Introducing themselves as “one half of Hitchcock’s Regret”, Mark Moldre and Adam Lang were absorbing, emotive and exhilarating. Blending traditional folksy acoustics, with intensely original lyrics and instrumentation, they had no difficulty drawing a hearty applause from an attentive audience.

From the lyrically sparse ‘Buzzin of Bees’ to the intensity of Sparks and Rain, HR beautifully weld electronic effects into very organic arrangements.

Strangely, it was not until Mark introduced Adam Lang on Suitcase that I truly absorbed the peculiarity of their performance. In place of a kick drum was an old brown suitcase. The snare was replaced by a biscuit tin with a dog chain baffled inside of it. The high hat was a brake disc from an old Yamaha motorcycle and the electronic effects came from a composite of commercial and home made devices.

Divorced from any idea of being a novelty act, Hitchcock’s Regret exude a maturity and intelligence that is thought provoking and engaging.  While songs such as ‘Jerry’ were caustic, ‘Ferris wheel’ took us for a ride and wore a smile.

Promising to get us to the Church on time, the boys finished up with ‘Apathy’, which cannot be said for the audience.

The Church are not unfamiliar with The Basement. Their loyal following braved a rainy Monday night to watch them re-invent themselves for the infinitesimal time.

The launch of their new album featured some of their strongest offerings new and old; unplugged and re-arranged. The follow up to the surprisingly well received El Momento Descuidado, El Momento Siguiente is a treat if their live interpretation is to be any guide.

After sorting some muffled backing vocals and a noticeable twang, The Church’s infamous bottom end and rousing guitars were synchronised by the second track, Hotel. A pure jazz version of Reptile divided the audience, while Steve Kilbey’s banter gained everyone’s attention for perennial favourite ‘Almost with you’. 

The Church seemed to wash in and out of their now default acoustic sound, while sometimes branching out to experiment with different devices. New arrangements, a guest vocalist and a petulant lead singer produced mixed results. Stalwart songs, such as ‘Metropolis’ and Tristesse, exercised their considerable weight as a band.

The highlight of the evening was Steve Kilbey’s amusing interpretation of a Grey’s Anatomy melodrama which featured their widely acclaimed anthem ‘Under the Milky Way’. 

The final three songs, Grind, Unguarded Moment and Block expelled the audacity of the band. Scintillating handy work by Marty Wilson-Piper layered over the muscular bass and sledging beat of Steve Kilbey and Tim Powles created a wall of sound that seemed to send Peter Koppes’ Steinway crumbling.