Thursday, April 27
This is a photo of Kane when he just found out that his first advance from Dead Oceans came through. We were hanging out at my old flat on Jetty Street in Dunedin. Kane was probably playing computer games and maybe I was studying. Kane turned to me; he had just checked his bank account and there it was - a way in.
There have been a handful of moments like that for Kane (and I) in the past few years. There have also been and continue to be so many obstacles - a major one being how little money there is in New Zealand for musicians to really have a chance. But today isn't about that, today was another one of those ecstatic moments. This time, I'm in Auckland and Kane is still in Dunedin, but the excitement (and discombobulation) is still there. Kane announced the name and release date for his first album with Dead Oceans. It's called Two Hearts and No Brain and it's coming out 30 June.
Kane has just finished a month touring with his band in the States and is off again to Europe in a week. My heart does yearn for the time this photograph reminds me of, but what Kane does keeps me in awe. I want to follow that feeling forever. So, this is a slightly out-of-left-field post to say I love you Kane and congratulations from the bottom of my heart.
at 9:10:00 PM
Tuesday, April 18
Monday, April 17
William Linscott's video work is the latest in a procession of practices that trade in the visual and linguistic aesthetics of the internet age. But I found that its depths go further than the kitsch of other efforts. I have written about this work here.
Wednesday, April 12
|Backstage at Baby's All Right in Brooklyn (our first US show).|
|Parked up in New Jersey after Ben's first attempt at driving in America.|
|The view from a Dunkin' Donuts carpark.|
|Airing out the van in DC.|
|Our green room in Durham, North Carolina. There was a punching bag and I did an interview with a guy called "Mad Dog" in there.|
|A strange building next to a petrol station we stopped at.|
|I'm still sad we didn't have time to check this out.|
|Peter in the south.|
|On the way to Texas.|
Saturday, March 4
When it came to telling his secular family about his calling, most were surprised. His dad was antagonistic. In one community Baker became an outlier, in another he was wholeheartedly welcomed.
Baker has since relaxed about the awkward silences that follow when people ask him what he does. But even so, the identity he advocates for is diminishing. Results from the 2011 census show that 60% of New Zealanders identified themselves as affiliated with a Christian religion. By 2013 this number dropped to under 50%. While those who identified as not having any religion rose from 29.6% to 41.9% between the same years.
But “the data is complex,” says Baker. “Like a lot of static information, it doesn’t tell you about the dynamics of change. While the church certainly isn’t the church it was in 1950s when there was very high levels of attendance, it’s much harder to argue that people’s interest in faith, spirituality, concepts of purposefulness and significance has diminished.”
Rev Dr Jonathan Jong, a young, Chinese-Malaysian Anglican priest and experimental psychologist, also has mixed feelings about the increasing secularism in countries like New Zealand and the United Kingdom. If we understand increasing secularism to be more to do with increasing pluralism then Jong doesn’t see it as such a bad thing. “To use a capitalist metaphor, the marketplace of ideas has expanded. When people are spoiled for choice sometimes they just don’t make a choice,” says Jong. “In a sense, the current situation is more honest than it has ever been.”
This fluidity seems to show a new way of thinking about and defining Christianity.
“I think the older forms of Christianity have died or are changing and so how we express faith and Christianity in particular needs to be adaptive,” says Dr Rev Carolyn Kelly.
Kelly's own background suggests the adaptivity of the contemporary Christianity that she discusses. Despite her secular upbringing, Kelly became a Christian at university over thirty years ago. “I [had] an agnostic, confused sense of myself and almost over the period of a few months my paradigm shifted. In these late modern, much more secular times, I had a hunch as a young adult that there might be more to this reality than there being nothing out there.”
A few years ago, Kelly became the first woman to be the full-time Maclaurin Chaplain at the University of Auckland. In her role, Kelly can often be spotted by students stationed at various cafes ready to have a chat or at numerous campus events wearing casual clothes except for the bright pink cross she wears around her neck, which she describes with a laugh.
As a campus chaplain, Kelly doesn’t just deal with Christianity, she has conversations and is part of events that broadly discuss and question faith. When I talked to Kelly, she had just held a poetry night for women who wanted to talk about their faith and other issues that were important to them. Jewish, Muslim, Christian and Hindu women attended. While they passionately talked about gender issues and rape culture “faith was central to how they see themselves,” says Kelly.
Kelly is also excited by young environmental activists like the Pacific Warriors in Auckland who show an adaptive way of expressing their Christian faith. “Twenty years ago it would have been inconceivable for young people from the Pacific to be involved in a protest movement and celebrating their faith,” she says.
In traditional churches (the ones that aren’t carparks or conference centres), however, this fluidity and adaptivity are challenged by the prominence of the elderly who loyally shuffle into the pews every Sunday.
Now in a new ministering role in Auckland, Baker realises that young people probably want more flexible and open styles of worship. “They want different kinds of music, different communication styles.” Although Baker doesn’t believe a successful ministry is about numbers he says that it’s critical that traditional churches engage with young people. “If young people don’t attend or participate in the life of the church there isn’t a future.”
But the problem, Baker says, is that while these churches may have a huge amount of capital investments, “it’s very difficult to shift that investment into the missions, people and resources that are going to engage with communities.” So, while still wanting cater to their partly elderly congregation, churches “find themselves with their resources quite stretched trying to [work out] where to invest.”
Jong, on the other hand, isn’t too worried about trying to make God cool. And, somehow, this seems to work for him. In summer last year, Jong taught a psychology and religion paper at the University of Otago. One night, Jong turned up to a party at my flat dressed in a full collar shirt and cassock with his shoulder-length hair tied up in a ponytail. What I initially thought was an ironic get-up turned out to be a true and proud display of his identity. He does this a lot and it often gets strangers talking to him about religion on their own accord.
I didn’t properly talk to Jong until he was back in England. When we Skyped, Jong was at his University of Oxford office in the Institute for Cognitive and Evolutionary Anthropology, which is, coincidentally, 100 meters away from notorious atheist Richard Dawkins’ house. Needless to say, Jong’s Catholic-Anglicanism makes him stand out a bit in his department. “Most of my colleagues are atheists,” he says. “It’s not the most common thing in the world to find a devoutly religious person who works on the evolution of religion. Their response to me is not so much hostility as it is perplexity.”
At 16 or 17 years old and living in Malaysia, Jong was drawn to Christianity because the stories within it moved him. “The idea of a god who could be vulnerable was compelling.” For Jong, these stories challenged his own ingrained ideas that people got what they deserved. “The exposure to a more merciful and therefore less meritocratic ethic was a kind of revelation to me.”
Despite Jong’s devotion, he has never been behind creating versions of church services that seek to appeal to more people or young people. “I’ve discovered a kind of Christian community that is interested in designing worship services for themselves on their own terms without thinking about what will appeal to the general public.” With full services every Sunday, Jong describes this approach as working “remarkably well.”
The often rigid ideas people tie to different denominations of Christianity make it hard for Kelly to choose a label for her Christianity. “I believe that Jesus is alive...I read the Bible, but I also [have] an attentiveness to what I see around me and what I see is true for people’s lives. Every generation, every epoch has to listen anew to what God seems to be doing. We have to listen anew to the fact that God is working through Christians who are gay in our churches – there’s not doubt about that. We have to listen to the fact that a Muslim friend might say something to us that is challenging and true.”
“Christianity didn’t start as a religion but as a movement. The structures we have built around organised religion, the rules and regulation defining who’s out and who’s in are changing and probably largely dissolving," says Baker. “Churches that are flourishing are the ones where the values of authentic community – welcome, hospitality, grace and love – are replacing the old doctrines and rules. My understanding is that Jesus called people into a lifelong journey of learning, he spoke about what it means to be part of a different story and that the defining characteristic of those who chose to follow him, was their love for others.”
Socially liberal Christian thinkers and leaders, like Baker, Jong and Kelly, work to a different beat. You may not believe what they believe, but the conversation will always be interesting.
at 10:46:00 PM
Friday, March 3
Tuesday, February 21
Tom Lee-Richards is a Melbourne-based musician with a debut E.P coming out sometime this year. After recent touring, Tom left his day job for music. And why not? His highly-textured, magnetic sound begs pursuing.
Good question. I was touring NZ and Australia late last year and was enjoying playing in different places so much that I thought why don't I just do this. The volatile state of the world we are heading into has only really highlighted that nothing's as important as the things that make you happy - cos none of it lasts forever anyway. Plus, people find a way. If they don't well then they have to change something. I'll see how I go.
2. Where and how did you record your new E.P.?
This is my debut solo E.P actually and is probably more of a mini-album just because there are a fair few tracks that had to go together. I recorded it mostly with Pip Norman aka Countbounce (Jarryd James, Troye Sivan) at his studio in Northcote, Melbourne. One track was recorded with Matt Neighbour (Matt Corby, Courtney Barnett) at Sing Sing Studios. There are a couple of tracks that some regular band mates played on but a lot of it was shaped from the ground up from a demo guitar take or mouth percussion improv.
Working with Pip Norman was great. I sent Pip a few recordings and he was drawn to 'The Wearing Kind'. He said, "I really like 'The Wearing Kind' - I think it's got a charm and magnetism that I feel I could bring something special to". We agreed we should explore the song's calypso influences in a fresh way that suits us, whilst staying true to my vocal delivery and the nostalgic feeling in the song. It wasn't long before Pip was swinging his arm at a solo floor Tom, hammering out what would be the backbone of the track. I grew to love Pip's signature sample-driven approach and the wisdom he brought to the process. I laid down the vocals, guitar and (usually) bass and then we worked on adding some synth and keys magic.
Matt Neighbour, who co-produced 'Madness' with me, is a young production star and a super nice guy - loves 'Parks and Recreation' amongst other good shows. I had previously worked with Matt on my band Catch Release's album and was always impressed with his technical nous and consistently patient listening mode. 'Madness' was really about capturing what I do live and adding the bare minimum in a tasteful way. I knew I would enjoy that process with Matt.
Rob Wardrop (keys), Thomas Young (bass) and Danny Finkelstein (drums) also played on one of the tracks giving it killer feel. The E.P/mini-album thingy is a definite journey.
4. What are three words you would use to describe your new music?
Rhythmic, nuanced, textured.
5. Where is the best place in Melbourne to write music and/or to get unexpectedly inspired?
Haha well I may not be fully aware of where I'm going to be unexpectedly inspired next and that's awesome. I often find myself on a park bench looking sideways at a flying bird. The bird often doesn't make it into the song but is aware I'm there. I do also like grabbing a coffee somewhere and letting the wash of social noise create enough distance to write.