Barnard’s Star

Biography

Wonderful now-defunct 4-piece shoe-gazers out of the garden city that put out 2 7″ Lathe Cut EPs, and a stunning 6-track album that turned out to be their parting recording some 2 years later.

Barnard’s Star live shot, from http://flamingrednz.blogspot.co.nz/

Comparisons could be drawn to My Bloody Valentine, Slowdive and “Nowhere era Ride – but Barnard’s Star took a decidedly more ethereal approach – distilling the shoe-gazer sound to a fine pulsing tone, which was quite a spectacle live.

Poster for Venus Cafe show with Le Mot Cafe, from http://flamingrednz.blogspot.co.nz/

Playing coffee houses and small gigs in sporadic fashion, they became quite the cult act – especially due to their apparent lack of recorded material, so when they broke up in 2002 – their recordings became as scarce as the musicians themselves.

First EP, image from http://flamingrednz.blogspot.co.nz/

Winstanley has gone on to form the Undercurrents and now has involvement with the Creation venue and art-space, whilst bass player Helen Greenfield and guitarist Nick Guy went into seclusion, eventually performing (so far a single gig!) material as Helen and Nick with a synth-drone focus.

2nd EP, image from http://flamingrednz.blogspot.co.nz/

Finally their drummer Tyrone Thorn (who replaced original drummer Fraser and also handled some drum programming and sampling duties on the EP) moved to Sydney, forming electro outfit Swingingtastybag.

Barnard’s Star [1999]

Members

  • Marcus Winstanley (Guitar, 1996 – 2002)
  • Helen Greenfield (Bass, 1996 – 2002)
  • Nick Guy (Guitar, 1996 – 2002)
  • Tyrone Thorn (Drums and Programming, 199? – 2002)
  • Frazer Talbot (Drums, 1996 – 199?)

Discography

  • ‘Miasma’/’Object #6’ 7″ lathe-cut [1998 Beat Atlas]
  • ‘Miasma (Helena)’/’nebula’ 7″ lathe-cut [1998 Beat Atlas]
  • Barnard’s Star [1999 Beat Atlas BEAT009]

Links

The Undercurrents

Excellent Christchurch guitar band that evolved from earlier group The Centre Will Hold. From that group Jamey Holloway (Guitar / vocals), and Nathan Bycroft (Drums) were joined by Nik O’Keefe (Bass, Vocals) and Marcus Winstanley (Guitar) to form the original line-up in mid 2003. This original line-up played in a low-key manner, with just Winstanley’s guitar adding an extra layer of Shoegaze type guitar into the mix (as he had done with previous band Barnard’s Star).

Eventually Bycroft left and after a short stint by Stephen McCarthy (Pine) the ever-versatile Simon Nunn (also of the Steffan Van Soest Hit Machine, Hi-Tone Destroyers etc) filled the drummers seat more permanently, and beefed up their sound quite a lot. Michael Summerfield (Palace of Wisdom, Cowboy Machine) joined on viola, adding a level of country/folk inflection to their sound. The group managed to win the 2004 RDU Round Up band competition, released an EP with the help of Michael Brassell (aka Michael J Hex) / Arc Life Records and set up All Plastics – a small recording studio.

Simon Nunn eventually found himself committed to his regular gigs as a professional musician, so young drummer Matt Scobie (Black Market Art, T54) was brought in to replace him, and long-time bassist Nick O’Keefe also left, replaced by Vaughan Watson (Pumpkinhead, Squirm). The group has continued a low-key existence, with only a handful of shows a year and recordings few and far between.

Discography (picks in bold)

  • Undercurrents (Blue Stripes) EP [2004 Arc Life]
  • Undercurrents (Big Ears) EP [2005 All Plastics]
  • Undercurrents EP (Black Birds) [November 2006 All Plastics]
  • Heavy Sky [July 2010 All Plastics]

See-Also

Torlesse Supergroup – Torlesse Supergroup

Aquarius Records New Release Record Reviews

honestly we would have been happy if this was ALL the record did, but then we would have missed out on part two, which might be our favorite new jam

– Aquairus Records New Releases

Thanks to Helen who alerted me to this review of the Torlesse Supergroup’s self-titled debut. For the uninitiated this is Roy Montgomery’s duo with Nick Guy (Barnard’s Star). Aquarius Records are a San Francisco based rekkid distributor who specialize in hard to get, underground and (most importantly) great recordings.

Check the link, read the review and listen to the streams, its super!

Torlesse Super Group

Named after the South Island mountain range, the Torlesse Super Group is the intriguing duo of Roy Montgomery (Pin Group etc) and Nick Guy (Barnard’s Star); creating soundscapes about the harsh New Zealand high-lands.

Discography (picks in bold)

  • TSG [2011 Regis Recordings Rebis011]

See-Also

Barnard’s Star [August 2006]

When I remember Barnard’s Star what comes to mind are the places I saw this wonderful Christchurch group perform and how the venues added to the overall experience. I think my initial exposure to the group was at the Venus Cafe, a long since departed coffee shop – one of the first ‘hip’ such joints to hit the scene in the mid 90s. Located on Lichfield street above what was for a period the Liquor Lounge and also a gay bar whose name escapes me; Venus was often filled with University and late High School types, wasting away half a day sipping on a huge hot chocolate, along with a scattered few yuppies apparently ‘slumming it’ – I distinctly remember seeing a press review of the place which noted that half the crowd couldn’t afford to order anything.

Still, the Venus Cafe put on some wonderful shows; from the table-climbing antics of The Black Panthers to the reserved but eclectic sounds of the Dialtones and Barnard’s Star themselves. I can remember bassist Helen Greenfield wrapped in a big woollen coat, plunked on the floor playing bass guitar whilst surrounded by band mates – guitarists Nick Guy and Marcus Winstanley, and original drummer Frazer Talbot. The idea of Barnard’s Star was formed by Nick and Marcus during a music lecture at Canterbury University in 1996. The band became more that just an idea at a party a few months later. Although only two members (guitarists) at their first jam session, the band soon acquired a bass player (Helen) who couldn’t play but informed them that she was joining anyway.

That’s how Barnard’s Star was Started. (The name Barnard’s Star was only supposed to be a working title, too) we soon realised that we needed a drummer and Started looking. That’s where Frazer came in. Frazer Talbot, an enthusiastic young drummer, joined us after we’d auditioned him in a garage out at Nick’s parents’ place in Marshlands. With a drummer on board we started to write new songs and think about playing live.
– Helen Greenfield

Barnard’s Star was an ever-evolving outfit, who made some huge strides over the course of their short life-span. From Nick and Marcus’s original idea in 1996 the group mutated through mellow but rather sonic walls of guitar to more ethereal sounds – with the electronic input of Talbot’s successor Tyrone Thorne allowing the group to become more production-orientated. This diversity is quite present in their recordings as the sparse, minimalist early singles differ quite dramatically from the polished, free-flowing later EP – which was self-recorded, mixed and remixed by the group, eventually surfacing on the Beat Atlas imprint in 1999.

We planned to record an album but that never eventuated it has a very cool working title Sonoluminesence. Not sure what happened with the band; we dissolved very slowly. Tyrone went overseas and is now working in London. Marcus, Nick, and I are still in Christchurch doing our separate things. It’s a shame really. I was listening to the EP recently and thinking (a) how great it is and (b) how it hasn’t dated (which, in my opinion, is the sign of a great record) – even though it is getting on to 7 years since it was recorded.
– Helen Greenfield

The second show I recall (which Helen also noted as one of their best) was supporting Dunedinites HDU and Cloudboy at the Lumiere Theatre – one of the most bizarre and sorely missed features of Christchurch cultural make-up. A compact movie theatre with a trippy lobby area filled with strange memorabilia and oddities (not to mention some great pinball machines and stacks of Spaceman Candy), the Lumiere was known for its bizarre feature events. They put on events like the ‘Incredibly Strange Film Festival’ and shows such as this which left the audience stuck in two minds whether they wanted to sit in the back and watch the bands play whilst ‘The Brave Little Toaster’ was projected behind them, or somehow squeeze up the aisles and attempt to dance somewhere near the front. What a wonderful place – one of my other exposures to the venue was a movie double header of ‘Microcosmos’ and ‘Baraka’ with Christchurch stars The Puffins creating their own live soundtrack to the features.

Making a superb support choice, Barnard’s Star outshone their southern counterparts at this show, incorporating all the articulate guitar-work of HDU with the whimsy and warmth of Cloudboy to really show what Canterbury is capable of (apparently the groups soundcheck was delayed by the HDU boys watching the finale of the rugby – another event in which the Cantab’s trumped their southern counterparts). Marcus Winstanley related that the band were a lot louder than most people anticipated – as he would mix the shows from the stage and had a tendency to push the levels. They would take on a bombastic, sonic nature; in fact Chris (from defunct local popsters Degrees K) related that their Harbor Light EP release alongside Roy Montgomery was something of a religious experience due to their shear volume.

[We played with] The Puffins, Bailter Space, Roy Montgomery, The Verlaines and Bilge Festival, Kate In The Lemon Tree, HDU and Cloudboy, Le Mot Cafe and Sea Worlde [a group who would later evolve a little, move north and change their name to the Nouveau Riche].
– Helen Greenfield

The primary recorded artifact of the band is an involving, pulsing self-titled EP, recorded at The Research Center with help from Mike Richardson (who also helped set up the groups Beat Atlas label) and mastered at Kog. The Research Center was the Former Rotherham District Hospital; a bizarre converted rural hospital manor which also served as the studio for The Puffins unreleased album sessions, and set in a secluded farmlet in North Canterbury.

It’s a top notch recording that connects as a single entity, flowing through 5 glorious, long and eclectic textural tracks, rich with tone and character. Using vocals as just another layer in a dense mix of pulsing synths, shoe-gazer guitar, digitally manipulated sounds and robotic bass. Unfortunately the EP never really had a chance as a radio favorite, with songs like the magnum opus ‘Jupiter Spirals‘ and the My Bloody Valentine reminiscent ‘Arc Infinity‘ clocking in at ten and a half and 8 minutes a piece.

After the group eventually faded away to their own pursuits, a handful of tracks surfaced on a variety of compilations – the last of which ‘(Terabytes, Terawatts) And Terra Incognita‘ is probably the most removed recording in their output, having gone through a great deal of revisions and remixes in its life-time it’s an ebbing electronic creation; drastically different from the material the group produced just a couple years earlier. In fact, Tyrone is currently working on a couple further remixes, though whether they finally see the light of day remains to be seen (and heard).

These days Helen Greenfield and Nick Guy perform on the fringe of Christchurch music circles as part of the Southern Oscillations collective and in solo guises as Mela and Lytteltronics, Helen has also recently joined synth and guitar duo Thomas:Parkes, and Nick is one half of the Torlesse Supergroup alongside legendary guitarist Roy Montgomery. Though Tyrone has moved to London after a spell with the Sydney-based ‘Swingingingtastybag’, Marcus Winstanley has continued to be a feature of the Christchurch music community, currently performing with Mini-Snap, The Dialtones and The Undercurrents, whilst also finding time for production sound work.

So a genuine Christchurch group who made a dramatic impact both as a live outfit and with their outstanding recordings and production work who expanded the limits of what a local band could be. I thoroughly recommend tracking down their EP if you’re interested in the outer limits of guitar, melodic electronics, or just plain great, involving music.

Contact geometric@clear.net.nz for a copy of the EP (whilst still available).

Minisnap

3/4 quarters of the Bats (minus Rob Scott), all under Kaye Woodward’s lead. Creating great pop tunes in the garden city, they’re thoroughly under-appreciated by Christchurch’s notoriously apathetic gig-going crowd. Its a pity as Kaye’s become quite the song-writer in Rob Scott’s absence.
Lately Marcus Winstanley (Barnard’s Star and the Undercurrents) has been joining in as an additional guitarist on some tracks along with helping out on the mixing board. Their follow-up ep March Hare was released mid 2004.

Discography (picks in bold)

  • In My Pocket Ep Ep [2002 Self-Released] Rn

  • March Hare Ep [2004 Self-Released]

See-Also

Roy Montgomery

Though appearing in teenage combo the Psychedeliks as early as 1971, Roy Montgomery emerged in the early 1980s as the deep-voiced guitarist for the Pin Group, one of New Zealand’s finest under-appreciated post-punk outfits. Though the Pin Group etched their name into New Zealand history as the very first band to be released on Flying Nun with their gritty debut single ‘Ambivalence’, Montgomery literally disappeared from the music world, after the demise of the Pin Group and it’s short-lived successor the Shallows.

After spending a great part of the 1980s traveling the world and discovering other avenues (including following Bill Direen‘s lead into the theatrical arts), it took Peter Stapleton‘s encouragement to bring this talented guitarist back to music, just as he had established a teaching role in Christchurch. Montgomery, Stapleton and Kim Pieters formed Dadamah, a more reserved and fleshed out, textural approach to music which re-invigorated Montgomerys live performing.

Dadamah gave way to Dissolve (a performing duo of Montgomery and Remarkables guitarist Chris Heaphy), and the first immergence of Montgomery solo recordings in the early 1990s. By now Montgomery had established a very distinct approach to playing a recording.

Montgomery spent his most prolific, style-defining period cooped up in a New York apartment. With just his bet-up 4-pickup Teisco guitar and a 4-track recorder, montgomery started producing vast soundscapes. Odes to the New Zealand countryside, and composed as lengthy evolving suites. His Fantasia on a theme by Sandy Bull from the fantastic Harmony of the Spheres boxset is a 20 minute journey filled with huge peaks and lulls – a masterpiece of interwoven guitar.

I would probably best describe Montgomery’s playing as an elegant, shimmering molass of guitar, rich with reverberation and slow-burning melodies. Montgomeries acknowledged masterpieces (such as the sublime Songs from the South Island and True – also with Chris Heaphy) are very evocative, visual works. Often composed completely free of vocals (though not always), Montgomery forms songs as soundscapes to environments, places, and moments in time.

As we rolled further into the 21st century, Montgomery again retreated from the live and recorded music scenes, continuing his role as a university lecturer and raising his young family. Thankfully in 2004 and 2005 he did return for two live performance in New Zealand, playing the Lines of Flight and Southern Oscillations festivals in Dunedin and Castle Hill (in-land from Christchurch). Performing as the Torlesse Supergroup with Nick Guy (formerly of wonderful space dronsters Barnard’s Star), these appearances might be an indication that we can expect future releases from one of New Zealand’s finest reclusive musicians.

Discography (picks in bold)

  • ‘Submerged And Colourful’ / ‘Cousinsong’ 7″ Single [1995 Hecuba]
  • ‘Long Night’ / ‘Its Cold Outside’ / ‘Film As A Subversive Art’ / ‘German Sister’ Double 7″ Single [1995 SiltbreezeSb58/59]
  • Songs From The South Island [1995 Drunken FishDfr-22]
  • Temple Iv [1995 KrankyKranky008]
  • ‘Zabriskie Point I/Ii’ 7″ Single [1995 Gyttja]
  • Goodbye [1995 W/ Flying Saucer Attack VhfVhf26]
  • ‘Something Else Again’ / ‘Adrift’ 7″ Single [1995 Roof BoltRb 004]
  • ‘Just Melancoly’ / ‘Used To’ 7″ Single [1996 Ajax]
  • Two Trajectories 7″ Single [Enraptured]
  • ‘Sterling Morrison, Corner 10th and First, 1966’ Split 7″ Single [1996 W/ Loren Connors GyttjaOoze-08]
  • Winter Songs 10″ Ep [1997 Roof Bolt]
  • ‘Cumulus And Fugue’ Split 7″ Single [1997 W/ Azusa Plane Colorful Clouds For AcousticsCloud 004]
  • E.N.D. 7″ Single [1998 Drunken FishDfr-27]
  • And Now The Rain Sounds Like Life Is Falling Down Through It [1998 Drunken FishDfr-41]
  • ‘London Is Swinging By His Neck’ 7″ Single [1998 W/ Kirk Lake Rocket GirlRgirl3]
  • ‘Particle’/’Wave’ 7″ Single [1998 Varispeed01 Varispeed]
  • True [1999 W/ Chris Heaphy Kranky]
  • 324 E. 13th St. #7 [1999 Compilation Drunken Fish]
  • Harmony Of The Spheres [1999 Triple Lp Compilation Split With Various Others Drunken FishDfr-50]
  • Allegory Of Hearing [2000 Drunken FishDfr-47]
  • Read Less Books Cassingle [2000 W/ Kirk Lake Victory Garden]
  • Silver Wheel Of Prayer [2001 Vhf Vhf49]
  • Split album with Grouper [2010 Root Strata RSGR004]
  • Split LP with Bruce Russell [2012 Grapefruit]

See-Also

Michael J. Brassell: A Memorial [Mar 2004]

Michael John Brassell was a revered and cherished man. As a central figure in both the Christchurch and Dunedin underground rock scenes, Mike (known to many by his stage pseudonym, Mike Hex aka Mike/whitey hiss) developed a distinct creative style unhinged from his commercial surroundings. Mike championed the d-i-y spirit, performing, recording, producing and releasing an abundance of beloved recordings with little regard for mainstream success, but full of such beauty, it would be hard pressed for any true music fan to find merit. Highly prolific, Mike bounced around a handful of bands in the 90s and 00s – making his name with a noisy Christchurch-based troupe of madmen called Squirm.

Formed with brett lupton and a drummer known as ‘hat’ in 1992, Squirm thrashed around Christchurch for some 18 months, releasing the ‘feeding the ground’ full-length in tiny numbers before disbanding – only to regroup late in 1993 with darryl kirk on drums. This line-up would produce Squirms defining releases ‘whip me honey’ and the ‘mister mistake maker’ ep on rob mayes’ vaunted local indie fail-safe recordings, but the Squirm boys wanted to push on for bigger things. Though the ep, recording under former jean-paul sartre experience and later stereobus front man dave yetton, had interest from the in-a-state-of-progress flying nun label – they ultimately failed to find their mark. The late 90s brought about a change in line-up, with peter mitchell (formerly of new zealands’ great underground sun-stained country legends the renderers) now on drums, with former pumpkinhead bassist vaughan watson solidifying the line-up for their last couple of years.

With aspirations to cross over to an american audience, Squirm took the unusual step of going it on their own, Mike forming his own recording label (noseflute recordings) and rechristening his Christchurch flat recording space as ‘Hex central’ – now a well-known spot for local muso’s. Though the d-i-y approach never saw them reach their goal of hitting it big overseas (and Squirm actually dissolved with the release of Mike’s first solo release), it did cultivate interest in the Hex philosophy to recording. Mike’s low-fidelity, hiss+ recording style (all future Hex recordings would be free from the threat of any kind of crystal-clear and septic digital clarity) seemed custom made for his quirky and explorative approach to guitar playing and vocalising. Suddenly other bands were joining in on the act – Mike playing particular attention to the centre will hold, a melodic local outfit of friends determined to produced the ultimate 1 minute pop song. In d flat.

Mikes’ music (he had soon released his solo debut ‘Johnny Horse’ in small quantities, spreading a short distribution to independent pockets of europe and the states, along with a keen – though small local following) was now sounding almost fully formed. After the release of the albums follow-up ‘the hiss explosion’, he took the step of moving to Dunedin. Taking a co-ordinating position with the fledging arc life recordings label – which had succeeded flying nun as the centre of all things low-fidelity in Dunedin, he joined locals stephen kilroy and thom bell. With Mike in line, arc-life thrived. New recordings from locals cloudboy and their charming chanteuse demarnia lloyd, along with renderers descendents (brian crooks side-project) bible black and the involvement of one of Mikes’ heroes – david kilgour of seminal outfit the clean, had arc-life well on their way to bigger things.

In 2002 Mike released what could be his finest release, the awe-inspiringly beautiful ’66’ with the hiss explosion – the texturally focused guitar-and-drums duo he had formed with former Squirm member peter mitchell for his last outing. ’66’ is pretty much a faithful recreation of how Mike and his hiss explosion sounded live – a rush of guitar, thumping drumming and melodic vocals. Based around Mikes’ obsession with a looping guitar foot-pedal (not exactly the height of hi-technology) the primitive sampler made for excellent compliment, and allowed Mike to create walls of transient, flowing sound, flush with soaring highs and lows that Mike caressed with his careful vocal approach – truly mesmerizing.

I had the fortune of organising Mike’s final Christchurch show on waitangi day 2004, and in an effort to promote the show, we scammed an interview used in local gig guide the package which i contribute towards, with Mike explaining where he was currently at. He talked about new releases on their way from hdu front man kahu and perennial Dunedin feature bob scott putting out a cd of ‘lost folk music’, along with possible recordings from the centre will hold’s outgrowths’ the (still Christchurch based) undercurrents. The big news though was that arc was rebuilding their home-brew studio – with the help of thom bell (who was now playing an integral part in the hiss explosions’ sound, being the in-house sound guy) they had purchase a new studio desk from canada and had set about putting things together.

The Hiss Explosions’ last Christchurch performance was a wonderful occasion. Christchurch has been witness to something of a re-birthing in the local scene in the last year, with more venues becoming regular performance options and the waitangi day show brought out the kind of crowd you reminisce about, with former scene regulars and underground musicians alike coming out of the woodwork to witness Hex’s triumphant return, along with some starting performances from substandard, idols of eve, Into the Void and fellow Dunedin troupers the international telepaths.
sadly Michael john Brassell passed just a few short weeks later, a sad victim of pneumonia; he died quickly and without warning in late february at the age of 38.

With little time to think, fleur de lis – a close friend and the front-woman of one of Christchurch’s most under-appreciated rock outfits the dialtones, and myself set about stringing together a memorial gig for Mike, and with out too much trouble people were soon going out of their way to pay tribute to our fallen friend. On friday the 12th of march, some 9 bands lined up to pay respect to Mike in their own way – the way Mikey Hex would have wanted it – with music. Memories and reminds of Mikes past were gathered in a tribute center near the stage, a beautiful image of Mike playing at the waitangi show, along with posters from Mike’s many bands through the 90s (including one that was particularly significant to me – a late 90s show were my own band made just our sophomoric appearance under Mikes lead), and his memorial signing book that was just about overflowing with loving tributes by the end of the night.

With 9 bands and some 300 punters, there was no messing around to be had. Dave Khan showed what a long way he’s gone in the last 18 months – forming an ethereal wall of sound from his keyboards and vocal harmonizing effects as drawing room – the solo moniker that seen him through a decade and a myriad of different styles. Playing out like ambient music at high-volume, khans’ approach made the perfect melodic introduction to the night, a relaxing low-key performance.

Substandard took the occasion to make some changes – for the first time they had become a four-piece, joined by guitarist danny bare’s flatmate matt on 2nd guitar and the groups first ever vocal performance. Covering sonic youth’s epitome of sound ‘diamond sea’ – a seething 20 minute song comprised of 2 distinct approaches – melodic vocal parts joined with full-frontal guitar attacks (known as the ‘sea of confusion’). Substandard made good on the hardest of covers, andrew adding his own touches while trying hard to mimic steve shelley’s minimalist drumming, gareth floating in and out with strong bass cues, while danny and matt reconstructed the piece with precision.

The Dialtones (with the ever-present sound supremo marcus winstanley making his 1st of 3 stage performances for the night) were absolutely bombastic. Marcus’s dominant drumming drove the band to new heights, fleur leading the band through one of their most rousing performances and absolutely the surprise of the night. Fleur’s usually sedate vocals seemed to raise with authority above driving compliment, and it sounds like they’re truly in-line to make a welcome return to the Christchurch scene with a new high-power approach to their slightly folky rock.

with the night now pressing on (20 minute sets are one thing, but set-up times had already seen the night stretch out an hour or so) mini-snap had arrived and were inclined to take the stage next. With marcus returning to the stage to compliment the rob scott-less bats sister band as the supplementary guitarist, mini-snap sounded a little muffled and lacked definition, but still displayed a charismatic approach to their jangly guitar pop.

Arriving from wellington to take the stage as Dragstrip), former Ape Management band mate of Mike’s David Clark displayed humor and a gritty approach to guitar rock. With darryl kirk soon filling in on some impromptu drumming (without knowing any of dragstrip’s stop-start song structures), he brought a smile to an already jubilant crowd. Using the kind of down-and-dirty insights that a beat poet might conjure up, dragstrip were brash and to the point – and thoroughly entertaining.

The entertainment continued in the form of a short and explosive set from Into the Void – another in the line of bands that appeared with the hiss explosion on waitangi day. The guys were right on forming, pounding away on the gig drum-kit with authority, while guitar and bass interlocked to create dense and highly rhythmic grooves. Things got a little silly late in the set when the drum kit, started inching its way off the stage, the voids drummer continuing to soldier on as his kit fell apart around him, with cymbals flying forward and his double-kick basically giving up the ghost simultaneously.

After a bit of a delay, the other surprise packet of the night – a new look shocking pinks took the stage for their debut performance. The pinks have cultivated a bit of a unusual standing in the Christchurch scene, diving fans and muso’s with their infectious danceable songs, but leader nick hearte’s somewhat unusual approach to retaining band members. Needless to say the new line-up looked a little nervous (especially playing to such a large crowd), with new guitarist kit not really making their new direction – closer to a shoe-gazer sound, all that obvious with some restrained playing. Cutting things short at a mere 2 songs; they ended in a flurry of sound as nick drowned the crowd in bass feedback.

Things took on a more mellow direction as the night passed 2:30 am – the much-vaunted undercurrents showing off the highly soothing melodic pop that had made them such a firm favorite with Mike. Bassist and vocalist Nick (formerly of seminal shoe-gazers barnard star, along with the guitarist – yes him again – Marcus Winstanley) really drove the band on a number of their songs, his playing adding volume (not to mention groove) to their wistful and contemplative pop melodies. One of my highlights for the night, the undercurrents unfortunately played to a fleeting crowd, weary from a late night.

Finally Eskimo – the new power-trio of Rob Mayes (bass), Michael Daly (drums) and local legend Dave Mulcahy (guitar) concluded things to a diminished, but enthusiastic crowd. Mulcahy and mayes joked, and ran through a couple of their newly formed songs – that sounded like a slightly harder variation on mulcahy’s former band superette. In good spirits (not to mention having consumed many) mulcahy grew distracted and frustrated in their third song, and quickly pulled the plug – effectively ending a long and wonderful night a little abruptly. Despite such a rough approach to a set, they did sound quite distinctive. After hearing an earlier performance to an un-interested varsity crowd a couple weeks back, eskimo sound like they are indeed making strides towards the kind of pop gem i know both mayes and mulcahy are capable of.

And thus a long night was completed. Special thanks must go to sound guru’s marcus and loki, who made everything flow so beautifully, and of course the many bands that gave their time for such a worthy cause. Michael John Brassell will be remembered as a friendly and encouraging man that meant a lot to so many people – he will always be our Mike Hex.