Bruce Russell

The man behind Xpressway, corpus hermeticum, and a significant part of the Dead C, Russell finally (after years of eclectic collaborations with a broad selection of New Zealand and international artists) released his solo album on his own Corpus Hermeticum label in 2003.

Discography (picks in bold)

See-Also

Scorched Earth Policy

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.

Discography (picks in bold)

  • Dust To Dust 12″ Mini-Lp [1984 Flying Nun Fn028]
  • Going Thru’ A Hole In The Back Of Your Head 12″ Mini-Lp [1985 Flying Nun Fn042]
  • A.D. Cassette [Live Recording 1986 Passage Passage10]
  • Foaming Out Cassette [1991 Xpressway X/Way 20]
  • Keep Away From The Wires [Compilation 1999 Medication Med04]

See-Also

Peter Stapleton

Peter Stapleton is one of New Zealand’s most referred underground musicians. As a member and song-writer for The Vacuum, Scorched Earth Policy and The Terminals, Stapleton has amassed a body of work like no other, and established himself as one of new zealand’s most distinctive drummers. Under his own name, Stapleton has also collaborated with Bruce Russell and Kim Pieters for several experimental releases.

Discography (picks in bold)

    Last Glass [Collaboration With Kim Pieters, Bruce Russell Corpus Hermeticum]
    Sex/Machine [Collaboration With Kim Pieters, Bruce Russell Metonymic]

See-Also

Xpressway

Xpressway was formed by Bruce Russell in 1985 to release his then-fledgling Christchurch band the Dead C, live archival recordings from This Kind Of Punishment and the debut solo material from Alastair Galbraith. Over the course of the next 23 (mostly cassette-only) releases, Xpressway, Russell and his comrades themselves formed an ever-growing niche-market of dark, brooding releases, mostly in lo-fidelity form, but full of character.

Xpressway was the label that set the careers of Stephen Cogle, Peter Stapleton and Brian Crook (between them being a major part of Victor Dimisich, Scorched Earth Policy, the Terminals and the Renderers), the Jefferies brothers and David Mitchell in motion, quite an achievement. Their brilliant compilations Xpressway Pile-Up and Making Losers Happy were re-released by overseas labels in the early 90s, hastening the influence of these inspiring 23 releases.

Russell ended the label once they had achieved global recognition, as he had always intended Xpressway to be a stepping-stone toward competent distribution, and they had achieved that by the early 1990s with American labels like Siltbreeze, Drunken Fish, and Kranky and European labels Turbulence, Ajax and Raffmond picking up a fair portion of the labels many talented musicians. Russell then launched Corpus Hermeticum – an outlet for even more challanging music (mostly by his own personal pool of musicians, but expanding into even overseas experimental and underground musicians).

Compilation Discography
Picks In Bold

  • Xpressway Pile Up [1988 XWAY5]
  • I Hate Pavel Tishy’s Guts [1989? promo issued in 2 versions XWAY6]
  • Xpressway Pile=up [reissue with extra tracks 1990]
  • Making Losers Happy [1991]
  • Whats That Noise? 7″ album [1992]
  • I Hear The Devil Calling Me 7″ album [distributed by drag city 1993]

Contact Details

A Handful Of Dust

One of Bruce Russell’s (Dead C) darkest outfits, often dealing with distinct imagery and motif’s in their music and especially pro-nounced in their liner notes (most of which are distributed through Russell’s Corpus Hermeticum label). Essentially a Russell solo show, but Alastair Galbraith and Peter Stapleton are both regular contributors.

Discography (picks in bold)

  • Concord [Corpus Hermeticum Hermes001]
  • Philosophick Mercury [Corpus Hermeticum Hermes002]
  • The Eightness Of Adam Qadmon Cassette [Corpus Hermeticum Hermes003]
  • The Seventhness Lathe-Cut 7″ [Corpus Hermeticum Hermes004]
  • Music Humana [Corpus Hermeticum Hermes005]
  • Three Dances In Honour Of Sabbatai Sevi, The Apostate Messiah Lathe-Cut 7″ Ep [Corpus Hermeticum Hermes006]
  • From A Soundtrack To The Anabase Of St-John Perse [Corpus Hermeticum Hermes009]
  • ‘Authority Over All Signs Of The Earth’ Lathe-Cut 7″ Single [Corpus Hermeticum Hermes010]
  • Now Gods, Stand Up For Bastards [Corpus Hermeticum Hermes013]
  • Topology Of A Phantom City Cassette [Corpus Hermeticum Hermes020]
  • Urban Psychogeography, Vol Ii: Jerusalem, Street Of Graves [Corpus Hermeticum Hermes029]
  • ‘A Little Aesthetic Discourse’ 7″ Single [1992 Xpressway]
  • Concord [1993 Reissue Imd]
  • Now Gods, Stand Up For Bastards [1996 Corpus Hermeticum]
  • Topology Of A Phantom City [1997 Corpus Hermeticum]
  • Spiritual Libertines [1998 Corpus Hermeticum]
  • Jerusalem, Street Of Graves [1998 Corpus Hermeticum]

See-Also

Dadamah

Melodic guitar textural band from a musically-reborn Roy Montgomery, who was noteably absent from the New Zealand music scene after the demise of the Pin Group in the early 80s. Kim Pieters sparse vocals add a lot to their charismatic sound, and a relaxed approach (only spiked by the legendary Peter Stapleton‘s occassional drumming) is very involving stuff.

Discography (picks in bold)

  • ‘Nicotine’ / ‘High Time’ 7″ Single [1991 Majora]
  • ‘Scratch Sun’ / ‘Radio Brain’ 7″ Single [1991 Xpressway / Majora]
  • This Is Not A Dream [1992 Imd / Majora Vgap-Lp-5750]
  • This Is Not A Dream Cd Reissue [1994 Krany Krank002]

See-Also

Roy Montgomery

Though appearing in teenage combo the Psychedeliks as early as 1971, Roy Montgomery emerged in the early 1980s as the deep-voiced guitarist for the Pin Group, one of New Zealand’s finest under-appreciated post-punk outfits. Though the Pin Group etched their name into New Zealand history as the very first band to be released on Flying Nun with their gritty debut single ‘Ambivalence’, Montgomery literally disappeared from the music world, after the demise of the Pin Group and it’s short-lived successor the Shallows.

After spending a great part of the 1980s traveling the world and discovering other avenues (including following Bill Direen‘s lead into the theatrical arts), it took Peter Stapleton‘s encouragement to bring this talented guitarist back to music, just as he had established a teaching role in Christchurch. Montgomery, Stapleton and Kim Pieters formed Dadamah, a more reserved and fleshed out, textural approach to music which re-invigorated Montgomerys live performing.

Dadamah gave way to Dissolve (a performing duo of Montgomery and Remarkables guitarist Chris Heaphy), and the first immergence of Montgomery solo recordings in the early 1990s. By now Montgomery had established a very distinct approach to playing a recording.

Montgomery spent his most prolific, style-defining period cooped up in a New York apartment. With just his bet-up 4-pickup Teisco guitar and a 4-track recorder, montgomery started producing vast soundscapes. Odes to the New Zealand countryside, and composed as lengthy evolving suites. His Fantasia on a theme by Sandy Bull from the fantastic Harmony of the Spheres boxset is a 20 minute journey filled with huge peaks and lulls – a masterpiece of interwoven guitar.

I would probably best describe Montgomery’s playing as an elegant, shimmering molass of guitar, rich with reverberation and slow-burning melodies. Montgomeries acknowledged masterpieces (such as the sublime Songs from the South Island and True – also with Chris Heaphy) are very evocative, visual works. Often composed completely free of vocals (though not always), Montgomery forms songs as soundscapes to environments, places, and moments in time.

As we rolled further into the 21st century, Montgomery again retreated from the live and recorded music scenes, continuing his role as a university lecturer and raising his young family. Thankfully in 2004 and 2005 he did return for two live performance in New Zealand, playing the Lines of Flight and Southern Oscillations festivals in Dunedin and Castle Hill (in-land from Christchurch). Performing as the Torlesse Supergroup with Nick Guy (formerly of wonderful space dronsters Barnard’s Star), these appearances might be an indication that we can expect future releases from one of New Zealand’s finest reclusive musicians.

Discography (picks in bold)

  • ‘Submerged And Colourful’ / ‘Cousinsong’ 7″ Single [1995 Hecuba]
  • ‘Long Night’ / ‘Its Cold Outside’ / ‘Film As A Subversive Art’ / ‘German Sister’ Double 7″ Single [1995 SiltbreezeSb58/59]
  • Songs From The South Island [1995 Drunken FishDfr-22]
  • Temple Iv [1995 KrankyKranky008]
  • ‘Zabriskie Point I/Ii’ 7″ Single [1995 Gyttja]
  • Goodbye [1995 W/ Flying Saucer Attack VhfVhf26]
  • ‘Something Else Again’ / ‘Adrift’ 7″ Single [1995 Roof BoltRb 004]
  • ‘Just Melancoly’ / ‘Used To’ 7″ Single [1996 Ajax]
  • Two Trajectories 7″ Single [Enraptured]
  • ‘Sterling Morrison, Corner 10th and First, 1966’ Split 7″ Single [1996 W/ Loren Connors GyttjaOoze-08]
  • Winter Songs 10″ Ep [1997 Roof Bolt]
  • ‘Cumulus And Fugue’ Split 7″ Single [1997 W/ Azusa Plane Colorful Clouds For AcousticsCloud 004]
  • E.N.D. 7″ Single [1998 Drunken FishDfr-27]
  • And Now The Rain Sounds Like Life Is Falling Down Through It [1998 Drunken FishDfr-41]
  • ‘London Is Swinging By His Neck’ 7″ Single [1998 W/ Kirk Lake Rocket GirlRgirl3]
  • ‘Particle’/’Wave’ 7″ Single [1998 Varispeed01 Varispeed]
  • True [1999 W/ Chris Heaphy Kranky]
  • 324 E. 13th St. #7 [1999 Compilation Drunken Fish]
  • Harmony Of The Spheres [1999 Triple Lp Compilation Split With Various Others Drunken FishDfr-50]
  • Allegory Of Hearing [2000 Drunken FishDfr-47]
  • Read Less Books Cassingle [2000 W/ Kirk Lake Victory Garden]
  • Silver Wheel Of Prayer [2001 Vhf Vhf49]
  • Split album with Grouper [2010 Root Strata RSGR004]
  • Split LP with Bruce Russell [2012 Grapefruit]

See-Also