non-fiction rock from Aotearoa New Zealand


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 us 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!