Will Not Fade’s 2020 In Review

I think I can safely speak for all of us when I say it has been a rough year. Personally, I had a lot of amazing plans that got cancelled. I was planning on traveling throughout Europe, seeing the world, touring with my dear friends Ranges and attending festivals such as dunk!festival and ArcTanGent. Then a pesky virus spread around the globe and put an end to all of that. Admittedly we’ve got it pretty good here in New Zealand. We had five weeks of national lockdown around Easter time, and certainly a lot of gigs were cancelled or at reduced capacity, but we’ve still had live music for a lot of this year, which is an absolute blessing.

Even so, I’ve found it hard for a multitude of reasons. I decided to retire from running the blog earlier in the year. But I have some spare time now that I’m on holiday and I enjoy writing these end-of-year summaries, so I’m back in action for this one last article for the year.

My top albums of 2020

The Beths – Jump Rope Gazers

As I mentioned, New Zealand has still been able to have concerts and gatherings for a lot of the year, so this has allowed a lot of NZ artists to stand out a bit more on the world stage. Benee is an example of one artist who has garnered international attention and success. The Beths are another group who have gone from strength to strength. Many of us fell in love with their self-deprecating powerpop with debut album Future Me Hates Me, and follow up record Jump Rope Gazers is just as brilliant. It’s more of a slow burner than FMHM, but still proves just as irresistible and catchy after a few listens, and an easy pick for my top album of 2020. The Beths are also great live and I was delighted to catch them live again this year after a number of postponements. They’re in such demand that they played 5 packed out shows over three days in Wellington, and I imagine they could have even pulled enough of a crowd to play a few more shows too.

Caspian – On Circles

Caspian’s last album Dust and Disquiet is phenomenal. They blew my mind playing that material at dunk!fest in 2018 and I was so upset that I couldn’t see them play again this year after my travels were cancelled. On Circles may not quiet measure up to Dust and Disquiet, but it’s still a solid album, just in it’s own way. It’s a more reserved offering, but this seems somehow appropriate for the times. There’s two songs with singing – Kyle Dufrey of Pianos Become The Teeth lends his voice to one track, and Phil Jamieson’s singing on the titular track is sublime and soul restoring. Something else I love about this album is the interesting tones and timbres they’ve gone for. Maybe they’re in alternate tunings, maybe it’s effect pedals, I really have no idea. But these tones, coupled with some cello and violin on a few tracks, make for unusual yet enticing listening.

Into It. Over It. – Figure

Regular readers won’t be at all surprised by this inclusion. It’s no secret that I’m a big IIOI fan. They were the first act that I flew overseas to see live. And the last album, Standards, was a great. Figure is a logical continuation of Standards. Brilliant songwriting, great playing. The drumming is complementary and they’ve continued their exploration into interesting tones.

Biffy Clyro – A Celebration of Endings

Again, this should come as no surprise; Biffy Clyro have been my favourite band since I was a teenager. I almost slept on this one though – I pre-ordered the vinyl record and due to covid related complications it still hasn’t shown up. Warner said they’d send a digital download but never did (same case with their last record Ellipsis too, up your game Warner!) After a few months of waiting I figured that maybe I should do some hunting. I eventually got a copy of the album downloaded and I’m glad I did because it’s been on steady repeat ever since. Biffy have always trodden a fine line, making a point of being weird and alternative (at times inaccessible even, especially during the earlier albums), yet at the same time playing stadium rock and writing songs that earn mainstream radio play (more so overseas). And somehow they’ve managed to continue down this path with success. There’s less of the bland radio fodder that featured heavily on Ellipsis, and they’ve managed to evolve and push their style whilst style true to their distinctive Biffy sound.

Other music worth mentioning

distance

Sam Butler released two great solo EPs this year. I reviewed the first EP, over time.

Saint Speak

A side-project from Spencer of Tides of Man, lullabies for his newborn.

Spencer Gill with Tides of Man at dunk!festival 2018. Image: Will Not Fade

Jakob – “HAARP”

A great lost b-side from the post-rock titans.

Lakes

Lakes released my favourite album of 2019, and dropped a few remixes, covers and other tracks this year. This 7″ is my pick of their 2020 offerings.

And two albums not released in 2020 that I listened to a lot

Dave Hause – Kick

You may know Hause as the singer of punk band The Loved Ones. It’s almost a cliche how punk singers start solo projects along these lines (Think The Revival Tour). Kick is a great album, hopeful and defiant in the face of oppression. It’s in the vein of singer-songwriter, even country styles, something a bit more chilled out, but still with rock roots.

Metavari – Be One Of Us And Hear No Noise

I have no idea how I came across this album but it just hit the spot. A perfect blend of ambient and electronica. I’ve needed more calming music like this a lot this year.

The state of things in 2020

I’m terrified of the ongoing implications of what will happen to the music scene as a result of this pandemic. Musicians who rely on touring and selling merch for a living suddenly don’t have an income. Venues can’t get by because people aren’t allowed to attend gatherings. No venues means no places for bands to play. And it doesn’t just affect musicians, there’s the roadies and drivers and lighting techs and sound engineers and a whole industry suddenly without work.

Many musicians are resorting to livestreaming performances. [Here’s one that my friends in Ranges did for WherePostRockDwells]. Some people have been able to monetise livestreaming these performances. We will see if this becomes comomonplace in the future.

We all know that streaming is not really the answer forward. Sure, it is a revenue stream, but they pay such a pittance per stream that it’s a joke. Bandcamp have stepped up with Bandcamp Fridays, monthly events that they choose not to take their cut on any music and merch sold in order to help the musicians and labels who need the income so badly now. And it appears to have worked, with millions of dollars worth of transactions happening every Bandcamp Friday.

Thankfully we still have live music here in NZ for the time being. I’ve been paying to a Patreon for our local venue Valhalla because I know that without venues, we won’t have a live music scene.

Live music in 2020

I didn’t see many international acts this year, for obvious reasons. I did see Queen at the stadium (it was a bit of a spectacle but I’m glad I didn’t pay much), I saw Yawning Man at Valhalla, and a few metal bands at Obey The Riff festival at Panhead Brewery in Upper Hutt. My own band also opened for Sebadoh at a sold out show at San Fran in Feb, which was pretty awesome.

Yawning Man at Valhalla. Image: Will Not Fade

My best gig of the year was The Wellington Sea Shanty Society at Breaker Bay Hall. It’s exactly what it sounds like. I drank a lot of rum and sang pirate songs. My friends and I all agree that it was our collective best night out since The Beards.

Newtown Festival was one highlight. I spent most of the day there taking photos at the Ferguson St Stage for The Mousai.

Happy Valley at Newtown Festival. Image: Will Not Fade

Some of my favourite Wellington bands at the moment are Happy Valley, Planet Hunter and Adoneye, and I managed to see them all play a few times.

It’s a real shame that Spook The Horses had their European tour cancelled, but I was stoked that they asked my band to open at their album release and they killed it. They livestreamed the night if you want to go back and watch it.

Spook The Horses album release at Meow. Image: Will Not Fade

A real indication of how much things have changed is when I went to see local speed metallers Stälker recently. It was packed. Certainly a big change from reduced capacity shows that I’d been going to a few months earlier. The mosh pit was pumping and you couldn’t move because everyone was squeezed together so tightly. I used to live for nights like that, but it felt so uncomfortable after avoiding being too close to others for most of the year.

Stälker at Newtown Sports Bar. Image: Will Not Fade

2021

It’s hard to say what next year holds for us. Guns n Roses have announced a stadium tour in NZ. Is that too ambitious? Only time will tell. Hopefully the covid vaccine is effective.

Beastwars have held an Obey The Riff festival at Panhead Brewery in Upper Hutt over the past few years and it’s been successful. I’ve heard rumours about the potential lineup for 2021 and I’m excited about that. I’m not holding my breath about seeing any acts from overseas anytime soon though.

In terms of releases, I’m looking forward to a new Amy Shark album, and hopefully Adoneye release their debut (bass player Jesse is recovering from wrist surgery). There may also be a live DVD from Opium Eater (Jesse’s other band) and Glassblower are dropping their debut grindcore album. My own band Secrets of the Sun will have an album out at some stage early next year too. Sora Shima are coming back so I’m hoping to see them again, and fingers crossed for some new music.

What are your favourite albums of 2020? What are your predictions for 2021? Feel free to comment and share your thoughts!

Live Review and Photos: Rosetta at Valhalla, Wellington

Rosetta

w/ Spook The Horses

Valhalla, Wellington

Tuesday 12 December 2017

Recently, when browsing through my emails, I opened the newsletter from German label Pelagic Records. Imagine my surprise when I saw that they’d signed Wellington act Spook The Horses! Win for local music!

Now to be honest, I’m never been a big Spook The Horses fan. I cam appreciate what they do, but the heavy roaring often put me off. But their set tonight has completely made me reconsider. They are incredible!

They had some screens free-standing on stage, with a projector shining images onto the screens. The new music sounded mellow and sparse, with pleasant singing in place of roaring. In my head I started to compare their new sound to the likes of Blueneck and softer Opeth.

The band slowly started in increase the intensity, finishing the set with some of their older material. It was an interesting evolution, from ephemeral music with nice singing, to heavy post-metal with roaring. And because the transition seemed so gradual, I not only warmed to the roaring, but really got into it. Tell you what, I was thoroughly impressed! The drums sounded especially thunderous, so props to the sound guy.

Rosetta have recently come off a month-long US tour. I recently came back from touring across a America with a band as well, so I can understand the immense scale of where they went. Philadelphia is on the east coast, a few hours drive south from New York City. Their tour was mostly in the west coast region. That’s a long way from home.

And now they’re in New Zealand, which is almost as far as they can get from home. Speaking to Mike (vocals) before the show, he told me how the response in Asia and Australia on this current tour has been unbelievable. By the sounds of things, it feels more rewarding playing in foreign countries because people make the effort to see bands that don’t have the opportunity to play those places as often.

Clearly all that touring has helped them mesh as a band, because they are one helluva unit! Seriously tight, and delivering blow after blow of intensity. Rosetta’s latest album, Utopioid, is a dynamic exploration of musical textures and timbre. Tonight they brought those textures to life, pummeling us with searing riffs and busy beats.

Mike was a brilliant front man. Funnily enough, most of the bands I’ve seen in recent months haven’t had singers, and the ones that do usually have the singers playing guitar. It felt special to see a vocalist freed up to move around without an instrument to restrict him.

One of the most vital aspects of putting on a show is energy. It’s the difference between listening to an album and home, or seeing the band play it live. Seeing guitarists throw themselves around and flick their hair about, seeing drummers beat their kit into submission, seeing singers draw us in to sing along – that’s what it’s all about. And you can see from my photos, Rosetta brought their music to life. You could feel the energy.

Admittedly, I’d been apprehensive about a Tuesday night show. I’ve been worn-out recently, and I knew a late night wouldn’t do my body any favours.

As it turns out, the opposite is true. Not only did I have a fantastic time watching two brilliant bands, but I feel revitalised. There is something to be said for exposing yourself to things that inspire you. I just want to sit down at my drum set and smash something out, to create something new and exciting.

Rosetta made a point of touring extensively after writing their most recent album. This is their first time in New Zealand. And I’m grateful that they came this far, because it has been rewarding for everyone involved.

Words and photos by Joseph James

Live Review: This Will Destroy You and sleepmakeswaves at San Fran, Wellington

This Will Destroy You (Texas, USA)

w/ sleepmakeswaves (Sydney, Australia) and Spook The Horses (Wellington)

San Fran, Wellington

Sunday 7 June 2015

Image: Fergus Cunningham

Local act Spook The Horse started the night off strong with their searing post-hardcore set. At stages heavy with roaring, and other times calm and contemplative, with plenty of tambourine shaking in between. They ensured that those who arrived early were rewarded for their attendance.

Sydney post-rock quartet sleepmakeswaves were outstanding. This show was towards the end of a long tour (22 countries over a three-month period), but they showed no signs of waning, clearly loving every moment onstage. Most bands who play this kind of music stand there solemnly in the dark as they play, but the lads from SMW were jumping around all over the place having the time of their life. I swear I didn’t see the drummer’s face once, hidden behind his shaggy mop of hair. The music was upbeat and positive, accompanied by quirky electronic samples. It was such a good set that I could have quite happily called it a night then.

Image: Fergus Cunningham

After sleepmakeswaves’ energetic set, This Will Destroy You didn’t seem nearly as exciting. It was late on a Sunday night and the music was so slow that I could hear my bed calling me. Guitarist Jeremy Galindo was seated for the whole set and even commented that he was ready for bed too. I’m glad I didn’t answer the call though, because I was soon swept up in the music.

TWDY had one of the most intricate set-ups that I’ve seen. Transformers to help compensate for the electrical system differences between NZ and USA. Pedals upon pedals upon pedals. Keyboards and dials and switches, all draped in an assortment of wires. A spaghetti monstrosity of cables laying claim to most of the stage.

And all this equipment was used to create the music. Swells and hums and intricate layers of sound. Spaced drumming with washy cymbals. Sparse keyboard notes on top of haunting white noise. Even though the music was slow and the set lasted almost two hours, it certainly didn’t feel like it. Time didn’t drag its heels, but instead flew past sooner than I realised. And when my eyelids would start to feel heavy the band would launch into an electrifying overdriven segment to wake me up again. TWDY didn’t have the same stage presence of the previous two bands: they let their music do the talking.

Image: Fergus Cunningham

Not only were we treated to seeing This Will Destroy You, but they also brought another stellar international band with them as support. And sleepmakeswaves actually put on the best performance of the night. It was a relatively small turn out, something that I can only attribute to the fact that it was a Sunday night. And it did go late, until around 12.20am. But once the sleep deprivation wears off, I don’t think anyone in attendance would say they regret having gone.

Joseph James

Thanks to Fergus Cunningham for the photos.

Live Review: Jakob at San Fran, Wellington

Jakob guitarist Jeff Boyle adjusting his effects pedals at the Wellington gig on Friday night

Jakob (Napier, NZ)

w/ Bachelor of Architecture & Spook the Horses

San Francisco Bathhouse, Wellington

Friday 24 October 2014

It seems that it has been quiet on the Jakob front for a very long time. Their last record, Solace, was released in 2006. And the semi-regular gigs seemed to have stopped since they opened for Tool in Auckland during May last year. There have been a few side projects like Mean and Desbot to whet our appetites, but still fans were left hungry for more.

And now, a tremendous new album, Sines, with an accompanying tour to boot! To say I am thrilled is an understatement.

It felt so right being back at the freshly renovated San Francisco Bathhouse, watching such a glorious band. I have missed both the venue and the band so much.

Although no mention of opening acts were on the tour poster or the website, Wellington had two.

Bachelor of Architecture started the night with his sonic soundscapes. The most interesting part for me was seeing him play an unusual instrument: a metal fireplace shovel with a bow. Although BoA may have seemed suitable to open, his music was too long and directionless to be captivating.

Spook the Horses were more exciting. Their driving music seemed more stimulating, with polyrhythmic drumbeats and riffs propelling the music forward. They broke the mould be adding hardcore vocals to some songs, in the form of bearded roaring.

Jakob were always going to be good. The place was packed and everyone knew what to expect. They may not be showy, but their music is enough mesmerise.

There is something primitively attractive about it all. The band is bathed in rich coloured light, shrouded by the thick smoky haze. The building hums from the bass. You can feel the vibrations in your chest cavity. The guitar rises and falls in waves and layers, gradually immersing us in aural bliss. The repetition of a tribal drum tattoo is hypnotic. Everyone watches in awe, drinking in the sights and sounds.

And then: the most exciting part. That moment when guitarist Jeff Boyle leans forward to step on his distortion pedal and usher in the climax of the song. It’s that anticipation that keeps you on edge during each song, waiting, wanting.

They rest on the strength of their songs. Each one is immaculately written and played with such finesse and control. Like any three-piece band, each member really needs to pull their weight to make it work. And these three musicians are clearly experts of their craft.

I love how down to earth they are. Dressed plainly in black and delivering no-nonsense, high-quality music. Many bands of lesser calibre would expect stage hands to do the set up and menial labour, but these three were sound checking and tuning their own guitars between songs.

Seeing Jakob at San Fran was the same as it has always been. The same awesome music. The same straight forward delivery. The same songs, but now with a fresher expanded set. The same Jakob: consistently excellent.

Joseph James

Set list from the Jakob show at San Francisco Bathhouse, Friday 24 October 2014