SLOW DECLINE: MUZAI at 10.

It started as a lo-fi affair in a flat in Auckland’s central suburbs. Ten years later, it continues out of a townhouse in Leeds and has returned to being a lo-fi affair. MUZAI Records has officially turned 10 years old.

Paying tribute to his co-founder Martin Phillips by using a god bows to math lyric for the work, MUZAI owner Benjii Jackson has brought together a mammoth playlist of tracks throughout the history of the record label along with a “one-shot” PDF to learn a little more about the label, reminisce of those times at The Basement (or how close they were to booking Anarchist Cafe on K Road) and, more importantly, remind people that the label is still alive and well in the North Hemisphere.

The nucleus of MUZAI Records has been well documented throughout the years; two guys getting drunk and wanting to start a mail-order record label, which fostered an incredible DIY ethic – cutting and glueing EP’s together, recording bands at the risk of noise control complaints and taking over a theatre space in Auckland City Centre to foster an all-ages scene.

But to reach a decade? It’s fair to say even the long-standing member of the label were surprised MUZAI got this far.

To call Slow Decline a compilation of works from the label would be an understatement. It is an anthology that brings together almost every band that has been involved with the label. From the very early days plugging the works of Kittyhawk and Sworn To The King to the present day move to Europe and representing Faux Machismo and the most recent collaborators, LAWMAN.

The anthology also demonstrates just how important MUZAI has been to the New Zealand music scene. A number of high profile acts started garnered their first attention through the label; acts like Doprah, Dog Power and Water started out in groups such as Ipswich, Zen Mantra and Sworn To The King.

It also serves as a reminder of just how diverse MUZAI has been with the artists it’s worked with. Girls Pissing on Girls Pissing rubbing shoulders with Idiot Prayer. EDM works from Moppy and G A M E S H A R K sharing the same platform as noise-rock merchants Flogging A Dead One Horse Town, goth-pop duo Cat Venom, spazz-punk trio Diana Rozz and shoegaze artists She’s So Rad.

Slow Decline is complemented with a 18 page “brochure”, with links to the pantheon of releases from the label over the last 10 years along with oral histories from recording engineers Tyler Burke, Daniel Speight, venue owner Rohan Evans, a pretty good Mac n Cheese recipe from Flogging A Dead One Horse Town and a detailed account of the Tauranga Music Sux/MUZAI Records “feud”.

With all the love in the world to every artist and music listener who has and continues to support us at this time.

A decade of DIY: from Auckland flat to Leeds townhouse

MUZAI Records was never meant to be a conventional label. It began, as many of the best things do, with a drunken conversation in a cramped Auckland flat. Benjii Jackson and Martin Phillips, fuelled by cheap beer and a shared obsession with the underground, decided to start a mail-order record label. There was no business plan, no investors, and certainly no expectation that it would still be running ten years later. The early days were chaotic and beautiful: EPs were hand-cut and glued together on kitchen tables, bands were recorded in living rooms with blankets nailed to the walls to appease the neighbours, and the label's entire catalogue could fit in a single cardboard box.

That DIY ethos never left, even as the label's operations moved across the world. When Jackson relocated to Leeds, the label came with him, trading the southern hemisphere for the north but keeping the same lo-fi spirit. The townhouse in Leeds became the new headquarters, a place where tapes are dubbed, zines are folded, and the occasional recording session still happens in the spare room. It's a far cry from the Auckland flat, but the principles remain identical: do it yourself, do it cheaply, and do it with heart.

The move to Leeds also marked a new chapter in the label's evolution. While MUZAI had always been deeply embedded in the New Zealand scene, the relocation opened up new possibilities for collaboration with European artists. Bands like Faux Machismo and LAWMAN represent this new era, bringing fresh sounds and perspectives to the label's roster. Yet even as the label embraces its new home, it never forgets its roots. The Slow Decline anthology is a testament to that: a sprawling collection that spans both hemispheres and a decade of relentless creativity.

Building a community, not just a catalogue

From the very beginning, MUZAI Records was about more than just releasing music. It was about building a community. The label's early years were defined by its involvement with The Basement, an all-ages venue in Auckland's city centre that became a hub for the local DIY scene. MUZAI didn't just put out records; they organised shows, fostered new bands, and created a space where young musicians and fans could come together. The label's takeover of the theatre space was a bold move, but it paid off, cementing MUZAI's reputation as a vital force in the Auckland underground.

That community spirit extended beyond the venue walls. MUZAI's mail-order operation was personal in a way that few labels can claim. Orders were often accompanied by handwritten notes, stickers, and the occasional mixtape. Fans became friends, and friends became collaborators. The label's ethos was simple: if you loved the music, you were part of the family. This sense of belonging is still evident today, even as the label operates from the other side of the world. The Slow Decline anthology is not just a collection of songs; it's a document of a community that has grown and changed over ten years.

The label's commitment to fostering new talent has had a lasting impact on the New Zealand music scene. Many artists who got their start with MUZAI have gone on to achieve wider recognition, but the label's influence goes deeper than any single success story. MUZAI provided a platform for experimentation, a safe space for artists to develop their sound without the pressure of commercial expectations. That legacy is woven throughout the anthology, from the earliest lo-fi experiments to the more polished recent releases.

The Slow Decline anthology: a labour of love

Compiling a decade's worth of music into a single anthology is no small feat. For Jackson, it was a labour of love that took months of careful curation. The goal was not just to gather the label's most popular tracks, but to create a comprehensive document of MUZAI's history. The result is a playlist that spans genres, eras, and hemispheres, bringing together artists who might never have shared a stage but are united by their connection to the label.

The anthology is complemented by an 18-page brochure that offers a deeper dive into the label's history. It includes links to the full pantheon of releases, oral histories from key figures like recording engineers Tyler Burke and Daniel Speight, and venue owner Rohan Evans, as well as more personal touches like a mac and cheese recipe from Flogging A Dead One Horse Town. There's even a detailed account of the infamous Tauranga Music Sux/MUZAI Records "feud," a playful rivalry that has become part of the label's folklore.

One of the most striking aspects of the anthology is its diversity. MUZAI has never been tied to a single genre, and the playlist reflects that eclecticism. From the dreamy shoegaze of She's So Rad to the abrasive noise-rock of Flogging A Dead One Horse Town, from the goth-pop of Cat Venom to the spazz-punk of Diana Rozz, the label has always embraced the weird and the wonderful. Even the more electronic offerings from Moppy and G A M E S H A R K find a place alongside the raw punk energy of Girls Pissing on Girls Pissing. It's a testament to the label's open-minded approach and its willingness to take risks on artists who defy easy categorisation.

Looking back, moving forward

As MUZAI Records celebrates its tenth anniversary, there is a sense of both reflection and anticipation. The label has come a long way from its origins in a cramped Auckland flat, but the core values remain unchanged. The DIY spirit, the commitment to community, and the love of music that defies convention are still at the heart of everything MUZAI does. The Slow Decline anthology is a fitting tribute to that legacy, but it is also a reminder that the label is still very much alive.

The move to Leeds has brought new challenges and new opportunities. Operating in a different country means navigating a different music scene, different venues, and different audiences. But it has also opened doors to new collaborations and new sounds. The label's recent work with Faux Machismo and LAWMAN demonstrates that MUZAI is not content to rest on its laurels. There is still a hunger to discover new artists, to push boundaries, and to keep the DIY flame burning bright.

For Jackson, the tenth anniversary is not an endpoint but a milestone. The label's future is uncertain, as it always has been, but that uncertainty is part of its charm. MUZAI has never been about grand plans or five-year strategies. It's about the music, the people, and the joy of creating something from nothing. As long as there are bands willing to record in living rooms and fans willing to buy hand-glued EPs, MUZAI Records will continue to thrive.

The Slow Decline anthology is available now, and the brochure can be downloaded for free. It's a celebration of ten years of DIY music, and an invitation to be part of the next chapter. Whether you've been following the label since its earliest days or are just discovering it for the first time, there's something in this collection for everyone. Here's to the next ten years.