Peter Gutteridge (and Brother Love) at the Darkroom

Apologies to Brother Love for missing their set – though I did talk to ‘the Brother (aka Martin Henderson) and the long-time ex-Christchurch sludge-rockers are back in the garden city again, with more shows on the horizon. You might remember Brother Love and the Homebacon Gang, playing shows with the likes of Space Dust, Ape Management and King Loser throughout the 1990s.

Peter Gutteridge at the Darkroom
Peter Gutteridge at the Darkroom

It was a rare treat to see legendary Dunedin-based songwriter Peter Gutteridge too; It’s been ‘more than a decade’ since the Snapper frontman last played a show in Christchurch, and according to Gutteridge he hasn’t been playing live in Dunedin either, although he still continues to write and plans to record new songs.

With Snapper known for pulsating Synth and Heavy Guitar drones adding a hypnotic rhythm to essentially dark pop songs, Gutteridge surprised the ample Darkroom crowd by starting his set with folky acoustic versions of his songs. The set began with a sober, melancholy performance of ‘Born in the Wrong Time’ (a song Gutteridge had written whilst in the Great Unwashed) played in a very minimal, stripped back acoustic style, ringing out repetitive individual notes on his guitar akin to the droney sound of his Snapper recordings.

As a founding member of several of New Zealand’s finest bands (The Chills, The Clean, The Great Unwashed and Snapper), Gutteridge’s back catalogue is full of involving, heady and evocative songs, but Snapper’s signature pseudo-hit ‘Buddy’ seemed to be the most recognized by the crowd, enticing a few upfront to sing-a-long.

He finally switched up a gear with the last handful of songs – playing with ear-piercing electric guitar and pulsing synth and understated bass from Henderson in support. I was transfixed by the duo’s sound in this configuration, much akin to the solo Gutteridge recordings I’ve heard (there’s an Xpressway tape from the 1980’s called ‘Pure’), which makes sense as he opened this 2nd set with ‘Dry Spot’, a song he’d released on a 7” for Crawlspace Records in 2000, culled from a live recording.

Great to see one of New Zealand’s best underground musicians back and playing music again, and I would definitely look out for future recordings.

[Published in the Press 5/4/2012]

Snapper

Biography

After several false starts as a founding member of (get this) the Clean, the Chills and then the Great Unwashed, Peter Gutteridge was struggling to find an outlet for the sounds pent up inside him. Recording at home with a 4-track recording unit, he formed a new sound quite removed from the loose acoustic ramble of the Great Unwashed.

These recordings were created primarily solo, but with the occassional assitance of Alan Haig (Drums) and Ex-Bird Nest Roy Dominic Stones (Guitar) – culminating in a live support show for the Delawares featuring Gutteridge on Keyboards. Delawares guitarist Christine Voice was impressed and soon replaced Gutteridge on keyboards (and backing vocals), leaving Gutteridge free to lead the band (now officially named Snapper) on guitar.

The sound of Snapper grew and grew – Gutteridge began experimenting heavily with distortion and layering voices keyboard, adding thick, dense drones to their live and recorded sound. the debut self-titled ep was released and garnished critical acclaim, as the outside world was by now discovering the delights of the new zealand underground. the concept for their releases were to treat each instrumental passage as a layer of sound, songs rolled on and coalesced into a continious amalgam of sound. this continued on 1992’s Shotgun Blossom – the bands first full-length release (after the best part of 5 years).

With the band taking their time between releases they eventually lost Haig (to be replaced by former Toy Love Drummer Mike Dooley) and Stones (who went on to form the 3Ds) in the process. ADM finally surfaced in 1996 to pretty much universal adoration – whilst some critics compared them to the departed art-punk (and synth pioneers) duo Suicide, others cited them as the inspiration for the new wave of drone-popsters such as Stereolab.

ADM was recorded with something of a revolving support line-up – Stones was replaced by Gutteridge’s old pal David Kilgour, whilst a young Demarnia Lloyd (yet to make her name with Mink or Cloudboy), Celia Pavlova (Aka Mancini – of King Loser) and Voice provided backing vocals, with Dooley staying on as drummer.

Since then, not much has been heard from Gutteridge – despite Snappers reputation growing in retrospect. In the late 90’s he played tribute to his old band the Clean, playing guitar on High Dependency Unit‘s excellent cover of the Gutteridge-penned Clean classic ‘Point That Thing Somewhere Else’, and occasionally ventured out with some live performances, now reportedly focusing on keyboard based songs.

Members

  • Peter Gutteridge (Guitar/Vocals/Keyboards, 1985? – 2014)
  • Christine Voice (Keyboards/Guitar/Vocals, 1985? – 2000?)
  • Alan Haig (Drums, 1985? – 1992)
  • Dominic Stones (Guitar/Vocals, 1985? – 1992)
  • David Kilgour (Guitar, 1992 – 1993?)
  • Mike Dooley (Drums, 1992 – 2000?)
  • Martin Phillips (1992)
  • Chris Heazlewood (Guitar, 1993?)
  • Celia Patel (Keyboards/Vocals, 1993? – 1995?)
  • Maxine Funk (2000?)
  • Demarnia Lloyd (Vocals, 1996)
  • Thomas Bell (2000?)
  • Roddy Pain (Guitar, 1997?)
  • Tristan Dingermans (1997?)
  • Danny Brady (Keyboards, 2012? – 2014)
  • Hope Robertson (Drums, 2012? – 2014)
  • Jack Reid (Guitar, 2012? – 2014)

Discography

  • Snapper EP (1988, Flying Nun Records, FN110)
  • Dark Sensation 7″ Single (1990, Avalanche, AGAP010)
  • Shotgun Blossom (1992, Flying Nun Records, FN216)
  • Vadar 7″ Single (1993, Flying Nun Records, FN264)
  • ADM (1996, Flying Nun Records, FN294)
  • Hammerhead Live 7″ Single (2002, Crawlspace, SPACE010)

Links

 

The Clean – Compilation

1986 Compilation, Flying Nun, NORMAL51

In 1978 the New Zealand underground scene was on the verge of explosion. The Enemy, Bored Games, and The Spelling Mistakes were showing that New Zealand could produce great punk music, and all with a great ‘do-it-yourself’ gusto. The Enemy later developed into seminal early 80’s punk outfit Toy Love, and with their eventual collapse, guitarist/vocalist Chris Knox formed the infamous lo-fi pioneer duo the Tall Dwarfs with fellow Toy Love member Alec Bathgate. David Kilgour was a great fan of the Enemy, and had developed a relationship with the musicians that made up the Dunedin scene at the time. In 1978 he set about learning guitar, then forming a band that would eventually capture the essence of the 2nd wave of New Zealand underground music, the so called ‘Dunedin Sound’.

After a period of almost 2 years and a plethora of line-up changes, Kilgour settled on his brother Hamish on drums and original bass-player Peter Gutteridge (who after leaving the band before the majority of their output was an original member of the Chills, The Puddle, and then eventually his own band Snapper). This formation would go onto write a handful of The Clean‘s early songs, and eventually resurface in 1983 as The Great Unwashed (for a short tour and subsequent album), but it was Robert Scott (also of The Bats) who secured The Clean’s line-up in late 1979.

After touring haphazardly for there first three years of existence (often supporting The Enemy), Kilgour was propositioned by young upstart Roger Shephard, who had come up with the idea of forming a record label to release The Clean’s noticeably inspirational music to the masses. Shephard put together Flying Nun records in 1981, and The Clean’s breakthrough single Tally Ho! Was the label’s 2nd release (following The Pin Group‘s ‘Columbia’). Featuring a young Martin Phillips on organ accompaniment and recorded for no budget whatsoever, the single rocketed into the New Zealand charts – which was considered impossible for a self-distributed minor label recording at the time. Phillips’ catchy, driving organ and the gentle sing-song nature of Kilgour’s vocals had immediately struck a chord with the New Zealand public, but the band failed to fully capitalize on this early success.

Over the course of the next two years, the clean only put out two EP’s, Boodle Boodle Boodle was recorded by Doug Hood and features a stunning array of pop-classics (“Anything Could Happen”, “At The Bottom” and the Gutteridge penned classic “Point That Thing Somewhere Else”) and the equally superb ‘Great Sounds Great, Good Sounds Good, So-So Sounds So-So, Bad Sounds Bad, Rotten Sounds Rotten’ EP (track highlights included the instrumental “Fish” and jangly masterpiece “Beatnik”).

This complacency with relative seclusion eventually led to a number of self-imposed band break-ups, and delayed their eventual debut album release till 1990, which brought Vehicle – by which time the Clean had become a part time band for all three members, due to the demands of their various other musical exploits.

Compilation documents the high-times of the early Clean. Released by Flying Nun as an LP (then re-released during the 90’s CD reissuing phase), the album gathers together Tally Ho! And the original 2 EP’s, several tracks from the ‘Oddities’ self-recorded album, as well as live material recorded crudely on a fan’s cassette recorder.

The quality of the recording is of no concern though, as it becomes immediately apparent on listening to these lo-fi masterpieces that the Clean were on to something special. From the twin-guitar and bass onslaught of pounding pop opener “Billy Two”, the chugga chugga bass and steaming lead-guitar of “At The Bottom”, through to the quirky pop highlights of “Beatnik”, “Oddity” and “Hold On To The Rail” – there isn’t a single dud in this wonderful archive of one of pop-rock’s truly great bands.

Ear-marked by a stunning live rendition of signature tune “Point That Thing Somewhere Else”, the live tracks are murky, but show the band in full flight. Waves upon waves of guitar distortion, pounding bass and drums and kilgour’s enigmatic, hushed vocals characterize a band that did more for the New Zealand live scene than any other band has done before or since.

Rough and ready, this is a compilation of the most well-honed, dynamic guitar music your ever likely to hear. Simmering solo’s, bass that gets your foot tapping, and primal, aggressive drumming lead to a winning combination. Though the Clean may have since failed to live up to the expectations that this album documents, they have become a crowning monument for New Zealand in the history of pop-rock, and i’d recommend anyone with more than a passing interest in music to give this classic a try.

The Clean

Biography

Formed in 1978 by David Kilgour (gat/vox) and Peter Gutteridge (bass / vox), and eventually settled on Hamish Kilgour (drums / vox) as the permanent 3rd member after an assortment on configurations came and went (Doug Hood enjoyed a short tenure as vocalist, before leaving town as Toy Love‘s sound man, and Lindsay Hooke featured in several configurations).

Gutteridge was a major force in the band until artistic differences saw him leave (later forming Snapper), to eventually be permanently replaced by Rob Scott in 1980. They were at their prime when touring in the early 80’s, and the compendium of these years (entitled Compilation) documents this period beautifully.

The Clean developed what was dubbed the Dunedin Sound. A somewhat dark take on noise rock that incorporated elements of classic pop, driving rock’n’roll. Sardonic and almost creepy take on lyrics, with vocals to match. David Kilgour employed open guitar tunings and Rob Scott produced rhythmic, repetitive bass lines, that Hamish Kilgour would compliment with pummeling, primal drum rhythms (though role changes were common, all 3 members sung and played guitar) – all tinted by the Kilgour brothers penchant for psychedelic and scratchy lo-fi.

Over the course of the next 20 years, the band would go on long breaks and split a number of times for the members to form their own bands (most notably Rob Scotts’ the Bats and David Kilgour‘s solo outfits). After original single Tally Ho shot up the New Zealand chart in 1981 – simultaneously establishing The Clean and the Flying Nun label that had formed around them, The Clean released the pinnacle of their recorded out – the hugely influential Boodle Boodle Boodle ep. The EP managed to actually better the singles success, eventually reaching number 5 in the New Zealand singles chart (astounding for an independent release in the early 80s) and remaining in the charts for a full 6 months, easily reaching gold status.

The follow up EP ‘Great sounds great, Good sounds good..’ was another success, but by now the band were tiring of their new found fame, and worried about the effect success would have on their music. Needless to say The Clean disbanded at the top of their game in 1982 with the release of the momentous Getting Older single (a genuine perfect pop song). It wasn’t long though before the original clean line-up (with a returning peter gutteridge) reformed as the Great Unwashed – a poppier and more acoustically based approach than their early recordings. The Great Unwashed never quite reached the peaks of The Clean and again they disbanded (after a mere 2 EP’s yet again), with each member going back to their subsequent side-projects.

Thankfully, throughout the later 80s and into the 90s, The Clean never really stayed apart for too long, and after a while the (now cemented) trio of Kilgour, Kilgour and Scott were back to a more permanent existence (or at least productive between variable lengthed hiatus). Their first album proper Vehicle was a well rounded example for the band, if lacking a bit of the spark from their early eps. After establishing a reputation on the us college scene in the early 90s – yet another reunion album was planned. Modern Rock came out in 1994, and was a fairly wild departure from The Clean’s signature sound, being somewhat fragmented and often unfocused. It did however show that The Clean were capable of a wider scope, with strong pop elements and less heavy-handed lyrics than its predecessor’s.

Unknown Country – which could probably be considered their first comeback album seems to divide their fans more than any of the other albums. Its poppy where their previous albums were rocky, and quirky where they had been driving and somewhat chilling. I like the change in direction, but i know a lot of other people see the album as a band caught in two minds (usually attributed to their on again / off again history).

In 1996 Flying Nun started work on a tribute album to The Clean as part of their own 15th anniversary celebrations, gathering together a number of the musicians that define the New Zealand music scene, as well as those that have been influenced by The Clean with their own work. Overseas artists Pavement, Guided by Voices and Barbara Manning added their own tributes along side those from not only Flying Nun acts, but also the likes of a number of current electronic acts and other significant kiwi artists and bands. The album (titled God Save The Clean) was a success, and the release culminated in a gigantic gig in Auckland where The Clean were joined by a great deal of the artists who paid tribute – making a great night all round, and putting The Clean back into the limelight on the New Zealand scene.

This rekindled interest may have been a wake-up call to the boys, as they quickly became a semi-regularly touring band, and eventually began focused recording again. The result – Getaway is something of a triumph, a successful reformation by all counts and an excellent taster of The Clean’s current sound, check out the full review for more detail. The trio followed up their positive press in the United States (The Clean’s releases are now tied to David Kilgour’s US home – Merge Records) with Anthology, another document highlighting The Clean’s seminal earlier material on the first disc, but now accompanied by a well-constructed summary of their subsequent release on a 2nd disc.

Currently the band still remain mostly in hiatus. Hamish firmly resident in New York (with the Mad Scene and his own solo career), David seems to be forever gaining in stature as a solo musician in Dunedin – the Nashville recorded Frozen Orange album being a particular success. Rob Scott has always been a bedroom musician back in Dunedin (outside of the mostly-Christchurch based The Bats), though its taken Powertool Records till just recently to finally put one of his home releases out in to the market, with Tudor Gates arriving in 2004.

Members

  • David Kilgour (Guitar/Vocals, 1978 -)
  • Hamish Kilgour (Drums/Vocals, 1978 – )
  • Peter Gutteridge (Bass/Vocals, 1978 – 1979)
  • Doug Hood (Vocals, 1978)
  • Lindsay Hooke (Drums, 1979)
  • Debbie Shadbolt (Bass, 1979)
  • Jessica Walker (Bass, 1979)
  • Rob Scott (Bass/Vocals, 1980 -)

Discography

  • ‘Tally Ho!’/That Platypus’ 7″ Single [1981 Flying Nun Fn002 / Ying One]
  • Boodle Boodle Boodle 12″ EP [1981 Flying Nun Fn003]
  • Great Sounds Great, Good Sounds Good.. 12″ EP [1982 Flying Nun Fn Good001]
  • ‘Getting Older’/’Scrap Music/Whatever I Do It’S Right/Wrong’ 7″ Single [1982 Flying Nun Last1]
  • Odditties [1985 / 1995 Flying Nun / Cleano Productions Fn Odd One / Fn223]
  • Live Dead Clean 12″ EP [1985 Flying Nun Fn Ldc 001]
  • Odditties 2 [1987 W/ The Great Unwashed Flying Nun / Cleano Productions Fn Odd 2]
  • Compilation [1988/1990 Flying Nun Fn Comp001 / Fn154 / Fne03 / Fnuk03]
  • In A Live 12″ EP [1990 Flying Nun Fne29]
  • Vehicle [1990 Flying Nun Fn147]
  • Modern Rock [1994 Flying Nun Fn292]
  • Late Last Night 7″ Single [1994, Dark Beloved Cloud, DBC020]
  • ‘Trapped In Amber’/’Ludwig’ 7″ Flex-Disc [1994 Bonus With Fn292 Flying Nun Fn311]
  • Unknown Country [1996 Flying Nun Fn349]
  • Getaway [2001 Flying Nun Fn459]
  • Slush Fund Mini-Album [2001, Arc Life]
  • Anthology Double-Cd [2002 Flying Nun Fn468]
  • Cracks In The Sidewalk Ep [2002 Arc Life Arclife015]
  • Syd’s Pink Wiring System [2003 Cleano Cleano0001]
  • Mashed Compilation [2008, Arc Life, AHR033]
  • Mister Pop [2009, Arch Hill/MORR Music/Merge, AHR042/MM095/MRG325]

Links

 

The Pin Group

The birth of Roy Montgomery as a creative force (at least in terms of recorded groups), the Pin Group were a discordant cog that wouldn’t fit in the Christchurch scene of the early 80s. Recording the very first Flying Nun release single, ‘Ambivalence/Columbia’ – an agitating and badly recorded epitome to post-punk heroes Joy Division – with 2 fine songs struggling to make their way through the murk of the ultra-lo-fi recording.

The group originally formed as ‘Compulsory Fun’ with Montgomery on Guitar, Ross Humphries on Vocals, Tony Green on Drums and Dave McKenzie on Bass. When McKenzie departed the group became ‘Murder Strikes Pink’, with Humphries switching to Bass and Paul Champion filling the vacant vocalist slot. Neither of these line-ups lasted particularly long though on the group ‘went in to recess’ when Champion left the group. Montgomery then started collaborating with local Christchurch poet Desmond Brice, with Brice initially playing bass as well as supplying some of the Pin Groups early lyrics – before the classic line-up took shape.

The band were nicknamed Roy Division for their like of dark moody music a la Joy Division. Singer Roy worked in Christchurch’s main record store – EMI, and the shop was notoriously vandalized overnight with the words Roy Division spray-painted across the shop front, apparently not the work of the band and greatly embarrassing Montgomery
– Rob Mayes

Since disbanding in mid 1981, they’ve become more well known for their history than their music, which is a shame as the 3-piece of Montgomery (guitar – later of the Shallows, Dadamah, Dissolve, Torlesse Supergroup), Ross Humphries (bass – Great Unwashed, and a short stint in Bailter Space) and Peter ‘Buck’ Stapleton (drums – Scorched Earth Policy, the Terminals, A Handful of Dust et all) released some truly eclectic, original and most of all harrowing rock. Thankfully the long overdue retrospective released on Siltbreeze in 1998 provides everyone the chance to discover one of New Zealand’s most under-rated bands, and in much more accommodating (and audible) form.

The band presented a pretty gloomy image live with the members dressing predominantly in black, Montgomery playing guitar in black gloves with the fingers cut off. For all that most of their songs are far from gloom laden, being mostly melodic riff based music. The band have the distinction of having the first release on Flying Nun records, a 7″ single with black labels, and a matte black on gloss black cover, no track listings, no band name. Another 7″ followed, then an ep and later on a regroup and another recording. ‘Low Rider’ (a cover of US-group War’s classic single) was taken from a live recording of one of only about 8 performances, this one at the Gladstone
– Rob Mayes

Discography (picks in bold)

  • ‘Ambivalence’/’Columbia’ 7″ Single [1981 FlyingNun FN001]
  • ‘Coat (“Stalking Slowly”)’/’Jim (“Even Though, Scrape Scratch”)’ 7″ Single [1981 Flying Nun FN003]
  • Go To Town 12″ EP [1982 Flying Nun FN1967]
  • Retrospective [1998 Siltbreeze SB-68]

See-Also

Great Unwashed

the kilgour brothers formed the great unwashed during one of the clean‘s many 80s break ups, and decided a different focus was necessary. they ended up performing in a more acoustic approach, with warped little psych-influenced numbers of increasing strangeness.rnafter an ep the band added original clean bass player peter gutteridge and ross humphries (ex-pin group) for a large scale tour of new zealand and another ep. the ep was released in 3 seperate prints, one version being a double 7″ incased in a shower-curtain, that had been painted in a jackson pollock type manner (watch out for this rather rare version, my own copy has suffered badly from the plastic and has an inordinate amount of surface noise).rnpretty soon they had again split, only to reform once more as the clean towards the end of the 80s. a lot of the material from this period was collected on the clean’s oddities 2 compilation, though the great unwashed collection is an essential (and of far greater fidelity) release.
discography
picks in bold