Naarm-based zine Magnetic Visions: “I put it out and I found that it was a really freeing process because it allowed me to be connected…”

Handmade collage by B.

Zines are really important! Good ones burst with life and can capture a culture, a scene, community, document a time, and share ideas and stories in a way that conventional publications can rarely, if ever; they offer an alternative narrative to the mainstream. There’s a genuineness, imperfection and sometimes awkwardness on their pages we resonate with. They’re written with unfiltered voices and self-expression of someone finding themselves (aren’t we always?), navigating the world and exploring their local creative community, likes and dislikes. They spread music, art, thoughts, feelings, information and perspectives. Anyone can make a zine. Making zines hones your skills or teaches you new ones you might not have known you had! Making one can sometimes save your sanity. A zine gives creative freedom. It can help you use your voice. A zine most importantly connects people.

Through making Gimmie zine this past year, we’ve connected with so many amazing creatives throughout Australia and the world! One of the coolest is Billy who creates Magnetic Visions zine, a predominately music-based print zine from Naarm/Melbourne. He also makes music: Disco Junk, Billiam, Collective Hardcore, TOR, Dot Com, Aggressive Hugger, GDU and Under Heat Records. We love his passion for music and compulsion to share it—a kindred spirit.

A few weeks back Gimmie’s Editor Bianca sat down for a chat with Billy, they did an interview collaboration! Billy interviewing Bianca can be found in the new issue (#7) of Magnetic Visions, which also features interviews with Alien Nosejob, Lassie, Girlatones, Cool Death Records and more! Bianca interviewing Billy is below.

It’s important to support each other! The more people making interesting, unique rad stuff and expressing themselves creatively the better!

How did you first discover zines?

BILLY: A while ago Strangeworld Records had a flood and they needed to get rid of a lot of the water damaged 7-inches so I went in there and bought quite a few. Richie who runs Strangeworld Records threw in a couple for free. One of them was Meat Thump which is the band ran by Brendon Annesley who made Negative Guest List zine. I ended up contacting Matt who put out the Meat Thump 7-inch to ask if he had another cover for it, because it was completely destroyed from water damage. When he sent the cover, he sent a few copies of Negative Guest List. I remember being completely blown away by them, the journalism and the whole formatting of zines. I developed a curiosity about them and I’d find a couple at Lulu’s and eventually I discovered Sticky Institute in Melbourne. From there I learnt about zine culture. I’ve probably learnt the most since doing Magnetic Visions because it’s put me in contact with a lot of people that know a lot more than me.

Nice. I used to have my earlier zines stocked at Sticky back in the early to mid-2000s.

B: It’s a really great place! I don’t think I’ve asked to stock there but maybe post-pandemic I should see if I could get a few put in there.

Totally! Do it. What inspired you to take the plunge and start making your own zine?

B: Initially it was just meant to be a one-off thing. I’ve always wanted to do a comp tape with a zine, so I put together five or so of my friends’ bands; I interviewed them and I put an exclusive track on a cassette. I put it out and I found that it was a really freeing process because it allowed me to be connected to music without actually making music. I sat on it for a bit and I started working on issue two during February, as that turned into COVID time, I plunged completely deeper into zine making, making it properly, properly publishing it and trying to put in as much effort as possible as I can to make it as good as I possibly can.

What are the zines that you really enjoy?

B: Negative Guest List is the main one, which ended in 2012 when Brandon died. I absolutely love Distort from the issues I’ve been able to get, there aren’t that many. There’s a zine in Europe called Rat Cage which is starting up at the moment that I really like, it’s focused on European hardcore and post-punk. Of course I love Gimmie Gimmie Gimmie zine! A friend of mine runs a zine called DST that I really like that’s based in the US, its half writing like short stories and half interviewing bands.

Do these zines have any similar qualities?

B: I like really good interviews, I like interviews that are very conversational and have good graphic design. I’ve always loved the visual appeal of a zine, making it as visually appealing as possible because you are paying for that physical visual aspect.  

Is there a difference for you reading a zine digitally vs. reading print?

B: Digitally I have less of an incentive to read it. If I buy a zine I’m more inclined to read it because I’ve spent money and there’s an investment in there so I might as well get as much out of it as I can. I also find I’m able to get more value or enjoyment out of something on paper because I put more of myself into it.

What are your favourite and least favourite parts of making a zine?

B: I’ll start with least favourite, it can be very intense trying to put something together that you think you’re truly proud of, hoping people will buy it, that’s not particularly fun. I’ve had a lot of trouble dealing with that and at times the zine has been quite taxing on me. I think I’m a lot better at it now. I’ve figured out the main parts.

The best part is being able to be involved with so many music scenes around the world and being able to talk to artists that I absolutely adore, in a somewhat conversational way is absolutely fantastic!

Yeah, it’s pretty cool getting an insight into people who make stuff that you admire and appreciate.

B: Yeah, I did an interview with Jake from Alien Nosejob for the next issue. Even though I’ve talked to him a bunch this was the first time that I think I felt really comfortable really talking to him and it was absolutely incredible!

Amazing! I can’t wait to read it.

B: It’s really good. It’s a good issue, I’ve also done an interview with Lassie and Silicon Heartbeat—awesome bands.

I love all the zines, they’re all really good.

B: Thank you, it’s good that people are actually seeming to enjoy them. I didn’t really know there was much of a zine market until I started doing it, I had no idea that people would actually consume and enjoy them.

For me growing up in the ‘90s zines were such a normal thing, there were lots of them and there was a vibrant zine culture.

B: Yeah, back then I guess it was more essential to have zines. That was the only way to publish things on somewhat of a budget.

Yeah. I used to have friends that would have access to photocopiers and I’d get to photocopy my zines for free a lot of the time.

B: That’s what I’ve been trying to do at the moment. I started off printing them at school but they put the hammer down on that so at the moment I’ve had to go through Office Works.

Here in Brisbane there’s a really great place in Fortitude Valley called Visible Ink, it’s a Youth Arts Hub and you can go in there and photocopy your zines for free. They have lino printing resources and a badge maker you can use too. Do you stand there and photocopy it yourself or do you leave it with them and get them to print it and come back later to pick it up?

B: When I’m printing the final version that’s what I do but when it comes to designing it and all that, I’m usually just there getting specific things or trying to get a specific paper stock that will stick better to the background and all that.

I’ve been there! I love doing zines with a coloured paper cover, I’ve done full colour and A3 folded and A4 folded sizes.

B: I think right now at the moment doing just A4 black & white is the best for me because colour printing is so expensive. For this issue I might do colour covers just for fun, I like the way it looks.

It’s always good to keep trying different things and evolving.

B: Plus colour covers stand out more when everything else is in black & white.

Yes. What’s something that making zines has taught you?

B: I don’t know? I guess it’s taught me how to put together a complete artistic product. I’ve done albums before but I feel like putting together a zine is a lot more than just releasing an album because you’re involved in every aspect, asking every question, cutting out everything, paying or the printing and all that. I hadn’t really had much experience doing that until making a zine. I’d done tapes but some part of them I was able to rely on other people, this one, a zine, was all me. The main thing it’s taught me is to create a completed product.

Do you set deadlines when making zines?

B: No, not at all but they’ve all somehow been finished! Since issue three they’ve all come out, one a month or at least thirty days in between them. I sort of want to slow down but no matter how many brakes I put on like, I’ll only do one interview a week, or don’t work on it during this time period, I always manage to at least finish one by the end of the month. There’s no deadline but one forms naturally, I guess.

That’s how I felt when we started doing Gimmie, it’s been six months now and I’ve done over 100 interviews up on gimmiezine.com, I think there’s 113 maybe at this point.

B: That’s pretty fantastic!

Yeah, I just started and kept going. I love interviewing so much and I like making the art that goes with each interview. I love sharing new bands and music with people.

B: Yeah, it seems to be going pretty well so far.

One of the things I love about your zines is when you write your personal pieces; are you every scared of putting your thoughts out there, committing them to paper? Do you ever censor yourself?

B: Not really, I’m not really self-conscious of putting out my actual thoughts. I often find that I’m just not able to put them in words. There isn’t very much of it in issue six, because mainly when I would write about something I wouldn’t be happy with it, it would feel show-off-y or not correct. I’ve put the brakes on it for issue six but issue seven will have a lot more of it. I’ve been doing some writing on bands I like. I’m doing a big piece right now on probably one of my favourite bands right now, Bis.

I love Bis!

B: I don’t get why more people don’t talk about them. I don’t know if you’ve heard the new TOR single, but TOR is basically my love letter to Bis—I love that band so much!

I’ll have to check TOR out. I’ve seen Bis live!

B: Did they ever tour Australia?

Yeah, they did. I have the ticket stub somewhere here.

B: That’s awesome! I have an old poster I was able to get on eBay that I have in my room, it’s a promo poster for The New Transistor Heroes; it’s probably the coolest piece of art that I own. Mandarin’s art is fantastic!

Agreed! We have a lot of art on our walls here.

B: I’ve got a lot of posters from gigs or prints that I’ve bought from photographers, or flyers.

That sounds like our place. We have a pretty big collection of posters some from the ‘70s through to the ‘80s and ‘90s to now.

B: That’s awesome!

How do you choose what bands you’ll feature in your zines?

B: I pick bands that I’m listening to at the moment or that I think could give an interesting interview. I don’t like to just pick bands that have a record coming out, but that sometimes helps because they have a reason to talk, things to talk about and they’re in that mindset of sharing it. I really just try to pick people that I think are interesting. I don’t try and pick from one particular scene or a particular area of music to follow, I just pick what I find interesting. Issue six has a mish-mash of a bunch of different things: Toeheads, are from Detroit, they’re an amazing garage rock band; there’s an interview with two of the members of Meat Thump and we were able to talk about Brendon Annesley, it was fantastic. I interviewed Jack from Vintage Crop and that went really well. Even Mark Vodka who is this obscure Canadian artists who is probably the closest thing to a second Ramones we’re ever going to get.

Is there anyone you’d like to interview that you haven’t yet?

B: A lot! Usually it’s because I don’t feel comfortable asking them. The dream interview, the one I’ve always been desperate to do is someone from Razar, the Brisbane punk band—that’s the dream! I’ve never been able to find a single interview with them. I consider them to be pretty close to being the most important Australian punk band of all-time. I’m still on the chase for it so if anyone knows any of them send me a message!

ABC put out a punk compilation, I bought it because it had Frenzal Rhomb on but I heard ‘Task Force’ on it and [Psychosurgeons] ‘Horizontal Action’ and it set me on the path towards what I’m doing now.

What’s been one of your favourite interviews you’ve done so far?

B: Issue one I was pretty proud of the one I did with CB Radio and Glue Eater, I think they both turned out really well. Issue two, Mikey Young I was really happy with, same with the one with Spoil Sport Records. Issue three, I think I did a good one with Drunken Sailor and Dr Sure’s Unusual Practice, those were ones I was really proud of. Issue four is where I think I start to get it down and I’m more or less happy with every single one in there, Research Reactor Corp, I was really happy with. Issue five, I was really happy with my interview with The Ghoulies and Hearts & Rockets. The one I did with Australian Idol I was extremely proud of and I still think that tape is the most underrated thing released this year. I’m really happy with everything in issue six, all of those are pretty good.

What makes an interview good for you?

B: It’s having a conversational feel and revealing interesting information. The interviews I really like I feel they show the artist’s personality really well and they’re interesting to read. Not every interview I read is with a band I like but, if the person is interesting to talk to I can get something out of that.

Get MAGNETIC VISIONS issue seven HERE and read Billy’s interview with Gimmie Gimmie Gimmie zine!

Please check out: BILLIAMVILLE.com. Billiam on Instagram. Magnetic Visions on Instagram.

Roolette Records: Love. Music. Friendship. Community.

Handmade collage by B.

Melbourne label Roolette Records put out great music by great bands including Pinch Points, Junior Fiction, Hearts & Rockets, Zig Zag, Kosmetika, Disco Junk, LVIV, Surfbort and more! They’re definitely a label we get behind. We caught up with them recently to find out more about what they do and their passion for music and community.

On the Roolette Records site it reads: Love. Music. Friendship. Community; what is the importance of these things in how you operate?

ROOLETTE RECORDS: Hey! First of all, thank you so much for wanting to interview our label, we appreciate it. We’re super big fans of what GGGZ has been doing so we’re super stoked right now!

LMFC is our little ‘slogan’ thing that came about very organically through conversation with our friends about what makes our community so special. We decided to use it going forwards as it’s a great reminder for us to always stay focused on those positive things but it also serves as a warm, welcoming introduction to our record label.

How did you first discover music?

RR: Growing up my mum Gail (hey mum lol) played music in the house constantly, especially in the morning. She would turn the radio on full blast to try and wake me and my brother up for school, and we got super into music from a young age as a result. She has dope music taste as well so introduced us to her favourite bands growing up like The Clash, Zeppelin, Fleetwood Mac, Carole King, and INXS (strictly their first album only!).

What one record have you listened to more than any other? As a music fan what do you appreciate about it?

RR: Although it’s still fairly new, I think ‘Friendship Music’ by Surfbort is definitely one of my favourite and most listened to albums. What connects with me the most about it is the joyful rage that permeates the entire album. It’s angry, chaotic but also somehow feels like a big warm hug. It’s also a very special album for me because we were fortunate enough to release it in 2018. If you haven’t listened to the entire album, do it!

What was the first concert you went to? What do you remember about it?

RR: I have vague memories of seeing the Wiggles and the Hooly Dooleys when I was really little. But the concert that I remember the most was Nikki Webster at an RSL back in like, 2004 maybe? It wasn’t for her first album unfortunately and it was kinda past her prime but I got a picture with her and she signed my ticket stub. Both of which I have lost now haha but she did play Strawberry Kisses and it went off!

What inspired you to start Roolette?

RR: We started Roolette as a bit of an experiment! Didn’t have a clue what we were doing and just sort of made it up as we went along. Our friend Sarah Cardamone came up with a logo for us and off we went! It all didn’t really start properly until Private Function’s ‘Rock In Roll’ tape. That was when we were like “shit, I guess we should actually do this label thing.”

Are there any labels that you look to as a guide because you like the way they do things? What is it about them?

RR: Burger Records is a huge inspiration for us. Besides being a super fun & great record label, they’re nice people that work extremely hard which is what we aspire to be too! Collaborating with them in 2019 for Pinch Points’ debut album ‘Moving Parts’ was an eye opener and we can’t thank them enough for their support.

More locally, Music In Exile, LISTEN, and Milk! Records are all super inspiring and do such amazing things! Please go and check them all out!

When starting the label is there anything you wished someone would have told you that might have be very valuable to you?

RR: You mean like specific label advice or something? Probably not. It’s one of those classic things like, if you could go back in time and do everything perfectly, would you? Those early days were just so informative, as mentioned we had no idea what we were doing at the start so every little step was a huge learning curve.

Worth noting that we had a lot of friends and family encouraging us which was very valuable.

Is there any commonalities in the artists that you choose for your label?

RR: Style-wise, not particularly. Personally we love a whole range of music so we try not to only release one certain genre. The biggest commonalties the artists have is that they’re all super amazing musicians and genuinely lovely people who have all been really great to work with. 

What do you love most about the cassette and vinyl formats you release music on?

RR: Releasing music on a physical format is one of the best parts about running a label. There is always something so magical about finally getting to hold the finished product in your hands after all the planning and hard work that goes into creating it. We also love helping bands make it a reality. Being musicians ourselves, we totally understand the joy of a physical release and it makes us really happy working with bands to create something new.

Is there a release you’ve put out that has a special significance to you?       

RR: I think it will always be the Surfbort ‘Friendship Music release I mentioned earlier. The whole experience was really magical. We collaborated on that release with Cult Records (founded and run by Julian Casablancas) which was mind blowing and it was also the label’s first time doing vinyl. We were lucky enough that Surfbort were actually coming to town so we were able to have a dope ass launch party at Last Chance Rock and Roll Bar, which was also coincidentally on my birthday. So, yeah, the whole release was super memorable and Dani, Alex, Sean and Dave from Bort as well as the team from Cult and the crew at Last Chance have the biggest spot in our hearts ❤

What releases do you have coming up?

RR: We have a bunch of super amazing things coming up soon that we haven’t totally announced yet. But we have just had Hannah Kate and also the Vovo’s jump on board, so you can keep your eyes peeled for more news on both that bands (and more!) soon.

What’s the last thing you listened to that totally blew you away? Can you do your best to describe it please?

RR: We were listening to this sick band from Germany recently, Lassie. Their second EP ‘Just a Couple of Dudes’ really knocked our socks off. It’s a wild, fun and energetic blast to the face which has been great while in iso haha.

The new Cumgirl8 album has also been amazing to get into. They’re from New York City and the album has this sort of lo-fi 90s vibe that really compliments the vibe of the songs and lyrics. It came out on Muddguts, a really cool label you should check out!

We’re also once again/constantly playing ‘The Smile Sessions’ by The Beach Boys at Roo HQ which always blows us away and inspires us to write really wild music. Do You Like Worms, Wind Chimes… Wow.

What’s something that you see the Australian music industry lagging in? What’s something that could be done better?

RR: Diversity. It’s a never-ending problem in our industry and while our industry, specifically our cities community, has made great strides in that field in comparison to other countries/communities, there is still a very long way to go. It’s something we’re constantly working on and thinking about as should everybody! It doesn’t take much effort to be inclusive, whether you’re a band or label or even a punter. The first step is to just be a bit self-critical and ask questions. There are so many amazing resources online that cover a broad ranges of issues that can be really helpful.

Here are a couple great links to check out:

Listen Listen Listen

Songlines

Attitude Is Everything

How vibrant do you feel the Australian independent music community is right now? What do you see that makes you either optimistic or pessimistic about the near-future?

RR: It’s super vibrant. What makes this community so amazing is the way it is able to navigate and operate under adversity. From the artists we’ve been speaking to, it seems like everyone is still focused on continuing to create and release music in iso which is so amazing. It is just really sad that the backbone of our industry, live music venues, are being super impacted. It is a very tumultuous time for everyone in this community at the moment and the uncertainty of if and when we will be able to return to business as usual is a very sobering reality. But like I mentioned, this community knows how to overcome challenges so I have optimism for the near future.

Check out these Roolette releases:

KOSMETIKA

JUNIOR FICTION

Please check out: ROOLETTE RECORDS. Roolette on bandcamp. Roolette on Facebook. Roolette on Instagram.

Billy from Disco Junk: “People need to be more aware of what their friends are feeling.. not in just an empty “Are you ok?” way.. check up on friends & do things to make them happy”

Original photo by Bridget Angee. Handmade collage by B.

We love Melbourne punk band, Disco Junk! Guitarist-vocalist-songwriter Billy really, really loves music and wanted to make his own so bad he taught himself how to play guitar and recorded his first songs simply using an iPad. At Gimmie we believe that if you really want to do something, you’ll find away—be like Billy! He’s already put out 15+ releases, including a compilation of 32 underground bands to raise money for Australia’s recent bushfire tragedy relief, has a zine Magnetic Visions AND he only turned 18 in January this year!  

How did you first discover music?

BILLY: The earliest memories of music I have are listening to Midnight Oil and Spice Girls with my parents when I was like 3. I guess a more technical definition of me discovering music was when I heard “Warning” by Green Day on some internet video and was sucked into that fandom. I got into local music when I was 15 and one of my mum’s friends told me to listen to Modern Living by The Living Eyes and it changed my entire perception on reality, went from the Beatles to Ausmuteants real fast. Long story short Spice Girls and Green Day!

When did you first know you wanted to make music?

B: I guess after listening to Green Day I started wanting to make music. I’d always been somewhat “creative” but very lacking. Tried painting, drawing, animation, film making and other hobbies for years with no success. But once my aunty gave me an acoustic guitar, I just wanted to do stuff on it, and I started to figure out how to do stuff on it. Once you start seeing some success in what you’re doing it really motivates you to continue, every time I’d learn a new chord or I’d figure out how to open Garageband, I’d just want to do it more.

What was the first gig you ever went to? Tell us a bit about it.

B: The first gig I ever went to was Courtney Barnett at the Palais Theatre, it was kinda weird, Courtney seemed like she was really uncomfortable. I’ve seen her three times since and they where MUCH better. I think the true first gig was Jebediah at Melbourne Zoo, met the band and they were amazing live. I bought my first electric guitar after seeing them in order to try and do what they were doing.

When you started Disco Junk you wrote, recorded and produced all your songs yourself; can you tell us about how you got started? Were there any challenges?

B: I got started by just pointing my iPad at my guitar amp and just pressing record, it was a hellish set up and there where a lot of angry screams trying to get a decent sound. Eventually I just sorta gave up and worked with what I have, which is what you sorta hear on Disco Junk’s Party With Spools Of Tape. I eventually got a lot better at it through a lot of trial and error.

What kind of things inspires your songwriting?

B: Really anything. I’ve had times where I’ve put my heart and soul into it, tried to come up with really deep lines and its just been awful and then a song I write about the film Robots will be (in my wrong opinion) a million times better. The main inspiration is other people, bands like Pinch Points, Rhysics, Living Eyes, Program, Sunnyboys, Lemon Demon and Lassie are some big inspirations right now.

What’s your favourite song you’ve written so far? What’s it about?

B: In terms of released stuff, I think “Outta Melbourne” (which is just meaningless, it’s a bunch of lines I put together) and “Defenestration” (which is just a social outcast song). In terms of UNRELEASED AND EPIC stuff I think “Where’s Bigweld” (the song about the film Robots), “Investment Banker” (a song my dad wrote so I cant really take credit) and “All The Cows Come Home” (which is sort of a self-referential song, in the vein of Ouch!!).

You recorded your “four best songs” in a “proper studio” with Billy from Anti Fade last year; what’s one of your fondest memories from recording your Underage Punk 7” (on Hozac Records)?

B: Really it was just all the time I got to spend with Lachie and Billy Gardner. Lachie (the man behind Under Heat Records) is one of my best friends and he came down to Melbourne from Mount Gambier to do the drums and it was so good to hang out with him. We went and saw Drunk Mums and Meat and it was so good. And it was incredible to spend time with Billy, he’s so switched on and wise and is such an incredible man. I learned so much from talking with him during the session. Also me loosing my voice and trying to order from a burger shop afterwards was pretty funny.

Can you tell us about your favourite gig you’ve played?

B: I can’t decide between playing with Amyl And The Sniffers at Record Paradise and the birthday show I did at Cactus Room. They where both just a bunch of friends coming together to have fun and watch some incredible bands. The energy at both shows were just incredible!

When you first started playing live you were on stage by yourself, right? Were you nervous?

B: Yes! I got offered my first gig by Ishka from Warttmann Inc before I had a band so I decided to just play by myself with a backing track. I wasn’t actually that nervous to be honest, I think I was in such a tight state of fear that I didn’t feel any emotion. But after playing with a live band and having played some more solo shows recently I now get a lot more nervous on stage solo. It’s harder to go back to if that makes sense.

Last year in 11 days you put together a cassette compilation, There’s Gotta Be Hope Right?, featuring 32 bands with money from sales going to NSW and VIC Rural Fire Services; why was it important for you to do this?

B: Well it was important because if I didn’t do it I would’ve gone insane! During the bushfires I was having some very serious mental problems and I found that working on ANYTHING was better than thinking about it. It was a nightmare to do and I still haven’t been able to donate the money because of one fuckwit but it GREATLY helped. I’ve had to start doing a similar thing with the Beer Virus epidemic recently where I upload one song at a time onto the Billiam Bandcamp in order to keep my mind off things (#shamelessselfpromotion).

Around the time you put out the cassette you mentioned online that you had a “panic attack/nervous breakdown about the state of the world”; what do you do to get through this period and manage your anxiety? It can be pretty scary and debilitating!

B: I honestly don’t even know what got me through it. I think the only thing that helps with me is work as previously mentioned. It is really scary and debilitating but some good stuff does come out of it. I’m truly proud of that compilation and I think so far it will be my biggest legacy on Melbourne music and that’s helped me get through hard times since them.

What’s something important that you think more people should care about?

B: I could say environment but thank god people are starting to clue into the fact that MAYBE all these weather events are caused by humans pumping sludge into the atmosphere constantly. But other than that people need to be more aware of what their friends are feeling. Like not in just an empty “Are you ok?” way but in a way where people understand that things they might be doing or not doing really impact other people and that they need to be aware of that. Just check up on friends and do things to make them happy, sending a funny YouTube video or talking with them on the phone does so much more than just asking if they’re ok and saying that you are there.

What have you been listening to lately?

B: A lot! ha ha… Quarantine gives you time to listen to some records. There’s a Chicago band called Spam Risk I’m obsessed with at the moment, they’re really good Eggy nervous punk rock. Other than that a list of bands and artists I really like are Hannah Kate, ISS, XTC, Leeches, Toyotal, P.R.N.D.L., Jungle Breed, Nick Normal, Met Dog and Gonzo. Lots of great music coming out at the moment

What are you working on now?

B: A lot. There’s going to be a Disco Junk album eventually but I need to finish writing it, were releasing a 7 inch through Goodbye Boozey in Italy but that will most likely be delayed but stay tuned. Ruben is working on a solo album of punky psychedelic stuff, Tom is continuing to finish the Aggressive Hugger tape and I (Billiam) am making an album available on bandcamp as I go (meaning I upload one song a day for like two weeks) and I’m writing the next issue of my zine Magnetic Visions (Issue one and two are out now #againshamelessselfpromotion).

Anything else you like us to know about Disco Junk?

B: All the members are actually just really elaborate Muppets.

Video by Vogel’s Video (please check them out for rad underground band vids).

Please check out: Disco Junk. Disco Junk Instagram.