Diana Rogerson is the singer and artist whose recorded work sits inside the Nurse With Wound and United Dairies world of the 1980s and after. She is best known under the alias Chrystal Belle Scrodd, the name on her two albums, and she is an occasional member of Nurse With Wound and the partner of Steven Stapleton. The Bureau files her for that tradition-internal place: she is one of the voices of the United Dairies surrealist wing, routed through several of the archive's founding entities rather than standing outside them.
The recorded work begins with The Inevitable Chrystal Belle Scrodd Record, released on United Dairies as UD017 in 1985 and credited to Diana Rogerson. Stapleton arranged and played on it, and the cast around the record · Robert Haigh, Karl Blake of Shock Headed Peters, the singer Tathata Wallis and others · places it squarely in the surreal, collage-built manner of Nurse With Wound itself. The record plays as feminist-surrealist provocation set to the United Dairies sound, and it was followed in 1986 by a second album, Belle de Jour, again under the Chrystal Belle Scrodd name and again with Stapleton present. The 1993 compilation Beastings later gathered the strongest moments from both.
Rogerson's connection to the United Dairies circle runs through more than her own albums. She contributed to Nurse With Wound recordings across this period, and the 1987 Termite Queen split 7-inch paired Scrodd with NWW directly. Three of her recordings made with Stapleton appear on the 1999 Nurse With Wound compilation The Swinging Reflective, there credited under her own name. Beyond the Stapleton orbit she appears on recordings by Current 93 and by HNAS (Hirsche Nicht Aufs Sofa), the German group in the same surrealist-collage tradition, and she worked with Shock Headed Peters through Karl Blake.
The work is small in volume and has never sought a wide audience, but it is a documented part of the canonical history of this scene. David Keenan's England's Hidden Reverse, the standard account of the Nurse With Wound, Current 93 and Coil world, records Rogerson's place within it. In later years she returned under a new alias, A Bad Diana, for the album The Lights Are On But No-One's Home, continuing the same body of work under a third name.
The Bureau files Diana Rogerson at Tier III as a tradition-internal figure: a member and associate of Nurse With Wound, a United Dairies recording artist in her own right, and a contributor to Current 93 and HNAS. She founded no form and codified no method, and the file makes no such claim. What it records is the junction she forms with the founding esoteric-industrial circle the archive is built around · the surrealist wing of United Dairies, heard through one of its own voices.