Archives for posts with tag: glam rock

Our Day 22 song for 31 Days of May Madness, attempting to post a New Zealand track every day of the month of May, is “Close The Door on Love” by Ersatz Savant:

“Close The Door On Love” is from a recent 4 song EP from Timaru’s remarkable DIY Glam/Goth/Post-Punk/New Wave trio.

The EP features a re-mix of “Mademoiselle” and three new songs. The EP continues in the decadent/ sinister New Wave/ Goth corruption of Bowie’s “Hunky Dory” era proto-Glam style, the songwriting, sounds, and arrangements capturing the essence of early 70s Glam as well as early 80s Gothic post-punk and New Wave.

A big part of this is vocalist, guitarist Robert Fraser’s extraordinary voice which walks a line between Bowie’s early 70s hammy music-hall poshness, and the also the sinister undertaker purr of Bahaus’ Pete Murphy, or decadent expressiveness of The Only Ones’ Peter Perrett. 

Ersatz Savant 2020

PopLib’s Day 14 song for New Zealand Music Month 2020 comes from Timaru’s remarkable DIY Glam/Goth/Post-Punk/Folk band Ersatz Savant, returning with a  recent new song “Mademoiselle” to follow an excellent album last year called “II”.

As we noted when we featured a track from “II”, Ersatz Savant is much classier than the self-deprecating name (signifying an inferior substitute for a learned person) may suggest.

Ersatz Savant provides a convincing decadent corruption of Bowie’s “Hunky Dory” era proto-Glam style, vocals this time walking a line between Bowie’s early 70s hammy campness and Brett Anderson in Suede. It’s another great song and on “Mademoiselle” it’s the stellar (twin) guitar solo which captures attention and sets this apart – like Timaru – from the rest of NZ.

NZMM 2020

Adrian
Out of nowhere (or downtown Dunedin – same difference) comes latest Dunedin pop underground luminary Mavis Gary.

What? I have my ear to the ground in this town and I’d never heard of Mavis. Suddenly there’s a single and an album ready for release on cassette via The Attic (Dunedin’s top floor ‘underground’ arts/ music, general loafing cooperative space).

Turns out Mavis Gary is the name given to a side-project of shy Dunedin DIY pop auteur Adrian Ng. As I’ve seen Adrian almost every week this year, and he’s spent days at my place recording the debut album by his main band, Trick Mammoth, I’m surprised I knew nothing about this. Although he did ask if he could borrow a bass guitar a couple of weeks ago and he has hung onto my SM57 microphone for months – an upgrade from his old SingStar microphone, famously used for those Trick Mammoth demos

The combination of a creative flood of songs and being bored now that the Trick Mammoth album recording has finished meant he used his mid-term break week to self-record an album as Mavis Gary. I’ve heard the whole thing now – it’s extraordinary. There’s a whole new dark side of what I can only describe as post-punk glam rock plus more of the glorious woozy melodic pop I know and love from Trick Mammoth. In fact Mavis Gary even covers three Trick Mammoth songs – two old ones and one new one (‘Candy Darling’ the ‘B-side’ to the ‘Dim the Droog’ single).

I presume Mavis Gary is named after the Charlize Theron character in the 2011 film ‘Young Adult’ – a cynical feel-bad movie about the delusions of early adulthood. Some of the songs seem metaphors for the sickly-sweet jumbled up confusion and dark undercurrents of life lived halfway between a cheerful and positive surface image and a darker clandestine reality.

‘Dim the Droog’ is one of the songs that stuck out most on first listen, possibly because it strays far from Adrian’s usual palette of songwriting. It is dark, angular, mysterious and brooding, but in a kind of saturated colour cartoon kind of way. I love it. As always he uses the contrast between rhythm guitar chords and chiming lead parts and there’s the expected killer pop hook chorus.

The ‘B-side’ ‘Candy Darling’ is a song that Trick Mammoth have been playing live for the past month or two. Another cracker, and Mavis Gary does tend to blur the lines between a kind of testing ground for emerging Trick mammoth songs as well as an outlet for Adrian’s darker, skewed pop.

I’m looking forward to the cassette. Not often I say that these days…