With a constant trickle of carefully-measured alt rock singles since 2021, Auckland-based four-piece Frank on Tap released a five-song EP titled ‘Beside You’ early in 2024, and are now shaping up for the release of their album debut. Turning up the heat, their latest single Mary & Me featured on NZ On Air Music‘s June NewTracks compilation.
Ben Jones on bass guitar and keys from Tāmaki Makaurau; Zarek Naylor on guitar and vocals from Ōtautahi; Max Hackshaw on guitar and vocals from Tāmaki Makaurau; and Coady Pfeiler on drums and vocals from Kāpiti Coast.
A couple high school hero bands – Outlet Slacks and The Shed.
Frank on Tap was born between friends found at university in Wellington. Zar and Xuzz (Alexander Grant) started writing songs together in 2021, Xuzz on vocals and Zar on guitar. When recording these first songs they needed a drummer. Zar was studying music at Massey at the time, and approached fellow student Coady to lay some drums down.
From then on, the band started to come together. Max was also attending uni with the boys, and was asked to play bass. Finally, the late but great Xavier Enright was on second guitar. In 2022 Xuzz moved to the UK, and Frank on Tap had a big shift both in lineup and in style. Max moved from bass to lead vocals and guitar, and Sean McCann joined on bass. Sean then moved to Aus in 2023, and was replaced by current bass player Ben.
Legend has it, Frank on Tap has existed since the dawn of time. The name is said to have first emerged from the shadowy depths of the infamous flat known as Mudges. How it came to be – or why – remains a mystery lost to time, one that even current members can’t unravel. Perhaps history faded into legend, and legend into myth…
The original lineup featuring vocalist Xuzz was much more pop-indie inclined. With easy listening chords and simple vocal centred compositions. As the lineup shifted our own songwriting has matured, Frank on Tap now creates more progressive, explosive, and explorative music. We don’t like to be pinned down to a single genre and find joy in writing songs ranging from lush acoustic ballads to noisy gritty chaos.
We’ve had some very memorable opening slots with both international and local artists, but I think our biggest highlight to date would be our very first headline tour. Something about travelling around the country together for the first time to play shows was all of our first taste of what being a musician can have in store. Also we only had three songs out at the time, and ended up packing out all of the shows, which was pretty incredible!
This song marks a real turning point for us as writers. It’s the first release where we’ve pushed beyond recounting personal stories and experiences. We’ve become more introspective, exploring themes that are a little harder to face head-on, and more creative in how we address them. There are also subtle moments where you can hear the vocals, guitars, bass and drums engaging in these call-and-response conversations. You can hear the intent behind every part, so it’s probably that intentionality that stands out the most to us.
Mary & Me is pretty much an exploration of our relationship with vice. It’s that tipping point where you’re not sure if you’re doing something for enjoyment or because it’s slipping into something more dangerous. We use ‘Mary’ to personify that thing, or person, who shows up in moments when you’re a little more vulnerable. You can hear in the verses the relationship feels sort of seductive and empowering, but there’s this underlying tone that’s questioning. ‘At what cost?’ Essentially we wanted to capture that relationship of wanting what you know is bad for you. That tug-of-war between craving and control.
I think it would have to be between either the bend of the lead guitar which happens in between the first verse, or the bass line which carries the song on its back.
That it can be hard to train yourself out of something that seems comfortable like addiction / vices, and that’s okay. People that say it’s easy haven’t gone through it. Be a little easier on yourself and if you or someone else you know is struggling with anything, there is always help.
We recorded it with our friend De Stevens, who works out of Roundhead. De has helped us (in more ways than one) become one big machine when it comes to recording. Being in the studio with him recently he has encouraged us to record live, which is a very rewarding way of getting the songs done.
We are blessed to have Cuillin Hearty as a manager, she is an absolute workhorse and has been such a great guide through the maze of the industry. We have also worked with De Stevens for this tune, our last EP and our next project coming up. He genuinely opened another world for us. All of our video and photography content is through our good friend Jett Scott, Jett is extremely talented at all things visual and he has helped us so much with all of our creative direction. Cuillin, De and Jett have had to put up with us, shot guys.
Nothing really as full on, a bit of session work for a few of our mates (Cammy, Xuzz). Shoutout to the mastermind George Villa, we all go around to his studio and craft up some different stuff with him. That guy gets it. Maybe one day it’ll be released.
George Villa: Time Gon’ Trickle Down
Bleach: Ends
Becca Caffyn: Gas Money
Our song Rush was in February this year.
We have applied for NZOA a number of times. Unfortunately we still haven’t got it! I think the biggest criteria struggles are the ones to do with the top mainstream radio plays. Mainstream radio is very hard to get on as a local artist. Love to all the student radio stations who are genuinely interested in the up and coming scene.
Our advice for funding applications is to be as thorough as you can in the big write ups part of it. The team at NZOA are investing money into you, so they need to be assured that their money is going to musicians who are going to spend it wisely. Get everything down to the dollar in your plans and have a genuine reason for it. Making sure you hit a solid amount of criteria is also important!
The key learning from the ‘Beside You’ release was patience. Meaning putting in more time and effort to prepare the assets involved, such as the cover art, promotional content, marketing tactics, and even the organisation of the release plan itself. We half-arsed that release pretty hard, so the reach of listens wasn’t great, and we learnt a lot. It’s very easy to get impatient with new music and you just want to get it out into the world as soon as you can. It’s an important lesson for any artist to fight this urge and be patient. It’s so worth waiting for a better, more thought out, and thorough release, than to get too eager and drop it without all the necessary content.
We have a few more singles coming soon, and then our debut album, something we are all incredibly happy with. Alongside the album we will also be doing a tour of the country. Keep an eye out for those!
Supplied photo by Jett Scott