The three recently recent album on our skirted Records were sent to Nick Bollinger of Radio NZ for potential review. And we were wonderfully surprised when this appeared. Thanks heaps for the positive clip.
Nick Bollinger discusses the rhythms, rants and recent releases of Wellington-based independent musician Mr Sterile.
Here’s an act that has travelled as far and wide and played to audiences as diverse as any band from this country ever has – though that hardly means Mr Sterile is a household name.
Mr Sterile is the performing alias of Kieran Monaghan: drummer, vocalist, occasional bassist, guitarist, and – for these particular recordings – virtually everything else as well.
Monaghan has been performing under the Mr Sterile banner since around the turn of this century, often in collaboration with his partner Chrissie Butler.
There’s a high level of theatricality about what they do. Their stage costumes are like some mash-up between Bride Of Frankenstein and early Split Enz. At times they incorporate other musicians as well. These larger aggregations are known as Mr Sterile Assembly. Otherwise it’s simply Mr Sterile, which is the case with two new releases, which are essentially Monaghan solo works – though that doesn’t mean they are not packed to the gunnels with sound.
The music might not conform to any old-school punk-rock rulebook, still there is a punk impulse behind it – perhaps politically even more than sonically. The lyrics are like wake-up calls; warnings of the various mechanisms and instruments of oppression that threaten our lives.
But there is a satirical as well as a sinister side to the Mr Sterile aesthetic, which you’ll find everywhere from the lyrics to the handmade packaging. Sacred cows and self-congratulation are prime targets. The first of these two recent releases is called The General Pathetic, with both its title and graphics parodying a well-known Kiwi rock classic.
Monaghan’s primary instrument is the drums and this music comes at you rhythm-first. Those rhythms can be layered and complex, as in the industrial waltz of ‘Cast Adrift’, or furious and combatant – try ‘Kraschenbanger’s Return’. At other times the effect is almost folky (‘Setting Fire To Bob’).
The General Pathetic was actually recorded about six years ago, though it has only just been mastered, and is the more lo-fi of the two new releases.
The other album – Haters, Wreckers and Other Friends – is a bit more sonically refined, though sheer ferociousness isn’t compromised. This is music with a lot of sharp edges that seems to combine the sonic force of Fugazi with the angular rhythms of Captain Beefheart. Chimes of gamelan deepen the textures. Tracks like ‘Would We Be Alive’ imply a spiky kind of funk.
A third new release, also from Mr Sterlie’s label Skirted Records, could be heard as the antidote to the other two. It certainly makes for a study in contrasts.
Two Hands Twice comes out under the name DSLB (that stands for Ditsy Squalls Lunch Box) the alias of Mr Sterile Assembly bassist Chrissie Butler, and consists simply of five instrumentals played on a wheezy old pump organ. These are minimal and meditative. Built around single note drones in no discernable tempo over which harmonies are very slowly added and subtracted, it is like music in slow motion. The song of a glacier, or an organic, handmade version of Eno’s ambient music.
After listening for a while my nervous system seemed to settle to where just the addition of a second note became a momentous event. But sometimes the organ is joined by unidentified rattles and bangs – it might be a washing machine in the next room – and something almost akin to a groove enlivens the drone.
With these three releases out in the world, Mr Sterile Assembly are heading back on the road soon, premiering some brand new material. In the past they have toured extensively through South East Asia and Eastern Europe, places few New Zealand bands have ever set foot. But this midwinter jaunt takes them to Christchurch, Dunedin an Invercargill.
Catch them if you can. There’s nothing else like it.
From the NZ Musician magazine, big thanks to Bing Turkby!
This impossibly tight ‘outsider punk’ duo (just drums and bass, with vocals by both performers) can always be counted on to deliver a blasting collection of thought-provoking songs. Recorded at Munki Studios, this release handily showcases the power of the band while keeping the vocals clear enough to be easily understood, which is a huge part of the Assembly experience. This is songwriting with a mission to change the world, commenting on injustice and pointing out the ludicrous. At the same time the songs are musically adventurous, with all the willful unconformity of Mike Watt’s Dos, but an extra tablespoonful of audacious creativity and sheer talent.
Odd time signatures are just normal for Mr Sterile Assembly. They deliver them naturally, rather than as an affected gimmick, because all of this would be irrelevant if it was approached as just a math exercise. The form follows the function of the song. Sometimes that manifests as an a capella section, other times it’s a flurry of distorted bass notes. A jolt of pure creative spirit married to social commentary, and it’s also damn good rocking fun! • Bing Turkby
RNR666, another great blog full of weird sounds from all over. Very happy to be included in this line up.
New Zealand, I like it. Home of some great artists like Axemen, Heart Attack Alley, Delaney Davidson, Stomping Nick, and mr sterile and his company, a bunch of various musicians who working together under the name of mr sterile Assembly from 2004. They have made their latest album as drum and bass duo, so the music is pretty minimal punk
which bring the very early NoMeansNo to my mind when it consisted of the two Wright brothers only. And also bring the Minutemen and English anarcho-punk group CRASS, not just because
“the title track to the album It’s All Over, an anthem to and for the protesters at the front-line of the climate crisis; for Black Lives Matter, for Refugees are Welcome, for No one is Illegal; for resistance, for persistence; for workers struggling to obtain a living wage, decent conditions, a dignified workplace; Occupy, Anonymous, BDS, frontline communities; the opposers of the corporate wars, the oil wars, the water wars, the cyber wars; those fighting for transparency, equity, liberation; old folk connecting with young folk in affinity; for those fighting for potential and hope in health, education, housing; for fighting for freedom of expression from medieval thinking; for the radicals, for the first-timers; for us, for It All, for Everywhere, for freedom, for life!” – said mr sterile.
On their previous album in 2011 there was a bigger assembly with a pretty eclectic music
There come the English avantgarde experimentalist Fred Frith, Dutch anarcho-punk-folk-jazz The Ex, Hungarian psych rock band Másfél and art punk Ápolók to my head. But I could say Captain Beefheart or the Bez Ladu a Skladu from Slovakia too. Or there is the Belgian Morzelpronk, but anyway “they have a distinctive, South Pacific sound based on unusual and urgent time signatures, repetitive heavy rhythms, and angular lyrics.” And it is highly entertaining.
Thank you Yeah I Know It Sucks for the review! YIKIS is a good blog with loads of interesting finds there, worth exploring.
Posted April 8, 2016
Finally I’m back to stay for good at YIKIS. After a hiatus because of house moving, cleaning up an old house, diverse other stuff, I’m ready to review again.
I’ll mainly focus myself on CD and cassette releases. I’ve got a good setup to listen and review your releases with full dedication (it bassicly means I can turn the volume up to 11).
First review is by the band Mr Sterile Assembly. They are a duo that make very very very bassheavy band music. A lot of the times the bass just overwhelms you in such a way that you’re almost hypnotized by it. Differianting between Ska rhythms and freejazz mumbojumbo it really lays the layer for most of the tracks.
The singing on the tracks reminds me of Anne Clark spoken word and Blondie tunes on the female vocal part. The male sings like a angry butcher that will come after you if you don’t do as he tells you. Overall teh singing floats between Atari Teenage Riot angst screaming and the spoken words of the audiobooks you find over at the LibriVox page.
Back to the other sounds. The drumming on this release is done with great precission and is coherent with the bass and the singing. What I’m trying to say is that a lot of practicing, recording, writing and other production values a very high standard.
You can listen to this album on bandcamp, buy it there in digital format, but I strongly recommend to buy it on CD. The package alone is worth the money. It’s very sturdy and comes with a lot of info. It even has the lyrics. And I bet they will put in a postcard with a personal ‘thank you!’ note in it.
Put the in your CD player at home, turn up the volume and let yourself be taken away by the music. You’ll probably find yourself building a private moshpit, like I did!
A bit behind the 8ball here, meant to post this a while ago but a bit distracted. This is a wonderful personal account of one persons experience of the TRANSIT exhibition in Dunedin for the recent Fringe Festival.
A massive thanks to Mark Tyler for the honest account
“This exhibition was held at the Glue Gallery as part of the Dunedin Fringe Festival. Mr Sterile Assembly were blown away to have recently received Creative NZ funding to record an album so decided they would send each song to various artists that would be interested in coming up with their visual interpretation of the song they received. This was the result.
The central theme was the way our culture has been moulded since 9/11, and the frightening extent to which the average citizen can now be spied upon. Our civil liberties have been eroded at an astonishing rate.
Each picture was spaced out around the walls and accompanied by the title and lyrics of the song it represented, carefully written in pencil. Mr Sterile then proceeded to discuss each one, lucidly explaining the depth of meaning behind the lyrics and a brief spiel about each artist. What started as a lively and informative performance for me soon gave way to the bleak and somewhat astounding personal revelation of how utterly coccooned i have become in my systemised way of thinking. Despite being aware of sweeping “big brother” reforms being passed almost weekly, i am happy to insouciantly accept each act with little more than a mild grumble in the work truck maybe. And it has nothing to do with paranoia or Orwellian hysteria, its just the most fundamental awareness of these changes, that stretches so much further than what is outlined and presented in the mainstream media. In short, this presentation shook me up like an educational earthquake. Rattled my brain a little. If performance art is supposed to provoke and stimulate, then Mr Sterile Assembly delivered in spades, taking each story so much further with humour, clarity and unswerving conviction, before playing us the music behind it. Skillful, original and slightly unsettling music that could loosely be tagged under the Punk Rock moniker, each song taking on a heightened significance when the lyrics were scrawled right in front of you.
Regretfully i couldn’t stay for the whole performance, justifying my early exit with having somewhere to be, i’d run myself out of time. But thats just a bullshit cop-out. I should have MADE the time available, just like i should take the time to delve a little deeper to increase my knowledge and understanding of the issues presented. At least make the effort instead of meekly pretending it doesn’t matter cos it won’t affect me all that much. It shook me up humans, shook me up.
Thankfully, i managed to obtain a copy of the CD which comes with two little booklets containing the lyrics of each song and their respective artworks, a permanent memoir of what i’d seen and heard, and more importantly, a personal little kick up the arse whenever i choose to slip back into the comfort and convenience of complacency. You could probably get yerself a copy by contacting: http://www.mrsterileassembly.com
The next day i got home and read in the paper that the new “Search and Surveillance Bill” had been narrowly passed in parliament by a majority vote of 61 – 57, opening the door for an unstoppable tsunami of control-driven “i spy with my little eye” type of activities. Jesus.
Footnote: great to see that Mr Sterile Assembly won the award for BEST VISUAL ART at the festival. Well deserved.”
Who are MR STERILE ASSEMBLY? They’re pretty unique actually, uniquely excellent… Mr Sterile Assembly are from New Zealand, they have a minefield in their playground, and their latest album, Transit, is something we rather recommend..
MR STERILE ASSEMBLY –Transit (Skirted) – They sound like a more frantic Gong – a slightly stressed day on that planet – or maybe a band on the run from the raggity zaggity crowman of planet Ring? They sound good from the off; hold the front page, we got one here.
There’s a slight sense of claustrophobia, a threat of some sort, with song subjects based in the harsher realities. The album opens with the menacing, urgency of Hibakusha, a song written about a real-life survivor of both Hiroshima and Nagasaki, they have delightfully awkward sound that continually evolves and never fails to challenge. Gone a little Wilco Johnson messing with The Ex right now: intricate clever rhythmic weaving, that old school Pere Ubu new wave weird-punk art-fuelled feel, and all the while with details and tunes (and clever moves) all of their own…or maybe Cheesecake Truck? Dog Faced Hermans? Their combination of sometimes intricate time changes, female voice, dark-edged melody and real-world lyrics can even be reminiscent of Thinking Plague.
They’re rather unique actually, uniquely excellent. Mr Sterile Assembly are from new Zealand, they have a minefield in their playground, (a mindfield?), they’re exploding things in your mind, they’re forever shifting, changing shape, never retaining a status quo. Gong at their most edgy, at their probingly subversive is probably the nearest thing you can pin on them in terms of a positive comparison – playing with fire, to question and to learn…. This latest album stands out far far more than previous things we’ve heard from these rather creative New Zealanders; this is great, even with all that paranoia and that electric Orwellian warning and the monitoring of your every logged-on communication check in, the watching of everything you ever say or do tagged there by the Man in cyberspace…
Mr Sterile Assembly have a sound that somehow is oppressive and delightful both at the same time. They sound paranoid, they sound switched on, they sound aware, they also sound like thoroughly decent people, inviting people, come join our band – a Crass-like collective you’d really like to be part of and muck in with (Crass always sounded like they’d be such hard work to be part of: this gathering sounds inviting). And even when the sound is getting a little frantic and the saxophone is sounding a little like a maniacal goose, they still flow so well. Mr Sterile Assembly are never aggressive in terms of musical style, never pecking at your head. They may be throwing out questions, but it’s not just head-on arguing. They’re too artistically intriguing to be about mere confrontation as they take you on their ever flowing, ever shifting, ever thrilling musical/lyrical ride… All open mouth expectant, man swallows his own tail, all clever time changes and awkward song structures (along with a fine dress sense).
The band are mostly drummer/vocalist Kieran Monaghan and bassist/vocalist Chrissie Butler – the two piece are augmented by a number of guests and scuttling collaborators. Transit is a cohesive, challenging album, hardboiled but somehow never difficult to listen to, an album that at times is brilliant, an album that’s always very very good (and complemented by good artwork/packaging). They may be from the other side of the world and we may not get that much of a chance to see them live, but this is an album and a band that you do need to go explore.
Here is the original Organ Zine post from August 1st 2011. (LINK IS DEAD)
And what is music without words, without lyrics? Amidst the discordance lie some of the most incisive writing, as we’re taken on yet another journey again — this time through anti-war sentiments, Hone Tuwhare‘s poems, New Zealand’s nuclear-free legislation, and even an ode to a migrant worker in Singapore. And as if everything else weren’t enough, the Assembly have included lyrics to their songs as hyperlinks on their website, for those of us so inclined to delve into the nuances of their artistic offering.
This literary cacophony will be touring SE Asia starting from 15th July, with 2 dates (28th and 29th July) in Singapore. What else can we say? You can’t not witness them in their full, live, performative glory.
Click THIS LINK for original site
Despite the community-oriented name, The Mr Sterile Assembly is one of the most singular and unusual acts in New Zealand. Primarily a two-piece, the Assembly draft in an array of other musicians where and when required, all in service of a quirky and distinctive approach to music. Let’s just say that you haven’t heard anything quite like these guys.
Transit is the band’s fifth album, testament to their strength of purpose. On the surface, the pair’s predilection for wacky costumes and awkward song structures would seem to be the kind of thing destined for a short lifespan. If that is the case, nobody told drummer/vocalist Kieran Monaghan nor bassist/vocalist Chrissie Butler and to think so would be to underestimate the commitment they bring to their music.
The album opens with the menacing, urgent skitter of “Hibakusha”, written about a real-life survivor of both Hiroshima and Nagasaki. This groove-driven approach continues throughout Transit, but with other instrumentation dropping in to provide the melody, such as brass on the ska-inflected “I, Robert”. The full range of sounds on board includes punk, jazz, rap and pretty much everything in between. What is remarkable is that it is always coherent and holds together, no matter what quirks get thrown into the mix. The glue seems to be the intricate, highly-effective stickwork of Monaghan, reining in even the most abstract of songs.
Where other bands are content with playing their local town and maybe the odd New Zealand tour once or twice in their career, The Mr Sterile Assembly has played Slovakia, Poland, Malaysia, Indonesia…not exactly the usual OE destinations. But doing things away from the norm seems to be the prescription here, as well. A song starts in one direction and may completely change style halfway through, never to return.
The quirkiness occasionally drifts into self-indulgent stylings such as on “Whyt” or “Bug My Ride”, which cross the line between unorthodox and annoying. I can’t imagine anyone wanting many listens of such songs, but this is always the risk with an act willing to take chances as The Mr. Sterile Assembly are.
A step up on their previous releases, Transit shows the Assembly becoming a cohesive, challenging outfit. Not to mention the super-slick packaging for the CD, which is refreshing and welcome in these days of digital downloads (although a tracklist would have been nice!). An uneven album, but littered with moments of brilliance.
Original review at THIS LINK Punkas.com
A progressive music blog from the USA have reviewed the album. Click HERE for the original link.
mr sterile Assembly: Transit
After reviewing music on Sea of Tranquility for more than 10 years (and even longer, if you count the now-defunct print version), I’ve heard some weird stuff. But I’ve got to say that Transit by mr sterile Assembly — an anarchist “outsider-punk noise experimental rock two-piece” from New Zealand — ranks up there with the oddest releases I’ve been asked to cover. This drums, bass and vocal duo consists of Chrissie Butler and mr sterile (of course), and they are assisted by a variety of other equally adventurous musicians, singers and lyricists. Cabaret jazz, carnival quirk, math rock and even hip-hop collide in a stormy cacophony of revolution.
But beneath the swarm of singing munchkins on “Jesus Heals the Blind” is a solemn anti-war message dedicated to “the growing list of the innocent and the dead,” and “Pop Sickle” is an ode to those “who resist the war,” with barely audible spoken-word lyrics set against a Violent Femmes-inspired beat. And the chaotic “Axe and the Olive Tree” is simply “for Palestine.”
Transit comes in an elaborate digipak with two thick full-color booklets that might have cost more to produce than the album, but the low-budget cover featuring the duo in straitjackets and Kabuki makeup sitting on an ugly green-and-brown couch is distracting. This music is certainly not for everyone; in fact, I doubt Transit will get much playing time after I slip it back into its fancy packaging. But I certainly can appreciate the boldness with which Butler and mr sterile approach — and execute — their art.
Added: June 14th 2011
Reviewer: Michael Popke
“MR STERILE ASSEMBLY : Transit
By Steph Gray
They’ve said it themselves: this is not lounge music. But if you like the idea of ‘outsider punk’, appreciate jazz, poetry and math rock precision, ‘Transit’ is for you. The fifth release by the Mr Sterile Assembly, it is both an album and an exhibition of artworks. Charismatically assertive two-piece Chrissie Butler and Mr Sterile secured the talents of Dean Hapeta (aka Te Kupu), Jeff Henderson and Maria McMillian among other collaborators for this production. The result is a literate, rich and engaging double album. Each song is accompanied by an art-piece. My favourite is Pop Sickle – dedicated to the Waihope 3 – and matched by Stefan Neville’s eponymous etching. And if you like information with your art and music, the Assembly have added a third layer by published hyperlinked lyrics on their website. As sources of allusion and inspiration, the links are a mad romp around the Assembly’s creative process, taking you to Hone Tuwhare’s poems, NZ nuclear-free legislation, and an image search for ‘Israeli wall’. The Assembly are celebrating this release, and their tenth birthday, with a national and international tour to Australia, Singapore, Malaysia, Indonesia and the Philippines. ‘Transit’ was mostly recorded with Mike Gibson at Inca Studios and released by Skirted Records and Tenzenmen.”
Just got this album from one of my favorite New Zealanders, “Transit” by mr sterile Assembly. “Transit” is an album peppered with horns, bass, drums, vocals, unorthodox time signatures and more song structure changes than a politician with commitment issues. I would imagine most amateur and some seasoned drummers would get a wrist cramp by just even listening to this album! How can I put a label on an album like this? I can describe the overall sound of the album of being reminiscent of late 60’s mid 70’s era Frank Zappa, a funkier variant of Devo and an artier ska-punk sound with one of my favorite cuts off the album “I Robert.” Readers, this is actually one of the rare reviews that are going to be less than 300 words because this album has left me speechless.
Even though I enjoyed all 11 songs, I would say the choice cuts off of here would be compositions such as “Jesus Heals the Blind”, “I Robert”, “Stella”, “Axe and the Olive Tree” and the title cut, “Transit.”
In closing, mr sterile Assembly’s album “Transit” is great for punks trying to get more into jazz or anybody in a Frank Zappa or Primus state of mind.
Here is the story of Transit, the fifth album by mr sterile Assembly. There are links to individual pages with interactive lyrics. The story of how the album came into being, plus reviews, images, and any additional detritus associated with this release. cheers
Transit, the fifth album by mr sterile Assembly was released March 25 2011. The album took just over one year to complete from its inception point in late December 2009. The Assembly had recently complete a small Aotearoa NZ tour with the Czech group Uz Jsme Doma, in which an offer to the Assembly was made to tour Europe sometime in mid-2010. Offers like this spawn plans, and one of these was a recording project.
Two surprises in one day: dollars and departure.
An application was made with CNZ for a recording grant, the idea to record the duo bass and drums unit, in preparation for the tour. However, and much to our surprise, the day the letter of astounding confirmation of $$ came on the same day Sarsha Doulas decided to quit. The tour almost happened but due to personal reasons had to be abandoned at the eleventh hour.
From band reproduction to project.
This caused some serious rethinking on how to approach the project. What developed over the coming months was a growing project of fantastic proportions. We wanted to maintain the energy and feel of the twin bassists so we approach a sterile member from previous times, Aaron Lloydd, to plunk the strings. We knew he had a solid and creative understanding to our approach. Next we contacted another sterilite, Jeff Henderson, to add saxophone on a number of tracks, and Nell Thomas to add special tonal colour on a couple of tracks. Nell plays a a Javanese instrument called a Gender, and we felt this was a perfect instrument to add depth to a particular song, Stella, based on an story of some dear friends in that country.
Mike Gibson was enlisted early on to the initial recording of primary bass, bass, drums track, and to mix and master the final collection of songs. Dean Hapeta aka Te Kupu became deeply woven into the development of the album. He offer Matakahi Studio to us so we could add all lyrics, additional sounds, and the sax tracks. During a number of conversations, we also came to the conclusion that there were spaces available that called out for extra words. Dean listened intently over months to lets the ideas grow, and his response to the challenge of these four songs is spectacular.
Inca studios and the NZSIS
Working with Mike at Inca studios also took on a particularly delicious an ironic feel. When I first met Mike to discuss the project, he almost incidentally commented that the studio use to be the home of the NZSIS, the government security intelligence service. The main record room that we were situated in was the old safe, the home of all those secret files from years gone past of union activist, conscientious objectors from previous international armed conflicted, and any other ‘radical’ who opposed the government of the day. That we should find ourselves in this space, performing our songs about the governments attempts to survey citizens, of this countries role in international spy rings, and the police’s employment of a particular individual as a failed covert spy to protest activity couldn’t be more perfect. (note:the SIS still is a functioning arm of the NZ govt, it simply relocated to a different building)
As well as having Te Kupu’s text in the songs, mr sterile collaborated over several months with Wellington poet Maria McMillian on the song Drought. Maria was invited to this collaboration as not only do we consider her a poet of fine standing, but the commitment to her political activity of opposing the privatisation for water would inform the similar content of the song further. The word’s were ferried back and forth over months, being stretched and teased into existence, then edited down into the form on the album. This reworking process continued up until moments before the words were committed to the recording.
Once the mix, which took several weeks, the mastering, and completing of art design, all the finished work was sent to Dualplover in Australia for the final stage of making the actual product. We were in the very capable hands of Swerve, who helped soothe the anxiety around the possible design slips that could happen as we were including two booklets into the final complete package. Additional support and help with the OZ release is from Tenzenmen, a specialist in d.i.y releases from Australia, Asia, and now us.
The evolution of the art work
Running alongside the audio process, the task of conceptualising, compiling artwork, and designing the artwork and packaging was explored. In an organic fashion, similar to the way many things evolve in sterile, the final design took many months, multiple edits, and a massive effort to execute what ultimately because a stunning and beautiful package.
After some initial abandoned design ideas, the concept to approach individual artists to illustrate the songs was almost accidentally stumbled upon. We looked through our contacts, aware of the vast array of talented friends, and matched songs with artists whom we thought could respond sympathetically to the intent and meaning of the words. And we were astounded and humbly impressed at how much they stood up to the mark, the quality of the art work, and the enthusiasm we received from each artist was incredible.
Building an exhibition.
While the art was coming in, the idea sprung into life that this part of the album deserves more that to be rendered into cd booklet size and never seen in its true form. The idea for the exhibition was born. A close friend, James Kirk, was approached to frame the work over a number of months, not all of it easy, but the quality of displayed art work was astounding, James also facilitated the contact with a photography who would take the highest quality photos for our reproduction in the books.
We’d like to say thank you
The craftsmanship executed from musicians, the sound engineers, artist, and the framing easily lived up to, and surpassed our Everest like expectations. the creating of this album was one stunning experience after another, not always easy, but ultimately extraordinarily rewarding.
We are incredibly grateful to all the amazing people who have participated in this project.
We thank you all individually:
- Aaron Lloydd
- Andrew Ross
- Campbell Kneale
- Dean Hapeta aka Te Kupu
- Deborah Barton
- Garage Collective
- Kate Whitley
- Kerry-Ann Lee
- James Kirk
- James Robinson
- Jeff Henderson
- Maria McMillian
- Mike Gibson
- Nell Thomas
- Roger Morris
- Stefan Neville
- Tao Wells
The album was launched at the Wellington Gallery, The Russian Frost Farmers on March 25 2011
We toured the album extensive within Aotearoa, we also took Transit to Malaysia, Singapore, Australia, and returned to Java Indonesia. While in the township of Blitar, south east Java, a music video was made for the song Stella. The story of a young women from Blitar having a baby, moving to Singapore to get work as a transient migrant worker, while leaving baby back at home. A reflection on the globalised process of cheap labour for wealthy countries, everybody through travels with a very real human story.
After the launch we presented to firstly the Hamilton, and then latterly the Dunedin Fringe Festivals. The art work was couriered and installed with help from local to write the text around the art works. We then arrived to deliver a seminar discussing the process of developing this project, the content of the songs, and to play a few tunes.
Our show won two awards in Dunedin, and one award at the Hamilton Fringe. Below is a clip made by a Hamiltonian (thanks) from the Saturday afternoon discussion.
ICOT13 – The International Conference on Thinking
In January 2013, the International Conference on Thinking was held in Wellington. We submitted an abstract, which was accepted, to present our thinking around the processes involved in this Transit project.It was a 75 minute break-out session that was well received.
A video for the song Transit, made by Wellington photographer and film maker John Lake. This clip includes a crowd fund choir from across the world. Click this link for more information