Pavement

“Peachy Keen craft vivd tales of love life that range from the dark and melancholic Stealing to the upbeat jazz of Down Down Down. The jazz drumming of Ben Lockwood, haunting violin of Tam Taylor and sublime piano of Nigel Braddock complement each other brilliantly, turning every track into a piece of beauty. However it is the storytelling lyrics and smooth vocals of Kathryn van Beek which make this such a satisfying listen, again and again. Sultry and Sensual, this album is guaranteed to seduce.” ***** Rip It Up

“… a glorious aural lullaby.”    Listener

“Cloudboy member Johannes Contag’s second Sleepytime release is an extraordinary thing.”    Metro

“Gorgeous and hypnotically addictive.”    Rip It Up

Linda Hughes, Groove Guide
May 2007

With this album it almost comes as a shock how long Luke has been an independent voice on the New Zealand music scene. It collects songs from the last 25 years and together they create a remarkable body of work from someone who has always remained true to his own muse.
From the ironic humour of the iconic “Mona Lisa” to his mournful eulogy for passengers lost in the Erebus crash (“Two Degrees”), Luke has been continually documenting New Zealand and the world through his unique eyes and here we find classics such as “Japanese Overdrive” nudging shoulders with the historical ballad “Duvalier” and introspective love songs like “Missing You” and “Fait Accompli” (which makes a fascinating comparison with Tracie de Jong’s totally different reading of the song on her Turning In album).
With 18 songs on offer it’s a generous collection, showing both the range of Luke’s vision and his remarkable consistency, both in quality and style, over a quarter of a century. This deserves a place in every Kiwi record collection.

The Weekend Sun
May 2007

At 18 songs, this compilation of Luke Hurley’s songs, like many “best ofs, only scratches the surface of the artist’s output. Given Hurley has been performing for more than a quarter of a century, perhaps 25 tracks would have been a rounder figure to play with. Still, that’s an observation more than a criticism, a bit of wishful thinking.

For those curious listeners who, like me, have a cassette of Hurley’s 1984 album, Japanese Overdrive, tucked into a shoebox somewhere, such a release is a welcome addition to the collection, one likely to sit in a more prominent spot alongside the likes of Paul Ubana Jones and Karen Hunter, fellow guitar-slingers with lyrics that speak from both head and heart.

Hurley’s compilation is a broad selection, featuring early material (Mona Lisa, Japanese Overdrive) along with more recent works such as First Civilian, penned in memory of teacher Christa McAuliffe and the six others who died when the space shuttle Challenger exploded 73 seconds after takeoff on January 28, 1986. Much of Hurley’s work revolves around such acute observations, be they close and personal (Missing You — about his daughter Alice) or metaphysical (The Sound — about the Big Bang theory and its connection to music)

Regardless of subject, one thing remains constant—Hurley’s seemingly effortless guitar playing. In a recent interview, Hurley claimed he was less interested in technique than finding the core of a song. Yet it would be unfair to ignore such skill; he plays intricate, fast arpeggios while attacking the bass notes, the result a mixture of clear, chunky rhythms and silky harmonic textures.

There’s probably a better way to sum it up: Hurley makes it sound easy when it’s not. **** (four stars)

Shane Gilchrist, Otago Daily Times
May 2007

Tracing the folk roots of Luke Hurley across 25 years (1981-2006) The Best Of will do a great job of introducing this under appreciated Kiwi singer-songwriter to a new audience; whilst consolidating the best 18 selections from a handful of records for fans. Hurley has been described as “arguably New Zealand’s finest busker”. There’s a Dylanesque feel to some of the early songs, before the more ethereal, progressive folk-meets-new age vibe of Michael Hedges creeps in. Hurley is a great guitarist – and can work in both a band setting or as a one-man gunslinger. To be kept in the same company as Hammond Gamble, Paul Ubana Jones and the recent album from Graham Brazier, The Best Of Luke Hurley is well worth a listen. **** (3 and a half stars)

Simon Sweetman, Dominion Post
May 2007

Simon Sweetman, Dominion Post
May 2007

‘Rubble’ is a stunning and varied set that grows with each listening. Helped by some fine guest players (including the rhythm section of Aaron Coddel and Ron Samsom). Káren has created an intense listening experience. Some of the reed voicings (such as on Authority) sound like US sax master David Sanborn, and her voice is often reminiscent of Ricki Lee Jones at the height of her Chuck.E’s in Love fame. The 12 largely jazz/blues tracks were all written, recorded and produced by Káren, mixed ( and partially recorded) by Nicholas Rogan. To me, it’s her guitar playing that steals the show, she displays so much scope and taste throughout. This CD is a real treat.

Peter Dent, NZ Musician Magazine
April/May 2007

Karen Hunter is the new bohemian Jones girl, where gloriously vivid Tom Waitsian narrives ‘Mr Whippy Rides Again’ and ‘Make My Day’ rub shoulders with the jazz trippy ‘Drunk and Disorderly’, the torchy ‘Kids in the Hall’ and smoky ‘Oblivion’. ‘Rubble’ is almost the album she was born to make. **** (4 stars)

Mike Alexander, Sunday Star Times
March 2007

You can’t help but get down to the skulking bass grooves on Drunk & Disorderly, the first song off Karen Hunter’s third album.
Then there’s Fight or Flight, a delightful and breezy blues jaunt with beautifully brushed beats. Compared with her past work, which moved from classic singer/songwriters moments to outbreaks of raucous rock (2001’s Inside Outside), Rubble is refined, more consistent in musical mood, and more accessible.
**** (4 stars)

Scott Kara, New Zealand Herald
March 2007

(Rubble) is much more musically coherent than her previous outings and in places owes more than a little to the early sound of Tom Waits and Rickie Lee Jones.
But those are only the most obvious references and keen ears will hear much more in the emotional depth of these songs. And some strange soundbeds for her lyrics.
Karen Hunter is one of a kind, and this album is further proof of that.

Graham Reid, Elsewhere
March 2007

Instead of Hunter’s longstanding mix of acoustic heartfelt folksy pop, her forth-solo album Rubble is heavily infused with deep dirty jazz and a smidgen of alt-country. A visual comparison could be imagining a worthy performer that always appeared on stage unadorned in jeans and work boots and then made herself over to appear in a sequined slinky dress and heels. This transformation (which has come about after Hunter has spent the last few years in formal study of her craft) has made for a rich languid recording with a beauty and depth that affords timelessness. The standout track is the sophisticated silky voiced ‘Authority’ evoking images of performances in a smoky 1930’s jazz club. But I think that its songs like ‘Mr. Whippy Rides Again’ and ‘Make My Day’ where she spins ironic tales of small town kiwi losers which give the recording it’s kick and distinct original flavour. **** (4 stars)

Sharyn Croft, Groove Guide
May 2007

On Rubble, Hunter wears her Tom Waits and Rickie Lee Jones influences on her sleeve, but all the while honing in on her own unique lyrical flow and nifty phrasing approach. That she can switch from a dirty jazz-blues rhythm section arrangement to a simple guitar-picking delivery to spoken word reveals Hunter as a major New Zealand talent. From every turn, Rubble is one rough-cut gem of an album.
**** (4 and a half stars)

Steve Scott, Wiakato Times
May 2007

“[the Loneliest of Creatures] is one of the most ethereal and hauntingly beautiful albums to be released this year. Jordan Reyne is a truly experimental musician, willing to overthrow any preconceived notions of “how music should be” in order to expand her art” Chaff (Massey University Student Press)

Another low-key ambient outing with a Cloudboy connection: Hummel is the album and nom de disque of Andy Cummins who has toured with Cloudboy as a vocalist but, as with Contag, has a private life in the quiet zone. Plucked guitars, barely audible vocal sounds, a few emotionally intense folk-styled songs scattered around, spoken poetry, small sonic landscapes etched in the background.

Chris Long of Rip It Up said,

Andy Cummins, a recent contributor to Cloudboy’s live performances, has released a haunting, and exciting album in hummel. The album flirts with hard-edged ambience, with some sparsely employed singer/songwriter style acoustic guitar and vocals, to shake things up. Definitely recommended.

I’d be loath to categorize music this original. PJ Harvey springs to mind, but the style is 100% Jordan’s. Her vocals are astounding.
The Mix (UK)

Jordan Reyne… she’s shrewd, has a history and keeps on going, with a weird mind and stories that evoke photographic snapshots. This music has beauty, but there’s a trace of canker now and then, a lament where the sounds help create and distort the mood. The reason it can be enchanting is because of the impeccably measured vocals that have a delightful timbre of mischief. Musically it’s always moody to one degree with the guitar and percussive slant of ‘Measurement’ being particularly anxious, ‘Part II’ set in a station with tannoy announcements and clunky footfalls being picturesque, but ‘Not Because’ ends with fluttering mayhem and what I find weird is how the songs are just one step away from sleek, gorgeous mainstream accessibility! [The Ironman] is a beautiful, perverse album, which will reap further rewards the more you allow it to.
Mick Mercer (UK)

Husky and thoughtful female vocals ride over a wide-ranging alternative spectrum of sound, from rock and acoustic guitars, to mellow and haunting synths. That said, this sound is distinct, with Jordan’s vocals being able to reach any scale, no matter what the music around her may be doing, making for a varied listening experience. This is what the scene needs – more bands willing to give something new a go, and Dr Kevorkian seem to be amongst those leading the way.
Hard Wired (UK)

A groundbreaking album – Probably the most eerily beautiful and disturbing album you will hear from a New Zealand artist this year.
New Zealand Musician

…the most innovative, emotive and experimental music ever to come out of New Zealand.
Salient (Victoria University)

The Ironman is a concept album, a study in science, technology and humanity. Stunning poetry.. evocative and moving.
Real Groove

Where others sit and strum, Reyne uses the entire studio to build somber yet evocative sound pictures… She succeeds in turning her bleakest visions into something musically seductive.
The Listener

This album will tear you apart – and it may be the best thing you buy all year.
Rip It Up

Onelung’s third album is a heady brew of breakbeat/drum n’ bass and general mix mayhem.

Reviews

“This is a good as most of the international groove-based releases I’ve heard lately, and a good deal more left-field in terms of it’s odd sample choices.” Real Groove

“Flashbacks is well named, as listening to it brings to the forefront memories long gone, called forth by the varied sounds on the tracks. Listen and absorb. The soundscapes are delicious and the rhythm, rhymes and beats divine.” varsity.co.nz

Sampladelicist Onelung’s second CD of beatstyles, The Electronic Laboratory, uses nothing but samples downloaded from the internet, duly manipulated and messed up with fearless abandon. Originally self-released in 1999 as a CD burn, this album is now available only as a download.
Reviews

“This is a funky driven, drum breaking, beat fest, layed with a plethora of soul escaping phonics. A listen that takes you on a slow ramble through south island back roads and charges down the neon urban streets with loud breaking juicy tunes.” Trip