Torlesse Supergroup – Torlesse Supergroup

Aquarius Records New Release Record Reviews

honestly we would have been happy if this was ALL the record did, but then we would have missed out on part two, which might be our favorite new jam

– Aquairus Records New Releases

Thanks to Helen who alerted me to this review of the Torlesse Supergroup’s self-titled debut. For the uninitiated this is Roy Montgomery’s duo with Nick Guy (Barnard’s Star). Aquarius Records are a San Francisco based rekkid distributor who specialize in hard to get, underground and (most importantly) great recordings.

Check the link, read the review and listen to the streams, its super!

Barnard’s Star [August 2006]

When I remember Barnard’s Star what comes to mind are the places I saw this wonderful Christchurch group perform and how the venues added to the overall experience. I think my initial exposure to the group was at the Venus Cafe, a long since departed coffee shop – one of the first ‘hip’ such joints to hit the scene in the mid 90s. Located on Lichfield street above what was for a period the Liquor Lounge and also a gay bar whose name escapes me; Venus was often filled with University and late High School types, wasting away half a day sipping on a huge hot chocolate, along with a scattered few yuppies apparently ‘slumming it’ – I distinctly remember seeing a press review of the place which noted that half the crowd couldn’t afford to order anything.

Still, the Venus Cafe put on some wonderful shows; from the table-climbing antics of The Black Panthers to the reserved but eclectic sounds of the Dialtones and Barnard’s Star themselves. I can remember bassist Helen Greenfield wrapped in a big woollen coat, plunked on the floor playing bass guitar whilst surrounded by band mates – guitarists Nick Guy and Marcus Winstanley, and original drummer Frazer Talbot. The idea of Barnard’s Star was formed by Nick and Marcus during a music lecture at Canterbury University in 1996. The band became more that just an idea at a party a few months later. Although only two members (guitarists) at their first jam session, the band soon acquired a bass player (Helen) who couldn’t play but informed them that she was joining anyway.

That’s how Barnard’s Star was Started. (The name Barnard’s Star was only supposed to be a working title, too) we soon realised that we needed a drummer and Started looking. That’s where Frazer came in. Frazer Talbot, an enthusiastic young drummer, joined us after we’d auditioned him in a garage out at Nick’s parents’ place in Marshlands. With a drummer on board we started to write new songs and think about playing live.
– Helen Greenfield

Barnard’s Star was an ever-evolving outfit, who made some huge strides over the course of their short life-span. From Nick and Marcus’s original idea in 1996 the group mutated through mellow but rather sonic walls of guitar to more ethereal sounds – with the electronic input of Talbot’s successor Tyrone Thorne allowing the group to become more production-orientated. This diversity is quite present in their recordings as the sparse, minimalist early singles differ quite dramatically from the polished, free-flowing later EP – which was self-recorded, mixed and remixed by the group, eventually surfacing on the Beat Atlas imprint in 1999.

We planned to record an album but that never eventuated it has a very cool working title Sonoluminesence. Not sure what happened with the band; we dissolved very slowly. Tyrone went overseas and is now working in London. Marcus, Nick, and I are still in Christchurch doing our separate things. It’s a shame really. I was listening to the EP recently and thinking (a) how great it is and (b) how it hasn’t dated (which, in my opinion, is the sign of a great record) – even though it is getting on to 7 years since it was recorded.
– Helen Greenfield

The second show I recall (which Helen also noted as one of their best) was supporting Dunedinites HDU and Cloudboy at the Lumiere Theatre – one of the most bizarre and sorely missed features of Christchurch cultural make-up. A compact movie theatre with a trippy lobby area filled with strange memorabilia and oddities (not to mention some great pinball machines and stacks of Spaceman Candy), the Lumiere was known for its bizarre feature events. They put on events like the ‘Incredibly Strange Film Festival’ and shows such as this which left the audience stuck in two minds whether they wanted to sit in the back and watch the bands play whilst ‘The Brave Little Toaster’ was projected behind them, or somehow squeeze up the aisles and attempt to dance somewhere near the front. What a wonderful place – one of my other exposures to the venue was a movie double header of ‘Microcosmos’ and ‘Baraka’ with Christchurch stars The Puffins creating their own live soundtrack to the features.

Making a superb support choice, Barnard’s Star outshone their southern counterparts at this show, incorporating all the articulate guitar-work of HDU with the whimsy and warmth of Cloudboy to really show what Canterbury is capable of (apparently the groups soundcheck was delayed by the HDU boys watching the finale of the rugby – another event in which the Cantab’s trumped their southern counterparts). Marcus Winstanley related that the band were a lot louder than most people anticipated – as he would mix the shows from the stage and had a tendency to push the levels. They would take on a bombastic, sonic nature; in fact Chris (from defunct local popsters Degrees K) related that their Harbor Light EP release alongside Roy Montgomery was something of a religious experience due to their shear volume.

[We played with] The Puffins, Bailter Space, Roy Montgomery, The Verlaines and Bilge Festival, Kate In The Lemon Tree, HDU and Cloudboy, Le Mot Cafe and Sea Worlde [a group who would later evolve a little, move north and change their name to the Nouveau Riche].
– Helen Greenfield

The primary recorded artifact of the band is an involving, pulsing self-titled EP, recorded at The Research Center with help from Mike Richardson (who also helped set up the groups Beat Atlas label) and mastered at Kog. The Research Center was the Former Rotherham District Hospital; a bizarre converted rural hospital manor which also served as the studio for The Puffins unreleased album sessions, and set in a secluded farmlet in North Canterbury.

It’s a top notch recording that connects as a single entity, flowing through 5 glorious, long and eclectic textural tracks, rich with tone and character. Using vocals as just another layer in a dense mix of pulsing synths, shoe-gazer guitar, digitally manipulated sounds and robotic bass. Unfortunately the EP never really had a chance as a radio favorite, with songs like the magnum opus ‘Jupiter Spirals‘ and the My Bloody Valentine reminiscent ‘Arc Infinity‘ clocking in at ten and a half and 8 minutes a piece.

After the group eventually faded away to their own pursuits, a handful of tracks surfaced on a variety of compilations – the last of which ‘(Terabytes, Terawatts) And Terra Incognita‘ is probably the most removed recording in their output, having gone through a great deal of revisions and remixes in its life-time it’s an ebbing electronic creation; drastically different from the material the group produced just a couple years earlier. In fact, Tyrone is currently working on a couple further remixes, though whether they finally see the light of day remains to be seen (and heard).

These days Helen Greenfield and Nick Guy perform on the fringe of Christchurch music circles as part of the Southern Oscillations collective and in solo guises as Mela and Lytteltronics, Helen has also recently joined synth and guitar duo Thomas:Parkes, and Nick is one half of the Torlesse Supergroup alongside legendary guitarist Roy Montgomery. Though Tyrone has moved to London after a spell with the Sydney-based ‘Swingingingtastybag’, Marcus Winstanley has continued to be a feature of the Christchurch music community, currently performing with Mini-Snap, The Dialtones and The Undercurrents, whilst also finding time for production sound work.

So a genuine Christchurch group who made a dramatic impact both as a live outfit and with their outstanding recordings and production work who expanded the limits of what a local band could be. I thoroughly recommend tracking down their EP if you’re interested in the outer limits of guitar, melodic electronics, or just plain great, involving music.

Contact geometric@clear.net.nz for a copy of the EP (whilst still available).

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

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