Corpus Hermeticum

Corpus Hermeticum was a recording label based in Lyttelton, NZ, run by Bruce Russell and focused on free noise and sound improvisation. Initially set up in 1993 by Russell as an outlet for work from his unit A Handful of Dust, the roster soon expanded to include releases from like-minded NZ artists, and eventually included recordings from a variety of international purveyors of sound. The label's final release was in 2004.

Topology of a Recording Label
The H/corp Top 6!

When asked to identify what for him were the top items in the Hermes Corp canon, Russell came up with the following; in no particular order.

Tetuzi Akiyama et al International Domestic
Another amazing thing, the first non-Japanese release to feature Tetuzi as the featured artist. In fact, his earlier H/corp disc might have been his first release. This documented a tour by Tetuzi and Toshi Nakamura, which fitted well into the 'late period' of H/corp, when everything was much more international. I think it was the plugging-in to the international noise/improv underground that was the best thing I achieved with the label. Really being able to hold up the NZ end in a 'cutting edge' avant garde art form was a dream come true for me. Not that many people in NZ noticed, but in the end the label sure punched above its weight internationally.

A Handful Of Dust Now Gods, Stand up for Bastards
My favourite Dust disc, from 1995 - a year in which we actually toured, for the once and only time in our 15 year history. These performances were really extreme and often remarkably heavy, as well as being pretty far outside the envelope for music in New Zealand at that time. This came with an issue of Logopandocy, and lots of hermetic and alchemical illustrations. I don't think it set any sales records, and although I wanted to repress it, I could never justify the expense. Given that my original goal with the label was to release my own stuff, this, and the solo album 'Painting the Passports Brown' have to be two of my top picks. This one wins the tussle.

Various Le Jazz Non
If there was one disc I absolutely had to do on H/corp it was this one. While there really was no 'scene' at that point in NZ for this kind of work [and now there really actually is such a thing]- this compilation showed that a 'NZ noise' community existed at least in embryo. It was a pretty good geographical spread, with none of the South Island snobbery that marked Xpressway. Ironically as this was released H/corp was starting to become very determinedly international, and the percentage of NZ releases actually declined after this point. Of course, most people involved in this went on to have heaps of releases on other labels, so the job was well and truly done. Looking back, this does mark out a certain time and a shared aesthetic of some sort, as all good compilations do.

Omit Quad
Doing a triple CD boxset with extra printing inserts as a debut digital release by some guy from small town New Zealand who'd never played a gig is EXACTLY why running a label is so rewarding. And we sold them all in about 4 months. And it was a great trip to listen to, which set Omit up for a great string of releases on other labels. I was so delighted to be able to do this, because really, no one else would.

Thurston Moore & Tom Surgal Klangfarbenmelodie
This one fed the whole family for about 8 months, fantastic windfall, great gesture by Thurston still and a real high point in his solo discography. Came out at the same time as Psychic Hearts on Geffen, which I thought was great, that's an example of an artist engineering a release schedule that takes full advantage of all niche marketing, all channels of promotion and all models of making an art statement. He gave me the top selling label release, I gave him a really fitting way to release a super piece of improvisation documentation.

Marchetti/Noetinger/Werchowsky S/t
I heard a bootleg of one of their shows, and approached Jermoe Noetinger about whether he wanted to release something, as I felt it was totally in tune with the label aesthetic. It turned out he wanted to put something out, and to my surprise I was the first label outside France to approach them (ever), so it happened. I thought they would have so many options they'd think I was really not up to it. How wrong can you be? Since then I've consistently underestimated my efforts less. A tough sell, but an impeccable project - and also in fact, one of the best covers on the label.