Diversity is arguably Radarmaker’s trademark, tackling the post-rock/experimental zeitgeist but ripping it open and stuffing it with melodic tranquility, ironic crooning snarly angst, and rock buffoonery.


Radarmaker has come to mean a number of things throughout the six years of its existence. Beginning life in 2001 as a plaintive acoustic-pop trio making polite songs about quiet yearning, the acquisition of new instrumentation, an extra member and a boost in bravado saw the band consolidate what may be considered as their definitive line-up. Radarmaker from 2003 onwards consisted of Wendi Graham - whose delicate voice betrays her musical resilience, Warwick Hall - sturdy rhythm guitarist and progenitor of many of the bands catchier riffs, Adam Trainer - frontman, lout and laughing stock, and versatile genius Noah Norton. In this incarnation the band created songs and soundscapes that traversed the delicate and the chunky, the poetic and the provocative, the beautiful and the destructuve elements of indie rock, whatever that might be. With a penchant for experimentation and musical meditation it was no surprise that they collected the tagline of ‘post-rock’, which worked as both a blessing and a curse for a band whose ambition matched the calling card of that genre but whose output did not fit its formal or characteristic constraints. Playing alongside local greats and parading their wares in pubs, clubs, skate parks, town fetes, art spaces, back yards and other venues of ill repute, the band has had the good fortune to help launch releases by the likes of Schvendes, Mukaizake, Airport City Shuffle and found:quantity of sheep, as well as the perennial ‘first past the post’ zine, of which they have become amicable patrons. In 2005 the band were nominated for ‘Best Music Video’ WAMI & WASA awards for their self-made video clip - ‘Arm vs. Fiery Antenna’. Their debut record, released independently, was the iconic and benevolent 'Aristocracy and the Horse', which criss-crossed through cyclical melodies, wistful maladroit, driving skittishness and thunderous cacophony. In early 2006 the band performed live to a jam-packed Hyde Park Hotel as the onstage score for Michelle Sowden’s theatrical production of Sam Shepard and Patti Smith’s ‘Cowboy Mouth’. The band was also featured on the line-up of two Artrage sponsored Road Trip extravaganzas, playing accompanying music to ‘The City of Lost Children and ‘Spirited Away’. Produced over a hectic ten-month period, the band’s first long player, ‘Drawn Like Spires’ arguably showed the progression of a band who had matured musically, had honed its dynamic and had focused not only its song-writing, but its command of musical exploration and structural experimentation. Launched to a capacity-crowd at The Bakery art space in July of 2006, as soon as it was over Adam was whisked away to the jungles of Borneo. However, with plans to maintain a gigging schedule as a three-piece and to continue recording via correspondence, Radarmaker itself is far from over and will hopefully come to mean a great many new things in the future.


Aristocracy and the Horse EP - 2005
Drawn Like Spires LP - 2006

Set List

Atlas Shrugged
Arm Vs Fiery Antenna
Gary Oldman
Shallow Socialites (Battle the Axe)
Stop Being a Wanker