Erin Cook

P-Money

P-MONEY is Peter Wadams. P-Money is the grand collaborator of Akon, Scribe, Grandmaster Roc Raida and countless others. P-Money is the co-owner of label Dirty Records. And P-Money is the all round stalwart of the burgeoning New Zealand hip-hop scene. P-Money is billed as a major draw card to for this summer’s Trinity Block Party, an event which is quickly securing its position as intrinsic to the Canberra music calendar. A veteran of the festival circuit, both here in Australia and back in his home country of New Zealand, he’s quick to distinguish between the crowds of both countries. “Australian audiences are little less inhibited and get a bit more rowdy than Kiwis. But the Kiwis are a touch more discerning and harder to win over” he says.

P-Money’s success is best quantified by the burgeoning crowds following his live shows from festival stage to headline shows. He’s since shared the stage with everyone from metal bands to dance acts, something P-Money relishes with his eclectic and always developing personal tastes. “The older I get the more broad my tastes get. But I’m still a pretty tough critic! I like so few things,” he laughs. “Of late I’ve certainly been more influenced by music outside of hip-hop. They seem like really trendy dudes to mention, but producers like Diplo and Justice have been making some very cool shit.”

These diverse influences and more importantly the active seeking of fresh sounds have helped to create the ever developing and always- ahead-of-the-curve sound that has come to define P-Money’s work. “My sound develops all of the time. I have different periods; right now I’m in dance mode. Most of the things I’m making are up tempo and reference different things from the spectrum of dance music; late ’90s, very early rave and modern nu-disco/electro stuff.”

His skills in production and song writing won him two awards at the 2004 New Zealand Music Awards for his work with fellow Kiwi MC Scribe. The ubiquitous Not Many showcased the talents of both artists and is so far the biggest hit for them. “Those accolades were great to achieve and I guess they came fairly early on in my career; I’d only been recording music for about four years at that time. I’m definitely still learning and developing my skills as both a songwriter and producer.”

It hasn’t been all touring and accolades for P-Money however, as he’s increasingly frustrated by the state of political affairs within his country and within the music industry. “I wish popular (music) contained more political and social commentary, especially in hip-hop, but that’s not the type of shit that gets support from major labels/radio/media outlets etc, cause it’s too challenging for programmers. They don’t want to confront listeners with political opinion in fear that it might polarise people and they lose market share.”

Politics briefly replaced the hilarious entries about airport terminals and drunk girls on P-Money’s blog, showing his support for both Obama and the incumbent NZ Prime Minister Helen Clark for which he was only fifty percent lucky. “ I was really hoping we wouldn’t elect a right-wing government but we have. My personal stance is far more liberal, but hey, we have a democracy and majority rules so I’m ok with that,” he concedes.

P-Money will be dishing out his rhymes like a saintly soup kitchen worker at Trinity Block Party, Saturday, January 10. Tix on sale now through Moshtix , Trinity, Landspeed , Parliament Clothing Stores and inthemix.com.au .

The Vines

I’ve seen THE VINES live twice now and both shows were over the calibre of near-legendary, for completely opposing reasons. If it weren’t for Craig Nicholls’ cartoon-character-type uniform of jeans and green jacket, I’d be forgiven for thinking they were two entirely separate entities. The first show, a main-stage set at 2003’s Big Day Out was one of the worst, yet one of the most comical events I’ve ever seen grace a stage. Alternating between throwing his Fender over his head or barely mumbling the lyrics to his own songs, Nicholls’ erratic behaviour was the subject of speculation among the music media and sunburnt punters alike and was also rumoured to have caused the Vines to be banned from any further tours on the lucrative BDO circuit.

The second show, a Channel V-sponsored ‘exclusive’ filming my main girl Bec managed to find tickets for, was at the total other end of the spectrum. Recorded as a launch for the fourth album, Melodia, the set was nothing if not professional (and admittedly, at points a little dull). The only remnants of the ‘Crazy Craig’, as he’d been dubbed by the English press, seemed somewhat scripted - the occasional yelp or lassoing of the guitar was caught by the number of television cameras roaming the venue. But as the annoying Channel V hostess announced, the Vines were indeed back in force to take back what was taken from them.

If ever there was to be a parable warning young and naive bands of the dangers of the hype machine and NME, the Vines’ story would be it. As it goes, Sydney band are plucked from obscurity, release a number of demos and EPs on the sly, before 2002’s Highly Evolved LP throws the band in to the spotlight - more so in the UK, US and Europe before a few spins of Get Free on Triple J make the band as loved in their homeland as elsewhere. After a series of articles touting the band as ‘the new Nirvana’ and one fourth of the ‘New Rock Revolution’ (putting the boys on par with Sweden’s the Hives, and Americans the White Stripes and the Strokes), the band seeming collapsed in a heap of hyperbole, Asperger’s diagnoses disappointing, follow up releases and the departure of founding member and bass player Patrick Matthews.

But all this is behind them now. Richard Kingsmill is among one of the recognisable faces (voices?) behind the Vines’ second wind, recently railing against the English press for their treatment of the band and congratulating the Vines for overcoming their difficult twists of fate to not just release Melodia, but to tour extensively throughout Australia in support of it, which they have never done before. Hamish Rosser seems oddly nonchalant about the turbulent course the band’s career took after he joined as drummer post-the recording of Highly Evolved in 2002.

But maybe because he never accepted it as a nail in the New Rock coffin so to speak, “We played in Brisbane and Fab (Moretti, of the Strokes) was there ‘cus he was touring with Har Mar Superstar… and he was like ‘yeah, man! we were part of something!”, saying it like it’s over’ Rosser says, expressing his obvious bafflement at the concept of, as he puts it, garage rock being ‘over’ or just merely a passing trend. Although he his quick to admit that, “anything that becomes massively popular is bound to pass in time. At the moment we’ve got all these fringe-rock bands, I think they’re at the height of their powers now and in three years time it’ll be something else. It’s good to be part of it while it’s big, I suppose, rather than you chasing something that’s already passed.”

Nor is he holding any grudges against the press, “You can’t shape popular opinion” he almost laughs. “You know we could have tried to jump on the next train straight away but you gotta stay true.” Returning to the studio for Melodia was also a return for producer Rob Schnapf, who had not only been the man behind works from Beck, Foo Fighters and Elliott Smith, had also worked with the Vines previously on Highly Evolved. ”We knew what he is production sounded like and so we got back with him. If anything, you know, it was part of belief we could hit it again.” The extent of the influence of other bands is often an avenue of easy criticism for the band, a fact which Rosser is either entirely unaware of, or is merely unapologetic for it. Melodia, however, has welcomed a fresher selection of bands then the previous 60s rock dinosaur influences of the previous records. “We listened to a lot of the Killers, Muse was a very big influence on Craig and that comes through on songs like Jamola. Craig writes everything and it’s always back to the 60s with him”.

Although Rosser is quick to admit that the best shows for them as a band have been in the UK, the comprehensive Australian tour is something he is very excited for, mentioning that he’s played the ANU before with other bands, but never with the Vines. “The shows will be awesome”, he says with unquestionable conviction and a massive laugh.

The Vines will play at the ANU Bar on Firday October 24,  joined by Wolf & Cub. Tickets on sale from Ticketek.

Kevin Borich

I would love to have a beer with KEVIN BORICH . He seems like the kind of man that’d be sitting in the pub retelling stories of his youth that you’d be half-tempted to call bullshit on because he seems so painfully normal that his demeanor and manner could never give away the fact he’s one of, if not the, greatest Australian/Kiwi blues-rock guitarists of all time. With a career stretching three decades, numerous high profile collaborations, a bunch of awards and a handful of singles insuring if he’s name isn’t familiar, his songs sure are.

Currently on tour as one third of the aptly-titled show ‘Two Legends - One Incredible Kid,’ Borich is sharing the headline duties with old friend and equally as influential and talented, Phil Emmanuel. They’ll also be taking 17 year old Smokin’ Joe Robinson along for the ride. Described by Emmanuel as likely to become Australia’s greatest guitarist by the time he is 21, he’s made waves throughout the industry after appearing on Australia’s Got Talent and has since recorded an album in Nashville with Grammy award-winning producer Frank Rogers.

e had come to the attention of the two elder statesmen years earlier, but Borich briefly went into hibernation following his cancer diagnosis (which Kevin, along with his family, discuss in a section of his website dedicated to the experience). “I remember seeing him, and just thinking ‘blimey, what’s going on here!’’’ he laughs before admitting, “but I was too busy trying to stay alive”.  Borich does stop short of mentioning any other young, talented guitarists turning to him for some guidance, “there’s plenty of great young players but I can’t start mentioning names. There’s many I haven’t seen and I’d probably forget someone!”

With over 30 years of experience as a stalwart player within the Australian scene, his approach to the business side of the job is akin to that of any fresh-faced band trying to make it now. Borich doesn’t even attempt to hide his disgust at the current state of Australian radio, an issue which may have become closer to his heart since watching his son’s struggle with the corporation-run media outlets as drummer of COG. “I’ve had pretty much no radio play”, a fact both admirable and odd given the longevity of his career, “except for maybe on community radio. They’ve got no taste! Those DJs are just shoved stuff and play what they’re told. There’s just plenty of ‘bling bling’ and it’s their job to just be entertaining, it’s not for the love of it. In my day DJs had a passion for music and they played their own records from their collections”. So given his lack of mainstream support, he’s done what many much younger, and much less successful musicians have done before him: he’s turned to the internet - mentioning a number of times throughout our discussion his website (kevinborich.com.au), showing his age only momentarily to make sure I remember “those ‘w’ things at the front.” “That’s very helpful, it’s the only place where fans can keep checking back for information and all that.”

“There’s no big company behind me, no money. Life is a tour, we go when it comes, when people want you. It used to be better in all the pubs, before the pokies and all that shit”, Borich says, clearly angry about the revenue-raising scheme that all but murdered the live Australian scene in the 1990s. “It used to be a fertile ground.” But surely it hasn’t all been a constant battle against the mainstream? “There’s been plenty of highs and plenty of lows”, he concedes, barely mentioning the time he played with Santana in front of a crowd of 60,000 and completely ignoring the little anecdote about supporting AC/DC in Los Angeles in the 70s. But whatever, he’s Kevin Borich. Like it’s no big deal.

Kevin Borich will play alongside Phil Emmanuel and “Smokin’ Joe” Robinson at the Holy Grail, Civic, on Friday October 10. Tickets from Ticketek.

Mercy Arms

Ash Moss is laughing as he denies any accusations of “intricately weaving baskets in rehab.” In a perfect example of why your tutor hates Wikipedia, the page of Sydney rock quartet MERCY ARMS has been vandalised. Taking the stock-standard biography of the band, the would-be defamer has rearranged sentences to imply Mercy Arms have less interest in their music and more in smack.

Touted as the ‘next big thing’ for a few years now, the release of Mercy Arms’ self-titled debut couldn’t have been more timely, nor without more then its fair share of dramas. After a highly publicised label bidding war in 2006 and 2007, rumoured to include million dollar offers from labels such as Modular, they eventually signed with US powerhouse Capitol, the label behind numerous fellow Sydney-siders meteoric rise to international hypedom just a few years earlier. After a massive overhaul of the label by parent company EMI, the fate of Mercy Arms, and many other bands, hung precariously in the balance.

“They wanted to keep a domestic roster”, Moss explains, “but for some reason they overlooked us. But we were the youngest band left and the only non-Americans, so we negotiated our way out of it.” Obliquely referring to the well-worn path of small band vs massive label issues that have plagued the industry since the beginning, Moss couldn’t be happier about their newfound freedom.

“It was in our best interest. We found ourselves with enough money to fund the recording and release of an EP as well as this album. And we have complete creative control!” The album recording saw the band working with Tony Cohen, the famed producer behind many classic Australian albums, notably works by Nick Cave and the Bad Seeds and The Go-Betweens. “We’re very happy with it and we’ve had a good reaction. If we waited any longer or did it earlier it would’ve been completely different, so we’re very content.”

With the album released less than a month ago, a long wait for a follow-up isn’t on the cards. “We’re definitely thinking about it. But we’re just trying to focus on touring for now.” A month-long tour of Australia will be promptly followed by a jaunt to Europe with bedfellows Cut Copy. “We leave in October for London and Scandinavia which we’re really looked forward to. We get along with them great.”

And is Cut Copy’s burgeoning success overseas something the boys would like to replicate? “We haven’t released anything over there [Europe] yet, but that is a huge aim, absolutely ideal. I really think we’ll translate well in the UK.” And after years on the Sydney live show circuit a fresh change may do them well. After a short-lived show sabbatical (“Well, we were recording” Moss justifies) they returned to the Sydney stage with a residency that “got a great response”. However, it is a live scene Moss is clearly disappointed in. “There’s a lot less band nights, which is a real shame. We used to go to Club 77 all the time but now it’s often one night a week, the rest is club nights.”

Paying their live show dues with support slots for The Strokes and the Pixies, among many others, this tour is their first of multiple dates as headliners. How the Mercy Arms show will translate from the massive stages of festivals and international touring acts to the more modest stage of Canberra’s Greenroom is something Moss has been thinking about a lot lately. “I’m worried about that! There won’t be nearly as many people, but they’re here to see us. This is our tour, our show.

Mercy Arms will be smashin’ up The Greenroom floor on Friday September 5. Joining them will be The Process as well as local rapscallions The Trivs. Tickets are $12 plus BF or $15 at the door.