Civic – Lewis Hodgson & Jim McCullough chat to us about their new dystopian sci-fi punk rock n roll surf thrill ride of a record. And, working with Radio Birdman’s Rob Younger + their own interesting and colourful creative & personal histories.
Pale Horsey – who are one of THE bands to check out from Meanjin/Brisbane right now. They’re on our cover this issue. Their shows have a manic energy that is all at once feral, gripping and magnetic.
Tee Vee Repairmann – we get the goss on his solo project that’s morphed into a live band & news on Satanic Togas, RRC, 3D & The Holograms.
Sex Drive – vocalist Beau talks their beginnings through to their new full-length album, Shopping Blitz.
Santigold – we chat about personal power, being seen, generational trauma, the book she’s writing, the power of nature, valuing yourself and album, Spirituals.
Shove – Bella opens up about her challenges of the past few years, the importance of talking about hard things & sitting with uncomfortable feelings + the power of community!
Tha Retail Simps – the Canadian band’s vocalist-guitarist Joe explores their hot record, & we learn more about his zine, label and art.
Nadine from The Prize made selections for our DJ playlist & gives us insight into why she loves them.
New playlist for October is up now for your listening pleasure! This months features songs from screensaver, Dr. Sure’s Unusual Practice, Laughing Gear, Hearts and Rockets, Ausecuma Beats, Power Supply, Bitumen, Alien Nosejob, Springtime, and more.
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.
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.
Foodie play bouncy, melody-laden, catchy, poppy-punk. Hailing from Osaka, Japan they’ve been on our radar for the last few years with their super fun, energetic songs. We interviewed guitarist-vocalist Maki to learn more about Foodie. Maki has also started her own label and promotions/touring venture, TOGE; before the worldwide pandemic and lockdown she was in the works to tour another Gimmie favourite, Crack Cloud!
Foodie are from Osaka, Japan; what is it like where you live?
MAKI: Osaka is the second big city in Japan. There are many cool record stores, used clothing stores, restaurants and music venues. People speak Osaka dialect.
What were you like growing up? How did you first discover music?
MAKI: When I was a high school student I met punk like everybody else. I am very influenced by their music and fashion.
Who or what made you want to start playing music?
MAKI: The first time I listened to The Raincoats, I thought I want to make my original music like them.
How did you start the band?
MAKI: When I started to try making songs, I found the cool guitar at the same time. It’s my first guitar and still playing it. Then I invited some friends, girls only, to make my own band.
Why did you call your band, Foodie?
MAKI: Not so meaningful…we just love delicious foods!
Being a “Foodie”; what are your favourite things to eat?
MAKI: Sushi, Gyoza, Yakitori and Tacos.
Can you tell us something about each member of Foodie?
MAKI: Bass player is Masaki. He is also a vocalist of the band called BRONxxx. Drum player is Haruro. He is also a vocalist and a guitarist of the band called manchester school≡.
You recently released cassette Storks Talk; can you tell us a little bit about it?
MAKI: New member Masaki joined us and we totally changed our style. (We used to play with switching instruments.) We stopped playing old songs, and make new songs with him. Storks Talk is the 1st recordings of new Foodie.
One of our favourite songs on the EP is ‘Do My Best’; what inspired that song?
MAKI: I think many people interfere in other people too much. I wanted to say leave me alone.
The last song on the EP ‘星屑’; what is it about?
MAKI: 星屑 is stardust in English. It’s a song about nameless great artists.
What bands have you been listening to lately?
MAKI: The World, Table Sugar, Crack Cloud and The Goon Sax.
Can you tell us about one of the most fun shows Foodie has ever played?
MAKI: We had 5 shows in Southern California in 2016. Honestly bad thing happened too, but it was a great experience. Every bands we played with were so cool. We met many lovely people. We miss them.
What do you do when not making music? What’s your day job?
MAKI: I’m working at my friends’ restaurant. (He is from US.) Serving foods and helping him making bagels. I also started my own label / promoter named TOGE.
Is there anything else you’d like to tell us about Foodie?
MAKI: We planned to go to US and have some shows in May, but we couldn’t. I think every music venues are in difficult situation now. We want to save them. We wish we will be able to have shows not only in Japan but also other countries soon. We are making new songs for next time we can see you.
SLIFT’s music takes you on an epic journey to the far reaches of the Universe and back! Their latest slice of heavy sci-fi psych-rock album Ummon is excitingly one part Homer’s Odyssey and one part sci-fi trip. We interviewed guitarist-vocalist, Jean F. to find out more.
SLIFT are from Toulouse, France; what’s it like there? Can you tell us about your neighbourhood?
JEAN: Toulouse is a beautiful city made of red brick, and there are a lot of musicians here. Many very good bands, one of my favorite is Edredon Sensible, they are two percussionist and two saxophonist, They play a groovy and heavy trance, with free jazz elements. I think they will release their first album this year. There’s also BRUIT, evocative post-rock, and Hubris, krautrock warriors. We have a bar (Le Ravelin) where psych and punk bands from all over the world come to play. It’s the last bar in the city to regularly book great bands that play loud and fast. Many venues have closed, the city’s politics sucks and prefers to set up hotels in the centre of town rather than clubs and venues. But I hope things will change in the near future.
What have you been doing today?
JEAN: Today, we are going to pack vinyl to send them as quickly as possible despite the health crisis. Post offices are idling right now and that makes things more difficult. And then, as we are out of town at the moment, we are going to walk in the hills. We play a lot of music as well.
Two of you are brothers (Rémi and Jean), you met Canek in high school; what kind of music and bands were you listening to growing up?
JEAN: When we were kids, our parents listened to the Beatles, and a lot of blues, like John Lee Hooker and BB King. We’ve always loved the blues. Personally, I like the idea that we are still playing the blues with SLIFT. A different blues, but a blues anyway. In high school we listened to a lot of punk stuff, Rancid, Minor Threat, then Fugazi, No Means No and Melvins. In the van on the way to the rehearsal room, Canek’s father introduce us to South American music, psych stuff and jam bands. And of course we are extremely fans of Jimi Hendrix.
When did you first start making music yourself? You played in punk bands?
JEAN: We started playing together in high school. Rémi was still in college, we played punk in Green Day mode at the very beginning. It’s all good memories! We quickly started to add instrumental phases in the compositions. Then we played in different bands before meeting again and forming SLIFT.
Who are your biggest music influences?
JEAN: The Electric Church of Sir Jimi Hendrix.
What made you start SLIFT?
JEAN: We came from punk, and after discovering Hendrix, we started to lengthen our songs, to stretch the structures and especially to jam. It was 4 years ago, we wanted to start a band and play these new songs. We did not know at all the modern psych scene, when we had the chance to attend at the last minute a Moon Duo concert in a museum in Toulouse (we grabbed the last tickets by begging the porter to let us in). This concert was an important event, it was just after leaving the museum that we decided that we were going to record and tour. After that we have of course dug up the modern psych scene, there are so many great bands! People often associate us with this scene, and it’s very cool, but to be honest, today we don’t listen to bands like King Gizzard or Oh Sees anymore. We are more on the groups which, I think, influenced them. Like Amon Dull, Can, Hawkwind, all the 70’s German scene, 70’s Miles Davis, electronic and prog stuff. Among the current groups, we really like the Doom scene, and we particularly love a trio of English bands: Gnod, Hey Colossus and Part Chimp. We listen to a lot of film music. I would love so much that one day we have the opportunity to make one!
What does the band name SLIFT mean?
JEAN: SLIFT is the name of a character from a novel, La Zone du Dehors by Alain Damasio. Read it, you wouldn’t regret it. This author also wrote a masterpiece, La Horde du Contrevent. Probably my best reading experience.
How do you think SLIFT’s sound has changed over time?
JEAN: At first we just wanted to play a lot live, so we recorded quickly, and we composed quickly. Today and for the first time on Ummon, we took our time. The composition method has also changed. On our first two recordings, we all composed together in the rehearsal room. Now I mainly compose on my side, which allows me to go to the end of the ideas and to have a precise vision for the album. Then we test the songs in rehearsal and in concert, we jam the songs, and we talk a lot about where we want to go, what sound, what we are talking about. Personally, it is for me a more accomplished and coherent record, because I have the feeling that we have put a lot of personal and honest things in it, whether in the music or in the concept and the conception of the album. And in terms of sound, we often listen to new things, so it’s always enriching the way we play music I guess. Maybe in two years we will make an album with only percussion (… still with fuzz haha).
You are influenced by cinema and books, especially science fiction stuff; what are some of your favourite books and films?
JEAN: La Nuit des Temps – Barjavel, Rick and Morty, Hyperion cycle – Dan Simmons, Le Dechronologue – Stephane Beauverger, La Horde du Contrevent / La zone du Dehors – Alain Damasio Alien / Prométheus.
Your album Ummon is s real journey for the listener; what inspired the songs themes? It tells a story? It’s a concept album?
JEAN: It is mainly inspired by Homer’s Odyssey and science-fiction trip. The first part tells of the titans’ ascent from the centre to the earth’s surface. The construction of their Citadel on a drifting asteroid, then their departure towards the stars in search of their creators, a journey which will last forever. The second part talks about Hyperion (a Titan born in a Nebula during the endless drift through space) and his exile from the Citadel. After wandering for millions of years, he will return on Earth, alone, then dig the Son Dong’s cave with his bare hand. Hyperion rests at the far end of the cave, and its body will be the breeding ground for life which will soon climb out of the abyss and cover the Earth.
Where does your fascination from space come from?
JEAN: When you are a child, space is synonymous with adventure and wonder. Growing up, what I find cool is that it’s probably endless.
Can you tell us a little bit about recording it? It was recorded at Studio Condorcet by Olivier Cussac, right?
JEAN: You’re right, it was Olivier Cussac who recorded it, and we both mixed and mastered it, we wanted to have as much control as possible over the sound of the record. Olivier is a very talented musician, he play a lot of instruments, and he’s a very good arranger. He mainly composes film music. He has a fascination with vintage stuff, so his studio is a real museum. It is a dream to be in a place like this. He liked the album project a lot, so we took a full month to do it. The atmosphere was super chill, we had the best time!
What is your favourite thing about Ummon?
JEAN: It is a team effort. We feel fortunate to work with very talented people who passionately love doing what they do. Guthio (who designs the clips and makes the video live), Olivier, Philippe Caza (who designed the artwork), Clémence (who came to sing), the fearless Vicious Circle Records and Stolen Body Records. Hélène, who made so that everything goes well and that ensures that we never sleep on the floor after the shows. And the coolest thing is that these people become a friends.
What do you strive for when playing live?
JEAN: We try to never do the same concert twice. Some pieces are lengthened. We don’t want to recreate the record on stage, its two totally different listening experiences. The record, you can listen to it at home with headphones, it’s an intimate and personal experience. Concerts are an experience of the body, it’s about feeling the volume and the vibrations and seeing humans playing live music.