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Last Friday I got the privilege to see Vera Ellen live at Pearl Diver. Because of my limited time spent listening to the band, everyone else who attended the sold out show seemed to be very much “in the know” about this highly praised group from Pōneke, and I was about to find out why. I definitely understand the hype generated from their newest album ‘HEAVEN KNOWS WHAT TIME’ released on the 1st of May this year. There’s no denying that they're a talented group, with amazing individual brilliance as well as electric chemistry with one another.

To kick things off, was the incredibly talented Phaedra Love, who was performing songs from her latest ‘Good Bad Not Evil’ EP. Oh man, chills. And that's not because of that fever going around campus at the moment. If you're keeping up with the Dunedin music scene and Phaedra Love is not on your radar, what are you doing with yourself? Get your ass to Bandcamp, get down to your local, wherever you watch your gigs, and listen to that EP stat, that's an order.

Onto the main act, and what an unforgettable show. Vera Ellen (the band, in this case) had some of the best stage presence I've seen yet, you would think they practically lived on stage the way they carried themselves. Even though the album is technically listed as alternative/indie rock, it really varies in the sound and pushes different styles throughout the tracklist, so it never felt dull or repetitive, which I respect heavily. I would love to hear them branch out into other genres, I feel that they could be unstoppable in any direction they head into. The band also never seemed to take their foot off the gas too, keeping the same level of quality and energy that they were just teeming with from the start, all the way until closing songs of the album such as ‘getting told off by mum’ (my favourite).

I'll always say this, but seeing bands play live will always be better than listening on streaming, and especially in this case it reigns true. The punchy swooning riffs and Ellen’s lush emotional vocals are just something you have to hear for yourself. Don’t get me wrong, give the album a listen, it is well worth your time, but it's a whole different feeling hearing it in person. It's that gut feeling you get where you’re fizzing while it's happening but so… comforting at the same time. Even though I was probably one of the only ones in the crowd who hadn't heard them before, it felt like I had always belonged.

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

ALBUM REVIEW: Static Dress - Injury Episode
review by Ethan Montañer Aug 13th 2026

Wear your emo bangs loud and proud.

Injury Episode, the long-awaited second album from UK post-hardcore/emo group Static Dress, is a masterclass of blending nostalgic influences into a forward-thinking, cohesive vision. I always found this group to be one of the most compelling bands in the so-called ‘revivalcore’ movement, with their slick songwriting and immersive visual identity. A breath of fresh air from the hyper-polished arena metalcore of the 2010s, they distill and reinvent 2000s post-hardcore, emo, metalcore, and alt-rock for a new generation. This new album sees Static Dress at their sharpest, as they pull from a broad set of influences (some more identifiable than others) to create a fluid yet gripping listening experience.

The tracklist is varied, but never does Injury Episode lose any sort of cohesion. The track …hospice is a cathartic singalong that won’t sound out of place at a My Chemical Romance concert, while the searing Male-bomb hints at the earlier stylings of post-hardcore royalty Glassjaw. Underoath, a legacy act to whom Static Dress are often compared, contribute a perfectly fitting vocal feature to Nostalgia Kills (one of the record’s most punishing tracks) while Adult Diamond sees vocalist Olli Appleyard retreat into a vulnerable yet gorgeous soundscape, before the album ends on the absolutely soaring human props and Treading.

Equal parts catchy, cathartic, and crushing, Injury Episode is undoubtedly Static Dress’ finest work to date, and is a must listen for fans of the nebulous melting pot of 2000s emo/screamo/post-hardcore/metalcore. Reaching beyond just simple nostalgia-bait and cheap sonic retreads, Static Dress expertly demonstrate how a band can wear their influences on their sleeve while still crafting an audiovisual identity that is entirely their own.

Fav Tracks: Nostalgia Kills, Adapter, dull.blade.disguise

By now, almost everyone involved with Aotearoa’s local music scene will be familiar with 4 EPs–a currently physical-media-only compilation focusing on giving artists control over their own creative output and the ability to get their music heard beyond the boundaries of our own local scene. The two sold-out Dunedin gigs supporting the release–the 3rd of July at Pioneer Hall and then the 4th at the Crown–had these bands showcasing their new music in full force (material already familiar to regular gig-goers).

Pioneer Hall opened with a short acoustic set by Grace Gemmell, a young singer-songwriter, and then kicked off in full force with U-No Juno–right into the jangling lead single from their EP, Skyscrapers–a lighter, poppier version of the band on record than listeners may be used to but no less musically ingenious. A set ranging from alt-tuning ‘post-post-post-post-hardcore' to delicate lilting vocals, the band demonstrating their complex songwriting that is just, in general, a lot of fun. Easy to see why they are scene favourites for many.

Next up was Vagina Dry, their name a good indicator of what they are all about–unapologetic and straight-to-the-point riot grrrl, now with a new line up, with lyrics so literal as to be almost brutal to listen to and an energetic but locked-in set. A vocal delivery from guttural screaming right back into sweetly-sardonic singing on topics ranging from misogynist creeps and police violence, to the atrocities in Palestine, let you know exactly where they stand, all presented to an enthusiastic mosh.

Then the blunt-force post-punk of Sivle Talk (everyone is post-post-punk but it takes nerve to just be post-punk) combining densely clever lyrics with a captivating high octane stage presence. This is truly passionate music, presenting you with full force harsh truths about the state of the world over bold guitar parts and barely contained drumming. Not to mention there’s something immensely satisfying about a whole crowd shouting ‘WHAT THE FUCK?’ when faced with the bleak reality of today’s political climate.

Closing the show was the blistering waves of teenage noise rock from Sogg–songs about ‘five billion fucking ferrets!’ delivered in scathing monotone–some of the most inventive guitar playing you'll ever see combined with brutal bass and drumming that can only be described as explosive–by far the heaviest set of the line up and also the most musically unique. Darkly expressive and expansive, atmospheric and in-your-face by turn, Sogg is one of those bands that you experience rather than watch. 

The next night at the Crown the bands played in reverse order–no one is opening for anyone–with soft, brief interludes forming a beautiful palate[1.1][2.1] cleanser from Keira Wallace and Neive Strang, together and separately. A show just as skillful and exciting–ending the night with the crowd ecstatically moshing to U-No Juno, a testament to how much love the community has for this music. A scene that feels like a friend group, all making music on the new edge of Aotearoa’s creative fringe, given the backing and recognition to put out something that will make a lasting impact on the way music from this city is seen–4EPs is far from just being purely a self-referential 'new Dunedin Double', the two gigs and the compilation itself showing some of the genuine best of alternative music being made today.

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

Credit: Ethan Montañer

San Franciscans break San Fran

Do you ever have those moments at shows where you feel like a Guitar Hero crowd NPC? That is, egoless, blissed out in a sea of like minds, arms pumping and heads banging in unison, collectively in utter awe of a band. It’s a vibe that manifests rarely and one I’ve not felt in a hot minute, but seeing Deafheaven shred San Fran last Thursday gave me flashes of that nirvana.
 
The show was sold out, packed to the rafters with the usual suspects. Doc Marten-hooved alties, metal heads, goths, bogans, and ne’er-do-wells of all ages. Some buddies and I arrived 10 minutes early hoping to beat the line, but the line beat us back - it was proper long. Alas it was the wrong line to worry about, because anyone who wanted merch had to contend with dozens of eager fans desperate to cop some dope tees.
 
Nothing (the band) was set to open but because of some pesky visa issues they couldn’t make it. Thankfully, local doomgaze trio Libbianski stepped in and killed it. I’d already seen Libbianski in April and knew what to expect, but this time round they showcased even more contrast between slow riffy jams and high octane Pōneke black metal tracks like Pigtails. Loved the dichotomy between the femme wailing and masculine guttural vocals, also shoutout to drummer Tom LaHatte who was really, really fun to watch.
 
Normally when an opener finishes, gig goers disperse to yarn with mates, buy a drink, punch a dart outside, et al. I was bewildered at how the audience stayed glued to their spots in static anticipation for the entire switch-over period, eagerly awaiting the San Francisco-based blackgaze quintet, Deafheaven. Once the soundies finished setting up, stashing a dozen water bottles around the stage, a Twin Peaks-esque synth filtered in and an ASMR worthy femme voice softly rang out. She questioned the audience on loneliness and existence (their new album is called Lonely People With Power, go figure).
 
While pondering what it all meant, Deafheaven took to the stage. With all five dressing in all black, everyone knew we were in for some turbulence. Frontman George Clark acted as our infernal conductor, mechanically positioning his hands and arms to inform the audience that the drums were ratcheting up or to signal an impending phat riff. Clark soothsaid the band's chaos while delivering his signature strained, throat-scathing screams. 

Good bands confidently play live but great bands add stagecraft; it’s a preventive salve for any possible monotony. Deafheaven weren’t just playing their new record though, their performance fleshed out Lonely People With Power’s story through sonic interludes. Church bells and Lynchian ambience rang between songs – and just as it was coming together, the band abruptly left.

For a moment, we all thought the party was over, but the band merely wanted us hyped for the final act where Deafheaven turned into Deafhell. With piercing blood red and white light strobing behind them, Clark and co. went into a full satanic panic death metal spiral. Here is where I felt like a Guitar Hero crowd NPC, especially when they played Dream House in its 10-minute glory and, accordingly, the mosh was pumping full throttle.
 
Deafheaven manoeuvre between soft and heavy with grace, stretching these boundaries to their logical conclusion while maintaining an emotional core. Lonely People With Power does this effortlessly, combining the gnarliest elements from their 2013 standout record Sunbather with more gentle passages from 2021’s Infinite Granite. It was an absolute pleasure to see Deafheaven play Lonely People With Power live, I’ll be chasing the high from this show for some time.

Credit: Zac Hoffman

Credit: Zac Hoffman

In the short time I’ve been here, I’ve found myself at the gem (or pearl) of a venue that is Pearl Diver enough times to be sure that I’d never see down-the-street queues native to Subs or the Bog -- until last Friday, when half of Dunedin showed up to witness two of our best indie acts go back to back: orchestrally-flecked alt-rockers IVY and noise-punk architects Pearly*.

As soon as IVY struck their first chord, I understood why the place was packed- you just can’t miss them. Lush acoustics of Pearl Diver wedded with IVY’s spacious, sprawling take on alt-rock to create a set so emotionally colourful I swore I saw feelings flowing through the gaps in the crowd… a beautiful moment made better by the fact that I shared it with so many people.

I admit I was close to tears.

Enter Pearly*. I could go on, but like IVY you just have to see it. The stage energy of this four-piece is so potent that it feels like each note grabs you. Their trademark style of patient build-ups into releases of wailing vocals and spacey guitar feedback pierced me and instantly finished IVY’s work- I bawled my eyes out to their heart breaking opener Not so Sweet.

Photo Credit: Eren Reburiano