The Pin Group: Article on Ambivalence

The Pin Group. film by Ronnie van Hout

Roy Montgomery
Roy Montgomery
There’s a short film from 1981 by prominent Christchurch multi-dimensional artist Ronnie van Hout that’s been well-circulated on Youtube recently. The film opens with an evocative poem by (Pin Group contributor and early member) Desmond Brice, backed by guitarist Jon Segovia. The footage eventually cuts away to the equally evocative bass playing of the Pin Group’s Ross Humphries, running through the opening rumble of the brilliant ‘Ambivalence’, which is of particular note as it was the very first single distributed by Flying Nun Records.

In a general sense I think it was the accumulation of hard-to-get DYI punk, post-punk and obscure 60s vinyl coming from the UK and the US shared amongst a handful of folk committed enough to fork out large amounts of cash to pay for imports that led to a realisation that if no-one else was going to back the equivalent energy and garage aesthetic here then we had better put up or shut up.
– Roy Montgomery

Ross Humphries
Ross Humphries

A young Roy Montgomery bites his lips as he builds the intensity in his guitar playing, carefully looking over his shoulder at Humphries as drummer Peter Stapleton brings the song to full velocity. The sound is muffled, but Montgomeries husky baritone still powers through the murk – “I don’t know how to react to you, or even if I should” goes the opening line.

I think the lyrical content from Peter Stapleton and Desmond Brice was very filmic and atmospheric albeit rather bleak and fraught in a psychological sense. Desmond made no secret of his lyrics as recriminations or self-recriminations and used to refer to himself as Jim Despondent at the time – a not-too-subtle Doors reference.
– Roy Montgomery

The film gives a glimpse of a defining era in Christchurch music; free from the hype that would be thrust upon the Dunedin scene within the next few years.

Montgomery had been a keen purveyor of British and American Rock’n’Roll since his teenage years, avoiding the “oompah, thigh-slapping ‘schmaltz’ music” of Germany (he lived in Cologne with his British Mother and German father till the age of 5) and formed his first, in-name-only band – the Psychedeliks.

The only one with an actual instrument was me. I had a Diplomat six-string electric bought from Sedley Wells as a package with an amplifier that dated back to the late 1940s and which took about a week to warm up. I couldn’t play guitar at all at the time but I did come up with the band name and the spelling of it and I decorated the drum kit made out of crates with “crazy” lettering. We were as influenced by the Monkees as we were by anything really countercultural.
– Roy Montgomery

Peter Stapleton
Peter Stapleton

However at this stage in his live Montgomery was more music fan than musician, a regular at local non-pub gigs at venues like the Caledonian Hall and English Park where he can remember “an Epitaph Rider bailing me up in a toilet to scrutinise the Maltese Cross I had hung around my neck”. The Pin Group didn’t start taking shape until around 1980, pre-cursor groups ‘Compulsory Fun’ and ‘Murder Strikes Pink’ uniting Montgomery with Ross Humphries.

I was still learning to play guitar so three-chords/three minutes/buzzsaw music was the norm. The Saints were a big influence for me at that time. But we had a few atmospheric, brooding, plodders that anticipated the Pin Group modus operandi a year or two later.
– Roy Montgomery

The early Pin Group recordings were not particularly well received – mostly due to the crude murky quality of the recordings and pressing, a teething issue of the fledgling label. To add to that their live shows ended up a little odd, to say the least.

Typical audience reception to the Pin Group was bemusement as far as I could tell. I remember Bill Direen doing headstands on the dancefloor of the Gladstone to one of our songs but I think he was making some sort of Dada anti-art statement. On another night two women in bondage gear whipped one another for another number while a vibrator buzzed happily on a nearby beer-soaked table. Dancing and other expressive audience participation was not common for us so we had to be grateful for what we got.
– Roy Montgomery

However over the past 30 years the group’s reputation has grown substantially, partly due to the later success of the groups members (Peter Stapleton and Ross Humphries with the Terminals, and Roy Montgomery in a solo capacity), but also the powerful nature of the songs themselves. When Roger Sheppard was reunited with the Flying Nun label in 2010, creating a definitive Pin Group release was high on the labels list of priorities. Packaged with artwork by van Hout and mastered by Montgomery and engineer Arnie van Bussel, the release (named ‘Ambivalence’ after the terrific debut single) lays bare the gloomy, dark and dynamic sound of the Pin Group.

Over the course of the double-albums 20 songs (compiling all previous releases plus a live recording rescued from Montgomeries Earthquake damaged home) the listener is treated to gloomy, powerful songs that not only evoke a certain vision of Christchurch but indeed New Zealand at it’s darkest.

Buy the album here.

Complete Interview here.

[Published in an edited form by the Christchurch Press, Sep 21st 2012]

The Pin Group: Complete Interview with Roy Montgomery

Tell me about your early exposure to music (both listening and playing). I understand your mother worked for the British Forces Network radio station and that you were in a teenage group called the Psychedeliks?

I lived in Cologne, Germany until shortly before my fifth birthday. Although the “Allied occupation” was more or less over the Anglo-American cultural colonisation of Germany, the condition that many German filmmakers of the 1960s and 1970s used as a launching point for their work, was still in full swing. I don’t remember the oompah, thigh-slapping “schmaltz” music that bedevilled popular local music. I remember Elvis and rock and roll when I try to recall Germany. The Psychedeliks were a band in name only and I think I was pre-teen, technically speaking. The only one with an actual instrument was me. I had a Diplomat six-string electric bought from Sedley Wells as a package with an amplifier that dated back to the late 1940s and which took about a week to warm up). I couldn’t play guitar at all at the time but I did come up with the band name and the spelling of it and I decorated the drum kit made out of crates with “crazy” lettering. We were as influenced by the Monkees as we were by anything really countercultural.

What was your perception of Christchurch as a teenager in the 1970s?

It depends a little on which part of the 1970s you are talking about. The early ‘70s felt very exciting. I was a regular, albeit slightly-out-of-place, attendee at local non-pub gigs at places like the Caledonian Hall or English Park. Bands like Butler played regularly and it was like having Hendrix’s cousins living in the same town. I barely noticed the drug culture and was a source of amusement to the core stoners who followed various bands around. I remember an Epitaph Rider bailing me up in a toilet to scrutinise the Maltese Cross I had hung around my neck. That was the happy hippie period for me. Things got weirder as the decade wore on. I remember sitting in the Christchurch Town Hall in what I thought I was a pretty adventurous pin-stripe suit from an op shot waiting for Lou Reed to come in the mid-70s when he was touring Rock and Roll Animal and looking behind me to see several people dressed so outrageously that it made Lou Reed look like an accountant when he finally took the stage. I distinctly remember one Maori gentleman who was dressed in a Hussar’s uniform with an Afro and white make-up. Not long after that I found The Gladstone and the denizens there who seemed bent on carrying on the tradition of Andy Warhol’s Factory irrespective of the bands who played the three-nighters.

What can you recall about the time spent in (Pin Group pre-cursors) ‘Compulsory Fun’ and ‘Murder Strikes Pink’? Did these groups have a different sound from the Pin Group?

These were “precursor” bands. I was still learning to play guitar so three-chords/three minutes/buzzsaw music was the norm. The Saints were a big influence for me at that time. But we had a few atmospheric, brooding, plodders that anticipated the Pin Group modus operandi a year or two later. There were also the seminal hangovers from the glamrock and hippy era: Compulsory Fun opened their one and only show in 1980 at the England Street Hall with a cover of Roxy Music’s Virginia Plain, much faster of course than the original, and ended with The Byrds Eight Miles High done in manic overdrive well before Husker Du had experienced their own epiphany on that tune. Murder Strikes Pink used an image of Franz Kafka in posters for its handful of gigs at the Gladstone. Need I say more?

Can you lead me through the events that bought about the very first Flying Nun single? Tell me about the recording and your relationship with Roger in the early days.

In a general sense I think it was the accumulation of hard-to-get DYI punk, post-punk and obscure 60s vinyl coming from the UK and the US shared amongst a handful of folk committed enough to fork out large amounts of cash to pay for imports that led to a realisation that if no-one else was going to back the equivalent energy and garage aesthetic here then we had better put up or shut up. The first Pin Group recording was technically a Flying Nun distribution deal rather than an in-house recording i.e., the Pin Group paid for the recording, paid for the pressings, paid for the screenprinting and sleeves and Roger marketed it outside of Christchurch. You’ll have to ask Roger but I think he got to starting a label by a process of elimination. If you were not going to be in a band but you were not content to just stand there and watch your friends embarrass themselves in bands what else could you usefully do which no-one was doing? Band “managers” were rated about as highly as car-dealers. Label owner in the mould of Rough Trade seemed worthy to all and sundry at the time.

Peter Stepleton was playing in the Victor Dimisich at the same time as the Pin Group – do you remember other notable groups from the era? Did the Pin Group play at pubs or parties, or other locations, and what was the typical audience reception for the Pin Group?

The Pin Group played all of their ten or so shows bar one at the Gladstone. The other was at a Dada Cabaret night in the Arts Centre. Just prior to formation of the Pin Group the Vacuum Blue Ladder Band, the Vauxhalls, Vapour and the Trails and Stanley Wrench and the Monkey Brothers and were notable groups who played regularly in the late 1970s. 25 Cents, the Volkswagens, Hey Clint, Mainly Spaniards, Ritchie Venus were local contemporaries of the Pin Group. The first wave of Dunedin bands were making their tentative sorties to Christchurch at this time as well. Typical audience reception to the Pin Group was bemusement as far as I could tell. I remember Bill Direen doing headstands on the dancefloor of the Gladstone to one of our songs but I think he was making some sort of Dada anti-art statement. On another night two women in bondage gear whipped one another for another number while a vibrator buzzed happily on a nearby beer-soaked table. Dancing and other expressive audience participation was not common for us so we had to be grateful for what we got.

Were the groups songs trying to evoke a certain mood, feeling, etc? Your later solo releases often contain a cinematic or landscape type feel, and you’ve been involved with theatre.

I think the lyrical content from Peter Stapleton and Desmond Brice was very filmic and atmospheric albeit rather bleak and fraught in a psychological sense. Desmond made no secret of his lyrics as recriminations or self-recriminations and used to refer to himself as Jim Despondent at the time – a not-too-subtle Doors reference. I think both of them were writing words in a film noir style but it took the music that I was coming up with at the time a while to catch up. I think I was getting there about the time of Pin Group Go To Town and it went off more or less on its own after that. Often black and white but also technicolour or at least glorious Sovkino colour. My work with the Free Theatre in the mid-1980s which involved doing sound and lighting design for theatre before straying acting was to begin with less a deliberate choice about honing a particular scene-making or scene-evoking craft than it was about worrying that my girlfriend was going to make off with bohemian members of the theatre group and having to justify my presence at rehearsals and shows. The fascination with working in experimental theatre, which very few people seemed to understand at the time, and the creative scope afforded by its enforced minimalist aesthetic came a little later.

How did the new ‘Ambivalence’ release come about? I understand you worked with Arnie van Bussell on mastering the release – but where did you source the live recording?

I don’t know how much “pre-loading” or seed-sowing was done by Bruce Russell in this matter but Roger Shepherd rang me at some point in 2010 to announce that having reclaimed Flying Nun one of the prime re-release projects he had in mind was the Pin Group. I thought that this was a chance to correct a minor error on the Siltbreeze compilation of 1997 where a Coat demo had been accidentally substituted for the Flying Nun 003 track. The idea of doing a decent Ronnie van Hout artwork package was part of Roger’s pitch but I thought that it could do with an extra dimension if possible. As it happened our house got turned upside down in the September 2010 earthquake including the attic in which a daunting quantity of old cassettes had been carelessly stored. Some poorly labelled but vaguely familiar tapes had floated to the top of the mound of debris. I recognised these as various Pin Group live mixing desk tapes from the Gladstone which were only really meant at the time as working documentation to learn from for future improvement. I took it as a sign that something would have to be done to tidy up these loose ends. Hence the live recording.

Have you ever considered a reunion?

That ship has probably sailed. It was hard enough to get me on stage the first time around which frustrated Peter and Ross, understandably. And although I have mellowed a little in the ensuing decades and I believe that Peter, at some very and genuine fundamental level just loves making music with others I think that Ross, in particular, would struggle to see the point in it. I don’t think the old songs would be too complicated to reprise and our stage act was hardly athletic so we could probably do a reasonable impression of ourselves but it was more about the recordings than the shows back then so it is not an easy case to make.