Phantasticusis a 5 piece high-energy gypsy-flavours ensemble hailing from Wellington, the Gypsy-Balkan capital of New Zealand.
The lineup combines the fearless fiddling skills of Ana Christie and Alex Hills, matched by the awesome forces of Michael Kingston* and Rick Shaw on guitar, all wrapped up in the powerful bass boutique of Jacqui Nyman.
With an album of delicious original tunes under their belt, Phantasticus are taking the world by storm. These musicians are so well-seasoned they will leave you asking for ‘Kiwi-hot please’.
*Mike Kingston is a key member of The Winter. He plays guitar or cello on several fiffdimension tracks
A pleasant surprise this week to get a small (single figure) royalty payment from APRA for radio airplay for the shortest track from The Marion Flow, recorded back in 2001!
That goes some way towards recovering the $600 or so I spent recording the album (a lot of money for a broke student back then). I can’t claim it’s a prescient political satire that predicted this week’s news events, but maybe like the album as a whole it’s just timeless…
If you’re a fan of World Music, Blues or Jazz, then ‘The Woods’ are a must have for your collection. With influences from John Lee Hooker to Pharaoh Sanders, from Africa to Peru, their music will take you some place else…
Today is the last day of winter in the southern hemisphere – so to celebrate, here’s the fifth album from The Winter – a New Zealand free improvisation trio of Mike Kingston, Simon Sweetman and Dave Edwards… with a sound that swerves from acoustic folk/blues with hints of Asian, Celtic, and Balkan influences, to electroacoustic soundscapes, abstract dissonance, and pots & pans percussion.
Mike Kingston: guitar, bass, clarinet, electronics Dave Edwards: guitar, bass, banjo, harmonica, ukulele, sanshin, electronics Simon Sweetman: drums and percussion, electronics
Mike contributed cello, electric guitar, slide whistle, and electronic interludes. The album builds from intimate acoustic pieces towards the electric climax of “Parataxes 9”.
dedicated to the extinct NZ bird. It was the band’s last session until 2009, while Dave and Mike each went overseas. The 19-minute last track was an epic finale and a (temporary) farewell to Wellington.
In 2005, Mike and Dave both relocated across the Tasman. After Maths & Sciencesis an Australian double album recorded in Melbourne, 2005 and Sydney and Gosford in 2006.
It’s a very different record fromLoose Autumn Moans or Parataxes – part field recordings, part improvised music, part electronic experiment and part documentary. Mike played acoustic guitar on the Melbourne half.
Another thread connects the records, as two different versions of “O Henry Ending” were recorded:
on-and-off over the next twelve years (when all three were in Wellington). Mike played guitar, bass, clarinet, and charango. For highlights from their later recordings, see the
The recordings above are Mike’s contribution to the fiffdimension catalogue to date. He added jazz-trained harmonic and rhythmic sophistication, multi-instrumental capability, and a wealth of ideas to Dave’s untutored conceptual approach.
Other projects
Mike Kingston is a multi-instrumentalist front-man and composer in bands including Cumbia Blazera, ‘Bella Cajon‘ , ‘The Wagtails‘, and Phantasticus. He continues to perform regularly throughout Wellington and New Zealand, and has toured Australia and Colombia.
The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)Simon SweetmanThe Winter, 2009The Winter, 2010Simon Sweetman with The Winter, live at Photospace Gallery, July 2003 (photo by James Gilberd)Simon SweetmanSimon Sweetman with The Winter, live at Photospace Gallery, July 2003 (photo by James Gilberd)The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)The Winter, 2015
Gamelan Taniwha Jaya is a group of New Zealand musicians dedicated to the study and performance of Balinese music. They specialise in contemporary music for Gamelan Gong Kebyar, and frequently incorporate western instruments into the ensemble. Continue reading “Gamelan Taniwha Jaya 2015”→
A few years ago I wrote a chapter of Jazz Aotearoa, a book about New Zealand jazz music history, discussing the free improvisation and avant-garde jazz scene in Wellington at the turn of the millennium.
The title is a reference to Simon’s house on Norway Street, where the recordings took place. The ‘non idiomatic idiom’ suggests the paradox that improvising non-idiomatically (eg in an original personal style without reference to any genre – playing neither jazz, nor rock, blues, reggae, classical etc) is an idiom in itself.
It was recorded in Wellington in two volumes, in 1999 and2014