Friday, January 28, 2011

Hello, friends! We have moved...

Hello, Paper-Deer readers!

Firstly, we'd like to put on our orange safety vests and lay out some orange witches hats, and redirect you all to our very new and radical (in the non-free, cancerous sense) website at From now on, you can get your fix on everything to do with the Melbourne live music scene from the new website. Everything you love about Paper-Deer - the band interviews, industry interviews, occasional gig reviews and F-words - has been magically transported over. Remember to change Paper-Deer's address on your favourites/bookmarks. If you like being interconnected, don't forget to join the new site's Google Connect with your Google Friend Connect with your Google, Twitter or Yahoo! Connect account. That's one thing we didn't port over to the new site.

Secondly, I'd like to thank all the musical artists who have spilled out their guts on the blog for our sadistic amusement, and to all the awesome industry folk for giving us five to dish out some tips about how it all works behind the scenes. I'd of course have to also thank the very talented Johanna Goldsmith for designing both the Blogspot background and the sketch for the new Paper-Deer website, and to Stephanie-Bowie Liew and Charles D. Roper for their wordy ways. Also, many thanks to Lix Bacskay at Weath & Hellbeing for designing such a wicked new website for Paper-Deer, and the very cool logo.

Thirdly, mucho gracias to the thousands of music lovers from all over the world who constantly flock to the blog! (Yes, only about 50% of the readers here actual hail from Melbourne.) Keep it up, but remember the new address!

Paige X. Cho

Thursday, January 27, 2011

INTERVIEW: Over-Reactor

We have moved! Our blog is now at

You learn something everyday. Like "death hop", for example, refers to a hybrid genre of music that blends together metal, hip hop, rock and hardcore into one fucking fierce package. And while at first you may be imagining some giant, fire-breathing Godzilla rabbit stomping on people, one listen to Melbourne death hop duo Over-Reactor will wipe your face clean (and that dopey smile normally reserved to Lolcats).

Founded just a year ago, Over-Reactor is the experimental music project of former Mammal frontman Ezekial Ox and ex-Dukes of Windsor drummer and beat master Cory Blight. And while there may just be two men onstage when they perform live, they make up for their lack of numbers with sheer, raw energy, furious beats and intense vocals.

Paige X. Cho met up with Cory to talk about the pair's insatiable need to create music, and where the term death hop came from.

Over-Reactor are the first “death-hop” act that Paper-Deer has come across. Did you coin the term?
We actually didn't coin the term. I heard a fan at a show define us as death-hop and it stuck for us, and we’ve noticed other artists on tagged as death-hop. We don't intentionally create our sound - it just spills out of us whenever we're together. We're just the pigeons. It's up to others to find a suitable hole to cram us in. I think we're right next door to "heave-hop."

Metal/hardcore and rap aren’t genres that seem to traditionally mix together. Do you find Over-Reactor equally draws fans from both camps?
We draw fans of metal, hardcore, heavy rock, hip-hop, and music in general who are open to experimentation but we're often despised by the more old-school traditional fans of heavy music. It's hard to pinpoint a stereotypical Over-Reactor fan – they seem to be a group of free thinking individuals who come together to watch something different.

You’re both well known around the traps because of Mammal and Dukes of Windsor. What can fans of these two acts expect?
Our sound, attitude and vibe is different to both of those bands. We want to push ourselves to explore ground we haven't previously covered. I see more Mammal fans at the shows than Dukes fans though. Our sound is brutal and intense, so I guess it's just not for pop rock enthusiasts.

The act only formed in January 2010, yet you’ve already released a second album on top of your debut double album! Was there a conscious decision from the beginning to release lots of material or was it organic?
Right from the beginning we set ourselves the goal of completing two albums in 2010. Our creative birth canals were fully dilated from day one, and songs have been gushing forth ever since. Zeke is the first vocalist I have worked with who has a similar work ethic to me. We both push ourselves hard.

Tell us all about your second album.
It's called Lose Your Delusion Too. The entire album was recorded, mixed and mastered in my house. Influences on our sound are artists such as Melvins, Pantera, Sepultura, Beastie Boys, Rage Against The Machine, Helmet, Fugazi, Black Flag and Slayer. Marijuana was an influence too - we were hell stoned during most of the writing process. I actually can't recall a second of it.

We use amp simulators on the guitars and bass, and blend them with big, roomy drums. The synth sounds and samples we use are more commonly heard in Tech House and Minimal Techno. They actually work really well with heavy guitars and drums. There are elements of metal, hardcore punk, industrial, rock, and hip-hop. I play drums, bass, guitar, and program synths and samples. Zeke sings, and then I'm left to mix the album while Zeke pops in and out with fresh mixing ears and ideas like an Aussie Rick Rubin.

How is the second album different from your first?
It was done in about a third of the time as the first record. This time we added a couple of extra drum microphones we didn't use on the first album - snare bottom, and an ambient microphone in the kitchen. I swear by the kitchen mic. It sounds awesome blended in there. The album is more experimental. I think it takes longer to grow on listeners, as there are some more complex ideas, time signature and tempo changes.

Over-Reactor record, mix and master everything by yourselves. Is it sometimes difficult to step back and look at your work objectively?
It's impossible. I enjoy listening to the demos before we record the final versions. I can imagine what they will become. I can't listen to the finished product. It gives me extreme anxiety. I just analyse the performance and production. Zeke loves putting it on in the car when we're on the road but I hyperventilate until either the album's over, or I crash into a tree.

Anything else you’d like to add?
We have a tour in the pipeline, and some new material underway which is heading in a very different direction to the first two records. We're working on film clips for Point To Push from the first record, and Best of Worst from the second. They're close to being finished.

  • Friday January 28: Revolver Upstairs. 

Monday, January 17, 2011

INTERVIEW: Keith! Party

We have moved! Our blog is now at

Mention hip hop to most and the first things that come to mind are American rappers with too many exit wounds, diamond encrusted teeth and more swear words than you can point a shotgun at. The idea of a troupe of kids from the hipster-filled northern suburbs of Melbourne being labeled hip-hop seems a little odd at first, but one listen to Keith! Party proves otherwise.
But don’t expect straight up rap – far from it. Sure there’s rapping and plenty of break-beats, but K!P are part of the new “rave-rap” music revolution. With their newest release, the Victoria Rocks-funded Roof Raisers, expect to hear dub reggae, grime bass, electro noises, triphop, old-school horror film melodies and vocals reminiscent of Destiny’s Child. Add in lyrics that would even make a sailor blush, and you have a winner. Paper-Deer’s favourite lines are “AIDS in a wheelchair on welfare” and the lyrics of Best Fiesta which imply girl-on-girl necrophilia. While Roof Raisers lacks the I’m-going-to-fucking-curb-you vibe of gansta rap, there’s still something darkly delicious about K!P’s messed-up brand of pop hip hop. File under “great music to have drugged-out sex to.”

Paige X. Cho got real with Cathead LaQuack, Talkshow Boy and 2SHEE. (We are pretty sure those are their birth names.)

The K!P entourage is always changing shape and size. Who are the core members of the group?
CATHEAD: Talkshow Boy, Cathead LaQuack, 2SHEE, Hotdog, Easy Lee, B. Jerky and our two dancers Amy Contortion and James Phantom. Also my brother DJ Wordlyfe. I was first introduced to Talkshow Boy by a wandering minstrel named Escobar Amsterdam. When I first saw him perform a live solo gig with his crazy asymmetrical haircut, I was blown away by his limitless energy and infectious enthusiasm. I met James and Amy when they were doing a dance show for the Fringe Festival and needed someone to write the music. James and Amy are two of the loveliest people I've ever met and their choreography made a brilliant new addition to our shambolic live show.
2SHEE: The rest of the band members were lured to Cathead’s bungalow with rainbow-coloured glowsticks.
TALKSHOW BOY: Every member of the crew has their own unique flow and style. Past members of K!P include Worm, Huge Euge, Treggers, MC Sleaze, Cheeks, Gezus, Conor G and many, many more party people.

Did you ever expect K!P to get this far in four years? Or ever?
CATHEAD: Despite the accidental and amateurish nature of the project, we've always suffered from delusions of grandeur and believed that it would go very far indeed. We started making absurdly bold proclamations about taking over the world, and we were so intoxicated that we started to believe them. The only unexpected thing about what's happened since then is that we've managed to get our shit together and actually organised things like getting a grant, recording and releasing an album, putting on shows and arranging interviews like this one.
TALKSHOW BOY: I’m still making bold proclamations. From the very first day the plan was to produce cutting-edge party music, create some classic and warped pop songs and party in an unorthodox, larger-than-life fashion when we perform. We’ve totally succeeded in every respect and we have no plans to let up. We are constantly producing stupid/experimental/fun dance jams and love making tracks with unconventional hooks.

Do you try to sketch out an idea of what will happen at each performance, or are they all sort of haphazard and spontaneous events depending on what and who you can grab?
TALKSHOW BOY: Every performance space is its own party playground - what is important is that we always seize the entire available space. We have different party supplies at every show and rudimentary dance-moves that coincide with some songs, but the key to a good party is a combination of spontaneity, break beats, bass and incidental grinding. In the past we’ve had bubbles, a jumping castle, party poppers, champagne, condoms, firecrackers, nudity, spliffs, potatoes, costumes, banners, toys, dildos, flags and plenty of fun. In the future we will continue to party with all of the above and more.

Maybe it’s something in the name of your band, the crazy live shows or the loose attitudes, but everything about K!P spells out “a good time”. What’s the craziest thing that has happened at a K!P show?
TALKSHOW BOY: We had a really uptight sound guy at one warehouse party who cracked the complete shits, getting in a fit of rage and swung a mic stand at us. He gave us this intense lecture on how we’re the worst non-band he’s seen in 20 years and if we were professionals we would have held the mics “correctly”. He was really shaken and red-in-the-face – it was quite unnerving but we laughed it off and proceeded to drink bottle after bottle of Sangria.

K!P are about to release a second album, Roof Raisers. What can your fans and well-wishers expect?
CATHEAD: Roof Raisers is our idea of the perfect party, with a lot of crazy guests, hilarious incidents, booty-shaking, playfulness, excessive behavior and colourful vibes. It's got some huge obnoxious beats, riffs and choruses but it may not be as dumb and obvious as you'd expect party music to be. After cranking it up loud with your friends, we hope you'll also enjoy it as a close private listen on your headphones, since there are a lot of hidden production nuances, funny backup vocals, witticisms and tongue-twisters.
TALKSHOW BOY: It’s underground pop music. I have always been fascinated by the ‘pop charts’ and love it whenever anything subversive, innovative, experimental or absurd sneaks in there and manages to come across as unequivocally “normal”. I wanted Roof Raisers to be a streamlined, cohesive party album that approximates commercial pop music just enough to get away with it whilst remaining progressive and resolutely leftfield and fucked-up in lyrical content.

While hip hop is probably the closest single genre to describe K!P, you still sound nothing like anything else in Australia. If you could create a new genre to describe K!P’s sound, what would it be called?
CATHEAD: It's true that we don't have much of an affinity with the majority of Aussie hip-hop artists but a recent review of our album in Rave Magazine accurately noted there is a hidden “second strand” of Australian rap that’s more ravey, fun and goofy than the better-known Aussie bogan variety. Leftfield Aussie rappers like Quan, Purple Duck, Shane Skillz, Dirt Child and Curse Ov Dialect are our kindred spirits.
We like to call our style "rave-rap", which basically means that apart from hip-hop, we're also heavily influenced by all kinds of electronic dance music and will rap over pretty much any kind of beat. The word "rave" refers to our musical style but also to our attitude: positive, hedonistic, juvenile, sincere, enthusiastic, loving, respectful, revolutionary.
TALKSHOW BOY: You can call us “rave-rap”, “party pop” or “sex beat”.

Anything else you’d like to add?
We will be releasing free rave-rap remixes and downloadable acapellas for further production and remixing through - we are passionate about screwed-up good-time dance music and will be unleashing plenty of it over the coming months and years. There are so many underground producers releasing killer dance tracks over the internet - we love the global spectrum of innovators and love sharing our own home-made floor-fillers.

  • Tuesday January 25: Workers Club with JUNK!, Fabio Umberto, Rat Vs Possum DJs, Amy Contortion [Roof Raisers official album launch]

Sunday, January 16, 2011

WELCOME: Charles D. Roper

We have moved! Our blog is now at

Paper-Deer would like to say "hi" to our newest addition to the blog's editorial team: Charles D. Roper. There's not much we can say about Charles apart from the fact that he's involved with the music scene in multiple facets, he's a little shy and that Charles may not actually be his name...

We can tell you that he is talented (if he even is male) and loves the local music scene in Melbourne. Keep reading his pieces on Paper-Deer and see if you can spot any clues that give away his identity.

Thursday, January 13, 2011


We have moved! Our blog is now at

Folk music coming out of New Zealand is not an uncommon thing, but Christchurch duo (occasional quartet) Wet Wings offers all this with a beautifully haunting tone. Their debut EP, Soil To Skin, which the duo chose to release on cassette for reasons more obvious than most would think, is full of tales and ambient sounds from their town of residence.  Key members Darian and Lucy have dried off their wings to make the journey to Melbourne for a series of shows in January supporting Soil To Skin.

Paper-Deer's Charles D. Roper talks to both Darian and Lucy about the importance of song writing, earthquakes in Christchurch and counterfeit Luna Park vouchers.

How would you describe your sound?
Darian: Lucy says 'folk' but then gets Peter, Paul and Mary comparisons from her family.  

Where did the name Wet Wings come from?
Darian: I sent Lucy a bunch of bird-related potential band names for her to choose from. Other options included Slimy Nest and Eternal Beak. 

You perform as both a two-piece and a four-piece. Are there particular songs that require a larger band or do you adapt the songs depending on how many members are performing?
Darian: Loops and subtle samples are easier with a two-piece. To stay in time it's best to not be too distracted by many other instruments. Other songs are just straight pop hits which seem better with a band.

What made you decide to release Soil To Skin on cassette?
Darian: I heard it's smaller and more portable than records. Also, they don't get scratched. 

The recording of Soil To Skin took place while the city of Christchurch was experiencing 7.1-magnitude earthquakes. What part did this play in the overall recording of the EP?
Lucy: We had time off university because the library was messy and Darian was evacuated from his house temporarily because a three-tonne chimney fell down, so he stayed at my flat. He brought his computer and mixed for a week straight. The library is still shut.

You mentioned the use of various other field recordings from the area. Is the ambience an important part of your sound?
Darian: Yes, but not the most important part. I don't think anyone can rely on ambience to cover up bad songwriting or cringe-worthy lyrics. 

What would you say to convince someone to purchase one of your nifty cassettes?
Darian: If you want to buy one, go ahead. We brought our three remaining cassettes to Melbourne.

You’re playing around Melbourne during January.  Were there any things you were hoping to do around town besides playing shows?
Lucy: Luna Park is the number one priority. Darian made me a voucher for Christmas that said, "ONE FREE PASS TO LUNA PARK", and my brother thought it was real.  

Most embarrassing story about the band?
Lucy: Most gigs where we screw up. I usually give Darian scathing looks which adds to the whole performance. 

Friday 14th Jan: The Workers Club with Tiger Choir, The Parking Lot Experiments and Tantrums 



We have moved! Our blog is now at

"I don’t know any writers, poets or musicians that don’t love a decent martini at the end of a long day! Following the muse, reading rejection letters, editing and cutting, hustling, seeking funding, fighting the good fight – it’s all very thirsty work, don’t you think?"

Those are the words of Salena Godden, aka General Godden, and the sentiments that came up with the idea of London's The Book Club Boutique. Salena, along with her troupe of creatives with a strong love of the bottle, put together literary events combining live music, poetry, writers, costumes, themes, alcohol and just general craziness. The Book Club Boutique Band are the resident musicians who play the soundtrack to these delightfully intelligent, alluring and debaucherous affairs. If there were any leftover doubts that literary events were stuffy, one second at these sex-up gigs will change your mind.

And, all the way from London, the BCB Band has come down to Australia to play with the local BCB Band. Lock up your book worm daughters, Melbourne...

Paper-Deer chatted to Salena (curator, producer, author, poet, singer, songwriter and raconteur) and "Major Max" Doray (BCB co-producer, bass player, songwriter and band leader) about the good things in life. In other words, a good cocktail, literature and music.

The Book Club Boutique is such a fresh and unique idea. Can you explain it in a nutshell?
Sal: The Book Club Boutique was founded in 2009 at the suggestion of the legendary cocktail extraordinaire Dick Bradsell at Dick’s Bar. The BCB began life there, with a weekly gathering of writers and musicians, trying out new work, fuelled on espresso martini in a tiny but cosy basement bar. The BCB motto is books, booze and boogie-woogie. We're all about great writing, good drinking and brilliant music.

How do the poets, writers and bands tie together the literature and music worlds?
Sal: Alcohol helps! But seriously, instead of separating spoken word gigs, live music, book launches and book clubs, we throw them all in together. Poetry, short stories, music, classical orchestra, singer-songwriters, magician, comedy, burlesque... It’s all about the themes really. We’ve just created something that people want to be members of!

Paper-Deer has heard that every BCB event is themed, and we’re just a little bit fond of themes. What kinds of themes have your run in the past?
Sal: Back in London, there are different themes for each event, for example: Thinkers and Drinkers, which was philosophy vs. literature. It was a very “thinky” start to the evening which turned into a very “drinky” night. Bukowski and the use of absinthe was key at this event! Our three erotica parties were also very popular. Lush! was an all-women erotic lit event, Rush! an all-male erotic lit party and Blush!, an erotic literary event for Valentine’s Day where people had to read and divulge secret and embarrassing encounters. Authors, songwriters and poets not only have to invent costumes but also write something brand new for each gig, so it keeps us on our toes!

Max: We also had a Guy Fawkes night celebration that was attending by many anarchists in masks and black cloaks, and a Sweeny Todd night with Salena as Mrs Lovett and me, sporting my favourite moustache, as Sweeny Todd. We also had the Burlesque night to raise money for breast cancer awareness featured people wearing not much at all.

How did the Australian version of The Book Club Boutique get started?
Max: In 2009, Patty Bom and Melania Jack of Shiny Shiny came to the UK and played the summer festival circuit as part of the Book Club Boutique Band. We spent the summer travelling in their big blue van, living on vegan food and causing havoc wherever we went. I say “we” but the havoc is mostly down to Salena. They’re based here in Australia, and we couldn’t resist the idea of coming to their territory for a summer of Books, Booze, and Boogie-Woogie. It is what we do best.

Sal: I love the way I get blamed for havoc. Major Max is the one that remembers stuff that’s all… 

What has it been like, performing in Australia with the local BCB?
Sal: We have found some wicked people along the way, and we’ve been telling people back home to check our website to meet our new friends. So far we have loved meeting Jane Treasure, David Hallett, Christine Strellen, Rhys Rogers, Stefanie Petrik, Rosie Sherwood and Daevid Allen (from Gong fame). I loved the stunning music and poetry of Ilona Harker. And of course the tremendous Hussy Hicks blew our minds. Last week The Book Club Boutique Band were in ULive Studios (near Byron Bay) collaborating and working on tracks with Hussy Hicks. We are really look forward to sharing and releasing these recordings with everyone soon! 

BCB’s ringmaster, leader, producer and host Salena Godden works for literary charity The First Story Charity. Does BCB itself do anything for charity?
Max: Our latest residency is at QSoho, based at the House of St Barnabas (, which is a charity that helps homeless people develop life skills. We donate a portion of the proceeds from each event to the charity.

  • Saturday January 22: Bertha Brown
By Paige X. Cho

Tuesday, January 11, 2011

INTERVIEW: Shaun Tenni

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What happens when you're a dude with a tendency to express himself through music, a lot? And being in a band becomes restrictive to your expression? Well, as Melbourne musician Shaun Tenni can tell you, you just go solo as well so you can make twice as much music! Problem solved. The thing with being in a rock/grunge band is that they don't really do much softer stuff, but sometimes guys who play grunge need a little bit of quiet reflection too. Shaun’s introspective and often intoxicating solo work exemplifies this; with their intimate sounds and lyrics that read like poetic journal entries or faded photographs, Shaun's songs are truly a glimpse into his mind.

Paper-Deer talks to Shaun Tenni about musical epiphanies, the first song he ever wrote, and how he used incense as a lyrical symbol for something more profound.

You’ve been writing and performing music since you were young. Do you remember if there was a particular moment where you thought you might want to pursue music as a career? 
I remember when I first started making music and teaching myself guitar; I was playing all these three-chord pop/punk songs and thought, "This is so simple." So I started writing my own songs and because I didn’t have a band at the time, but really wanted to play in one, I did all the other instruments in a midi program called Guitar Pro. It took me a while at the time, but I did it anyway. It was about that point where I thought, "Hell, I can actually do this!" and writing music took over my life.

You wrote your first song at the age of 14. Can you remember how it goes? What does your current self think of it? 
I had been going out with this girl but I didn’t really like her; she was beautiful, but very selfish and stupid. So I broke it off and wrote this song called Hot Body, Bad Mind and my friends loved it. That was the first real together pop song I had written, I still remember it and have it notated in guitar pro. I like it because it was the start of expressing myself through music, however embarrassing some of the lyrics may be, and I still appreciate it.

Well, we can't all be amazing lyricists straight away! But to change the subject to a more recent achievement, your debut single Nag Champa reached number 12 on the Triple J Unearthed Indie Charts, so congrats! How did it feel? 
Thank you! I had just put Nag Champa up and was letting everyone know through the Facebook page that they could rate/review it. I would wake up every morning for uni and, in a daze, refresh the stats to see the listens and chart spot jump up more every day. At one point it reached number 12, which lead to more people contacting me about shows or just to tell me how much they enjoy my music, so I was absolutely stoked.

For our readers who don’t know, Nag Champa is an Indian fragrance commonly used in incense. You must like it a lot to write a song about it! Does it symbolise anything or do you just find it very comforting? 
Well, I like how something very odd or obscure can take on a profound meaning when applied to song. So I was wondering what would a song about Nag Champa sound like... Then the opening line and melody came in my head and I ran into my room and wrote it. I do find the incense very comforting but I also enjoy the fact that some people don’t know the incense and interpret the lyrics to something present in their own life. I love that kind of ambiguity.

You also play in a grunge band. How different is the writing process for band songs compared to when you write your solo stuff? 
The solo stuff came about because from writing band songs all these years I have so much material that would work better as quieter music and was unsuitable for what I wanted to do with the band. So it all piled up and I decided to use a heap of it with some new stuff and do a solo album. I suppose music is a musician’s own special way of expressing him or herself, so both the band and solo stuff are just different means of doing that for me; the band is prone to (but not always) louder, angrier and more upbeat music while the solo stuff is open to being more mellow.

Also, is it a completely different experience playing as part of a band and performing solo, and why? 
It’s definitely something you have to adjust yourself to. When I'm playing my solo stuff, I’m sitting in a chair with my friend on lead guitar and it’s a chilled out, mellow, intimate performance. You can’t really break that and shout at the crowd or anything like that; you’ve got to find different ways of entertaining. The band is more of an electric adrenaline-fuelled performance where everyone just lets loose. They are definitely two different performances that I don’t want to get confused, otherwise I am quite sure things would get very awkward!

What was your favourite album of 2010, and why? 
On my birthday last year), this cool chick messaged me saying, “Late birthday present, YouTube Neutral Milk Hotel.” So I looked them up on YouTube and listened to the first song, King of Carrot Flowers pt 1, and really dug it! Then I got the album In The Aeroplane Over The Sea

If you had to describe your sound in one word, what would it be? People.

  By Stephanie-Bowie Liew