Hit The South!

The Fold AXEMEN May 2015 V2.0This May 2015 AXEMEN make an unseasonable sortie to the South Island  of Aotearoa-wiki to bring you the HIT THE SOUTH! mini-est of Mini-Tours, a flying, flashing, heat-seeking TWO-STOP WHISTLE TEST visit to their spiritual homelands; the icy oasis of DUNEDIN on Friday 22 and the quaint rubble garden city of CHRISTCHURCH on Saturday 23!

So what can Quakin’ Oat-Eaters expect of the lads this time around? You’ll be GLAD YOU ASKED!

AxemenDunedin15lorweresDUNEDIN – The evening of MAY 22 kicks off at the CROWN HOTEL with the cosmically hypnotic COMET WATCH at 9PM SHARP (RNR Standard Time) so don’t be late – they only come round once every 76 years!

10PM brings The AXEMEN in their current formation of McCabe, Kawowski, Stojanovic and Daymond.
The AXEMEN intend to play hits old and new, including tracks from their 2014 album ‘SAC TAP NUT JAM’, some old favourites, some as yet unrecorded tracks, maybe even a cover or two… so MEET THE GANG cos the BOYS ARE HERE!
Opposite Sex Facebook bandcamp

Rounding off the evening at the witching hour of 11PM are those erstwhile saints of swing OPPOSITE SEX…
Opposite Sex Facebook bandcamp

11117351_10152589724106486_725170440_nSo what about CHRISTCHURCH? What have the lads most likely to got lined up for the city that rocks? Well you may ask! Thanks to the CHRISTCHURCH ART GALLERY the most Northerly Southern show at the DARKROOM is going to be absolutely FREE for Starters, that’s what!

Add into the mix DARK MATTER with their rambunctious melodic stylings and the ever-eclectic JOE SAMPSON and we’re starting to have a show on our hands! And there’ll be plenty of RARE MERCHANDISE to lay your hands on so make sure you come early – its THAT RARE and VOLATILE it has a half-life of just THREE HOURS so get your skinny asses down there!

The AXEMEN wish to thank our kind and generous SPONSORS for this tour:



R.I.P. Peter Gutteridge (Sept 14 2014)

This is a sampling of Articles, Testimonials  and Links related to the sad demise of Peter Gutteridge on September 14 2014. Sadly missed….

Reprinted from: http://www.stuff.co.nz/entertainment/music/10524939/The-rise-and-fall-of-a-music-legend

The rise and fall of a music legend

Musicians remember Peter Gutteridge, an architect of the Dunedin sound, better known abroad than at home. It was on his return home from the United States that police met him at the airport, had him admitted to hospital – and that was where he died. Jess McAllen reports.

When a bunch of guitar leads are tangled up like spaghetti, you’ve got yourself a Gutteridge.

It’s a noun friends and former bandmates of one of New Zealand music’s unsung heroes, the solitary, slight and troubled Peter Gutteridge, want to entrench.

“Both literally and figuratively,” says Graeme Humphreys, former keyboardist of the Able Tasmans. “His leads were always tangled, and his mind . . .”

Gutteridge died suddenly at Auckland’s Middlemore Hospital on Monday. He had just returned from a trip to New York – the first time he had left New Zealand – and on arrival at Auckland International airport police were called following concerns for his welfare.

His death has been referred to the coroner.

Gutteridge, who was in his early 50s, played an important role in cementing Flying Nun’s legacy and the development of the “Dunedin Sound” – despite his admission in a rare interview that he had tired of the concept because people “didn’t think about the sound of things” enough.

He founded The Clean, The Chills and Snapper and was also a member of the Great Unwashed and The Puddle. Gutteridge had recently started working on new material, a few months ago telling a friend he was preparing some songs to record. “He was on a good upward trend,” Otago University music lecturer and Verlaines frontman Graeme Downes says.

“He could have bounced back and come up with something. He looked good and was in pretty good spirits last time I saw him.”

Gutteridge was consumed by music and music was consumed by him. At the start of this year a synthesiser droned continuously inside his Dunedin home, making wobbly noises and providing a back track not only to his life but any music he wanted to make, at any time inspiration struck.

Good friend George Henderson, who formed The Puddle, offered Gutteridge a room at his rural home near Auckland after Gutteridge quit his 20-odd-year opiate and methadone addiction.

“It just gave him a chance to recuperate away from the scene he’d come from. And he did get a lot of his health and energy back. He actually got really well, better than he’d been in a long time, and he started playing again after that.”

It was no secret Gutteridge was troubled, and his long-term drug addiction, say music commentators, may have derailed him professionally.

Downes says Gutteridge’s demons impacted his music: “Peter could come up with amazing stuff but he was one of those people who found it difficult to get it to the end product. You’d need a lot of people around to push him, help him get to the stage or to the recording studio.”

Despite many in his life begging him for such a long time to quit drugs, when he finally did it was in a characteristic Gutteridge fashion, says Henderson.

“He was on lots of drugs and gave it up very quickly in a totally impulsive and self-guided way. He just jumped off because the idea came into his head and he just did it. I can’t confirm how long he was off drugs, maybe it was three years . . . but he was able to go to America because he didn’t need to pick up a prescription every day.”

Gutteridge’s trip was the first time he’d left New Zealand.

“It was just an impulsive decision, I believe,” says Henderson, who was surprised by the trip. “He suffered from pain and especially wasn’t well in the last year or the last six months and I think going to America just completely exhausted him. He was already mentally and physically exhausted and, looking back, it was amazing he was able to go.”

Henderson first met Gutteridge about 1979, remembering someone who always had a guitar in hand.

“Pete had a kind of changeling quality about him, like part of him wasn’t from around here. Over the years that came out more and more, he became more attuned to spiritual forces and messages. He would do things because he has a calling to do them.

“It was quite impressive really, his ability to change the atmosphere in a place, kind of on a musical level without even playing music.”

Close friend Stuart Page, who produced Gutteridge’s videos and helped out with his trip to New York, says: “His music was his personality. He was really into the idea of music being what it actually is, which is vibrating airwaves.

“He was really into not just the song and the words but the fact that music is basically airwaves that are being disturbed, and he got it down to that level. He would sometimes spend half an hour tuning something until the vibrations were correct.

“He was a very complex person. He could be the most gentle, soft, unbelievable kind of tender person that could write a little song and make you cry, or he could just turn into this guy who was in control of this ferocious, loud distorting vibration that would leave you deaf for like two days and everything in between.

“He often spoke about using his music to empower people to stand up for everyone’s values and needs, and properly treasure the riches from all our different cultures and individual gifts and the environment of New Zealand.”

Flying Nun label boss Ben Howe discovered Gutteridge’s music through the Snapper track Buddy and the Clean’s Point That Thing Somewhere Else. Howe thinks these two tracks are among the best and most important ever to come out of New Zealand.

Howe was in New York with Gutteridge a few weeks ago. It was the middle of a summer heat wave but Gutteridge only thought to travel with a pair of large woolly ugg boots. “He wasn’t someone you would likely have a routine or normal conversation with. He was more interested in the cosmic, spiritual or creative aspects of life, which was what made him so cool. He was also quite eccentric in an endearing way.”

Within a day of his death, tribute pieces flowed in international media – The Guardian, Pitchfork, Billboard and The Rolling Stone – before it was even publicised in New Zealand. Gutteridge, arguably, had a larger following with international indie musicians than mainstream music listeners in his home country.

“If you were to run into anyone from Pavement, Sonic Youth, Yo La Tango, Real Estate – pretty much any decent indie band in the States or Britain – and said ‘Peter Gutteridge’ they would go ‘yeah, he’s amazing’ but if you said, for example, ‘Fat Freddy’s Drop’ they would go ‘who?”‘ Humphreys says.

When Gutteridge was in a band, no matter how briefly, it seemed something magical happened. His brief stint in The Clean created Point That Thing – which he wrote at the age of 17.

Downes cites two reasons for his international recognition: “It’s for the music he played but also the role he played in being the catalyst for other people.

“Even the idea, the sheer audacity of picking up a guitar, writing your own songs and starting to play them was revolutionary enough. It’s a butterfly flapping its wings. One tiny event happened and it just spawned a tidal wave of other activity and now The Clean are playing in the United States for 18-year-old kids who love it.”

Gutteridge had a real sense for humour and wrote often darkly-funny lyrics. Henderson particularly recalls the line “lost ribbons are tied to lost sheep”.

“Maybe he was a bit of a lost sheep,” Henderson says.

“His songs were often quite lyrical, especially the Great Unwashed ones. They sound good and point to something deep without necessarily overstating it.

“He just put everything, everything into his music really. Absolutely everything, all kinds of things other people hold back on. He would sacrifice anything for music really.”

Henderson’s final memory, amid stories he says aren’t fit to print, is about their shared love of weaponry. “We used to sit in his house shooting up bottles. That was one of our main recreations – there was this pile of broken bottles at the end of the house because we’d overdone it.”


Chris Knox (The Enemy, Toy Love, Tall Dwarfs) is a fellow Flying Nun legend and was a friend of Gutteridge. In June 2009, Knox suffered a stroke that has left his speech limited but he has been using drawing to help communicate and offered this picture, right, created using only his left hand, in remembrance of Gutteridge. Gutteridge contributed the song Don’t Catch Fire towards Stroke: Songs for Chris Knox, a fundraising compilation.

– Sunday Star Times

Reprinted from: http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=11324984

Death of underground music legend Peter Gutteridge

Peter Gutteridge. Photo / Christopher Andrews
Peter Gutteridge. Photo / Christopher Andrews

Peter Gutteridge, one of the original musicians behind the early 80s Dunedin sound and the founding days of the Flying Nun record label has died.

Gutteridge, who was in his early 50s, died on Monday morning in Auckland, shortly after returning from playing his first ever show in the United States earlier this month.

Gutteridge had been a founding member of The Clean, The Chills and The Great Unwashed in the early 80s.

He later went on to form the legendary noise-drone outfit Snapper and make his own solo recordings.

Snapper performed reunion shows last year following Gutteridge’s treatment for drug addiction.

A statement from the label described Gutteridge as ”a great talent”.

“All of us, and so many people around the world, have been touched and affected by his music, whether it be the swirling fuzz of the guitar or haunting piano melodies, Peter was a true hero of New Zealand music, and will be deeply missed.”

“Our thoughts and sympathies are with his family and friends at this very sad time.

“Thank you Peter for all the music, may you rest in peace.”

The largely reclusive Gutteridge didn’t enjoy being labelled part of the “Dunedin sound”

He told interviewer Wes Holland of messandnoise.com last year: “People didn’t think about the sound of things, people put on guitars and then clanged out stuff.

“I just got tired of a guitar sound that wasn’t thought about. I had my own personal style. I mean, I wrote [The Clean’s] Point That Thing [Somewhere Else]‘ at 17. That sort of sums up where I come from. I love textures. I love Indian music – now that’s true psychedelic music without having to give itself a term.

“A lot of rock music leaves me cold. It’s anal. It’s self-indulgent. That’s it. But there’s great stuff too. Rock music is only rock music.”

NZ Herald

SHAFT New material on it’s way; Bob Cardy recovered from pneumonia

Reprinted From: http://cheeseontoast.co.nz/2014/07/21/shaft-new-material-on-its-way-bob-cardy-recovered-from-pneumonia/

Bob Cardy is home from a spell in hospital and “feeling much better after a spot of pneumonia” according to a post on his Facebook page.

He’s not slow off the mark to announce that there’s a new SHAFT single titled “Meteor In Your Mind” with upcoming shows at Golden Dawn and Thirsty Dog to be announced and then, not long after that, a brand new album – the first new album from SHAFT in 8 years and the first ever to be released on vinyl.

bob pneumoniaHere’s a picture of Bob in hospital that he shared on Facebook last week!

The Axemen 30 years on – where are they now?

Pete Street Breakdown
Pete Street Breakdown c.1985 (McCabe, Kawowski, Brannigan)

Sunday 22 September 2013 marks the 30th anniversary of the seminal ‘Equinox’ gig at Dunedin’s luminary bat-corridor The Empire Tavern, pseudo-Transylvanian Castle (at the time) of the infamous Maureen, an actual vampire who was to become the Axemen’s gothic nemesis for a spell. And spell she could, she could cast a spell as evil as any of her coven, some say she was possessed, some say haunted, some kinder souls benevolently passed her off as merely ‘troubled’.

Axemen @ Neon Picnic near Auckland 1988 (L to R: Stu, Steve, Bob)
Axemen @ Neon Picnic near Auckland 1988 (L to R: Stu, Steve, Bob)

In 20/20 hindsight through rose-tinted spectacles perhaps her evil was somewhat exaggerated; after all many of the bands who were to go on to become the golden boys (and girls) of Flying Nun cut their teeth (in some cases literally) on the establishment’s beer and whiskey stained ‘stage’ – actually a minimally raised platform approximately the height of a matchbox – and many found the Axemen’s anti-establishment attitude towards Maureen and her hardline treatment of them and their music hard to stomach at the time.

“Why are you guys so hard on Maureen?” they would ask provocatively. ‘What’s wrong with the Empire?”

A long time ago in a galaxy far, far away
A long time ago in a galaxy far, far away

They may as well have been asking the question of Luke Skywalker. Interrogation sessions such as this would often last into the wee small hours (the little hours) in the early years and would frequently rope in the entire rabble of a pub up to and beyond closing time with the Axemen often ending up leaving with a comet-like ‘tail’ of pub riff-raff hideously weaving their way down George Street or Colombo Street like lemmings following a pied piper in their worn boots and torn black jerseys.

Of course this was in the bad old days before they were ‘saved’.

Derry Legend recording session at Writhe Studio (1987), left to right: Stu, Dragan Stojanovic, Little Stevie McCabe and Bob Brannigan
Derry Legend recording session at Writhe Studio (1987), left to right: Stu Kawowski, Dragan Stojanovic, Little Stevie McCabe and Bob Brannigan

These days the amorphous almost mass-less collection of rubble and nuggets of pure energy and spit that started at the ‘big bang’ Empire gig back in ’83 are disseminated through space and time like a less organised Ort Cloud of ego-prodding drunken barnstormers cartwheeling their way across the universe like they were god’s gift, which in a way they were and still are. Oh the cavities they have filled, the intertwining they fostered, twirling together unlikely entities like the Anti-Crick & Watson slamming together strands and pieces of mean-old acid and nuclear tides into a semicoherent twisted whole.

Axemen: Hell Yeah

As if they had discovered Fusion and, not knowing how to enhance its mighty power, allowed it to burn wildly like a brush fire spreading its heat and energy in every direction, some pockets burning uncontrolled then dying out, others pacing themselves and emanating a warm glow for centuries, others sputtering and still others smouldering and eventually dying down not with a bang but a whimper.

Class of 2011
Axemen Class of 2011

They were the Axemen – like Hell they were!

These days things are just as complex and yet fundamental as they were in the beginning, only with emergence now beginning to happen as the positive feedback kicks in and the unknowing knower starting to know, as if today were a new tomorrow. The knower always knows and never knows – knowledge is like a bolt of lightning whumping down from the sky and enlightening the world like the perennial ‘knowers arc’.

Axemin, Whangarei
Axmin, Whangarei

Through thick and thin, good times, bad times, you know they’ve had their share – these are the Good Times, so lucky we got ’em, that scoop of chips on your shoulder aint heavy, its the bluebird, thats the blue jay way just turn your love around and take me back to where I belong – back to the future the past is the future history never repeats and a 600 lb elephant in the room never forgets who or what he or she is, even on a trunk call they’ll come up trumps, towering and trumpeting like a boogie woogie bugle boy, and yes, yes sir I can dance! Sally can’t dance bitch broke her back carryin’ water for the man he simply wouldn’t wait. Bilbo Baggins spinning in his Muppet-hole, a hobbit is a muppet without the personality, a hobbit can knock, a muppet can not – who can hold a hobbit up to the merest scrutiny I ask but who has the right to knock?

Happy Anniversary Axemen, let’s have no more repeats lest you end up dead on your feet!

Just out of embargo : Bott 13 – Came a Bott Friday – installment 1

bott13Te ‘Came a Bott Friday’ album was released sometime in 1987 and is also sometimes referenced as Bott 13 … te pota tiritina… enjoy!

1a Wake Of A Sinner

1b I Am The Seed

1c Yours Severely

1e Beats Under The Rocks S

1f Zion Steamroller S

2a Violence & Half-Uncles S

2b Too Much Beer–Too Little Sleep S

2c Dick’s Riff

2d Happy Ever After

2e Sondheim’s Serenade

2f The Devil Went Down To Woodstock S









reprinted from http://avantgardeningradio.blogspot.co.nz/2012/11/too-hot-to-be-cool-psych-thing-puddle.html

The words and the music/ don’t mean a thing/ listen to the rhythm/ listen to us singing”
– Lacsydaisical

“We were trying to impress god and the devil at the same time – hardly the epitome of cool”
– Too Hot to be Cool

Over the almost 30 years they’ve been in (somewhat irregular) existence, George D. Henderson and his band The Puddle have presented a rich array of different identities, to the extent that taking a genre-perspective on the work is comprehensively confounding. From mid-80s origins as a kind of orchestral-psychedelic band through to a current active life as a likeably ramshackle but precise indie pop band (organised with efficiency and care by Henderson’s younger brother Ian, making an international and parallel name for himself with his curation of the Fishrider label), the band has generally followed a set of ideals and ideas all their own. The unifying line-through might be the combination of George’s acutely intelligent songwriting and a capacity to re-invent and revive the band within both the usual and some quite novel constraints, be they financial, technical, emotional or intellectual.

Tonight Avant Gardening presents the first of a comprehensive two-episode trip through the musical history of the Henderson brothers, ranging from art-rock home experiments (as Crazy Ole and the Panthers) in Invercargill in the early 70s through George’s days in Wellington and Christchurch with the And Band and Spies, to the various lineups of the Dunedin-based Puddle, from the 80s big psychedelic band, through 90s pop versions, through to the current day stable line-up featuring the two Hendersons along with Gavin Shaw and Alan Starret.

The first part concentrates on the 70s and 80s, featuring copious rare and unreleased recordings.

Part 1.

Part 2.


1. The Puddle, ‘Let’s Go’ from Live at the Teddy Bear Club (rec 1986, rel 1991)
2. The Puddle, ‘Into the Moon’ from Into the Moon (1992)
3. Crazy Ole and the Panthers, ‘Science Fiction’ (rec 1975)
4. Crazy Ole and the Panthers, ‘This For You’ (rec 1975)
5. Crazy Ole and the Panthers, ‘Guitar Thing’ (rec 1975)
6. Crazy Ole and the Panthers, ‘Rattlesnake Jive’ (rec 1975)
7. Spies, ‘Birdsong’ (rec 1979)
8. Spies, ‘Cats Keep Falling’ (rec 1979)
9. Spies, ‘Lacsydaisical’ (rec 1979)
10. The And Band, ‘Dr Brill’ (rec 1981)
11. The And Band, ‘Lollipop Man’ (rec 1981)
12. The And Band, ‘We Are Right’ (rec 1981)
13. The And Band, ‘Interstellar Gothic’ from spilt 7″ with Perfect Strangers (1981)
14. The And Band, ‘Go Through Hell’ (rec 1981)
15. The And Band, ‘Cloudy Old Day’ (rec 1981)
16. George and Ian Henderson, ‘Weight of the Stars’ (rec 1983)
17. The Puddle, ‘Billie and Franz’ (rec live 1985)
18. The Puddle, ‘Interstellar Gothic’ (rec live 1985)

[plus bonus tracks.]