Editor's note: Jim Pinckney (aka Stinky Jim) has been a fixture on the New Zealand music scene for about four decades as a live DJ, music writer, radio presenter (he long-running Stinky Grooves on Auckland's 95bFM), label owner (Round Trip Mars), facilitator, co-founder of Unitone Hi-Fi with Joost Langeveld and much more.
And he starts with the cover.
.
The cover photo is a shot I took on the Indonesian island of Komodo in 1988 and I always thought, wondered, why those guys were walking so far apart when they were just heading off into the wilderness. It worked with the album title Spacial Awareness which is a sound making mantra for myself in the studio and a term which has been given extra relevance in these pestilent times
I've done everything apart from [the late Kingston dub poet] Nazamba's vocal, Angus McNaughton down at Auralux in Dunedin is responsible for the final mix and master and so much more.
So track-by-track?
Avant Grades - is meant simply as a grin inducing intro, written around the time Lee Scratch Perry passed so I was submerged in his incredible musical legacy and had to conjure up an outlandish effect or two in his honour.
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Steam Fish - the Steppers Regret rhythm has been around for nearly 10 years but the vocal was recorded at Tuff Gong in Kingston in December 21. Nazamba died of a heart attack on the day I sent him the final master, so I will never know if he heard it or not. But he was really happy with the rough mix and was very keen to do something for a release in New Zealand. Lovely man, such a loss. Please do check his other releases, one of a kind, something was brewing.
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Owner Face - Written for/and kinda about our cat Chika who died while the album was being made. Every cat person knows the owner face. The 'dem bow' beat (as found in every bloody reggaeton track) is my second biggest obsession (after flying cymbals which pop up repeatedly again on this album) and this has already had some tip-top reactions from some loose-eared Latino folk.
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Flames Of Love - musically inspired by John Carpenter soundtracks fed through my warped Stinkovision and another one aimed/inspired at current fuckery and lack of humanity. Lots of 80s synthology from the DX7 & pals with the drum machine drowning in spring reverb.
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Le Creak - This track started with me falling in love with recordings of a rusty gate in the Tongariro National Park from Tim Prebble's mind melting A Hiss And A Roar sound library. The song literally grew around that, Le Creak - c'est chic.
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Runs On The Board - finished the day after doing an all-nighter watching the Black Caps win the inaugural World Test Championship. It's a run thing and at 9 minutes plus, definitely Test length. Noticed that many (though by no means all) NZers are infatuated with sport but the natural sport/culture divide is Grand Canyonian - my attempt to build a puny rope bridge.
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Loose Carry - A rare release of uptempery. I write lots of stuff like this but rarely release. In my mind was Carnival, the Apache beat that I will never not love and foolishness, so much foolishness!
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Because there is a finite number of studio recordings by the Beatles, just for my amusement I sometimes make up my own and write about them under the Absurd Elsewhere page. Given the title of... > Read more
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One of the first French new wave bands, in 1976 the band took part in the 100 Club Punk Festival in London, sharing the bill with such bands as Sex Pistols, The Clash, The Damned, Siouxsie and the Banshees, and Buzzcocks.[1]
A single was released in a picture cover on Polydor Records in 1977, "Boozy Creed", with "Driver Blues" on the B-side.[1] The single met with mixed reviews, causing Polydor to abandon the release of the band's eponymous debut album outside France.[1] The album was described by Allmusic as "a largely flat, bland collection of recycled Stones and New York Dolls riffs with low-quality vocals",[2] while Trouser Press were also not impressed with what they described as "uninspired sub-Rolling Stones rock'n'boogie with terrible vocals by Elli Medeiros".[3]
The band split up in 1979, with Elli Medeiros and Jacno then forming the duo, Elli et Jacno. Medeiros went on to a solo career, releasing the Bom Bom... album in 1987.[3] Jacno later released several solo albums as well as working with several other artists including Mareva Galanter.[4]
Having never played in America, how did you come to the attention of M-Theory?
Paul: We worked with a management agency called Hymn Media in Europe and in France, and the owner of the agency was in contact with Marco [Barbieri] and he suggested us. There were a few emails sent back and forth, and Marco came to us. We started to talk and that was it.
Did you use the same studio and producer as previous albums?
Paul: Yeah, it was the same team that worked on the previous records. All the instruments were recorded at one studio and the vocals were done at another studio.
How did the pandemic impact your touring plans for 2020?
Antoine: We had shows and summer festival shows that were mostly in France booked, and everything got postponed or canceled. We were supposed to do our first Japanese tour in April, and that was postponed, probably until next fall.
With a history that includes four European tours, three albums, and one EP, STINKY has cemented its reputation in the hardcore scene. The band has performed at significant European festivals, including Hellfest, and has shared the stage with iconic bands such as Sick Of It All, Terror, Comeback Kid, Millencolin, Sum 41, and Against Me. 152ee80cbc
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