A lifelong creative working within the realms of film, music, photography, and the written word.

I started acting in film and television, and voicing stories for Radio New Zealand, when I was 8 years old. See more here and here

I compose and perform music under the moniker Faint Spells. See more here. 

My photographs have been published in The New Zealand Herald, The Sunday Star Times, The Otago Daily Times, NO magazine, Uniform magazine, plus various news and entertainment websites including stuff.co.nz, messandnoise.com, and fasterlouder.com.au

I conceptualised and shot the artwork for The Eric Miller Experience's record 'Reconsidered', and contributed an image to the liner notes of the Flying Nun 25th Anniversary Boxset for the song 'Randolph's Going Home'.

My written work has been published in NO magazine, Style magazine, thewire.co.nz and witchdoctor.co.nz. See more here.

[press release 2015]

Faint Spells, the name given to the musical project conceived by Rebekah Davies, started as a one-woman enterprise, became a band, and has now circled back to being a solo act. After a decade of living in Los Angeles, Sydney and New York, Rebekah returned to New Zealand - where she spent her childhood - with the intention of taking the songs she had been writing since she was a teenager and turning them into a performing, recording entity. Faint Spells were described in a No magazine feature by Gareth Shute in 2011 as “creating an ominous mood with sparse musical parts that play off the darker elements of Davies’ lyrics.”

After starting a long distance, collaborative recording project with Jonathan Donahue of Mercury Rev in 2010, Rebekah has been asked to take Faint Spells on the road to support his band in Brisbane on their forthcoming Australian tour. Performing solo is an opportunity to present old and new songs in their original, stripped back form. In the lead up to this show, Faint Spells will be playing club dates in Auckland, the first on October 26 at Lucha Lounge. 

The genesis of Faint Spells was a show mooted by Australian musician and songwriter, Jen Cloher, who proposed that both she and Rebekah perform together, playing one another’s songs in front of an intimate audience at Auckland's live music institution The Wine Cellar. The success of that collaboration, plus the overwhelmingly positive reception from the audience, galvanised Rebekah into transforming Faint Spells into a band. Thomas Healy (Tiny Ruins/The Verlaines) was first on board on lead guitar, followed by Shayne Carter (Straitjacket Fits/Dimmer) and Gary Sullivan (Jean Paul Satre Experience/Dimmer) on bass and drums respectively. 

This line up played live between 2010 - 2012, with such local luminaries as An Emerald City, The Drab Doo Riffs, and The Checks. Feature articles subsequently appeared in Black magazine, the aforementioned No magazine, and the Sunday Star Times magazine. In 2012, film director Kirsty Cameron was so impressed with Rebekah's composition ‘Vultures’ that she included it on the soundtrack of her film ‘Swansong’, which saw a worldwide festival release. This recording came from sessions that were started by Rebekah and Tom during a highly fertile, creative period for Faint Spells. Shayne soon became motivated to produce the tracks that had been started in Tom’s home studio. He saw joining her band as another opportunity to play with a musician that he respected: “I just really liked Rebekah’s songs – she has a great sense of aesthetics and has a really good knowledge of music, and that comes through in the songs she writes.”

These additional sessions served to capture the sound and the essence of the live band in the studio, which was going from strength to strength. Comparisons to artists such as PJ Harvey and Hope Sandoval arose, both musicians that Rebekah has a profound respect for. Drawing from a palate of influences as diverse as Billie Holiday’s version of All Of Me, to the fractured squall of Scritti Politti’s Skank Bloc Bologna, Faint Spells became an act that swung from heartbroken incantations to indignant, bruised, revved-up guitar anthems. As Black magazine put it succinctly: “expect something a little dark, a little sweet and a little tough.”

Using Format