Kitsch “The Burning Ground” Cat # 1157 014
New Zealand Herald – Time Out ****

Third, more diverse, album from local punk rock veterans.

THE FIRST strains of opening track Inevitable are a little lo-fi. Something is desperately wrong, surely? Where's the rumbling bottom-end, courtesy of bass player Evan Short (from drum'n'bass terrorists Concord Dawn)? Then, 20 seconds in, bang, smack, thump. The whole band plant their feet wide apart and they're into it. Solid, bullish punk rock from a band that has been doing it for years. There is no let up. Then, something different happens and it's a good surprise. It's not exactly a punk-rock opera like Green Day, but the lush string arrangement in the outro to fifth track, DTS, is inspired. There are more strings and acoustic guitar on ballad CO2, but it is tiresome and the one dud moment.
When Kitsch punch, like on Stay Right Here, The Day We Fall and Mature Angst, and the dual vocals (and harmonies) of Sam Icke and Ben Crawford kick in, they are dynamic and melodic, but retain the all important rawness. It's a rawness not just for effect, but born of gut emotion. If Kitsch really wanted to be different they would make the nine minute-plus last track, The Burning Ground, non-stop rather than have a silent interlude in the middle. But Kitsch hit the songs hard, so all is forgiven.

Scott Kara

This Night Creeps “The Noise of Music” Cat # 1157013
Waikato Times *****

Emerging from the thriving Hamilton hardcore scene, and veterans of many crazy gigs around town, hard working four-piece This Night Creeps sound self assured and confident on this, their debut album, Recorded somewhere on River Road, mixed by Michael Taylor at Dudley Studios, and produced by multi-instrumentalists Luke Mcpake and Mark Brenndorfer, This Night Creeps break out of the hardcore straitjacket and achieve something astounding. From the massive Revolution Winter to songs like These Kisses are Scissors, Inner Space and Black Box Interpreter, This Night Creeps maintain an air of artful unpredictability and sonic intensity, Spain in Vain is about as pop as they get, while the clever use of samples and keyboards matched with jaw-dropping guitar dynamics and cathartic vocal overload make for unpredictable and hugely exciting listening. But it's the whole package that impress me. Locals in the know don't need me to tell them that this is one of the most impressive New Zealand rock debuts in years. Great band an excellent album. WOW!!!!.

Kerry Cooper

Kitsch “The Burning Ground”. Cat # 1157014
Reaktor Issue 15

New Zealand Punk veteran's Kitsch return with a new album that highlights the musicianship and song writing skill they have learnt over the past ten years. Previous releases have seemed to be very one dimensional expressions of punk in comparison to diverse collection of songs on Burning Ground. This time round the arrangements are more complex, possibly due to the influence of Concord Dawn's Evan Short playing bass. They have also brought in lot more heavy metal-ish moments. In other words the Burning Ground isn't short of big riffs. Songs like Memory of Me are more in the traditional punk sing along vein, where as DTS shows of a lighter side of Kitsch, chock full of guitar melody, before another thunderous distorted chord progression shatters through the piece accompanied by another punk sing along chorus. All good though.

The Burning Ground is the sound of Kitsch having fun with the punk genre and taking it where ever they want to go. And its even got the Auckland Philharmonic on it.

Dan Pilkington

Kitsch - The Burning Ground. Cat # 1157014
Stuff Online Magazine. August 2005 ****

Power is The Burning Ground.

Kitsch have been known as a punk by numbers band but after some time out they have made an album full of life and energy and enough diversity to break an old formula.

Screams, break downs, guitar breaks, acoustic guitar, strings and even a solo that must have been dreamed up driving around in an old Holden add up to what is a very solid record.

All the instruments sound hugely powerful. Guitars have a thick buzz saw edge and the bass and drums pack a heavy punch.

The thick production and some curious heavy metal touches are no doubt thanks to Evan Short, who in his regular job is one half of drum and bass team Concord Dawn. Short seems to have brought a dynamism to the sound created by Sam Icke, Ben Crawford and Dan O'Neill.

The album reveals a new intensity in Kitsch. It sounds like heart and soul were poured into its making. When they played Sommerset's farewell shows earlier there was a hint that they were out to prove something.

Have a listen to this and they might prove it to you.

Marcus Stickley

Kitsch - The Burning Ground. Cat # 1157014
Punkas Website
, August 2005 ****

Kitsch are a band that seemed written off at the start of the year. With only a handful of gigs over the past two years and an unsettled line-up as they looked to expand to a four-piece, not to mention their bran of pop-punk no longer being regarded as 'trendy' by whoever sets these things, one could be forgiven for thinking the Auckland band's time as one of the top genre bands in the country was over.

The Burning Ground is quite a rebuttal to such an argument.

Kitsch have had a tendency to produce solid songs rather than great songs. But The Burning Ground contains a string of tunes superior to anything the band has done in the past, and a few absolute stormers. Opening salvo "Inevitable" sets the bar high, but this is topped by the infectious power of standout tracks "Poison Ribbons, Poison Skies" and "Stay Right Here".

Although there is similarity and familiarity in the majority of the vocal melodies, the music shows far more variation than in previous Kitsch releases. Tempo changes, complementary guitar parts, extensive use of dynamics, an overall heavier sound and world class production values (courtesy of Andrew Buckton of Studio 203) add up to the best Kitsch CD by a long measure.

The Burning Ground is a surprise, and an incredibly pleasant one. Forgive the cliché, but Kitsch are back and most definitely better than ever.

Matt Barnes

THIS NIGHT CREEPS - The Noise of Music. Cat # 1157013
Outofkilter Webzine August 2005

In keeping with their theme of releasing only the best in New Zealand punk and hardcore, the Auckland based label Elevenfiftyseven are back at it once again, with This Night Creeps first album-proper, The Noise of Music.

Listening to This Night Creeps is the audio equivalent of having a frontal lobotomy at the hands of a couple of mad scientists. They come swooping in with their spastic art-punk scalpel, make an incision in the top of your head, and mess with your brains at their leisure. It's okay though, because while their technique may appear to be a lacking in sanity, in fact they sound positively crazy, they more than make up for it by being absolutely fantastic.

The band takes the hardcore punk ethics of Refused and seamlessly blends it with the controlled chaos of The Plot to Blow up the Eiffel Tower and The Blood Brothers.

Take the second track, The Dancing Mania for instance. The song is an unpredictable mess of angular guitars and off kilter vocal dynamics. It's also the bands first single, and if it doesn't land this band on the musical map I'll strap a bomb to my chest and blow up your favourite radio personality.

What follows, meanders into the realm of slightly pretentious art-rock wankery - but in a good way. These Kisses are Scissors tows the line between order and chaos perfectly, while tracks like Spain in Vain and the album closer,
Naughts and Crosses bring the textured guitars and layered vocals out for a more straightforward brand of punk.

The Noise of Music on the whole is a great little package, but sadly that is what this is. Little. With only 8 tracks, clocking in at just shy of 35 minutes, it's hard not to feel a little hard done by, because otherwise this one hell of a debut full-length.

Will Edmonds

THIS NIGHT CREEPS - The Noise of Music. Cat # 1157013
New Zealand Musician Magazine August 2005

This Night Creeps have shared live bills with Die! Die! Die! and the Mint Chicks and it's not entirely unfair to lump them all together as semi-goth art students purveying a brand of shouty, angular agit pop influences by Mars Volta/Sparta/at the Drive In. Some tracks (is these scissors are kisses a sly reference to One armed Scissor?) are so heavily imprinted with these influences that it can distract from the content. Really though, this is abstract painting in mood and tone and the lyrical concerns take a scatter-gun approach, building word picturesthrough fragments and layering. The style dictates schizophrenic overlapping of parts to offset blipvert attention spans and the robust playing and textured nuance are a strength of the collection. Recorded by the guitar section in Hamilton and mastered at Kog, there is solid, consistent depth of field which loses nothing in clarity when everything is piling on at once. This is an involved and expansive listen (if not overlong) but it remains to be seen if This Night Creeps will emerge with their own singular voice.

Jacob Connor

Kitsch - The Burning Ground. Cat # 1157014
Real Groove Magazi
ne, August 2005 ***1/2

One of the longest running punk bands in New Zealand, ex New-Plymouth punk rockers Kitsch are exploring new musical territory and after 12 years it's about time. They've passed the pressureof the 1st album and the expectations of the 2nd. NZ pop-punk fans, prepare yourselves -it's time for the third. Drum roll please...Showing a progression and exploration of musical approaches, where the inclusion of soaring strings, acoustics and piano along with aggressive punk passion, paints pictures of heartbreak, heartache and anguished love states, The Burning Ground is by far their best offering yet. Opening with 'inevitable', the album ploughs solidly through the distinctive Kitsch sound up to first single 'Broken Themes', an epic, heartfelt anthem, dealing with love's ugliness. Ah, those damn, tortured romantics. Stop at 'DTS' and your musical trip down Kitsch memory lane diverts, taking a new direction. Twangs of My Chemical Romance, tinges of Sparta and a heavy dose of Hot Water Music indicate Kitsch have used their downtime well. And the added element of Concord Dawns Evan Short plucking the bass strings and battening down the production hatches could make 'The Burning Ground' their breakthrough album.

Brylee Rowell

Kitsch - The Burning Ground. Cat # 1157014
Rip It Up Magazine, August 2005 ****

Having taken a break from live shows over the past year and a half, many assumed that these Auckland punk veterans had finally called it a day and broken up. Thankfully, that isnt the case; they've simply taken their time writing new music to ensure their latest release, The Burning Ground, was as impressive as they could possibly make it. The boys haven't disappointed. With an additional guitarist (Evan) adding to the power ofthe already established trio, the album is full of powerfull riffs and impressive solos, while still managing to hold on to that 'Kitsch sound' they've always had. The album is darker, and a fair amount heavier, than the more pop orientated sound of the way it was or love songs for romantic punks. From the opening chords of the first track, it's obvious these boys have done alot of progressing over the past few years, both musically and personally. This intensity dosen't waiver throughout the album. The epic DTS, complete with a string quartet from the Auckland philharmonic orchestra during the breakdown of the song, simply adds to the intensity of the album, and proves once again that Kitsch are back, and better than ever. This album will appeal to both old-school fans and those that have never heard the name before. A must have for any punk fan; this is one New Zealand album we can all be proud to call our own.

Amberleigh Jack


THIS NIGHT CREEPS - The Noise of Music. Cat # 1157013
Punkas Website

Normally, the word "uncompromising" is used in conjunction with music that is overtly aggressive. However, it can also be applied to This Night Creeps and their insistence on producing music that panders to the expectations of nobody but themselves.

The overall sound of The Noise of Music will come as no surprise to anyone who has seen the Hamilton act in recent times, as they shift further from the post-hardcore sound of their debut self-titled EP (an EP which actually had more songs than this album!) and more into an experimental art-noise approach. The album is a dense tapestry of sonic textures that completely eschew traditional verse-chorus-verse song structures and bear only a passing interest in any kind of melody.

Single note guitar lead lines skitter in and out of keyboards and bass runs, with screamed vocals punctuating the whole intermittently. It is certainly a heavily layered piece of work, requiring many listens to absorb properly and to begin to discern each song's character within the overall palette of the album.

The problem with The Noise of Music is that it feels too much like a band in transition. This Night Creeps are taking big steps here, looking to marry high concepts with satisfying music. At the moment, though, the results are more frustrating than enjoyable to listen to. Jarring sonic ideas and oblique lyrics only serve to obscure any promising pieces, dulling a message that perhaps would be better served razor sharp. This Night Creeps are taking an artistic road that may lead them to something very special, but as the first step along that path, The Noise of Music most definitely is not it.

Matt Barnes

THIS NIGHT CREEPS - The Noise of Music. Cat # 1157013
Xtra Website 10th July 2005

By Roger Atmore A Hamilton band with a nice line in dark, angular song structures, This Night Creeps have had two previous EP releases on ElevenFiftySeven Records, with The Noise Of Music being their debut full-lengther. Not sounding a million miles away from the dark and complex emo that the likes of At The Drive In once employed, This Night Creeps have all the same a uniqueness that makes them sound at times like a hardcore version of an HDU or Skeptics.

The recording is at times rough and ready, but the depth of feeling on display allows the listener to overlook the faults and hear the intent. Opener 'Cracked On Your Own' lays down the law with a various melodic and rhythmic ideas exploding out of the speakers in considered and effective measures - their recent support slots with the Mint Chicks seem an appropriate reference point.

Lyrically as obtuse as they are musically, this could all too easily descend into self-indulgence, but stays on the right side of the law throughout the album. Often employing dirge-like rhythms can drop the tension, but on tracks like 'Revolution Winter' the sharp guitar attack keeps things nicely edgy.

It's not until track six with 'Spain In Vain' does anything approaching pop come into play, but still it's a far way off typical commercial rock. The following 'Inner Space' offers the odd moment of respite with jazzy chords before breaking into heavier, Television-like guitars, desperate and paranoid vocals along the lines of "I breathe in the carbon from your air if you can take away my recognition, make this new again", bizarre crowd noises and squawking saxophone. It shows a distinct willingness to experiment beyond any preset boundaries of what their music "should" sound like, and signposts a bright future.

Closer 'Noughts Black Box Interpreter' is no easy let-down out of the album, something that perhaps could be considered - the internal song dynamics have a lot of weight, but over the course of 35 minutes the album doesn't quite display a dynamic between tracks. It's a minor complaint however, as those who live for This Night Creep's style of structural experimentation and lyrical stretches will find plenty to love in the The Noise Of Music .

Roger Atmore

THIS NIGHT CREEPS - The Noise of Music. Cat # 1157013
Reaktor Magazine 6th July

The Noise of Music is the Creeps 2nd release and it further explores their guitar driven electro punk clash mash up that began with their self-titled debut in 2003. Fans of the Mint Chicks and other experiment rock bands will relish in the lacerating sharp melodies that are accompanied by a blend of intense and atmospheric moments that will leave you on the edge of your seat for the duration of listening. I would not recomend the epileptics should listen to this record as it may end up in dire results. My personal highlights were 'These Kisses Are Scissors' for the name alone, and single 'The Dancing Mania' Who'd have thought they were from Hamilton.

Dan Pilkington

THIS NIGHT CREEPS - The Noise of Music . Cat # 1157013
Scanner Zine.

Quite and eclectic and frequently intriguing smorgasbord of sounds going on here. There're hints of Dischord Post-HC of the BLUE TIP kind, some BRAID invention, some FAREWELL BEND rocking, some SHELLAC density and some APPLESEED CAST experimentation. Add on some GEZA X electro-noise and you got something that'd fit real well on Deep Elm Records or even Dischord of late.  What is clear is that TNC are certainly not afraid to explore their instruments and the art of song writing.  It's a tad too subtle, experimental and self-indulgent for my ears, but that said it IS captivating stuff with 'The Dancing Mania', 'Black Box Interpreter' and 'Inner Space' being particular standouts.  It's really well produced too, creating a panoramic sound of interwoven instrumentation and a vocal that never takes the expected route.

Steve Scanner

COLD BY WINTER - We: The Living. Cat # 1157012
Scanner Zine.

It took a few plays to grasp this. On initial listen, all I heard was emo/metal wank. Six spins in though, it hit - like a claw hammer to the temple. This is the debut disc from this Auckland 5-piece. You get 11 tracks of complex yet crushing post-HC that combines the pulsating rhythms of HOT WATER MUSIC, the embittered petulance of SHAI HULUD and the caustic abrasion of JUDAS FACTOR. The vocalist - if it is only one guy - has a shocker of a voice, equally at home with guttural growls, indignant Punk screaming and reflective singing. For some reason, the first 4 tracks don't convince - they seem a little disjointed - but from there on in, it's a huge, well-produced slab of noise with 'To Take A Life' being the highlight. This would fit really well on Revelation Records - it certainly knocks the shit outta the likes of SINCE BY MAN, THE PLOT… et al while capturing the finer points of those bands listed.

Steve Scanner

THE BLEEDERS - A Bleeding Heart EP.Cat # 1157010
Scanner Zine.

The band many are citing as New Zealand 's next 'Big Thing' on the international Punk frontier. And it's easy to see why. This is aggressive stuff that also relies a lot on melody. It kicks off with a fantastic DC-style instrumental that brought to mind SCREAM in their heyday. That influence is less apparent as the disc progresses, fusing into the web of sound an early-mid AFI vibe and the general rock prowess of SOCIAL DISTORTION. There's not really a duff track, although the faster 'It's Black', the anthemic title track and 'Cast in the Shadows' are definitely highlights. Production and performance are exceptional - clear, tight and precise. On the evidence here, it's easy to see why these fellas are the biggest Punk Rock draw in the country.

Steve Scanner

The Bleeders " Self Titled" MCD (Australian Release) # Casa 04
Peezine #33, Adelaide, Australia: Rating 95


Cold By Winter "We the living" Cat #1157 012
Noise Theory Webzine - 4/5

The Bleeders and Sommerset have been charging forward lately flying the flag for New Zealand hardcore/punk. There seems to be a growing crop of talented acts emerging from the land of the long white cloud and next cab off the rank is Auckland's melodic hardcore outfit Cold By Winter. Having gained supports in their home country for such acts as Hot Water Music, Terror, Most Precious Blood and Day of Contempt, the band's debut album 'We The Living' shows the musical maturity of a group that have been playing together for a lifetime.

The vocals are mixed up between throaty screams and drawn out spoken words. While the growls devastate, I was keen to hear a thick Kiwi accent in the spoken passages, but instead it sounds like the singer isn't sure whether he should put on an American or an English accent. The guitars take on an interesting trek with melody-driven structures and beefy chords. The bass lays it on thick with steady grooves while the drums hold everything together with straight-forward rock beats. In good fashion, there are some token instrumental tracks and soothing sections to songs to give everyone a breather between the more aggressive parts.

For a band's bow this effort will definitely blow some minds due to its tight performance and crisp production and while a solid feeling of originality isn't really present, Cold By Winter have really worked intensely to bring their own flavour to melodic hardcore. With a future that looks bright, everyone should definitely check out this band from across the Tasman and if you like what you hear pick up a copy of their debut release 'We The Living'. It is only early days for this young 5-peice so keep an eye out for upcoming endeavours...

Andrew Hill

Cold By Winter "We the Living" Cat #1157 012
New Zealand Musician April/May 2005

Benn Lee and Trajan Scwencke work well together on the guitar weaving and tying the music. Add Leon Ahmad-Hall and this post hardcore band becomes something more. The vocal variations make the Auckland five piece's lyrics twist around my brain like living things. George Hamptons bass blends seamlessly with Scotty Rockers on drums (who has a stunning static style), both punctuating each song beautifully. The recording from Aztec studios, mastering by Evan Short and mixing by Justin Pilbrow are all top notch. Ten tracks in all, one an instrumental. These guys have a thing for long song names exemplafied by one of the stand out tracks, She Who Can No Tbe Killed (By Conventional Weapons). Vocals echo instruments which in turn run raw on the edge of deep throatvocal angst. The title track is a soul spinning song that goes from strength to strength - the only song with a chorus. Cold By Winter don't seem to write songs the conventional way, but have cool changes instead. This album did'nt take long to earn a favoured spot in my collection.

David Harris

Cold By Winter "We the Living" Cat #1157 012
Satellite Magazine (Massey University)

Hyped and over-exposed across overseas music media, emo, in its modern form, broke the international mainstream some time ago. Yet it remains an unknown genre to most outside the punk/hardcore scene in New Zealand.

That could change following Cold by Winter 's debut full-length. For a band playing a style rooted in hardcore, it's a recording with a heady dose of accessibility. Eulogy for an Angel Passed and 95bFM hit We the Living mix concrete heaviness with melodic nicety. Some sung vocals are ridiculously wordy, but a slick recording allows Leon Hall's appropriately violent vocals to shine. Around the four minute mark of La Vita Et Bella ,pained screaming meets a haunting choir melody and an ascending guitar line. It sounds like the end of the world - and it's captivating.

Yet it's the metal-tinged guitar work that's the heart of this record, ranging from Iron Maiden-styled leads to the emotive lines of Burning Magdalene and the Fruit of Her Womb. Vital cuts like live favourite Angels and Locusts and the fast-paced High Above the Streets in the Company of Cowards put this amongst the best to come from NZ's hardcore scene, and pertinently, it's a release that may get heard by more than a select few.

Dan Trevarthen


The Bleeders " Self Titled" MCD (Australian Release) # Casa 04
Blunt Magazine April 2005

Casa Del Disco continues to snap up some of the best of what Australia and NZ has to offer, releasing this awesome powerhouse from New Zealand natives The Bleeders.Perfectly mixed and produced, this 11-track opus is full of energy and vigour, with just the right amount of affability for indie success. Moreover, having toured with Hot Water Music and played The Big Day Out has helped, but as a product, this self-titled release is an excellent indication of things to come from The Bleeders. More please!!

Steve Farrelly

The Bleeders " Self Titled" MCD (Australian Release) # Casa 04
Kerrang Magazine April 2005 KKK

Australian debut for NZ punkers. Anyone who turned up early to Good Charlotte's recent shows will have seen The Bleeders goingthrough their paces. Thanks to a slot on the Auckland BDO and a number of ghigh profile supports the NZ punkers are getting used to big shows, and having just signed a deal with Universal Records there's bound to be more on the horizon. For now, though, this release couples together the best moments from their first NZ EP, A Bleeding Heart, and latest single, and is such is slightly rough around the edges. Still, there's no denying the melodic power of songs such as Cast In the Shadows and All That Glitters, which pair the band's hardcore roots with a more palatable punk rock sound akin to the Movielife. Watch this space.

Karen Williams

The Bleeders “ Self Titled “ MCD (Australian Release) # Casa 04 / Feb 05

The Bleeders are the much talked about quintet from NZ. Marrying punk rock, hardcore and straight up rock n roll, this debut mini-album is a great taste of things to come. Opening track All That Glitters is one of the catchiest tracks I have heard in a long time. Short, punchy and to the point, the song is too easy to sing along to. The rest of the record is a mixture of heavier and more punk songs. So Lonely sounds like their countrymen Sommerset in one of their more mellow moments, while It's Black moves along at a breakneck speed in true punk rock fashion. One of the real highlights here is Family . Taking hints from older H2O , the song is straight up hardcore punk with some great sing alongs. Overall, The Bleeders have produced a great debut. Expect big things.

Adrian Quinn


The Bleeders “Self Titled” MCD (Australian Release) # Casa 04 / Feb 05

An Australian only collaboration of New Zealand band The Bleeders 'Bleeding Heart' EP and 'So Lonely' single to co-incide with their second visit across to Australia . Kicking off with the powerful 'All That Glitters', punchy fast punk rock with hooks and a big chanting chorus that sets the pace for the rest of this mini-album of 8 tracks. 'So lonely' takes the more melodic rock/punk angle, gravely vocals, then launching into another big chorus, as catchy as the flu, but not sacraficing any balls to the music. They're the two big single type tracks, 'Family' gets into the hardcore angle as they unleash some grunt. While the production isn't at all bad it doesn't seem to do justice to their songs, listening through you can picture these tracks stepping up a notch with a bigger production and sounding even better. It has a very live vibe to it and you can picture a big energetic live show to go along with it. Check this out and remember the name, the only way is up for these guys.
Highlights: All That Glitters, Cast In The Shadows, So Lonely


The Bleeders “Self Titled” MCD (Australian Release) # Casa 04
Beat Magazine / Feb 05

After building a dedicated underground following back home with lucrative tour support slots to a host of international acts, New Zealand 's The Bleeders proved that punk is well and truly alive across Tasman Sea .

Forming in Auckland in 2002, the five-piece act are now celebrating their recent New Zealand Big Day Festival appearances and their recent visit to these shores (supporting Good Charlotte) with the release of their blistering self titled debut release.

The highly energised All That Glitters is a storming opener that's full of spirit. Angelo Munro's vocals contain just enough venom to emphasise the hardcore like lyrical content, while the gang vocals through the chorus add enough punch to give the song a little more edge.

The infectious So Lonely bounces along with plenty of grunt to be deemed worthy within the scene while maintaining a hook that's memorable, while the more hardcore based Family is a call to arms for both fans and friends alike. Cast In The Shadows is certainly one of the album's fillers with its attempt to utilise dual vocalist effects through the verses, but The Bleeders are soon back on track in a huge way with the fast paced Sell Out and the scathing It's Black.

A slight dip in quality occurs once again with Channelling, but The Bleeders prove that you can't keep these punks down for too long as they provide the album's brightest moment in the closing number A Bleeding Heart.

Although The Bleeders isn't necessarily a new album as such (from 2003's A Bleeding Heart EP and 2004's So Lonely single), it's a solid representation of just why The Bleeders have been one of the most talked about acts in the scene back home, and here in recent times.

Justin Donnelly

The Bleeders “Self Titled” MCD (Australian Release) # Casa 04 / Feb 05

For many of us in Australia , The Bleeders appeared seemingly out of nowhere to be trekking around the country with Good Charlotte and Day of Contempt last month. This New Zealand 5-peice have been battling away for around 2 years now though and have toured their homeland with such acts as The Ataris, Hot Water Music, Good Riddance, Strung Out and Sick of It All as well as playing the 2005 Big Day Out Main Stage in Auckland. Mixing up between punk rock sing-a-longs and hardcore anthems, The Bleeders' self-titled Australian CD, made up of tracks taken from various NZ releases, will surely cause some excitement over here.

Simplicity is often looked past in current times with everybody jumping on to bands that blow you away with chaotic dexterity. The Bleeders are keeping it nice and tidy with straight-forward energetic material that rivals the intensity of any other band. Angelo's vocals sound crackling like he has a big buldge of flem in his throat. With backing vocals by all members of the band there are many much loved appearances of crew vocals. The music stays at a fast pace throughout with a very melodic touch due largely to the big presence of Gareth's running bass lines. There are no "beat downs" or occasions for "spirit fingers" in sight, but fans of good, fast, melodic punk rock will feel right at home.

From the melodic rockers like 'All That Glitters' and 'Cast In The Shadows' that will have you singing along to the more straight-up hardcore nature of 'Family' and 'Sell Out', I found this mini album to be a very healthy introduction to a band I knew basically nothing of. The Bleeders kind of have hometown advantage with me writing this review, but I think fans who like a touch of the old school in their modern punk music should definitely give these guys a shot.

With hardcore giants Good Charlotte on their side, The Bleeders are sure to take over the world soon! ;)


Cold By Winter " We The Living" Cat#1157012
Real Groove Magazine February 2005

Technically equipped hardcore act Cold By Winter also have more than a toe in emo, of course they're just far noisier. We the Living (ElevenfiftySeven) came out a couple of months ago and consolidates their vast live improvement over the proceeding year. With former Don't singer Leon Ahmad-Hall on board and a strong rhythm section courtesy of George Hampton and Scotty Rocker, songs like 'Eulogy For An Angel Passed' and the more rudimentary "The Same Strain" offer much. That said the bands enterprise and prowess still can be a curse by overcomplicating those ('La Vita Et Bella' and the title track) that are seeking enhancement. CBW have recently come on leaps and bounds, but need the vision to reign them selves in on occassion.

Adrian Osman


Cold By Winter "We The Living" Cat #1157012 ****

Cold by Winter are an interesting entity. Very interesting indeed. For one thing, the music they make is hard to pigeonhole. It could be classified as screamo or hardcore, punk or metal, but ultimately Cold by Winter is none of these things.

No, Cold by Winter are a tough band to crack, and classifying their sound is made doubly harder by the fact that the band draws from all of the above genres, and more - creating a unique sound that helps them transcend the oh-so-common heavy music cliché and create an archetype of sorts.

Another point of interest relating to CBW is the fact that they make heavy music that is accessible to both the mainstream, and the underground. This album has something for everyone. It has enough melody to appeal to the Top 40 Listeners, and enough heavy power chords, technical dual-guitar attacks, breakdowns, and pinch harmonics to tide over just about any heavy-music fan.

This is plain as day on record opener 'Angels and Locust', which breaks the mould for bands of Cold by Winter's ilk, and shows how strong this band's musicianship and song writing abilities are.

Then there is the single 'The Same Strain', and fan-favourite 'We The Living' - two of the real highpoints on the album, thanks largely to Cold by Winter's uncanny ability to make beautifully melodic music, without compromising their raw, and heavy edge.

If you're like me and have been disillusioned with the heavy music scene the world over in recent times, then fear not, because Cold by Winter are here to stay.




Cold By Winter “We The Living” Cat #1157012
Coke Fridge Website

The growth of New Zealand music has not only been a great thing for acts like Elemeno P and Scribe, it has also helped many of our smaller scenes to expand and receive recognition.  Punk and hardcore is one such scene that has used the popularity of New Zealand music to launch bands such as Sommerset, The Bleeders and The Rabble into the mainstream spotlight.  Another band that is poised to make this crossover is Auckland 's, Cold By Winter.

The five piece formed back in 2002 with a very different line up and sound to the band that has just released the debut full length album, "We The Living".  The sound has gone from a screamo band to one that is more difficult to pigeonhole, except to say it is loud, mature and heavy.

Opening with "Angels And Locusts" the Aucklanders quickly show their hand as a band that do not follow any particular writing formula with tempo changes, a mixture of sung and screamed poetic vocals and some very impressive guitar work.  Next up is the social critique,' "High Above The Streets In The Company Of Cowards".  It is hard not to notice exactly how well the bands music and vocals mould together.

As the songs begin to flow freely through the 10 tracks, Cold by Winter continue to wear their hearts on their sleeves with tracks like "Eulogy For An Angel Passed" and "The Same Strain".  The album is broken up by a 2 minute haunting piano interlude, "The Great And Terrible Day" before launching straight back into their aural assault.

Standout tracks for me on "We The Living" include "La Vita Et Bella" with its building intro and numerous tempo changes and the softer "Burning Magdalene And The Fruit Of Her Womb".

"We The Living" shows that Cold By Winter could well be a completely different band from when they released a four track EP a few years ago.  The album is full of incredible guitar work, thought out lyrics and all backed up by a solid rhythm section.  Keep and eye out for this album and if you get the chance to see these guys play live do not miss it!!!

Martin Delany

Cold By Winter “ We The Living” Cat # 1157012
Punkas Website 3/5

The latest signings to Dean Cameron ElevenfiftySeven Records Aucklande rs Cold By Winter follow a string of highly-successful releases from the likes of Missing Teeth , This Night Creeps and The Bleeders , looking to realise the potential of their self-released debut EP, Cold By Winter .

We The Living depicts a band more settled in their sound and their playing ability. Combined with some excellent production work by Gavin Downie and Justin Pilbrow, the overall impression is one of a polished, professional unit. The hints of pop hooks on their debut have been ditched in favour of the post-hardcore/emo style of sound that is currently en vogue; to the extent of some echoes of the likes of At The Drive-In, particularly in the vocals during "She Who Cannot Be Killed By Conventional Weapons".

The ultimate result is a mixed bag; the complexity of the song structures and instrumentation give them depth that rewards repeated listening, but often veers to the extent of muddying the impact of the tunes and blending them together. It would be hard to classify any of the songs as memorable, even if the overall album sound is epic in scope and quite diverse.

Certainly not for all listeners and not an 'immediate' album, We The Living will, however, appeal to fans of the post-hardcore progressive rock style that has obtained a strong following worldwide.

Matt Barnes

Cold By Winter “ We The Living” Cat # 1157012
Rip It Up Magazine Dec 04 /Jan 05 4/5

This debut album showcases a band that wears their anger, angst and personal Ideologies on their sleeves. The 10 tracks are a non-stop juggernaut of metal-core riffage, hardcore breakdowns and the vocals of a man not afraid to add intellect to an otherwise sometimes simplistic genre. Stand out tracks on the disc are Angels and Locusts, the title track ‘We The Living ‘and the screamo epic ‘Burning Magdalene ‘. Produced and mixed by Gavin Downie and Justin Pilbrow and mastered by Evan Short. This is a must have album for anyone bored of nu metals posturing, Pop Punk that never gets any heavier than a power chord or the top 40's rehashed retro rock shmaltz.

Zane Dalton

Cold By Winter Profile / Interview
Rip It Up Magazine Dec 04/Jan 05

By the time this issue goes to print Auckland 's Cold By Winter will be celebrating the release of their debut album “We The Living”. It has been a hard road for the band as they have battled with criticism amongst the hardcore and Punk society for they new-school sound. The band have never wanted to be tagged with any particular genre as they have taken a mix of metal, hardcore and screamo and tried to create a sound their own.

“Well I never know what to call our music when it comes to genre but I don't think it sits in any one box.” Says vocalist Leon Hall.

Already this band has played alongside top overseas punk and hardcore bands, TERROR, Day Of Contempt, Hot Water music and Most Precious Blood. And with the way their going will maybe establish themselves as being the first band of the “ New School ” hardcore sound in New Zealand . Their attitude and sound has more in common with their overseas groups such as Eighteen Visions and Hopes Fall than any other band from New Zealand at the moment.

During drummer Scott Lambs recent overseas tour working for Sommerset, Triple JJJ in Australia heard 3 rough mixes from the album and play listed the up coming single even in its rough form. Along side this lucky break promoters from Australia , Europe and the west coast of America have already started discussions for tours in 2005. So what do they want out of their future? I asked Leon ?

“We hope the sky is the limit and just to become the best band we can be. We want to be more challenging and raise the bar as far as we can with our performances.

And the haters?

“We'll new Zealand being the size we are, we should all be supporting each other a hell of a lot more than any of the bands are doing at the moment.”


This Night Creeps S/T MCD EP

Slug and Lettuce #79 Spring 2004 (USA)

This band hales from New Zealand and they play an emo influenced form of melodic hardcore. They switch up the pace quite often. The dual male vocals are nice as they sing different parts then come together to create nice harmonies. The lyrics are personal. The guitar work is discordant and intricate in places but just plain rocking in others. I personally prefer this bands faster songs to their slower ones.

Missing Teeth - The Disaster EP

Screaming Bloody Mess E Zine -

Missing teeth are a four piece from New Zealand....thankfully the only time you hear any stupid Kiwi accents on this, their second release, is on the last track which has news report samples.

They've been compared to Rancid and Op Ivy but the only real similarity on this is the distinct bass lines and maybe the vocals. Although Missing Teeth's vocals don't sound as if the singers spent all day injecting smack into his tongue like Rancid often do.

Apparently they've been around since '99 and apparently they're well liked in New Zealand which may be true because when they came to Melbourne they sure seemed to bring a lot of people with them. Other reviews have said that this is a lot better than their first album which had a lot more ska elements. There's almost no trace of ska on this, except for the last track which you should already know to steer clear of (see top).

The songs are mainly driven by the constants of drums and vocals; the singer has a shrill shout that tends to steadily rise in pitch as he gradually runs out of breath throughout the song while the Guitar either comes in on chorus's or haphazardly with quirky little guitar lines. Slightly out of sync group vocals and the interludes between nearly all of the tracks give the whole thing a chaotic party like atmosphere. It's fast, fun and somehow sounds sloppy without being bad.

Other than that the EP has almost no artwork, 12 tracks (9 of which are actual songs) and comes no where near showing how good this band is live


This Night Creeps S/T MCDEP

Heartattack Magazine #41 (USA)

This Night Creeps gives you nicely layered melodic rock with a number of emotive hardcore elements. Building dramatic moments, crushing convergences of instruments, and more likely a few starkly sincere moments. It is pretty solid all around, and even the lighter moments have weight in the intense way they are delivered. Nice


Opinion - What is This Noisy F&C%ING Shit? A Horrible and unsubstantiated rant on independent labels.

Radio Active - Wellington NZMM Magazine

ElevenfiftySeven Records

I would give this dysfunctional child a 'D' (it all sounds like rubbish to me). But the I realised that The Bleeders, This Night Creeps and Missing Teeth are all gaining huge props in NZ and abroad. It's not my cup of tea, but it is a good cup of tea. Hardcore is the new drum 'n' base, which was the new hardcore. So, umm yeah I guess 1157 can have a 'B' or maybe a beer….unless they're straight-edgers. I just don't have a clue. I really shouldn't say too much. Ed tells me they're awesome.

The Bleeders – “A Bleeding Heart EP”

Tearaway Magazine – February 2004

This relatively new Auckland band became very good very quickly due to the
previous experience of the individual musicians and their dedicated touring
which took them all over New Zealand in 2003.

To me, the six songs on this CD spell out clenched fists, itchy skin and boiling blood. Admittedly, the music sounds a little plain at first, but after a couple of listens I was hooked. The pent-up energy still bristles from the speakers, but there are faint hooks that get stuck in your head and make the repeated listens more engaging. If straight-up hardcore punk does it for you, getting this EP is now a priority.


This Night Creeps S/T MCD 7/10

Ox Fanzine – Germany -

Eleven Fifty Seven Records, Auckland, New Zealand is not a place/term too many people are familiar with, but those that want to broaden their horizons can look at the world from down under with THIS NIGHT CREEPS. There also, (Auckland) punk music is becoming very popular since the cities are plain and the nights in New Zealand can be haunting/empty too.

The music sounds very much like PLANES MISTAKEN FOR STARS, and with their screaming force, the singers Mark and Luke add a hint of HOT WATER MUSIC to their style. The album therefore has a lot of depth and thus the songs grow on you with time.

The approach they’ve taken to their music is definitely different from other bands. It’s an album
for people that value eruptive and honest music, people that like to let themselves go, delve deep and want to follow along with [the quartet's] midnight journeys.

The music communicates much more than the bare words that are sung, and that is somehow


This Night Creeps S/T MCD

Vice Magazine, Melbourne, Australia

What is it with New Zealand at the moment? One minute their Prime Minister is
turned away by US immigration mob for trying to stick a lamb shank up her
pussy mid-flight, and then next they produce a whole fucking slew of great, edgy, original bands like This Night Creeps. They're cool, arty and smart, but not in the disappearing up their own crack kind of way. Go figure.
Rating 8

Sommerset/The Bleeders/Dialysis

Cloud 9, Christchurch, February 26, 2004

The small but loyal Christchurch scene was treated last night to a furious display of punk from some of the nation's finest. Despite Steriogram and Goodshirt drawing a large numbers in the ballroom below, a generous crowd turned out at Cloud 9, the upstairs venue at Canterbury University.

The penultimate night of Orientation was kicked off with passion by Dialysis, an energetic five piece who threw in some bagpipes for good measure. Regulars at uni, they amused and entertained with songs such as "Caught Wanking" and a punked up version of the Cheers theme song. A thoroughly enjoyable start to the night and a band well worth checking out if you get the chance.

The Bleeders hit the stage and immediately captured attention with a searing version of "All that Glitters" and charismatic front man Angelo Munroe passing the mic around the pit during the chorus. From start to finish The Bleeders showed their class and produced the kind of tight, powerful set that we have come to expect from the 'next big things' in New Zealand hardcore.

The Bleeders were a tough act to follow but Sommerset and their arsenal of much-loved punk anthems more than lived up to expectations. Drummer Jay excited a few young ladies with his trademark topless skin hitting while Milan and Ryan had their guitars perfectly in synch, especially on the classic "Clutter." One small criticism was the slight flat patch halfway-in, which coincided with a couple of new numbers but it was an insignificant blemish on a top night that was heavily appreciated by the Christchurch crowd.

Chris Woods

The Bleeders/Cold by Winter/Draft Day

Papa Jack's, Auckland, November 27, 2003

Once again Papa Jack's was packed out with kids in Chucks and Vans slip-ons! Draft Day opened an intense and energetic night of hardcore/punk/whatever! Very impressive, buy their CD, support up-and-coming kids.

Cold by Winter did their usual best, with a bloody violent aggression amidst a fury of swinging guitars and screams from their frontman. It is hard to think these guys used to be referred to as 'Emo', although they still maintain very passionate performances. See these guys whenever you can, I think they may be supporting a Terror show in December sometime.

Lastly The Bleeders came out; bloody energetic from the get-go as usual, opening with the intro off their Bleeding Heart EP. There is something about these guys - the immaculate layering of their guitars, the awesome presence of frontman Angelo Munroe - which always gets event the staunchest of onlookers nodding their heads and tapping their feet! The release of the Bleeding Heart video has meant this has fast become an underground anthem, and when they played it on Thursday night, as usual, the kids were fighting with Angelo for the mic, gang-vocalling through choruses and verses alike.

A bloody good time was had by all, we even got to hear a brand new song which was freakin awesome! Support these guys, by their EP if you haven't already, $19.95 at Real Groovy, Sounds and Planet Jack's, or $15 at the shows.



The Bleeders ‘A Bleeding Heart EP' 5/5

Rip It Up Magazine February / March 2004 #297

In keeping with consistently high grade releases, Auckland's 1157 Records brings The Bleeders first EP. She's a real head turner mate. Intense call for action lyrics, nice cover work – super debut. Riff heavy punk rock and hard-core emo lyrics. Energetic, heavy and tight from ex-members of DSM and Evil Priest.

Melissa Goodfellow


Bleeders Interview

New Zealand Musician Vol. 11 No.3 Dec / Jan 2004

The night before our interview, the Bleeders played a charity show at Auckland 's Papa Jacks in aid of a dog that lives in New York . Unfortunately when Angelo Munro, who sings for the punk group, was in the Big Apple recently, he left a door open at the place he was staying. The dog was found worse for wears a few days later, so the profits from that night's gigs were going towards the vet bills, bassist Gareth Stack tells me over the phone. With Ian King and Hadleigh O'Donald (both on guitars) and King George Clark on drums, Angelo and Gareth started rehearsing as The Bleeders late last year. All have been involved in other bands in the punk and hardcore scenes, and met through that music community, but they are actively branching out with The Bleeders. The music scene that our bands have been involved in is really small and tight-knit and it just wears thin and gets boring to play to the same 50 people all the time, Angelo explains. If you love music you want people to hear your stuff. I guess that's why were driven to really tour and put things out and get your regular Joe who lives out in the North Shore or West Auckland to listen to us when they normally wouldn't. They have made progress pretty swiftly. In July they recorded their fast and raw seven track ep at York Street Studios in just two 14 hour days. The band footed most of the bill, but independent record label 1157 picked up the pressing costs. The bNet and channel Z have both been supportive and a video for A Bleeding Heart was made by Satellite Media Group as part of a competition prize. Distributed through In Music, the first 500 CD Pressing of A Bleeding Heart sold out quickly. The second lot seems to be disappearing just as fast so they are discussing whether there is demand for a third pressing. This time next year they hope to release another record, hopefully a full length album. That's what were writing towards now explains Angelo. To be won over you've got to see these guys live. After having good crowds during their North Island tour in October, they hope to repeat the process with an Orientation tour early next year and even plan to tour Australia in mid 2004. The Bleeders hope to do this for a living and give up the day jobs. I pretty much just want a gut to carry my stuff says Ian.

Emma Philpott


Buzz Magazine – Issue 1

Q&A with Luke of This Night Creeps

1. 'This Night Creeps' is a rather visually evocative name for a group. Where did it come from?
The name is the title of one of our earliest songs. We had just changed our attitudes towards lyrics to a more poetic style and it was cool to go under that banner as like a signal to ourselves of our new direction.

2. How does This Night Creeps' music differ from the bands you've been in previously?
Scratchier, rawer, more feedback, less in tune, quieter, louder, more like "you close your eyes and see the colour green" more falling over, more busted up guitars, more screaming in some random audience members face when he's really here to see the band after us and is actually rather embarrassed and wants to wipe my spit off his cheek but feels too self conscious cause everyone's staring in his direction,

3. 1157 Records: A Kiwi version of Epitaph?
BUZZ a Hamilton version of the package? (better not be Dan) 1157 is its own label, it might have things in common with epitaph but its more interesting to think about it with reference to its own culture(nz hardcore/punk rock) than to compare it epitaph, 1157 was started by bubba(1157 head honcho) to put out his own bands(Balance) records.. For more history check it out at

4. Apart from yourselves, which NZ band would you highly recommend our readers to check out next time they're playing here in H-town? And why?
So many good bands, the red shift have been lurking in the darkness for a long time now if you like joy division these guys were delivering love will tear us apart with the intensity of a chuck Norris kick to the head. But yeah its their original songs you want to check out. Also try the mint chicks from AK they are freak out a go go, and watch out for the Bleeders and their new record on 1157 in Oct, oh yeah I almost forgot, evil priest.

5. Do you see This Night Creeps music as being made purely for enjoyment and entertainment, or is there something deeper lurking beneath the surface?
This night creeps is about the fear of being tripped over by someone crossing behind you in a mall... you fall to the ground watching the cold hard white ground coming at you in slow motion.. Your raising your arm to break your fall but you only raise if far enough to fracture it.

6. Who would be your musical heroes/main influences?
People with interesting voices and interesting ideas.... or just total assholes like Morrissey

7. If you saw George W. Bush wandering down Vicotria Street on the weekend, what would you say to him?
"Hey George, have you been to google and typed in 'weapons of mass destruction' and clicked on 'I'm feeling lucky?"

8. What does the word 'punk' mean to you?
The word 'punk' is what they ask you about if your kitsch or Sommerset and you get interviewed on space

9. You're in charge of sorting the line up for the next Big Day Out. Who would you go to the ends of the earth for to get to come over and play in New Zealand ?
The smiths, talking heads, the suicide file, converge, the white stripes, talib kwali, AFI, amon tobin, beyonce, love like electrocution. But it would still totally suck. werd

10. Where the fuck did I leave my TV remote?
seriously i don't know if i should tell you this but kelly swanson roe has a crush on you and she gets really jealous when you watch the weather on channel 1, she has taken it to remove the channel 1 button, she will return your remote shortly..


Punkas Website – November 2003
The Bleeders – A Bleeding Heart EP.

The Bleeders' A Bleeding Heart starts quietly and gradually, building from a rumbling beat from drummer Matt 'George' Clark . It seems hardly fitting for a band that, to many observers, seemingly came out of nowhere this year with a sequence of high-profile support slots with international bands before following up with joining 1157 Records and promptly winning $10,000 from TV2 television programme ‘Space' to shoot a music video.

Now we see the release of their debut EP recorded at the country's most famous recording studio ( York Street , in Auckland ) and featuring 6 songs to showcase the brand of hardcore that has won them steadfast support, particularly in the strongholds of Auckland and Hamilton . It is a polished release in both recording quality and packaging, further enhancing 1157's rapidly-building reputation as THE New Zealand punk label of the new millennium.

If A Bleeding Heart starts slowly, with the intro being followed by the two weakest tracks on the EP, things start to kick into gear with "Cast in the Shadows", which is followed by the infectious "All That Glitters". This is then trumped by the highlight of the release in the vitriolic "It's Black", which underlines just how good The Bleeders are capable of being, with nihilistic lyrics and roaring guitars at an unrelenting tempo. After that, first single and title track "A Bleeding Heart" feels like some kind of denouement; a winding, introspective mid-tempo rocker along the lines of Hot Water Music.

The result is a fine appetiser, bristling with potential, if not yet fully realised with consistency. On the strength of A Bleeding Heart , future albums by The Bleeders may represent the pinnacle of 21st century New Zealand hardcore.

Matt Barnes


New Zealand Surfing // November/December

The Bleeders – A Bleeding Heart

Much hyped Auckland hard-core band the Bleeders make good on their debut EP A Bleeding Heart. Boasting an impressive line up made up of musicians from bands such as DSM, Evil Priest, Malcontent, Smooth Jimmies, Kid Nuisance & AOV and already have with a string of international supports under their belts. They mould a sound that sits somewhere between early Dag Nasty and Social Distortion with seven power packed punk anthems bound to send a tingle down your spine. Single A Bleeding Heart is a powerful, melodic hard-core tune while channelling shows they can step up a gear or two when needed. Recommended.

Sean O'Brien


Real Groove Magazine – November 2003

The Bleeders – A Bleeding Heart

With no shortage of live experience in the local hardcore scene, Auckland band, the Bleeders, are guaranteed to impress. Sure enough, their debut EP, A Bleeding Heart (1157) doesn't disappoint. These powerful punk rockers offer six tracks (plus a warm-up intro) of positive musical energy, serious music in a classic style. The Bleeders are loud, proud and enthusiastic. They deserve your attention.

Brent Cardy


Rip It Up Magazine // October/November 2003

The Bleeders Interview

Making Punk Rock Edgy Again. Except for his face, all the parts of Angelo Munro's body Rip It Up can see today – his neck, arms and hands – are covered in tattoos.

Physically the front man for The Bleeders has a striking presence but when talking to him he's thoughtful and intriguing. A bit like The Bleeders music really. “Aggressive but Melodic” is the way Munro and bass player Gareth Stack describe it. The Auckland band – also made up of guitarists Ian King & Hadleigh Donald and drummer George Clark. Formed in the middle of 2002, but have only been playing the gig circuit since early this year. And we only really seriously started writing at the end of last year, says Stack. In the middle of last year we were all like, friends, our guitarist Hadleigh has played in bands with Gareth since they were kids,” explains Munro. “And myself and the drummer have been close friends for years. Basically a bunch of us had the same idea…we all wanted to do something a little different. We wanted to be a little more of a punk rock band (type of thing) – a lot of us a from hardcore backgrounds, or other kind of punk back-grounds.”

It's not the punk-pop of Good Charlotte. The Bleeders are more heavy and dirty than that, but their songs remain catchy. It's a fine line though? “Yeah it is,”says Stack. “We pretty much write songs we like.” Munro:”Yeah it's really interesting because one of our guitarists, what he likes and listens to is hard edged, very hardcore. Whereas the other guitarist likes his melodic stuff. When they get together with Gareth who's quite versatile, I guess we come up with some interesting songs.” Stack: “You gotta come up with something that you like to play and then after that with writing songs you're trying to find that edgy thing that makes it a bit different. To make it listenable…is that a word, yeah,”he says.

Their debut EP is out now on independent record label 1157 Records. “We left a few songs off the EP that could have gone on it – not really big guns, but obviously we wanted to save a few. “Smiles Stack. “We kind of wanted to get something out there so the kids had something to listen to,” reasons Munro.

Scott Kara


The Underground Show – October 2003
This Night Creeps S/T MCD

Formed in 2002 and from the Waikato , This Night Creeps have been playing shows for almost a year now. They formed out of the remnants of punk band My Two Cents and released their EP with 1157 records in May of this year.

Truly in a league of their own in New Zealand , I see a lot of Somerset and Hot Water Music influence however indirectly. The band shares a similar style to Planes Mistaken For Stars except I see a more chaotic structure and composition in their music. To put This Night Creeps into a genre box simply won't work, the closest I can get is emotional post hardcore. The intensity that makes the Creeps such an entertaining live show is why I think the CD was so highly anticipated.

To me there's basically two schools of thought with recording, you go into the studio to replicate your live performance, or you going into the studio trying to make a CD that make you sound like a million dollars (or like you spent the same).

This Night Creeps obviously adventured down the performance track; the instruments recorded live in one session, the vocals in the next. Personally I don't think the Creeps could have done it any other way. Musically I love the EP, it has a maturity and intensity unmatched in pretty much all New Zealand music. However I think the record struggles to deliver the power, emotion and energy, which is such a highlight of the Creeps live show.

Even so vocal delivery and energy are huge, as front man Luke McPake half screamed half sung lines accompanied by Mark Brenorffers emotional wails. The guitars are melodic, chaotic, and powerful yet too thin and dry to give the EP justice. The EP moves its way through intense and melodic to something bordering on primative with the bizarre structure and unusual timings - one reviewer put it as the Creeps being a train worth catching. To me This Night Creeps are the one of the few exportable quality bands in New Zealand . A plane worth sending maybe...

25th Avenue (track 2) and Pleasant Evening (track 5) are my favourite songs, simply because they're the easiest to scream along with.

It's with a heavy heart I give This Night Creeps three and a half stars. I think the Creeps made the right studio decisions but the production and engineering don't do the band justice. However I strongly recommend that you all buy this CD and support this band.



Tearaway Magazine // October 2003

Missing Teeth - The Disaster EP

Missing Teeth's music is like that irrational voice in your head that tells you to do things whenever you're feeling desperately frustrated, paranoid or frightened.

The nine short songs on this CD show the Teeth heading in a new direction, focusing their frantic energy and sounding like New Zealand's answer to F-Minus.

The lyric sheets are littered with typos and they've even misspelled the song titles on the back (just like with the album), but I guess they don't care...

If you've been disappointed or embarrassed by one of their live performances, don't let that put you off this potent new release from this excellent punk band.

Tonamu Namioka

This Night Creeps S/T MCD

This Night Creeps are already making a name for themselves all over the North Island with their exhilarating live sets, and this dynamic 7-track mini-album is more good news for their fans.

I could make some lazy comparisons to Hot Water Music or At The Drive-In, and the intro to the title track sounds quite like Fugazi's Rend It , but TNC have already developed a style that is distinctly theirs.

Your first priority is to see this band live. If, during the show, you get that feeling where the hairs on the back of your neck stand up, don't hesitate to pick this CD up.

Tonamu Namioka


PunkAs - // 12 August 2003

This Night Creeps S/T MCD 3.5/5

It's been a strong first year for This Night Creeps. The Hamilton band have played support slots to the likes of The Dropkick Murphys and Hot Water Music, as well as roaming to Auckland, Palmerston North and Wellington, picking up fans at every stop. Tighter than a new band has a right to be, the band also have a key weapon in frontman Luke McPake, who is able to swing from screaming intensity while playing to humble self-effacing humour between songs. The humility and lack of pretension surrounding the band naturally ads weight to the emotion of their music.

And now comes their debut release, a self-titled EP on Dean Cameron's 1157 Records.

The best reference point for the sound of This Night Creeps is bands such as Hot Water Music or Sommerset, but the 'Creeps are less melodic than either of those bands, instead relying on extreme loud/quiet dynamics and angular riffs to create song hooks. The lyrical style is all personal emotions written in a first-person style that will be familiar to anyone who heard McPake's previous band, My Two Cents. As the opening lines of standout track "Peasant Evening" confess, "This microphone begs me to share/My joy and my tears".

This Night Creeps are not remotely interested in going for 'easy listening'. This is emotionally and structurally complex music, requiring a certain degree of investment from the audience. It is not for the casual listener, and the lack of immediacy may turn off some people. But those who are willing to give This Night Creeps a few listens may appreciate some of the almost cinematic song structures and variations. The songs themselves quickly become second to the overall vibe and mood of the EP as a whole.

The band toe a close line with subject matter, and in other hands, this could have been extremely self-indulgent. Instead, the straight-up, no-nonsense air around proceedings (give or take the art school project booklet), right down to recording snare rattle and slight playing errors, means the EP feels honest and heartfelt. For those willing to go along the ride, this offers a powerful trip. A promising start from a band bristling with potential.

Matt Barnes

PunkAs - // 12 August 2003

Missing Teeth - The Disaster EP 3/5

The latest EP from the West Auckland boys charges out of the blocks with the title track straight from the get-go. "They throw you up against the wall to put you in your place". It sets the tone for the rest of the release - to compare to their self-titled debut full length, the vocals are even more raucous and ragged, but the intstrumentation is tighter and production quality seems a slight step up, as well. The tone has slid from a choppy punk/ska hybrid to a more straight-ahead punk rock sound.

This is a band becoming more focussed. The ska stylings have been eschewed, with all of the songs being a relentless high-tempo sonic assault. There is a brief respite in the somewhat superfluous minute-long dub instrumental interludes before "Only Forward" and at the close of the CD, but otherwise it's all dials set firmly to "full on".

The lack of variety does reduce the immediacy of The Disaster EP when compared to last year's Missing Teeth and repeated listenings are required to differentiate the songs. Shout-along "Spike The Punch" is a standout, as is the desperation of "No Way Out" and the sub-minute whirlwind of "Ming The Merciless" (echoing the Flash Gordon Ming sample from the previous album).

The Disaster EP sets the intensity level extremely high throughout its running time, coming across like some kind of statement of intent for whatever full-length album Missing Teeth have planned next. In the meantime, this is a fiery piece of work that, while somewhat less accessible, remains a release that should further cement Missing Teeth's place in the pantheon of local punk.

Matt Barnes

Real Groove Magazine - Issue 118 // August 2003

Missing Teeth - The Disaster EP

Missing Teeth might sound like the aftermath of a late night incident, but there's nothing missing from their music. This hard singing and playing band from West Auckland released their debut album last year, and their new 9-track EP, Disaster (1157), is another rush of punk and hardcore enthusiasm that is impossible to ignore. Beneath the frenzy, Missing Teeth exhibit some classy, early punk textures and atmosphere, while their lyrical attack embodies a spirit of self-responsibility, standing up to 'the man' and similar wholesome attitudes - listen to the answers, but never stop questioning.

Brent Cardy

Rip It Up Magazine // August/September 2003

Missing Teeth - The Disaster EP 4/5
This Night Creeps - This Night Creeps 3/5

Missing Teeth's tunes are a series of flash in the dark within a 15-minute EP. Recorded at their own space, The Dank, Missing Teeth manage to recreate the live rawness and energy that they're renowned for. Punchy, short, loud and to the point. Meanwhile Hamilton boys This Night Creeps play melodic hardcore with growling vocals. This seven track CD has consistent pace and intensity. Reminiscent of Sommerset…. All good.

Melissa Goodfellow

Real Groove Magazine - Issue 117 // July 2003

This Night Creeps - ST 7track cdep

Voted best new punk band of 2002 on the punkas website. Hamilton rockers
This Night Creeps release their first disk, a frequently raucous self-titled
mini-album, out on 1157. This Night Creeps features seven original tracks of
hardcore energy and enthusiasm. The waikato outfit work hard for their
money, and the poetic, lyrical focus in their songs is delivered, for the
most part, with 'rip-your-lungs-out' fervour, although the final two tracks,
Telescopes to the sun' and' The Dear Armament Makers' pull back the attack
to display a more dynamic depth to their music.

Brent Cardy.

Missing Teeth, This Night Creeps, The Soulcreepers, The Bleeders
Kings Arms, Auckland: 30.05.03

If that was our punk rock past flipping a cherry bird by way of a goodbye,
this is its venomous and twisted present refusing to turn over and take it.
The Bleeders bring it straightest, but that's no diss. They've got something
boiling inside'em that needs getting out, through the time honoured
tradition of slamming guitars and sick energy. It's fast vaguely hardcore,
and from the gut. The songs kinda blend togeather, but cumulatively they
amount to a stinging critique of the here and now - just like they're
supposed to.

You see a singer sporting a mic, attitude and a Fear T-shirt and it fucking
pumps. The Soulcreepers are bidding farewell in the only way worth a damn.
That is, playing their '77-style, spazzy rock shit until it generates
queasy feelings in your churning stomach. So it's nothing new, big deal-it
kicks, it's got heart, it's on the limit of control and you feel it with
senses they haven't named yet. Sweet potent and bang-on.

This Night Creeps have a way serious name and a recording just as ambitious
to back it up (1157 might just be New Zealand's next great indie label). And
while there are proggist tendencies here that dont quite sit right with me,
there's no denying searing conviction on this kind of scale. Very much
influenced by At The Drive In's brand of ripped-up rage, and with
instrumental dexterity that's almost overly prominent, they boil
feverishly on stage. Watch them for this is a train worth catching.

Missing Teeth have as many detractors as fans, and I'm still making my mind
up. What I do know is that the Disaster EP represents a giant leap from
their limited beginnings, and that with a real big crowd to feed off, they
do working class bezerk with an unapologetic glee that might turn off the
cool police, but induces physical reaction on a grand scale amongst their
people (this is unequivocally a community, okay?). The Ska still seems wonky
and wrong, but I'm a sucker for bands who play this hard. This evening
proves, again, as if it were ever necessary, that you turn your back on punk
rock at your peril. It's like one of those modern viruses, constantly
mutating into new, untreatable forms as long as that continues you'd be a
damn fool to ignore it.

Craccum Magazine - Issue 12 // 2 June 2003

Missing Teeth - The Disaster EP

Missing Teeth have been in the scene for quite a while now and grown from
being Kings Arms regulars to touring the country. The Disaster EP sees them
come back even faster and more furious than on their previous recordings.
The Operation Ivy ska tendencies of their album have faded away to a little
filler jam towards the end of the cd. The rest of it is straight-ahead pedal
to the metal punk rock. For a real experience with the Teeth drink a dozen
double brown & go see them live.

This Night Creeps - ST 7 track cdep

This Night Creeps are the best thing to come out of Hamilton since
...well...ever (the datsuns are from Cambridge idiot). There first recording
is a might fine thing. Riffs made by driving rhythms over thick basslines
and alternating sung/screamed vocals. Soft and slow alternate with speed and
intensity. If you need a point of reference think in the neighbourhood of
Sommerset, Hot Water Music & Fugazi. With a solid recording behind them
things will only get better for This Night Creeps.

If you like punk of any sort buy these records and see the bands play! You
won't be disappointed.

Marcus Stickley.

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24 Hours Of Night



Destroy The Lines


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Antagonist A.D

We Are The Dead


Los Muertos

Self Titled





Cobra Khan

Sleepless Lions



These Cities Our Graves




The Burning Ground


This Night Creeps

The Noise of Music


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