Wax Chattels are over the moon to announce the COVID-delayed release tour for Clot, with shows in Wellington, Auckland, Christchurch, and Dunedin. Proudly presented by UTR & 100% GOOD.
18.06 - San Fran, Wellington*
25.06 - Galatos, Auckland
30.07 - DIVE, Dunedin
31.07 - Wunderbar, Christchurch
*w/ support from Dateline & Soft Plastics
Tickets available now via Undertheradar.co.nz & Auckland from Galatos.co.nz.
It is universally agreed that Wax Chattels are a must-see live act and their eponymous debut album captured this perfectly. Their hypnotically sinister debut was released in May 2018 and was supported by six months of relentless touring: a NZ tour, two tours of Australia, a stint in the UK and two major North American tours. The album reached #7 on the Official New Zealand Album Charts, and album release week saw the title feature as #1 in Rough Trade’s ‘Top 20 New Releases’ and AV Club’s “most anticipated album”. The album’s success at home and abroad led to the well-deserved nomination of Best Alternative Artist at the 2018 New Zealand Music Awards, as well as the band’s inclusion in the coveted shortlist of finalists for the Taite Music Prize and Auckland Live Best Independent Debut Award. After a knock-out debut, the anticipation that surrounds their sophomore album, Clot, is immense.
Much like their debut, the writing process for Clot took the best part of a year. While some songs, like “Glue” and “Efficiency” were written on the road in 2018, the bulk of the album was workshopped throughout 2019 across bedrooms and storage containers. The demos were fine-tuned before taking them to the studio to be recorded. Wax Chattels maintained the use of only the barest of ingredients — bass guitar, keyboard, and a two-piece drum kit — but the group spent more time experimenting with and finding new sounds for this record. They wanted to maintain the same live element as in their debut, but, this time, heavier — for which they enlisted the help of mixing engineer, and fellow noise-maker, Ben Greenberg (Uniform, Destruction Unit, The Men). The keyboard sounds are noticeably thicker and the bass more intense. A marked step-up, this new record keeps the visceral energy of the debut, only this time they dig deeper into cathartic noise.
During their intensive week of recording, the band was noise-controlled several times by neighboring businesses, despite the full-time studio being completely sound insulated. The irony of these complaints is that they also came from music industry professionals: “There is very loud horror music coming through the walls again — is this going to last all day? Yesterday there was someone screaming all day. It’s very disruptive for our office’s work environment.”