The Renderers

The Renderers are New Zealand’s prime example of southern-fried country, and are indeed one of our finest ever bands. Brian Crook formed the Renderers with his partner Maryrose in early 90s christchurch when the Max Block Group failed to go anywhere. He was already part of the Scorched Earth Policy / terminals sequence of bands that was picking up wind again – but the Renderers were the Crooks band (they’ve cycled through line-ups, with John Billows, Peter Mitchell (also of squirm and Hiss Explosion), Denise Roughan (the 3Ds, Look Blue Go Purple et all), Robbie Yeats Dead C, verlaines) and Haydn Jones, whilst the Crooks’ have always remained consistent.

Their early recordings stuck to a strictly country approach and seemed a bit too forced and distant, it wasn’t until the band relocated to port chalmers, a small bay just outside of dunedin that the Renderers really found their sound. Maryrose’s vocal on the 7″ sincle ‘a million lights” is like a defining moment in New Zealand rock. An achingly beautiful, brief song that has since featured on many Flying Nun and xpressway compilations, the song typified the Renderers new found dark and country-tinged rock sound.

Over the course of the 90s, the Renderers albums grew stronger and stronger – culminating in the masterpiece that is 1998’s dream of the sea. Featuring a wonderful cover of Ritchie Venus forgotten gem forbidden planet and a swagger of fine, dark songs themed around the sea, it was welcomed with open arms by the u.s. Underground music scene, whilst going mostly ignored in New Zealand. The Renderers are still going strong, touring sporadically, whilst both Maryrose and Brian have released their own solo material (most notable Brian’s 2002 album as Bible Black, and Maryroses contributions to the Arc Life series of dunedin music compilations).

In early / mid 2004 during the process of organising a christchurch show with the band, i managed to conduct an interview with the duo, and have kept up to date on their schedule for future releases. Since the recent demise of arc life, plans are now intact for the Renderers to start their own label. With Maryrose’s first solo release, a further solo release from Brian in a form similar to that of his fractured solo debut bathysphere under his current Anti-Clockwise performing alias, and perhaps the 5th Renderers release on the way, to boot.
circa mid-2005 the group made further line-up changes, this time coinciding with a possible move back to christchurch. Original bassist john bellows was reinstated, and drummer mike daly (also of Eskimo and formerly YFC) become the groups rhythm section for a one-off christchurch show, still preceeding the highly-anticipated 5th album.

discography
picks in bold

  • trail of tears [1991 Flying Nun fn184]
  • ‘bigger than texas’/’revival radio’ 7″ single [1991 Flying Nun fn185]
  • ‘a touch of evil’/’howling at the moon’ 7″ single [1993 Flying Nun fn254]
  • that dogs head in the gutter gives off vibrations [1995 Ajax ajax042]
  • surface of jupitor [1996 Ajax]
  • dream of the sea [1998 Siltbreeze]
  • ghost of our vegas lives [2005 as ‘Maryrose Crook’ Tinsel Ears]

recommended songs

download from mp3.co.nz

  • dream of the sea
  • i hear the devil calling me
  • pure poison
  • a million lights
  • forbidden planet
  • dimmer waters

See-Also

Sheep Technique [01/07/2008]

My very last Sheep Technique (kiwi music show on student radio station RDU); with Paul, and with an aborted interview with Cindy (previously known as Sandra) from former Flying Nun single band 25c.

Bible Black – Hell of a Woman
The Renderers – Low to the Ground
The Clean – Point that Thing Somewhere Else
25c – The Witch
Front Lawn – A Man and a Woman
25c – Don’t deceive me
The Good Housewives – Concerto in D Minor
The Stones – See Red
Spacedust – Too Much Action
3Ds – Outer Space
Steffan Van Soest Hit-Machine – Woman By My Side (Mexican Man)
Ticket – Mr. Music
Shaft – The Downhill Racer
Scorched Earth Policy – Sunset on the Loading Zone
Scavengers – Mysterex
Toy Love – Bride of Frankenstein
Reduction Agents – Urban Yard
Blam Blam Blam – There is No Depression in New Zealand
Pop Art Toasters – What Am I Going to Do
Tomorrows Love – 7 and 7 Is
King Loser – 76 Comeback
Straitjacket Fits – Life in One Chord
Palace of Wisdom – Found and Lost
Wreck Small Speakers on Expensive Stereos – All of This
the Bats – Block of Wood
Snapper – Snapper and the Ocean
Bitch – Wildcat
Die! Die! Die! – Sideways Here We Come
The Androidss – Auckland Tonight
Lawrence Arabia – Half the Right Size

Victor Dimisich Band

Stephen Cogle, Alan Meek, Tony O’Grady, Peter Stapleton and (for the later period) Mary Heney – most of whom also formed Scorched Earth Policy with Brian Crook (em>The Renderers, Bible Black, Bathysphere) and eventually made their mark with the legendary Terminals. The Victor Dimisich Band’s recordings (an original Flying Nun EP and the extremely lo-fi live document Mekong Delta Blues – a cassette only Xpressway release) are highly collectable and very hard to find (despite being reissued with bonus tracks in 1997 on the Medication label), and show Cogle and Stapleton just developing their dark and morbid style (after spending time with Bill Direen‘s many bands).

Contemporaries to Christchurch’s Pin Group and the early rattlings of Bill Direen‘s Bilders, in fitting with the “Christchurch sound” at the time they favored something of a denser and darker than their southern Dunedin neighbours, expressed through a bleak vision and Velvet Underground inspired abandon.
Dan Vallor: Taken from Popwatch #9

Discography (picks in bold)

  • Native Waiter 7″ EP [1982 Flying Nun]
  • Victor Dimisich Band 12″ Ep[1983 Flying Nun Fnvd001]
  • The Mekong Delta Blues Cassette [1988 Xpressway Xway08]
  • Native Waiter 7″ EP [Reissue Crawlspace Space005] Rn
  • My Name Is K [Compilation Medication Med002]

See-Also

Maryrose and Brian Crook [April 2004]

It’s been a year since Christchurch last saw the renderers play live, what have the group been up to meantime?

The band (well, Maryrose and I) has been baby-sitting. After that show we spent 6 months in Invercargill, Maryrose painting and travelling and interacting with students, which will culminate in an exhibition at the Southland Art Gallery under the Southland Art Trust. During that time Brian was doing mixes on Maryrose’s solo album that was recorded just before we left town. We only did 2 days of recording so there were some takes that needed repair, but were too good to leave off. The album is close to finished with just the final vocals to go on. It will probably be billed as Maryrose Crook and the Renderers, since that’s exactly what it is. Currently Maryrose is painting for a follow-up show to her last years Brooke-Gifford exhibition, also she is trying to get a new work finished for the prospect show up in Wellington in May, so art has been the main devourer of time.

(Brian’s side-project) Bible Black released an excellent self-titled release on Arc Life in 2002 – can we expect a follow-up?

He (Brian) is currently finishing another solo album, this one is a more computer based thing called Anti-Clockwise, referring to the lack of danceable rhythms over the whole thing. Its shaping up as the best of the solo recordings so far, and manages to get quite rocky in parts, though not many.

The Renderers last album was 1998’s ocean-themed Dream of the Sea – a sprawling and dark album (which I would consider your finest moment) that came out on American independent label Siltbreeze…

We have been back in touch with Tim Adams who ran the Ajax label the mid 90s albums were released on. He semi shut down Ajax in 1997, which was why we went with Siltbreeze, but he has a new label enigmatically called 3 Beads of Sweat, so we’re looking forward to working with him again. It also means we can get copies of the older titles again.

With the recent and saddening death of the Arc Life label front-man Michael Brassell, how do you see the Dunedin label’s future?Aside from being a noted musician maryrose, you mentioned you’ve been busy with artwork. Is there a parallel between your music and painted works? where do you draw inspiration?

As far as painting and music go, i think that the main link is that i tend to write lyrics with visual imagery in them anyway and this made it easier for me when i took up painting because there was already a lot of imagery for me to draw on. I think that’s why my painting style developed relatively quickly – i was already thinking in those terms anyway. As far as inspiration goes, after completing a group of songs or paintings i try not to think about creating anything at all for a while (sometimes too long in Brian’s opinion!) and just wait to see what will set me off. I hang around the library and read a lot, watch films etc and last year after the William Hodges in Invercargill we travelled round the south for nearly a month taking photos and looking around. Ultimately i find that after a while things will start to jump out at me, either things i’ve read or images in photos we’ve taken etc, but mixed up in there with images that have set me off are always things relating directly to my life – feelings, emotions etc – in the Renderers we have tended to specialise in turning difficult times into songs but i guess lately that i have also tried to paint my way out of holes. I do try not to think too hard about what to paint or even what i am painting when i’m doing it because when i don’t have my brain too fully engaged i do much more interesting things and the final painting or song or whatever will often mean a lot more to me once it’s finished if i haven’t planned it to the nth degree. I listen to music obsessively when i’m painting – i did two whole shows on the soundtrack to Deadman and still find it hard to replace that one – i’ve almost left it long enough to play again now! Eraserhead was close and God Speed You Black Emporer almost worked as well but it wasn’t the same.

The Renderers played Christchurch on friday April 23rd at Creation along with the Terminals and an acoustic performance from Hamish Kilgour (the Clean / Magick Heads etc).