Ignition Magazine - Issue 4

The Shred MethodAwaken your inner rock god

Disability theatreChanging attitudes

ChartfestHothousing local music

ISSUE 4

FREE

Nau mai, haere mai, welcome to Ignition,

the magazine that puts a spotlight on all

things creative at CPIT.

In the depths of winter, it’s easy to head

back under the duvet and wait till spring.

Likewise, in the depths of some pretty

dreary economic weather, it’s tempting to

hunker down and wait for things to return

to the previously scheduled economic

climate. But maybe this is not the time to stay out of the

elements; maybe this is precisely the time to head outside and

find some new energy in the eye of the storm.

Think about it. We know we’re in the midst of some fairly

interesting economic resetting, and we know we’re moving

out of one way of thinking about “work” and into another. Who

expects a job for life and a gold watch these days? This is

the age of multiple jobs, lifelong learning and convergence of

(just about) everything. Statistics tell us that in the USA one in

four workers have been with their current employer less than

one year and one in two workers have been with their current

employer less than five years. We know that today’s primary

school children will have between 10 to 14 jobs by their 38th

birthdays.

Sounds like a good time to head on over to the Creative Class,

don’t you think? As Richard Florida defines it in The Rise of the

Creative Class, creativity - the ability to create meaningful new

forms - is a decisive force of competitive advantage. In virtually

every industry, the winners in the long run are those who can

create and keep creating.

Florida’s view that “talent, technology and tolerance” will

change the world for the better is one we share at the Faculty

of Creative Industries. We’re about facilitating the development

of creative careers to make things better for our students, our

city, our region, our nation and our world. We think creativity

helps with lots of things, including economics, but also with

peace, love and understanding. If you’re interested in joining the

Creative Class, come in and see us at the Faculty to talk about

developing your talent into your career.

Tene nga kanohi kua tikona e Matariki

Jane Gregg

Dean, Faculty of Creative Industries.

Editor

Martin Trusttum - [email protected]

Graphic Designer

Milan Reinartz - [email protected]

with contributions by

Jennipher Stoppel - [email protected]

Copy Editor

Hazel Barrer

ISSUE 4 JULY 2010

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viscomGallery

VisCom students

display their work

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musicThe Shred Method

Interview with Jordan

McLean

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musicMain Stage

Chartfest 2010

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circoartsBreaking Records

CircoArts going

international

07

04

10COVER

Design & Photography

Jennipher Stoppel

Model

Bradley King

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CONTENTS www.ignition.ac.nz

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theatreIn a different light

Tony McCaffrey on

Disability Theatre

Passing It On

Ruben Hamblett

talks about stage

design

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fashionAdam Gallavin

Student selection

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music + books

Making Sounds

Bruce Russell, the

Dead C and Left

Handed Blows

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visartsPhilagrafika

Micheal Reed shows

his work in the US

Award Spin Offs

The Mortlock

McCormack Law Art

Award

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architectureFrom Bachelors to

Masters

CPIT graduates

complete their masters

qualification in Auckland

//

photographyCharlie Brown

Tim Johnston

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animationJames Squires

Comicstrip

//

cd reviewsDoug Caldwell

L.A. Mitchell

Oval Office

Sacha Vee

Sumo Jazz

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24

28

30

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NEWS www.ignition.ac.nz

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NEWS www.ignition.ac.nzCIRCOARTS www.ignition.ac.nz

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The course made our acts much more polished and broadened

our skills immensely


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CIRCOARTS www.ignition.ac.nz

Squeezing into a box measuring

just 65cm x 66cm x 68cm with

two other adults, may not be your

idea of fun, but for CPIT CircoArts

graduates, Jola and Nele Siezen and

Skye Broberg, it was just one way

to smash a Guinness Book world

record in Rome recently.

While in Italy, Skye also attempted

the world record for the number

of different ways she could get

through a tennis racket in three

minutes; and fellow Circo Arts

graduate, Pascal Ackermann,

attempted to reclaim his Guinness

record for the most fire sticks he

could ‘eat’ in a minute.

All this, says CircoArts Programme

leader, Donna Chapman, is a

testament to the enormous

variety of skills, the drive and

determination instilled in CPIT’s

Circo Arts students during their

two-year diploma course. Those

skills prepare the graduates

well for making the most of

international career opportunities.

“The physical theatre and circus

communities globally are growing.

CircoArts and the fact that we are

New Zealanders is viewed very

positively overseas. Being part

of Circo Arts gives students a

direct link into that international

community,” says Chapman.

“We New Zealanders have been

known and respected for years

for our hardworking ethic, our

courage and our willingness to

give anything a go. That holds true

in the theatre and circus worlds.

Breaking records

Story by Adrienne Rewi

Photography by Giora Dan

CIRCOARTS www.ignition.ac.nz

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abroad in circus, physical theatre,

film and stunt work or education,

making the most of the solid skill

base and communication skills

they picked up at CPIT.

Identical twins, Yola and Nele

Siezen, performing as The Twisty

Twinz, are a classic example of

driven graduates carving out an

international niche for themselves.

The twins graduated from CircoArts

in 2006, and although they came

into the course with some travel

and performing experience, they

say their diploma studies gave

them a wider range of abilities and

the confidence they needed to

take their skills to the world in a

professional manner.

They admit that being German-

born, fluent in German language,

familiar with Europe and identical

twins, have all been big advantages;

but they were prepared to start

as street buskers to earn money.

They’ve also made it a policy to

attend as many conferences and

festivals as they can.

“We went to an acrobatic

conference in Europe in 2002

and we were gobsmacked by

the number of people working

as circus performers for a living.

It was only a hobby for us then

but we still made lots of contacts

from that event,” says Nele.

Now 26, the Twisty Twinz have

performed in street shows and

numerous festivals and events

throughout New Zealand, Australia,

Germany, Holland, Croatia, Spain,

Scotland, Italy, the Canaries and

Austria – “everything from adagio

(balancing with a partner ), aerial

silks, stilt-walking to acrobatics.”

They’ve appeared in Circus shows,

at birthday parties, in school

shows, collaborations, workshops,

in films and on television.

“When we went to CircoArts it was the

first time we got professional training.

We’d already done a lot of acrobatics

and climbing but the course made

our acts much more polished and

broadened our skills immensely. It

really made us think about what we

wanted to do and achieve.”

The twins are also part of The Butler cast, directed by Mike

Friend, which travels to London

for three weeks in July; and they’ll

be keeping their eyes open for

further opportunities that might

arise during their travels.

“You have to travel if you want to

get onto the international stage.

Even if you don’t have the money,

you have to take the risk and throw

yourself out there,” they advise.

Donna Chapman agrees, adding

that the export of productions

like The Butler throw up

excellent opportunities for

CircoArts graduates.

“People like The Butler director,

Mike Friend are great to have

around because they are part of the

international community in their own

right and they can provide invaluable

contacts to our graduates. And we

want to see them all succeed. Our

staff have a passion and part of

that is seeing our students making

important breakthroughs in their

careers,” she says.

“There’s some great work coming

out of New Zealand and we groom

our CircoArts students to make the

most of worldwide opportunities.

We teach them performance skills,

as well as marketing and branding.

Building contacts is really important

so we encourage them to get

involved with festivals and events.”

Chapman says that despite the

broad range of skills that Circo

Arts students graduate with, it is

ultimately up to the individual and

their level of passion and drive to

determine success.

“The most successful graduates

anywhere, are always the most self-

motivated ones – the people who

can create work for themselves.

They don’t just stop because they

didn’t get to participate in a festival;

they engineer something else and

“sell” it to a festival director.”

In the 16 years since CircoArts

was established, a good number

of graduates have gone on to

create successful careers offshore.

Several are currently working

MUSIC www.ignition.ac.nz

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What is the “The Shred Method”?

“The Shred Method” is an instructional guitar DVD, that teaches heavy metal guitar techniques, licks, and tricks. You can learn various approaches to rhythm and lead, with lessons and exercises that help guitarists achieve greater speed, accuracy, and technical ability. It’s an interactive DVD that includes lessons, close up views of both the left and right hands, and all exercises printed as guitar tablature for easy learning.

Who is the DVD aimed at?

It’s aimed at metal guitarists, or any guitarist who is interested in improving technique and speed. I hope to reach a wide age bracket, although I believe it will attract a younger audience, say teens and people in their 20’s. I have approached the NZ Rockshop and Music works for distribution of the DVD, however, there is no signed agreement or deal as yet, but that’s the next step.

What did you enjoy the most about this project?

The filming. Although it was challenging, it was a good experience and we had some good laughs during the filming process.

Who or what are the strongest influences on your creative process?

All the music, backing tracks and lessons on my DVD were written by me, and you can hear my influences—rock and metal instrumentalists (often

referred to as shredders) like Joe Satriani, Yngwie Malmsteen, Michael Angelo Batio, and Van Halen are all a huge inspiration to me. In terms of the more rhythmic exercises on my DVD, I’m influenced by Pantera, Iron Maiden, Killswitch Engaged, and in contrast, many Christian metal bands like As I Lay Dying, Living Sacrifice, and Becoming the Archetype.

What have been the biggest challenges you’ve faced making this DVD?

The whole thing was quite challenging really, a lot of work went into this project because there are a lot of aspects; like cover art work, recording backing tracks and music, creating effective exercises, planning, filming and editing. The biggest challenge for me was getting used to the camera. We did a practice run of all the lessons with a video camera so that I could get confident with it.

What about highlights? What’s the biggest so far?

The biggest highlight about this project is the fact that I have a marketable product, and have the opportunity to gain a foot hold in the music industry. And the most

amazing thing is that it is like my very own work of art.

What have you enjoyed the most about your course at CPIT?

Thanks to the help of the tutors at the CPIT Jazz School (Bachelor in Musical Arts), I’ve gained valuable musical skills and an idea of real professionalism to prepare me for the music industry.

What key skills do you feel your CPIT course has provided you?

Technical ability on my instrument, the processes of recording in a studio, professionalism, and the business side of music.

What advice would you give prospective students wanting to study at CPIT?

Go for it!

Where do you see yourself in 5 years time?

Possibly teaching music in secondary schools, but to be more ambitious, I could have The Shred Method 2 out by then!

The Shred MethodJordan McLean, a recent graduate of the CPIT MusicArts programme, has used his guitar prowess to create an instructional heavy metal guitar DVD.

GALLERY www.ignition.ac.nz

MILAN REINARTZ

JOSEPH SCORGIE

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GALLERY www.ignition.ac.nz

BENJAMIN CAREY

PARIS TUTTY MATT KITTO & MARK MARCHAND

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Main StageStory by Adrienne Rewi

When CHARTFEST 2010 kicked off in Christchurch on May 28,

it brought together the best of Canterbury music talent and thousands of aspiring young

musicians eager to make the most of opportunities within

the wider music industry.

Photography: MOTHERLOVE


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Christchurch’s NZ Music Month live

extravaganza is now in its third

year and Music Manager for The

Christchurch Music Industry Trust,

Jeff Fulton, says it has grown to

be one of the largest multi-stage,

indoor festivals in New Zealand

and the largest regional music

initiative in the country.

“CHARTFEST is now recognised

as a significant event on the New

Zealand music calendar and it’s

a favourite with schools because

their young, aspiring musicians are

able to access top people from all

sectors of the New Zealand music

industry. It’s really Ground Zero

for musicians in this city – a place

where you can kick off a career in

the music business,” he says.

Fulton says CHARTFEST shows young

musicians alternatives to a stage

career by introducing them to the

possibilities of working in recording,

video, film, sound engineering or as

“The investment of record labels is

decreasing as CD sales decline and

bands need to be more independent

and in control of their own destiny.

That’s why, this year, we initiated

the new high schools’ competition,

Band Team Search, where the kids

had to build a team that included a

manager, photographer, journalist,

poster designer and the band

itself. They were required to build

a My Space page with all these

elements. It’s about teaching them

the way of the future and I think the

competition has national potential.”

It’s that kind of innovation that CPIT

recognised as having immense

potential, leading them to become

both principal sponsors and event

partners of CHARTFEST 2009. They

came on board again for the 2010

event and Head of the CPIT School

of Performing Arts, Tom Rainey

says the event is “a good fit” and

one that has enormous potential to

develop and grow.

music journalists, photographers,

managers, stylists, web designers,

accountants or lawyers.

“It’s all about being able to

negotiate the wider music world.

We focus on providing a wide

showcase and most people who

come – over 2,000 this year – are

blown away by both the possibilities

and the quality of local talent.”

In addition to performances on

five stages at the Christchurch

Town Hall, the event includes a

comprehensive career and industry

expo, music performance clinics,

panel discussions, backstage tours,

giveaways and schools’ competitions.

One aspect Fulton particularly

liked about this year’s event was

the hunt for the best school band

and music team.

“Independent music teams are the

way of the future in my opinion,” says

Fulton.

Photography: CHRISTCHURCH CITY LIBRARIES Photography: MOTHERLOVE


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“We saw it as a great thing to align ourselves with.

Our aims are very similar. We’re both committed to

supporting and growing the local music industry

and we’re both passionate about the same things

– about giving young people the tools they need to

forge a successful career in music,” he says.

Tutor of Pop & Rock at CPIT Jazz School, Dave

Saunders, agrees.

“The profile of Christchurch music has grown a

lot in the last five years and through CHARTFEST,

we’re able to give kids access to a broad spectrum

of music careers in one place. It’s a one-stop shop

for all things music. It’s a pivotal event,” he adds.

Through the event partnership, a number of

CPIT music tutors were involved in performance

clinics and that, says Jeff Fulton, makes for an

invaluable connection.

“CPIT’s participation is much more than a

simple monetary sponsorship. There is a

synergy between us and the music industry.

It is essentially an aligning of values, aims and

outcomes and we appreciate their participation

immensely. There’s a real spin-off for both

organisations and we couldn’t do it without them.”

This year’s CHARTFEST highlights included a

schools’ Ukulele Orchestra competition; a new

City Roots stage that showcased Christchurch’s

Maori and Pacific Island artists; and several

leading music industry figures including a panel

discussion with Professor Pat Pattison, from the

Berklee School of Music in Boston (whose former

pupils include John Mayer and Gillian Welch); and

local music heroes, Roger Shepherd of Flying Nun

records, Bruce Russell of Dead C and Graeme

Downes of Otago University and The Verlaines.

“Informal brainstorming sessions and discussion

panels with successful industry professionals

in conjunction with the industry expo gave

young people and their parents a first-hand look

into what drives the music business and the

challenges involved in making it. It allows parents

to see that there really are opportunities for a

successful, multi-faceted music career; and it’s

a rare opportunity for young students to get an

overview of the music industry in its entirety.

We’re right behind that,” concludes Tom Rainey.

Chartfest is really Ground Zero for musicians in this

city – a place where you can kick off a career in

the music business

JEFF FULTON

Check out

ignition.ac.nz

for band interviews

http://www.ignition.ac.nz

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THEATRE www.ignition.ac.nz

Tony McCaffrey has worked in experimental

and conventional theatre for thirty

years but he’s still open to being

surprised.


Photography by Tony McCaffrey

Nowhere is that sense of surprise

greater than in his work with A

Different Light Theatre Company and

disability theatre. It’s there that he

finds himself constantly challenged

and excited by what he sees as

“a whole new way of looking at

performance and what it means.”

McCaffrey, a lecturer in CPIT’s

Faculty of Creative Industries,

studied linguistics at Cambridge

University and Theatre Arts in Paris.

He has worked as an actor, writer

and director in Cambridge, London,

Paris, Istanbul, Denver and, for the

last decade, in Christchurch. He

established A Different Light Theatre

In a different

light

Company in 2004 after his initial foray

into disability theatre at Hohepa (a

residential community for people

with primarily intellectual disabilities).

“A former student of mine asked

me if I’d be interested in doing

some theatre workshops at

Hohepa. I’d had no experience in

that area, so for me it’s meant a

complete rethink of what both

performance and disability mean.”

McCaffrey set up Different Light

to focus on all types of theatre;

mixed ability work was to be just

one part of that but it’s since taken

over. Six years on, the company –

with a core of 12-14 members with

varied disabilities – has gone from

strength to strength.

As artistic director, McCaffrey

has devised and directed four

mixed ability performances for the

Christchurch Body Festival and

has toured Ship of Fools to the

Awakenings Festival in Australia.

In 2008, the company performed

Frankenstein’s Children at the Body

Festival, for the first time employing

only disabled actors on stage.

They have also performed at the

Southern Ballet theatre and most

recently, eight disabled members

of the company attended the

Arts Activated Conference at the

Powerhouse Museum in Sydney with

Christchurch City Council funding.

McCaffrey is excited about future

potential too.

“I have big plans in terms of

collaborating with Australian groups;

and I have a vision of setting up a centre

for diversity in performance arts here

at CPIT. That would build on the work

I currently do with the Mixed Ability

Performance Art group – now part of

the Faculty of Creative Industries – that I

work with every weekend.

“We’d key into the tremendous

creativity and expertise at CPIT,

drawing people from NASDA,

CircoArts and the Jazz and Design

schools, encouraging graduates of

those programmes to work with

people with disabilities. You could

create a theatre company that

might tour primary schools for

instance, presenting a very positive

message about the possibilities for

people with disabilities.”

For McCaffrey, the particular

challenge is looking at what happens

when you start to work and perform

with people with disabilities.

“It very quickly calls into question

what you mean by performing

and that’s the focus of my current

doctorate studies,” he says.

“If I’m expecting someone with

cognitive disabilities to learn lines,

moves and choreography in the

same way as an able performer

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might, I may be in for some disappointment. Yet at the same time, if I have low expectations, the disabled performers will only meet those expectations.

“It’s about investigating what performance means and that’s what I find so interesting. We’ve had disabled performers organising counter-weight flying on stage and reciting French, Italian and German lines. It’s those sorts of results that have triggered a worldwide wave of interest in disability arts. The quality of some of the exploratory work happening internationally is outstanding.”

McCaffrey attributes changing attitudes to a number of things including changing performance forms. Developments in visual media – the computer, video, television, film – are necessitating change in live performance. Conventional plays are fine, he says but through mixed and disability theatre, there is the chance to explore what performance art means and its relevance and place in our lives.

“We live in a culture obsessed with body image for instance. Through this kind of work we have the chance to look at bodies in a different way, a chance to respect difference and diversity.”

That, he says, is part of an international movement – a basic human rights movement that follows on from the civil rights movement of the sixties.

“This is a late area of human rights. It’s not so long ago that people with disabilities, especially intellectual disabilities, were marginalised and hidden away in institutions. There is a horrific history of that. Yet I think there is a great deal of room to explore possibilities and accommodate disabled people within the arts; and thankfully, our employment patterns are changing and employment within the arts sector is on the rise.”

McCaffrey is under no illusion that gains will be easy.

“Working in this area is totally draining but it’s very, very

rewarding,” he says.

“It’s a phenomenal thing when you see someone with disabilities grow in confidence and learn new ways of expressing themselves, of clarifying what they need and what they would like. That’s absolutely huge. You see people who have been denied access to communication and suddenly they come alive in all kinds of ways.

“You get a lot of coping strategies among people with disabilities. Disability theatre is about allowing them to know that they can play with negative emotions, with sadness and anger. They learn that the stage can be a safe place for that. The life changes that can take place as a result are very inspiring; and finding out from their caregivers and families that they are more communicative, more ambitious and motivated, that they’ve formed new friendships and learned a degree of independence, has been a real highlight for me.”

Yet, that works both ways and McCaffrey says the experience


when we meet on stage, in sadness, performance and beauty, it brings about a sharing that can be very empowering for everyone

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of working with disabled performers can be very empowering for CPIT’s wider student population.

“I think it gives a sense of perspective to the NASDA students who work with us. It makes them aware that the talent they have been given is a gift and they should use it well. It can be a real leveller for some of them – an eye opener as they suddenly realise how lucky they are.

“It also teaches them about being generous on stage and allowing others to shine. It’s all about openness and the NASDA students quickly discover that there’s always lots of hugs and that the disabled students are very vocal about telling you you’re boring. But when we meet on stage, in sadness, performance and beauty, it brings about a sharing that can be very empowering for everyone.”

Audiences too, can expect to be challenged. McCaffrey is not into the portrayal of “cute, sentimental, amusing characters dancing around the stage.” He

wants his disabled performers to be engaged and interested. He wants them to play with ideas. He is very keen that, rather than being treated like children, actors with disabilities should be treated as adults.

“That invariably means that topics like sex and death are incorporated into our performances and more often than not, there is a lot of surprise from the audience at the standard of the production. The disabled performer is coming from a place that we can’t know and that opens up interesting possibilities for the audience’s perceptions of the performance. And in terms of movement and physical disabilities, we may be forced to re-look and re-define how we think of beauty when we see the different way that people with disabilities inhabit a space.”

As he looks ahead to the coming months – to Different Light’s performance in the University of Canterbury Platform Festival and at Christchurch Body Festival; and to his own international speaking commitments (on

an international panel at the Society for Disability Studies in Philadelphia and at Performance Studies International in Toronto) – McCaffrey draws attention to a quote from Socrates: “The highest form of human excellence is to question yourself and others.”

“I rather like that because it encompasses what we try to do through A Different Light,” he says.

Check out

ignition.ac.nz for

details of the next

NASDA play,

Play Upon Me.


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Why did you choose Visual Arts as a career?

I’ve always had a general interest in the arts, especially the performing arts.

I come from a family with a very creative background. My grandfather was an illustrator, and I have an uncle and two brothers who work in the theatre. So I was naturally drawn in this direction.

What were you doing before you came to CPIT?

After finishing school I didn’t feel ready to go straight into studying,

Passing It On

Stage Design

Ruben Hamblett talks about his stage design for a NASDA production of the Renée play, Pass It On.

Check out

ignition.ac.nz

for footage of the

NASDA plays

Pass It On +

Wednesday To Come

Photography by ADAM GALLAVIN


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as I wasn’t really clear about what I wanted to do. I spent two years travelling overseas in Europe and Asia. After coming home I spent a couple of years working as a builder before deciding I wanted to do the Bachelor of Design course at CPIT.

So what do you enjoy most about the Bachelor of Design?

I have really enjoyed working in a creative environment alongside my peers: it’s great for feeding and sharing ideas. Having really interesting and supportive tutors to learn from and the facilities and workshop space to develop and create projects is a real plus.

Describe the kind of opportunities that have come about as a result of studying at CPIT?

I had the opportunity at the end of last year to go to the Melbourne Arts festival where I got to see some very amazing performances and art exhibitions. I was able to approach a

German theatre company and now have the option of taking on a two year internship with the stage set designer in Hamburg.

Describe your experience of designing the set for the NASDA production Pass it On?

It was a great experience designing the set for Pass it On, especially in collaborating with a team of people to create a concept that would suit what the director wanted. I also had to take into account what would be best for the actors in terms of space and how they used it. Keeping the space open yet visually interesting and engaging for the audience to experience was a challenge.

What were the highlights?

Being able to see my ideas become reality, drawing up ideas which then became plans for building and creating a 3D space and which was used by other people.

What things would you do differently?

Spending more time on the finishing touches and the decorating of the set probably. I realised if I had an idea or something I wanted for the project I needed to spend a lot of time sourcing the right thing.

Has this work led to anything else in a similar or related field?

I have taken on a project for CPIT’s New Zealand Broadcasting School. The brief was to design and construct a set for a comedy game show called Off the Record. The creative process of designing stage for the theatre was a whole different experience compared to designing sets for television.

In what way do you believe your qualification is preparing you for your future?

I think it has given me a general understanding and foundation to build further in the next stages of my career.

What advice would you give to someone thinking of doing the same course at CPIT?

Show your passion. And make the most of all your opportunities here. I think that’s really important.

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FASHION www.ignition.ac.nz

ivy h

an

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FASHION www.ignition.ac.nziv

y h

an


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PHOTOGRAPHY:

ADAM GALLAVIN

HAIR:

NSPYRE RED

MAKEUP:

Melodie McColl

FASHION www.ignition.ac.nz

Check out ignition.ac.nz for footage from the 3rd Year Fashion School show Debut

http://www.ignition.ac.nz/index.php/page/display/507


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fas

hio

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Given Russell’s long-held “policy of

mystery” and a history of refusing

interviews, it’s surprising that this

one is even taking place.

“In terms of Dead C, we’ve made

that mystique part of what we do

and over time, we’ve benefitted

from keeping out of the public

gaze. It fires up the sort of people

who are committed to our kind of

music; it encourages them to seek

us out,” he says.

“That policy was also about making

a virtue out of obscurity. Early on

in New Zealand, it was very difficult

to get anyone to take us seriously.

We were seen as a bad joke. We

decided then, that if New Zealand

was going to ignore us, we’d just

ignore them straight back.”

Russell happily concedes that

his musical abilities “are crap”

(“although the outcome is not

always crap”). It’s a surprising

declaration from someone who has

enjoyed a significant degree of fame

within the international music scene

and it begs the question, just what

exactly does he do?

Simply put, he says, Dead C is

perched between rock and chaos.

Bruce Russell bought his first guitar in 1983,

between degrees in political

studies. After three lessons, he

abandoned tuition and taught himself

how to make sounds.


Photography by Adam Gallavin

He wasn’t interested in melody,

or making songs; rather he was

hooked on “the sound of electricity

happening, the actual noise of

amplified strings and wood.”

It was a kind of music with no

profile in New Zealand at the time

but that didn’t stop Russell. He

went on to forge a successful

musical career as a solo performer,

as one half of the duo A Handful

of Dust and as one third of New

Zealand noise legends Dead

C. In addition, he’s established

two record labels – Xpressway

and Corpus Hermeticum; he’s

participated in the recording of

over 50 albums; and more recently,

he has published his first book,

Left-Handed Blows: Writing on Sound 1993-2009.

Factor in his work as Usability

Consultant/Programme Leader

of CPIT’s Graduate Diploma in

Information Design; his ongoing

role in Dead C and A Handful of

Dust; his solo career; the fact that

he’s currently working towards a

doctorate in sound at Melbourne’s

RMIT School of Fine Arts; and

his work with Flying Nun’s Roger

Shepherd as an archival consultant,

and you wonder where Russell, now

50, gets the energy.

“Our output is beyond alternative.

It’s totally spontaneous and we

push the boundaries of form and

structure, where we tip over into

noise. A Handful of Dust on the

other hand, is totally free and on the

chaos side of the line,” he says.

He admits he’s the wildest, least

musical member of the bands

and that his solo career is “highly

abstract in terms of sound.”

“It’s experimental. I’m interested in

music that is open-ended, that is

both allusive and elusive – music

that makes you think, asks you

questions but doesn’t give you

the answers. You as listener, get to

participate in the meaning.”

Russell is very much musically

motivated at an intellectual level.

He wants his listeners to question

his methods, his approach, what the

music is about and what effect it

might have if they keep listening to it.

“Our approach as a group though,

is not deliberately intellectual. We’re

fostering spontaneity and a lack

of reflection in what we do. We try

not to think when we’re performing.

Over-thinking can kill it. It’s a little

like abstract painting.”

It’s fair to say that Russell, and the

bands he plays in, don’t play by

the rules. Like abstract painters,

who may use the same tools as

representational painters, the

outcomes are poles apart. Russell is

also “coming at it from an untrained,

more primitive background,” so

it’s understandable that he has

difficulty finding like-minded

musicians to work with.

He’s found them though in

fellow Dead C members, Michael

Morley and Robbie Yeats and in A

Handful of Dust partner, Alastair

Galbraith, all of Dunedin.

“We all understand each other. Dead

C has been going for 23 years now

and it’s like a marriage. We have

our disagreements yet we have

a common musical purpose that

keeps us together.”

Alastair Galbraith is an Arts

Foundation of New Zealand

Laureate for his work as an


ignition 23 ignition 23


instrument builder and sound

artist and he and Russell have

produced eight albums together

as A Handful of Dust.

“I really like working with Alastair.

He’s brilliant. I like working with

people whose ideas interest

me and whose musical abilities

are compatible with mine. I find

it hard to find people who can

cope with what I do. Alastair has

an innate understanding of my

ability, my work and where I’m

likely to go with that.”

Russell is very serious about what

he does but he doesn’t take himself

seriously all of the time.

“People expect us (as Dead C)

to be very serious and dour yet

we’re often taking the piss out of

ourselves and the audience. But

I’m not frivolous. It’s not a comedy

show, or a joke; but we do use

humour for a serious purpose.”

That serious side manifests itself

in Russell’s new book, published

by Cloud, Auckland in January this

year (available in Christchurch at

The Physics Room). He describes

Left-handed Blows as a book of

essays about sound and culture –

the theory of what he does.

“It’s a very personal perspective.

It’s about improvisation and the

place of art in society, which is one

of my interests. I come at it from

a Marxist perspective but within

the tradition of avant-garde, left-

leaning thought. It’s about reviving

out-of-date ideas and making them

relevant to today,” he says.

Like most of Russell’s creative

pursuits, it is a specialised area

aimed at a specialised audience.

“I’ve come to this theory that there’s

this thing called ‘Kiwi’ music and it’s

not the same as New Zealand music.

The kind of music that’s being

sold to New Zealand as cultural

expression (is what’s) acceptable

to commercial radio programmers.

That, baldly, is how it works. I’m not

saying that’s wrong and ought never

be done but somebody’s got to

be prepared to put a bit of money

towards people who are prepared

to do things for artistic reasons.

“At the moment that’s not a

debate anyone is willing to admit is

real. I’d like to think at some point

they’ll step back and say “there’s

all these other people that keep

doing this nonsense music” – not

just the people I’m involved with;

there’s a whole swathe of people

up and down the country involved

in stuff that is always going to be

a fringe interest that is valid and

is New Zealand music as much as

‘Kiwi’ music is.”

Russell says Dead C’s success

has been at a critical level not a

popular level.

“Our New Zealand career is

negligible but we have had success

internationally. We inspire others

to start bands and we get a lot of

respect among musicians. I don’t

think there’s been anyone else over

the last 23 years, who has managed

to balance that fine line between

rock and chaos the way we have.

“Dead C still defines a genre of

music that even now has no name.

We’re a genre all on our own and we

still defy categorisation. That’s the

most important thing about us. That

gives us interest and relevance. No

one in New Zealand has done what

we’ve done and we’ve managed to

create a successful, underground

career through our ability to

network internationally.”

Dead C’s career has existed

primarily in USA and Europe and

most of their records have been

released there. They’ve toured the

USA three times (1995, 2002, 2008)

and Russell is gratified that they’ve

had enhanced visibility in the last

five years as younger audiences

come on board – “kids who were

born at about the time we were

starting out,” laughs Russell.

“At the same time, I’ve noticed

we’re selling a lot more XL T-shirts

than we used to, as our original

fans age with us.”

At the end of the day Russell is

happy with his musical outcomes.

To quote from a previous interview:

“I don’t want to be making music

that everyone listens to. People

say that’s elitist; it’s not, it’s being

realistic. Your market is a small

group of people, that doesn’t mean

they’re better than other people

it means they’re people with

particular tastes and perspectives

on music and the arts.”

In the meantime, Russell is about

to release his new solo album

Antikythera Mechanism – a vinyl LP

on the Australian label, Spring Press.

DEAD C’s BRUCE RUSSELL

ignition 24

VISARTS www.ignition.ac.nz

Philagrafika

about the social and political issues

that affect them. His ongoing

critical dialogue with younger

artists needs to be recognised

as one of the most significant

contributions Reed has made to the

art of dissent in New Zealand.

His work encompasses a wide range

of media, tied into experimental and

often challenging combinations of

figurative and typographic elements.

Reed tends to exploit the varied

formal qualities of printmaking,

ranging from bold blocks of flat

colour to the subtle intricacies

of the etched line. To this, he has

added experimental work in the

form of medallions, installations,

assemblages, hand-made books

and textile prints. Thematically, his

work continues the longstanding

connection between print and

social comment, an aspect of his

practice which constantly forces

Reed to question not only the

purpose of his work, but also

how to best resolve the tension

between form and message.

Michael Reed’s commitment to

the message, with themes that

One of the largest art events to be held in the

United States, Philagrafika opened 29 January

and ran until 11 April, with over 80 venues in the

Philadelphia metropolitan area.

The institutions hosting and supporting the

programme were public and private galleries,

public and private museums, libraries,

and research and educational institutions.

More than 350 American and international

artists exhibited in solo and group shows,

collaborations, performances, installations,

short term events and workshops.

Philadelphia has a long history when it comes

to printing. Many of the documents that shaped

American history had their start on a printing

press in Philadelphia. Benjamin Franklin operated

his publishing press there; the first US currency

was issued there as was the first copy of the

Declaration of Independence.

Philadelphia has 28 distinctive print collections

housed in a number of institutions, including

five colleges and universities with strong

printmaking programmes, a dozen print

workshops and an extensive range of spaces

dedicated to showing contemporary art.

It was the recognition of this 300 years as a

centre for commercial publishing, fine-art print

production, and print education that lead to the 5

years of planning that resulted in Philagrafika 2010.

In March 2010, Michael Reed, senior printmaking tutor at CPIT, traveled to the United States to participate in Philagrafika, Philadelphia’s international festival celebrating the role of print as a vital and diverse force in contemporary art.

Article by Dorothee Pauli and Michael Reed

Michael Reed was invited in 2008

to participate in the show curated

by Daniel Heyman, Printmakers

Go to War, at Swarthmore College,

a leading private liberal arts

university in the United States. The

works shown there consider the

lasting damage done to those that

have the misfortune to be caught

in the fall-out of armed conflict and

political manipulation.

Along with Sandra Thomson, a fellow

printmaking staff member at the

Art & Design School, CPIT, Reed

was also invited to contribute to a

curated show, Social Remarques,

at the University of the Arts, one of

the oldest art and performing arts

schools in the United States, by

lecturer, Mary Phelan.

Phelan’s invitation followed a

presentation in the UK by Dr

Elizabeth Rankin from Auckland

University, that included work by

Sandra Thomson and Michael Reed.

Reed has taught many generations

of students, who in turn, have

encouraged him to experiment,

adapt and innovate as an artist.

They have kept him well-informed

ignition 25


Good Grunt

Michael Reed, 2007

Screen-print on paper and bandage, Perspex, metal fitting, PVC pipe, 4.5” diameter

Art is creative for the sake of realization, not for amusement... for transfiguration, not for the sake of play.

Max Beckmann

An Award for Hollow Promises

Michael Reed, 2003

Screen-print on paper and bandage , Perspex, metal fitting, PVC pipe, 4.5” diameter

encompass the effects of nuclear

testing in the Pacific to the social

costs connected with the global

arms trade, is unprecedented in the

context of New Zealand art.

His interest in the art of social

comment developed from his

student-day encounters during the

‘60’s and ‘70’s. Throughout his career

he has maintained an artistic stance

which compels him to bear witness,

to question and to produce art which

makes him, and by implications his

viewers, confront a reality beyond

immediate personal interests.

Reed is well aware that as a

resident of Christchurch/New

Zealand he lives at a safe distance

from the events which provide

the subject matter for much of his

work. As such, his art is guided by a

spirit of solidarity and compassion,

and he refuses to give up on

the potential of art to make a

difference. His objects are designed

to help save, not decorate the world

and to give another voice to the

most vulnerable members of the

human family.

ignition 26


The Mortlock McCormack

Law Art Award, presented

annually to a third-year School

of Art & Design student, provides

them with a visible network for their

work and can act as a springboard to the next stage

of their creative endeavours.

Established in 2003 by the

Christchurch firm, Mortlock

McCormack Law (MML), the awards

ceremony is also an important

date in the Mortlock McCormack

calendar and General Manager,

Jan Crooks, says they fit well with

the company philosophy of being

socially responsible.

“We established the Award to work

with and encourage young people

within the community and to forge an

ongoing relationship with CPIT and

Centre of Contemporary Art (COCA),

to celebrate art with our clients

and to grow our own corporate art

collection,” says Crooks.

“It’s a great opportunity for students

to get their work out into the

community. Winning the Award can be

a great addition to their CV, and from

our point of view, it’s a marvellous

way to foster the partnerships that

are key to our business. We’re into

partnerships; that’s how we do

business. We’re very proud of our art

collection, which includes everything

from painting and sculpture to

photography, printmaking, glass,

ceramics and design.”

Head of the CPIT School of Art &

Design, Hubert Klaassens, agrees

that the Award is a very good

experience for students from a

wide range of backgrounds and an

excellent way for them to interact

with the wider community.

“It’s laudable and brave, for a company

to offer an award to students at this

level; and it’s a generous award that

is all about supporting students when

they really need it,” he says.

The winning work, judged by

Mortlock McCormack partners, and

director of COCA, Warren Feeney,

is acquired for the Mortlock

McCormack collection and that,

says Klaassens, is a valuable prize

that has the potential to launch

the winner into the next stage of

his or her career.

He cites 2006 MML award winner, Sam

Harrison as a classic example.

“Sam has gone on to create a

considerable profile and he’s

exhibited widely. After three years

of study, it’s not always easy for

students to get into their studio and

work, yet this award can act as a

springboard for them.

Harrison, who Klaassens considers

“a precocious talent,” graduated

from CPIT, Bachelor of Visual Arts, in

2006 and in the same year he won

both the Mortlock McCormack Award

and the Farina Thompson Drawing

Award. He also had one of his works

purchased for the CPIT William

Cumming Memorial Collection. Sam

had his first solo exhibition at COCA

in 2007, has had two solo shows

since and is now represented by a

leading Auckland art dealer.

COCA’s Warren Feeney is not

surprised.

“Sam Harrison is an exceptional

talent – everyone agrees on that.

He’s a consummate craftsman across

several mediums and while I think he

would have been a successful artist

regardless, the award has definitely

been helpful to him. It’s a great

affirmation for any artist at the start of

their career,” he says.

Feeney considers the Award is an

ideal chance for students to get their

work out into the public for the first

time and he is impressed by the

calibre of winning works.

Award SpinOffs


Photography by Adam Gallavin

ignition 27 ignition 27


“Overall there have been a significant

number of really strong works

submitted to the awards. That’s as

much a credit to the students as it

is to the CPIT tutors and it’s helped

Mortlock McCormack establish a very

strong collection.”

“We like to think that everyone

benefits from that,” says Jan Crooks.

“The students gain kudos, a

significant sum of money and a

chance to boost their career; we are

able to add to our collection, which

our staff and clients alike enjoy; and

we have the opportunity to build

relationships and mix with CPIT

students and tutors. It means a lot to

us that everyone benefits.”

Simon Mortlock,partner of MML.

See highlights from the MML Art Award

Collection at the retrospectiveexhibition at

COCA gallery 11 Aug to 5 Sept

ignition 28

ARCHITECTURE www.ignition.ac.nz

MAX WARREN

Max Warren has always been

passionate about architecture. He

chose CPIT for three key reasons:

location, the interesting content of

the Architectural Studies programme

and because he had heard “good

things” about CPIT and its reputation

within the industry. During his

study, Max found the emphasis on

construction to be the main strength

of the degree. The enthusiasm,

energy and passion shown by his

tutors also impressed and motivated

him to succeed in his study,

particularly in his final year.

“The highlights for me were the trip

to Wellington and the third year

final public exhibition EXIT,” he says.

Max is now studying towards his

Masters degree at Unitec in Auckland,

and believes CPIT’s Architectural

Studies degree has prepared him well

for his post-graduate study.

“The construction aspect of the CPIT

course prepared me well for the next

stage of construction-based work at

Unitec’s Masters programme. I believe

both the construction and science

components of the programme are of

real value – the course is extremely

worthwhile and interesting,” says Max.

When he graduates in 2010, Max

plans to travel to Europe and find

employment in the architecture

industry. He also plans to establish

his own successful architecture

business in the future.

EMILY BAKER

When Emily Baker left secondary

school, she struggled to find her

way through tertiary education.

After training for one year as a

chef, followed by several attempts

at university, she finally found her

niche when she heard about CPIT’s

Bachelor of Architectural Studies.

“After school, I did a one-year

certificate in cookery and worked

for a short while as a chef. I wasn’t

happy on that path, so I went to

Canterbury University and tried out

a mix of courses to see if anything

there suited me. Then I learnt about

the Bachelor of Architectural Studies

programme at CPIT and decided to

give that a go,” she says.

“Because I hadn’t studied art or design

at high school I didn’t have a portfolio;

so I needed to do the Foundation

From Bachelors to Masters

Three Architectural Studies degree graduates from CPIT take their Masters at Unitec.

Story by Chris van Empel

ignition 29

ARCHITECTURE www.ignition.ac.nz

course at CPIT before I could begin the

degree. This was a really good move

for someone in my position.”

Emily has always had a keen interest

in design and art, and appreciated the

difference good architecture could

make to a space, having watched her

parents renovate three homes during

her childhood. At CPIT, she found the

Architectural Studies degree helped

her turn those childhood memories

into something tangible, ultimately

making them her passion.

“At CPIT, I really enjoyed the tight

knit community environment in the

classroom and the relationships

that I built with my classmates

and tutors,” she says.

“The field trips were a definite

highlight of the programme.

The trips to construction sites

were beneficial to help the class

gather an understanding of the

construction process, and the trips

to Dunedin and Wellington were

both interesting and fun.”

Now studying her Masters at

Unitec, Emily is well on her way

to a successful career in the

architecture industry.

“The programme at Unitec is pretty

full on, as you would expect with

a masters level course. There is

a lot more work, especially in the

Design Studio. At Unitec, they offer

a new project every six weeks and

there are usually several projects

to choose from, so you can choose

something that interests you. It also

gives you a chance to work with new

tutors every time.”

“Once I have finished studying, I will

maybe work for a year or two and

then head off to Europe to do my OE

to see all the amazing architecture.

Then I will, of course, return to New

Zealand and hopefully work as an

architect and become registered.”

AMIE WILLOCK

For Amie Willock, deciding on whether

to pursue a career in engineering or

architecture revealed an underlying

flair for creativity. Although Amie had

begun her study in engineering at the

University of Canterbury, a stronger

will to explore her creative side lead

her to investigate other study options

in the field of architecture.

“I was already studying engineering

at university but I wanted to do a

course related to architecture; that’s

when I was shown CPIT’s Bachelor

of Architectural Studies degree by a

careers advisor,” she says.

“What I enjoyed the most about

the degree was the great class

environment and the fact that the

tutors were so accessible – especially

in the last year of study.”

“The strengths of the programme

were around construction and

science. We also learnt how to use

archiCAD really well. The real highlight

for me though was our exhibition and

then, of course, finally graduating.”

Amie, who is now studying towards

her Masters at Unitec, recommends

anyone thinking about studying

Architecture at CPIT be prepared for

an intense and thorough programme.

“I feel I have learnt so much. The

knowledge of archiCAD was a definite

advantage and my knowledge of

construction also equals that of my

Unitec mates, which is great.”

Once Amie has completed her

Masters, she plans to travel, work and

become a registered Architect.

ignition 30

PHOTOGRAPHY www.ignition.ac.nz

PH

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OG

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A selection of some of CPIT’s finest photographic work taken by students studying Professional Photography.

ignition 31


CHARLIE BROWN

Check out

ignition.ac.nz

for more photo

galleries of

student work


ignition 32

ignition 33


ignition 34

Ja

me

s S

qu

ire

sC

OM

ICS

TR

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ANIMATION www.ignition.ac.nz

ignition 35

ANIMATION www.ignition.ac.nz

ignition 36

CD REVIEWS www.ignition.ac.nz

Doug Caldwell – Waiting At the Red Door

Review by Andy Gibbs

Composer, musical director,

accomplished arranger, and one of

the country’s foremost jazz pianists,

Doug ‘Maestro’ Caldwell is no stranger

to recording and producing quality

albums. Waiting At the Red Door

upholds this same fine standard of

light and fresh jazz, full of traditional

tones and quiet confidence. This is

no surprise considering Caldwell’s

background. He studied music,

arrangement and composition at

Michigan State University, later co-

founded the Jazz Inn on Bedford Row

during the 1950’s, and in more recent

years tutored at the CPIT Jazz School

after it’s opening in 1990.

Caldwell is no stranger to high

quality jazz and brings his years of

experience and exposure to this

album with beautifully crafted solos

and effective arrangements. Backed

by the rhythm section, comprising

drummer Ted Meager and Richie

Pickard on upright bass, the trio

manages to sustain a high level of

energy and interaction throughout,

without the need to overplay or

take away from the true feel of each

tune. Varying between comfortable

intensity and considerate sensitivity,

the trio moves from higher tempo

tunes to moody ballads with style

and ease while still retaining their

interwoven band sound – one of the

major overall successes of this album.

This stems from the obvious musical

awareness between the players.

L.A. Mitchell – The Matterhorn

Review by Matthew Mous

L.A. Mitchell’s performances

display both great musicianship

and the true essence of emotional

song-writing. If you have ever heard

L.A. Mitchell live then you will

already know that your attention

rarely strays: your ears will tune

into every layer of Mitchell and her

CD

Re

vie

ws

During more recent years, jazz has

continued to develop and expand,

branching into varying styles and

forms, some of which delve into the

realms of over-complication for the

sake of it. While these newer styles

are still currently paving their own

way and allow for the ever-needed

growth in any field of music, it is still

a pleasure to reconnect with the

traditional avenue that has stood

the test of time and still draws in

listeners and players alike today.

This album provides just that. The

players bring with them their years

of experience and this is reflected in

how modestly the tunes in question

are presented while still retaining the

level of expertise required to keep

things sharp and of interest to both

the players and listener. Waiting At

the Red Door is totally accessible

to those who have never listened to

a drop of jazz in their life while still

offering the more seasoned player

plenty of material and substance

to sink their teeth and ears into.

Kudos to the great Doug Caldwell for

another job well done.

band’s unforgettable music. This

particular treat, recorded live

at The Matterhorn in Wellington

City, features L.A. Mitchell and

the Nativa Band performing

an inspiring set of original

music, and is now available for

everybody to enjoy.

The first track on an album

generally sets the mood for what

is to follow and so it is here. After

a short instrumental Intro track

you are immediately drawn to the

beautiful, yet haunting backing

vocals at the start of It’s Music

Too. This style of performance

immediately creates an

awareness of the entire band

that features L.A. Mitchell and

this continues throughout the 13

tracks of the recording.

In terms of lyrical style, L.A.

Mitchell stands out as one of

the most creative and emotional

performers available in the jazz/

soul idiom in New Zealand today.

It is difficult to fault somebody

who has the ability to grab

your attention with their voice

and spread a sincere, heartfelt

message. The use of backing

vocalists Kate Taylor, Roslen

Langton and Dan Fidow adds a

dynamic element that further

emphasises the emotive values

contained within her music. All

of this is particularly evident

in Never Wear White where an

amazing use of vocal harmonies

continually lifts the songs beauty,

leaving it impossible to be left

unaffected by L.A. Mitchell’s

deeply moving lyrics.

The supportive role from the

remaining members of the

band is a fine example of great

awareness and musicianship.

The rhythmic foundations set

by bassist Jonathan Barus and

drummer Arona Veale groove

with an energetic unity that

is only enhanced by Posenai

Mavaega’s unique guitar style.

The interaction between them

perfectly suits the overall

intention of L.A Mitchell’s

compositions.

L.A. Mitchell Live At The

Matterhorn is a fine example of

ignition 37


Oval Office – Oval Office

Review by Bazi Baker

After many years of being highly

active in the New Zealand music

scene, a handful of Christchurch’s

finest musicians have collaborated

to form one of the most polished

bands in the country. Specializing

in funky grooves, tight horn

arrangements and catchy melodies,

Oval Office has become an instant

favorite amongst local musicians

and fans. The self-titled debut

album Oval Office presents a set

of ten original numbers which draw

heavily from jazz, funk and blues

traditions while retaining a uniquely

homegrown sound.

Vocalist Sacha Vee who features

on eight of the ten tracks takes

on the role of lead vocalist and

lyricist. While her vocals do sound

somewhat derivative of the typical

‘New Zealand sound’, they are

enjoyable none the less. Vocal

highlights include songs such as

Layback and Who Knows. The

opening song ‘Dartbread’ showcases

the punchy horn arrangements of

saxophonist Gwyn Reynolds and

trombonist Scott Taitoko. These

Sacha Vee – Sacha Vee EP

Up-and-coming vocalist Sacha

Vee’s debut EP opens as it means

to continue. Sassy vocals combine

with a relentlessly energetic band to

produce six tracks of a soulful artistry

that makes for an great listen.

Borrowing influences from artists

such as Erykah Badu and local

legend L.A. Mitchell, the album is

groove-driven New Zealand music

that is accessible to everybody.

This performance shows a great

deal of talent from a CPIT Musical

Arts School graduate who is truly

grateful to be performing her

music. Highly recommended.

slick arrangements are present

throughout the entire album and

form an integral part of the Oval

Office sound. Other band members

include keyboardist Darren Pickering

and guitarist Harry Harrison. These

two veterans of the local music

scene make their presence known

with hip sounds from the Hammond

organ and Fender Rhodes as well as

funky guitar riffs with a healthy dose

of wah pedal action.

What sets Oval Office apart from

other funk bands, however, is

their commitment to excellence.

Their irresistibly funky grooves

are a testimony to the seasoned

musicianship of bassist Richie

Pickard and drummer Dan Kennedy.

Other guests include trumpeter

Cameron Pierce and clarinetist

Reuben Derrick who are both key

tutors at the CPIT School of Musical

Arts. This is a highly enjoyable album

by what is widely considered to be

the dream team of Christchurch jazz

and funk musicians. An album that

was clearly created by experienced

professionals. Highly Recommended.

produced by Sacha Vee and guitarist

Oakley Grenell who also provides the

guitar parts on the final three tracks

of the EP. Even more impressively; all

music was also written and arranged

by Vee aside from horn arrangements,

which were done by Gwyn Reynolds.

The rest of the band comprises tutors

from the CPIT Jazz School and other

familiar names in New Zealand music.

Opening track Trouble sets its

tone within the first few bars. The

amalgamation of a funky bass-line,

drum track and horn section creates a

solid stage for Vee to open her lungs

and impress us all. The track carries

on with sufficient edginess and form

and bleeds well into the second track.

Entitled Patience, the single off this EP

was rated number one on Christchurch

radio station RDU for several weeks and

is by far the most mature number from

this particular EP. A mellow but driving

tune, it allows Sacha to work off her

band and they from her.

The next track, Break It Down was

reminiscent of 1980s funk and is a fun

and danceable tune whilst still serving

the listener with meaningful lyrical

content. Break It Down then segues

sweetly into the EP’s most mellow track

Honey Bee. A pleasant number, if slightly

bizarre in its lyrical content, Honey Bee

serves as a nice break from the funky

style of the rest of the album. Opening

with vocals and keys, this track shows

off Sacha’s ability to hold her own at a

slower tempo before breaking into a

collaboration with her rhythm section.

Again a catchy tune with simple hooks

and wide audience appeal.

The following track 3pm reinstates the

album’s original direction with bopping

rhythms and a forum for Vee to show

off her impressively large range. The

final track Wanna Rely is a great closing

track. The song opens with extremely

pretty piano work from Darren Pickering

before launching into a powerful and

soulful tune with those ever present funk

influences lying just under the surface.

As the song continues, the power in

Sacha’s voice, in conjunction with an

extremely supportive band leads into

the close in a well-produced and cleverly

composed fledgling venture in the New

Zealand music scene.


Sumo Jazz – Throwing Salt

Review by Sam Blakelock

This is the debut album release

from Christchurch jazz quartet

Sumo Jazz. The album features 11

original compositions that explore

the meaning of ‘Jazz’ in its widest

sense. Members Gwyn Reynolds

– saxophones, Darren Pickering -

keys, Richie Pickard - Bass and Dan

Kennedy - drums, are all tutors at

the CPIT Jazz School and prominent

musicians in the local scene. The

quartet is joined by other Jazz

School tutors Cameron Pearce

(trumpet), Reuben Derrick (sax)

and Harry Harrison (guitar), who

each contribute compositions to

the album. Special mention should

be made of guest guitarist Andrew

Knopp, a recent graduate who did

the highly creative artwork and

contributed two strikingly original

compositions to the album.

Throwing Salt opens with a

memorable Latin number titled 7:15

Time to get up. Although it is in

multiple odd-time-signatures, the

composition has a deep sense of

groove. Its catchy melody and lyrical

solos by Reynolds, Pickering and

guest trombonist Scott Taitoko pull

you into the music and don’t let go.

The second track Blue Hue, is

a mellow composition by guest

trumpet player Cameron Pearce.

After listening to this song, you

cannot help but find yourself in a

positive state of mind or a meditative

state, most likely both. It has a strong

pulse, a sweeping melody and a

general oozing of ‘good vibes.’

‘In your face’ would be how I would

describe the third track Setting

Irrelevant. It jumps at you like an

angry tiger that hasn’t eaten for a

couple of years. The brooding waltz-

like middle section gives respite

from the ‘carnage’ before once

again the tiger returns to finish

of this meal. For me this was the

standout track in terms of creativity

and intensity for the album.

As you can see from the first three

songs, this album has a wide range

of moods within it. All the tracks

have different ‘vibes’ that stimulate

different emotions. There is a nitty-

gritty boogie-woogie, a reflective

5/4 waltz, an on-the-edge power-

rock influenced song, the list goes

on. This contrast between songs

and the creativity of the songs

themselves, are what make this

album for me. There are some world-

class compositions on this album,

which is a reflection on the level of

local talent we have in Christchurch.

All in all, a superb album of top-

notch compositions. Check it out.Hear highlights

from these CDs on

ignition.ac.nz


Tyler Bleyendaal, a student completing his final year of the

Bachelor of Architectural Studies, captained the New Zealand

under 20’s rugby team to their third successive junior world

rugby title with a sublime 62-17 win over an outclassed

Australia in Argentina recently. Bleyendaal, in superb form,

directing play from first five-eighth, capped off a brilliant

tournament with a try of his own.

NZ U20’s win third world title

ILLUMINATI www.ignition.ac.nz

The School of Architectural Studies, celebrated in March with

news that one of its students won top honours in the prestigious

Ellerslie International Flower show. Pete Hodge, who is studying

in his third and final year towards CPIT’s Bachelor of Architectural

Studies, together with his creative team, was presented with a

Gold award for his Family Urban Garden.

“When we finished the set-up, we stood back and were

pretty proud of what we had done. If the judges walking by

had said “well done” we would’ve been happy, but for them

to award us Gold was incredible – it was just amazing! We

were absolutely delighted!” said Pete.

CPIT wins Gold at Ellerslie International Flower Show

illuminati

NASDA students selected for High School Musical 2: On Stage

Monica Hope was recently selected to play Gabriella in

Disney’s “High School Musical 2: On Stage” for Canterbury

Children’s Theatre. Along with ten other NASDA students and

many other young, talented Cantabrians, Monica spent around

three months rehearsing for and then performing in a ten-show

season at the James Hay Theatre in February of this year.

Go to www.ignition.ac.nz to read more.

Story by Sarah Gordon


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Documents

Ignition Magazine - Issue 4