N.Z. vinyl

Press, 28 August 1986, Page 18

N.Z. vinyl

THE VERLAINES “Doomsday” (Flying Nun/FN653) NICK SMITH “Flanker” (Real Groovy RGRM3) SANDRA BELL “Blackbirds” (Volcanic VPI) LOW PROFILE “The Cutting Edge” (Jayrem FR4 12in)

THE GOTHAM CITY EXPRESS “The Gotham City Express” (Reaction L 38377) First things first — the cover of The Verlaines’ new 12in single, “Doomsday,” must be the best Flying Nun cover ever. The look on the face of Graeme Downes alone is worth the price of adihission ...

Not that the music is half-bad, either. Both “Doomsday,” and the bside “New Kinda Hero” are taut, muscular examples of Verlaines pop music, music which radio cannot ignore for much longer. In addition, the sound is as fresh as that found on their great debut LP, “Hallelujah,” released late last year. My only reservation is that both tracks have a certain similarity to other Verlaines songs, and both date back at least two years — indications that the band should perhaps make new material its priority for a time.

A couple of new New Zealand solo artists have just had EP’s released.

“Flanker" is a five track 12in from Nick Smith, and Auckland guitarist/singer whose only previous vinyl was a track on the "Outnumbered By Sheep” campus radio compilation. Smith lays himself bare on songs like “Turn To The Woman” and the epic “Requiem,” using only his harsh, Tim Buckleyish voice and understated guitar. Melody takes a backseat as he spits out bitter lyrics with a frankness that verges on sensationalism. Whether he finds an audience for them is a moot point; “Flanker” is not a record for the faint-hearted.

Slightly less acidic is “Blackbirds,” another five-tracker, from the Auckland artist, Sandra Bell.

Bell’s voice is slightly at odds with the mellow music; which works best on the less wordy tracks,“Siesta," and “Blackbirds."

Fans of Turiiya might like this one, even though its lyrics (especially on the preachy opening track, “Industrial Nite”) are more late-1960s than mid-1980s.

Low Profile, whose “Elephunk in My Soup” was as neat a slice of dance music' as anything from last year, have at least come up with a follow-up )2in 45, titled "The Cutting Edge.” It is another crisplyproduced modern electrofunk track, but lacking both a really memorable tune and the wacky appeal of “Elephunk,” looks like a dance floor proposition only.

Finally — where do ageing New Zealand musos go when they have guested on every TVNZ entertainment special, backed-up on half the albums made in this country,. and made more advertisements than The Chills have had members?

Answer: They join The Gotham City Express, finding a creative outlet guesting on “True Colours,” and ultimately coming up with a selftitled debut LP. If this sounds a bit cynical, it is only because The G.C.E. for all their technical expertise and musical ability, are outdated, outmoded, and unnecessary: another reminder of everything that made 1970 s music so vacuous.

The sound is a sort of Santana-type jazz-rock fusion, distinguished by vocals from Anne Crammer and Peter Morgan, and seamless playing from the nine-member band.

But songs like “Who’s Right, Who's Wrong?" “What Is Hip?" and a cover of John Lennon’s “Imagine" are strictly spirit of 1973, like most of the band. Hmm ... I had better stop here. Suffice to say that “The Gotham City Express” is one smug LP, ignoring everything that makes much current local music so vital. “True Colours” deserved this lot. -TONY GREEN