Posts Tagged ‘Wurld Series’

Wurld Series – “Nap Gate”

A new vid today announces the arrival of New Zealand scuffers Wurld Series’ second LP, What’s Growing. “Nap Gate” fizzes out of the gates with amp strangling riffs, placing one foot in the Pavement camp and another closer to home, echoing kiwi alt classics like 3Ds, Tall Dwarfs, or Straitjacket Fits. Balancing cool-headed vocals with some paint-peeler guitars, this one makes a case for excitement for the Christchurch band’s latest offering. The record was produced in part by Brian Feary (Salad Boys, Dance Asthmatics), who runs Melted Ice Cream Collective out of NZ. The record arrives March 19th on Meritorio Records (Europe & USA), Osborne Again (Australia) and Melted Ice Cream (New Zealand & Rest of the World).

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Adam Hattaway and the Haunters

New Zealand’s Melted Ice Cream collective binds up a loose collection of jangle-prone, indie scrapers and post-punk purveyors with just the right mix of off-kilter sensibilities to keep the mind spinning. The label adds the solo debut from Christchurch’s Adam Hattaway (of Wurld Series) to the stable and it’s a delirious mishmash of crimped-tinfoil punk, fuzzgut indie and wistful power pop that laminates the Memphis school into a hot glued gauze. Hattaway might not be pulling down Big Star soul, but he’s getting runner up vibes a la The Hot Dogs on “Turn Around” and “Too Tired” and making it sound sweet. The dial twisting approach poaches well from his country’s past just as often though, finding a wobbly kinship with Chris Knox in various forms (his scattershot solo shamblin’ and Toy Love come to mind) not to mention indie lancers The 3Ds or Able Tasmans. Hell, maybe even a touch of Tall Dwarfs creeps in around he crimped edges.

There’s a sense that Hattaway coulda played it all straight – he’s got the hook chops to whip it ‘til smooth – but the record works because he refuses to do any such thing. Tape hiss creeps in to remind the listener that decorum isn’t at stake here. Whenever things threaten to get too close to the kernel of pop, Hattaway stomps down on the squelch to twist the feedback knife a little closer to chaos. As much as Australia has a knack for loose-knit indie wranglin’, their Eastern counterparts seem to push just a touch further towards the fringe, which is what makes them such a wellspring of great pop. Add Hattaway to that legacy. This collection is rough under the chin, but that’s what made some of the best Flying Nun platters so desirable in hindsight. All Dat Love is proving to be a late entry favorite around here, and I’m keeping an ear to where Hattaway’s headed in the future.



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