by Kris Handel
New Zealand has a rich underground musical history via a 60's garage punk boom via record labels like Xpressway and Flying Nun (amongst others). Sundae Painters, the last recordings of Hamish Kilgour (who along with brother David Kilgour co-founded The Clean), brings four pivotal artists together. Kilgour, Alec Bathgate (The Enemy, Toy Love, Tall Dwarfs), Paul Kean (Toy Love, The Bats) and Kaye Woodward (The Bats) have a long history with each other and these recordings come from informal jam sessions that give space for psychedelic and folk exploration. There is a real sense of musical connection between these four musicians and friends and this format allows them to break pop song barriers while still providing a driving tenacity and strong melodic grasp. With all this musical know how and connection on display, these musicians show that even through all the decades they've been performing they haven't lost any spark and refuse to stay stuck in one place.
On tracks like "Hollow Way" and "HAP 1," Kilgour and company’s devotion to Velvet Underground and motorik grooves are pronounced and very welcomed, but there are also new twists and turns thrown into the mix. On the former, Bathgate's guitars are drenched in reverb, throwing out raga-like tones while keyboards add a little jingle and distortion as Woodward's vocals break through the cloudscape. Kilgour's wobbling kit shuffles along and lays a shifting foundation for Kean's thudding bass and the mix of obscured psych folk melodies drift and swell majestically. "HAP 1" is a drifting jam that follows more in the steps of the loose side of a band like Bailter Space with a bit of jazzy melodicism adding some spice. Everyone is locked in tight with each other and playing in the moment which allows for effortless tempo shifting and an ease that allows for true musical exploration.
"In Came You" is a moment of pop beauty and craftmanship that wobbles along and is propelled by Woodward's chiming vocals, wonderfully well placed and heavenly. Bathgate's guitar churns and rumbles while occasional jangles break through the strumming and this track nears the heights of some of the best Magick Heads tracks but with a more complimentary jagged edge. "Sweet Dreams" show the group pushing even further into space with a number that is reminiscent of Can style drone and improvisation as Kilgour's vocals swoop in and out. The groove is vastly important as Kilgour's drums are surprisingly steady while Woodward's keyboard washes blend seamlessly with blasts of distortions intruding occasionally from Bathgate and Kean's dancing bass lines.
These musicians have quite the career resumes and the energy and passion on display here is a testament to everyone involved, as last recordings leave a great end note for Hamish Kilgour's achievements. Hearing these friends kicking back and letting loose in some enthralling musicianship really is a treat and bearing witness to such prodding and flowing atmospheres is magical. These four aren't resting on laurels and the joy they share in jamming with each other is a pleasure to listen to, adding a new and surprising avenue into their musical ambitions. This record is a true treat and shows what joy and enthusiasm lays in the power of continuing to push yourselves in your pursuits of art or really anything that brings excitement and pleasure to life.