West Coast, USA readers! If your a fan of the Renderers and/or Simon Joyner and the Ghosts, you’re in luck! They’re about to start rolling down the Coast, with some pretty damn choice rekkids in hand. Here’s what Maryrose has to say:
We’re off on tour down the west coast with Simon Joyner and the Ghosts. There’ll be t-shirts and posters for sale; see attached photo for gorgeous t-shirt/poster art.
We’ll also be toting copies of the Renderers Rocket Into Nothing and Brian’s solo outing Bathesphere (1997, Medication) for the first time available on vinyl!
Portland, OR – Holocene
Seattle, WA – Sunset Tavern
Eugene, OR – Luckeys Club Cigar Store
Legendary early Flying Nun band (1982-6) that would later reform to become the Terminals, marking the debut of a young Brian Crook (later to form the Max Block and the Renderers). They put out a couple of highly sought after EP’s which contained some of the original versions of Terminals songs such as ‘Lolita’ and ‘Mekong Delta Blues’.
Initially they seemed more pop focused (well pop in the way that say, the Verlaines are pop) but the dark, rattled approach of Peter Stapleton soon turned them into something far more nefarious and disturbing. The Keep Away From The Wires compilation was put out by Medication in the late 90s and collects all their recorded material, along with live out-takes (though they’re of questionable quality). Pick up anything you can find from these guys.
Initially Stapleton (drums / lyrics) was flanked by a young Mick Elborado (bass / vocals – who carried a few songs from his Drowning Is Easy days) and Mary Heney (guitar, vocals, organ and drums – came from 25 Cents, a short lived ‘party band’, along with short stints in both the Victor Dimisch Band and the Pin Group) and Mick’s old bandmate Ian Blinkinsop – though he left before their first public appearance. Andrew Dawson soon joined to replace Ian on vocals, and brought around recently arrived ex-hastings lad Brian Crook who…
Was into German music at the time, y’know, Can and Faust and that sort of stuff. Some weird hybrid between German music and the Beach Boys I think I was kind of thinking about. Yeah, when i finally got to the Scorched Earth practice, the songs were y’know, two minutes long, or something. And Peter was really into that ‘Pebbles’ thing. And Captain Beefheart. Y’know, just, every practise, out would come the Captain Beefheart album.
– Brian Crook, taken from Wade Churton’s ‘Glam, Punk and Scorched Earth Policy’
Over the course of the bands 2 year run, Onset/Offset label-founder Campbell McClay (bass) and Catherine Upson (backing vocals) made contributions to their recordings.
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