Mihirangi lets Jesse Shrock into the Kulcha Loop…
MIHIRANGI
The way my interview with the soon-to-be-dubbed 'Kiwi sensation' Mihirangi takesplace - half shouted over the din of the Corner Hotel public bar - is not dissimilar to the position the artist sees herself in, in relation to the world's media. Amidst the plethora of loud, abrasive talk, Mihirangi’s putting forward a singular, strong and constant idea of world unity. And because of her utterly unique musical vision, and the cross-cultural harmony that she herself represents, it will be heard.
Mihirangi has just returned from overseas, where her one-woman show was the toast of the Canadian folk festival circuit. From the set she delivers that evening (in support of Blue King Brown's album launch) it's not hard to see why. At times, worldly, at times other-worldly, Mihirangi is somehow able to be both an activist and a dream weaver. Some parts of her set - don't ask me how - have both feminine tenderness and grrrl power attitude.
The key to Mihirangi's sound is her loop pedal, a technological marvel that allows her to layer her own musical parts on top of one another, making her a solo artist in the truest sense of the word. "It was a total leap of faith, just diving into the deep end," Mihirangi says of this re-invention."I was in a seven-piece band, and was finding it really hard. I think the reason for that was that I always wanted to be a solo artist, just to learn more about myself and my boundaries. My guitarist had a loop pedal, which I'd seen other artists using before. So I borrowed it off him, played with my self in my bedroom for a week - ha-ha! - and the next thing you know, 1 had a solo loop show. And what was going through Mihirangi's mind the first time she performed live in this manner? "Oh, shit!" she laughs. "Well, you've got to be really focussed. The main thing with the loop pedal is timing. You can't afford to be even a bee's dick out, because if you are, you lose the groove. Also, your pitching has to be absolutely perfect, because you can’t delete it and once it’s in there it’sin there! I’ve worked hard at getting this show sounding really good. Ireally have. And 'I think it has paid off."
Mihirangi was almost literally born into music; while her mother was on stage nine months pregnant, the thud of her father's kick drum apparently induced labour! Though she was exposed to western pop and soul from a very young age, Mihirangi also had the privilege of a cultural education much closer to her Maori roots than previous generations of her people. "My mother was a professional musician," Mihirangi relates. "She sang and played with people like Joe Cocker and Gladys Knight, and she took me on the road until I was seven years old. Then when I was seven, my mum settled down and I went to a Maori school. The original Marae were re-opened, and we we're the first children in two-hundred years to start learning on that Marae. And I learned that culture for about seven years in that area and in that school. And I buildmy music around that now. There's a huge amount of substance to my musical upbringing, and I am lucky to have that. Like, humbly blessed."
Thetraditional chants and calls of Mihirangi's tribe, the Ngati Maniapoto, areproudly on display in her debut Kulcha Nation, but through aprism of innovative modern production techniques. Asked if such a fusionrequires some degree of compromise, Mihirangi gets straight to the heart of thematter. "Well, the compromise was done 200 years ago," shesays. "Traditionally, Maori songs were sung in monotone andmicroscales. Consider, for example, how Ragas are done in quarter tones; inMaori culture there's tones in between that so it's very much aboutcalling sounds, and internal crying.
When the Europeans arrived, they basically took all the traditional songs, andadapted them to European melodies. So the culture is becoming so much strongernow that that compromise is slowly, slowly, balancing back. And hopefully, wecan still capture the essence. The Maori are very lucky; we can still capturethe essence of where we came from."
Comingfrom an indigenous culture that has emerged from colonialism with its sense ofidentity intact, Mihirangi feels some sense of obligation to voice support forindigenous peoples who are, in this sense, less fortunate than her own. "There's a huge solidarity between the Maori people and theAboriginal people of Australia," she says. "They have it much worsethan we do as a culture. In New Zealand, the indigenous culture is obviously alot stronger, and a bit more mainstream, whereas here it's just not at all. Ilike to think that my culture has made offers of support in some way, to say 'Weare here for you'. All over the world, there's gatherings like 'Spiritual Unityof the Tribes', where elders from all the indigenous cultures from around theworld get together and tell their stories. It's a huge uprising and a fantasticrevolution. But it sort of feels like the amazing power in the culture ofAboriginal Australia is yet to be fully recognised. I really hope that ithappens, sooner rather than later, because 1 think that it will help to savethe environment. And for us as human beings, it will help save our damnconscience, anyway."
Thestrongest ideological theme of Kulcha Nation, however, is a plea forthe world to open up, and a warning against the self-perpetuating effect offear. Mihirangi's manifesto is contained in her album's title track, in whichshe rebukes the scare-mongering in the media, and in the self-explanatory trackWorld Citizen. Yet, as she discovered while abroad, the line to walkbetween setting an example as a world citizen, and simply being preachy, is avery fine one. "I mean, who the, fuck are we to turn around and say'I want to save the world', if we can't save our bloody selves?" Mihirangiposes. "I think what you can do is go around the world and inform, and setan example. But you can't go around pointing the finger and saying. 'It's themand us' or anything like that because that just creates more conflict. And youknow, I catch myself out. Sometimes it's hard to pull out of your ego, man.Especially in the environment that we live in. In a first-world country, it'sall about the ego. "I think one of the main things I wouldlike people to know is that we have to have faith and just believe that theworld is going to change for the better. Because if we imagine it and practiseand do it, then it will happen. And stop watching the fucking crap en TV! Imean, just the idea of sitting and learning your life background from a box ...Boring!"
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Songlines UK Review of Kulcha Nation
Mihirangi
Kulcha Nation
Black Market Music BMMR06 (42mins)
Four Stars
A vibrant splash of Maori nu-folk
Mihirangi(pronounced “me-hee-rung-ee”) is a young New Zealand-born Maorisinger-songwriter who has been living in Australia for many years. Aformer member of all-female groups Stiff Gins and Akasa, her vocal style can befavourably compared to Ani DiFranco’s – it’s a seductive combination of gutsyMaori strength and centred musical purpose. With a solid reputation onthe local festival circuit and two independent EP’s already under her belt, KulchaNation is Mhirangi’s first proper album and a good international entrypoint for her creative repertoire.
Theopening ‘Poi Song’ – a tradition-based, percussion-driven Pacific chant –quickly segues into her more original material. Lyrically concerned withindigenous, environmental and spiritual issues, Mihirangi also wears herpolitical heart on her sleeve for the beat-boxed title-track, averging-on-hip-hop version of Akasa’s ‘World Citizen’ and the sympathetic‘Welcome to Our Country’, which features spoken commentary from Aboriginalactivist Isabel Coe.
Oftenlooping her vocals into carefully multi-layered harmonies, Mihirangi’s mostmoving moments surface when she sings purely in Maori (‘Tena Kautau’) orsuccessfully alternates it with English, as on the lovely ‘Deeper’. Thealbum has exceptionally clean production, and percussionist Greg Sheehandeserves special mention for his propulsive, non-intrusive backing.
Cooking upan imaginative blend of contemporary vocal techniques and strong melodies,Mihirangi’s innate respect for tradition continues to be her secretingredient. Kulcha Nation offers up a rich cultural recipe thatprovides listeners with substantial audio nourishment. It’ll be worthkeeping an eye and an ear on this young woman’s musical development.
SethJordan.
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Mihirangi on the Front Cover of the Vancouver News paper... The Georgia Straight
Folk Fest
Mihirangi started life with a musical soul
By Alexander Varty
The worldis full of musical prodigies, but Mihirangis got them all beat: this NewZealand born singer and activist got her on-stage start while she was still inthe womb.
My mum wasa professional singer and my dad was a professional drummer, she relates, onthe line from her Melbourne, Australia home. And Mum has always told me thatshe went into labour with me while she was on-stage and that my dads kick drumwas setting off the labour pains.
Shelaughs, amused by the notion that if shed been in more of a hurry she mighthave made her singing debut earlier than anyone could have foreseen. As it was,she took to showbiz right away.
Mum andDad toured when I was little, so I got to travel with them up until I was sevenor eight years old, she explains. At that point, however, her mother afirst-call R&B singer and session vocalist decided to settle down, and sobegan the second stage of Mihirangi’s musical education: learning thetraditional songs and dances of her Maori clan. Another seven years passed, andthen it was time for this born performer to take to the stage on her own or,more precisely, as part of a series of Australian bands.
Because Iidolized my mum, I found it very hard to find my own path in music, she says. Itried all sorts of things: I was in rock bands, I was in grunge bands, I’vebeen in a cappella groups. And then one day I just said, This is crazy. Ireally need to find myself; I need to find out who I am?
A chanceencounter with Youssou NDour helped clarify Mihirangis ambitions. Just fromhaving a conversation with him, I realized that I really, really wanted to havemy music be heard, she contends. So I went away from that meeting and wrote afive-year plan and, amazingly enough, its all come to fruition.
Its notentirely coincidental that NDour should prove to be one of Mihirangis mentors:like the Senegalese superstar, the Maori musician is interested in fusing hercultural heritage with the sounds of American soul and the tantalizingpossibilities of electronic sound.
Maorimusic is very much the core of what I’m doing, she says. My spirituality isbased on Maori spirituality, on the religious beliefs that I have in myculture, and that is at the very core of my music.
Today,however, Mihirangi seems more concerned with educating and uplifting heraudience than trading on her aboriginal roots. Many of her songs have to dowith female empowerment, while others call for a more general shift inconsciousness a stance she shares with another island songwriter, Jamaica’s BobMarley.
I wasdefinitely brought up on reggae, and I had a favourite Bob Marley tape that Iplayed as my blankie, she says, laughing. There was a whole year where everynight Id go to bed listening to this one Bob Marley tape, until it got allstretched and you couldn’t comprehend what he was saying. Still, yeah, I thinkit rubbed off.
But whenMihirangi returns to the Vancouver Folk Music Festival which hosted her localdebut in 2001, as part of the Stiff Gins she wont be playing reggae music. Norwill she be singing Maori songs. In fact, she won’t even have a band. Thesedays, the singer has perfected an innovative solo show that relies on digitaltechnology to produce warm, soulful soundscapes, all crafted with her voicealone.
What I’m doing live is that I use a loop pedal to lay down a melody, sheexplains. Ill harmonize that, add a vocal bass line, and then Ill beatbox anduse vocal percussion over top of that as well. Its all done live, and then Ising over top of it. And sometimes Ill do a little dance.
It’s ascary process, in that you’re very exposed. It’s very raw, and there is no roomfor mistakes. But with that rawness, I like to think I’m a bit like that in mypersonality. I like to be really open on-stage, so people get the picturestraightaway. And the biggest thing about the solo show I’ve been doing is thatit’s really brought me into the centre of myself. I’ve found out what mystrengths and weakness are, and in the process I’ve also gotten to expressmyself fully.
Her weaknesses, she adds, are coffee and chocolate. She’s more reticent abouther strengths, but they’re not hard to discern. Between her appetite formusical adventure, her Maori roots, and her political convictions, she’s theperfect model of a 21st-century shaman and, very possibly, a future star.
Mihirangiplays the Vancouver Folk Music Festivals Stage 1 at 5:30 p.m. on Saturday (July15).
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KULCHA NATION – Album of the week on Radio Adelaide101.5FM
From the 29th of May to the 5th of June
Kulcha Nation has been chosen as album of the week by Radio Adelaide… thismeans the album will be played everyday for a week with interviews, give-aways,etc…
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The Drum Media Interview - with Michael Smith - Sydney
A DECADEOR MORE AGO, MICHAEL FRANTI TOLD THE WORLD THAT TELEVISION WAS THE DRUG OF THENATION. AS FORMER NZ NOW MELBOURNE-BASED SINGER/ SONGWRITER MIHIRANGI TOLDMICHAEL SMITH IT HASN'T REALLY CHANGED.
BREAKING OUT OF THE BOX
“The title track of the album, Kulcha Nation," she explains, "I wrote that sitting watching the news programs on television and writing down oil the main phrases from what was being said with regards to the Iraqi War, and then just adding my opinion of it, and how the media was glorifying the war in a way,Obviously the information that we get from 'The Box' is not exactly what's really going on, as we oil should know - you only have to go to a protest march in Australia and you'll generally find that the smallest thing that has nothing to do with the march is the thing that the media will focus on,"
That said,Mihirangi is not above using the power of television if it's for a worthycause, and recently recorded a version of Nina Simone's Feeling Good for an adcampaign In Queensland. The single will soon be commercially released and soldas a fundraiser for Youngcare, an organization that provides a dignified andrelevant lifestyle for young people requiring nursing care. Having spent herchildhood growing up traditionally within the Maori culture in New Zealand andtouring with both her musician parents, it was inevitable she would not only bepolitically but also ethnically aware as a songwriter.
"Thelast album that I did [Moemoea Reka (Sweet Dreaming)] was all original songs intraditional language and was aimed at a New Zealand audience, so with this newalbum, aimed at an Australian audience, I've written a mixture of both and, outof respect for my own culture and of course the Aboriginal culture, I felt Ishould write about the plight of the black fellas here."
As ithappens, Mihirangi has had some pretty direct experience of Australia'sIndigenous culture, both contemporary urban and more traditional, through herbrief stint as a member of the Stiff Gins, "I guess what I'm trying to dowith my music is get points and Issues across that give a perspective from a grassrootslevel from the experience of going out there and really finding out the truth,as opposed to just sitting there and watching the box which realistically justdumbs the nation down,"
Anyone whohas seen Mihirangi performing will know that, first of all, for all thepolitical content in her lyrics, she laughs a lot, and secondly that her soundis built around an effects pedal that allows her to build up beats as well asharmonies in ever increasing layers, not exactly the easiest of things to capturein the studio,
"WhatI wanted was something that represents what I'm doing now live, my solo stuff,so first of oil I toured for three months and road-tested and refined the songsto see which ones I'd put on the album. Then I came back to Melbourne and theday I got back I was in the studio for about two weeks solid.
"Weused ProTools but we did a couple of songs live, like Slave, one of the firsttracks we did. What we did was recorded the loop pedal but we also recordedexactly what I was doing on a separate track, and then we fine-tuned the loops.But then we found out there was no point using the loop pedal when we cancreate our own loops in the studio anyway, which created a better qualitysound, So the album isn't exactly what I do live, and we've added percussionand stuff, but it is definitely the live element and energy."
And thatenergy on stage is delivered with the most irresistible of beats. Mihirangi isobviously a girl who loves percussion and delivers it every way she can, fromthumping her guitar to beatboxing through her loop pedal. "I lovepercussion! My dad was a drummer and I was pretty much brought up in his bassdrum - I used to sleep in his bass drum when I was a kid! Not when he wasplaying!!"
FromSydney, Mihirangi will be heading up to Woodford to participate in a hugeindigenous festival called The Dreaming, and then heads off to Canada to tourthe festival circuit through July and August.
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Kulcha Nation Album Review - by Simon.T. O’Kane -Canberra
“Pull out the center of the flax, where is the Bellbird, the song?” This Maori proverb, revealed as one removes the disc, should resonate with listeners of Mihirangi’s new long player, Kulcha Nation. As the fibrous roots of flax are knotted to collectively strengthen the whole, so Kulcha Nation weaves modernand ancient compositions into a vibrant and original album. For those whoare curious to understand the strength of flax by untangling the delicate braids, there is a similar joy in appreciating the musical strands that entwine Mihirangi’s songs. Those who have seen her perform have been initiated into the musical proficiency by which she affects voice, loops, beat boxing and percussion. For the neophyte, Mihirangi’s live histrionics are captured deftly on Kulcha Nation.
Whether a convert or prospective listener, the appeal is certainly in thedistinctiveness of the writing and the spirit in which it is delivered. The weave as you hear closely is comprised of r & b, Karanga (a traditionalMaori call), percussive and vocal layering and simple ballads. As forMihirangi’s voice…if in the fifties, Billie Holiday had been playing aroundHarlem with a loop pedal and beat boxing rhythms coated in glistening molasses,then Mihirangi, it could be said, has a descendent influence. However,while there are strains of the haunting Holiday intonation, the voice isdistinctly her own. This is what makes Kulcha Nation soenticing, even before the cover and lyric sheet has been folded out and oneunderstands that these are songs free of saccharine banality.
The inlay and cover, colored like the brilliant blue of the flax flower, has abrightness and warmth that compliments the musical arrangements. Again,if one admires detail, the weave extends beyond the music as the artwork anddesign demonstrate. The congruence of the ancient and modern is reflectedas we see Mihirangi portrayed amid a shroud of ferns (a prominent Maori symbol)and the callous symmetry of urban design. What connects these images isthe gentle composure of a woman fulfilling her destiny. The lyric sheet,images and artwork are the visual manifesto, and the music is the passionrealized. There are elements of politicking that unlike the vacuousherbal cigarette air of student radicalism, are pragmatic andgenuine. The guest appearance of Aunty Isabell Coe from theWiradjuri is evidence of this.
While political consciousness in music is virtuous, it is often neutered bytriteness and lack of groove, not so on Kulcha Nation that invitessensuality and dancing against a commentary on indigenous and globalconcerns…let this be understood, Mihirangi does not sing from the pulpit butthe dance-floor. Nat and Carlo of Blue King Brown, musicians free ofgroove puritanism, also join in the playing and they like Mihirangi want you toget sweaty on the message. The album title, as Mihirangi explains isderived from Buddha’s early study of ‘Kulcha’ (before it was known as Buddhism)and a play on the ‘One Nation’ party. So, there in the title the illuminatingtriptych of spirituality, politics and song is positively orientated. However, on examining the flax closely, amid the fibrous braiding there willinvariably be faults. Nothing organic or machine made is everperfect. Kulcha Nation at times is too safe in the engineeringand production. There are moments when the sounds echo the anodynetranquility of a meditation cd. It is obvious from both the coverand compositions that Mihirangi does not intend her listeners to chat gailyover a meal as the album is playing. Again, for those who have seen thisartist live, they will appreciate the tenderness, vitality and intensity of hersinging.
Mihirangi is reverent only in her calling of the ancestors, when the groovekicks in; she is all liberation and raw power. That the clean andslightly pious production on Kulcha Nation does not capture this isdisappointing. However, one can pick apart the strands that make a wholetoo closely and the true joy can be forgotten. Kulcha Nation isa long player that has at its center the Bellbird and the song. Those wholisten and examine the flax will understand this. They will understandtoo why Mihirangi is enticing audiences both nationally and internationallywith her musical weave.
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Sauce Interview - with Tom Wilson - Tasmania
Hard name, easy listening
Mihirangi
There isn’t much that New Zealand-born, Melbourne-based singer-songwriter Mihirangi hasn’t done in the last couple of years. A ridiculously ambidextrous solo artist who’s music draws from the deep spirituality of the Maori culture, she’s sung at the helm of a three-hundred-plus choir, hosted aMaori Haka at the Melbourne International Arts Festival, and worked intelevision for three years as host of “Noise TV”. I spoke to her on the 24th of April about roots music, playing with Alice Cooper, and why she shouldn’t becalled a feminist…
Musically, what have you been doing in the lastmonth?
In the last month, travelling madly launching an album.
To what extent do you call yourself a “roots”artist?
I think, if “roots” is meaning “organic”; I’m “roots-y” ina sense of “tribal”. I was brought up doing traditional stuff, so I have anelement of traditional inflections in my music, I guess. I think that’s whatthey mean…
Well it’s thrown around so much that it’s hardto tell these days…
I know! It’s so generalized now! They should come up withsomething better than that, but hey… (Laughing)
Do you find that there are consistent themes inyour songwriting?
Yeah, definitely. Most of my lyrics are conscious lyrics inthe sense… the way I feel about is, if I’m going to be up there in front of anaudience – and the world’s so fucked at the moment – that you’ve got to takeevery opportunity that you can to make some sort of difference with substance.
What do you think some of those themes mightbe?
Well, one song that I’ve written in particular – “KulchaNation” – is about the war in Iraq. Another song called “Breathing” is aboutbeing at one with our environment. My main passion is actually writing aboutwomen’s position in the world. As in, the environment that we live in as womenin ninety percent of the world… well, where I’m from anyway… it’s a minority.And we are a very privileged minority, and even then the privileged minoritystill have a long way to go as far as real equality goes. Not feminism – fuckfeminism! That stuffed everything up for us really in some sense. Even though alot of work has been done for us, if anything it’s made men out of women; womenhave become a bit too masculine. And ninety percent of the world is made up ofthird-world environments where women are oppressed. And religion itself hasmade them second-rate citizens. So I write a lot of stuff about that, and I’mvery passionate about that issue.
Talking about definitions of “roots”, what do you think itis about New Zealand’s culture that, musically, sets it apart from other places– Australia for instance?
Well I think, in New Zealand, the culture is obviously alot stronger. It never used to be. Even twenty years ago, it wasn’t as strongas it is now. But now, the culture is really strong.
Do you think your music reflects the Maoriculture in any way?
Definitely. I was brought up in an environment where Ilearnt traditional songs and dances. And I was brought up in a Maori community,for quite a long time. So the influence, as far as the organic sound… thetribal sound – the spirituality of my culture comes through in my music, forsure.
You were born in New Zealand, and you moved toMelbourne. Why move?
I did that because I wanted to have a career in music. Themusic industry back home… even though it’s booming now, it wasn’t. If it wasn’tfor “Lord of the Rings”, and movies like “Once Were Warriors”… Music wasn’treally a happening thing there; not many places to play, the audiences weren’tthat big. And I was very ambitious! (Laughs) I thought, “I’m going to go andget inundated with more of it”, I guess.
I’ve read that you’ve played with Alice Cooper.This can’t be THE Alice Cooper…
(Laughs) I supported him! My music since then has changed…
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ROB PEMBERTON – 3PBS 2006 Port Fairy Folk Festival
Maori singer-songwriter, Mihirangi amazed audiences and fellow artists at the Woman Out Loud! concert with a unique blend of 'loops' n layers', vocal percussion and songs ofspiritual celebrations.
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The Story of Kulcha Nation –
the producer’sperspective by Harry Williamson –Melbourne March 2006.
I first encountered Mihirangi when she was with Akasa, recording demos for“World Citizen” at my studio in Prahran. At the end of a long day, there wasone song left to record. As the Maori call developed and grew in power, my hairstood on end. It was as if a beam of light was shining from the dark Melbourneevening across the Tasman to the mountains of Aotearoa, calling in theancestors. I knew at that moment I had to produce a CD for this person. Really.
Time passed. I wasamong the crowd by the river at Eltham mourning the tragic death of MelanieShanahan. One by one, her friends, highly talented artists from all over Australia,presented their tributes. Finally, Mihirangi sang and that call moved throughthe crowd, creating a bridge to the spirit world. There was not a dry eye to beseen. Afterwards I told her what had happened. She seemed unaware. “Ohreally? I was somewhere else” was her reply.
But how to capture thisenergy, to share it with the world? By serendipity, Mihi arrived at SpringStudios to help mix her Concert Hall recording of “Sweet Dreaming” in which shewas accompanied by a Maori group and the 360 voices of Melbourne MillenniumChorus. We got on well , and the way was set to do an album together.
From the outset, weagreed that as a solo artist she ought not to stray too far from her livearrangements – just take them further. So, we used the studio opportunity todub and remix layers in a classic way, while retaining a spontaneous feel.
In common with manyhighly creative individuals, Mihirangi finds self expression in a variety ofways. She’s a singer who reflects the moment, sometimes light and playful,then urgent and political, but always compassionate. She practices hard andtakes her craft seriously, working with the best. Mal Webb is her mentor and onthis CD she creates most of the music with her voice – as she does live . From foundation bass – through an harmonizer – layers of looped intricatelylayered harmonies, rhythmic ‘ska’ chops, sensuous jazzy riffs, fuzz guitarsolos – its all done with the voice.
What should we add tothis mix? – very little it was decided – just percussion and occasionalguitar. I suggested she meet up with my friend, percussion guru Greg Sheehan –who has been so influential with such current artists as Cat Empire and BlueKing Brown. They hit it off and so Greg flew in with his unique horizontal kit.Three snares – no hats – tin lids – kangira ( tambourine) – sea shells - youname it, he’ll play it!
Two long days, mostlyfirst takes, and we’re finished, bar the mix. Fantastic. Aunty Isabell ofthe Wiradjuri and of the Aboriginal Tent Embassy comes in to record her Welcome.She listens carefully, makes her point, and joins in with the chorus,unrehearsed, unplanned, brilliant. The ancestors are smiling.
Then the mixing, alwaystaxing – what to keep, what to discard?
How to blend diatribe with humor and tradition? We all present many faces tothe world and in this dynamic recording Mihirangi achieved a depth ofexpression across a number of intersecting styles. This is not music to becomplacent about, it’s challenging, very varied, powerful and not to be takenlightly. Except sometimes.
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Daniel Stapper, Cheap Thrills Magazine, Melbourne
“Saturday night in front of an audience of 150 at Noise Bar in Brunswick forthe filming of a TV pilot for SBS, Mihirangi started the night off with a roarfrom the crowd. Dubbed "the Maori Princess of funk", extremelytalented and captivating, this woman is unlike anything I’ve ever seen before.A very brave and unpretentious solo performer, Mihirangi single-handedly createdexpansive arrangements of songs layering her vocals, percussion, vocal"guitar sounds", vocal "bass lines" and even beat boxing.She built powerful and beautiful pieces with layers to create her own orchestrabefore our eyes. I was utterly in awe at her originality and creativity. Whatstrikes me the most is the way she "is" the music. Totally present inevery note, she "is" the note, I almost felt as though she waspossessed. Her performance commanded the full attention of everyone present.The crowd exploded to a wild and self-assured "vocal lead break" inher song "Orgasm" – adequately arousing to say the least, somethingnot to be missed. Not only is she creating an evolutionary groove, but she alsohas the courage to sing about facts that matter and deliver them with passion.A colourful and energetic artist, this woman entrances the senses, her music isinfused with emotion, bold inner convictions and integrity. Mihirangi was thehighlight of the night. The soundscapes she created left the audience resonatingwith her raw energy and I was left with the refreshing realization that newstyles of music are still yet emerging, even amid the over saturated musicscene in Melbourne. Very inspiring!”
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Vicki Armstrong, Indigenous Broadcaster 3CR & SBS (Melbourne)
CD Review Mihirangi “MOEMOEA REKA” (Sweet Dreaming); “Listening to the many andvaried CD’s that I’m asked to listen to, I always find it refreshing to hearwell thought out lyrics and music from the new generation joining the musicindustry in their pursuit of a musical career. Even with the best intentions,unfortunately, either the artist doesn’t have the lyrical strength oralternatively doesn’t have the musical depth required to hold them in goodsteed when releasing their first CD. I’m so pleased to have been introduced toa young artist who through the wonderful understanding of her culture hasmanaged to not only have depth of lyrics that would lead you to believe she’s alot older than she really is, her passion for words, music and her cultureshine through and listen only for a minute and you feel refreshed, empowered andrejuvenated.
Mihirangi is a youngwoman who embodies all that we hope for in our future leaders, her desire tonot only learn, understand and embrace her culture, but to share that knowledgethrough the lyrics and music on “MOEMOEA REKA” is more than a gift to us all,it’s an opportunity for all to have a greater understanding and respect for ourown cultures.
This amazing five trackCD draws you in from the very beginning with the most beautiful language songs,the journey into another language and culture takes you away, your senses willbecome totally absorbed from track one, “E Te Ariki”, then onto track two,although it’s very hard to choose a favourite song off this five tracker, ifyou made me choose then it would be this one, “MOEMOEA REKA” (Sweet Dreaming),the chanting at the beginning of the song will draw you in completely includingan intricate well thought out guitar solo and the very seductive voice ofMihirangi, listen for yourself and you will soon understand. Tracks three andfour, “Pakanga Kore” (No War) and “Mapu Ha” (Breathing), again are performed inMihirangi’s Maori language but “Mapu Ha” lends it’s self to a very Braziliansound that leave you longing for tropical afternoons on the beach with thesmell of coconut oils and no other soul to be seen. “Home” (Papa Kainga) islisted as the fifth track, but be careful because there’s a hidden track whichis a lot more funkier than the first five, but really, it’s a little glimpseinto the diversity of this very talented artist.
Having seen Mihirangiperform live with just a voice and guitar, you can only shake your head withdisbelief at just how talented this young woman is. I would recommend that younot only buy a copy of this CD for yourself, but buy two because it’s anopportunity to have an un-spoken bond with some-one special you care about,this would be the ultimate gift of intimacy to share with anyone, your children, your parents, your soul-mate, or just a dear friend who could do witha vacation, this CD will take them on a journey of discovery, I for one can’twait for the album.”
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Dieter Bajzek – Folk Alliance Australia
“… A world fusion funky sound… a great voice with an often-extraordinary rangeof power and expression… the textures and sounds, combined with the timbre ofthe language she creates, are really quite exciting”
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Simon Raynor, Big Mob Show PBS RADIO 106.7 fm, Melbourne
“Mihirangi fuses traditional Maori language and culture with westerninstruments and world rhythms creating a unique Polynesian global sound. With abeautiful voice and tracks ranging from ballads to more dance based worldmusic, Mihirangi’s debut album “Sweet Dreaming” is beautifully produced andbound for success”.
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Jessica Nicholas, The Age
“Mihirangi’s cultural and spiritual heritage sits at the core of her music…poignant tales of contemporary Maori life… set to a pulsating, funk-like beat.
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”Suraj Holzwarth, Director 2nd Australian “Ring of Fire Tour”, Adelaide
“Maori singer, Mihirangi chanted with the most ancient of voices and memories floodedour bodies with “goosebumps”. The sound seemed eternal, calling us all home toour origins as a tribal family. The music was pure emotion…”
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Maree White, Director Peppermint Productions St Kilda Festival, Acland Aloha & Global Garden Party
“Mihirangi is a performer of the highest calibre with a professional dedication to her art. The beauty of her music comes from her connectedness to her culture and roots. Her magnetic presence is part innocent, part diva, endearing her to her always captive audience.”
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Ruia Aperahama, New Zealands award winning Maori Singer-Songwriter
“Mihirangi has a strong distinctive vocal style and vocal craft... she has confidence and credibility... a strong command of composition, her songwriting abilities come from her strengths in vocal arrangement… Mihirangi is committed to generating awareness for Te Reo Maaori and the development and growth of the Maaori music industry. I look forward to watching her musical career flourish.”
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Nadi and Kaleena, The Stiff Gins
“Mihirangi… came in to complete the overseas tour with Stiff Gins in June 2001. With only 1-week notice Mihirangi learned all of Stiff Gins catalogue & proceeded to sing with the group in Spain, Edinburgh, Amsterdam, Canada & the US and the UK. An ultimate professional & fabulous friend, Mihirangi made the tour one of the most special experiences Stiff Gins have ever had.”
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Bree Delian, Manager of the Stiff Gins
“From the moment I saw her first perform I was captivated. Her dedicated and passionate personality made me realise I was in the presence of a unique singer, someone who has and will continue to win audiences while carving out an international and local reputation. Audiences and festival organisers world wide have praised her voice, and critics and reviews also commented on her incredible energy, voice and presence.
Mihirangi’s dedication and pride in her Maori heritage is worthy of note. Her writing ability and her translations into her own language not only gives heran edge, it keeps her solid and connected to her heart. This in my opinion iswhy when she sings I get goosebumps.”
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Leader, Port Phillip, Simon Kidd
“How to take the sting out of fund-raising. If seeing Sting advertising luxuryc ars makes you downright cynical about musicians with so-called social consciences, Mihirangi has the remedy. Ms Rangi has organised some of Port Phillip’s finest performers to raise funds for Roomers, the “by residents, forresidents” publication for the area’s rooming-house dwellers. Gershwin Roomers,as Ms Rangi has dubbed the benefit gig, to be held at the Espy Hotel this Friday night (November 22), will feature St Kilda stalwarts Fred Negro and theTwits, African drumming legends King Morong and Safara and the rooming-houseresident band the BiPolar Bears, among others. “Because of the commercialismthat’s been brought into St Kilda, it’s pushing these people further away fromthe public eye,” she says. The magazine, funded mainly by Port Phillip Counciland Vic Health, has offered residents a place to share their lives andexperiences through their words, art and photography. But with a new upgrade toa colour glossy format, more cash is needed. So far, says Ms Rangi, the suburbhas been generous in supporting the gig. “It’s an awesome community and peopledo come together, but it’s not pretty, and it’s not pink and it’s not nice andfluffy.”
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Artstreams, Peter Dougherty
Enchanted by a voice blessed… A new performing group made its presence felt atVolumes last week comprised of seasoned performers – singer Mihirangi, withDean Matters, Melchior Martin and Charlie Woolley on drums, guitar and bass.Maori-born Mihirangi once stood in as a member of Stiff Gins on aninternational tour and until recently she was a member of a cappella group Akasa.Drawing on her heritage, she performed Maori chants and combined them withmelody to great effect. After singing Smarten Up, a Stiff Gins song, sheconfined herself to her own compositions that demonstrated social commitment,but more importantly showcased a lovely voice blessed with power, depth, rangeand vivacity.
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Leader,Diamond Valley, Peter Dougherty
Another group that graduated from Songlines is Mihirangi and Kulcha Nation.Although they performed there as a quartet, they created a strong impression asa trio at St Andrews Hotel last Saturday afternoon. With Dean Matters on drumsand Scott Cherry on bass backing her, singer Mihirangi displayed a strong senseof confidence and stagecraft and won some new fans. Leader,Diamond Valley, Michelle Kelsey
Vocalist Mihirangi has been using her diverse ethnic background to exploremulti-culturalism as part of a cross-cultural dance and music project. Theproject, Stone the crows, explores the themes of migration and the search formeaning in a new environment. It includes about 40 dancers and musicians fromGreece, Lebanon, the Philippines, Ireland, Germany, India and the Middle East.
