John White

As the distinctive voice of Mestar, John White has become quite a well known figure in new zealand music, particularly in his home-town of dunedin, where mestar first formed, and where Cloudboy have become such a loved troup.

John toured with Demarnia Lloyd‘s excellent avant-pop outfit Cloudboy during their european tear to coincide with the release of the excellent Down At The End Of The Garden album, releasing his first solo album along the line.

A breezy mixture of low-key lullaby’s based around John’s delicate, almost child-like voice, accompanied by gentle acoustic guitar, plus a similar palette of instrumentation to the excellent Cloudboy debut; the albums 2nd half that veers towards droney string-section experiments – quite a dramatic change. In 2006 Jody Lloyd’s She’ll Be Right records reissued White’s excellent debut. In 2011 White resurfaced in Dunedin with new group The Blueness.

Discography (picks in bold)

  • Balloon Adventure Cd-R [2002 Self-Released]
  • Mogwash [2004 Self-Released]
  • Balloon Adventure Reissue [2006 She’ll Be Right]

See-Also

Swagger Jack

‘Swagger Jack’ is something else entirely. Jacks my hillbilly-punk songwriting character (a hard-drinking embittered feral/hippy idealist who records occasionally ‘rattly’ and violent, but often ‘pretty’ (in a melancholy way) acoustic numbers on battery powered 4-trks in doc huts and hardly ever goes to town).

He’s meant to be someone other than me (..!), a way to sing poppy folksongs without getting too hung up on ‘the word’ (see post-structuralist crisis…) but seems to be morphing more and more into antony milton these days though which is something of a disturbing trend!
Antony Milton; taken from the [now sadly defunt] Bands.co.nz website

Earlier (mid 90s) lo-fi recordings from Antony Milton, all released on his own Wire Bridge label as cassettes. It looks like Milton still has these recordings available directly from his Pseudoarcana / Wire Bridge Website as he’s been converting these releases to CD-r.

Discography (picks in bold)

  • Free Today, And Tomorrow Cassette / CD-r [Wire Bridge Wrb010]

  • Live At The Space Cassette [W/ Demarnia Lloyd / The Mr. Sterile Ensemble Wire Bridge Wrb011]

  • Gorse Cassette / CD-r [Wire Bridge Wrb012]

  • Flaying Begets Shelter Cassette / CD-r [Wire Bridge Wrb013]

  • My Good Guts Cassette / CD-r [Wire Bridge Wrb013]

See-Also

Demarnia Lloyd – Set Upon a Curve

2002, Arc Life

Oh how CD’s have changed the face of music! Where once a double-album ‘opus’ from the likes of Led Zeppelin barely scraped the 60-minute mark, we now expect our albums to be at least 45 minutes long, which would have seen quite unusual to the music fans that preceded the digital age. I say this because the latest pop gem from Demarnia Lloyd of Cloudboy fame that’s sitting on my desk.

At a mere 26:30 spread over 9 tracks, one would be forgiven for thinking the album lacks meat. But all vinyl addicts know that’s not always the case, and that the best records are the ones that leave you wanting more.

Lloyd recorded this startling collection of songs at the historic remote smith’s grain-store in rural Oamaru, southern New Zealand. Taking inspiration from the harsh environment and the effect that had on her dream patterns – Lloyd sculptured the album as both highly visual (Lloyd and Cloudboy’s live appearances are often full theatrical performances) as well as thoroughly melodic.

Making considerable advances since 2000’s ‘Trace’ EP, the album is a complexly woven platter of breathy vocals, intricate and delicate instrumentation. Lloyd quickly establishes a melloncollie mode with opening track ‘over again, pull me in’. The song still retains the key traits of her previous outing, and without any form of percussion, the song customarily floats along on a pulsing bed of organic synth sounds. What she has done though is refine her sound to incorporate the fine touches the Cloudboy album had in spades.

Whereas the original EP was stark and relied almost solely on Lloyd’s fine voice, the new album has an ethereal soundscape aspect that’s thoroughly alluring.
On ‘Too long away’ Lloyd experiments with short electronic beats propelling the song further, creating a humming, pulsing rhythm reminiscent of Radiohead‘s more recent albums. In fact all number of electronic beats, crackles and shuffling grooves flow in and out of Lloyd’s dreamy, breathy multi-layered vocal.

‘A crooked road’ makes subtle use of plucked violin, the upbeat ‘Vell guitar’ features mandolin from contributor Jeff T. Mitchell, and pretty much every track takes a different approach to sculpting soothing sounds.

Lloyd is as on form as ever vocally, this time incorporating a fair amount of over-dubbed complimenting vocals, all in her inimitable hushed, refrained vocal (almost a single pitch throughout the album). The effect is quite gorgeous, the vocal equivalent of my bloody valentine’s guitar-drones.

A thoroughly engrossing and complete album, and a marked improvement over Lloyd’s previous releases. And yes, it does indeed leave me wanting more – Lloyd’s style seems to be evolving at a substantial rate of knots these days. With the popularity of Cloudboy on the rise these days, we can only hope that their, and of course Demarnia her self’s charming brand of dream-pop finds itself a greater outside audience.

Demarnia Lloyd

demarnia lloyd has been a particularly bright star in the dunedin music scene in the mid 90s, forming her tenure performing alongside the likes of alastair galbraith, as well as forming the eclectic, dancy mink, and their successor (whom she made her name with), cloudboy.
an increasingly prolific song-writer and a precious, unique vocalist, lloyd has performed under many different alias’s and in very different styles, but her songs and hugely inflective voice still stays as commanding as ever from release to release.
strip to just simple casio accompaniment when performing as cloud coupe, she is perhaps at her most tender, and a heck of a refreshing live performer. 2001 brought the long-awaited solo full-length set upon a curve a brief, but impressive set of songs written and recorded in oamaru’s historic grainstore, a large getaway in outback north otago.
discography
picks in bold

Mink

Demarnia Lloyd formed Mink in the early 90s, performing an eclectic mix of pop and rock with Jamaican and other more worldly influences (often varying towards folky styles). More skewered than her latter outfit Cloudboy, Mink were popular around Dunedin, without ever breaking out to New Zealand-wide popularity. Lloyd was joined by Geneveive Mclean, George Henderson, and featured contributions from future Cloudboy members Johannes Contag, Heath Te-Au and Craig Monk – along with Alan Starret and Emily Barr.

Discography (picks in bold)

  • Mink [1994 Infinite Regress]

  • For My Mink [1996 Infinite Regress]

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 DIY 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 90’s and 00’s – 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 Failsafe Records, 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 90’s 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 DIY 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 coordinating position with the fledgling 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-inspiring 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 organizing 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 90’s (including one that was particularly significant to me – a late 90’s 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) Minisnap 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’s 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 uninterested 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.