INTERVIEW: Over-Reactor

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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 last.fm 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.

UPCOMING GIGS:

• Friday January 28: Revolver Upstairs. 

LINKS:

• Official Over-Reactor website
• Over-Reactor on Myspace
• Over-Reactor merchandise
• Over-Reactor on Last.fm
• Over-Reactor on Facebook

INTERVIEW: Canos

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No matter how you want to pronounce their name, there's one thing about Melbourne pop-folk act Canos that everyone agrees one: they are a troupe of bloody talented musicians. With seven different accomplished musicians making music at the same time, the end result is beautifully layered pop-rock music created with folk instruments. This music is the kind of music that should be the soundtrack to the daydreams. Gorgeous, lush and deliriously delightful, and best served with cloud-watching, picnics with lovers and a glass of wine.

Paper-Deer had a group discussion with Cameron Lee, Sarah-Rose McIvor, Johnny Moretti and Luke McIvor about the logistics of being in a large band and their upcoming special edition EP.

The name “Canos” is unusual. We’re guessing that you might get called “Canoes” by accident a lot.  What’s the worst mispronunciation or misspelling that you’ve experienced so far? 

Well, “Canoes” is pretty bad to be honest.  We have also been called “Kay-noss” and “Cano” because someone just assumed that the “s” was silent. When in actual fact the “c” may be silent… but it’s not.

There’s a lot of you in the band! Does that make band prac really difficult?

There are seven people and we all seem to live miles from each other! We have people in the group who come from Boronia, Essendon and even as far as Yarra Junction.  So organising rehearsals is usually a logistical nightmare but we always seem to manage.

There are some impressive instruments that make up your sound, like the cello and violin. Were any members of the band classically trained?

Yeah, our strings players were both classically trained which helps because the rest of us are classically untrained.  But it has been the cause of a few debates about song structures and arrangements but ultimately I think we have found a balance that we are all happy and comfortable with.

Canos’ bio states that you are part of the “new folk movement sweeping its way across Melbourne”. What exactly is the new folk movement, and how is it different from just plain old folk?

Some of our songs are little more traditional I guess, but we definitely incorporate some pop hooks and pop themes. The new folk movement does resemble traditional folk in the sense that they use acoustic style instruments but really that’s where the similarities end.  We are essentially a folk-pop/folk-rock band.

You released your debut EP at the beginning of last year, and since then have recorded more tracks with producer Steven Schram (The Cat Empire, Little Birdy). What else did the band get up to in 2010?

We have been working furiously on our live sound and are bracing ourselves for a big 2011. We did a residency at the Wesley Anne in Northcote as well as a few shows at the Northcote Social Club (including our very first EP launch that we managed to sell out).  We also recently won a competition where we won a distribution deal with Valleyarm which we’re making use of for our latest release, a special edition release of our debut EP with 2 new tracks recorded by Steven Schram.

What was it like working with Schram, who is such an amazing producer?

He was great to work with! His philosophy is to record a great performance from the band. So he listens to you and gives feedback on the performance as you go until we’ve got the performance perfect and on tape. Plus he’s great fun to work with!

Where can people pick up copies of your EP?

We will have a physical copy with one new song with a song from The Buegs available at the EP launch. The whole special edition EP is available to download from iTunes and other popular music stores.

What other plans do you have for 2011?

Touring and playing some festivals and releasing some more songs. We’re currently working on new material!

ALL I KNOW

Canos | Myspace Music Videos

UPCOMING SHOWS:

• Saturday January 29: The Toff in Town [Canos Special Edition EP Launch, tickets from Moshtix]

LINKS:

• Canos on Myspace
• Canos on Facebook

INDUSTRY INTERVIEW: Tania Wilson of missmanagement & paranoidbydesign

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There sure are quite a lot of managers out there in the Melbourne music scene, but nothing quite says "awesome" like a veteran who's been in the industry since 1995 (when most of the musicians on this blog were probably infants or toddlers), has rubbed shoulders with some pretty illustrious shoulders and has two businesses to her name.

Melbourne artist manager Tania Wilson has seen everything and done it all - everything from large scale international tours, artist development, mentoring, events management, promotions, booking and publicity. She's set up paranoidbydesign, her successful events company, and missmanagement, a management firm set up to help young, budding female managers gets a leg up. 

Paper-Deer listened to Tania's wise words, because honestly if there's something that you want to know about the Melbourne music scene it's probably in her head.

 

What job title do you go by?

Slave to the grindstone.

Sounds violent. And what exactly do you do?

Solve problems, find answers and make sure I have an educated, well-rounded and informed opinion.

What are your plans for 2011 for paranoidbydesign and missmanagement?

missmanagement is working on releases and tours for its artists for 2011 and paranoidbydesign has a heap of events coming up that we’re working hard on.  We’re also establishing our record label so we’ll be sourcing good upcoming artists to release.  Plus we’re expanding the team and welcoming some great girls into the crew which is exciting.

What artists do you currently work with?

I currently manage Fare Evader (VIC)and i, said the sparrow (WA). 

What do you love about them?

I love both bands because they fulfill the checklist of everything you want in a band – they work hard, they’re creative and innovative, they’re young, fresh and unjaded by the industry, they write great songs that I love and will happily play over and over, they have huge potential ahead of them, they respect advice, and they are both a pleasure to work with.

Fare Evader I love because they just make me happy. Working with them is a joy plus it’s always great when the sound guy in every venue gets into your band and gives you his card at the end of the gig asking if you ever need him again. Sparrow is a new challenge and also has a lot of potential. I’m dying to see them live again as I’ve only seen them once (the difficulty of managing an interstate band).

Fare Evader’s new EP is out next year. Has it been exciting and rewarding watching this Melbourne three-piece go from strength to strength?

Fare Evader are always going to be a pride and joy because I’ve known them from the early stages of their career when they were a fledgling band. They are one of those bands that make the hard-yards-and-no-sleep part of management worthwhile. With them, being a manager became a positive experience again and I’m like a happy parent every time they achieve a new milestone. I can’t wait to see where they go from here.

You’ve travelled the world and worked with bands from other Australian cities and other countries. What do you think about the Melbourne music scene and our bands?

I’ve been working in the scene since 1995 and have always thought it was amazing and always appreciated its health and vitality.  No matter where I’ve been I always say hi to my baby again.  But over the years we’ve fallen afoul to things like errant ill-informed legislation and the residentalisation of entertainment precincts.  Venues have struggled against dwindling numbers and increasing costs. 

On the band side I think the scene had a tendency to take itself for granted and other cities have recently overtaken us in successful bands coming out of their towns.  Plus interstate there is greater organisational and government support for the industry in terms of export and education.  I think with things like SLAM and Music Victoria that will start to change hopefully but with the change in local government it will be interesting to see what pans out in the near future. 

I’d strongly disagree that violence was as prevalent as the media and government wanted to make out but I think there is an increasing lack of respect for your fellow patrons when people are out these days. I’d encourage young bands and people entering into the industry to work on not just their individual careers but the Melbourne music community as a whole. Join in with things like Music Victoria so you can work on supporting your industry on a day-to-day basis before it comes to a head like with The Tote. All that being said I think we’ve been lucky and haven’t had as low lows as other states had in the past. Melbourne will always be my favourite just because it’s where I came of age into the industry.

What advice would you give to bands looking for managers?

Just do the job yourself. Too many bands want a manager simply to do the jobs they don’t want to do. If you want to have a mate manage you then just grab a mate who’s good with numbers and on the phone. If you want a proper manager then you have to establish your band as a viable business that a good manager will be interested in.

A lot of bands say they have a manager when really what that person does is book the band gigs – that’s a booking agent and there’s a shortage of those too. A manager manages the business of the band and works on the long term career of the band. A band shouldn’t be too fast to hand over their management as they should be invested in their futures from the ground up and the better job the band does of that the more ready they are to have a proper manager who can take them to the next level. There are different kinds of managers too so you have to work out what kind of support you need and what direction you want to take the band in before you can decide appropriately what kind of manager you need.

On the other side of the coin, any advice for budding artist managers?

Reverse of the previous question – if a band can’t manage themselves you’re not going to be able to manage them and if they’re not prepared to work hard on their careers you’re going to be the only one doing any work and that is just well… stupid. Trust me. It’s okay to say no.

Avoid rockstars. If they’re acting like rockstars when they’re on the way up imagine how they will act when they get to the top, and then when they’re on the way down. The more experience you get in the industry the faster you will spot the fledgling rockstar and the quicker you will walk the other way.   

Aim to be the kind of manager that progresses a band’s career not one that fetches water. At the end of the day the band’s career rests in your hands and it’s a great responsibility. Management often doesn’t receive the overt credit it is due but without a great team that performance never gets onto the stage. 

Find good mentors and managers to network with. I am incredibly lucky in that I have a great set of people I can reach out to and ask advice from and who encourage me.  Find every avenue you can to expand your knowledge base and make new contacts – music conferences (Fuse, Big Sound, One Movement) and industry training (JB Seed Management Workshop, Austrade Masterclasses).  Diplomas and degrees in the industry can be great but make sure you are doing internships and work experience while you are studying. All of the best managers in the country learnt through actually doing it.

Work out what skill sets you have and which ones you’re missing. Make a list of what you have to learn and what you can get someone else to do. These days a manager has to be everything from business manager to personal manager to record label manager. Some things you can just oversee rather than micromanage if you have another person you can trust – like an amazing FOH guy or a great booking agent.

In the early days of a band’s career spend money wisely.  Don’t rush to outsource everything; do what you can yourself in terms of publicity, releasing, branding and marketing. There are great avenues like Amrap/AirIt for sending your songs to radio so save money on a publicist until all elements of the band are ready for the next stage and the money is worth spending. Plus the more you and the band do to develop your personal connections to press/radio, they will do to help you as the band grows the more.  It is always about the authenticity of your business and connection for long terms careers versus one hit wonders.

The most difficult advice is that if things just aren’t working out it’s okay to walk away. Even though you’ve invested your heart and soul and sleepless hours into something it just isn’t working right. You can’t trade your happiness for the “what if next week it breaks out into something big” because it really just isn’t worth it. It’s the hardest lesson to learn.

UPCOMING SHOWS:

• Thursday December 23: Melbourne Fresh Presents Xmas Gig, Revolver Upstairs
• Friday December 24: Fare Evader supports Goldfields, Karova Lounge, Ballarat
• Friday January 21: Summertime Goo, The Palace
• February - March: Fare Evader east coast tour and EP release
• March: i, said the sparrow east coast tour and single release
• Saturday March 12: i, said the sparrow, Rock The Bay, The Espy
• February 7 & 15: Melbourne Fresh Grand Finals 2011

LINKS:

• paranoidbydesign official website
• paranoidbydesign on Myspace
• paranoidbydesign on Twitter
• Fare Evader official website
• i, said the sparrow on Myspace

 

INTERVIEW: Scott Thurling of Popboomerang

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"I'm going to start a record label!" Sure, lots of people say that phrase and it's usually met with lots of eye-rolling. One man did that and succeeded massively, and now has big acts like Frente!, Skipping Girl Vinegar and Celadore under his roster. Meet Scott Thurling, the man who started, runs and makes all the decisions for Melbourne indie label Popboomerang. That may be a lot of hats to wear, but the Melbourne-based label manager must have a huge coat rack as the only brain behind the thriving label.

Paper-Deer picked at Scott's brain for his tips on how to get your act on an indie label, and all things record label.

What do you do at Popboomerang?

I am Label Manager at Popboomerang Records. Being a one man operation this obviously means I am sole decision maker in regard to the bands that are signed and the overall direction of the label. I do a level of artist management & development &  publicity as well as booking shows and all other admin involved in running the label.

How did Popboomerang come about?

Popboomerang was established in 2000 & released the first recordings in 2002. I’ve always been a MASSIVE music consumer, and perhaps because I don’t play music, was always interested in music business as well. Popboomerang started as a “swap shop” website around 1997 trading Australian Pop & Rock titles to overseas fans in return for CD’s unavailable in Oz. I would make CD samplers of the Aussie bands for the overseas fans and enjoyed this so much the idea started to form of legitimising things to form a proper label.

What do you think boutique, indie labels have going that major labels can’t touch?

Indie labels enjoy faster decision making, are more personal and timely communication wise and ideally, can carve out a niche in the music scene and to produce intense consumer loyalty as well as a real “community feel” and support amongst the bands. They can spot trends in the industry & react to them faster. Of course there are disadvantages in to working with a small label and bands need to weigh up their options if they are in a position of having some labels courting.

There are some really rad bands on Popboomerang’s roster, including Skipping Girl Vinegar, Frente, Georgia Fields and Young Werther. Is there a common thread among all the bands on your label?

The most common trend about the bands that have done well on the label is a high level of ambition and passion about their music and overall career. That intensity and hunger is something I look for when considering adding a band to the label. Not every band is in a position to tour as extensively as bands like Skipping Girl Vinegar, Celadore or The Bon Scotts but it is a dream if they can!

Which young band on the Popboomerang label are you most excited about for 2011?

I think Celadore qualify for this one as they are truly one of the youngest & most hard working bands on the label. The guys head into the studio this week to start recording the follow up to Distance Is A Gun .The Solomons made a splash with their debut EP this year and are about to record a bunch of songs for release in 2011.

If you could get us to listen to one album/release from a Popboomerang artist, which would it be and why?

That is tough, like asking a parent to name a favourite child!!! The releases which have made the biggest impact with fans and the media include Skipping Girl Vinegar’s Sift The Noise, The Aerial Maps’s In The Blinding Sunlight and Georgia Fields’ new self-titled album. Releases by Tim Reid, Tamas Wells, Underminers, Bon Scotts and Splendid are among others have also been very well received.

Is there a difference between a good band and an excellent band that will be successful?

If there was a secret I would not be telling. But seriously an “excellent band” has to have a point of difference in some way in their recorded music & hopefully also in their live performance. I have seen bands I thought were “excellent” waste their talent and implode & bands who I felt were “good” get every ounce of success possible by working really hard.

Any tips for bands interested in getting signed by Popboomerang? Any hints or anything they should definitely avoid doing (e.g. stalking you)?

Do your research on the roster! Don’t send in recordings for consideration that are devoid of melody! Don’t waste my time with styles of music Popboomerang does not release don’t work with (rap, hard rock, dance or reggae etc.) Be polite in following up for feedback, persistence is fine up to a point (over email is best). Be imaginative and eye catching with your promo packs but don’t go over the top. Don’t sulk or burn your bridges if you don’t get a release as labels often “talk” and recommend bands to each other (or not).

Do you do anything else in the music industry?

I have done some mentoring for Freezer/The Push. But the sad news is I head off to the dreaded day job each day. Rock n’ roll has not made me rich yet! Ever hopeful.

Any tips for young industry kids who are keen on starting labels or working for record labels?

I would hope they have rich generous parents or partners!! But seriously, they need to be aware that the industry is changing and the old models of recouping your investment from CD sales alone are gone. I would encourage them to do some work experience in established labels or seek out some mentoring before starting out alone. I would say learn from your mistakes and don’t repeat them (in saying that successful decisions you make along the way are not always replicated).

 UPCOMING EVENTS:

• Friday December 17: Popboomeranng Xmas Party at The Cornish Arms, free entry, featuring The Bon Scotts, D.Rogers Band, Georgia Fields (duo), Underminers (duo), Courtney Barnett (solo), Greg Williams (solo) and Remake DJs. Free event sampler here.

LINKS:

• Popboomerang Records official website
• Popboomerang Records on Myspace
• Popboomerang Records on Facebook
• Popboomerang Records on Twitter

BY PAIGE X. CHO

REVIEW: The Madness Method @ The Toff in Town (25/11/2010)

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It’s not very common nowadays to hear of bands fusing the genre of ska into their styles. Freak-folk-experimental-pop-trip-hop? Sure, why not. But ska? Now, in 2010? Well, bands like The Madness Method prove that apparently it still happens.

The Madness Method describe their music as “spock”; that is, ska with hints of pop and rock. Two of the band’s most popular tracks, You Were Right and Better Without You, seemed to represent the “spock” genre well. Both had signature ska elements such as walking bass lines (provided by absolutely spot-on bassist Jon Meller), guitar rhythms that accented the upstrokes, drummer Paul Frangos’ driving beats, and bright, harmonising brass lines courtesy of Shelly Ryan on saxophone and Matt Story on trumpet (trombonist Tom McKenzie was absent). The fast-paced tempos and catchy melodies of both songs, the distinctly pop-tinged chorus in You Were Right and the rockier chorus in Better Without You fit in nicely with these ska elements to create a fresh sound; a “spocky” sound. Both of these songs also had videos made for them, which were launched at The Toff during this particular show.

While many of The Madness Method’s songs sounded quite similar to each other, the repetitiveness was broken up by a few songs that had quite a different feel to most of the others. For example, Concrete Heart was slower and more sensual. It still had its standard block-upstroke strumming on guitar and a catchy bass line that walks up and down the frets, but things such as guitarist Luke Forward’s commanding solo using a wah pedal, a sultry saxophone line and long, held notes on brass set it apart and made it a clear stand-out from the set. Vocalist and front-woman Mandy Meadows was allowed more freedom — compared to the somewhat restrictive melodies of other songs — to really show off her vocal control, and she sang the lyrics with a punchy attitude that made you believe she really meant what she was singing. Towards the end of the song, the band dropped out and Mandy held a note for what seemed like minutes, and then followed it up with an impressive display of almost-jazzy vocal gymnastics before the band came back in for the final two choruses.

An honourable mention also goes out to Wikipedia, which was a lot more funk-inspired than most other songs in the set and also featured a very rock-n-roll breakdown that got the audience raising their fists and whipping their hair.

The members of The Madness Method are no doubt talented and work extremely well as a single entity. The enthusiasm of the drummer, the lightning-fast fingers of the laidback bassist, the choreographed head-tilts of the brass players, the tasteful solos by the guitarist and Mandy’s sass and pipes made for an entertaining show. This band does not make easy-listening music; it’s not for everyone. As the band themselves state, their music is “not grungy, earthy, wailing or hauntingly beautiful”. It’s not deep, it won’t move you to tears, and it probably won’t cause any epiphanies or arouse profound emotions within you. But that’s not really what The Madness Method were aiming for anyway. They’re all about upbeat, fun, in-your-face songs; light-hearted lyrics that mock and tease; energetic performance and the raucousness that is the fusion-genre of “spock.”

LINKS:

• The Madness Method MySpace 
• The Madness Method official website
• The Madness Method Facebook
• Flickr set for the gig by Ta-DAH! Photo 

TEXT BY STEPHANIE-BOWIE LIEW AND PHOTO BY TA-DAH! PHOTO

INTERVIEW: Princess One Point Five

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Splashed across glossy-paged tabloid magazines (with their legs wide open, of course), trashy socialites like Paris Hilton have lent the word “princess” a bit of a dirty reputation in the past decade by adopting the label in a wild attempt to explain their arrogant behaviour.

But rewind back to your childhood, and think of the captivating tales of wizards and dragons, and knights rescuing princesses and all sorts of vivid tales of bravery. Though Melbourne duo Princess One Point Five’s name may come from the meaning of front woman SJ Wentzki’s moniker (Sarah means a woman of high rank, or “princess” in Hebrew), but their music is so magical that the shoe fits either way.

Princess One Point Five – known on paper as P1.5 – is a delightful musical pairing between SJ and her partner-in-crime Richard Andrew (Underground Lovers, Crow, Registered Nurse), and the pair are often joined by equally talented musicians over various instruments like Ben Grounds (Bluebottle Kiss), Libby Chow (Clare Bowditch and the Feeding Set) and Jed Palmer (Hope Diamond). The result of all this talent on one stage at the same time is pop music that gives out with a feisty punch and a cabaret snarl, swirled together with some heavy rock influences.

Paper-Deer had a date to chat to the lovely SJ Wentzki about collaborating, the irony of being featured on an anti-smoking campaign and choosing her musical family.

Paper-Deer has seen P1.5 been described as your sole brain-child and a solo project, whereas others have called it a marriage between you and Richard Andrew’s talents. For the record, which is it?

It started out solo, but when I started writing for a band, P1.5 just sort of expanded out. I’ve been working with Richard for some time, but he’s progressively taken over! Just kidding. For the record, he “produces” and I write. Somewhere in between, with a lot of stops along the way is the “band”.  With this album we were a lot more collaborative with song writing and production, but our roles have pretty much stayed the same. The thing is that it’s always evolving, and really hard to pin down to one definition. It’s reflective of how indecisive I am, and who knows what it’ll be next.

How do the two of you choose who will join you for a particular recording or live show?

The short version is that it’s always been fairly organic. We’ve worked with many different people between us (Rich and I) and so it was pretty natural to just get those people in to record, when, for example, we need someone to play strings…since neither of us can. On a lot of our tours we’ve randomly sort of found people on the road to play shows (not literally “on” the road, but you know what I mean), which is bit European of us, really.  Mostly that would be friends we’ve met or made along the way have some skill or other that we need (usually bass).

 It’s part and parcel of being an independent musician. Most of the people you meet are other musicians, usually willing to jump up on stage and lend you a patch of the carpet to sleep on.  It all depends on the show too – sometimes it’s a lot of fun to play as a two piece, and other times it’s much better to play as a “band”. P1.5 isn’t terribly prescriptive these days, and it’s more fun in a frightening kind of way to play it by ear and see what happens.

The P1.5 biography almost seems like it should be spread out over 20 years. Impressive prizes and nominations like the Australian Music Prize and the Noise/Qantas Spirit of Youth Award, plus impressive support slots and Triple J rotation. What’s your next big goal?

Getting our asses the hell overseas to tour, writing a top 40 cheesy hit, retiring on the royalties. Not necessarily in that order… Some of that may or may not be true.

Your most recent album, What Doesn’t Kill You, has received all sorts of praise and more thumbs up than we can count. Does the title stem from the phrase “What doesn’t kill you makes you stronger?”

Yes and no. It was an odd and sometimes difficult, time during the writing of this album – for so many reasons – but also liberating and quite inspiring. The title is really more along the lines of “what doesn’t kill you can fuck right off.”  Success is relative and I think that writing this album was my way of figuring that out so that I could avoid being a complete sociopath… at least most of the time.

What’s your favourite track from What Doesn’t Kill You?

What Do You Know. It says a lot about my fascination with perception versus reality. You can never really see inside someone’s heart and so often, the face they’re showing is not their real one.

Reading reviews from the album, it seems that everyone has a different favourite song. How did you decide to give Today the honour of being a single?

Without being egotistical about this, I actually really love every song on the album for different reasons, and I think it’s the strongest suite of songs we’ve ever done as Princess One Point Five. It’s also really diverse stylistically, which is why different people take different things from each song. I initially thought that Quote Me should be the first single. Mostly because I was being a bit of an angry shit head… but when we’d finished recording Today it was a no brainer, and said more about how nonsensical everything is, ya know? Today was the best song to represent the feel of the album: catchy but bittersweet, sad but hopeful.

Define weird. The weirdest thing was that my boss at my day job told me about one of our songs being played at the Superbowl in America. The sync itself wasn’t weird. The antismoking campaign in America and Canada was ironic, but not really weird…  I think what would be really weird is if we had something on the footy show… nope, that’d just be funny.

LINKS:

• Princess One Point Five website 
• Princess One Point Five Facebook
• Princess One Point Five MySpace 

By Paige X. Cho

INTERVIEW: We All Want To

We have moved! Our blog is now at www.paper-deer.com. 

The Madmen. Screamfeeder. Solo work. We All Want To. Brisbanite Tim Steward is one dedicated musician, hopping from music project to music project. His latest creative outlet We All Want To sees the singer-songwriter pairing up with four other talented musicians to create energetic indie pop that has been labeled as Tim's most ambitious work so far.

Paper-Deer had a chat to Tim Steward on names he's not allowed to use, their debut album and walking about with his arse hanging out (classy).

 
From what I've heard, the band spent months agonising over what to call the band, then ended up with something you randomly misheard in a restaurant. Care to share what the other possibilities that you rejected were?
Well, I'm not telling you the other main contender because I plan to use it for my next band, but the other big one down the line was Steve and Gloria - named after two characters in Douglas Coupland's The Gum Thief. Skye and I use that one sometimes when we do duo shows. I've always wanted to call an album Elephant Escalator Elevator, but I've never been allowed.

We All Want To’s debut self-titled album took over a year and a half to record. Was it a conscious decision to record it leisurely and mull over it, or was the lengthy time due to constraints and commitments?
 A bit of both really. I guess we weren't consciously working towards an album till about halfway through. In the end we learned a lot of lessons about which guys to take which types of songs to in future, and we also learned that anyone who knows how to set up a mic correctly, get a good performance out of the band and pay attention to detail during the mixing will get pretty similar results with us! I'm such a control freak I'm always looking over peoples' shoulders anyway; firing off a constant tirade of "brilliant inspired suggestions".

The five of you have very different musical backgrounds and tastes - indie rock, folk, drone and pop. Is it ever hard working with musicians used to playing a completely different style?
Again the control freak side of me says yes, but the mature adult who has learned to relinquish a bit of musical control says that no. It's been quite fun. I'm a real one-trick pony – I have one way of playing guitar, the "Sid Vicious" style of constant downstrokes, never missing a beat. When I'm in a room with someone more versatile it throws me a bit!

I hear that you already have a second album's worth of new material. Is it frustrating promoting your first album when you've already got loads of new stuff to get excited over?
Nah, it's completely standard. It's always been like that for me, and I'm sure it's the same for other bands. You just have to learn to be patient.

What does each member of We All Want To bring to the mix?
Well Josh came through like a champ the other night and brought all the fixings for hot toddies to practice. Dan was feeling a bit off, and Josh had the scotch, lemon and ginger going within minutes. Josh also brings the lead guitar, he has a bit of a "Melbourne" feel to his playing, quite reverb-y and very wiry. Dan brings in patience, level headedness and humility. Todd brings in arrangement skills that put us all to shame, some real musicianship, jeans with ripped crotches, vodka and stubble. Skye brings in her flute, her lyric-remembering skills, songs and neck tatts. I bring in management, songs, discipline, rules, work ethic, lunch.

What city does the band call "home"?
Oh, Brisbane, for sure. We all live in Brisbane except for Todd, who is in Melbourne. Home is 4064, 4065, 4059. Josh lives on the southside of Brisbane… we're gonna have to do something about that.

Are you excited about playing in Melbourne?
Yes! Our favourite things about Melbourne are the food, kebabs, kebabs with chips in them, local pubs and non-apathetic music audiences.

Any embarrassing secrets and funny tales that you can share with Paper-Deer?
I was walking up the beach one time, Bondi Beach, the middle of summer, it was jam packed. Kellie and Dean (Screamfeeder) were pissing themselves - my shorts had given way right up the back and my whole arse was hanging out. I had no idea. It almost acts as some kind of metaphor for our musical careers – blissfully unaware, having the time of our lives.

WE ALL WANT TO "Back to the car" from Pkam&Adam on Vimeo.

UPCOMING SHOWS:

• Saturday October 30: Birmingham Hotel
• Sunday October 31: Pure Pop

LINKS:

•  We All Want To Official Website
•  We All Want To MySpace
•  We All Want To Facebook

INTERVIEW: The Madness Method

We have moved! Our blog is now at www.paper-deer.com. 

How do you stand out in the over-saturated music world? Create your own genre. Melbourne band The Madness Method coined the term Spock for their musical leanings, and while its name suggests it may be related to a certain pointy-eared fellow, it's actually a fiesty blend of ska, pop and rock. There may be madness to this method, and it is definitely working.

Debut EP Better Without You now available from JB HiFi

Paper-Deer deciphered the wacky world behind The Madness Method's singer Mandy Joan Meadows.

Is there a method to the madness?

Sometimes I wonder!

How did you come up with the name?

I wanted to tell people that my project wasn’t a pointless and frivolous pursuit. Perhaps I was even trying to reassure myself. Either way I was saying that there is a method to my perceived madness!

How did The Madness Method come about?

My background is in classical and jazz singing, but ultimately I want my idea out there, no those of someone who kicked the bucket hundreds of years ago! So I moved from New Zealand to Melbourne with not much money, absolutely no friends but grandiose ideas. I asked everyone I knew and trawled the net for the eclectic bunch of musos that stand here today.

There’s a huge ska flavour to your tunes. The first band that comes to mind is early No Doubt. Any other acts that have influenced your music?

There’s definitely a tip of the hat to the UK ska scene of the early 80s, to the likes of The Specials and Madness.

Paper-Deer had a listen to your debut EP Better Without You, and the songs got stuck in our heads for hours. How do you write such catchy tunes?

The secret is simplicity. I don’t claim to write intellectual music. With respect, it’s music for punters, not journalists. So I don’t work it to death – I start with the hook, work in the idea of the lyric, and the rest is just arrangement.

Tell Paper-Deer all about Better Without You?

We call it SPOCK – Take ska, add a hint of pop and mix with a sprinkling of rock! We were lucky enough to work with Lindsey Gravina (Magic Dirt, The Living End, Thirsty Merc) on our first release.

If someone was trying to decide whether they should part with fifteen dollaroonies for a copy of your EP… what would you say or do to them to convince them otherwise?

If you’re sick of indie band after indie band lining up against a wall to look moody, why not try something refreshingly light-hearted and give TMM a spin. It’s fun and it’s playful. If you’re happy with moping and wailing, keep your money!

What is TMM TV all about?

We’ve put together some spectacularly low budget footage of a few of our recent adventures. TMM TV goes behind the scenes of our first photo shoot, video shoot and even touches on Jon’s preoccupation with worms. Yuck! You can find it on our MySpace site www.myspace.com/themadnessmethod

So part of the band getting married… Did they meet through The Madness Method? Will the band be playing at the wedding?

They came as a package. I was after a sax and ended up with both The Hornies, as we call them. They’re getting married in December and, as yet, they haven’t asked us to play. I await the call ...

Any embarrassing secrets or funny stories about the band you can divulge?

Only Jon’s age – you’ll have to ask him about that! And while you’re at it, ask him about the time he got naked on stage with Cat Empire! Then there was the incident involving the pumpkin...

UPCOMING SHOWS:

• Thursday November 18: The Vineyard
• Thursday November 25: The Toff in Town
  

 LINKS:

• The Madness Method MySpace 
• The Madness Method official website
• The Madness Method Facebook 

INTERVIEW: Drunk Mums

We have moved! Our blog is now at www.paper-deer.com. 

These boys may be called "Drunk Mums", but Paper-Deer is thinking that they should be called "Drunk Musicians" after hearing tales of their wild band-related adventures. Originally hailing from Cairns, the quirky poncho-wearing troubadours ended up in Melbourne where they have a tendency to infect punters with the head-shaking disease. (No, not rabies. The other one.)

Paper-Deer had a bit of a blast swapping words with the Drunk Mums boys about their grimey blues rock band, their alcoholic mothers and American soldiers.

Describe Drunk Mums in one word.

Messy.

Googling “Drunk Mums” turns up some very interesting results. Which is your favourite website from the resulting search?

Most definitely the YouTube clip of the Dr. Phil’s episode about mums who drink. Heart stopping stuff. 

Drunk Mums is an interesting name. Are your mums drunk, or do you like other people’s mothers drunk?

All our mums were drunk during labour.

This is a very random question, but Paper-Deer are obsessed with ponchos and capes. Where did your singer pick up his poncho that he wore at your Tote gig?

Our Mexican friend’s vintage shop “Bam bams” in Williamstown.

May have to stalk your Mexican friend. Unless your MySpace biography is lying, the band started out in Cairns and ended up in Melbourne. How many cities and gigs were between these two cities, and how long did it take?

We are all from Cairns and accidently ended up in Melbourne after our American self-funded unorganised tour was cut short due to our van being stolen by hombres in Miami. So with fuck nothing to our names we decided Melbourne was the next city to live.

What does each member of Drunk Mums bring to the mix?

Joel the drummer brings hung-over stock market advice, Tim brings a debt to the band rider, Dean brings all the boys to the yard and Jake brings a stiffy.

Worst thing to ever happen to Drunk Mums onstage?

On our way over to The States, we made a brief stop in Guam to play a show. Before the gig an American soldier spilt Dean’s scotch and coke. Feeling bad about it, the soldier replaced Dean’s drink and challenged Dean to a good old testosterone fuelled drink scull. Before realising he had skulled a full pot of straight scotch, Dean was passed out on stage by the second song.

DATES:

• Saturday October 23: Public Bar
• Friday November 12: Espy Front Bar
• Thursday November 18: Pony

LINKS:

• Drunk Mums MySpace
• Drunk Mums Facebook