Rock music and posters go together like Page & Plant, Lennon & McCartney, Tegan & Sara or those two dudes in Daft Punk. Together, they make magic.
Designers relish the opportunity to create something vivid and original. Musicians relish the chance to connect with their audience on the street. The results frequently end up in the collections of art-lovers.
We love them too.
At Phantom Billstickers, the very first poster we stuck to a wall was promoting a gig. Every week, we stick up a load more. So we thought it was time to celebrate the art of the music poster with a free prize draw for Phan Mail readers.
The Art of Rock is 348 pages of visual delight – a lavishly illustrated record of the rock concert poster. From the hallucinatory creations of the psychedelic era, to the in-your-face impact of 70s punk, this book has it all. There’s a foreword by Bill Graham of Fillmore fame, interviews with poster artists, musicians and promoters, and much more.
And it could be yours.
Be in to win
All you have to do is email Rupert Fenton at firstname.lastname@example.org, type in your name and contact number, plus the answer to this question:
How many poster sites does Phantom Billstickers have in Dunedin?
Continuing on the theme of NZ Music Month, here’s a blog Jim wrote in 2015 about his best mate Mike Jones and cutting his teeth on Kiwi music at the Mount Pleasant Community Centre.
A Tinker’s Cuss: Jim Wilson’s Blog, 19 March 2015
I wanted to say a little bit about the French person here on Koh Samui in Thailand.
The French person gets about the place with an innate sense of superiority and casts around sneering at the whole human race and exfoliating socialist fumes on everyone. They believe that everyone would be fine if they only did as they (the French person) wished.
The French person always has two selfie sticks in both back pockets. Now, it’s difficult to sit down with four selfie sticks aboard and it’s just lucky that the French person likes to stand as they deliver you a lecture stemming from their deep and inner intellectualism and academic egalitarian working-class background.
I remember having two French teachers in high school. The first one’s name was Evans and his Christian name was so strange I can’t for the life of me recall it. He taught us in one of those big towers at Otago Boys’ High School in Dunedin. What I most remember about him was that he thought France was infinitely superior to Great Britain and then by association New Zealand. He flung his long, gangly arms wide open and around as he spoke like he was getting ready to sign a peace treaty with the rebels in Algeria and yet at the same time wanted to tell them just how morally in the wrong they were. He had enormous hairy nostrils that flared cavernously as he paced up and down the room with his cane ready to deliver a decent Froggie Thwack as he went. He owed it to us and that was the egalitarian part of the equation.
Monsieur Evans tried to teach us how to speak French by starting with the nasal passages and arms first and by then working backwards. If he weren’t so damn interesting he would have been a completely repulsive human being. I believe the whole Flying Nun music explosion started as anguish in one of those classrooms and most probably in those nostrils right there. I bet Monsieur Evans drove a Ford out of a feeling of doing something generous for the Americans too.
The second French teacher was at Linwood High School in Christchurch. His name was Peter Sharp and he was a very good-looking, blonde haired athletic type. From memory, he played cricket for the Canterbury cricket team and he was very good at it. He commanded everyone’s attention in the classroom and then he demanded utmost concentration. If he thought you weren’t concentrating, then he’d fast bowl a piece of chalk at you. I believe he did this merely so that he could get some bowling practice in. I don’t know how well he aged. I can merely tell you that he was a prick when he was young. But I think we learned a lot from him too and there’s the rub.
My parents and I moved to Christchurch from Dunedin when I was 13 or 14. My brother died in a tractor accident on a road gang in Dunedin shortly after that.
When we moved to Christchurch, I met one of my very best mates and a joker who was a brother to me his whole life through. His name was Mike Jones and his mum owned a dairy down by the railway tracks on Wilson’s Road. Our family lived just across the street. My mum worked in Melhuish’s pickle factory that was almost next door to our house and my dad worked at Stainless Castings in Woolston. This was good work for both of them and they enjoyed it. It took me a while to get used to a Christchurch summer after a Dunedin one, but I enjoyed the change. Christchurch just seemed to have more fresh air.
A notion of what being a brother means is that he has been with me my whole life through and I have always cherished having good mates. There is nothing better for me than the feeling of being part of a team.
Mike Jones played bass in various Christchurch bands and when we were sixteen we hired the Mount Pleasant Community Centre hall to run dances. This would have been in 1968. We did a lot of these gigs and it was wildly good fun. We did gigs in the halls all around Christchurch in fact and this was well before bands really played the pubs as all hotels closed at 6pm.
The Mount Pleasant Community Centre Hall was mostly where I ‘cut my teeth’ in Kiwi music. I saw what could happen and not much new came after this. Oh, they keep on calling it different names, but it’s basically the same. We would get 600 or 800 people in that hall on a Saturday night and there would be ten bouncers working for us. You needed ten bouncers because half the hall might have had 570 people and the other half had 30 ‘Epitaph Riders’. The Epitaph Riders were the local bike gang well before everyone was either in a bike gang or selling coffee or amphetamines.
I remember that after these dances, Mike and I and a half a dozen others drove our Bradfords, Bedfords, Austins and Vauxhalls down to the Silver Grille on Manchester Street for a late night steak. I always drove a Volkswagen but mostly because I can’t stand the French. I guess you know.
One of our bouncers at these hall gigs (known in wrestling circles as ‘Dr Death’) ended up being a screw in Paparua Prison when I was incarcerated there on drugs offences a few years later. Then some of those Epitaph Riders became my best mates in jail. Dougal Johnson was one of them and but for him (and a few others) I would have been a real broken arse. As it was, I enjoyed it.
Loss, what do I know about loss? What could I possibly know…
Mike Jones became a junkie for a while and ended up in jail for manufacturing Heroin in the 1980s. I have many proud memories of him and here is one: at one time in Christchurch one of the ‘heaviest’ guys around was known as Griff and he terrorised many in the ‘home-bake community’ by taking their dope off them and other ‘rorts that a junkie will pull in order to survive.
‘Griff’ went around to Mike’s place one day in South Brighton and demanded Mike’s Morphine. Mike refused and so Griff got out a pair of scissors to cut a finger off. Mike was highly intoxicated and not making any sense at all, but he bellowed: “Go ahead” and this was when Griff had the scissors open across Mike’s fingers and he was screaming and ready to go as well. “Go ahead!”
You can’t and don’t call a policeman in a situation like this. Not before or after. You know it, the other guy knows it. Mike kept his fingers and the Morphine.
Funny the things you can feel proud of.
The stuff I know about Kiwi music doesn’t seem to fit into any particular format. I see others write about Kiwi music and I mostly don’t enjoy reading it (or worse I get angry). It seems that they always miss what are, for me, essential points. But I think we’re probably all like this (we have unique experiences) and meanwhile Facebook is driving us all mad and wanting our fingers to boot. They already have our minds it would seem.
I am committed to not looking at Facebook after 4pm. I’d rather get some fresh air.
Mike died about six years ago after he had interferon treatment for Hepatitis C which is not a very popular thing to get and yet a virus that almost all junkies attract. The treatment is worse than the virus. He developed liver cancer and he went to the wall very quickly. His voice is with me every day and mostly the way he played bass. I feel it rather than hear it and the man went to his grave still capable of raising a snarl.
With songs to call on stretching back to her days with Look Blue Go Purple as well as two solo albums, Francisca Griffin is about to tour in the North Island for the first time in decades. The most recent of her solos records is the lovely and affecting the spaces between. She’ll be playing Auckland and some out-of-the-way-places with her band, The Bus Shelter Boys. She spoke to Richard Langston.
Your album the spaces between is a record of such a particular tone and mood, I’m wondering how you approach those songs live?
Ah, that’s a good question. That was a solo record with a lot of help from amazing people, Mick Elborado for example, he plays keyboards on ‘Rising Tide’ and now he’s in the band playing bass. I’ve got Gabriel on drums and the songs have morphed a little bit as I think songs should. The same basic bones are there with the ones I play with the band.
We went into practice and I just told Gabriel and Mick that they should play, well we just started, and they played what they wanted. There’s only one song where I directed Gabriel and sometimes I tweak a little bit of what Mick’s done – can you hold off on this bit, and that bit’s really great. I really like what they’ve brought to it and I enjoy listening to other people’s interpretations within the tunes.
We’ve got three new songs and we’re going to bring them on tour. We also play some of my older music like ‘Eyes Are the Door’ which is on the Look Blue Go Purple compilation, the first song I ever wrote.
What I particularly enjoy about Spaces is how it evokes where you live (Port Chalmers) and people who are obviously close to you…
Yep, it’s songs written over 15 years…maybe a bit more actually. I started writing ‘Stardust’
in 1995 but it didn’t morph into what it is on the record now until 2012, it just happened one day when I was practising , ah, those words fit this.
Were you surprised when you were writing Spaces how powerfully some of thosepeoplecame back to you, for instance the song about Martyn Bull (who she married and who died aged just 22 in 1983…and who famously drummed on Chills song ‘Pink Frost’)…
That song, ‘Martyn’, I wrote when I was playing with Sandra Bell and Dianne Civil and Emma Milburn…we were this very short-lived band called Formentations and I wrote it just after we had stopped playing. That song just arrived like so many of my songs do. I do have to work at some of them of course, you do end up working on all of them to some extent, but that song was just there.
I have this new view of death, it’s not a popular one, which is cool…it doesn’t bother me. Not long after Martyn died I was as you would imagine bereft. One night I lay down on his side of the bed and I was fucking miserable…and as I was drifitng off to sleep…and this is no word of a lie…this happened… I felt a weight on the bed come down beside me and then give a really amazing hug. When I woke up it wasn’t there. I think it was Martyn. He was coming to give me a hug to say that he was alright, he was doing okay.
What year did you write that song?
Ok that’s sometime after …
Oh yeah, totally. The time between I spent in LBGP and being a mum and being in a relationship where I was not at all confident to go and play and my partner was not in the least bit supportive of that, and so I lost confidence pretty much completely. A pretty difficult few years but I got a few songs out of it (laughs).
One of the other songs that’s very affecting is ‘Ghost Boy’…I heard it and got the impression you’d lost someone else…
That was written in 2000, I started writing it on bass and then moved it over to the guitar – it was the patterns as opposed to the notes because of course my bass is left-handed – conventional left-handed and my guitar is left-handed but my strings are all around the other way cos as people know who’ve read any interviews with me I learned to play at peoples’ houses at parties in the ‘80s and they all had right-handed guitars.
My son Oscar was visiting here from London, his Dad brought him over when he was 12. The visit had some really really really good aspects to it of course, I was seeing my son for the first time in two years and he was seeing us for the first time in two years and getting to know his little brothers a little better. At some stage we had a gigantic fight, and he couldn’t vocalise why he was so angry and I wrote him a really long letter…actually I never sent it…I gave it to him when he was older…just to put it out there I think we’ve resolved those things and have mended those hurts.
That song, every time I played it for a long time, and still sometimes now, I start crying, and lots of people cry when they hear it. Ro Rushton Green who’s just joined our band from the band Sewage, Ro plays violin and we started practising it last week so we’re going to do it on tour.
Ther version you have recorded on the album…Alastair Galbraith’s playing…the way he makes his guitar burble…moan…mourn…and lament…it’s incredible…
He does an astounding job. When we started practicing last week Ro cried while she was playing. It’s not just a song about Oscar… it’s a song about loss. The last two verses are about realising that you are still connected although you are not in the same room.
When we play ‘Ghost Boy’ it will be just me and Ro. I’ve played a few times solo when I’ve asked Alastair to come and play as well which has been really amazing. There’s 3 songs on that record that Alistair’s on that I’ve roped him into playing live a few times which is awesome.
‘Martyn’ was recorded with Gabriel (her son) and me playing guitar and Ro playing baritone sax, on tour Ro will play an alto sax cos a baritone is a monster to cart around and Mick’s bass is pretty much the only thing new on that song when we play live.
Which reminds of the fact you’ve got a knack..a gift…an ability to gather a community of musicians around you when you want to make music…
It’s just so heartening. Let’s talk a little about Songs from the Sky (her first solo album released in 1998). That came about because I played at The Empire one night a solo thing with Alastair Galbraith and Peter Jefferies and for some reason I ended up playing last when it didn’t even occur to me…I’m a bit naive sometimes…(laughs)…following Peter and Alastair was a big ask and to hold people’s attention.
When I was finished playing someone said to me , that took guts to play after them and I just went, what? David Kilgour came up to and he said, they’re great songs… When are you going to record them? I just looked at him and thought, here’s this guy that I absolutely admire, I’ve loved his guitaring forever, so when he said this, I thought…ah huh (laughs).
I got funding after Roy Colbert, bless him, and David wrote letters of recommendation. I asked David if he would help on it and he was amazing, he and Stephen Kilroy, they put up with me being a mother of small children and my band Heath Te Au and Tenzin Mullin they were pretty amazing too.
I got the CD out recently and looked at what we all did and OMG David plays a lot on that record, and I had a convo with him recently and said once again how appreciative I was of his help through that entire process and he said, oh, it was fun, I really enjoyed it. I said do you remember playing all those basslines and he said, no. He plays a few on that record and some guitar on ‘What Dreams’. We play that one live, that’s a lot of fun.
In our set we also play ‘Lunar Fall’ the Cyclops song and we play ‘Call Me’ from Some from the Sky and ‘Antarctic’ from the Shrew’d compilation in 1993released in Women’s Suffrage year.
You’ve said in the past that you play by feel, I wonder what about your boys, do they have a similar approach to you?
Alexander’s not in the band but he is on the record. He did music at school. He doesn’t read music but he knows about chords and he knows about transposing and keys which I don’t have a clue about…none whatsoever…Ro and Mick know keys so Ro goes what key’s that in and I say I dunno ask Mick (laughs).
Gabriel also took music at school but he plays by feel and honestly he’s just the most incredible drummer. He’s in a couple of other bands which I dub screamo bands. They play super fast.
There’s quite a gap between your solo albums – something like 17 years – when might you make another?
Next year. We’ve got three songs so far and when I play really intensely I start to write. I can’t just sit down and write – I can do little riffs and stuff – that intense outpouring really happens when I’m playing a lot, either practising or touring. The three new songs are fully band songs and one of them is called ‘Broken Heart’, another song that has made people cry.
But y’know that thing of listening to some music and having your own moment of being so touched I know that is a really important thing for people to have that connection and feel that way.
What local bands are you listening to…and getting excited about?
Na Noise. They are bloody amazing. OMG…Night Lunch. Anything Milly Lovelock touches is amazing, another young woman called Julie Dunn… she’s got a couple of projects called Bathysphere and Fleshbug . I love Tiny Pieces of Eight and Wet Specimen and Negative Nancies.
Gabe said you’ve gotta come and see this band Dick Move. They really like you and they’re fans of yours, and when I met them they were so fanned-out they couldn’t actually talk to me. They’re ok now! Lucy the singer was wearing the Look Blue Go Purple t-shirt on stage last night when I saw them, really cool.
There’s a lot of activity on the experimental side of things – there’s a crashie noise trio of Peter Porteous, Mick Elborado and Robbie Yeats. They’re calling themselves Ghost Bells.
That’s a juggernaut of sometimes not working but sometimes working and working well.
And I have it on good authority from Bruce Blucher that the Alpaca Brothers have just recorded some new songs with Bob Scott.
Are you looking forward to getting on the road…playing Auckland and then some out of the way places….in Palmerston North…Featherston…and Paekakariki…
Absolutely. I haven’t toured – we did three gigs in the South Island in January 2019 for the spaces between- but I haven’t been in the North Island playing with a bandand doing that driving around stuff since 1987, the last Look Blue Go Purple tour. We played some unusual places then, we really didn’t want to do the university circuit again, we played lots of different places including Greymouth in this tiny bar I think it was called the Tramway. That was hilarious, the entire town turned out to see us, then took us somewhere for a party. Great. I’m so looking forward to the wonderful places we’re going to play – it’ll be a blast.
The smaller places anyone can come, they’re all ages venues which we love. And St Peter’s in Paekakariki looks like a pleasure to be in. Featherston is a tiny gallery, Miracle Room. That’ll be me and Ro playing quietly.
The Chills new album Scatterbrain is the band’s third in six years, an unusually productive period for a band who’ve often been famously interrupted by line-up changes. Martin Phillipps spoke to Richard Langston about the new approach to record this album and why he’s excited about the band’s future.
When I saw you had a new album out, I thought: wow, that was fast…
Well yeah, it should be what bands do or what songwriters do at least, get an album out every couple of years. We’re sort of on schedule, two and half years or something since the last one. It’s good, it’s just unusual for The Chills, there were always a couple of line-up changes in between that delayed things plus in the old days extensive touring got in the way of studio time as well. Three really good albums now, I’m pretty chuffed actually.
Of your three comeback albums Snow Bound (2018) strikes me as the rockiest…this one feels more reflective…how do you see them?
It does take me a while to step back and see what we’ve done, that can take years sometimes especially with lyrics, I don’t realise how revealing of myself I can be until some years later, it’s like ‘oh my god’ I put that out there. But there’s been a process to these albums. When Fire Records got involved and we did Silver Bullets (2015) I really didn’t want some name producer coming in and taking credit for the revival of The Chills.
We worked with a really great producer-engineer, Brendan Davies, and I was prepared to take responsibility for the success or failure of the album and it was a great way of getting the band some of whom have really not been in an intense studio session like that before. It was a great way of getting the band working together, and then with Snow Bound it was time to step up and actually work with a producer again. I had my own reasons for being nervous about working with producers, it hadn’t always worked for me. Greg Havers was just great.
He brought the best out of the band and I think he put us through the hoops but at the same time he had enough respect for me to work with me on the overall record. But this time with Scatterbrain it was time for me to step back and let the band’s skills come to the fore. It worked. I was still writing the album as we were recording it so I was able to take off home and keep working on songs and trust what the band was coming up with Tom Healy who was an excellent producer.
I’m really pleased, people are saying it’s probably the most produced record they’ve heard, and I think that’s right. It’s where it needs to be, and people also said the best album since Submarine Bells; people always say that but It’s a nice thing to hear because it’s a recognition of the quality I guess.
I hear more spaces in this record and more orchestration…
Yeah totally, I’ve been learning…because I’m one of those song writers I sit there with my guitar basically and try and do the entire band, rhythm and the chords and all the melodic breaks by myself. It’s been a learned skill for me to then go into the studio and strip away what’s not necessary or assign it to another instrument. There’s been way more of that done on this record than in the past. There’s actually very little of me on it playing guitar.
That’s a big feature of the album…were you worried you would lose that signature Chills sound…the interplay of guitar and keyboards?
Yes, I was concerned and that’s why it’s taken a while I guess to understand what we can do with those melodies, actually chuck around ideas, it’s no longer necessary for me to play relentless guitar which i did for years and years. That’s been great, that little line of guitar can be done by Erica on violin or that one can be done by Oli on keyboards. He added an awful lot to this record. Songs like ‘Scatterbrain’ he basically built that whole sound structure up with Tom Healey and it’s a great bit of work.
The songs were written but the actual approach to how they were going to be realised was different, I was able to step back and acknowledge the expertise of others. Erica was a child prodigy violinist and she plays great guitar now and keyboards. Callum the new guy, I didn’t realise he played horns till he started coming up with these great horn parts and arrangements. Oli is head of the contemporary music school at Massey and has all sorts of experience. That’s an enormous range of talent to be able to draw upon and having me relaxed enough to accept that this is the new Chills and it’s a way into the future.
You talk about the horn arrangements, ‘You’re Immortal’ has a Morricone-like sweep about it…
(Laughs) It’s so ironic because my briefing to the band was this should sound like Ennio Morricone and while we were recording it a week later he dropped dead so I will not say that again about any living artist! But that was the brief, there were actually three other songs completed that were left off and one of those, ’The Dragon with the Sapphire Eyes’, has even more amazing horns on it, and that’ll come out in some form.
It certainly sounds the most varied album and there’s a lot of reflection going on on your part…
The three songs that I left off were the first ones when I started writing the album and they just became not the right theme. ‘The Dragon with the Sapphire Eyes’ is about consumerism, and here’s me an old guy trying to tell people off and it was just boring and it’s been done much better by the younger generation. It was pointed out to me by a couple of people independently that the stuff that really registers is when I draw upon my own experience especially as an ageing adult confronting mortality, the death of my mother, that’s what connects with people.
‘Caught in My Eye’ is the rawest most stripped-back song about loss..but it’s strange Martin the one I found most affecting was ‘Destiny’…a bitter-sweet lament on mortality…
Yeah, it’s been quite remarkable seeing how that is connecting with people. One of the few good things about the streaming of music is you get a good record of where songs are being played around the world and ‘Destiny’ has taken off in Latvia and I’ve had to do an interview with Croatia as well. It really wasn’t one of the crucial songs, it was almost traditional Chills, the kind of stuff we were trying to move away from. The lyrics are very real and somehow it’s connecting.
I always find with Chills’ records person by person they will find a song that’s key for them. I’ve had two people say already that the best song on the album is obviously ‘The Wall Beyond Abandon’ the closing track and that’s certainly not our view, most of the band feel that ‘Hourglass’ is the most important song on the record.
Just harking back to ‘Destiny’ for a minute it must be the only time the word autarchic has been used in a song…
(Laughs). Yes, it’s sort of a nod and wink to the documentary, me as the dictator. I was looking in the thesaurus for another word for dictator and discovered autarchic which I’d never heard of before. If you’ve seen the cover artwork it’s quietly hidden in the top right corner. The line ‘autarchic on the mend’ means I’ve realised it’s not the be all and end all to be in total control.
With the artwork we were very lucky because the guy who designed it, David Costa, designed Goodbye Yellow Brick Road for Elton John, Night at the Opera for Queen, and he did the recent Beatles ‘Let It Be… Naked’ and all sorts of stuff. The reason that came about is he was in a ‘60s acid folk band called Trees, not a million miles away from Pentangle or Steeleye Span, and because they had the reissue of their albums through Fire Records he offered to do a cover for one of the bands and we got it. We were really fortunate, it’s a really powerful image.
What is it about that image that appeals to you?
I guess Scatterbrain is referring to my state of mind, and the mind of people of my age group that I see daily on Facebook and things. The uncertainty so a powerful image of being stared at by a kind of ominous diving bell but with the bird nest on top indicating a bit of confusion. I was really impressed and he did that from listening initially to old Chills stuff to get an idea of what kind of music I made. When he actually got to hear the album just before the cover was finalised, we all agreed that he’d nailed it.
You’ve had a lot of marine imagery in your past work…’Submarine Bells ‘being the obvious one…that was the association I made…
It was deliberate to link it back to those kind of nautical themes because as you mention there’s actually quite a few of them when you start looking at artwork for singles as well and in the cover art for Submarine Bells. There is actually a diving bell helmet in there somewhere, so it’s just appropriate bringing the saga into the now.
It’s interesting Martin that all you people in Dunedin who started out writing songs 40-odd year ago…David Kilgour…Shayne Carter..you’re all dealing with mortality…Shayne’s song about his father…David’s album about his mother and Peter Gutteridge…
I think the best thing about the people you mention is the sheer fact that we’re still going. That’s the most crucial thing. I’ve connected with Shayne probably more than ever before through the Tally Ho concerts initially but we’re just sort of been comparing notes as life goes by more than we ever did in the past. In some ways The Chills/Straitjacket story, I had no idea how many similarities we had in common until I read Shayne’s book. There are few other people that we can share that with when we talk about the highs and the lows. It’s been really good.
I say the albums got those reflective songs but it’s also got rockier stuff…I think ‘Little Alien’ is just a great pop song…
Most of these songs started out with a lot more lyrics and I’ve become aware that I can just be too wordy. I stripped things back with ‘Little Alien’ and ‘Monolith’. There were all sorts of explanations of what I was trying to say but it just became unnecessary. ‘Little Alien’ is basically about refugees and people who are not in their comfort zone and feeling scared,.There were other verses that helped explain that to the listener and they just became unnecessary. I’m trying to make things a bit more open, it’s just better for people to have room to move with their own minds as well and not being preached at
You’ve always been quite purposeful in what you’ve wanted to say in a song…ethical and moral concerns…I’m trying to think how far back they go…maybe ‘Submarine Bells’…
It’s funny you should say Submarine Bells because I was having a conversation the other day about this where did the message songs start. It’s all the way back to The Same with ‘Frantic Drift” which is dealing with religion, all the way through there’s songs about women’s issues, ‘The Male Monster from the Id’, ‘Sanctuary’ about domestic abuse, ‘Tomboy’ about gender identification and stuff. They’ve always been there and it’s an on-going battle to question yourself about your motives but also whether the quality of what you’re trying to say is worth putting out there.
I’ve wondered if that’s the influence of your father…(who was a Methodist Minister)?
My father’s input, he’s very much of a classical bent and has never been able to understand rock music. It’s just not his thing.
I was meaning more that he’s a minister, and you probably heard him speak on moral issues and maybe you sat in church and listened to him …
There’s an assumption that Dad would be speaking about higher and moral things but most of the stuff I’ve seen him talk about is about social issues and people, certainly not about what they should be doing in the eyes of God or anything like this. The short answer is yes, my father’s influence will be there to some extent. He’s always admired my words and suggested I should’ve been a writer which is kind of a back-handed compliment, he doesn’t get the music but ‘you should write books’. But at the same time both parents were proud of what we’d achieved, pretty staggering for them to go to a packed Town Hall for Submarine Bells and years later going to a packed Regent Theatre to see the documentary premiere. It’s quite overwhelming for them sometimes.
On the matter of you being a writer, you wrote that great piece for AudioCulture on your posters, and I thought, Martin you should write a book..your wry take on things…your honesty…
Over the years I have had quite a lot of stuff published in various little publications and things, short stories, poems, tales of my hepatitis C adventures, all sorts of stuff. But frankly now that Shayne’s put out his book and he’s lifted the bar so high I might just not do that! Maybe I could focus on a very different way of telling the story.
You’ve definitely got your own take on things…
Yeah, and I’ve become more confident with it over the last ten years. I think I’m old enough to be eccentric now which is quite a nice free-ing situation to be in, I really don’t care anymore about what people think. It’s been very liberating.
I want to ask you about the re-releases of your albums…I imagine you feel comfortable about Submarine Bells but I wonder how you feel about Soft Bomb…given it caused you and the band so much grief…how you were kicked off Slash at that time…
It was a very fraught album but that’s not unusual in the music business to have something like that happen. I always believed in it because there’s at least seven or eight really good songs on there and I think we put too much on it, the strange choice was made at the time to basically fill the capacity of a CD. That was a mistake and some of the songs went a wee bit awry. It’s very hard to get back to a song you love when it’s been mis-recorded.
One of things that made that record fail was just the times, the era of Nirvana and all sorts of extraordinary stuff happening in hip hop and stuff, so we’d had our run by then the band was more or less fourteen years into its career, and that’s pretty good. I knew that people would eventually discover the good stuff on it and the same with Sunburnt from 1996. People are starting to discover that too, once people got sick of playing Submarine Bells over and over again they started to look further afield.
One of the songs that’s stuck in my head after listening to the vinyl reissue of ‘Soft Bomb’ is ..the one with the line.. .’never trust a man in camouflage gear’…
‘Strange Case’ yeah, which is obviously about the Aramoana incident, pretty harrowing and very different from the demos I did for it. It’s got that bouncy threatening kind of feel to it, it’s at odds with the message. I don’t know if I’d be brave enough these days to take the point of view of the killer, that was the kind of thing because I’d been listening to Randy Newman songs like ‘In Germany Before the War’ that I thought was acceptable, and I think it would not be acceptable now for me to presume to try and and explain some of rationale…certainly not to excuse him. I did have somebody who had a friend killed at Aramoana say that song really helped them and I only needed to hear that once to feel it was justified. Still pretty heavy.
‘Double Summer’ is a terrific pop song…
That’s one that failed, sadly. It was so much bigger in my head. Often it’s those big pop songs that don’t quite work. ‘Molten Gold’ we never quite got that, ‘Party in My Heart’ on the back of ‘House with a Hundred Rooms’, that was giant and majestic and it just didn’t work. Sometimes you get the great riff but you cannot get the great lyrics to sit alongside it.
‘Double Summer’ is one of the ones most requested to play live but some of these things I used to sing at the top of my vocal range and that meant singing for three minutes on a really high note. It’s bad enough having ‘Heavenly Pop Hit’, we have an obligation to play that but we just can’t do all the old ones that are that strenuous.
You seem in a very creative period and I remember in the documentary you said…’there’s a lot to be accomplished and there’s an uncertain amount of time’…
It comes and goes. The unfortunate part of the creative package is I get periods of not just the blues but the deep blacks as well and I just can’t see my way to doing the next song let alone the next album. But then it happens, just in the last week the pad which sits beside me while I’m watching tv has started filling up with little ideas, quotes, and song titles. It’s an exciting feeling that once again the process is underway. I came out of recording ‘Scatterbrain’ which was quite draining and I was thinking that is going to be the last album. But here we go again.
The songs on Scatterbrain all feel like new songs, they don’t feel like songs that you’ve finally got around to recording…
That’s true. Most Chills albums have had riffs that date back sometimes to the very early ‘80s. I can’t think of any on Scatterbrain. We recorded the album at what used to be Chicks Hotel but is now called Port Chalmers Recording Services run by Tom Bell. We were four days from finishing when covid hit, Tom Healy the producer just made it back to Auckland otherwise he would’ve been trapped here. But it gave us extra months to send sound files around and really fine tune it, that ultimately really paid off. We pulled it in so there’s a uniformity to it which wasn’t there in the early mixes, it sounded like a jumble of different songs. Now it has a flow and a feel to it.
I notice that you did record an old song, ‘Lost in Space’ that goes back to your early days on that cassette Fire Records issued in 2016, Single-Burger…
Yeah, there’s a live version on Secret Box (Three CD package of rarities). Essentially because we didn’t get to record our first album for seven years there are at least two albums of Chills stuff that never got recorded. We’ve been talking seriously about making use of this downtime while we can’t tour overseas, and just nail those old songs one at a time and basically record what we’ve been the ’82 Chills album and the ’84 one.
I’m hoping that happens, there’s a lot of really good material. There are other things like ‘I Saw Your Silhouette’ and ‘Frozen Fountain’ and ‘Juicy Creaming Soda’, ’Steinlager’ crappy title but I have a different set of lyrics for it and it’s called ‘Stay Longer’. I reckon getting members of the old bands and the new bands together in a good relaxed environment, listen to the tape a few times, learn the songs and bash them out with as much of the old equipment we can find, not dwell on it too much, that would be a dream to finally record those.
The Chills – Scatterbrain Album Release Tour
April 16 – Oamaru Club, Oamaru April 17 – Larnach Castle, Dunedin Arts Festival SOLD OUT April 18 – Festival of Colour, Wanaka April 30 – Cassels Blue Smoke, Christchurch May 1 – Wakatu Hotel, Nelson May 6 – St. Peter’s Hall, Paekākāriki.
May 7 – Meow, Wellington May 8 – The Cabana, Napier May 9 – The Dome, Gisborne May 13 – Totara St, Mount Maunganui May 14 – Powerstation, Auckland May 15 – Town Hall, Raglan
Sometimes, you just need to hear a supportive voice
Wellington Samaritans answer a call from someone in need every 22 minutes.
Their mission is straightforward: to reduce suicide. That’s why they offer empathetic, caring and confidential emotional support to anyone who calls in distress. Non-judgemental, non-religious support is available day and night to callers of all backgrounds.
Samaritans receive no direct government funding so they rely on donations and grants to make sure no call for help goes unanswered. For their annual Street Appeal last September, they asked Phantom Billstickers to help spread the word about their suicide prevention campaign.
It was a call we were glad to answer.
Street posters supporting a street appeal
Wellington Samaritans created a powerful campaign and took it to the streets. With QR codes to help stimulate response, they raised awareness as well as funds.
People took notice. With Phantom’s help, Wellington Samaritans raised their second-highest amount in their 15-year history of doing street appeals. And so their work continues.