NEEDLES AND PLASTIC

"With his gratifying archive, Matt Goody details one of the most successful eras in the history of rock music – Flying Nun Records, formed in 1981 by Roger Shepherd in a Christchurch record shop. Shepherd and his brilliant cohorts served up the legendary output of not only kingpins like The Clean, The Chills and Tall Dwarfs, but also captured the best from favourites of mine like Able Tasmans, Bird Nest Roys, Look Blue Go Purple and The Verlaines. Goody provides the most comprehensive presentation yet of Flying Nun’s rise from Shepherd’s notepad to international underground rock sovereignty – and a vital part of one nation’s collective art history." — Bob Nastanovich, Pavement

"Matthew Goody's Needles and Plastic  tells detailed stories about each record and artist, from the Chills to Tall Dwarfs to the Bats, and unearths a sparkling wealth of photos and ephemera, building a rich document of how exciting and resourceful this scene was." — Pitchfork's Best of Music Books 2022

"Molecular research into every release on the groundbreaking label." — MOJO

"Needles & Plastics is a heroic piece of research, 436 large-format pages of extraordinary detail and rare photos, flyers, posters and memorabilia." — Louder

"Leaves no stone unturned ... Needles And Plastic is useful as a nearly academic-level reference to the '80s Christchurch/Dunedin scene and is also eminently skimmable - the work of a patient researcher sure, but a fan and a completist collector as well." — Dave Mandl, The Wire

"Needles and Plastic] looks so cool. I can’t wait to devour it. When you go through the trials and tribulations of an independent record label, you are immediately a champion of every other label. You know how hard it is." — Multi-Grammy winning musician Jack White

“Bruce [Pavitt, Sub-Pop co-founder] and I were huge fans of the Flying Nun model, a regional scene pulling itself up by its bootstraps with compelling personalities, a sense of place and musical continuity. The ‘Dunedin Sound’ wasn’t as catchy a tag like grunge but there was most definitely a sound, something dark and breezy at the same time, and it continues to resonate. The Chills’ ‘I Love My Leather Jacket’, The Clean’s ‘Tally Ho!’, The Verlaines’ ‘Death And The Maiden’, it’s all great. It’s the biggest mystery to me why Flying Nun has yet to really be discovered.” — Jonathan Poneman, co-founder of Sub Pop

“Needles and Plastic is so thoroughly and lovingly researched and written, it reads with the narrative drive and immediacy of a first-hand account. This from a writer and fan who came to the Flying Nun story two decades later and from half a world away. It is a remarkable achievement, and another bizarre twist in the Flying Nun story that its first meticulously written history should be produced in such circumstances.”— Richard Langston, Founder of the Garage fanzine and author of PULL DOWN THE SHADES: Garage NZ fanzine compendium 1984-86

“When anyone writes about New Zealand music, they mean Flying Nun records.... In its prime, Flying Nun's embrace of all post-punk's manifestations – exquisite psych-pop, cantankerous quasi-goth, warped folk, experimental synth warfare –  meant it was New Zealand's Rough Trade, Factory, Postcard and Mute rolled into one.” — Martin Aston, The Guardian

“There doesn’t seem to be anything on Flying Nun Records that is less than excellent.” — Billboard

"A fascinating and edifying book that is drenched in a wealth of fabulous photographs and illustrations throughout. And Matthew Goody really gets it: rather than simply expressing exasperation at the idiosyncrasies of the label in its early incarnation, he determines to untangle conundrums presented by them. His inspired methodology and meticulous research have resulted in this marvellous story – told as a series of stories – that is absorbing from go to woah." — Denise Roughan, Look Blue Go Purple and The 3D

"There have been insider accounts of the Flying Nun story: how this ramshackle indie changed the game with a do-it-yourself alternative New Zealand music. Yet it is a Canadian record collector rather than an insider who has written the most detailed and palpable account of those reverberant early years, by using the records themselves as portals to the stories in this energetic, exhaustive review of the label’s Christchurch years." — Nick Bollinger