12/02/2025

God Is An Astronaut – Tuning Fork: February 11, 2025

Twenty years plus since creation and 11 albums on, Ireland’s God Is An Astronaut have finally made it to the shores of Aotearoa, well Te Ika-a-Māui at least, for two shows. Still fronted by founders and twin brothers Niels and Torsten Kinsella, with Lloyd Hanney on drums, GIAA play a synthesis of post-prog-punk-pyschadelia with a krautrock twist.

GIAA released their latest album Ember, featuring UK virtuoso cellist Jo Quail, late last year to rave reviews, though sadly she has not accompanied the trio on their debut Australasian tour.

Distance

This post-rock ensemble from Ōtautahi have a rough start, and it takes a few songs to find balance. The bassist is wearing a Russian Circles t-shirt. But Distance are a much more complex beast than those recent visitors from Chicago. With a whakapapa that builds upon Aotearoan bands like Kerreta and Jakob, in existence for toru years, Distance are subliminal and measured. Using a laptop to deliver harmonic beds that flow like a river underneath their post-proggish emanations, the drummer is a busy beast, animated, synthesising metal and jazz rhythms with the occasional Kosmische Musik reference. This is their first visit to Tamaki Makaurau guitarist Sam Butler shares, as the three become a quartet with the addition of saxophonist Toby Leman. Levi Sheehan (drums) and Sam Austin (bass) complete the four.

The earlier part of their set is newish material, much more ghostly, perhaps Blade Runner (original version) inspired (it’s a sax thing) bringing a certain haunting quality to the music. DIstance have a sound that draws on Mogwai and maybe Tortoise, though their songs are easier on the senses, and faster to the point. Distance’s show is a fine introduction to the band for the early comers (there are many) capturing the essence of what makes them unique. Hopefully we will see them back in Tamaki Makaurau again soon.

God Is An Astronaut

Bright lights and atmospheric harmonics prelude God Is An Astronaut coming onstage. Drums are upfront, stage right, with bassist centered and guitar adjacent. They open with Odyssey from their latest album Ember, an almost classical song, meticulous guitar leads the build, creating an enveloping atmosphere, as GIAA shift gear into a heady prog-rock oeuvre.

GIAA are using an ephemeral backing track, as tonight they are stripped back to drums, bass and guitar. The piano and synths that are a feature of their recordings are here only in spirit tonight. It adds not just to the songs themselves, but also provides auditory continuity between songs, avoiding anxious space between songs, as GIAA refocus, re-tune.

Twenty years of touring experience is visually displayed via GIAA’s attention to the visual aspect of their recital, as much as the aural. The vigorous light show collabs with the impact of the phonic, punchy and sometimes distracting, it masks the absence of vocals, adds to the personal response, thus the want is defrayed.

Korero with the audience is intermittent, but genuine, enthrallment in being in a far and foreign land, aroha for those attending the show. GIIA’s default leader Torsten Kinsella, shares personal loss as he introduces Fallen Leaves, a tribute to not just a father, but a part of the GIAA crew. Alongside the cathartic, there is light, as elements of groove, moments of danceability, white boy funkyness, courtesy of drums n bass in post-goth manner, pervade in and out. In tandem GIAA’s intention or not, in having not many, if any, lengthy songs, the frugality of composition length is pleasing, there is little meandering tonight, few chances for mediocrity.

While Ember, the band’s latest album features richly tonight, older songs from past mahi also feature. Amongst them is, All Is Violent, All Is Bright and Suicide by Star from the bands 2005 masterpiece album All Is Violent, All Is Bright. Which are welcomed with audience cheers, for the flashback youthfulness they offer.

Post a stoic, effusive effort at Ember, a mirthful pantomime appears, as Torsten feigns the walk off/walk on prelude before encore, so the last two follow sprightly. Fragile, another from All Is Violent, All Is Bright, a song rarely played in Europe, is quickly followed by From Dust to the Beyond, a cut from their first album The End of the Beginning (2002) it’s a snippet of earlier days; hard, fast and heavy, a brilliant way to end, to leave a lasting memory for the faithful.