â...Gutteridge and Snapper have produced some beautifully hypnotic records...â - DAN VALLOR
XPRESSWAY PILE=UP, PART 9Â by DAN VALLOR
PART 1: Intro and The DEAD C. âEven at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.â
PART 2: THIS KIND OF PUNISHMENTÂ âThere are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.â
PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: ââŠbits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80âČs Pere UbuâŠWSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.â
PART 4: ALASTAIR GALBRAITH ââŠthis is all pretty much a major work of artâŠin fact is among the most beautiful music I knowâŠâ
PART 5: XPRESSWAY PILE=UPÂ âPerhaps it took a while for Russell to secure the rights for some of the earlier material, but itâs a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.â
PART 6: I HATE PAVEL TICHYâS GUTSÂ âA tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.â
PART 7: THE DEAD C âThe Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.â
PART 8: THE VICTOR DIMISICH BAND â...favored something of a denser and darker sound than their southern Dunedin neighbors, expressed through a bleak vision and Velvet Underground inspired abandonâŠeven in those early years, the brilliance of this band shone blindinglyâŠâ
POPWATCH #9 Â Summer 1998 (page 50)
LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors
Previously on Fuckinâ Record Reviews:
Pure was reissued in 2013 on deluxe double vinyl by the Chaos In Tejas people, who also have something to do with the 540 Records label. Buy it here.
Gerard Cosloyâs review of Pure from CONFLICT #50 (Fall 1989): âPeter Gutteridge is a big deal Dunedin pop iconâŠ[with] a knack for the grayer, more repetitive side of things that we havenât heard previouslyâŠMarty rev counterpart, maybe, except thereâs no phobia towards guitars or manually played percussion if need beâŠâ
Farewell to Peter Gutteridge (5/19/61 â 9/15/14) fromhonor harger
The entirety of Dan Vallorâs Xpressway history is available in viewable form as a lovingly (i.e., much better than FRRâs) scanned PDF with one simple clickâŠyouâll never believe what happens next!
DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. Heâs the producer of those essential GAME THEORYreissues Omnivoreput out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on3/24/17!
Order CLARINETTEâs The Now Of Then at Feeding Tube or Forced Exposure; Byron Coley summarizes Dan Vallorâs work: âIn the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod), Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Danâs best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground. Clarinette is a long running solo project that began in the â80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey â it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinetteâs music definitely twangs the freak register. Who are we to say you should remain seated?â(2017)
An overview of Bruce Russellâs Xpressway at Audio Culture: ââBruce Russellâs catch cry was âwe know whatâs good for youâ,â [Stephen] Kilroy says. âAnd he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if itâs on Xpressway it must be goodâ.â