cancelled their gig (Turner was the support act), and the second time was the first leg of his international tour promoting his most recent album. He has long been one of my favourite artists so you can imagine how pleased I was to see him play twice.

Melodic hardcore band La Dispute played a packed out show at Meow, reminding me of Zeal – the local youth venue I’d last seen them play at. Their intensely poetic brand of hardcore always hits hard, and I doubt anyone walked away unmoved after witnessing their delivery of “King Park”.

Guitar Wolf and Otoboke Beaver brought their brands of crazy Japanese rock and roll. It was my fourth time seeing Guitar Wolf, and the third time I’ve been part of a human pyramid onstage at one of their gigs. Otoboke Beaver was just as wild in their own way, in a heaving sold out show, screaming their heads off as they played frantically in their brightly coloured dresses.

Highly Suspect were blown away at their demand from NZ fans, selling out venues to the point that they kept having to upgrade to places with larger capacities. It was fun to be in a big arena rock show, enjoying the bluesy rock of a larger scale band.

Looking at NZ bands, I’d managed to catch the ever-awesome Shihad twice. They headlined the rock stage at Homegrown festival, and also played their debut album Churn in full in Auckland a few weeks ago at the bFM radio station fundraiser. They namedropped Jaz Coleman who had produced Churn and I almost wet myself, thinking that they were going to play a Killing Joke cover with Coleman on vocals. It’s not implausible – Coleman does live in Auckland. But it didn’t happen – they were paying tribute to KJ guitarist Georgie Walker who had passed away recently.

The other highlight of the Save The B night was Princess Chelsea. There were so many musicians onstage, it was hard to know where to look. We had someone playing the gigantic organ at the rear, a harp, multiple guitars, bass drums, glockenspiel, and almost everyone contributed to vocals. It was so layered that the music was borderline doom, and it was awesome. Princess Chelsea is playing Meow in Wellington in a few months and I’m super keen to attend and see what the band is like in a radically different setting.

I saw Lorde play at TSB Arena. I’ve never been much of a fan, but I was curious. She’s one of the biggest names in music, and I wanted to see what that looks like in a live setting. The stage set was interesting and Lorde has clearly rehearsed over and over. But ultimately I was pretty bored. There were lots of musicians onstage, but we heard a lot more backing track than live instrumentation, and the music just isn’t played in a way that the musos could put much energy into their performances either.

My favourite local band of the year is Crying Club. They play infectiously fun emo/pop-punk. I’ve had their single “Munchies” playing on repeat, and they put on a great show.

Similar to Crying Club, Cherry Punch play furious punk music that I’d liken to The Runaways crossed with Motorhead. Everyone in the band brings something unique to the experience and they’ve been playing a lot, so I can see them building a profile quickly. I was fortunate to play in a band that toured with them earlier in the year and it was so fun being able to see them play so much.

Bulletbelt released their album Burn It Up, which made it to the no1 position on the music charts, which is a great achievement for any band, let alone a band that plays a less mainstream genre like metal. I really enjoyed the album release show that they played at Valhalla and was pretty chuffed to see that one of the photos I’d taken of the band is on the record sleeve on their vinyl pressing.

Bulletbelt promo pic

It was really cool to see my friend Vorn seeing some big successes this year, including international tours with Crash Bandihoot, The Wellington Sea Shanty Society, and releasing a great new album with his own eponymous band. All of these bands are fantastic and I love seeing them doing well.

I tagged along with Planet Hunter on a mini tour up north for Kaitaia Metal Fest. It was such a great time. Planet Hunter are amazing musicians and great guys so it was really fun to spend a few days with them in the van and see them play new material each night. I wrote a tour blog, but here’s an account of the Metal Fest from event organiser Frankie O’Malley featuring a few of my photos link.

Lastly, I’d like top draw your attention to a new Wellington metal band, FVKVSHIMA. They’re incredibly technical and groovy, drawing upon influences like Killing Joke and Meshuggah. Keep an eye out for their upcoming debut single, “Quato”

It was fun to be part of FromThePit again. Special thanks to Maeve O’Connell for organising the Wellington night at Bats Theatre, as well as the FTP team who work hard to organise, collate, and arrange sponsors and showing opportunities every year. It’s a real blast being part of a community of creative people who want to celebrate the arts and the talented photographers involved in the music scene. I spent some time in in the record store Reel Groovy a few weeks ago when I was in Auckland and it was cool to see some of these amazing photographs still on display at the top of the escalator.

Looking forward to 2024, I’ve got some exciting times lined up.

I’m going to some big arena gigs like Foo Fighters, Blink 182, possibly Iron Maiden. And I’m glad to see some post-rock bands like Mogwai and Russian Circles coming. And I’m super pumped to see Aussie punks Private Function are coming to NZ as well. They’re incredible. Don’t sleep on that tour if you like punk music.

I’m looking at possible heading back to Europe in May for dunk!fest. Watch this space…

Thanks to all my readers, near and far. I’ve been putting my energy towards other things like photography, booking gigs, drumming in bands etc.. but it’s always humbling to see that people take the time to read my ramblings when I share my thoughts on the music that I’m so passionate about.

Joseph’s top song of 2023

Taylah: Okay

I actually prefer this version recorded at Taylah’s flat over the studio version, but both are excellent

Joseph’s top album of 2023

Winter Dust: Unisono

What’s In the Making of A Signature Sound?

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

Will Not Fade’s 2022 in Review

My favourite gig of the year wasn’t a “big” band. It was The Prog Alliance Tour featuring Claemus, Elidi, Pull Down the Sun and distance. It just ticked all my boxes. Great musicians playing prog and post-rock. It must have taken a lot of planning to organise a nine date tour for bands from three different cities, but the Wellington one was a great success and I’m proud of what they pulled off. distance also put out a stellar album, everything in exchange for nothing in August. Really cool to see how that project has evolved from a lockdown bedroom project into a fully fledged amazing band.

Sam Butler of distance at Valhalla

Speaking of awesome local prog-rock, Ovus dropped a tasty wee EP earlier in the month. Josh the bassist lives in Christchurch, but I’m holding out for an EP release gig sometime soon.

I’ve been hyping them up for a few years now, and Adoneye finally released their long-awaited EP this year. It’s a beaut. It’s a shame that the band members parted ways and didn’t get to celebrate the wonderful music that they deserved to.

Alexisonfire continue to deliver the fire with recent album Otherness. I cannot get enough of the single “Sans Soleil”.

Reliqa were my favourite new discovery of the year. They killed it at Monolith Festival, and their new EP is fantastic.

Reliqa Monolith Melbourne by Will Not Fade

Reliqa at Monolith Festival in Melbourne

Planet Hunter dropped their debut album. They’re Wellington’s best live band, so of course I’m a huge fan. And they managed to capture the energy and talent and distill it all into a fantastic record: Moscovium.

I’ve been friends with Vorn for many years now, and follow his projects with great interest. I actually joined one of his bands – Crash Bandihoot – on a brief tour in May. One of Vorn’s other bands, The Wellington Sea Shanty Society have enjoyed some relative success in recent years after the song “The Wellerman” started trending. I convinced Vorn to let me contribute backing vocals to their latest EP, so was very excited when that was released in August. I’m not credited, so maybe they weren’t impressed with my singing abilities? Anyway, TWSSS annual shows at Breaker Bay Hall have become a highlight to look forward to every year. This year was just as great as the others I’ve been to, and I also won best dressed – wearing a sexy mermaid outfit that I’d painstakingly created.

The Beths are progressing from strength to strength. They played The Opera House in Wellington recently in support of their third album – a big step up from the usual smaller venues they usually play here. And they crushed it. Seated venues are usually a poor choice for fun, energetic bands, but it wasn’t a problem.

The Beths at Peachy Keen, Wellington, 2021

Jakob rule. Returning to San Fran – their home venue away from home – they gave us everything we’ve come to expect of them, and also played a few new tracks to whet our appetite for the upcoming album. And Jakob bassist Maurice Beckett also released an awesome album from his side project, Desbot. Seriously worth checking out.

I was upset that Amy Shark cancelled her NZ tour with no explanation (and I’m still waiting for a refund, well over a months after the cancellation, and roughly a month after the scheduled gig date), but that freed me up to catch Avantdale Bowling Club that night instead. Playing the fantastic TREES album, ABC put on a stellar set of jazzy hip-hop. I love hip-hop with a live band, and this band was goooood. Also, it was pretty funny seeing people smoking it up and having a great time dancing and singing in a venue that feels as “classy” and conservative as the St James Theatre.

I caught my friend Taylah playing a bunch of times this year and was consistently blown away but the sheer talent that Tay and her band showcase. Always a fun night, and her songs are irresistibly infectious.

Taylah with Sam Nakamura at Rogue & Vagabond

2022 was a tough year for me on a personal level. Covid finally hit New Zealand and brought us up to speed with the rest of the world. This meant a lot of cancelled gigs, and missing a bunch of gigs that I was too exhausted to attend while I recovered from the virus. But I’m in a good space at the moment. I’ve been working with some local bands to build their profile and book gigs, and enjoying the challenge of discovering what success can look like within the creative fields.

The NZ borders opened and we finally had international bands return. I saw The Bronx in May – the first international band I’d seen in years. And I went across to Melbourne for Monolith Festival in August. It was an amazing opportunity to see a handful of my favourite bands on the same day, and a great reminder of what I had been missing.

The NZ music scene has flourished in recent years. Annual events like Newtown Festival and Cubadupa were the biggest gatherings in the world at the time – because NZ was covid-free and didn’t need to worry about social distancing – but sadly both were cancelled this year. But given the space, local bands had the chance to prove themselves worthy. I’m happy to see international bands touring here again, but it already feels like local bands are now struggling to book shows with reintroduced competition in a market already lacking enough venues for demand.

I’m not sure what 2023 will throw us. Life has been fairly unpredictable and anxiety-inducing for some time now. But I’m looking forward to releases from PROKOP, my favourite Italian post-hardcore group Winter Dust, and I can’t wait to see blues sisters Larkin Poe play in April. I saw that Trombone Shorty is coming to Australia as well, and hoping that he makes it over to NZ.

words and photos by Joseph James