Filmmaker Julian McCarthy talks to JOANNA HUNKIN about capturing the growth of the North Shore indie music scene on the big screen
KEY POINTS:
Like most social trends, it can be hard to pinpoint when exactly the Shore music movement began. You know, all those bands from the right side of the tracks, whose names nearly all begin with "The".
Determining where it started is easier though. As is finding the man
behind it.
It all began in the seaside suburb of Devonport, where producer and musician Rikki Morris was running a small recording studio at the community arts centre The Depot. It was there that a young Finn Andrews - lead singer of The Veils - recorded his first demo with Morris and planted the seeds of what is now a thriving indie music scene.
It was also there that filmmaker Julian McCarthy happened upon his next film subject, as he was introduced to the "hothouse" of young talent at The Depot and decided to follow their progress.
"I thought it was interesting to see the story of bands like that, at that stage," recalls McCarthy.
"Normally we see stories about famous bands around the world. These guys are showing some talent and on their way somewhere, but I wanted to see what the process was and watch them grow and develop."
That was in early 2006. Now, after two years filming countless gigs and jam sessions, McCarthy has compiled his findings into the feature documentary Guitars from the Leafy Suburbs, featuring The Checks, The Electric Confectionaires, White Birds and Lemons and The Earlybirds.
The title may imply the bands live on easy street, hailing from one of Auckland's most salubrious neighbourhoods, but McCarthy says none of the bands have received parental handouts.
"None are real leafy suburbs types in that way but, on the other hand, they're not from South Auckland. The leafy suburbs have at least made it possible but they haven't had money thrown at them, that's for sure."
Centred around The Depot studio and Rikki Morris, McCarthy filmed nine bands during the process before deciding to feature just four in the final cut, to keep the story stronger.
But trying to separate the bands' stories completely was impossible as they are all such good friends.
"Not all bands are rivals but these guys are the absolute opposite," he says.
"There was never just one band there. They have big jam sessions sometimes where there's up to 12 or 13 of them. There's constant crossover."
One of the questions McCarthy sought to answer through the film was how the musical movement began - but soon found it was easier said than done. Even now, he says he hasn't come to any concrete conclusions. "There's some of those questions you can't ask the guys any more because they've been asked too many times. I think one of the things that was important was Finn Andrews' effect on it all.
"It just seemed to spread like a rash, this idea that 'this guy, he's from Takapuna Grammar and he's done it. We can do it too'."
But ultimately, McCarthy's biggest goal was to capture a period in time and archive a chapter in New Zealand music history.
"Time moves on and things change. These are records, you know?"
LOWDOWN
Who: Julian McCarthy, filmmaker
What: Guitars from the Leafy Suburbs featuring The Checks, The Electric Confectionaires, White Birds and Lemons and The Earlybirds.
When: Premieres at the Academy Cinema, Thursday October 9 at 8.30pm, followed by a free concert by The Checks and The Earlybirds