Deaf Wish’s Sarah Hardiman has written and recorded a new record – Thick As Bricks – under the name Brick Head! It’s a high energy, spirited and riotous lo-fi home recorded album making our ears happy and our hearts swell. The release features Carolyn Hawkins (Parsnip/School Damage) on drums. We interviewed Sarah to find out more about the punk project. We’ve also got Brick Head’s first clip for track “Deja Vu” to share with you!

How did you first get into music?

SARAH HARDIMAN: Through my mum and brother really. Mum blasted The Beatles, The Stones, Pink Floyd etc. and my brother plays bass, so he taught me guitar. My bro and his mates raided all the work sites in Melton at night time to find wood, insulation, plasterboard etc. and built a jam room in our shed. I spent hours out there. I was probably better on guitar during high school than I am now. 

What was your first introduction to the punk community? What attracted you to it?

SH: It was definitely going to Rock n Roll High School on Easey St, Collingwood. I had heard about it in fanzines and word of mouth. My band at the time called up and played a song live over the phone to Stephanie Bourke. She mustn’t have been able to decipher anything but she said we could come in and kind of ‘audition’ to rehearse at the school. Steph and other people that ran workshops there taught me how to book gigs and communicate with bands. They taught me how to act with integrity. I met a lot of people at the school and in the band scene, people I still know. I was so shy and nervous every time I left the house but I kept going because I knew I found something that made me feel good and understood.

What excites you about your local music community?

SH: You know, this has become much clearer under ‘lockdown’. It’s about the people. I miss the people. When you shake off the gossip and posturing (both things I’m guilty of), the community is strong and positive. We’re seeing how important the local music community is to the character of this city. Live music really is cathartic. And the records that come out of this town are brilliant. Record stores are a lesser talked about part of the fabric that help promote locals. Community radio is huge. They’ve been working their arses off, keeping things cool-headed and positive, keeping people connected. I miss gigs and real people. I miss the friends I’ve made from music.

We love both your new project Brick Head and your band Deaf Wish; what inspired you to do Brick Head? I understand that you made LP Thick As Bricks in three weeks during the first lockdown in Melbourne.

SH: Thanks. I guess being in one room for too long inspired it.  

Where did you get the name Brick Head?

SH: I had a list of juvenile sounding band names and Caz liked this one the most which helped me choose.

How did the songs get started? What did you write first? Did you have an initial idea of what you wanted to write about?

SH: I was at a friend’s house and he was playing the electric eels and I felt really in the mood for nasty guitars again. I went home and tried to rip a song off. Then Dave Thomas from Bored! died and I listened back to that band and it all kind of tumbled into this debauched bender at home alone in West Footscray trying to rip off iconic riffs. I didn’t want to write about anything in particular. I wanted it to be dumb and immediate. Scary. Tough. Unfeminine. The first song was ‘D.I.E.D’ which is written as an acronym although it isn’t one. I moved into this new flat and the neighbour said, “I’m really glad you’ve moved in”. I was like, ok, weird. Then he goes, “Let me explain that. The last two old ladies died in a row. And you’re young-ish, so you might break the curse”.  It is the only house I’ve broken a lease on.

Who are some of your favourite songs writers? What is it about their writing that you enjoy?

SH: I’m a huge fan of Molly Nilsson. I even wrote her a fan letter this year. I love the feeling of being a fan. It doesn’t happen often. Her songs are honest and deceivingly simple. They’re philosophical. I respect the atmosphere she creates. And the humour. I like it when artists take their art seriously but can see the bigger picture, y’know? Like, no one’s that important. Do your job and then knock off, you don’t have to be a star 24/7.

Your songs on Thick As Bricks have almost a live feel to them; can you tell us a little about recording them? You recorded them yourself, right?

SH: Yeah I did, it was really fun. I set everything up in my small living room and set out to write a song every couple of days, whether I was in the mood or not. I put a simple drum beat down, then would listen to records until I found a riff I wanted to rip off. I had neighbours on both sides so when I mic’d up the amp, I pulled my bedding over the whole thing to try and dampen the sound. I actually had the amp really low on 1-2 gain but I could hear their TV’s so I knew they could hear me. Then I put simple bass lines down. Lyrics were last but I didn’t fuss too much. If anything took too long or if I started thinking too much, I would dump it. Maybe that’s the live feel.

What was your set-up for this recording?

SH: My 50 watt MusicMan valve combo, my 1964 lefty Burns guitar tuned a whole step down, and GarageBand. This is the first thing I’ve recorded myself (for release) and the first time I’ve used GarageBand. I really love using plugins. I’m all about computers now. 

After you wrote and recorded all the material, you sent it to Carolyn to do the drum parts which Jake Robertson recorded (Alien Nosejob/School Damage/Ausmuteants etc.); what inspired you to have Caz part of this project? What do you appreciate about her drumming?

SH: Caz is a great drummer. She knows music. And she stylistically knows what suits. She makes it look effortless even though she clearly works hard at everything she does. She’s also really humble which makes her easy to work with. It’s a no-brainer. Caz rocks!

What’s your favourite album you’ve been listening to at the moment?

SH: There’s two I’ve been mad for lately, ‘Sweet Whirl – How Much Works’ and ‘Ryuichi Sakamoto – One Thousand Knives.’

Why is music important to you?

SH: It’s everything to me. It’s where I find inspiration, friends, solace, community, belonging, fun and excitement. It teaches me and is a reflection of how I change and the ways I don’t.

How have you been looking after yourself during this pandemic?

SH: Imagine a game of keepings off that goes for too long and you never get possession of the ball.

What do you get up to when you’re not playing, writing or recording?

SH: Human things. Robot things.

Please check out BRICK HEAD.