Archives for posts with tag: GPOGP

Our Day 15 song for 31 Days of May Madness, attempting to post a New Zealand track every day of the month of May, is “Bring Out Your Dead” by Horror in Clay:

“Bring Out Your Dead” the first single from an upcoming June release by Auckland ensemble Horror in Clay on Muzai Records called “Live At Toad Hall.” The song is a disorienting, gently sinister kind of melodic light & dark Post-Punk psychedelia. Despite the ominous title it’s also very approachable, something that can’t always be said about the music of guitarist/ vocalist Casey Latimer (GPOGP).

The distant plangent roar of shoegaze style guitars, propelled on bass and drums awash in chilly sarcophagus reverb, and a resigned vocal incantation all culminates with a hellfire & brimstone sermon sample condemning the excommunicated to eternal damnation, cast out in the darkness with the devil, his fallen angels and all the reprobates.

Imagine The Bunnymen in a period of post-“Ocean Rain” melancholy experiencing some kind of spaced-out datura-fuelled delirium complete with religious guilt hallucinations. Just what we all need as a warm up for a Saturday night out.

i e crazy 2017In a country where the Prime Minister said “our literary heroes may never challenge the glory and respect given to our All Blacks” our music heroes generally fare worse than our authors.

Claire Duncan, the person behind i.e. crazy, is a literary music hero I’ve respected for several years. I’ve been been waiting for – “Non Compos Mentis” for a while. Waiting in fear and trepidation mostly to be completely honest. And with good reason. Here’s “Closed Case” from the album.

“Closed Case” begins with a recording of the emergency call made by the surviving member of a Dunedin family murderded in 1994 about 500m away from where I’m writing this, looking out across Anderson’s Bay and the trees of Every Street below. It was the scene of “…events so bizarre and abnormal that it was impossible for the human mind to conceive of any logical or reasonable explanation” according the Judge in the original trial of that surviving family member charged with the murder of his two parents and three siblings.

The convicted murderer was later acquitted on a re-trial and freed after 14 years – the case found by a jury to not be proven beyond reasonable doubt (criminal law standard of proof). However a judicial review of his case for compensation for wrongful imprisonment found he was probably not innocent on the balance of probabilities (civil law standard of proof). It’s a case that still divides NZ, and also one that continues to cast a dark shadow, perhaps because of that dark and troubling “impossible for the human mind to conceive” aspect of the now unsolved and eternally unsolvable case; the only other suspect being one of the dead.

“Closed Case” does not seem to be specifically about that case, but a more abstract meditation on the kind of mind capable of conceiving of such an act. The song is brimming with dark Gothic unease, the sound of a scraping shovel adding a further nerve-jangling to the tense and chilly atmosphere. The arrangement shovels further layers of funeral melancholy upon the song, as woodwind and brass add their downbeat textures to the song.

The musical arrangements throughout “Non Compos Mentis” are another unconventional but very effective part of this album’s artistry. Utilising anti-pop collaborators Seth Frigthening and various members of Muzai Records label mates Girls Pissing on Girls Pissing, i. e. crazy finds the perfect off-kilter sea-sick uneasy-listening soundscape for these tales of everyday horror of the human condition.

While “Closed Case” is dark, it’s actually one of the more conventionally listenable songs on “Non Compos Mentis”.  Some of the album projects voices that are deliberately provocative… but the warning is in the i.e. crazy name and the album title (translating from the Latin as “of unsound mind”).  The words, as always, are powerful, rich with imagery, each song like an experimental short story in which reality and fiction are blurred, shifting things depending on the perspective of the narrator and their reliability. In other words, there’s a lot here to unpick, and that will take some time.

It’s a bit of an understatement to say this is a dark turn off the track that Claire Duncan’s previous musical vessel, the literate dream-pop Dear Time’s Waste, was taking. In turning off the track, she’s plunged down a steep bank into tangled undergrowth and a stream bed; the water putrid with dairy farming effluent, the ground littered with rusting discarded shopping trolleys and the odd dead body. Welcome to New Zealand everyone!

“Non Compos Mentis” is a difficult, challenging, sometimes confronting album. The history of music is full of difficult, challenging, confronting albums, the history on NZ music perhaps less so. Music, after all, is entertainment, something to sing – and drink – along to here, before and after another inspiring All Blacks rugby football match recharges our warped sense of national pride. Or shatters it when they lose.

The day before I listened to this album in full I played another difficult album, one I hadn’t played for years. Michael Mantler’s “Silence” is a Harold Pinter play set to music and featuring the voices of Robert Wyatt, Carla Bley and Kevin Coyne. You won’t be playing either record at your next party.  “Non Compos Mentis” and “Silence” share a lot in common – deeply unsettling and unconventional, dialogue between damaged minds, observations on everyday things through a different lens. Both present music as theatre, literature as lyrics, and music as the atmosphere to sustain the world created.

In a recent interview Claire described the new direction as a chance to agitate and pick at a scab. Disillusionment with the ‘industry’ and the over-riding value placed by NZ society on commercial potential of music and seeking solace in artistic expression instead is one aspect. Personal mental health challenges and the unhealthy state of NZ society at present for the young and poor is another.

I started this talking about heroes. Let’s not forget another musical hero – Muzai Records. Any label releasing All Seeing Hand, Girls Pissing on Girls Pissing and i.e. crazy is taking courage to a whole new level as a New Zealand record label (even if it is now based in Leeds, UK).

The LP of “Non Compos Mentis” can be ordered here. 


ie crazy 2016 “An Incident on the Edge of Town” is a long-time live favourite from the repertoire of the artist transitioning via reverse-metamorphosis from the beautiful butterfly of Dear Times Waste into spiny, poisonous, crepuscular caterpillar i.e. crazy. Four months on from the stirring first single “You’re A Stranger To Me Now” comes another festering puss-filled abscess of extraordinary dark experimental songcraft, drawn out by cranky sonic poultice.

If that sounds a bit nasty it’s only because this song is like a fetid reminder of a Raymond Carver short story of everyday paranoia on the margins of society.  Lawn mowers and mannequins. The stuff of suburban nightmares…

“In the passenger seat, there’s a hanging head;
as though it’s attached to a taut and jerking thread.
There’s a shop en route that sells mannequins…
I will take one home
just to eat with it.”

As with everything in the long and interesting journey taken from there to here over several years by i.e. crazy maverick Claire Duncan/ Maggie Magee there’s a heart of very melodic pop to this. It’s there among a tangle of insect-like guitar clicking scratchy noises (Sean Kelly/ Seth Frightening once again) and clattering drums (GPOGP‘s Catherine Cumming) and bursts free with the buzzing earworm chorus.

It may be a House of Horrors but the door is open and the welcome mat is out. Come in and take tea with the mannequins and sit and listen to their voices in your head for a while.