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Displaying 1 - 11 of 11 reviews
October 20, 2024
A superb read. Who needs the rich and/or infamous in the music world to tell a good story. Most of them in fact don't. This is easy to read and is about the most underrated music scene in the entire biz, that being the Dunedin Sound. I have read this about 3 times now and will do so again in the future. All hail the little blokes of the music scene.
October 3, 2024
I once spent an awkward plane journey sat next to the manager of apparently one of the UK’s best Queen tribute bands. And of course the reason why it was awkward was because I felt the burning need to inform him at the *start* of the long trip to America that I thought Queen were without question THE worst band of all time. Because it’s true so why not tell him? The problem was my wife’s face rather indicated that I had perhaps… misjudged the situation dramatically
I mention this because Matthew Bannister has that same autistic burning desire to set the record straight about countless musicians he doesn’t understand the praise for. He does the same with old friends and ex girlfriends. The Christmas card list must have decreased hugely after the publication of this. There’s so many grumpy criticisms of bands and musicians he doesn’t get the appeal of it becomes easier to spot the ones he does like (mostly Don McGlashan it seems). There’s a particularly cross three pages of criticism at Chris Knox and his position in the Flying Nun world that feels like it’s been years coming
And the problem is that Bannister is often incredibly eloquent and able to express his criticisms with evidence, just ones you don’t necessarily agree with. As I alluded to in my review of Archive Fever he’s very much the antithesis of the spontaneous Bruce Russell approach (Russell is mentioned in passing, and not particularly favourably), because Bannister’s writing is very much along the lines of his music: thoughtful, considered, beautifully articulated and expressive. But he also just cannot and does not understand any viewpoint that differs from his
I hate to diagnose someone just from a book, but it’s incredibly autistic in how he keeps doing this (and I say this as that autistic person who didn’t understand why that Queen tribute band guy was so awkward with me for seven hours). And it’s even more autistic of me to particularly enjoy that his recounting of an encounter with Mark E Smith and Brix around the time of Fall In A Hole is, frankly, impossible because it’s a year before the two even met. It’s such an autistic book it made me autistically proud to spot an egregious error
It’s also incredibly funny that the book starts with Bannister annoyed that Sneaky Feelings are left off the tenth anniversary Flying Nun compilation and upset he’s been written out of the history. And yes, they are an outlier band on the label (I do find it odd that he never discusses Able Tasmans, another outlier), but it’s also very clear that part of why this has happened is that he’s kind of a bit of a dick
It’s a hugely enjoyable book though and beautifully written. He’s clearly an excellent academic (has any label or scene ended up with so many academics as the NZ one?) because he can explain musical theory in the easiest way possible so even a complete layman like me can appreciate what he’s saying. And it very much is an important counterbalance to the better reported histories of the lo-fi and experimental scenes of that period. But oh boy, talk about someone with zero self awareness…
I mention this because Matthew Bannister has that same autistic burning desire to set the record straight about countless musicians he doesn’t understand the praise for. He does the same with old friends and ex girlfriends. The Christmas card list must have decreased hugely after the publication of this. There’s so many grumpy criticisms of bands and musicians he doesn’t get the appeal of it becomes easier to spot the ones he does like (mostly Don McGlashan it seems). There’s a particularly cross three pages of criticism at Chris Knox and his position in the Flying Nun world that feels like it’s been years coming
And the problem is that Bannister is often incredibly eloquent and able to express his criticisms with evidence, just ones you don’t necessarily agree with. As I alluded to in my review of Archive Fever he’s very much the antithesis of the spontaneous Bruce Russell approach (Russell is mentioned in passing, and not particularly favourably), because Bannister’s writing is very much along the lines of his music: thoughtful, considered, beautifully articulated and expressive. But he also just cannot and does not understand any viewpoint that differs from his
I hate to diagnose someone just from a book, but it’s incredibly autistic in how he keeps doing this (and I say this as that autistic person who didn’t understand why that Queen tribute band guy was so awkward with me for seven hours). And it’s even more autistic of me to particularly enjoy that his recounting of an encounter with Mark E Smith and Brix around the time of Fall In A Hole is, frankly, impossible because it’s a year before the two even met. It’s such an autistic book it made me autistically proud to spot an egregious error
It’s also incredibly funny that the book starts with Bannister annoyed that Sneaky Feelings are left off the tenth anniversary Flying Nun compilation and upset he’s been written out of the history. And yes, they are an outlier band on the label (I do find it odd that he never discusses Able Tasmans, another outlier), but it’s also very clear that part of why this has happened is that he’s kind of a bit of a dick
It’s a hugely enjoyable book though and beautifully written. He’s clearly an excellent academic (has any label or scene ended up with so many academics as the NZ one?) because he can explain musical theory in the easiest way possible so even a complete layman like me can appreciate what he’s saying. And it very much is an important counterbalance to the better reported histories of the lo-fi and experimental scenes of that period. But oh boy, talk about someone with zero self awareness…
March 11, 2018
Mathew Bannister introduces this book on a note of butt-hurtedness and bitterness. By the time he started slagging off The Clean and the Verlaines in their infancy, I almost wanted to put it down. As the story unfolds, however, I can't see how any reader wouldn't be struck by Bannister's passion and devotion towards his craft, his awareness of his own shortcomings (even if its offset by occasional bravado). Quickly polarizing my initial response, I simply couldn't put it down. This book becomes a so far unparalled account of the tribulations, small victories, unsalubrious lifestyle choices and ultimate passion which prevails in the case of any indie band from a small city.
The Sneaky Feelings got bullied (and often, contrarily bolstered by their peers). They never wanted to be an indie band. It was a matter of necessity. Drawing heavily from The Beatles, Mo-town, black soul music and other relatively unfashionable influences, the Sneakies were outsiders. They didn't share the predelicition many of their peers had for art-damaged noise rock, punk rock and the gnarlier aspects of 1980s underground music. Chris Knox was particularly adverserial but also helped Bannister move to Auckland on his first visit. I see Shayne Carter to this day likes to, at the very least, poke his elbow into the ribs of the Sneakies. In the past he was more likely to play the role of school bully and kick them straight in the teeth. I'm pretty disappointed that Carter comes across as a nice guy when it suits him and yet he's notrious amongst more than a few for being a macho, bullying prick. Bannister brings up a totally legitimate, albeit seldom discussed subject of how the 'cool kids' tend to overrule what is a supposedly alternative scene in much the same way they would the schoolyard. From my experience, this still carries on in the music scene today. (Sorry, liberals bullying isn't going anywhere and many of you are still unconsciously complicit). It does make Bannister sound overly butt-hurt but he makes a legitimate case for how psuedo-anarchic posturing overshadows other musician's work simply because it isn't 'tough' or 'rebellious' enough.
Read deeper though, and you'll see that Bannister's tastes are more contrary than many of his detractors would like to think (he's for instance an avowed fan of Wire). Occasionally Bannister teeters on the brink of tedious musical orthodoxy and puritanism, but he manages to off-set it with his acknowledged musical shortcomings and personal failures. He says that he's a 'euphonist' but he also nakedly confesses his inability to sing in key for many of the band's earlier recordings. Unsurprisingly, The Verlaines came the closest to sharing an affinity and comraderie with this group. To be honest, a huge drawcard for me was the fact that so much of The Verlaines' early career was discussed here. And instead of being a catty swipe, his original diss of the Verlaines and the Clean is a building block to a story where we see them rise to greatness. That said, Bannister effectively calls himself a better lyricist than Downes (hahahahahahaha) and at at the beginning, seemingly without irony or self deprecation, calls the Sneaky Feelings the best band on the label. I can see why Bannister is bitter but his constant, comparative over-intellectualizng is the least attractive part of this book. Chill out, Bannister. I always liked your band. This book has given me a brand new appreciation for the wealth of great material you guys composed I like Scorched Earth Policy, the 3D's and the Skeptics as well, though. Can we just end this war over superior musical technicality for good?
Anyway, what I've failed to discuss is the autobiographical side of this story. Bannister moved to Dunedin at age 17 from Scotland. So he arrived as an outsider. He gives generous time and portraiture to his respective bandmates, most especially David Pine and Martin Durrant. Original bassist Kathlyn Tyrie (and short-period girlfriend) is also discussed as length for her bold mentality , inborn musicality and influence on the band's character and development. Durrant is discussed as the father-figure and superior cultural arbiter and appraiser of the group. But it is David Pine who is given the spotlight, as a comparative ying to his yang. Pine a less formally trained musician, a figure of taciturn stoicness and immutable songwriting gifts. I think the best of Bannister's character is displayed in his generous and complimentary discussion of Pine's considerable talents. The guy is a really great songwriter, and a character to boot. Amdist the travails of driving a van across New Zealand on a shoe-string tour (a personal favourite is their gig at a barnyard in Patauru) and monumental organizational fuck ups (failing to book ferry tickets across the Cook Strait on a tour with the Verlaines) you simply cannot deny how hard Bannister tried and how utterly infatuated he is with music itself and the idea of being in a great band.
It's a thoroughly worthwhile read for any fan of New Zealand music and absolutely anyone who is in the early days of being in a band. It offers a very different and relatively unpopular perspective. The Sneakies made it to the end of the decade (European tour included) before they reuinted a couple of years later for a promotional tour of their 1992 reissue of 'Send You.' If you ask me, Bannister's downfall is his need to make petty remarks, over-intellectualize past situations and works of music. But this all still adds up to a seemingly very honest and nonetheless self critical, bittersweet but all the same quietly romantic account of being in a band from Dunedin. I actually think that's pretty gutsy. Good for you, Mathew Bannister.
The Sneaky Feelings got bullied (and often, contrarily bolstered by their peers). They never wanted to be an indie band. It was a matter of necessity. Drawing heavily from The Beatles, Mo-town, black soul music and other relatively unfashionable influences, the Sneakies were outsiders. They didn't share the predelicition many of their peers had for art-damaged noise rock, punk rock and the gnarlier aspects of 1980s underground music. Chris Knox was particularly adverserial but also helped Bannister move to Auckland on his first visit. I see Shayne Carter to this day likes to, at the very least, poke his elbow into the ribs of the Sneakies. In the past he was more likely to play the role of school bully and kick them straight in the teeth. I'm pretty disappointed that Carter comes across as a nice guy when it suits him and yet he's notrious amongst more than a few for being a macho, bullying prick. Bannister brings up a totally legitimate, albeit seldom discussed subject of how the 'cool kids' tend to overrule what is a supposedly alternative scene in much the same way they would the schoolyard. From my experience, this still carries on in the music scene today. (Sorry, liberals bullying isn't going anywhere and many of you are still unconsciously complicit). It does make Bannister sound overly butt-hurt but he makes a legitimate case for how psuedo-anarchic posturing overshadows other musician's work simply because it isn't 'tough' or 'rebellious' enough.
Read deeper though, and you'll see that Bannister's tastes are more contrary than many of his detractors would like to think (he's for instance an avowed fan of Wire). Occasionally Bannister teeters on the brink of tedious musical orthodoxy and puritanism, but he manages to off-set it with his acknowledged musical shortcomings and personal failures. He says that he's a 'euphonist' but he also nakedly confesses his inability to sing in key for many of the band's earlier recordings. Unsurprisingly, The Verlaines came the closest to sharing an affinity and comraderie with this group. To be honest, a huge drawcard for me was the fact that so much of The Verlaines' early career was discussed here. And instead of being a catty swipe, his original diss of the Verlaines and the Clean is a building block to a story where we see them rise to greatness. That said, Bannister effectively calls himself a better lyricist than Downes (hahahahahahaha) and at at the beginning, seemingly without irony or self deprecation, calls the Sneaky Feelings the best band on the label. I can see why Bannister is bitter but his constant, comparative over-intellectualizng is the least attractive part of this book. Chill out, Bannister. I always liked your band. This book has given me a brand new appreciation for the wealth of great material you guys composed I like Scorched Earth Policy, the 3D's and the Skeptics as well, though. Can we just end this war over superior musical technicality for good?
Anyway, what I've failed to discuss is the autobiographical side of this story. Bannister moved to Dunedin at age 17 from Scotland. So he arrived as an outsider. He gives generous time and portraiture to his respective bandmates, most especially David Pine and Martin Durrant. Original bassist Kathlyn Tyrie (and short-period girlfriend) is also discussed as length for her bold mentality , inborn musicality and influence on the band's character and development. Durrant is discussed as the father-figure and superior cultural arbiter and appraiser of the group. But it is David Pine who is given the spotlight, as a comparative ying to his yang. Pine a less formally trained musician, a figure of taciturn stoicness and immutable songwriting gifts. I think the best of Bannister's character is displayed in his generous and complimentary discussion of Pine's considerable talents. The guy is a really great songwriter, and a character to boot. Amdist the travails of driving a van across New Zealand on a shoe-string tour (a personal favourite is their gig at a barnyard in Patauru) and monumental organizational fuck ups (failing to book ferry tickets across the Cook Strait on a tour with the Verlaines) you simply cannot deny how hard Bannister tried and how utterly infatuated he is with music itself and the idea of being in a great band.
It's a thoroughly worthwhile read for any fan of New Zealand music and absolutely anyone who is in the early days of being in a band. It offers a very different and relatively unpopular perspective. The Sneakies made it to the end of the decade (European tour included) before they reuinted a couple of years later for a promotional tour of their 1992 reissue of 'Send You.' If you ask me, Bannister's downfall is his need to make petty remarks, over-intellectualize past situations and works of music. But this all still adds up to a seemingly very honest and nonetheless self critical, bittersweet but all the same quietly romantic account of being in a band from Dunedin. I actually think that's pretty gutsy. Good for you, Mathew Bannister.
August 1, 2010
I think this is probably my favourite music book ever. Funny, insightful and ever-so-slightly bitter. Great stuff ...
January 7, 2017
Husband House sweet as!
November 10, 2019
I read this 20 years ago - and back then I didn't know some of the names, hadn't heard some of the music. It was a great read, but re-reading now I think it's absolutely one of the best NZ music-books ever written; a great evocation and understanding and unpacking of a scene, a time, a place.
September 1, 2022
I don't know. It seems naive and a bit petty to read a niche memoir like this and be disappointed because the author seems so unhappy. Maybe I wanted a romp? A slapstick Monkees-pastiche of an underdog pop band cavorting across New Zealand in search of fame and fortune? Again: I don't know. I think, ultimately, my main takeaway is that it just wasn't much fun to read. I'm a bigger fan of Flying Nun in general than I am of Sneaky Feelings in particular, and Matthew is bitter about Flying Nun (maybe with good reason). I'm a bigger fan of Tall Dwarfs and Chris Knox and the Verlaines and the Bats and the Chills and JPS Experience and This Kind of Punishment, etc etc, than I am of Sneaky Feelings, and Matthew is bitter about them, too. He's bitter, in fact, about most things. About this girlfriend or that. About this tour and that one and all of them, really. About every band that ever got a positive write-up that wasn't his own. Bitter about more or less all collaborators ever. Bitter about record stores. About perceived slights. About production decisions. About poster designs. About whole entire countries! So: I don't know. It was nice gaining added perspective about a scene and a place that interest me. I'm glad I read it. But it just wasn't much fun, and I hope Mr. Bannister is in a better place these days.
May 7, 2025
An enjoyable trip down memory lane for me - the Dunedin music scene of the 80s. Finally got around to reading this book 25 years after it was published, and 40+ years after most of the events.
Matthew Bannister writes fluidly and has a knack for cameo descriptions of lots of the people he writes about.
I really liked the way he writes about the music itself, like key changes, descending bass lines, different time signatures, and what's involved in recording. Outside of music reviews I don't often read or hear such comment or analysis.
He describes specific songs - not just of Sneaky Feelings but also of other bands playing around the same time. Included are sections of Sneaky Feelings lyrics and background and context to them. It had never struck me that the Sneakys deliberately didn't include lyrics sheets with their records.
It did sound like a hard grind: earning very little, vehicle breakdowns on tour, and Matthew comes across as bitter about the lack of support from Flying Nun.
Well worth a read for all fans of Dunedin music of that era.
Matthew Bannister writes fluidly and has a knack for cameo descriptions of lots of the people he writes about.
I really liked the way he writes about the music itself, like key changes, descending bass lines, different time signatures, and what's involved in recording. Outside of music reviews I don't often read or hear such comment or analysis.
He describes specific songs - not just of Sneaky Feelings but also of other bands playing around the same time. Included are sections of Sneaky Feelings lyrics and background and context to them. It had never struck me that the Sneakys deliberately didn't include lyrics sheets with their records.
It did sound like a hard grind: earning very little, vehicle breakdowns on tour, and Matthew comes across as bitter about the lack of support from Flying Nun.
Well worth a read for all fans of Dunedin music of that era.
November 2, 2023
A fascinating behind-the-scenes look into the Dunedin Sound, and also an honest and very personal account of the challenges of being in a band that never quite achieved the fame and recognition that they perhaps deserved. It can sometimes get a little confusing to keep track of who's who - there seems to have been a lot of Martins in 1980s Dunedin - and sometimes Bannister can come across as bitter and jealous. But overall this is a must-read for any scarfie or kiwi musician. It's been 20 years since the book was published, and Sneaky Feelings has since reformed and released new music. I'd love to read a sequel!
May 30, 2017
OK, an extra star for... well meaning, for being part of my history.
Other than that, sorry Matthew: This is poorly written, disorganized and mostly doesn't have a strong idea of what it's about. It would have been better if this book claimed to be what it actually is: a history of Sneaky Feelings. However, I agree with Shayne Carter on his comment on this book: "Too much Sneaky Feelings".
Other than that, sorry Matthew: This is poorly written, disorganized and mostly doesn't have a strong idea of what it's about. It would have been better if this book claimed to be what it actually is: a history of Sneaky Feelings. However, I agree with Shayne Carter on his comment on this book: "Too much Sneaky Feelings".
February 15, 2020
This is how memoirs were written before the lawyers starting getting involved. The honesty here is a delight. Funny, self deprecating, cutting and full of praise. A must read for NZ music fans and I say this as someone who has barely listened to Sneaky Feelings
Displaying 1 - 11 of 11 reviews