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Rip It Up, Issue 119, 1 June 1987, Page 22

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Dunedin Double EP: Stones, Chills, Sneaky Feelings, Verlaines (Flying Nun) . By recording these bands in Christchurch in April. Chris Knox and Doug Hood have achieved as much if not more on four track as any recent NZ document-. ation. It s not perfect, the mixing is unsympathetic in parts, but it never sounds hollow. Anyone who's familiar with early Lou/Velvets is going to feel right at home, because the same rhythm guitar approach can be traced throughout, although as a set the perspective is more optimistic. There are also snatches of Syd Barrett, sixties' snake skin boots intact. The Verlaines use pace/rhythm changes effectively for 'Angela', and for their fine boy hurt by love' song Crisis After Crisis': Don t think that yon re the greut reason Why 1 ve got my guts in a vice.

people turned around and noticed the riot police — and a little disturbance turned into a riot.

“The whole sorry incident could have been avoided in one way by, as has been suggested, the banning of alcohol at the concert. But to many who were there the disorder would not have escalated if police conduct had been sensitive and appropriate to the overwhelmingly peaceful mood of the concert. Coming up the middle of Queen St and assembling across the main exit from the square was akin to setting themselves up as pins in a bowling alley. Some of the crowd simply took up the challenge.”

The writers' favourite local records that year were the Verlaines’ TO O’clock ...’ Chills’ ‘Pink Frost’ and Herbs’ ‘Long Ago.’ Auckland alternative bands were

But unlike Crisis' the vocals in the solemn You Cheat Yourself of Everything That Moves' are way way back and sound strained. Best for the Stones is See Red not * Enz song) and 'Surf's Up which is not unlike the Kinks All Day and All of the Night . It contains gruff surf harmonies in a rib dig at surties. complete with plaintive "1 can't even ride this thing,' and nice little verbal fade out. Down and Around’ and 'Something New' lack strong vocals. Sneaky Feelings start with the slow ‘Pityjs Sake’ then move into the uptempo 'There's a Chance with a catchy chorus. Last is Backroom'. Painful. The Chills have the best songs, though .opener ‘Kaleidoscope World' is too sweet for this tooth. But Satin Doll' works in its simplicity. and 'Frantic Drift' is just that. Martin Phillipps is an inspired lyricist. There’s both strong and weak material on this compilation. Dissatisfied with your local climate? Try some cool Dunedin air. Ann Louise Martin

taking initiatives to dispute “the only place where anything is really happening is Dunedin syndrome,” wrote Russell. “Some of these bands are really happening — they just need to be taken seriously.” “Those Who Are In It For The Money,” he said, were beginning to take an interest in the Chills. Eighteen months on from the 100th issue, the perrenial difficulties still face local music: lack of venues, alternative and underage; a general public who seem disinterested in New Zealand music, or condescending, thanks to an unsupportive radio; and few innovative young bands emerging. Nevertheless, despite the ebbs and flows since ’77, there’s plenty to be positive about — international success is beginning to happen through Crowded House, Dave Dobbyn, the Chills and Flying Nun’s export strategy, radio shows some signs of discovering local music, and hopefully a flow-on effect will stimulate the young musician. There’s no “movement,” as such, but plenty of movement. “‘Being in a band' is still a helluva good thing,” wrote Russell Brown in 1985, “like the modern day equivalent of running off to join the circus. And when you set your sights on the stars and then begin to make some progress towards them, it’s an adventure." For 10 years Rip It Up has been part of that adventure. •

Martin Chillipps, 1982.