The Darrans by NZAC

MOIR’S MATE and the Mate’s Little Brother

ABOVE Troy Mattingley (leading) and Jon Sedon on the grade 21 fourth pitch of Brothers in Arms (23). CRAIG JEFFERIES

BY CRAIG JEFFERIES

he thing that makes the Moir area so good is the fact that if you know where you’re going you can have a good sleep-in, a cup

of coffee and a general hut sift before starting the With the recent release of a new guidebook to the Darran Mountains there is no better time to visit this sublime alpine rock climbing wonderland. Over the following sixteen pages we highlight two Darrans areas where development has been rife in recent years and take a retrospective look at the Darrans with a 1970s photo gallery.

THE DARRANS

mad dash up the hill. The sun hits the walls about 10 am and given that this isn’t the place to be pulling on tiny holds without the warmth of the sun it’s best to wait. Still, if you’re new to the place an early start will give you the opportunity to figure out where you’re going and what you’re doing.

ADOVE View along the Homer Saddle-Moir ridge towards the Diamond and West Faces of Moir’s Mate. The 200m face of the Mate’s Little Brother sits at lower right, with the upper north face of Mt Moir above it. The North Ridge of Mt Moir forms the background skyline. CRAIG JEFFERIES

PHOTO Derek Thatcher (leading) and Jonathon Clearwater at work on a project that cuts directly through the Second Coming overlaps. The first pitch has been freed at 28. CRAIG JEFFERIES

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The Diamond and West Faces of Moir’s Mate Selected routes shown

ABOVE Seconding the slabby lower pitches of the Bowen-Allan Corner, possibly the most-climbed multi-pitch route in the Darrans. The steep walls of the upper Cleddau Valley in the background. PAUL ROGERS

BELOW Craig Jefferies on Rough Diamond (21). CRAIG JEFFERIES COLLECTION

First things first: bust your gut up to Homer Saddle then scramble along the Homer Saddle-Moir ridgeline trying not to scare yourself shitless! This airy walk in the sky will put you on all fours if you’re not used to the exposure. Once you pop out onto the friendlier slopes below Moir’s Mate you can relax and enjoy the view. Moir’s Mate has a little of everything: natural routes, mixed natural and bolts, as well as a few ‘must dos’ for the first timer. The Mate is split into two faces, both with their own personalities; the Diamond Face to the left has the steeper, cleaner lines while the central area of the Mate holds the long alpine classics. A little history: The Central Line (Murray Jones, Keith Nannery, 1969) was the first line on the face. ‘…up the left side of the headwall; the crux pitch is a grade 18 off-width below the overhangs, then right past the roofs finishing with an excellent pitch up the split headwall crack.’ Jones was something of a demi god at that time; clocking up first ascents on many of the alpine walls both around Homer Hut and further north in the Central Darrans. In typical fashion, he took a direct line through the face— no mucking about here. Soon after more lines appeared, of which the Bowen-Allan Corner (John Bowen, Stu Allan 1972), must rate as one of the most climbed alpine rock routes in the park. Assuming you don’t get lost on the initial slabs and long traverse you’ll be rewarded with a perfect two-pitch open book corner topping out just shy of the summit. The Diamond Face is much more compact. The lines are steep and intimidating at the base and have seen a few retreats, but if you make

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it through the first pitches you’ll be rewarded with consistent and sustained climbing on fantastic rock. All the lines are good here, but my personal favourite is the Garden Trowel Route. The climb has a multiple personality, reflecting the many parties that have added their two cents throughout the years. First were John Barnett, Al Hay and Galen Rowell in 1977. In the aid climbing frenzy of the 1970s they were no-doubt looking for the steepest, most overhanging things close to the hut. Consequently they worked their way through the overlaps then onwards and upwards to the base of the Bowen- Allan Corner. Some years later the base was set free, then again years later the beautiful top pitches added. Five long pitches of 18, 19, 17, 19, 15 (if the overlaps at the base are a little wet then bump it up a notch). More recently in 1999, Sam Brooks, Murray Judge, Andrew Macfarlane and David Stevens rapped in and bolted Rough Diamond (21, 16, 21, 19, 21). The first three pitches are worth three stars, and given that there are rap bolts in place it’s an easy bail if things turn to custard. For the strong men and women out there, Brain Dynamics (Steve Carr, Jonathon Clearwater, 2005) looks a real find, staunch though. At 24 and no second ascent as yet we’ll leave the grade open to confirmation.

THE MATE’S LITTLE BROTHER The Mate’s Little Brother is a two hundred metre tall wall only three hours walk from the road. It’s steep as all hell and littered with cracks and corners. It’s arguably one of the best multi-pitch crags in this little country. Yet if the routes are so damn good, you’ve got to ask: why don’t they get climbed more? Well apart from the general Darrans

PHOTO: CRAIG JEFFERIES

MIXING IT UP ON THE MATE

Strobe Light 21 John Dale, Nigel Perry, 1982. b Rough Diamond 21 Sam Brooks, Murray Judge, Andrew Macfarlane, David Stevens, Dec 1999. c Brain Dynamics 24 Steve Carr, Jonathon Clearwater, Jan 2005. a

Garden Trowel Route 19 John Barnett, Al Hay, Galen Rowell, Jan 1977. e Garden Trowel Direct 21 Guy Cotter, Nick Cradock, 1980s. Headwall pitches: Greg Beisly and Allan Uren, f Bowen-Allan Corner 17 Stu Allan, John Bowen, 1972. d

Central Line 18 Murray Jones, Keith Nannery, Jan 1969.

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the wall. Climbing up the slabs, he made for a large right-facing corner and took it all the way to the top. Crystal Void (19) plus a little aid. In 1990 Paul Rogers, Dave Vass and Colin Pohl took the ‘next step’ in Darrans climbing evolution by free-climbing the arches and further extending Second Coming straight over the top of the Little Brother. Even with the addition of a terrier bolt the top pitch it is still a trouserfiller. With this ascent the grade changed from A3-ish to grade 26! Over the next 13 years there were plenty of epic tales and oneline descriptors in alpine journals, all helping cement the Mate’s Little Brother’s reputation as hard-man territory. I accept that 15 years doesn’t do wonders for stumpy 6mm bolts, but there were solutions: a friend told me how he equalised two said rusted bolts in the hope that two bads make a good. And the route descriptions … well they were always open to suggestion. In 1995 Dan Meecham and Steve Eastwood made it over the top of the Little Brother by a desperate traverse up and left from Brothers in Arms. ‘From the second-to-last belay … step right and follow a seam up on good gear till the crack runs dead, belay here off slings if on 50 metre ropes; med cams and fixed #9 nut. Start out down and left on a traverse towards Milford Cruise on flakes that break, placing gear that doesn’t exist. Just before the water streak head up … this is a full 50 metres … Place any bolts on this and kiss your kneecaps goodbye punks!’ —Steve Eastwood. The pair dubbed the pitch Get a Gerbil up Ya. By 2000 ‘n’ something things were changing. Second Coming was starting to see regular free ascents, one every two years or so. In 2003 Brigid Allan, Steve Eastwood and I went looking for Crystal Void and

accidentally ended up on Crystal Meth (16, 17, 19, and 16). A short line on the right-hand edge of the wall. Then in 2004 the pace picked up, and for good or bad there was no turning back. The combination of 10mm stainless steel and Murray Judge’s petrol drill created two new lines and a re-vamp of Brothers in Arms. Jonathon Clearwater bolted a project through the central part of the face crossing the lower section of the arches, and with the help of Derek Thatcher the first pitch went free at 28, the rest is still in waiting. Last summer Jon Sedon, Troy Mattingley and I camped on the summit for a night or so (fully recommended!) and proceeded to rap down Brothers in Arms to sort out a few issues. Pitch three above the white leaning corner was straightened and a fourth pitch added which exits practically on top of the wall. Belays were re-bolted and bolts added on Craddock’s Retreat, both to the crux on the first pitch, and through the first 10 metres of the second pitch, leading into the corner of Brothers in Arms. This gives four long pitches of solid 21, now that’s got to be worth the walk. Kester Brown and I returned to the stunning crack line on the right side of the steep wall, first spied back in the late 1970s. Five pitches and three days later we had completed New Jersey Drifter (24, 21, 21, 22, 18). The grades are still up for debate but every pitch is a stunner! So if you have just emerged from a winter’s hibernation, feeling something is terribly wrong with those plastic holds you’ve been pulling on, get yourself geared for a summer in the Darrans and try your luck with the weather gods. The Mate’s Little Bro is fast becoming a climber-friendly cragging venue. It will always have a reputation for tough climbing, but wildly spaced gear and rusty bolts are fast becoming a thing of the past.

The Mate’s Little Brother Selected routes shown The Milford Cruise 22 Murray Judge, Paul Rogers, Feb 1989. b Brothers in Arms 23 Murray Judge, Paul Rogers, Mar 1989. Pitches 3 and 4 were climbed by Jon Sedon, Troy Mattingley and Craig Jefferies in Feb 2006. c Cradock’s Retreat 21 Guy Cotter, Nick Cradock, Feb 1989.

dilemma of weather and access, the wall has had a somewhat unjust reputation for tough climbing, wildly spaced gear and rusty old bolts. The first recorded route on the wall was completed by Geoff Wayatt and Peter Gough back in 1974. A second ascent of this route has not been reported. Heading up from the slabs on the right-hand side of the wall the pair traversed as far left as possible before aiding a series of corners toward a five metre roof near the top of the wall. ‘A lot of climbing was up the deep side-cracks of detached flakes. Hitting the highest piton in subtly loosens the lower ones making the climbing rather trying … Geoff kept nailing across to the roof. Two more moves with stacked pitons and then he finally arrived at the crack through the roof … It had very little depth and all the pitons were tied off usually to less than half-an-inch, and they were all upside-down at that. Eventually he went out of sight, and all I could hear was a précis of the next and hopefully last pitch ‘rather thin!’ —Peter Gough. No grades were given back in those days, but if I was to hazard a guess it would be somewhere between really hard and f**king scary. There was a rattle of hardware in the late 1970s by Bill Atkinson, Mike Perry and Reg Marron. A few bolts were placed on lead to gain a stunning crack on the right-hand end of the central wall and an attempt was made at the overhanging arches but nothing eventuated. No activity followed until 1980 when Paul Aubrey and Mark Moorhead successfully aided through the overhanging arches in the centre of the wall to climb Second Coming. Apart from the technical nature of their climb, what made the route stand out was the extensive use of rawl bolts to pass blank sections of wall. They did a desperate exit right above the arches across a ‘weakness’ to finish over the top of the Little Brother. I imagine they finished up around the same spot where New Jersey Drifter finishes. Frightening! This one got a grade, A3-ish. Not that many in New Zealand really knew what that meant, and even less tried to repeat the route. The late 1980s saw a continuation of the crag climbing mentality in the development of routes by Murray Judge and Paul Rogers. Armed 26

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Mayan Smith-Gobat starting out on the crux pitch of Second Coming (26). Jamie Vinton-Boot on belay. DEREK THATCHER

with a hand-drill the pair climbed two fantastic routes: Milford Cruise (20, 22, 21) which follows a series of overlaps on the far left of the wall. You often seen it running with water early season but the route actually avoids much of the wetness until the final corner. Then there is the classic Brothers in Arms (20, 23, 21) heading up toward a leaning, slightly overhanging white corner; arguable one of the best pitches this side of the black stump. Not long after this ascent the crafty eyes of Nick Cradock and Guy Cotter spied a line directly into the corner; two pitches and a few bolts later there was Cradock’s Retreat, although the section leading into the leaning corner off the belay turned out to be a gripper (hence the name) and has since seen only a few repeats. Around the same time Hugh Widdowson found himself alone on the right side of

Hugh Widdowson, 1989. g Crystal Meth 19 Brigid Allan, Steve Eastwood, Craig Jefferies, Feb 2003.

Second Coming 26 Paul Aubrey, Mark Moorhead, Feb 1990. Free variation Paul Rogers, Dave Vass and Colin Pohl, Feb 1990. e Project 28 Jonathon Clearwater, Derek Thatcher, 2005. f New Jersey Drifter 24 Kester Brown, Craig Jefferies, Jan 2006. g Crystal Void 19

The author (right) and Keith Riley hanging out on an ascent of Second Coming. CRAIG JEFFERIES COLLECTION

c d

PHOTO: CRAIG JEFFERIES

BABYLON

Mayan Smith-Gobat on Requiem (30), right-hand end of Babylon, with the steep rain-forested terrain of the Cleddau Valley in the background. DEREK THATCHER

An unbiased critique of the latest releases BY BRUCE DOWRICK

t is now several years since the first creations on the Wall of Babylon were released to the general public. Despite much hype, a book deal

and the inevitable movie these have failed to achieve commercial success. I suspect that many people considered them desirable but somewhat intimidating, inaccessible and perhaps thought they lacked the huge power supply required to enjoy them. By contrast, many of this seasonâ&#x20AC;&#x2122;s offerings are tailored to the recreational end of the market and offer ABOVE The stunning walls of Babylon Crag; carved in granite and adorned with European stainless fittings. CRAIG JEFFERIES

the same quality at fraction of the cost. A deliberate

RIGHT Philippe Lagace on Tufa Dub (24) at Babylon. BRUCE DOWRICK

shift to the left coupled with an extravagant use of bling-bling has resulted in a menu with mass appeal. Buy now and avoid the queues at Christmas!

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Jonathon Clearwater letting it all out on Rage (30), established by Derek Thatcher in 2004. DEREK THATCHER

GETTING THERE These striking lines are only available at the amphitheatre 500 metres up the street from the corner of Tutuko and Cleddau. We anticipate that future travel options will include monorails, gondolas and an assortment of tunnels! Ample parking is provided. Many participants will be delighted that accessibility is more in keeping with modern expectations than many nearby traditional attractions.

THE VENUE The remarkable repository of these lofty works is crafted in tasteful and durable granite. Well roofed for performances in most conditions and fully carpeted in a deep sumptuous green, it features original live music by the local inhabitants and substantial water features. Safe and comfortable lounging and dining is available in the ‘Boardroom’. Furnished equipment is designed to be convenient without compromising the sense of excitement generated by such spaciousness.

ACCOMMODATION Most visitors will reside at the newly redecorated Homer Hut. No expense has been spared to fully refurbish this establishment. Management are obviously eager to seek a new clientele as the place had in the past attracted many social misfits and rough Bohemian characters. Expect fine dining, beverages, entertainment and five star comfort (BYO).

BACKGROUND

Climbers on the left side of Babylon. The stunning verticality of the right side sweeps away in the background. BRUCE DOWRICK

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The author having a stretch on Surface Tension (26). BRUCE DOWRICK COLLECTION

The Babylon Project was initiated by the visionary style-guru Paul Rogers as a sequel to the highly successful Chasm Development. His early avant garde foray into unexplored terrain ended spectacularly and disastrously with a sudden disassociation and sense of detachment. With a much increased stature he has become something of a mentor and advisor to subsequent generations. Later, and unaware of Rogers’ experimentations, G Griffith-Jones (The well-known ruthless commodities trader, sensitive artist and deep thinker) and B Dowrick (promoter, insensitive artist and frequent flyer) provided first proof of concept by utilising a ‘groundup approach’, blending natural methods with pragmatic industrial expediency to create Birdsong. Euro style consultant S Stellfeld helped shape Twotogo and created the framework that would later yield Fuel. This more ambitious project was handed to a government-employed specialist, D Thatcher and counter-culture extremist M Gobat-Smith. After grappling briefly with the intricacies of the matter Thatcher grasped what was necessary to enable a satisfactory conclusion. Gobat-Smith concurred. ˜

Jon Sedon on pitch three of PSI (25). CRAIG JEFFERIES

The author on the first pitch of the stunning Project Aqua (25). CRAIG JEFFERIES

Mayan Smith-Gobat on the three-star Fuel (29).

Encouraged by the result they created a fantastical range of variations, extensions and new flavours of considerable subtlety and austerity. The brand of Babylon was launched. Meanwhile the tracts of unexplored real estate next door were being investigated by the likes of prodigious Wanaka property developer J Sedon, the famous cartoonist Murray Ball, Queenstown deconstructionist A Ford, author and local hotelier C Jefferies, the fanatical Dowrick and a few other wild-eyed believers. Many great masterworks now adorn this wall. Almost everything on display is now absolutely free! Following is a selection of the best (and a few re-releases—with one remix).

Project Aqua 25

Leftism 23

Comprises four courses. You could make a real meal of this! Starts with a simple mixed salad. The main combines natural and GM ingredients in a spicy, lean and meaty dish. Often drizzled with a light dressing. This is followed with a simple cheese board. Dessert is small; generally finger food, but you’ll be stuffed in no time! Finish with a beer at the Milford Pub.

Bird Song 26

An earlier and little known New Zealand silver screen classic. Something of an epic, few manage to hold on through the complete trilogy. The plot is obvious enough but there is fantastic character development and spectacular locations. This has been recently re-edited to increase product placement, minimising earlier problems with over exposure.

Dream Liberator 24/25

This sleek machine has more under the bonnet than appearances would suggest! Gentle handling of the controls and steady economical acceleration will reward with a great ride. Easy starting. A great choice for burn-outs.

The Obvious Weakness 26

Tufa Dub 24

The Whore of Babylon 26

After the brief dramatic opening sequence it’s mostly a waltz, but builds in intensity to a moving, if slightly desperate, finale. The second piece is choreographed beautifully with long graceful moves and growing tension. A delightful fusion of morris and tango but the ending is pure disco.

Epifright 26

The beginning of the first chapter is familiar enough but soon strays into slightly disconcerting terrain. However it is worth persevering for the second chapter which is a surreal example of the genre and botanically very informative. Almost unbelievably the plot keeps you at arms length from the real world—and when you finally claw your way back … the plot really thickens. Chapter three follows naturally enough. The last is pure suspense with a surprise ending. A real cliffhanger!

PSI 25

Well-conceived and aesthetically pleasing, this is also the highest and most impressive structure on the block. The upper stories are magnificently airy and well appointed with European stainless fittings. Enjoy the huge domed ceiling, ornate walls and stunning views. (Disabled access is not provided.)

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A triptych of uniformly perfect texture and golden hue. Almost inscrutable to the uninitiated it suggests tantalising possibilities but true meaning is elusive. No concession has been allowed the traditionalists. An interfusion of sketchy lines and broad colourful strokes. High art indeed!

Surface Tension 26

An alternative way to finish. After the main, open this full and heady little number. Initially served in jugs that never seem to last long enough. Strong at first but increasing delicate. Smooth tannin finish.

DEREK THATCHER

Flares are out. Graceful curving lines are in. This season look for handy clips, deeply embossed materials, distinctive chalky prints, exquisite finishing work and plunging necklines. C’est la tres haute couture, non?

Minimal but intense. This was once touted as an introduction to the poetic style of the far right. Just a short single line, it doesn’t even rhyme … Hard to get a grip of.

Fuel 29

State of the art, with all the bells and whistles you’d expect at the top end. Perfect performance requires some fine tuning, a little wiring and plenty of twiddling of knobs. Does not include batteries.

Katalepsis 32

A symphonic masterwork from the maestro. Lots of fiddling, a little light percussion, some great rock and lots of blowing of trumpets. Rap at the end. Much has been made recently of New Zealand’s cultural resurgence, Pacifica, skim milk technology and King Kong. We hope that these new world-class facilities and exciting new products will entice our finest performers to stay and further develop our nation’s tremendous potential.

Goverment-employed specialist Derek Thatcher engaging the intricacies of Katalepsis (32). This route has seven desperate undercling moves in a row.

Derek Thatcher on Requiem (30). The dramatic backdrop of the Cleddau Valley walls behind.

ROWAN DRUCE/THATCHER COLLECTION

TOM HOYLE/THATCHER COLLECTION

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