Wollongong post-punk duo Chimers’ energy levels are high on their galloping, melodic-filled noise-pop debut self-titled release. Padraic’s shimmering guitars and urgent vocals against Binx’s staunch backbeat conveys a confidence of musicianship (they also play in Pink Fits, Drop Offs & Fangin’ Felines) that gives us a memorable, powerful collection of songs.
Today Gimmie is premiering their video for song ‘Paper Trails’ and we couldn’t be happier! We chatted with vocalist-guitarist Padraic to get insight into the song and clip.
What’s life been like lately for Chimers? You played a show this weekend past with Arse.
PADRAIC: Busy! We got excited and overcommitted a bit for December but it’s been great, we haven’t really had a run of gigs before so it’s been nice to play regularly and try a few new songs out live. The gig with Arse was fun, great band, great people.
We’ve also just finished recording 2 songs for a single that’ll come out in January 22 so yeah…we’ve been keeping busy
Did it change or evolve much after jamming it over and over from the initial writing?
P: ‘Paper Trail’ was written about a specific time and place. I’d been through a breakup, was working a shit job doing 12 hour days, 7 days a week and didn’t have a band going so had no real focus in my life. Very much a “what the fuck am I doing with my life?” kind of stage and I wasn’t in a good place mentally. The title is from an old journal I found during the first lockdown which was cringeworthy to read, I wish I’d done Ian MacKaye style journals and written about events or things I’d done rather than my feelings….it was tragic reading it now but probably helped at the time I suppose. I met Binx not long after and the rest as they say is history.
We’re excited to be premiering your new clip for song ‘Paper Trail’; what inspired the writing of the track?
P: I can’t really remember to be honest! We were in lockdown and writing a lot of stuff at the time. It was pretty early in the band’s existence, so we were throwing a lot of ideas around. I’m guessing it got faster and more intense as that seems to be how our process works in general. It wasn’t really in the running to be on the album when we went to record, it was more of a throwaway “let’s do a take and see how it sounds”. I’m glad we did; we’ve never played it live so it probably would’ve been long forgotten by now
What helps to get your creative juices flowing?
P: I know it was different for everyone and some people couldn’t get motivated or whatever, but the lockdowns were great for us! We probably wouldn’t have started the band if they didn’t happen. The fact that we have a jam room at home definitely helps, we can jam for 20 minutes if we like, just plug in and play. I think that all helps with momentum, which is massive. We can write quickly, make decisions about songs, recording, artwork whatever without the usual back and forth between band members etc. The fact that we know each other so well too, there’s no dramas, we just get on with it. I mean, I get to play music with my best mate/soul mate/life partner whatever you want to call it! I love looking over and Binx is smashing that kit…that makes me want to write more….
What can you remember from recording it?
P: We recorded it at The Pinshed with Jez Player as part of the album sessions. When we were doing vocals, Jez had an idea for a falsetto harmony in the chorus which he sang, and it sounds great and really added to it. I love how you can hear it on its own for a split second at the very end of the song.
Can you tell us a little bit about making the video? It was filmed on Dharawal Land. What kind of story does it tell?
P: As for telling a specific story that’s not really what we did with this one as opposed to the one we did for ‘Surrounds’. We made it with our friend Charlie Conlan (who also did ‘Surrounds’) and we basically set up a green screen in our loungeroom and then Charlie did his best to get some shots in between us either laughing at each other or feeling (and looking) really awkward in front of the camera. From there it was all Charlie’s work with the time lapse footage etc.
What was the most fun part of the clip to make?
P: Just hanging out and having fun making a video with our good mate. ‘Surrounds’ was a bit more of a collaborative effort whereas this was a bit more of a lockdown limited contact kind of thing. The real fun part for us was watching the finished product when Charlie had sent it through.
What would you like people to get from ‘Paper Trail’?
P: Mmmmm…. I suppose like anything you put out there you hope some people like it! I mean that shouldn’t matter if you like what you’re doing that’s enough but there’s plenty of music out there so if yours connects with someone then that’s pretty gratifying and a bit overwhelming. A mate actually called me to tell me that he’d had ‘Paper Trail’ on repeat when he was driving to work and was giving it all kinds of raps and I respect his opinion on music so that was nice to hear. I know what music means to us so if ours does that for someone else then that’s pretty cool right! There’s no way to not sound corny saying that but y’know, it does mean a lot
What’s next for Chimers?
P: New single in January which will also have a limited release as a split 7” with a band that we both really love so that’s going to be great. Planning to record again in February and we have King St Carnival, Yours & Owlsx and Snake Valley Festivals to play. Fingers crossed we get to Ireland later in 2022 for some gigs with hopes of a quick dash to Spain for a week or two tacked on, that would be fun!
FYI we have an in-depth interview with Chimers in our new issue of Gimmie Gimmie Gimmie zine – available HERE.
We love Naarm-based feminist bratwave punk band Hearts and Rockets. We first chatted with the inspiring duo when we started Gimmie. Today we’re premiering their super fun clip ‘Square Eyes’ which is the first single off their forthcoming EP TV is Boring, their love letter to TV—one of their favourite things. We chat about making the clip, EP, 80s horror flicks, The X-Files, TV shows, and other creative projects in the works. We wanna have a TV Party tonight! with Hearts and Rockets.
Hearts and Rockets were one of the first bands that we interviewed for Gimmie. We’re excited to have you check-in with us again; what’s life been like lately for you?
KURT ECKARDT: Life is SO weird! Life is always weird, but lockdown #6 hit us in Melbourne in a strange new way. I’m so grateful to have a creative outlet that can be completely self-contained and can be done at home, and so so grateful for our doggo Bonez. She and I have had some pretty heartfelt moments lately, thankfully she’s a very good listener.
KALINDY WILLIAMS: We are really so thrilled to be chatting with you again! Thank you so much for your support. You always feature our favourite bands and artists, we really love all that you do.
Thank you! The love is mutual. You have a new EP TV Is Boring coming out on cassette in November and it’s a collection of songs about TV; what was the initial spark that gave you the idea to write to this theme?
KW: We were writing songs for our next album, and we had so many ideas! While we were writing melodies for them, we found a couple with kind of ‘working’ lyrics that referenced TV, mostly in the chorus. From this we kind of discovered a running theme. We realised that four main songs that we were close to finishing all went really well together and had a loose theme of television, so we decided to separate them out and create a fun EP!
KE: We also both love TV and movies, and we’ve had a few songs on previous releases about both so it’s kind of a continuation of that. It was tempting just to make the whole album about TV to be honest, but that’s pushing it, plus we have other things to sing about – some of which are a little more important.
How long has the EP been in the making for?
KW: We had a show planned for July this year, which was then rescheduled ‘til October, and now is in limbo, where we were going to play a set of entirely new songs that we were working on for our album. It was set to be at The Tramway Hotel which is a lovely small and super intimate venue, and we were really looking forward to kind of trying some things out live to see how they sounded. When lockdown #5 hit and it was postponed, we decided to make sure we didn’t waste that energy and momentum and got to recording a few of the tracks.
KE: Yeah, we pulled those TV tracks out and knuckled down and finished them off, then took our time recording them at home. So, I guess we started the EP officially in August, and had it recorded by the end of that month. In concept only for the past few months, but I think one or two of these song ideas were kicking around for a while leading up to that decision.
I know that you both have fond recollections of staying up late and watching Rage and bad movies; what are some of your favourite bad movies?
KW: We both watch lots of horror movies, mostly 80s horror as well as silly comedies. A few great ones that we have watched recently are Dudes (punks on a roadtrip), Times Square (punk girls making punk music against the status quo), Hell Night (frat party murder house), Once Bitten (silly slightly problematic 80s vampire romance/comedy/horror with Jim Carrey), Earth Girls Are Easy (80s does 50s does 80s alien movie), Aerobi-cide & Death Spa (both ridiculous 80s workout-themed horror movies), Sorority Babesin the Slime Ball Bowl-o-Rama (single location – a bowling alley – horror movie) and anything by John Waters. He’s the king of bad taste, and I think everything he does is iconic.
KE: This is so hard, because while they’re bad, they’re so so good! My faves are The Stuff (actually the best movie ever made), Chopping Mall (security robots go bezerk), Body Melt (this country’s greatest schlock), and Happy Birthday To Me (the first horror movie that I ever watched). Plus Stay Tuned, which is a favourite of ours and was an inspiration for the video clip for ‘Square Eyes’.
Is there anything of note you’ve been watching lately? What sucks you into watching it?
KW: Sexy Beasts. I assumed it was a role play of people being aliens and squirrels. And when I watched it and realised the absurdity of it being a reality show, I couldn’t stop watching it.
And I’m always rewatching Doctor Who. Space travel, time travel, queer undertones… what more could you want?! And in this last lockdown, Buffy has been on rotation.
KE: I’m obsessed with The Golden Girls. It was one of my favourites growing up and when I thought back to that throughout my life I thought it was so weird. Like, ALF – I get why I liked that – but a 7-year-old obsessively watching Golden Girls? I’ve rewatched the whole series recently and I still love it. While it’s not 100% PC, I think it was pretty ahead of its time. I can’t help but need to know how each episode is resolved, no matter how obvious it may seem.
You’re both also avid X-Files fans (us too!); what’s your favourite episode?
KW: Mine is Zero Sum! It’s in season four and starts off with a woman being swarmed by bees in a toilet cubicle. I watched it when I was way too young, but it’s the first one I think of when I think of The X-Files. I also really like the one with Jack Black set in an arcade where that guy gets the power to control electricity – it’s got some amazing visuals in it.
KE: My fave would have to be Squeeze. It’s the first monster of the week episode, and I remember watching it when it first aired and thinking it was so cool. I also love that the monster, Tooms, reappears later in the series. He’s the perfect X-Files character. A notable mention has to go to Flukeman though, my second favourite monster from The X-Files.
My friend Tom and I were so obsessed with The X-Files when it first came out, but I wasn’t allowed to watch it. Thankfully, he was, so I conveniently stayed at his house once a week at least.
Tell us about the title of the EP?
KW: TV Is Boring came from just watching too much TV in lockdown, and realising how many TV shows follow the same formula and get boring so quickly. I like TV, but sometimes you’ve just had enough.
What did you love most about the process of making TV Is Boring?
KW: I found writing the songs and practicing them the best part, because when we found out that we couldn’t play live we just set our own reachable goal and our own reachable deadline and came at it with the attitude of not rushing and not pushing ourselves. So, it was so fun to be able to try new things, speed up and slow down songs, and because we had no time limit it made it fun and took the stress out of it.
KE: Yes totally! The beauty of self-releasing music! There’s almost always a deadline, and that’s great to make sure you get what you need to get done done, but the two of us just playing fun songs for fun and for ourselves made this such an enjoyable experience. My highlight of this year was spending time on these songs – adding more and stripping back, spending time just playing around and having fun with them. We’d hoped to be able to do that in a live scenario, but we were so lucky to be able to do that throughout the recording process.
We love how Hearts and Rockets are very D.I.Y. in all aspects of what you do. What was the best part about producing your musicyourself?
KW: Being able to record in our tiny spare room is one of the biggest benefits. If you are trying to record a guitar part and it just isn’t working that day, you can just try again tomorrow. It’s a huge benefit for us, because we don’t have to book in a studio or have those time constraints.
If we had the money to do it that way, we would! But we’re broke, plus the DIY bedroom set up works well for the type of music we make.
KE: While being DIY is a necessity for us at this point, it’s also silly not to think of it as an aesthetic decision. We could borrow stuff or call-in favours or get a grant to do something more ‘pro’, but instead we shove a SM-57 microphone in front of our amps and turn it up really loud.
While we totally respect the craft of studio engineering, we’d also say that if you’re reading this and you can’t afford to pay someone to record your stuff – just do it yourself. The best thing an old band of mine did was record using headphones as microphones. We broke a pair of over-ear headphones, gaffer taped one side to the guitar amp and one to the bass amp and ran them as inputs through a mixer. It was awesome and all it cost us was a pair of shitty headphones, a borrowed mixer, and a free audio app on a laptop.
You do what you can with what you have. If you have a lot, go for it. If you don’t, don’t let that restrict your output. The music is all that matters.
Which track from the new EP are you most excited to perform when shows can happen again?
KW: The opener, ‘On/Off’. I’m not sure why, but I’ve always thought of this song as a cowboy song. I think it will be fun to play because it will be hard to play. I have to play this slidey rhythmic guitar part and sing at the same time. But I love failing on stage. Also, yee-haw.
KE: For me it’s ‘TV is Boring’. It’s just so long. In the past, if a song has approached three minutes long, I’ve insisted on cutting entire verses and choruses out. Some I’ve let go, but not easily. But as soon as Kalindy and I wrote the basic bones of ‘TV Is Boring’, we both knew it had to be a long song. Then she went wild with the synth at the end – it ended up being 13 minutes long! I genuinely can’t wait for people who expect two-minute bangers from us to hear this song. It might be my favourite Hearts and Rockets song ever. Kalindy is just so boss in the recording, it’s amazing.
We’re premiering the clip for the lead single ‘Square Eyes’. The video features lots of fun scenes like a TV news reader/“weather girl” combo, a 50s sitcom witch show, a vampire movie, a zombie apocalypse, a cowgirl flick, an adventure film, a workout video (which is a little nod to a previous single ‘Workout’). What’s your favourite scene? Can you tell us a little about creating it?
KW: We spent a total of I think 5 days filming different scenes for it over about 3 weeks. We moved entire rooms in our house to create the sets with just stuff we already owned. I’m a huge vintage collector – clothing, trinkets, homewares – I love all things vintage, so it was fun to plan out and put together props and clothing for the clip.
I think my favourite scene is the witchy / sitcom one. I really love camp special effects from the 50s/ 60s/70s (like Bewitched and I Dream of Jeannie), and it was pretty fun to try and recreate some of them for ‘Square Eyes’. We also spent so long making food props for that scene and you only really see them for about 3 seconds. They were really delicious though.
KE: I liked making cucumber sandwiches and eating them. Why do they actually taste good? They absolutely shouldn’t, and kind of don’t, but I couldn’t stop eating them. We also used a vegan ‘duck’ in the spread, and we toyed with the idea of getting a real roast chook, but somehow the vegan duck from our freezer was completely fitting. It looks so gross.
I don’t think I’ve ever had more fun making anything in my life, every scene was so much fun to shoot.
There’s also clips of “Ramones” and “Siouxsie Sioux” in the clip; how did you first discover those artists and what do you appreciate about them?
KW: Ramones was the first punk band I discovered and Siouxsie Sioux was the first goth femme person in music I was ever aware of and she is an icon. She’s so effortlessly cool and she and the Banshees had such a unique sound that I was craving when I was a teenager. I think I’ve just always wanted to be her.
KE: I think Kalindy and my first common ground when meeting was Ramones. I will never tire of that first album. I had a step-brother, Dean, who I never got to meet. He lived in Toronto, but for much of my formative years he’d send me mix tapes. My favourite was called ‘Smells Like DEAN’S Spirit’. In the late 80s and early 90s he’d send me tapes with bands that I’d never heard of – I was like 7, 8 years old when he started – and it was bands like Ramones, Siouxsie, TSOL, Angry Samoans, Slayer, Pixies, The Stupids… like really cool punk stuff that I don’t think I would have heard otherwise, at least not at the time.
Blitzkrieg Bop started one of these tapes and I swear he put it there like a gateway to the rest of the tape… but it got me hooked, and I’ve loved Ramones ever since. Siouxsie and the Banshees were on that same compilation, it was ‘Love In A Void’, and I was so obsessed with it. One of the first records that I ever bought was their Peel Sessions EP and I treasure it to this day – their live to air version of ‘Love In A Void’ rules
You’ve been together for around four or so years now. What has been your proudest moment during this time?
KW: My teenage self would be so proud of us being on Rage! And every time we play a gig and people yell our lyrics back at us, that makes me so happy that we have made a connection with so many people through our music.
KE: OMG yes Rage, I still can’t believe we’ve had a few of our clips played on Rage. And yeah same. The first time we ever played our song Drama Club live, we had just written it and hadn’t learnt the lyrics yet, and Billiam from Disco Junk was there and held up our notebook for Kalindy so that she could sing it. There’s only one live moment that beats that, and it’s when we played it a few months later and BIlly was there again, in the front row, singing along.
Music-wise what bands, albums or songs have you been enjoying of late?
KW: Our label mates Zig Zag have just released their single ‘I Care About You’, and it’s so catchy, I am constantly singing it around the house, their joy and energy is infectious and they really do care about you! I love it!
KE: Wow, where to start?! I’m loving all of the Dr Sure’s Unusual Practice singles that have been coming out, they’re such a good band. Other newish releases that I can’t get enough of are K5’s album, Eat-Man’s record, Sweeping Promises’ Hunger For A Way Out and I haven’t been able to move past Blake Scott’s album from last year. Oh and Gordon Koang! Such pure and positive music, it’s impossible not to enjoy a Gordon Koang track.
You’re currently working on album number three, which is due out mid-2022; what can you tell us about it at this point?
KW: We still have a lot of work to do on it but at the moment we already have one really good song about a being a clown and at least one song about bugs – so I’m pretty excited about that.
KE: Album number three is so exciting to think about. I have genuinely liked each of our releases more than the last, and I can’t ask for more than that. Our goal is to constantly change what we’re doing, challenge ourselves, and keep making the music that we want to hear. This EP and our next album is all of that for me. Also, geez Kalindy just writes so many good songs… We could make a thousand OK albums, but we want to make a few really good ones.
What else have each of you been working on?
KW: I started a daily art project in lockdown in May 2020, it was going to be a 100-day project where I would make an art postcard everyday with whatever I already owned (lockdowns meant art supplies were scarce). But lockdowns kept going so I just kept making them. There are collages, illustrations, cut paper pieces, paintings, embroidery and anything else you can think of, they have been some of the best and some of the worst pieces of art I have made (hahaha) and I think some of them will be really good record covers or band posters. We actually used two of them for the covers of our last record and one for a poster last year. I’m currently at about 530-ish different postcards, which is wild!!!! And right now, I’m preparing for an online art show in mid-November to showcase the first 500 art postcards on my website http://www.orbitarcade.com.au.
I’m also planning to make a new photo zine in the next couple of months and work on some new music videos!
KE: I spend lots of my time preparing for a radio show that I co-host with Maddy Mac on PBS FM. We play music from so-called Australia and our closest neighbours, and I spend loads of my time in front of a computer screen listening to new music! I’m also tinkering away on some new solo music, but I don’t have any plans to share it just yet. Lots of my work revolves around live music events, too, so once lockdown lifts, I will have so many fun projects to announce!
Delivery is an effortlessly cool garage-rock, post-punk combo with programmed beats from Naarm/Melbourne. Today Gimmie are premiering their debut EP Yes We Do in full. Delivery’s Bec Allan and James Lynch were kind enough to fill us in on the energetic release and give us a glimpse into the band.
What do you love about making music?
BEC ALLAN: Really just hanging out with likeminded people and friends, doing a creative thing that we’re all passionate about, nothing funner than that!
JAMES LYNCH: Yeah, just a good excuse to hang out with friends really! Also, quite cool how quick the process can be between making something up and having it out in the world.
How did you both first meet? And, when did you realise you wanted to make music with each other?
BA: We first met at this music festival Boogie in 2017 and have been going out for about four years now… haha. We never really planned to make music together per sé but I guess since we were both doing it separately and share similar musical interests it was bound to happen at one point or another. Also being locked in a room together for a few months helped push that along pretty quickly.
JL: I think we’ve also been big fans of each other’s bands for as long as we’ve known each other, so it was pretty easy to trust we’d be able to make something sorta cool together, even if it was just to pass the time.
Delivery formed in lockdown. You’re both in various other bands – Gutter Girls, Blonde Revolver, The Vacant Smiles & Kosmetika; what did you want to do differently with this new band? I know you started out just making songs up for fun.
BA: We were actually trying to figure out how and why we even started doing this project the other day, but neither of us can really remember haha. I think this band is cool because we both play pretty different music in other bands and it’s kind of a cross over between both our styles. Someone said when we first started that it’s probably the most punk band James has played in and the least punk I have. I think for me, it’s also been really cool to write lyrics for the first time and have a way bigger songwriting input than in other bands.
JL: I guess it was also a nice opportunity to play with someone else who had a pretty different musical background/set of experiences so there wasn’t really an obvious intention to begin with, we just wanted to see what might happen – I don’t think we had any specific goals other than to have some fun with it. It’s definitely forced us both to think about what our usual musical tendencies are, but to also come up with something that suits the group dynamic, which is a good challenge, and I think so far we’ve been able to meet somewhere in the middle nicely.
I love the synthesisers and programmed beats in Delivery’s music; where did your love of these stem from?
JL: To be honest, I don’t think either of us have a proper love for synth heavy or drum machine music haha, this band is my first time ever using drum machines and I know almost nothing about synthesizers. I suppose it was more a necessity to be able to make something interesting from within a bedroom, when you don’t have too many tools are your disposal and can’t really go too loud. That said, I think it’s maybe shifted my brain a bit to be a bit more curious about how bands that I like do use synths and drum machines in cool ways, there’s so many good bands doing this kind of stuff and using those instruments to mess with whatever feels like a ‘normal’ rock band setting. It’s nice to throw yourself in the deep end a bit sometimes too.
Personally, who are your biggest creative inspirations?
BA: Well, I’ve always been really into the 70’s New York punk scene but have definitely been expanding my music taste way more in last few years and that’s probably where more influences for this band came from – recently a lot of garage rock and post punk bands like Parquet Courts / The Clean / ESG / Raincoats and others have been on pretty high rotation so I use them as inspo for sure. Also, just the Melbourne music scene in general is super inspiring and being part of it always keeps me motivated, listening to new stuff coming out constantly and seeing so many sick bands all the time is so cool, so I guess to be able to work on my own things is exciting to be part of it.
J: When we started Delivery, a big reference point was The Intelligence – they’re such a good band and I think a lot of the music coming out of Melb shares a lot of qualities with their stuff but no one really talks about them! Just generally though, I think the biggest inspiration I get is from local bands and friends though, it’s so exciting being in Melbourne and being able to see an amazing band one night and then using that to prompt something in your own music, feels a bit less like you’re ripping off a band if you know them haha.
What puts you in the mood to create?
BA: Literally having any spare time haha… playing in so many bands plus work and uni keeps me busy for sure so getting a sec to relax and just fiddle around on the bass is a bit of a luxury that I try make the most out of when it comes around! And when I can come up with something cool or interesting (to me at least) I pretty much charge with it cause it’s always pretty exciting having something new to bring to the band and work on.
JL: I don’t know if I really need a mood to create either. I think I almost like the idea of having lots of songs more than I like the creative process, so actually making up songs is just a means to an end. I think I’m fairly lucky that I can just force myself to make up ideas if I really want to, so if I do get an idea, I like I’ll run with it regardless of my mood because it’s kinda nice to have another song at the end of the day.
We first heard you on the Blow Blood Records ALTA comp with song ‘Poor-to-middling Moneymaking’; how do you feel your sound has grown since that first song?
JL: A couple of the songs on Yes We Do were written at the exact same time as ‘Poor to Middling’, so that’s a bit of a hard question to answer. I guess both the 7” and that song catches us while we’re trying out different ideas of what Delivery could sound like and maybe testing out a few of our tricks all at once – although maybe the final version of the 7” songs were given a little more focus. We play that song live at the moment though and I’m really excited to do a full band version of that song, maybe once we do that it’ll be easier to compare and see how Delivery has developed. The full band help it rock a little harder I reckon.
Bec, you’ve previously said that writing lyrics is always pretty intimidating; what intimidates you about it and what helps you push through that?
BA: I guess the most intimidating thing is that people will hear what you’re saying and think about it then think it’s lame or bad haha but over time I’ve come to realise people don’t really read into lyrics that much or if you don’t want to give too much away you don’t really have too. Definitely working with our guitarist and my housemate Lisa has made me feel way more comfortable rolling with ideas or even lines of songs. We are both kind of each other’s hype person when it comes to that so it makes it a really fun positive experience and makes me feel way more confident as we go!
What’s something you love about your debut EP Yes We Do?
BA: I love the artwork by Mac Int., massive legend and she hit the nail on the head with it. Feels a bit weird saying what I like about my songs but I will say I love Delivery and everyone in it!
J: I like the drum sound. I also like that Bec and Lisa’s deadpan singing makes us sound a bit more badass than we maybe are.
Was there anything that surprised you about writing or recording this release?
BA: How quickly writing and recording 7” can be done if you want it to be haha – think we decided in April we actually wanted to do this so it all came together pretty quickly.
JL: When we started Delivery, I thought we’d be writing these wild punk songs and then when they were finished it sorta turned out that my most punk still is kinda not super punk whoops. Sam from Spoilsport actually said a nice thing along those lines, that even though we sorta do post-punk there’s still a fair bit of garage and pop smarts about it that maybe helps us stand out a bit from the real punks. If you can’t join them, beat them.
Can you give us a little insight into each song on the EP? ‘Floored’, ‘The Explainer’, ‘Rubber’ & ‘Brickwork’.
BA: ‘Floored’ literally about a stain on my carpet (Lisa and I are pretty precious about our carpet so we were devastated to find it) but also maybe it’s about some other things in life that are stuck and hard to get rid of or move on from. I dunno haha maybe just trying to place some meaning that isn’t there or maybe it is??? You can make what you want of that.
JL: ‘Explainer’ is a song about how you don’t need to hear the end of every story. I’m a sucker for wanting to know what happens next in every irrelevant anecdote, and this is a reminder that you don’t have to tell me if you don’t want to.
BA: I wrote ‘Rubber’ after a kinda shitty experience buying some things from a music store near me and I guess it’s a little diss track to some people that work at some music stores that don’t always take non-male identifying people seriously, not all stores are like this but it still gets you every now and then.
JL: ‘Brickwork’ is about how anyone who does anything good or shitty is ultimately either as celebrated or held as accountable as the people who back them up. Good to double check the people you hold up deserve your support, I guess.
Sound-wise, why was it important for you to keep some of the spirit of the sound of your early home recordings rather than really polish things up too much?
JL: Playing with the band is so good that it was very tempting to just ditch all the home recordings and make an album like we sound live. But there was lots of charm to our original production style that I thought would’ve been a shame not to share, so I guess it seemed nice to do the 7” as a little stepping stone.
After starting as a two-piece Delivery have now expanded into a five-piece; how have the songs evolved with the additions to the band and finally getting to play them live?
JL: It’s been fun making the songs sound a bit bigger, and it’s nice having a few more perspectives in the band to throw in the mix. The 7” definitely wouldn’t have come out as it did if we didn’t have the full band helping to steer the ship. All five of us are real good friends too, so it’s just a blast to play rock songs with more of your buds.
Your release is coming out on Spoilsport; what’s one release you’re loving from a fellow Spoilsport band we should check out?
BA: EGGGYYY!! My favs and besties! Bravo is just excellent but also so many friends and great music on the label… Quality Used Cars, Carpet Burn, Hooper Crescent etc. just go on the bandcamp and pick anything and there will be no disappointment.
JL: Spoilsport are the best in the biz and I love every album they’ve put out. A particularly cool one for me is Quality Used Cars album, Francis is one of my longest friends and the two of us helped each other get into making music when we were about 14, so there’s something special in coming full circle and putting out music in different bands but on the same label 13 years later.
One of Gimmie’s favourite bands Naarm/Melbourne-based EXEK have a new single and clip out today—‘Several Souvenirs’ from upcoming LP Good Thing They Ripped Up The Carpet out soon on Lulu’s Sonic Disc Club. Gimmie had a quick chat with vocalist-guitarist, Albert Wolski.
What’s life been like lately for you, Albert?
ALBERT WOLSKI: Pretty normal. I work full-time with Billy [Gardner] and Jake [Robertson] from Ausmuteants. We worked all throughout Covid, it was business as usual; actually, work was as turbo as it could possibly get, a bit too turbo. It was fine though. We had to work when a lot of people were able to have time off and could do their creative stuff, and just read, chill and hang.
We’re really excited EXEK has a new album coming out! I’ve been listening to it a lot since Lulu’s Sonic Disc Club sent it through to us. It’s so awesome!
AW: Thank you! Rad!
Last we interviewed you (March 2020), EXEK had just released Some Beautiful Species Left. You mentioned “We’re currently working on the next album. I wrote all these lyrics for it ages ago, most of them were written whilst I was on holiday in Europe in 2017.” Is Good Thing They Ripped Up The Carpet that album you were talking about then?
AW: That is actually the next album, that was done before this new one. It’s all kind of confusing and everything overlaps, there’s a bit of a tapestry now. Things aren’t too linear half the time. Good Thing They Ripped Up The Carpet comes out the 4th of June. We’re working on stuff for next year as well, just trying to stay busy.
Lots of EXEK in our future, lucky us! I noticed a few songs on Good Thing… have been on other releases, split 7-inches and compilations overseas; the first six tracks are newer ones?
AW: Yeah. It’s split between the A-side and the B-side. The A-side is new and the B-side is older stuff. One of the songs feels like it’s new because it hasn’t come out yet, there’s been a delay in a compilation it’s on, that a French label SDZ is putting out, they put out Some Beautiful Species Left. They were celebrating their 20th year anniversary last year, but it all got delayed. It’s the song ‘Four Stomachs’.
The title of the album Good Thing They Ripped Up The Carpet is a lyric from the first song ‘Palazzo Di Propaganda Fide’. Being the nerd I am, I was looking up what the song title was in reference to and found a palace located in Rome has that name.
AW: Yeah. It’s known for its architecture [designed by Gian Lorenzo Bernini, then Francesco Borromini]. I wanted to loosely connect that building and almost pretend that the cover of Biased Advice, which just got reissued [on Castle Face] … I wanted to refer back to that record. There’s a lyric that goes: someone turned the lights on, and it looks like the sweatshop from the first album. Now it’s full colour, so it’s almost like someone did turn the lights on and its loosely painting a narrative that the sweatshop is in that building, but obviously it isn’t. It’s all very nonsensical really.
I love how in EXEK albums there’s always so many layers, from the music to lyrics and to art and videos. It’s cool how things connect over releases.
AW: Yeah, I definitely like to make a little universe and for that universe to exist and try and make sense out of it; it is its own universe so it doesn’t have to make sense in comparison to this universe. [Laughs].
The song we’re premiering along with its video is ‘Several Souvenirs’.
AW: I guess that one is related to Covid, just after the lockdown in Melbourne, everyone was really stinging to go out and be social again; maybe not everyone, but at least I did and my friends. We really felt like connecting with people and having some fun. I was writing that song when I was going out and partying a lot, a lot! Definitely during Covid there was none of that, I gave up alcohol for three or four months during the first lockdown. After the second one I just felt like partying again. ‘Several Souvenirs’ is kind of the EXEK party song, it’s definitely not a party song but it does have the romanticism of creating the perfect evening and the perfect memory of the perfect evening. It’s a little bit new wave-y, a little bit romantic, and probably the most poppy that we get.
I got that romanticising feeling from the film clip. It creates that mood, with the shots, lighting and even the ballerina character. Where was it shot?
AW: Yeah. It was shot at a pub [Stingrays Upstairs at the Bodriggy Brewery], not our next show but the one after we’ll be playing there with Body Maintenance. The place is named after a friend of mine. The narrative is that Carol is about to start her shift at the bar, a song comes on and she just goes into her fantasy world and it gets more and more extravagant. The dresses get crazier, the lighting gets crazier, there’s wind and smoke. Then she snaps out of it. We managed to get the place for free to do the clip, on the one condition that we play there. I was like, “Of course, it’ll be fun.”
It seems like a really amazing venue.
AW: I don’t think anyone has played there yet. It should be interesting because there is a mezzanine level, which is six or seven steps high – we’re going to playing at that height – which is really, really high. My ideal stage is one to two steps. It’s a brand-new place that opened right after Covid, not many people know about it.
Where did you find the ballerina for your clip?
AW: She’s a friend of a friend; a friend of my wife and I – Kasey – she runs this fashion label and store. Carol (the ballerina) loves Kasey’s fashion. She’s a professional dancer and model, we thought she’d be great for the clip so we asked her if she’d be keen. She was. Then it was all happening.
Were you there on set when it was being filmed?
AW: Yeah, yeah, yeah. There was a big crew of us all behind the scenes, letting her hog the spotlight really [laughs].
Who shot the clip?
AW: Robyn my wife and her close friend Hannah. They’re both photographers. Hannah is also a videographer. Also, Alex McLaren who you just interview was there too; he was helping us out behind the scenes with some tech stuff and we were fortunate enough to borrow his equipment. It turned out good.
One of the tracks on the LP’s B-side is the theme from Judge Judy (that originally appeared on your split 7-inch with Spray Paint); how did you come to choosing to cover that?
AW: I really love that bassline. You know when you were back in the day and you’d stay home from school and Judge Judy would come on? I thought, damn, I love that bassline. I thought it would be good to cover because EXEK basslines are kind of like that, it would kind of lend itself to what we do. We just fleshed it out and it was really easy to do, really fun to record.
Anything else to tell us about the album?
AW: The songs on the B-side of the album have been retweaked. I just can’t help myself. The mixing process never ends with us. I always thought that when I got a chance, I’d retweak a few things. Even the last track [‘Too Step A Hill To Climb’] I redid the whole vocals for that. I wasn’t too keen on the originals. All the songs on that side have been modified to freshen them up.
On a side note, I know you love watching films, and I’m always up for great film recommendations; what have you been watching lately?
AW: I’ve been watching all these silly blockbusters lately. I feel like watching the world blow up, I think I see it as cathartic when things aren’t really going too well outside, that visual chaos. It’s really chaos right now in the world. One film that I saw a couple of years ago that I’m keen to rewatch is Under The Silverlake, which I think slipped by a lot of people.
I love that movie.
AW: Yeah, I think I might watch it again tonight. It’s so good.
Did you find that the lockdown affected your creativity?
AW: To an extent, I didn’t want to write about what was going on, so that made it a little bit harder. I didn’t want to write about Covid, even though I like to write about hard science stuff and which I do anyway. My writing process is really hard to shift gears away from hard science, pathogens and diseases and science-fiction dystopias [laughs].
We love Meanjin/Brisbane Grit Hop trio, Spirit Bunny, a joyful explosion of noise from multi-instrumentalists Kate Thomas, Joel Saunders and Cam Smith. We’re super excited to bring you the premiere of first single ‘Paper Handshakes’ from their upcoming sophomore album on new independent label Zang! Records. Spirit Bunny’s sound is a perfect storm of circuit bent Casio noise and C64 synths with phat beats and whimsical melodies.
Firstly, congratulations on signing with Zang! Records. We’re really excited that Spirit Bunny has new music to share with us. We’re really digging your new song ‘Paper Handshakes’! Where did the song name come from? I’ve heard that Spirit Bunny songs often start with a title before music and lyrics are written.
SPIRIT BUNNY: Thanks! We’re super happy and excited to be able to share some new stuff again. ‘Paper Handshakes’ actually had a different, working title until right at the last minute. That’s pretty normal for us – a lot of our songs start off with working titles that are related to how the songs sound or what they remind us of. A good example of that is ‘Gold & Brown’ from our first album, which in its very early stages of being written reminded us in mood of the song ‘Golden Brown’ by The Stranglers. Sometimes those working titles then inform the lyrics and themes, which are almost always the final part added to the song. So it almost always goes music, working song title, lyrics, and then sometimes a proper song title if we decide the working title is no good (or embarrassing). This song had an embarrassingly mundane and meaningless working title.
What inspired it both musically and lyrically?
SB: Musically we wanted something that was upbeat and really punchy. We started the writing of the album with a couple of more downbeat or weirder songs, and thought we should perhaps write a pop song. Which is what we did, or at least it’s what we consider to be a “pop song”. It was one of the first songs for the record where we started experimenting more in-depth with dual and duelling vocals, something we tried a little bit on the last record. Lyrically it’s about the sway that people with money hold over decision makers, and how that doesn’t always benefit the greater good.
How much did the song change from its beginnings to what we hear now?
SB: This is one of the songs that just kind of came out and didn’t need a whole heap of tweaking, it came together pretty easily (which can’t necessarily be said for the some of the other songs from our forthcoming album). The only significant change came right towards the end of recording, when we invited our friend Keeley Young (of Claude and Requin) to play saxophone on it. That’s something we experimented with on the new record, getting our friends in to replace our parts but playing them on an instrument that we don’t normally use, to try to get some new and often more organic sounds into the mix. So on this song, Keeley multi-tracked her saxophone to replace some of the chordal parts that Kate plays on Commodore 64.
What interests each of you in what you create as Spirit Bunny? I know you’ve all had many other bands and projects.
SB: It’s probably the most democratic and collaborative band any of us have been in, which can be challenging but also very much worthwhile. It’s definitely a project where if you were to replace any one of us you’d end up with a completely different thing. When we first got together we had an idea of what we wanted to sound like, but ultimately what came out is Spirit Bunny. It really pushes each of us in different ways, both technically and in what we’re comfortable with in terms of our roles in the band. For example, Kate is kind of the musical core of virtually every Spirit Bunny song and that’s not something she’s done in her other projects.
It’s also very different from any of the other projects we’re involved with. Some musicians like to play in a bunch of bands that are all of a kind, but that’s not something we’re overly interested in.
Spirit Bunny shows are pretty special, there’s an amazing synergy between you; do you ever have trouble capturing the spirit you play with live in recording or do you see live and recording sound-wise as two different things?
SB: The first record was definitely a pretty close representation of the live version of the band. The new album is perhaps very slightly less so, although the majority of the record was still built around the way we would play the songs in a live context. We did try a few new methods of writing and recording this time, with a few of the songs being partially constructed in the studio instead of extensively hashed out in the rehearsal room. We also tried to incorporate a few more textures this time, and to give some of the songs a bit more space than on the previous album. We definitely try to capture the energy of our live shows, though. That’s really important, and I think both albums go pretty close to achieving that.
What’s something surprising that people might find interesting about the way you write or record?
SB: We’re all multi-tasking in this band, each playing multiple instruments at the same time. Kate plays two Commodore 64s, Joel has two of his unique circuit-bent Casios plus a bunch of noise boxes, and Cam has his looped beats alongside the acoustic drums. So everything can get pretty layered and dense for a trio, but that’s what we actually sound like. It was a bit of a focus on this record to strip that back a bit sometimes and give the songs some room to breathe.
You use circuit bent keyboards/Commodore 64 synths; where did your interest in using these come from?
SB: We like repurposing obsolete or outdated technology in a creative fashion, giving it a second life that’s perhaps outside its original purpose. It’s cool to make something that’s somewhat futuristic and hopefully forward-looking with elements that could sometimes be considered somewhat ‘retro’. Also, these instruments have inherent limitations and we like that those limitations can force us to come up with novel solutions. An interesting example of that is that the Commodore 64 has virtually no dynamics, and Cam came to Spirit Bunny from bands that were highly dynamic so he had to rethink the way that his drums were going to function in this new context, where if he played quietly he was going to be drowned out but if he played loudly he would drown everyone else out. The answer ended up being adding dynamics to the drums via the density of the playing, rather than playing softer or louder.
What can you tell us at this point about your sophomore album you have coming up?
SB: Firstly that we’re really happy with it. There’s been a lot of work to get to this point. It’s been good to welcome some new people into the fold to help us get the record to the finish line, whether it’s been various friends of ours adding their own flavours to the record sonically, or teaming up with Zang! to get the record out into the world. Listening to it now, it seems like real growth from the first album. The songs are simultaneously more extreme and also more accessible, more dense and also more spacious. It’s been a journey of discovery for us as much as it is for anyone else, perhaps more so. From within the band, everything we come up with seems to be greater than the sum of its constituent parts.
What bands/albums/songs have you been obsessing over lately?
SB: We’ve been listening to Deerhoof’s two new records a lot, always listening to lots of Deerhoof. We love the new Party Dozen album, in a way we feel like they’re kindred spirits in the Australian music community. Similarly with the new Wax Chattels. Angel Olsen’s All Mirrors is a record that weirdly influenced some of the sounds on this album, in terms of some of the mellotron arrangements and a kind of chamber-pop sound we attempted to incorporate in parts (with varying success).
We also listen to lots of local stuff, and there’s been heaps of really good local releases lately. The new Ancient Channels is fantastic, which some of us are involved with in some ways (Cam recorded it, and Joel now plays in the live band). Zang! labelmates Gold Stars have a fantastic debut album. Local Authority, Ultra Material and Relay Tapes all put out some great shoegaze and dream-pop records recently. Nathan John Kearney put out a lovely solo record, It’s Magnetic have a wonderful debut album. There’s new Grieg. We’re looking forward to the new Apparitions record. There’s so much stuff.
What’s something that’s important to Spirit Bunny?
SB: Musically we just want to make something that excites and challenges us. On a more important note, we feel strongly about diversity and social responsibility, supporting community and grassroots art and initiatives. We delved into some of these issues lyrically on the new album, which we also did on the first one but often in a more oblique way – this time we were a bit more overt in the presentation of some of these themes.
Melbourne duo Sleeper and Snake, Amy Hill and Al Montfort, are set to release new album Fresco Shed via brand new independent Australian label Lulu’s Sonic Disc Club (from the folks behind Lulu’s record store) and the UK’s Upset the Rhythm.
Sleeper and Snake craft beautiful and delicate songs about tough matters, their songs are political without being overtly so, you have to dig deeper, they make you think. Al and Amy skillfully and uniquely tell stories observed from their local surroundings of trains, farmers, corrupt handshakes, of Pentridge prison and the Melbourne war memorial. Through laid back alto and tenor saxophone peppered lo-fi soundscapes and poetic words, Fresco Shed sparks imagination and charms the listener.
Gimmie chatted to Al and Amy about the forthcoming LP and song “Flats” which we’re doing the Australian video premiere for today. We also talk about their other projects in the works.
What initially inspired you to write a new Sleeper and Snake album Fresco Shed?
AMY: Good question! [laughs].
AMY to AL: You’re just always writing music, endlessly… it’s gotta go somewhere.
AL: We were writing a lot of Terry songs together…
AMY: We just enjoy playing music together.
AL: I guess…
AMY: Some of it didn’t suit that.
AL: Yeah. We had saxophones so we were making a lot of music with them.
I wanted to ask you about using saxophone, because that’s kind of a less traditional instrument to write songs with; have you been playing for very long?
AMY: No, not really. Al got one…
AL: Yeah, I got one. I got a tenor sax from EBay from a fancy rich suburb in Sydney for 200 bucks! [laughs] …maybe six years ago when Total Control were up there for a gig. I didn’t bother getting any lessons, in case you can’t tell.
AMY: I tried to play it once and I managed to get sound out of it and he pestered me into playing [laughs]. Georgia from The UV Race plays saxophone and she had babies recently so she wasn’t using her saxophone, I managed to borrow hers and that’s what I’ve been playing. We thought it would sound quite cool to have the tenor and alto saxophones together. It seemed like a fun thing to do.
AL: Yeah. Amy just picked it up and was way better. She was a total natural at it straight away.
What do you enjoy about making music?
AL: It keeps me sane-ish. I think any kind of creative outlet is really important for people. The process of writing lyrics is a really great outlet for me to get through the day, to make things compute and it helps this horrible place make sense.
AMY: I think it’s just fun!
Making something from nothing is the most fun!
AMY: Yeah. It’s also been a real social thing for me, I get to hang out with my friends and we do music together. It’s always been what you do, go see bands and play music together.
How have you guys been dealing with not being able to be as social and do those things, especially play live?
AMY: It’s pretty weird. At first it was almost like a little bit of a holiday from it. By playing in numerous bands we’d find ourselves playing something like four gigs a week, which is quite insane when you’re also working fulltime [laughs]. The first lockdown it was kind of a bit of a novelty but it starts to just become quite odd, I feel a bit odd. There’s a lot of people that you don’t see anymore because you’re not going out to see live bands. Your life feels a bit like it’s on hold, I guess most people would be feeling that.
I think so. I’ve been going to gigs my whole life and this has been the longest I’ve gone without going to see live music. Right now in Brisbane a handful of venues have brought back a live shows but with a small capacity and it’s sit down at tables, socially distanced; you pay the ticket price and then you have to pay a minimum of $40 each extra on top of that which is redeemable in bar tab or venue merch. That means for my husband and I to go see a local live band it can cost around $120; we don’t drink and we’re not going to spend $80 on soft drink and we don’t need venue merch, so these new rules excludes us from going to do something we’ve done and supported our whole lives.
AL & AMY: Whoa!
I can understand venues are in a weird spot with having limited capacity and not having been opened for a bit but to basically enforce a alcohol minimum to see bands is really weird.
AL: That is really weird.
AMY: Someone was telling me that Cherry Bar here in Melbourne was trying to gauge interest, they want to do a gig where there’s some hotel and it must have a courtyard in the middle and the rooms have balconies that look down on it; they want to have the bands in the courtyard and then you book a room, so it’s a festival where you have to have your own room. It’s insane.
AMY: You have to have money to be able to do that!
Same with the bands doing gigs at drive-ins up here. It’s something like $200-$250+ per car to go.
Yeah, it puts going to a show out of the reach of a lot of people, especially with many people losing their jobs.
AMY: Do you think people do it because they think they’re supporting live music? But then it’s so inaccessible for so many, it’s so weird.
Yeah, the kind of crowd that end up being able to afford it are the ones that go to a festival like Splendour In The Grass just for the experience… its crazy to me that festivals like Splendour have a stall/tent you can go to and get your hair done and a nail bar! I mean, what the actual fuck?
Is there anything that frustrates you about making music?
AL: Hmmmm [thinks for a moment]… dealing with promoters. I think there are a lot of good promoters that have their heart in the right place, but I think the money making, money obsessed side of it…
AMY: It’s a bit grim!
AL: It is pretty grim. Even what’s happening now with the shutdown, I know a lot of the venues are keen to open up because there’s people that work for them and the landlords need money from the venues, the business owners need money and they’re pushing this stuff more than the artists I feel. I feel like the artists and the fans are like, let’s respect this, it’s OK…
AMY: We’ll just have a break. There’s a real push from the business side because they’ll go under if they don’t have the chance.
AL: I feel like maybe there’s not that much interest in the cultural, artistic side of musicians/artists… it’s more about the bottomline. That can be frustrating.
AMY: Some people probably love it, if they’re in it to make money [laughs].
AL: Yeah, totally.
I grew up in the punk rock community so I’ve always been very wary of the music industry.
AL: Yeah. I went to a lot of punk gig growing up, there weren’t many at pubs, there were many at cafes during the day or DIY venues, house parties, and they went along just fine without these huge bars making a lot of money off of people drinking themselves to death… I’m not quite straight edge but…
AMY: I guess there’s that thing that musicians often get paid in their bar tab to a certain degree which… it’s a bit of a weird normality that that’s what you get.
I’ve been listening to the new Sleeper & Snake album Fresco Shed all afternoon since I got a sneak peek of it, it’s so cool. The opener “Miracles” is an instrumental and has a feel about it sonically that is kind miraculous and magical sounding.
AMY: Thank you.
AL: “Miracles” is inspired by Scott Morrison when he won the election and was like “it’s a miracle… I’ll burn for you” and he kept on saying all this stuff about miracles [laughs]. It was really upsetting.
That’s like how in the US Donald Trump said that the pandemic will “disappear… like a miracle”.
AL: A miracle! Ugggh… Love that! [laughs].
I love how Fresco Shed has a real gentleness to it but then the themes are very political and serious.
AL: Yeah. It’s funny just making the music at home because we don’t play through amps very much with this project. Because we’re doing it like that and playing at home using saxophone and that, it does become gentle in a way.
AMY: You don’t have to be loud.
AL: Maybe it’s just sad and defeated?
AMY: Sad?! [laughs].
AL: It’s that side of politics… it’s the sound of defeat [laughs].
I saw press photos and there was an abstract hand-painted “fresco shed” in the pics; did you make it yourself?
AMY: We were getting quite crafty in lockdown.
AMY: Al’s always trying to make papier-mâché things. In Terry he made the papier-mâché Terry. He likes to get crafty.
AL: Yeah, I like to get crafty! I was really proud of the corrugated iron type roof.
AMY: We envisioned a real shed covered in fresco paintings but then all we could physically achieve was a cardboard box [laughs]. We like making the art and being hands on in that way. We had a lot of time on our hands.
We were nerds and zoomed in on the photos to check out the paintings better and we noticed that each picture correlates to song themes on the record, you have the V-Line country train, Pentridge prison, crooked handshakes…
AL: It’s conceptual but literal [laughs].
AMY: Al told me what to paint and I just painted it, that was the rule! [laughs]; I said I’d paint it if he told me what to paint. They all relate to the songs.
I really love the image of the “farmer full of feelings”.
AL: That’s one of my favourites, I think. That person definitely looks defeated!
That image is related to the song “Lady Painter”?
AMY: Yep. The farmer full of feelings has just watched a Scott Morrison press conference [laughs].
That song even mentions the “fresco shed” right?
AL: Oh yeah.
AMY: That’s where the title comes from.
We’re premiering the video for your song “Flats”; what’s that one about?
AL: We moved to a different suburb a year and a bit ago, Richmond is an inner east suburb of Melbourne…
AMY: No one we know really lives here, everyone lives north side. We moved to a suburb that’s kind of wealthy…
AL: It’s diverse, it has a lot of public housing but it’s really rich as well, heaps of wealthy people. You really see gentrification at that umpteenth level, how extreme it can get…
AMY: All the apartments going up and stuff. It was during summer and we were going for walks and we were talking about ideas and things and that kind of came up and that turned into a song.
AMY to AL: Did you write it?
AL: I think we both wrote it while we were walking around taking Tramadols [laughs]. We were walking by the Yarra River, it runs through the whole thing and you really see the worst of Settler society here…
AMY: All the wealthy people have their houses on the river and all the wealthy schools row on the river.
AL: There’s all these people with power next to disempowered people… AND it’s all on Stolen Land. Everywhere you look is a little snapshot of this.
It’s always boggled my mind since I was a kid, the world always seemed to me to have enough for everyone but, then there’s some people that have so much that they don’t even need and then there’s people with nothing, no place to live. I remember observing that as a kid and thinking it was so weird and wrong.
AL: Yeah, totally. Moving to the suburbs that are much older, the juxtaposition between these two things are in your face. Another aspect of the song is about the privilege we have as white Australians, we don’t have experiences the same way… we might not even be from wealthy families or whatever but we benefit from it every single day. The “flats falling into the floor” lyrics is a reference to the Opal Towers in Sydney, all these apartment building falling down and such wealth being made from that stuff, it’s disgusting!
Totally! Do you have a favourite track on the new record?
AMY: I like playing the ones that we just play saxophone on together, they’re really good to play.
AL: They’re all good ‘ey! [laughs].
What do you love about playing saxophone together?
AMY: I think it’s just so new for me. To be playing a very different instrument than what I’m used to and having to work out how they sound good together… literally I don’t know some of the notes on it and have to figure it out [laughs]. Because it’s new it’s exciting to play. Challenging!
Musical experimentation must keep things creatively interesting for you; was there anything new you tried writing or recording this release?
AMY to AL: I don’t’ know if it made it on to the record but you were clanging on something, weren’t you?
AL: Oh, yeah. I was banging on a pot.
AMY: I don’t know if it sounded any good [laughs]. We just like to try weird things. We do that though with all of the bands to a different degree. Nothing ground-breaking.
AL: We recorded on the 4-track, which is what we usually do with Terry and Primo! too.
Toward the end of the song “Lady Painter” there’s some cool weird sounds that I couldn’t work out what was making it?
AL: That could be the organ, Nan’s old organ!
AMY: The Funmaker.
AL: Yeah, it’s called the Funmaker!
AMY: It has this one level of keys…
AMY to AL: Do you think it’s broken? Or is that just what it sounds like?
AL: That’s just what it does.
AMY: We didn’t even effect it, that’s just what it sounds like.
AL: I’ll plug it in… here we go! It’s pretty crazy.
[Al plugs in the organ and plays]
I feel like fun is a really important part of what you both do?
AMY: It’s sort of like a hobby, what we do to relax and blow off steam and hang out with our mates.
Did you start creating from when you first got together?
AL: It took a while. Maybe Terry was the first band that we wrote together for, that’s four or five years ago.
AMY: We’ve been together for ten years. It took us five years because we just had our own separate bands.
AMY to AL: You were pretty busy because you had ten bands or something like that.
AL Too much going on ‘ey! [Laughs].
What’s something you both do differently when writing songs?
AMY to AL: You remember them, that’s one thing.
AL: I remember more of the riffs than some other people in the band [laughs]. I rush, I’m always keen to get things done…
AMY: Whereas I work more slowly.
AL: Not slowly though, I think more thoroughly.
AMY: I like to think over things.
AL: Amy does things properly and I rush it [laughs]. That’s what the report card says! Maybe that’s from just being in bands that tour a lot for a while… UV Race and Total Control would write a record, finish a record… we’d jam a lot and write a lot to have a record for touring; maybe that has affected my song writing style?
AMY to AL: You want to churn it out…
AL: Yeah, I want to fucking churn it out!
AMY: I’ll think about something for three months.
AL: Which I think is better! I listen back to stuff and I’m like errrrrr, I wish you told me to chill out on that.
AMY to AL: Yeah, like… you need to do those vocals again!
Did you do the Sleeper & Snake stuff in a few takes?
AL: I’ll always be like, that first take was good!
AMY: He’ll tell me to put something on it and I’ll be like; this is a demo, right?
AL: I’ll be like, yeah it’s a demo. Then I’ll be like, OK, let’s send it away for mastering now!
I love when you sing together on your songs; what kind of feeling do you get doing that together?
AL: It’s pretty fun!
AMY: I’m like, oh god! [laughs].
AL: Singing is so fun. I think we both love singing and we try to egg each other on.
AMY: I sing high on some songs on the record. I think I sing better when I sing high but I really don’t like singing high. I’m always trying to go low but it always ends up that, nah, I’m gonna have to go up. It’s all figuring out harmonies.
Is there anything else that you’re working on?
AL: We have a few demos in the can. We’re got most of the new Terry record done.
AMY to AL: You’re still working on that Dick Diver record?
AL: Yeah, there’s a Dick Diver record that’s been 75% recorded about two years ago…
AMY: Sleepless Nights have been working on another record but that kind of stopped with Covid. Our drummer just went to Perth, we were like; why did you go to Perth?! There’s a few things in the works but everything is a bit on hold.
AMY to AL: Truffle Pigs?
AL: Yeah, Truffle Pigs! That’s Steph Hughes from Dick Diver, Amy and myself. It’s more like Soakie, country Soakie…
AMY: It’s a concept album. We’re always doing bits and bobs. Al writes songs and we figure out which band it sounds like [laughs].
AL: You write so many songs too; what are you talking about? [laughs].
AMY to AL: Noooooo. I write a riff and play it for a little while and then I forget it and then you remember it and turn it into a song [laughs]. You’ll be playing and I’ll be like; oh what’s that song?
What are the things you value in terms of your creativity?
AL: I value collaboration and maybe a level of improvisation, especially in a live setting.
AMY: I enjoy that. Performing is good as well. But, we don’t’ get to do that at the moment. I do get really nervous though, but I enjoy it a lot [laughs]. Sometimes my hands will be shaking so much that I can hardly play the organ.
You could never tell you’re so nervous. We watched the live Button Pusher performance recently, which was great!
AMY: It’s just a physical thing I guess, it’s so weird. I’ve been playing for so long and it just never goes away. I still get so nervous! I think it’s a good things though to have some nervous energy.
Lassie are a punk band from Germany. We LOVE Lassie. They answered our questions “in a simulated interview environment – an online doc where everyone can write at the same time while seeing what the others write. So might be a bit chaotic but that is maybe close to the real thing!”—perhaps mirroring their chaotic sound. Today Gimmie is premiering their new release the LASSIE/EX WHITE – SPLITTAPE. It’s officially available on May 1st on cassette (it’s a great time to get it because bandcamp are once again waiving their fees so artists receive all your money).
Lassie are from Leipzig, Germany, and one of you are currently in Berlin; what can you tell us about where you live?
MARI: Three of us Kathi, Shreddy and me live in the east of Leipzig (we actually even live in the same house ) which used to be cheap and still is referred to either as “most dangerous street in Germany” by many (quote from a shitty German TV documentary about the neighbourhood ) or “the new Berlin“ (quote every hip dad).
KATHI: Leipzig is like New York in the ‘80s (quote from some experimental musicians…)
TEUN: …and artists
KATHI: …it’s true except there are less POC and more Nazis.
MARI: You can imagine this neighbourhood as a nice mixture of a never ending variety of Arabian restaurants, meth addicts yelling at you on the street and hip people showing off their vintage Fila trousers. Also the area we live in is officially a “Waffenverbotszone“ which means a zone where weapons are forbidden, haha yeah even like pocket knives etc. and there are these ridiculous signs all around (attached) with crossed baseball bats and knives. Officially they put them up to handle drug criminality but there is really just lot of racial profiling going on. The house we live in is actually really cheap because we have got about the sweetest landlords you can imagine, they are a Christian couple, motorcycle enthusiasts who are dedicated to supporting socially, healthy, community -focused, affordable living – OH MY GOD I SOUND LIKE THE MEMBER OF A CULT! PS: FRITZ lives on another planet.
TEUN: …planet truck stop…
KATHI: …where all you do is camping and riding trucks.
If we came to visit you; where would you take us?
SHREDDY: Flughafen (airport) Halle/Leipzig.
MARI: Shreddy is quite the dedicated aircraft spotter, she has an impressive collection. I‘d take you to RISOCLUB it is the local RISO print shop run by our neighbour and friend Sina, who really is the unofficial mayor of the east. At RISOCLUB a of stuff comes together, we print posters for shows or covers for tapes there, have parties and exhibitions and do a tape compilation called CLUBHITS. It is only 5 minute walking distance from where we live.
SHREDDY: My favourite place in Leipzig is probably the big cemetery in the south called “Südfriedhof“. It is close to “Völkerschlachtdenkmal” a big war monument.
MARI: Yes that‘s beautiful (the cemetery).
KATHI: Lindenauer Hafen. It‘s an abandoned building and you can go all the way up and the one side is open and you have a really nice view.
SHREDDY: Kessy and me would go party with you!
How did you head down the path to being a musician?
TEUN: My parents thought it was a good idea to give me drumming classes to train my arms for some reason. They came to regret it quite soon when the neighbours started to complain with increasing regularity. Then I played in some high school bands shredding ACDC covers LOL.
KATHI: I played the Piano ‘til I started to go out and be a stupid teenager. Later I figured that that if you play synth you can still hang with the cool kids.
MARI: Then reality hit you hard and you were stuck with us. I started learning guitar when I was 11, my major influence was Nirvana and then Mudhoney which I still love both. There was a squat in my hometown and my friends and me had a rehearsal space there. A concrete cube filled with high jump mattresses which could only be entered via a fire escape ladder, so we always had to use a pulley to get in and out our stuff for shows. The squat eventually got evicted (with police lowering down on ropes – crazy!) but since then I‘ve always been in bands because I really love it.
SHREDDY: I think I started to play acoustic guitar when I was around 13 years old. I liked to sing so pretty fast I wanted to write songs by myself. As a teenager I listened to loads of sad guitar music, probably a bit too much haha. But I also felt influenced by other music somehow. My best friend at that time and me became really huge fans of Sonic Youth, which are still one of the most important bands for me personally (I adored Kim Gordon, of course). Actually Lassie is the first band where I play electric guitar.
Can you tell us a little bit about Lassie’s musical journey?
KATHI: Why is nobody answering this question?
MARI: I saw you starting!
Why did you erase this secret information?
KATHI: Because then I‘d have to write so much and I’m hungry.
SHREDDY: Yes, when can we finally eat?????????????
MARI: Hahaha, so should we meet in the backyard? To say it with the words of the late Gene Simmons: “Our idea was to put together the band we never saw onstage: we wanted to be The Beatles on steroids.” “This ain’t a karaoke act, it’s five warriors standing together: love it or leave it it’s real.” “What we’ve created is perhaps the five most iconic faces on planet earth.” “People think Kiss LASSIE is the same thing as U2 and the Stones, that we get up onstage and play some songs, but they don’t have a fucking clue. The commitment involved to being in KissLASSIE is unmatched by any band in history.” Shreddy and me where playing in our friend Leo‘s (he is in PARKING LOT now) band KNICKERS, he also had another band called THE STACHES and since they were pretty busy at that time, we wanted to have our own band and started writing some stuff. Maybe the others can tell what happened next, it‘s unbelievable!
KATHI: …..Marian asked me if I want to play in their band and I said yes.
Why did you call your band Lassie?
MARI: We had a lot of names lined up and where unsure, one who came very close to making it was SEGWAY COP, which eventually became a song since we couldn‘t waste that hahahaha.
SHREDDY: I still have the list with all the name ideas!
MARI: Great let‘s have a look!
TEUN: Mari wanted to call it KKKevin but the rest of us were afraid of attracting an alt-right following.
KATHI: I was away on the final decision day, got a call and it was between Lassie and something else but I don‘t recall what. So I think I chose Lassie. BUT I really liked KKKevin.
MARI: Yes me too but I am glad we didn‘t take that name, it would be awful for a lot of reasons, took me some time to realize. Unable to decide, we were looking for band names we really liked for their simplicity and one that came up was FLIPPER. Okay I am getting an angry call from Shreddy here because SHE came up with the name!
SHREDDY: Dude that phone call is not angry.
MARI: Okay a lovely call then „DUDE“.
SHREDDY: Embarrassing (but it is true, I was listening to ‘Get Away’ that evening which is my favourite Flipper song).
SHREDDY: So other names we had on the list were: Snack, Jessies Girl, German Band, Coochies/Kooties (?), Chemnitz, Chemtrails, + Support, Angelo, Spock, KKKevin, KKKaufland,
The Rod Stewarts, The Wedding Planners, The Rockers, Blink 110, Star Foam, PMS , Los Karachos, De Windhupen, Der Knecht, Foampeace, Telefoam, Telesatan, Worf, Plenum, De Klingonenallianz, De Cheffs.
TEUN: Phil Collins!
SHREDDY: Ahayes- I loved “Phil Collins”!
MARI: Ahh so many good names! In case you, dear reader will use one of them, please let us know! I‘d love to see Jessie‘s Girl or der Knecht come to life!
SHREDDY: We charge good prices!
KATHI: I think I‘ll have a band called Telesatan.
How would you describe Lassie’s style?
SHREDDY: What does that mean?
MARI: It‘s French for stupid.
What influences your music and makes your feel inspired?
MARI: Right now during the crisis. I feel inspired often and then again fall into a state of apathy, then I will just watch TV, play games or listen to music. Some of the things that inspire me: other music, Point and Click Adventures, Love and Rockets comics. At the moment I love staying home and reading The Lefthand of Darkness, watching V the Visitors, playing Kings Quest III and listening to Alien Nosejob.
TEUN: I‘ve been reading Vonnegut he‘s very funny. Listening to Les Posters (nice new release on Refry) and the new Cowboys album. Also No Trend. And cooking! I‘m making a lot of traditional Italian stuff but also getting into fermentation lately. Does that make me sound like one of those wannabe food influencers? Anyway I‘ve been also discovering some painting I really like. Very into Rasmus Nilaussen, Jon Pilkington, Katherina Olschbaur.
SHREDDDY At the moment I am feeling inspired by reading Sartre and listening to J.S. Bach and watching movies on VHS directed by Jean Cocteau (French artist).
MARI: Is that how you see me?
SHREDDY: Yes, I see you as a French bohemian.
TEUN: It‘s because of the hat.
MARI: We brought home an 8-track recorder to work on new stuff, I know I don‘t find it inspiring to work with that because it gets frustrating fast, but it‘s still fun, maybe we have to figure it out better.
SHREDDY: I already tried and read a lot but some things just don´t seem to work. I was listening to ‘Nebraska’ by Bruce “The Boss” Springsteen yesterday and a friend told that it is recorded on a 4 track. I nearly cried.
MARI: That is exactly what the Boss wants you to do!
TEUN: Beautiful album tho, my fav by the Boss.
KATHI: I watch Buffy, play the Sims Medieval Times and got to like practicing power chords ‘cause we all try to record stuff in our flat(s) and the only instrument that we have enough of for everybody are guitars.
SHREDDY: PS: Actually I finally got inspired when we watched Troll 2 last Sunday.
MARI: haha NILBOOOG!!!!
Gimmie is premiering the Ex White/ Lassie – Splittape; what’s your song QT Enhancer about?
TEUN: It‘s about someone who is a dick at the office and thinks he owns his time and that of everyone around him and kisses ass to become an executive someday but then winds down on a company trip with all his colleagues.
MARI: It is a work of fiction though, because none of us have ever worked in an office. It is also about time being a financial asset. Which is horrible.
KATHI: I thought it’s about Fritz.
KATHI: I meant another Fritz.
MARI: It came to my attention that there are also ‘Company Man’ by Vintage Crop and ‘Company Time’ by Set Top Box, I see a pattern here!
What’s your favourite Lassie lyrics? Why? What do they mean?
MARI: My favourite is: Born and raised to be depressed and on the radio they play GO WEST / Be yourself but don‘t try too hard, no unemployment cheques, back to the start. It is about East Germany after the fall of the wall, referencing The Pet Shop Boys‘ song ‘Go West’ and the Monopoly game.
TEUN: I like the lyrics to Segway Cop: Getting dressed…pedal to the metal leaning forward I‘m the king of the street. It has the nicest cadence and lyrical build-up to it, culminating in: It‘s gonna be a glorious day. I like that the song is written from the perspective of the cop who‘s feeling great about himself.
KATHI: Still receiving phone calls on my deathbed.
SHREDDY: My favourite are the ones from ‘Go West’ too. I really like when Marian is singing the line: who is paying rent for a filthy cage? From the song called ‘Deposit Bottles’. And of course: I see Suzie / riding a surfboard / smoking weed on the beach/ posting iced latte / short pants for the fans / nice tan / a million likes on Instagram. My personal goal in life.
We love the visual art on Lassie’s releases; who’s behind that?
MARI: Shreddy did the cover of the first tape, the second we did together, the single illustration comes from Teun, the album is illustrated by Anna Haifisch, the new tape is illustrated by Dima from Russia haha that sounds funny – he is a guy I met on Instagram. I lay out most of the releases and designed some shirts.
TEUN: What about the French dude?
MARI: He did an illustration for a shirt right, look him up Aldorigolo on Insta. Johanna aka Shreddy does a lot of awesome illustrations and comics Check out her WE ARE DEVO sci fi comics! Teun is a crazy painter. The two studied together. And me I do printing, design and illustration too.
What are you working on now?
SHREDDY: Beach body.
KATHI: Nice tan.
MARI: A really annoying Red Land Destroy Deck.
KATHI: You are not are you????
When you’re not making music what would we find you doing?
TEUN: Making tacos, fishing.
SHREDDY: Drawing, rearranging my room, collecting cute animal pix.
MARI: Playing Magic THE GATHERING with Kathi and her boyfriend THE JUPP (SHOUTOUT), we are trying to get LASSIE endorsed by WIZARDS OF THE COAST but the others are not really helping…
SHREDDY: What is WOTC?
MARI: The company that owns Magic.
KATHI: YES MAGIC!
MARI: We got into Magic again on our last tour, I can recommend it to every touring person, time flies, YOU WILL ACTUALLY BE SAD THE DRIVE IS OVER ALREADY disclaimer: you will also destroy your social network and annoy the shit out of the people around you.
SHREDDY: I hate board games and card games, so obviously I always feel super bored during touring.
MARI: Thanks for the interview – this was nice! BYEEE.