A Sample Of The Music To Be Found @ Mp3.Net.Nz
A SAMPLE OF THE MUSIC TO BE FOUND @ MP3.NET.NZ
The Datsuns
The Datsuns mixture of high-octane rock n’
roll and manic live performances will rock your ass louder
than a V8 and give you butterflies like that first real
kiss. The band has played with the likes of Jebediah, HLAH,
The Hasselhoff Experiment, Shihad and Regurgitator.
After
sweeping the 1999 Ufm Battle of the Bands The Datsuns headed
into the studio to lay down some hot tracks. Not satisfied
with the recordings the boys decided to do it themselves and
are currently in the midst of recording their debut album.
Once completed the boys will be eager to take their rock
n’ roll onslaught to the nation in preparation for the mid
2000 release.
THE RACKETEER
The Racketeer
represents sweet & sour Drum and Bass excursions from Nick
Roughan of the NZ music legends Skeptics, a music innovator
for two decades.
Nick Roughan's association with the
Skeptics has tended to overshadow subsequent work, despite
his contribution to the New Zealand music from his time at
Writhe and York Street Studios.
Roughan has worked with a
roll call of New Zealand’s best: Shihad, Bailter Space, JPS
Experience, The Clean, Head Like a Hole, The Headless
Chickens and the Verlaines.
Roughan admits that in the
mid 80s that he began to find the guitar band thing limiting
and became engrossed in electronic music. The Skeptics wound
up in 1990 after the death of David D’ath.
The Racketeer
has been six months in the baking, combining D&B influences
with soundtrack moods, creeping bass noodlings, synth
squelches and free noise.
CUBA & GIZMO
Cuba
and Gizmo, aka Dean (Mr Cuba) Godward and Isaac (Gizmo)
Tucker, are committed to pushing the boundaries of drum and
bass music.
Not content to follow the lead of the London
scene, Cuba and Gizmo are drum and bass innovators. They
blend other music forms such as trance and hip hop with
world music, electronic samples, driving beats and
subterranean bass to create their own unique soundscapes.
The group also successfully take electronic music into
the live performance arena incorporating electronic drum
kits, percussion, samples and synths with guest appearances
of MCs, log drummers and other surprises.
They burst into
public awareness with their remix of the Fiona McDonald song
‘Sin Again’. Since then they have created a huge live
following and their up-coming album is much
anticipated.
FANG
Proudly holding aloft
the torch of the ‘dangerously jangly pop with catchy chorus’
tradition are Fang - comprising of Sonya Waters (Gat), Ben
Howe (Bass) and Andrea Holmes (Drums).
Hanging out
together for about a year and a half now, the band have
generated bNet radio interest with their gorgeous ode to the
McJob, 'Employee of the Month.'
Sonya and Ben have both
worked in retail hell and it was the combination of steely
eyed capitalism and ‘crystals hanging in the window’
new-age-ism that inspired the hit.
Sonya now works as a
music teacher, her favourite scale (one that they use to
fine effect in their hit) is the mixolidian (or so they say
– I’d have no idea, they could be pulling my leg for all I
know).
Ben’s studying the anthropology of pop music at
Auckland University but obviously has already learnt the bit
about writing tunes that you can’t get out of your mind.
JOEL HAINES
New Zealands ablest gat-man
Joel Haines has finally released his debut solo release
‘Seniah LeoJ’ after years of playing in other peoples
bands.
The Haines name has long association with Jazz,
through the work of Joel, his brother Nathan (Reeds and
Flute) and Father Kevin (Double Bass).
But Joel insists
his album is not Jazz.
“Improvisation is what I use and
something I learned from Jazz' and he concedes, 'there are
some Jazz forms on there, but don't like to use the term
Jazz, because I believe Jazz has been misinterpreted, people
don’t know what it is.'
The 'Seniah LeoJ' album – which
is being released exclusively though mp3.net.nz - contains
material up to 6 months old, mostly recorded in a two week
period, 'the recording part of the process is no big deal,
because I play every day.'
Haines's perfectionist streak
saw him recording everything on the album, the only sound
that's not a guitar is a 'shaker'[percussion instrument] on
one track. 'The orchestral sounds on the record are created
by bowing the guitar 'Jimmy Page' style' says Joel,
laughing.
Whilst the recording was painstaking it seems
naming was unimportant, 'We picked names out of a hat,' Joel
revealed, 'the only song that had a name the whole way
through was Charmaine's song', referring to the lady in his
life.
SMOOTHY
As the dark horses of
the Auckland music scene, pop trio Smoothy has managed over
three years to accumulate a solid core of critical and
public support through the usual route of student radio
play, dodgy gigs in ropey bars and supports for 'recognised
talent.'
Smoothy, have proved it is possible to become
tops in their field without resorting to the loud
unintelligible sounds that can hardly be understood through
the overpowering beat of much of today’s pop music.
The
recipe for this particular Smoothy is a simple one: take a
jigger of Memphis, a tablespoon of London, equal quantities
of Detroit and the West Coast (any west coast) and just
simmer down with a bunch of friends.
Smoothy are a happy
marriage of sound and ideas which produces a fascinating and
very distinctive rhythm pattern. The magic of Stevie’s
bass-playing old blues-soul voice! The demon-like antics of
Kim at the drums and Dom’s at times racy yet relaxed guitar
work.