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CANCELLED::: Sept 5 will arrive

Alas, the extension of Level 2 has meant that this show has had to be postponed to a yet unknown time….
The loss of a show ain’t a big thing compared to the losses of others to CoVID. We have 0% common ground for any ridiculous idea that it is a scam.

We were talking with someone dear and close a few days ago who had just returned home from hospital after experiencing complications to the illness. They were still lost for breath. Loss of breath from exertion/leaping around/acting up will return, but we want all our nearest and dearest with us.

So take care, look after yourselves and your known and unknown others, and see you soon


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The return of the post-lockdown night life


August 7, Friday Auckland : Venue – Audio Foundation, with TOOMS
August 8, Saturday Auckland : Venue – UFO, with The Fuzzies and Quaint

The Post-everything-thats-just-been-in-the-recent-past post

Pretty much most corners of the human-inhabited globe have been turned upside down by the virus. Disruption is vast, catastrophic and in countless and unpredictable ways. The mood of the media [depending where your eyeballs land] swing from apocalypse to optimism…somewhere in between something resembling realistic will settle.

Lifted from Beau of the Fifth Column – a fascinating blogger from somewhere in the southern states of the USA. Click the image to go to his Youtube channel. He provides excellent views, opinions and thoughts on the current state of affairs there.

We hope your all hanging in there. Our condolences if these times have held tragedy.

In the early days of lockdown the net was a-buzz with live-to-airs etc. But we weren’t able, our personal lives and jobs meant we continued working day jobs while others figured out what lockdown looks/feels/sounds like. The Assembly went silent as other priorities claimed pole position.

We are fortunate enough to be in a country where those priorities can now be loosened as ongoing health professionals diligently continue to work, adjust, and manage our neck of the woods in an unfolding crisis. We think all those essential workers, everywhere, are fucking champions and we should not stop singing their praises. From health staff, teachers, supermarket workers, cleans and all the other legends that truly do make our world a better place. Your fucking awesome!!

Music stuff

We’ve got a bunch of shows coming up.

1st show out the gate is at Audio Foundation in Auckland on Friday 7 August. On Saturday the 8th we play UFO, also in Ak.

Saturday September 5 we have the chance to play at the fantastic Moon band in Newtown.

We had to cancel a tour to the South Island in late April but that has now been rebooked for October 15, 16 and 17. Fully information shall be provided as we finalize details. Its going to be great to get back out again, will be nice to see whoever we see.

This shows are going to give us an opportunity to present a few new songs, alongside a mostly new set. We’re actively writing at the moment to complete this cluster of tunes that will populate the new album. Sounds gutsy if I may say so myself.

Release info

Although we could not logistically manage a live to air over lockdown, we did manage some small recording projects.

The album Psi-Solation, released by Celebrate Psi Phenomenon, features a solo track by DSLB, and another solo mr sterile track. There’s 119 tracks on this beast, a phenomenal release showcasing experimental, drone, noise and other sonic shapes and forms. It’s delicious.

A solo online-only release by my sterile also sneaked out. The title is The Rejects Usually Respect Your Defects. This is a compilation of twenty years of interpretations of other peoples tunes, as well as some cacophenous collaborations along the way. It’s a pay-what-you-feel option, $0 is totally cool. Times are tough and maybe this may provide a little pleasure.

This is a stopgap till the next solo album which is coming into the homestretch of completion, however still a bit of required of patience and effort is required before the finish line is crossed.

And lastly, a solo mr sterile track appears on the amazing Olympus LP ‘Caucus’. A superb collaborative project based around the Auckland group Olympus, who have gathered together a fine fraternity of odd-bods to contribute sounds to provocative sonic starters.


The band were featured in an online interview on the Argentinian based website Artistas sean Unidos. It was written in the post-fire-pre-CoVID times, they were simpler times then.

And finally, we both individually took part in a collaborative sound-response project with some friends from south Korea. We were given a 30 minute soundscape to respond to, we did not listen to each others, we responded how we liked and then we sent the tracks away. We await with anticipation to hear what the final compilation of all tracks sounds like.

South Island tours POSTPONED

Alas dear friends, and we want to keep it that way, we are postponing this trip till another time. To after the shitstorm settles, take care all!.


My, my, my, my, my Corona Tour

Happy New YEAH!!

Dear people, and if your here then know that you are dear.

Its been a awesome year. Thank you to all the fantastic people we’ve met over the last 12 months, who we’ve played shows with, who have helped us in our projects, or who we have communicated with and perhaps have never met in the flesh. It has all been fantastic.

This year we managed to crack out 42 Assembly shows, several DSLB solo shows, a new music video, a couple of new recordings from Liverpool, a bunch of new songs as we work up to the new album, a new tape from this moniker called SquidBoat, and a carbon offset world tour!

So as the Gregorian Calender ends, and the next one is one the cusp of beginning, we wish you all a hale and hearty best wishes for a progressive, life enhanceing, creative and engaging new year.

Working towards a better future is a GOOD project!

See you all on the other side

The trees are alive

SquidBoat – a new instrumental, solo project from the skirted stable. Reflections on deep south, blackest nights on a broad and expansive coast that one can almost see Antartica from.


out from Oreti
launch into the vast darkness
the greatest and
deepest southern basin

lights penetrating
darkest of nights
from where even though
its impossible
to see the place
where the horizon meets
the abyss
sailors trawl
beasts from the deep

there are no lights on the skyline
the only light is far
from beyond a billion miles

massive factories
from the north
crowded out
the tiniest of vessels
deep dredging
in a most expansive of space

there is no room for the little
even more is consumed
in a process of more
for less


Burl inside a Snails Curl


Othering Heights – Video

The audio was recorded while in Liverpool, UK. mr sterile Assembly were invited to participate in a POSTMusic recording session, based at What Studio, inside an old church in Toxteth. The studio run by Stephen Cole of a.P.A.t.T. fame.
The visuals added to this one-take recording are assembly in a cut-up styled video clip, using footage from across the nine countries, film by the band members or people in the audience.
As editing took place it seemed like a visually sympathetic narrative was forming in concert with the text. Contrasting land and cityscapes, from rural to metropolis, and identifying similarities across the globe of the experiences of so many people who exist in the perimeters and boundaries of ‘first-world’ environments. Context and experience is fluid, mobile and dynamic. Luck is not constant.
Enjoy anyway


Orange ain’t the new Green

Carbon Friendly Band Tour - Mr Sterile Assembly Band September 2019 20000547

It’s been reported that this summer in Europe has been the hottest on record since records began. We were there at the start of it and it was stinking hot!

The Arctic and Amazon are both burning, and so is Kalimantan and Sumatra. Fires from the South East Asian region create a gargantuan cloud called the Haze, which has landed planes, closed schools, caused acute respiratory illnesses and granted several cities in the region the title of the Most Polluted on the Planet. We were there just weeks before and missed the haze, though the fires had probably been burning at that time.

We travelled towards Beijing by Bullet train and saw evidence of the massive replanting programme, where countless trees over hundreds of kilometers were feet first in the earth. China is one of two major global landmasses that is becoming more visibly green from space. We walked in streets silent of combustion engines, electric vehicles are everywhere and ordinary. We saw blue skies above Beijing.

We calculated our many journeys, the greatest distances often by plane, and felt accountable for our personally insignificant addition to the global carbon calamity. Its a conversation with many opinions. Many say its pointless, many say it’s the apocalypse. Heres how we decide what to do.

Hyperobjects is a phrase coined by Timothy Morton. Its a concept that helps to consider the role of these world-affecting phenomena “…that are so massively distributed in time and space as to transcend spatiotemporal specificity, such as global warming, styrofoam, and radioactive plutonium”. We’d would suggest that Humans-Traveling-In-Planes-All-At-Once-And-Over-All-Time is a Hyperobject. Small Me is insignificant in the grand scheme of things, but add small me to the entity Humans-Moving-in-Planes monster and the contribution of ‘I’ becomes part of a greater force that then becomes significant to the grand scheme of all things.

Recognizing the negative impacts of flight its confounding that we still can’t deny to wanting a future where humanity remains able to travel widely. Travel as a human endeavor has ultimately enriched and benefited the human condition. Travel and exposure to the ‘other’ is mentally nutritious, a great teacher of tolerance, the recognition of shared-similarity such as the universal love of food, music, touch, color, art, adventure, access to things Wild, and the deep sensory satisfaction of being an active participant IN & OF the world. Travel helps to dismantle that toxic notion of ‘other’.

This argument in NO way attempts at all to negate the massive negatives that have unfolded as global travel expanded – the white supremacist advance of colonization, the massacre of countless human and non-human lives, the decimation of Primary Rain Forests, water ways and other diverse habitats for the exploitation, avarice or greed.

As we have done before [and here], we documented and discussed these plans with an organization called Ekos. “Ekos is a non-profit enterprise that develops carbon projects to grow and protect indigenous forests in New Zealand and the Pacific Islands. ekos connects carbon offset buyers with these projects by measuring business and individual carbon footprints, supplying certified indigenous forest carbon offsets, and providing zero carbon certification. ekos carbon projects deliver climate resilience, waterways protection, erosion control, biodiversity protection and community economic development.”

We are pleased that our Orange Time tour has been certified as Carbon Friendly with ekos. We compiled the info about our flights (including radiative forcing) and we estimated the emissions relating to taxi and train travel. In total we offset 20.66 tCO2e with certified carbon credits. These ekos offsets grow and protect indigenous forests in New Zealand and the Pacific Islands and help to deliver climate resilience, waterways protection, erosion control, biodiversity conservation and community economic development.

This seems like a positive contribution, despite the personally tiny scale.

In no way are we suggesting that planting trees is enough. But equally, its not going to harm anything, and if done in significant number will make some impact to the overall carbon budget. It is but one strategy in the tactics of mitigation. The questions remains for now though on that hot topic of the continuity of contemporary civilizations and life – human AND non-human.

People who make stuff, sing, write or have access to any other platforms available have an ability to step into the flood of conversations that aim to inspire inertia. The recent deluge of abuse and digital shouting at Greta Thunburg is a perfect example. To use honed skill-sets and creativity to distract, redirect, refocus and reorientate conversations and narratives is a particular opportunity worth exploring. And if you have any sort of platform, perhaps an imperative. Say nothing and the right-wing, or left-wing, wackjob rhetoric thrives.

Some say Carbon offsetting is a scam. Maybe some aspects of it are, when its managed from a corporate agenda. But a bigger scam is the promoting the belief that doing nothing counts as something, often suggested from some lofty cynical pseudo-authority. Someone much smarter than us once said “By any means necessary”. A creative platform is simply one aspect in the Any Means available to us in the differing tool kit we have to use.

Our recent tour was called Orange Time. It’s also the name of one of our newer songs. The words riff on the idea that there is wisdom in paying attention to the obvious warning sign that surround us, in many different forms. And also the inherent foolishness of the act of avoidance of attentiveness. We are already practiced at observing a multitude of Orange signs, from road cones, traffic lights to the stop/go signs of construction workers. We just have to continue to keep an eye on that Orange ball.

Orange Time

All inside in the orange bright, can you feel the pressure.
Fair enough to feel the fear, we can call this air depression.
It’s a measure of your trust, present with this strangeness.
Struggle strange in troubled times and live with pending danger.
It’s all around and everywhere, a warning writ in orange light.
On all fronts and on all borders, burning into sight.

Hit the road and here we go, one way into orange time.
High-viz bright in white hi-beam, shine on warning signs.
That nearby near here danger looms. Or somewhere near here just from sight.
You think we should race the red? We gonna jump the line?
Uncertain is the only way. Certain has been compromised.
Somethings breathing on our neck, it’s the future of our lives.

Have you got the post-truth blues. Try post-natural selection.
Everything has signs of use, thanks uneven big H human.
Observe, record those bigger views, beauty scored for Mr Darwin.
Now digging wells, exhaustive fumes next to a rising plastic mountain.
Clingfilm wrapped the Holocene in carbon, and forever isotope.
The past has passed us like a dream. It seems the futures been rewrote.
Once green for go, was safe in green, now Orange warns of on the ropes.
Orange as Anthropocene, beyond the noisy Hollywood tropes.
Orange cones on slips and cliffs, there’s danger waiting if you stray.
Orange with a stop/go stick, the folk who stand and show the way.
Orange vests to float and drift, to ride upon a deepest wave.
Orange lines on bugs to make you sick, a lick of poison you might taste.
Orange hands wrapped round the helm with a captain’s worse than rabid drunk.
Orange flush but hint of flame, an orange sky has panics hush.
Orange rain to strip the skin. Orange ropes control the rush.
Orange lights on running red but we don’t seem to worry much

Have you got the post-truth Blues.
Under clouds that spell ‘Confused’.
Everything has signs of use.
Use-by-dates in question to.
Worldly-hurts a bitter prove.
Hold on tight though getting bruised.
In borrowed light of Orange Time
Hi-vis shines to guide you through.


Thanks, thanks, thanks!!


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We leave Nakano in the rain but elated with the opportunities we’ve encountered over the 12 weeks of touring Orange Time.

It has been an immense privilege and pleasure to encounter all the folk we met and hung out with,
all the folk we didn’t meet but had interactions with on-line when we were trying to sort additional shows;
all the fantastic and diverse sounds we heard and saw being made,
all the places that opened their doors to allow us to sleep;
all those people who returned and reconnected over the years from seeing its previously;
all the meals we shared and the help with finding food we could devour;
all the conversation and stories shared;
and to all those who came or to or showed for the first time, we love that enthusiasm is everywhere!

Towards the Last Stop in the Line

It’s the start of the last week and we have just flown over the coast of Japan for the final shows of this trip. It’s been epic. Are we sick of it,? No. But are with sated with our lot? Yeah, we think so. It’s been incredible.

The week began in Seoul: two shows in the city and one at a festival on the island of Ganghwa.

The first show was a single bill performance, just us at the Hapjeong space of Mudaeruk, a two levelled cafe/exhibition/perfomance space that’s receptive to the more adventurous musicians around Seoul. It’s a small but super enthusiastic audience and feels like playing at party for friends. Kona, the venue proprietor, is very welcoming and offering us food and drink. She also invites us to taste-test her prototype kimchi fried rice. We think it works.

Something that has been really interesting to observe on this trip has been the frequency of connections women in the audience have made with Chrissie after the performances. During a show we witnessed their intense and attentive concentration on what Chrissie was doing and as soon as a show finished Chrissie would end up in big conversations as women asked questions and shared their own stories and aspirations.

Next up is a return to the Strange Fruits Seoul. We have played here before and had a great time and were very happy to return. It’s a four act evening. First up is Wifi Cellphone Kidz, a two-piece playing frantic and joyous pop music with rapid rapping over beats. 2nd is Maluihan. Beautiful melodic and expressive drumming with supports and communicates with the guitarist/singer. The songs are interesting, a brooding rock feel but composed using a local musical dialect that is particular to the singer’s cultural heritage. It’s an enthralling amalgamation. Next up GoryMurgy playing manic and frenetic tunes, high energy and antics and definitely uplifting. We round off the night and were entertained by the best interpretive dancing to our songs. Energy makes energy and one compels the other along. Following the show we go a few shops up the road, then down the stairs to complete the evening consuming kimchi and squash pancakes while downing copious quantities of the local alcohol and chewing over local politics.


A day off. Mostly we just crash. We’re both courting head colds and grumbly guts and the lack of sleep is taking its toll. Thankfully the schedule has room for a day like this.

After a large injection of sleep, we pile into our friend Ian-John’s car and make the two-hour trip up the road to the island of Gangwha to play at the Remember Love Camp Festival. The festival is located at a isolated location in the hills. It’s an annual festival, free to attend, promoted only by word-of-mouth and has a reputation for partying all night. It’s wide, all embracing line up of 40 acts of singer/songwriters, electronica, DJs, rock bands , noisy improv and bands playing well known classic Korea psychedelic songs. We play mid-evening and the party goes boom! A high dance party from kids to grand parents. It’s the first time we have ever had anyone breakdancing and twerking in the front row. Joyous!

Our friend Kaori from Tokyo is also playing. Her set is programmed as the last band before the DJ’s start. We spend the evening talking and drinking, watching the other acts and discussing the Tokyo leg of the tour. Kaori is the organiser of the Tokyo leg, produced a short split cd with us and her band Goofy18 will play with us on our last show. The evening rolls on. Staying awake seems less of a conscious choice and eyelids droop. Many are now sleeping in tents, we are in a hall sleeping on the stone floor. At 2 a.m we give in and get some sleep. Kaori is already there asleep. At 4am, we wake to the sound of Kaori’s roaring bass lines from the stage. We peel ourselves off the floor and head back to the field. And there is Kaori, lights, volume, dance moves, massive voice giving it her all prerecorded backing tracks. She rocks the small and engaged audience and we are totally impressed. It’s super exciting to see someone perform with such commitment and focus with so little sleep. It leaves us totally inspired! Such a powerhouse!

Returning to bed around 5 we rise soon after at 8am, and begin the journey back to Seoul to catch our outbound flight to Tokyo. In our heads, the journey will be a short one. The reality is less kind and we arrive at our accommodation just after 10pm.

To mark the beginning of these last three shows of the tour in Tokyo, we sit outside the Nakano backpackers, a cheap beer from the 7 Eleven across the road in our hands. This is the last week. The culmination of 14 months of preparation, planning, introductions, conversations, budgeting, problem-solving transport and connections. The city seems to breathe out with us. The sky flashes and roars, first with lightening then with thunder. There are intermittent-rising sirens of ambulances, or other emergency vehicles nearby. Slowly moisture tickles the skin and turns phone screens into prisms of rainbows. The flashes overhead continue. It’s humid and brooding. It’s quite lovely.

It’s great to return to Tokyo with a sense of familiarity. We reconnect with Kaori in Nakano, and catch a train to the first show at Club Doctor in Ogikubo. Four bands play, and it’s really nice to be in an environment where most of the performers are women. Two of the bands are new to us, the first called Height and the second named Channeling!!.

The final group is NA/DA. We played with them last time. In this cosy venue where the proximity of bands to audience is nearly nonexistent, their intimate performance captures the crowd.

One key feature of shows here is their early starts. It’s not unusual for a concert to begin at 6.30 and be finished by 10.30-11ish. Practical reasons influence timing. The need to catch a train home to some corner of this massive city.

Next day we meet with Kaori who wants to take us to Shinjuku, to the music shop that is carrying the split CD. It one shop in a seven floor building that is only music shops! One floor is avant-garde, another prog rock and another metal. So much music to thumb through! After that we gather our gear and head back to Nakano to Bar Aja for the second gig.


It’s our second time at Aja, and this is our penultimate show. A tiny venue in which 20 people would be a full house. The stage/music equipment area is greater than the audience floor space. So needless to say its a close, intimate and very friendly show in which all bands have two members only. Really nice as well to once again get to play with 5W1H.

The final day dawns and holds the final show. Today mirrors our last trip to Tokyo in which we play the pro-space of JAM in Nishiefuku. The line up is monster! Finally we get to see Kaori in Goofy 18, this time with a new drummer. Next is the mega awesome Electric Mongoose UFO Factory. Two kit drummers, a percussionist a tap-dancer plus bass, guitar and keys and sounds. A massive and impressive set, fantastic compositions, executed with significant skill.

HAIGAN the monster harsh noise/rock group came third. A new drummer gave the set a more of a rock feel rather than metal sound. Bombastic from the outset it is an unrelenting cascade of wall on wall of noise. 13 minutes into their set, one of the main singers, who at this point had been out in the audience writhing around, suddenly stops and appears distressed. Somehow in the swirl she has dislocated her right shoulder. The show pauses and rescue services swiftly arrive, from the Fire Department, and escort her to hospital.

The Devil and Libido explode onto stage refocusing the show after the previous singers public and painful experience. A duo of bass and drums playing complex hard rock tunes have the task of drawing folk back in. Mission accomplished.

Our turn arrives. Our full stop. It is a big, full sound on this impressive rig. The lights sparkle and all those still present are right there with us, 25 minutes of explosion and then its over! We loved that this was the show to finish on, that these people were here, that we felt among friends. We feel satisfied with our lot.


Farewells scatter out, some at the venue, and then others in ones and twos as people who travel back with us by train leave at different stations. We are left on our own at Nakano around midnight. Weary, but sated, we walk back to the backpackers with our gear. Our final navigation will be in a few hours first to the airport, then across airspace, and finally around the bays of our neighbourhood to our small home on a hill at the edge of our small city.


It’s over, and we’re back home in long sleeves and pants sitting by the fire. It sounds grandiose to say the last 12 weeks have been extraordinary, but it would be dishonest to call them anything else. We are left with some small artefacts collected along the way and a lot of photos. But most precious are the endearing memories of shared experiences of conversation, food, fluids and music. We are inspired by the energy and actions of many in their own environments working to make something happen, sometimes out of nothing. Everybody who has helped out and participated in any way, our deepest thanks and appreciation to you.

If you’re ever in Aotearoa New Zealand, hit us up!

Cranes make Nests

38 degrees outside as the air conditioned bullet train flies on concrete bridges over pools of green still water on the way to Wuhan.We have just played one show in Guangzhou and a second in Shenzhen, China. It’s been an intense few days with little space to sit and collate thoughts. Several hours on a high speed train seems like a perfect opportunity.

After landing in Guangzhou we reconnect with Howie who we met last time we were here. Then he played guitar in the great Die Chiwawa Die, now he’s playing in a new intense band called People’s Square. The singer comes from Vladivostok. It seems there is quite a contingent here from across the Russian states working in areas such as engineering. The venue, Brasston, looks upmarket, serving craft beers inside the tidy space. It’s not an official livehouse so manages to slip under the radar of State authorities, for now. The aesthetic of this venue gives the music of People’s Square even greater contrast. Loud, fast grindcore with the singer in a hyperactive frenzy. It’s a lot of fun!

The following day we go to Shenzhen, a city close to the border with Hong Kong. It’s reported that Shenzhen is one of the fastest growing cities on Earth. 40 years ago there was nothing other than rural life and rice paddies. Now it’s a massive, and still expanding metropolis. Our show is at the Brown Sugar Jar, a venue located in the part of the city where shopping complexes full of musical instruments can be found. We play with a local garage punk group called Help. A three-piece comprised of two lads from Russia and Anne, a fantastic bass player with an eye patch from an injured eye. The evening starts a little slow but the bar has a decent crowd by the time the evening is done. We return to Guangzhou for a couple of rest days before heading inland to Wuhan.

One big learning curve has been working out how to get the most out of the tech we carry. Inside China, Facebook and Google are inaccessible. Google translate is a great tool, as well as maps, so learning to navigate without them is a solid process all of its own. WeChat is the powerful social media app in China, and it now contains a decent translation from text and basic but unhelpful and often comic translation from photos. Some apps like Happy Cow continue to work, making seeking out vegetarian and vegan food possible, but if you are traveling with an android phone make sure you install a good maps option to use instead of Google’s.

Staying in touch with world events is also a challenge. It’s also possible to read Chinese-based news articles inside WeChat, and so we read some of the Chinese media agencies reportage of Hong Kong. The slant was of foreign interference influencing the agitation, always called HK as Hong Kong Administrative Zone – making it seem a simple bureaucratic process rather than dealing with a state wanting self determination. We never saw any imagery of the massive protests that we had seen outside of China- it’s possible here have no idea how huge the demonstrations are. In addition we saw no reports of international advocacy or calls of restraint of those in power. In one conversation local opinion was that the rest of the world was ignoring the developing tensions, we were able to convey a different perspective.

What was totally obvious and ever-present in almost all discussions was the monitoring of communication from the State, and the very real repercussions that were swiftly meted out. We heard a story of a person who made a one worded criticism of the president that he added to 3 photos he shared with friends. It was shared digitally, found online and now they are now incarcerated for three years. Another was imprisoned for a decade. He was picked up in Hong Kong in an area away from the protests with 10 lazer pointers in his pocket. People knew tanks were gathering at the Hong Kong border. Friends in both regions have different opinions – one is pro-HK, the other says HK had always been a part of China and thinks it’s OK that it returns. There is worry on both sides, and a sense of pessimism of any notion of a positive outcome.

And we can feel this pervasive self-censorship take hold. There’s an open acknowledgement of the precariousness of being foreign here, stories of immediate deportation, of regular operations of police targeting bars and enforcing urine drug screening – to be caught with a positive test is instant five days in jail and then immediate deportation. These stories are everywhere, and we’re told it’s getting tougher. Historically there would be periods of clamp-downs but then it would loosen up. These current clamp-downs started about three years ago and have not eased.

We watch what we say. We watch what we write. We want to avoid trouble, but importantly we also want to avoid trouble for those that live here after we leave.

Some of the foreigners who live here are planning “it’s time to leave China” strategies, others do not have that option.

Our schedule changes so we have to cancel and rebook trains, make alterations to accommodation and juggle our self-management. Doing things like washing clothes needs to be scheduled to avoid become a toxic pong zone.

We arrive into Wuhan a day prior to our show. Wuhan is an Oven City, literally, it’s that hot. Every pore proves it’s porousness, a city is washed in sweat. There is a breeze which feels cooler, is it wind from the turbulent sky or the butterfly effect from one million hand fans fanning to cool one million people in unison? Wuhan is a beautiful city that seems to be built around a large lake at its heart. Moisture had to settle somewhere.

We make plans to go out into the day but after food exhaustion makes itself known, we pass the heat of the day in deep sleep prior to our show in the evening. As we leave, the weather turns wet. You could say the air smells like metal before the lightening strikes, but honestly it doesn’t. The air smells of many things in Wuhan – sweetness, heat, decay, and fruit. The thunder rolls, the air is close, the percussion of raindrops striking so many differing surfaces is beautiful. Wrapped in makeshift rainwear we flag down a taxi.

The traffic here moves differently, in massive contrast to the looseness of Yogyakarta. In Yogya there seems a fluidity to the mass of movement like scholl’s of fish. Here it’s less obvious, more angular, more assertive. It’s a unique kind of mayhem.

The venue we play is called Wuhan Prision, a below-pavement bar that has existed for 10 years and is known for its punk shows. The venue is dark and heavily stickered, and the people are wonderful and supportive. We play with PLC, a guitar/bass/drums trio who play spontaneous, instrumental and spaciously pulsing tunes. On drums is the guy who sings in the local band Panic Worm who we played with last time we were here.

The next day we rise extra early to get across the city to catch the fast train to Beijing.

Moving across the country towards Beijing on a bullet train, we view the ongoing expansion of China’s massive infrastructure. Hundreds, if not thousands, of tower cranes collect in gangs of a dozen or so over the foundations and rising nests of half-built apartment blocks in mind-bending numbers. Not only is so much of this countries population going to live in the sky, there is massive subterranean construction happening in parallel underground. Gargantuan machines eat away holes in the Earth to create connecting tunnels from Hong Kong to Shenzen to Guangzhou. Will the future of China be inhabited by sky people, people of the lands and people of the tunnels?

Deep into the journey we pass an agricultural region. Startling are mile upon mile of trees, saplings in the tens of thousands, seemingly planted into every available location. The sky is grey from smog and any blue is unable to penetrate. In all the contradictions an outsider might perceive about China one thing is that it certainly appears to have a proactive approach to climate collapse mitigation. We’re told all the public transport in Guangzhou is electric as well as all the scooters and taxis, and about 50% of personal cars are also electric.

In Beijing we stay close to the Yonghegong train line. This is an area of hutongs, maze-like neighborhoods that are intimately linked, alleys one car in width with a little extra room for bikes and pedestrians. The hutongs area are getting a uniform facelift in flat brick with occasional colorful details on the trim. There are many construction sites as the once ramshackle and aging exteriors are all receiving makeovers in preparation for the 2022 Olympic games. It had a aesthetically flattening effect.

We have three shows in the three main rock bars in Beijing: DDC, Temple Bar and School Bar. DDC is the youngest of the three, offers craft beer and has a strong hip aesthetic. This show was on the same day as we arrived from Yogyakarta so was a test of endurance and energy but we played a stonker. After the show we took all our gear to Temple Bar to store in anticipation of the second show. Temple is a thumping pub that caters to both locals and foreigners. We are told that the number of locals showing up has rapidly increased in response to TV show akin to Battle of thr Bands. Going up to see bands is now a hip thing to do. The night eventually ends with a ride home in the coolest chrome Tuktuk-like three wheeled enclosed vehicle, a service run by a bloke called Old Man.

Second show at Temple was as expected – raucous and enthusiastic. A little rest can certainly return a lot of steam to the motor. Played with two other local acts. The final performance was heavy dance music by the active manipulation of seven gameboys.

The final show for Beijing is at School Bar, the longest running venue for punk-styled shows. We finally get to see our friend’s band, a surf punk quartet, play. We are immensely grateful for the sterling job of organising done by these folk. Again three bands, a local punk trio, the surf rock group and us. It’s a hot and boisterous party. We love it when the audience feels right there with us, the division of stage and crowd disappears and it becomes a joyous hoot!

Our costumes have continued to generate interest and conversation. Orange is a important colour of warning and danger, of alerting you of impending hazards and pitfalls. In conversations here in China we’re told that the people who wear the orange, who are seen everywhere with brooms made of branches and grasses, collecting rubbish or other such tasks, who are identified by their hi-viz two-piece orange jacket and pants outfit, are considered by many to be the lowest-of-the-low. It’s very interesting that people have made those connections with our outfit, that it creates a symbolic confusion or challenge with these identifying markers.

All power to the Orange wearers!

Coffee grinds, Grindcore, Tempeh time, Scooter tour

The city is alive.

It roars with many voices. It roars with the peristaltic surge of scooters like sparrows swimming like fish in a flock. At peak times the deep belly growl IS the environment. It is a thing!

The city is impossible to digest, easy to feel consumed when traveling with a more timid disposition.The city eats. The background speakers of midnight street-side eateries play gamelan and grindcore. It knibbles at your skin with the sawing tickle of the Indonesian mosquito. Pray the demon Dengue is not near by. Anoint yourself with the ointment of protection of Saint DEET.

The city is haunted. He says he can only sleep after the half four morning prayer as that’s when the ghosts in the night settle. He has two rooms at home. In one, the light has been on since the earth tore 13 years ago, never turned off, never changed, it is as a bulb possessed, a lit messenger. He doesn’t go into that room any more. It is inhabited by ghosts. He could do something about it but seems content to let them be. The bigger concern is the lingering spirit of the baby found dead on the river out the back of his house the day before. Spirits dwell in the curve of the river, attention must be paid for seven days. Animism is alive and thriving alongside Islam.

The city has a temperature. It is dry, unlike its’ humid siblings to the north. The city may be indifferent to us, it is impossible to reciprocate that sentiment.

This is the first 24 hours in Yogyakarta.

It’s been about 10 years since we were last here. And this part of the trip seems too squeezed. There are areas we want to visit but cannot due to time constraints. Our schedule here is four nights: Two concerts and Chrissie presenting a talk on drawing and zines at Kunci, a local independent centre for cultural studies. First we meet with Indra, our now long time friend from our first trip here 13 or 14 years ago. He’s waiting for us at the airport. We flew in from Kota Kinabalu via Kuala Lumpur where we slept over night in a pod. Uber seems to be dying in this region, it was the main app-based taxi service in the Peninsula last time we were here. Now it’s Grab. Here in Yogyakarta it’s Go-jak. An O-jak was old style tuk-tuk, often 3 wheels, that people used for cheap transport. Go-Jak is the app-based update.

Where we sleep for the next three nights is in a shared collective house that’s in the process of decanting all items into a new house several doors down. The house is also behind a very fine coffee shop, making brews from many local beans, this is something of a developing phenomenon akin to hip coffee bars back home. On the first night however, our host Indra’s band, Narcolocos, are playing at the bar we will play at in a couple of days. So we head off for an evening of Yogya-style grindcore. It’s a large turn out on a Monday night for the 7-band line up. LeftyFish start the night with a ripping complex style that mixes smooth soul, J-pop, jazz breaks interspersed in the brutal technical frenzy. Particularly good. The rest is wave-on-wave of intensity. We leave at 1am and grab food at a road side stall before collapsing for the night after a ride home on the back of scooters.

The following day friends have organized for Chrissie to give a talk. The venue is Kunci, a local independently organised center for cultural studies that focuses in the curation of zines and independent publications. We’re told that the first local zines were in the late 60s, early 70s and concentrated on queer rights. 15 people hang out and draw with Chrissie. The discussion moves around alot but central topics are the power of drawing as a medium anyone can access share stories, the value of making things with your hands, and documenting hidden or untold stoiries through zines. Chrissie also introduces people to the great work of New York comic artist, Lynda Barry.

Next day we take ourselves out for a walk on the streets of Yogyakarta while we look for the art gallery that is holding the ArtJog exhibition. Funnily enough we have seen an ArtJog exhibition on a previous tour. This exhibition presents bold and challenging works. This time the presentations focus on the concept of “spaces” and particularly the impact of human control. We also notice a continous thread related to gender identity and conversations on religious enticements which coincidentally had featured in a few recent personal conversations. Later we prepare ourselves for our show, return to the venue with all we require, and settle in for another night of seven bands. The music ranges from indy-pop, shoegaze, the Semarang punk of Rendam, who we will get to play with again, and an industrial group equipped with a skillsaw or some other kind of construction/destruction equipment. Alcohol is very expensive here. But cheap alcohol is brewed locally and is shared in the shadows, the quality of alcohol from pleasant to harsh to lethal. Evidence of intoxication is obvious as we have to dodge the splattering of fresh vomit on stage as we set up to play. The evening is a joyous ruckus, it’s intense and immense fun here. A hidden highlight of the show was being invited to get changed in the living space of the owner of the bar. We painted up perched at the end of the dining table and then waited to go on in the venure kitchen.

Next morning we catch a train to Klatan for our second show stopping first at the train station for brilliant breakfast of tempeh, chili, rice and greens. The train trip is only three stops, 40 minutes, but Klatan seems a world away from Yogyakarta; quieter, less frantic, buildings with more color and more greenery everywhere. Klatan is famous for its springs of fresh water, in fact much of the bottled water that is brought for drinking comes from these springs. But in addition to the water siphoned for sale there are also the swimming springs! Our first port of call therefore is to the springs for a swim, a most unexpected moist treat. The band Rendam arrive at the house we are staying at where they instruct us on how to drink the local alcohol. In fact they are touring with a special brew from Semarang as part of their merch. Tonight’s show is held at a local university in an open foyer-like area. There are four bands, a local skinhead/oi band doing 4-Skins covers, another local act playing more ska-inspired original songs, Rendam with their three-piece punk rock and us. What’s particularly nice about this show is that after the performance there is a planned discussion held with the bands and audience. All sitting in a circle, the performers are asked to discuss their process for song writing, their creative process and any other points of interest that anyone may have interest to explore. It all wraps up and we head off for a few hours sleep before returning to the airport.

Thankyou Yogyakjarta for an awesome stay. Extra special ups to Indra, so good to hang out once more. And now to Guangzhou, China.

Where the Wild Things are!

Sitting in the roof top bar with a jug of Tiger overlooking the Sulu sea we discussed the events of three years prior when local pirates kidnapped two people dining at a local restaurant. We learn later that the woman was released after a large ransom was paid. The man’s fate was not so lucky with a brutal decapitation giving the story a horrific twist.We’re told people have been leaving the eastern coastal city of Sandakan in fear. There are streets of shuttered shop fronts and shops absent of commerce, clientele or shop keepers. At one point it’s described as a ghost town. The city that was once modeled on an era of beautiful Hong Kong architecture is now looking dilapidated and deserted in many parts.Pirates are bad for the economy, but their presence create unexpected positive consequences for the environment: there’s less industrial fishing which helps increase the local aqua biodiversity and there’s is less tourism which means less developments into forested spaces.We also get to meet some folk who despite all the odds have a vision for a rejuvenated city. The Forever Sabah crew are a force of nature in their own right and we wish them continued success in their projects.


This is our first night in this city of Sandakan. With good friends we mark our first visit to the state of Sabah on the island of Borneo. Sabah is one of three countries that make up the collective state Malaysia. It seems there’s a prevailing political, and maybe social idea that Malaysia is singularly the Malayan peninsula, ignoring both Sabah and Sarawak. Or that peninsula Malaysia delivers itself preferential treatment or penalises the other two territories. We’re told Sabah was withheld ALL state-allocated funds for nine years when it refused to turn pristine primary rainforest into an open cast mine. Also 95% of all profit from oil and gas ends up in peninsula Malaysia with only about 5% returned to Sabah to maintain infrastructure.During those nine years there was major deforestation to simply sustain the country. Now much of that land is planted in Palm Oil trees which proves for interesting and complex conversations.Palm oil has a bad name. It is also one of this country’s major industries. Prior to palm it was acacia and rubber trees. Internationally palm is condemned, among other things, for the destruction of livable environments for orangutan. Local orangutan experts suggest that view is not entirely accurate as Orangutan can live in Palm, and it has it’s own integrated ecology and biodiversity. In addition we discuss how Palm is an alternative to fossil fuel and is possibly a significantly cleaner fuel source than oil. We are also told that the acquisition of palm ranches by corporates seem to have ceased and instead small holding/family crops are being planted to create incomes. Observing the shade produced by these huge trees it’s hard to imagine Palm Oil production as more destructive and harmful to the environment than the bare, parched paddocks back home stripped for the production of cattle. Palm’s not without it’s negative impacts for sure, but it’s apparent it’s a highly complex conversation with many nuances. It’s easy to take a moral position from an international level but if sustainable solutions are not considered, identified and supported in partnership with local communities then is not much more than moral grandstanding.

We land in Kota Kinabalu, the country’s capital, and leave early next morning for Sandakan. It’s 6-7 hours drive east to the coast through beautiful rainforest and past Mt Kinabalu, the highest peak on the island which is full of legends and ghosts attached to old lore, it is a place with seven heavens and one hell. After many hours of forest the road weaves its’ way through mile on mile of Palm oil. The back seat of the 4WD feels like a fairground ride, as the constant jolts and judders rearrange our spines.

The first few days for us are rest days. We spend one checking out Sun bears and Orangutan in local rehabilitation centers. The animals in both these centers have been rescued from poor conditions and captivity. The goal of the center’s is to rehabilitate them back to living in the wild. In fact the back of the orangutan center has no back fence, it opened directly onto the rainforest which means the apes decide when to leave. We also learn about a Human/Elephant Conflict Resolution program being run by a lock NGO that works to find ways to manage Pygmy Elephant, once their habitat has been destroyed, and humans, who have both destroyed said habitat AND then had their habitats invaded by said pygmy elephants.We travel into the mountains, visit temples, eat taro ice creams, get to go behind the scenes at the amazing insect department at the Rainforest Research Center and catch a glimpse of the massive and sometimes gargantuan insect biodiversity that calls this place home. We visit food courts, derelict buildings, watch skilled hands opening of the insect- looking durian and sample it’s sinewy flesh. We also get to visit to a water village. Communities built on stilts and floating platforms above the continuously calm bay. Here people make their livelihood from the sea and trade with the plains people and mountain folk. The result, the melding and merging of distinct cultural practices and traditions at markets and on street corners.

The following day we spend a full 12 hours inside the rain forest enjoying the canopy on walkways and towers to 50 meters above the ground. The forest is full of fruit after an explosive mast year, an extreme flowering which happens between every 5-10 years. We take a night tour when different species come awake seeing flying squirrels, slow loris, giant ants and luminescent beetles.Not bad for quiet days of rest!We return to the west coast were we stop in at a studio where our friend I-Lann is working with local women weavers to create a massive 16 metre mat to be hung in the Singapore art gallery. A truly impressive work which aims to make visible hidden voices and untold stories.From there we go onto Keningau, first we meet another amazing women, Mami Ita, friend of I-Lann’s and our host for the evening. Then we head to Nosebleed Garage, our venue for the next show. It’s about 20 minutes east of Keningau, in a small and beautiful kampong where we are welcomed by many cows occupying the road.Nosebleed Garage is in an abandoned shop on the main street of the village which has been repurposed by local youth as a DIY punk inspired space housing a performance/practice space, a small distro shop and an exhibition space for people to show their creative expressions. We’re told it has the consent of the village elders, who although may not like the grindcore or punk music, appreciate the space as a positive addition to the kampong for it’s young people. We meet the mother of the show organizer who was welcomed and included in all the evening’s events. The bands are enthusiastic in their performances, from a Nirvana cover’s band to an atmospheric and sonic post-punk outfit. The audience is supportive and engaged. We have the best time! Venues like this, self-initiated, organized and managed, are majorly inspiring examples of self organisation, learning as you go and lifting up those around as you go.

Next day we head back to the capital Kota Kinabalu for our 2nd show in Sabah. The afternoon is quiet. Rambutan are attentively scoffed. The venue, MarsKK, which is about to celebrate its 1st year anniversary, is located over two floors. An internal performance space and a rooftop bar. It’s a festive night and an interesting line up with two bands who have come to KK from Brunei. There are no venues for assertive bands in Brunei, the main place to play is often house parties. The music spans from Blink covers to nu-metal like compositions. Was a real pleasure to meet these crews and find out more about this different circumstances in which people live.

A massive thanks to I-lann and Joe for encouragement to come and visit Sabah. Such a beautiful opportunity that we’re so happy that we took it! Not as much rest as required but certainly a nutritious experience, that’s rejuvenating! And who knew Sabah had the best roundabouts in the world!!

Navigating Drakes, Snakes, Breaks and Heartaches

When working without a promoter, who might handle all details relating to a show like accommodation, equipment, money or any other detail, we are required to have these conversations each time with individuals directly involved in the organizing. This is a constant shifting navigation, an act of negotiating similar but differing terrains.

This act of renavigating plans has been something of a significant consideration during this trip. The navigation of personal expectations of tour planning are confronted by the reality of the personal lives we interact with in this project. If this was simply a promoted tour it’s highly possible would would miss many of these meaningful, learning and sometimes humbling moments.

Tragedy and challenge are part of the human experience. On this trip illness and loss of life have been regular companions. Two good people that we have worked with previously, have both died this year. These are saddening losses for their individual communities. For us this has created planning challenges but our needs are not paramount at these times.

Hopes and expectations also have their own terrain. Not all negotiation delivers on desires. We spend our last days in the UK quietly as all the hunting for shows for the final weekend came to nought. But often a door closed opens another and we managed to see the most brilliant Bob Drake perform in Brighton. And as written in the previous entry the experience of the random networking of unknown people pitching in to help out was worth the experience.

Bob Drake in Brighton

We leave the ‘western’ world and head east to Thailand to reconnect with an old friend from Tenzenmen records who now lives in Chiang Rei. We explored the option of a show here in the far north but a lack of established venues or cohesive community of oddball music makers was not available. There are rumblings of ideas and plans which sound potentially exciting, so we wish them well for these future projects. During days off we learn about local superstitions, are informed to be wary of biting ants and snakes in the grass, and acclimatise ourselves to moving around in the local heat.



Traveling south to Chiang Mai we take part in a show with two local acts. We find out about the challenges of navigating the running of shows in this area, compounded by a lack of venues, frequent sound problems in gentrifying areas, and police raids. Our night though is without any of these dramas and it seems a good time is had all round. Next to Bangkok. We play in a small venue called Jam, a space that seems receptive to noisy shows and stylings in addition to hosting the more experimental of events. The show we play has been curated for diversity with performances from free improvised harsh noise, the psychedelic solo guitar of Mitsuru Tabata (of Acid Mother’s Temple and Zeni Geva), the loose, sludgy and raucous sounds of Yoga from Hell, us and then the local punk legends Lowfat. A sonically fantastic night.

We move south again to Kuala Lumpur. Again the importance of everyday realities influences and supersedes the priorities of touring and plans adjust and evolve.

The show we do play is cracking! It is held in a studio space on the KL/Selangor boundary. The lineup is ourselves with four grindcore bands, two of them coming from Semarang, Indonesia. Especially wonderful to reconnect with so many people who had seen us play before on previous tours. It was a bit of a first to have so much recollection of memories and brilliant to still see so many ordinarily continuing to be musically active in their own way across the years.

Another navigation of consideration while we travel is the climate. Everywhere we go there are frequent conversations about the changing weather patterns. Central Europe is in the grip of a massive heatwave with the hottest temperatures ever recorded. Chiang Rei should be in its rainy season but it is dry with only one day’s rain in months. Flying to Chiang Rei the dry brown of the rice paddies blanket the ground. The irony of our participation in these events with all these flights is not lost. We hear an interesting fact (unable to verify) that at any given moment 1,000,000 people are in the air moving around the globe. Each time we travel we offset the carbon with Ekos but that doesn’t negate the placing of carbon in the atomosphere in the first place. There are new gargantuan airports being built in China, as well as Chiang Mai, extension’s in Bangkok and elsewhere. The industry doesn’t seem to be slowing. Conversely travel is good for humans, it’s an opportunity to learn, expand understanding, learn tolerance and solidarity for other human behaviors, activities and practices.

We are all navigating this mine field together, but not equally. Many will feel the sharp end of this crisis before others. The urgency is here.

We depart KL with our dear friend Joe Kidd heading to the Malaysian country of Sabah, on the island of Borneo, for a few days planned rest and exploring before playing again.

Concerts of Connections

D.I.Y essentially means if you want something to happen then you put effort into action and Do It Yourself, rather than waiting for someone else to come along and do it for you. It became an idea deeply embedded in the punk rock world but really it happens everywhere from Playcentres, community events and home repairs.

Good friends of ours, who were the band SABOT, advanced on this idea in one of their last albums called D.I.O – Do It Ourselves – much more communal, much less individual.

The act of making connections is essential, and then decently negotiating those relationships in the hope that ideas and plans develop is an ongoing process. It requires consideration of experience, articulating shared expectations, and discussions across cultural and regional differences. Add to this the challenge of conveying ideas and requirements across multiple languages, multiple timezones, multiple varieties of access to resources and continue to organize with an openness to collaborate without full control on the outcome. These are all great learning opportunities. Random and wonderful things can happen.

One random connection was many, many months ago when we were contacted by Gareth, one of the members of the Unstoppable Sweeties Show. Gareth offered to help us organize a bunch of shows if we were ever in his city of Liverpool. He stumbled across our music via a radio show (thank you Marina). It pays to remember to remember such generous offers. That initial connection was the genesis for our second leg of this tour.

This has been our first trip into the northern parts of the UK. We had shows in Liverpool, Nottingham, Manchester and Leeds. All shows were also with the Sweeties which provided a wonderful chance to hear more than once some of there great tunes and great compositions each really joyful, odd and skillfully delivered. After each show, except Leeds, we returned to Liverpool to rest. This was especially brilliant as we were also touring with a chest infection in tow.

The opportunity to be situated in one place for a few days makes small and unexpected spaces for connections with the local environment more likely. Here in Liverpool, while poking around in the massive cathedral, Chrissie met the artist, described by some as an outside artist, George Lund. We also learned the local history of a nearby barren section called Hitler’s Hill. The story goes that after the 1st world war Adolf came to stay with his older brother in Toxteth for several month before bro sent him packing back to Germany for being a lazy laggard. Years later the bombing happened, The Blitz. Liverpool was second only to London in damage sustained. Possibly in this campaign Adolf’s plan destroyed his brother’s home. Nothing has ever been built on that section, partly, we are told, to avoid creating a magnetic attraction for right wing romantics and fascists. There’s no plaques or any other sign of identification. Just a fence where the litter collects in a neighborhood where kids with lineage from all corners of this diverse world play soccer in the street.

In addition to all this, and on the day of our Liverpool show, we were invited to do a recording session for a series called POSTmusic. The audio sounds incredible and somewhere in the near future POSTmusic will post the video footage of this afternoon outing. Massive thanks to the warm support of Stephen Cole for doing the grunt work. We recommended you check out his band a.P.A.t.T.

This pattern of connections across time continued with the show in Leeds, organised through Danny, who sung in a band from Leeds called Jesus and his Judgmental Father, who we met in Paekakariki a couple years ago. His band was on tour in 2017 and we had the privilege of playing on the same bill on the night that the tail of a hurricane lashed the west coast of the island. That connection resulted in a brilliant night in the Wharf Chambers, the collective-run venue he is a member of in Leeds.

DIY has its challenges though. There is a massive culture of booking via promoters in the UK, and so it has been pretty hard to find a way in.

The advice we received was to start looking for shows in London at least 6-8 months out. So we began in October 2018, and now 8 days before we leave this part of the world we are still without bookings for 2 dates.

Social media is incredible though. We posted a couple of call-outs to the random world to see if anybody has any hints of help. This process in itself is incredibly inspiring. People get behind an endeavour, share posts, entire conversations generated by people we have no direct connection with, exploring their own networks to see if anything can be located for us. The net extends and friends connect to friends who connect to friends. It’s a beautiful thing to watch unfold. We wish we could throw a party for this spontaneous collaboration, this concert of connections, this flurry of mutual support for strangers across time, distance and relationship.

We don’t know yet how this leg concludes but already we are deeply gratified and satisfied. In the health world we’ve heard it said that establishing connection is the way back from the isolation of depression. These opportunities we have, the privilege of being part of the connecting of strangers in enthusiasm, is an inspiring and hope-growing experience. Thanks!

Chrissie meets George Lund

Had the loveliest experience today. Wandered into the balcony area overlooking the Lady Chapel in Liverpool Cathedral.

A man had laid out many large detailed drawings and paintings of the large ornate window at the end of the chapel.

He spied my interest and said hello. We got talking and he said how he had made the drawings. Then he told me stories of how the cathedral was built and about his work as a painter, a performance artist and as a science fiction writer. We also discussed Metallica, a random connection to Auckland and the merits of doing what you love.

After big chats I said I needed to go. He asked if I would like a postcard. Before I could respond he dug his hand deep into a large bag and pulled out a bundle of about 50 postcards. He sifted through them and laid out 3 he thought I would like. I chose his version of the Mona Lisa. Then he flipped it over, asked my name and a wrote it on the back. Then he went to sign it. He began his signature and then said “you have to tell me when to to stop”. I let him swish back and forwards for a while and then said “stop”. He smiled the hugest grin and then wrote some links to his online spaces.
After more stories I eventually left.

I have looked up those links. I now know I met the very lovely George Lund. He reminded me so much of Fergus Collinson. Hurray for beautiful humans.

George Lund Website

Balance like an Octopus

It’s warm here in London, but sometimes a couple of layers are required when the temperature suddenly drops. That was not the case a few days ago when we were in the Czech Republic where one local told us that 34C was not a typical temperature for this time of the year. It was hot!

We’re back in London now after completing our first cluster of shows on our biggest tour to date. Before leaving Aotearoa we had about 33 shows scheduled across multiple countries but a few were not confirmed and we were still looking for other performing options.

We approached the booking of this tour like we had done previously: where would we like to go? where have we got friends? where is the good food? where have we been in the past and can continue to grow connections? We mostly follow a d.i.y philosophy which means hundreds of hours juggling multiple conversations across timezones. There are always many conversations early in the morning and late into the night in order to line up all the dots. It’s a bit like an octopus balancing on one leg while the rest of the tendrils are in the air attending to family, the day job and the random chaos of living.

But time and effort doesn’t always produce the result you hope for. By the time we land in London we still manage to have no shows booked in this city.

After a few days rest and recuperation from the jetlag we spend time with family and meet up with friends. One evening in Dalston while out for food we pass by a pub promoting an open mic evening. We spontaneously enquire if it possible for us to play, giving us at least one show in London and a practice opportunity before we fly to Czech the following day. And it was brilliant fun. There is something quite delightful in making an effort to be included into these generally local events. We meet some good people, and you never know who may be able to help sort out something else out somewhere.

The Czech leg also unfolded in unexpected ways. Our dear friend Romek, who had organized our previous tours as well as the current group of shows, became deeply unwell in April this year. It was heartbreaking to hear of his death in the weeks leading up to our departure. Romek had been a central event organiser for many years in Czech, as well as being guitarist for the pre-revolution era punk band F.P.B (recently reformed) and also guitarist in Už Jsme Doma.

Romek Hanzlik

We also expected to travel and play with Už Jsme Doma on this trip but again plans were scuppered as their bass player had an arm in plaster. But a positive upshot for us was that our friend Mirek Wanek decided to accompany us for the whole time and became both awesome guide and tour manager. Mirek also hosted us in his home and we had the pleasure of attending the local village primary school end of year event with his family.

Our final show in Prague was at the memorial event for Romek which was held in a venue called Meetworks. It was programmed with acts that Romek had help promote over the years. It was an honor to be able to acknowledge our connection with our friend and the Czech community around him. It was also a pleasure to perform on the same stage as great Czech acts like Už jsme Doma, Zuby Nehty, Plastic People of the Universe and Dunaj.





Finally we spend a couple of days at CESTA in Tabor. We first visited CESTA 15 years ago on our first trip to Czech. It was established by Chris Rankin and Hilary Binder, the power duo behind the group Sabot, as a ‘Cultural exchange station’ with a philosophy based on social justice and liberation. Hilary now lives in Italy, Chris had remained at CESTA. It is our extremely good luck that fortuitously Hilary is here helping Chris do the catering for a conference on activist wellbeing and care (I think) . These chances at reconnecting are one of the main reasons that we travel.


We return to the UK midweek for some rest time. We had tried extensively to book shows into this period but after contacting multiple venues in Poland, Germany, Amsterdam and Scotland we hailed in a grand total of zero offers. However, while on the train from Stansted back to our London accommodation and checking in on the old social media, a post popped up via one of the new connections gathered while looking for shows, asking for bands for a show at a London bar that had experienced some line up disaster. Some rapid text exchanges ensued and we scored the opening shot for a band from Portsmouth called Black Helium- a doom rock, stoner sonic barrage, skillfully executed and nice people to boot. The bar, The Underdog, was wonderfully receptive and welcoming. So all and all something that at one point felt disastrous turned into a perfectly good night out. The lesson is just to put yourself in the front of random opportunity and see what happens.



End of leg 1

And that octopus with seven legs in the air still looks like a brilliant dancer to us.

20/20 Revision

Screen Shot 2019-05-25 at 11.12.44 PM.pngHere a thing released today from the good crew at Tenzenmen, we are very happy to have been part of the canon.

From their site:
“25 years of tenzenmen! 15 years since the label launched! 5 minutes since last looking for new music from around the world!

Really, anniversaries and longevity are not that important. Over time, though, tenzenmen has built up an intimidating catalogue of music. As tenzenmen policy dictates working with ANY genre of music it can be frustrating for tiny punk minds to listen to some furious hardcore that has them bouncing around their bedrooms only to find the next release is some obscure harsh noise project. But there will never be any compromise! tenzenmen is here for the adventurous.

The 20/20 revision series is an effort to help music explorers discover some of the delights held within the tenzenmen catalogue. Number 1 in the series, available now, is a free download featuring tracks from the first 20 releases. In other words, the ubiquitous compilation album. But I like to think of it more as a mixtape for a potential loved one.

To help out our tiny punk-minded listeners I’m hoping you, the good friends and explorers of tenzenmen can help disseminate information by forwarding this email, sharing links to friends, doing whatever it is that kids do these days instead of actually making mixtapes. I and all the artists involved with working with tenzenmen would very much appreciate that.”


OrangeTime Tour 2019 ARCHIVE



It’s immensely exciting to announce the Orange Time Tour for 2019:

tour posters 3


1. Balance like an Octopus
2a. Chrissie meets George Lund
2b. Concerts of Connections
3. Navigating Drakes, Snakes, Breaks and Heartaches
4. Where the Wild Things are!
5. Coffee grinds, grindcore, tempeh time, scooter tour
6. Cranes make Nests
7. Towards the Last Stop in the Line
8. Thanks, thanks, thanks!!
9. Orange ain’t the new Green

Kiwese reportage, by Kristan Ng in Chengdu – mr sterile Assembly Return to China




  • August: 1 Thurs Klatan, Java : Venue – University Building : w/Redam, Sound of Glory and Pappiest
  • 3 Sat Guangzhou: Venue – Brasston w/People’s Square
  • 4 Sun Shenzhen : Venue – Brown Sugar Jar w/HELP
  • 8 Thurs Wuhan : Venue – Wuhan Prison w/PLC
  • 10 Sat Beijing: Venue – DDC w/MFMachine plus two other acts
  • 11 Sun Beijing : Venue – Temple Bar w/4 Channel Club and Showhand
  • 13 Tue Beijing: Venue – School Bar w/Car Drop and Boss Cuts
  • 14 Thurs Seoul : Venue – Mudaeruk Bulgasari Special
  • 16 Fri Seoul : Venue – Strange Fruit w/GoryMurgy, Maluihan and Wifi Cellphone Kidz
  • 17 Sat Seoul : Venue – Remember Love Camp Festival
  • 20 Tue Tokyo : Venue – Ogikubo club Doctor w/Height, Channeling!!! and NA/DA
  • 21 Wed Tokyo : Venue – Aja-Bar w/Punk Zoo and 5W1H
  • 22 Thur Tokyo : Venue – Nishi-Eifuku JAM w/HAIGAN, Goofy18, Electric Mongoose UFO Factory, The Devil and Libido

Othering Heights Video:

Recorded at What Studio, Liverpool by the wonderful Stephen Cole as part of the POSTMusic sessions.

Climate Change:

Carbon Friendly Band Tour - Mr Sterile Assembly Band September 2019 20000547
In an age of growing awareness of being part of a responsible global citizenry, we will offset our transport/Carbon Footprint using the local service Ekos. We encourage all traveling creative people, and all others, to do the same.

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She Shreds


A line up of some of Wellington’s best bands featuring female-identifying guitarists, bass players and drummers, including Hex, Womb, Linen, Mr Sterile Assembly, and Oonaverse. With Mean Wahine DJs from Death Ray Records!

Wellington Museum/ DJs from 7:30PM, Bands 8:30 PM/ FRI 24 MAY / $10.00 / CASH BAR

Brimming with frustration, imagery, and verve, New Zealand-based rock duo HEX (Kiki Van Newtown and Jason Erskine) deal in subversion: a discordant, electric experience under the umbrella of sonic twilight. Since 2015 HEX have toured throughout New Zealand, Australia, and the USA, opening for major acts including Dinosaur Jr and The Kills. HEX spent 2018 touring the U.S including official showcases at SXSW, and being covered by The Chicago Tribune and NPR, who said “HEX calls its sound “witch-rock,” and damned if it doesn’t sound like, well, witch-rock: dark and sinister, gritty and ethereal, muscular and feminine. The portentous epic “Sight Beyond the Line” storms and billows with ominous intensity, driven in part by the commanding presence of singer Kiki Van Newtown.” Their next LP ‘Big Woman’, due for release in late 2019.

Part punk, part noise, math rock, free-form squall, mr sterile Assembly are not easy to box, and are quite happy about that. Described as “A jolt of pure creative spirit married to social commentary, and damn good fun!” by NZ Musician, the punk duo have toured their socially conscious lyricism and organic odd time-signature mayhem across the globe. As Nick Bollinger says, “Catch them if you can. There’s nothing else like it.”

Armed with her trusty Axe and a Peavey Rage, Oonaverse (Bek Coogan) has made an art out of breaking down the barriers between performer and audience. Described recently at the Audio Foundation’s Nowhere Festival as “NZ’s first lady of rock’ n’ roll yodelling and a veteran of counter culture,” Coogan was the only member of the Wellington International Ukulele Orchestra to ever jump offstage and crowdsurf at a gig (much to the surprise of the seated audience). She supported Bonnie Prince Billy on a tour of Germany with the band Full Fucking Moon, and once wrestled a person-sized replica of the Palmerston North clock tower and won, riffing over it in a symbolic victory over concrete and patriarchal linear time. Is it art? Is it music? Will it hold together?

Made up of twins Charlotte and Haz Forrester and their sister Georgette Brown, Womb creates oceans of sound – from alt-folk soundscapes to the outer boundaries of dream-pop, where swirling synthesisers intersect with tenderly plucked guitars and otherworldly singing. With two albums under their belt, the trio is set to take on a ten-date tour of China in 2019.

One of Wellington’s buzziest new bands, Acid Rock trio Linen’s sound combines beefy grooves with fruity riffs, to create a long lasting mood. Guitarist Emerald, Bassist Kate and drummer Tom are always seeking the chance to create, establishing a body of work that feels authentic and personal. They were a standout act at the 2019 Newtown Festival.

Death Ray Records’ (RIP) mean Wahine Djs will start the night off at 7:30PM.

Lifted from Facebook link

Things come in threes!

Update: all $$ collected will go in solidarity to the affected Muslim communities of Christchurch after the recent white supremacist Attacks on two mosques.

Come along to Valhalla for the converging of threes.

An evening of gargantuan goodness

The three-headed beasty of Ghidoragh pounding out epic, frenetic tunes like spitballs of sound.

Unsanitary Napkin – a three-piece power house channelling a punk fury – like serenades for the spitting heads of Trump/Jones/Kavanagh – the Axis of Deceivable.

mr sterile Assembly – 1+1= 3 for this lot, sharpening claws for an impending international trip of weirdness with a bunch of tunes looking for a place to settle, best danced with three left feet.

Get it in your ears!


The Carbon Offset Dubstep

a drive around the block is statistically insignificant in terms of the overall impact on the climate. That said, when a million turn an ignition key, it moves into the collective realm of statistical, and planetary, significancy. The heat is on.

Interpretation of Timothy Morton


So we just bought carbon credits to offset our trip to Tokyo and Seoul. And it’s an easy thing to do.

From memory, Naomi Klein said in her book This Changes Everything, that a transition away from high-carbon to low-carbon activities is essential for ongoing viability of life on earth. She cites creative endeavours, such as the arts, as being a low-carbon activity to encourage. That’s a nice thing to hear if you make things such as music, it has a feel-good buzz to it, a pat-on-the-back for not launching tonnes of carbon into the atmosphere willy-nilly by being a ‘dirty polluter’.

But then we hop on a plane to go and play random weird tunes elsewhere because we can. Carbon, say hello to the atmosphere. And though it’s highly likely the plane will still have dumped that much carbon without us on board, the fact remains that we are on board, we have added encouragement to the intercontinental flight network [it is an amazing thing!], and we know that the impact of such events collectively cumulate into an unfolding hyperobject called Climate Change. [Again, read or watch Morton’s ideas on Hyperobjects].

How to mitigate such impacts? What’s a personal responsibility in this regard? How to offset the negative impacts of a positive endeavour? Talk to EKOS.

Ekos makes carbon footprint measurement and offsetting accessible for businesses and individuals. Our carbon credits come from our own carbon projects that grow and protect indigenous forest. These projects do more than capture carbon: they reduce erosion, help to clean waterways, improve biodiversity and provide sustainable income for local communities in New Zealand and the Pacific Islands. [from website]

Carbon offsetting is easy. This is the second time we’ve used EKOS to help carbon offset our tours and they are super helpful. You can read about the first time in the post, Out of step to not offset. They assist to calculate the impact of flights, trains, taxis and other transportation required. To offset our trip to Tokyo and Seoul we paid approximately NZ$240, that covered all transport as well as any other calculation we were unable to supply.

Carbon offsetting means planting trees. Planting one tree sequesters about one ton once fully grown. One ton is statistically insignificant in the grand scheme of things. However after planting one million trees, and then multiply that further, then it does start to have some statistical, and actual, significance. Let’s plant some shade.

We would encourage all touring act, big and small, to investigate offsetting your projects where possible. There may be local equivalents in the areas where you live. Check it out.

We wrote this last time, seems worth saying again: “We hope other creative practitioners and festival organisers can hook up with a services like Ekos and make reducing their carbon footprint a regular and expected part of creative responsibility and activity. “