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Sharpening The Claws With SORDID ORDEAL · HEAVY Music Interviews

0:00
Speaker 1: Hi. My name is Joe.
0:01
Speaker 2: I'm a bass player from Sordid Ordeal and I'm just
0:04
Speaker 2: announcing that we're putting out our single from our second
0:07
Speaker 2: album called Tigris on October the fourth, and playing a
0:11
Speaker 2: live show to help with the launch of that show.
0:14
Speaker 1: Single on the nineteenth at Stay Gold Brilliant.
0:17
Speaker 3: Thank you so much for joining us today, Joe, and
0:20
Speaker 3: can you tell us a little bit more about Tigris
0:22
Speaker 3: and the video clip.
0:25
Speaker 1: It's a pretty rockin bluoty sort of tune that we.
0:30
Speaker 2: Has been written and recorded quite a while ago actually,
0:33
Speaker 2: and like Lawrence will go into a little bit more
0:37
Speaker 2: when he jumps on, but it's it's to do with
0:42
Speaker 2: kind of the like overatching story of both the albums,
0:44
Speaker 2: being about moving out of a small town and going
0:47
Speaker 2: into the big city and figuring out who you are.
0:49
Speaker 1: And all that kind of thing.
0:50
Speaker 2: And it's written about a personal friend of Lawrence's who
0:54
Speaker 2: left Wagga, the town that he also grew up in,
0:57
Speaker 2: and moved to Sydney, and because she didn't want to
1:00
Speaker 2: of the farm.
1:01
Speaker 1: Wife sort of lifestyle.
1:02
Speaker 2: Yeah, which is obviously there's nothing wrong with, but it's
1:06
Speaker 2: pretty common out there and not everyone who's born in
1:08
Speaker 2: the situation wants to stay there.
1:11
Speaker 1: As far as I know, No one in the band
1:15
Speaker 1: is from Melbourne.
1:17
Speaker 3: Oh interesting, that was going to be my other question.
1:21
Speaker 2: I'm from Brisbane. Jake is a Kiwi. I think he's
1:24
Speaker 2: from somewhere around Auckland. I can't remember some town up there. Yeah,
1:29
Speaker 2: perhaps from country Victoria Ella I think is from Sydney
1:33
Speaker 2: and Zell, our drummer is from Cornwall.
1:36
Speaker 3: Oh there you go.
1:37
Speaker 4: Wow?
1:38
Speaker 1: Yeah the place yea.
1:41
Speaker 3: And how did you I don't know if this may
1:42
Speaker 3: be a question for Lawrence later, but how did you
1:46
Speaker 3: guys decide on what you wanted for the video clip?
1:49
Speaker 3: Did you all come together or is there one person?
1:52
Speaker 2: So Lawrence sort of didn't storyboarded that whole thing, being
1:57
Speaker 2: that he wrote both the albums that like the last
2:00
Speaker 2: album that we just released in.
2:04
Speaker 1: I think February. Yeah, that did pretty good actually.
2:07
Speaker 2: When we would think we debuted at number eight on
2:09
Speaker 2: the air independent.
2:10
Speaker 1: Chants that week. It's pretty cool.
2:13
Speaker 2: Yeah, But so's it's all kind of to do with
2:16
Speaker 2: his like because he grew up in Warga. Yeah, so
2:19
Speaker 2: like his moving to Melbourne and and how that experience
2:21
Speaker 2: was for him and how he's had conversation with that.
2:26
Speaker 2: A lot of people in the Melbourne music scene have
2:28
Speaker 2: similar stories from all over the place, so he's basically
2:31
Speaker 2: had the whole thing as a concept. Yeah, go through
2:34
Speaker 2: the whole time, so in that when it came time
2:37
Speaker 2: to do the film clip for Tigress, he already had
2:40
Speaker 2: the whole thing in his head his head, including the
2:44
Speaker 2: the actress that we used for it, and the film
2:46
Speaker 2: crew and all those kinds of things.
2:47
Speaker 3: Jake, Hey, we've got beautiful Are you good?
2:54
Speaker 1: Good?
2:54
Speaker 3: How are you going good? So we were just talking
2:58
Speaker 3: about Tigress and the video clip and new single. Maybe, Jake,
3:02
Speaker 3: do you want to tell us a bit about from
3:04
Speaker 3: your perspective what Tigriss is for you.
3:10
Speaker 5: It's interesting because you know, I just knew it as
3:12
Speaker 5: a song and sort of you know how lyrics generally
3:16
Speaker 5: sort of tend to mean different things for different people,
3:18
Speaker 5: you know, unless they're incredibly literal, even than the hour.
3:21
Speaker 6: Sometimes they mean different things for different people. So to me,
3:25
Speaker 6: it was kind of just like a nice, bluesy, stumper,
3:28
Speaker 6: good sort of summer road trips song. But recently Lawrence
3:32
Speaker 6: has been talking about what it means to him and
3:35
Speaker 6: he's the one who wrote it obviously, so it's been
3:37
Speaker 6: interesting hearing his side of it. How it's about sort of,
3:41
Speaker 6: you know, moving out of the country and moving to
3:42
Speaker 6: the big city and making your own way in life
3:45
Speaker 6: and not following the norms that are expected of you
3:48
Speaker 6: kind of thing. Yeah, And whenever we play it now,
3:51
Speaker 6: I'm sort of picturing that I have that in mind,
3:53
Speaker 6: so it kind of makes it feel different from me
3:55
Speaker 6: every time we play it as well.
3:57
Speaker 3: Yeah, Oh that's awesome. And how did the songs come
3:59
Speaker 3: together for you guys? Is that music first or lyrics
4:02
Speaker 3: first or idea first?
4:05
Speaker 6: Because we've only been in the band for a little while,
4:07
Speaker 6: most of the songs were already written before we joined,
4:09
Speaker 6: so we haven't actually done much songwriting with the band.
4:11
Speaker 6: It's all been songs that Lawrence wrote in the past,
4:14
Speaker 6: so we're not really right people to ask about that,
4:16
Speaker 6: and this is the context of this band anyway.
4:19
Speaker 2: Yeah, but when we joined the band, like on this
4:24
Speaker 2: new run, I think Jake joined first and then got
4:26
Speaker 2: me involved and we kind of just go in and
4:28
Speaker 2: it's like very simple, like his album one songs learn,
4:32
Speaker 2: we learned them, and then we're going through and learning
4:37
Speaker 2: all the second album songs.
4:38
Speaker 1: Now. Wow. But because we've.
4:40
Speaker 2: Got those two like whole projects recorded and done, we
4:46
Speaker 2: haven't really had the time to go through and do
4:51
Speaker 2: our own writing.
4:52
Speaker 7: But the idea is over the next like well next year,
4:57
Speaker 7: to try and basically write and record another to put
5:00
Speaker 7: out of the end of next year, yeah, early the
5:02
Speaker 7: year after kind of thing.
5:03
Speaker 1: Yeah, I suppose.
5:06
Speaker 2: Yeah, And there's a lot of there's a lot of
5:08
Speaker 2: pretty great musicality within the band, so I think it'll
5:12
Speaker 2: be a lot of taking like ideas and concepts and
5:15
Speaker 2: then kind of like putting the music through them. And
5:19
Speaker 2: then I guess Lawrence running off and writing his own
5:21
Speaker 2: lyrics or coming off the back of material that he's
5:24
Speaker 2: already got because he's got the books.
5:26
Speaker 1: Wow.
5:27
Speaker 6: Yeah, I'm pretty sure he's got like four albums already
5:29
Speaker 6: written basically.
5:33
Speaker 1: At some point.
5:34
Speaker 4: Yeah.
5:35
Speaker 3: Yeah, No, that doesn't surprise me. And how long have
5:39
Speaker 3: you guys, so I'm sorry I should know, But how
5:41
Speaker 3: long have you guys been in the band for?
5:44
Speaker 1: I should probably know too, like.
5:46
Speaker 8: About a year, I think a year for me.
5:48
Speaker 1: Yeah, it'll be about the same, I think.
5:53
Speaker 2: No, I remember getting remember, I remember the like the
5:57
Speaker 2: Facebook memories thing of when I joined the band, popping
5:59
Speaker 2: up like a couple of months ago, so it's probably
6:01
Speaker 2: probably about eighteen months.
6:02
Speaker 3: Oh wow, okay, cool, something like that.
6:07
Speaker 6: Yeah, a year in a quarter or something like that.
6:10
Speaker 6: I mean, in my experienced band that I was in
6:12
Speaker 6: before this, we had, in the course of ten years,
6:16
Speaker 6: we had five drummers, six bassists, you know, three keys players.
6:23
Speaker 6: So it's kind of just if you're in a band
6:25
Speaker 6: for a long time, it's pretty hard to keep the
6:27
Speaker 6: original core members together for that long because people go
6:30
Speaker 6: off and do their own things and move from wherever else,
6:32
Speaker 6: you know. So it's been one of those where it's
6:35
Speaker 6: sort of been a bit of a rotating roster over
6:37
Speaker 6: the years. But I'm sure it's just trying to be
6:40
Speaker 6: nice for Lawrences. We're the best iteration of the band
6:43
Speaker 6: yet of course. Well, I mean you would say that,
6:49
Speaker 6: but he says that to all the guitarists.
6:54
Speaker 3: But I mean, it's pretty awesome that you guys, because
6:56
Speaker 3: you guys are playing metal in the mountains, hey Lawrence, yep,
6:59
Speaker 3: or maybe he aren't yet, it's pretty awesome that you
7:02
Speaker 3: guys get to join in and do you know, play that.
7:05
Speaker 3: That's yeah, pretty telling, Yeah, yeah.
7:09
Speaker 1: Yeah, but it's an interesting.
7:13
Speaker 2: Like bridge of genre sort of stuff, because we're not
7:16
Speaker 2: like we're we have some heavy stuff, we're not really
7:19
Speaker 2: like a metal band, but we're also not really a band.
7:24
Speaker 2: We're not like we have a lot of Celtic influence
7:27
Speaker 2: and violins and all this kind of stuff, but we're
7:28
Speaker 2: not really like an Irish Scottish band. So we're like, yeah,
7:33
Speaker 2: like a lot of bands these days, we just sit
7:35
Speaker 2: in between the stuff. We're not out playing you know,
7:38
Speaker 2: ac DC stype music or like just death metal or
7:41
Speaker 2: anything like.
7:43
Speaker 3: Yeah, it's hard, gris you guys into one genre. I think,
7:47
Speaker 3: like I've seen you been, you know, called bluesy ballady folky. Yeah.
7:54
Speaker 2: Yeah, it's like, well we just we made up our
7:57
Speaker 2: own genre.
7:58
Speaker 1: We're calling ourselves a stout band.
8:01
Speaker 3: Nice.
8:01
Speaker 1: Yeah, like we're not really alcoholics. But hey, how you go.
8:09
Speaker 8: Right, I'm a little bit ill, So i'm a little
8:11
Speaker 8: bit Yeah, I'm good.
8:13
Speaker 3: Oh no, that's all right. I was telling the boys
8:15
Speaker 3: before that I had my daughter's birthday party today, so
8:17
Speaker 3: I'm a bit out of it myself, don't worry.
8:20
Speaker 8: Old seven.
8:23
Speaker 4: Yeah, right, So they're doing lines of sugar straight off
8:25
Speaker 4: the table, and so we were just.
8:29
Speaker 3: Talking a bit before about Tigress and the video clip
8:32
Speaker 3: and the obviously the single coming out. I just wanted
8:35
Speaker 3: to get your story on how did you come up
8:39
Speaker 3: with the idea for the video clip and also the
8:41
Speaker 3: meaning behind the song.
8:45
Speaker 8: The meaning behind the song is.
8:50
Speaker 4: Well, I mean, the song is about a woman who
8:54
Speaker 4: breaks out of the the expectations of conservative of rural
9:00
Speaker 4: Australia and decides to move to the city and live
9:02
Speaker 4: her own life. And she left Wogger in the eighties.
9:08
Speaker 8: It is a woman that I know.
9:09
Speaker 4: I can't elaborate too much more on the on the
9:12
Speaker 4: details of that, but it was a direct inspiration and
9:16
Speaker 4: I think I drew a lot of comparison to what
9:19
Speaker 4: my journey was like.
9:21
Speaker 8: And although it wasn't that of a woman.
9:24
Speaker 4: Growing up in a country with you know, quite a
9:28
Speaker 4: problem with misogyny in chauvinism, my personal journey was breaking
9:33
Speaker 4: out of a militantly religious family and going to the
9:36
Speaker 4: city to find myself. And so although you know there's
9:40
Speaker 4: there's different versions of the message, the result is very
9:43
Speaker 4: much the same. So I that song falling out of
9:47
Speaker 4: Me was quite an easy one to write.
9:51
Speaker 8: As for the video, it's.
9:54
Speaker 4: Not not everybody gets a you know, a band full
9:58
Speaker 4: of such good looking roosters. So I think I just
10:00
Speaker 4: wanted to feature everyone in a video clip. Like our
10:03
Speaker 4: last two video clips were done with the previous lineup,
10:06
Speaker 4: and I was like, well, you know, the next clip
10:08
Speaker 4: I want to record. You know, it's although there's going
10:11
Speaker 4: to be a narrative aspect to it, which is where
10:14
Speaker 4: the burlesque dancer comes into it first, and foremost, just
10:18
Speaker 4: putting the current lineup of the band in there, I
10:20
Speaker 4: just wanted people to see this is what it is now,
10:23
Speaker 4: this is how much better it is. Look at the
10:25
Speaker 4: bed on that man over there, and how good is
10:27
Speaker 4: it Joe. But yeah, having there was actually a bit
10:36
Speaker 4: of a conundrum in deciding how to portray the narrative
10:41
Speaker 4: of the character that I created for this Alastrina, because
10:51
Speaker 4: how do you you know, you want to you want
10:53
Speaker 4: to portray that liberation, that breaking out of the the
10:58
Speaker 4: mold in an exciting way, but you know, if you
11:01
Speaker 4: did it in like a business corporate sense, there's not
11:04
Speaker 4: a lot to that, you know, And so it was
11:06
Speaker 4: I think it was a matter of trying to find
11:08
Speaker 4: something that represented it in a dignified way. Yeah, and
11:13
Speaker 4: when you take someone like a burless dancer like Faerie Mayer,
11:16
Speaker 4: who has danced her whole life and worked so so
11:20
Speaker 4: hard to reach the upper echelons of the international dance community,
11:26
Speaker 4: become as internationally renowned as she is to win Burless
11:30
Speaker 4: dancing awards in America. I thought, that's the figure right there,
11:33
Speaker 4: Like I can draw a direct line from a dancer
11:36
Speaker 4: like that to the character written into the song, from
11:39
Speaker 4: that personal inspiration Alistrina and say, well, if there was
11:43
Speaker 4: ever a representation of that fairy mayor, is it? So
11:46
Speaker 4: that was where that idea came from.
11:48
Speaker 3: That's so awesome. You're also doing a combined single launch
11:51
Speaker 3: with the Voice of Melbourne. Can you tell us a
11:53
Speaker 3: bit more about the Voice of Melbourne and what it
11:56
Speaker 3: is and some details about the launch.
11:58
Speaker 4: Well, the Voice of Melbourne initially started as the voice
12:00
Speaker 4: of flinta station, which was just my stupid, ridiculous platform
12:04
Speaker 4: announcements at the train station going viral. This is actually
12:09
Speaker 4: my second swing at media fame. The first one was
12:12
Speaker 4: a TV show in twenty seventeen called Common Sense that
12:15
Speaker 4: I was on produced by Endemol Shine who also have.
12:20
Speaker 8: You know, the big one goggle Box.
12:22
Speaker 4: But the show that I was on, which was meant
12:24
Speaker 4: to be the caretaker time slot for the off season
12:28
Speaker 4: of goggle Box, bombed awfully both in the UK and here,
12:31
Speaker 4: and so it wasn't renewed. But you know, I'd always
12:35
Speaker 4: wanted sort of that larger platform to be able to
12:37
Speaker 4: do with that things that I thought that were positive
12:40
Speaker 4: for the world, either.
12:42
Speaker 8: Culturally or socially or politically.
12:44
Speaker 4: And then Voice of Flint the station blowing up and
12:48
Speaker 4: that getting fostered into the behemoth that it became. I
12:51
Speaker 4: just went, well, if I was ever going to have
12:53
Speaker 4: like a second chance to really like drive it and
12:55
Speaker 4: do something with it, now's the time. And so rebranding
12:58
Speaker 4: it to the Voice of Melbourne, deciding that I was
13:01
Speaker 4: going to use that platform to you know, talk to
13:04
Speaker 4: the person on the street about their life, to talk
13:07
Speaker 4: about you know, people struggling, you know in an artistic world,
13:11
Speaker 4: you know, trying to make it in a new era
13:14
Speaker 4: of modernization, people trying to run small businesses in an
13:18
Speaker 4: ever tightening economy, which is why, you know, like interviewing
13:21
Speaker 4: the artist Helena Black on artworks that she's done for bands,
13:25
Speaker 4: but the fact that AI has impinged so much upon
13:29
Speaker 4: the production of art, talking to dancers like Ferie Mayer,
13:32
Speaker 4: who you know, with the dilution of the burlesque scene
13:37
Speaker 4: and an oversaturation of people coming in and seeing what
13:41
Speaker 4: happened in the early twenty tens and wanting to do that,
13:43
Speaker 4: how she goes and levels up from place to place,
13:47
Speaker 4: you know, because of the way that the dance scene
13:49
Speaker 4: has changed. We've got an upcoming interview with the chef
13:52
Speaker 4: Tamlin from Ballard's Restaurant and how he maintains originality and
13:57
Speaker 4: individuality in the city that's a wash with you know,
14:00
Speaker 4: incredible food and stuff.
14:03
Speaker 1: You know.
14:03
Speaker 4: I wanted to elevate these voices as well as you know,
14:06
Speaker 4: do a bit of political representation as well, which I've
14:09
Speaker 4: done over the last few days, to varying degrees of acceptance.
14:13
Speaker 3: Well, I think that's always the case with that, you know,
14:17
Speaker 3: doing that, but it's really awesome that you are giving
14:20
Speaker 3: it a go and trying to get your voice heard.
14:22
Speaker 3: And I think it's really important with a platform like
14:25
Speaker 3: yours to do that to advocate, And that was going
14:27
Speaker 3: to be my next question as well, how important is
14:29
Speaker 3: it for you to advocate for minority groups.
14:33
Speaker 4: I don't want to be one of those vapid figures
14:37
Speaker 4: on social media that walks the tightrope of centrism and
14:43
Speaker 4: doesn't represent or say anything real at all, and simply
14:47
Speaker 4: users fame for their own glorification. There was a really
14:54
Speaker 4: there was this really nice moment in Ali a couple
14:58
Speaker 4: of months ago when I came through and there was
15:01
Speaker 4: this really like you know, crusspunk baby queer, anarchist looking
15:08
Speaker 4: kid behind a counter at Ali, you know, spiping groceries
15:12
Speaker 4: and stuff. And as I was coming through, they went, oh,
15:15
Speaker 4: my god, you're.
15:17
Speaker 8: The voice from the station.
15:19
Speaker 4: You're the station guy, but it's just you say real stuff.
15:23
Speaker 4: And like hearing that, I was like, yeah, because no
15:26
Speaker 4: one else will, like I mean obviously, like you've got
15:29
Speaker 4: someone like Purple Pingers, whose entire platform is built on
15:33
Speaker 4: being you know, political and fighting for something real, and
15:36
Speaker 4: you've got Tom Tanuki who also does the same thing.
15:39
Speaker 4: I didn't get big because I was doing something political.
15:42
Speaker 4: I got big because of something completely unrelated. But I
15:46
Speaker 4: do genuinely believe in how important it is to use
15:49
Speaker 4: that platform for something, you know, for something important. And
15:54
Speaker 4: you know, in the in the last three months, the
15:58
Speaker 4: times that I take the biggest hit in followers is
16:00
Speaker 4: always when I post something political, whether it was the
16:04
Speaker 4: supporting the c if me EU in their rally in
16:06
Speaker 4: the city a few weeks ago, you know, because their
16:09
Speaker 4: union's now been infiltrated by the government, you know, using
16:14
Speaker 4: administrators to basically dismantle a worker's movement, you know, sticking
16:18
Speaker 4: up for the people of Palestine in the recent photo
16:22
Speaker 4: that will put up, you know, drawing connection to my
16:25
Speaker 4: connections to Lebanon and my family heritage and saying something
16:29
Speaker 4: about southern Lebanon being invaded. You know, it's every time
16:32
Speaker 4: I post something like that, we lose a thousand followers.
16:35
Speaker 4: I think we've lost six thousand followers in the last
16:38
Speaker 4: three and a half months. I just don't give a fuck.
16:40
Speaker 4: I just don't give my own over flying fuck a.
16:43
Speaker 4: I could lose half my following and we'd still have
16:46
Speaker 4: fucking seventy thousand followers. What's the point of being accessible
16:50
Speaker 4: to fucking everyone and saying nothing, you know, and there's
16:54
Speaker 4: already plenty of people out there doing that.
16:56
Speaker 1: You know.
16:57
Speaker 4: If I'm going to do something, I don't care if
16:59
Speaker 4: the following shrem to one hundred people, as long as
17:01
Speaker 4: there are one hundred solid, gold quality people who believe
17:04
Speaker 4: in the same shit that we do, you know, And
17:06
Speaker 4: I mean that's where you know, slid Ordeal is the
17:08
Speaker 4: best organization now that it's ever been, because you know,
17:11
Speaker 4: everybody in the band is at least vaguely in the
17:14
Speaker 4: same you know, on the same page politically and socially progressively.
17:18
Speaker 4: And I'm like, you know, go figure. It's also the
17:21
Speaker 4: most fun and the most connected the band is ever felt.
17:24
Speaker 4: This is what happens when you foster a fan base.
17:26
Speaker 4: You foster you know, friendship groups, You foster colleagues out
17:30
Speaker 4: of good people who are on the same pages, you
17:33
Speaker 4: moving in the same direction, you want to have the
17:35
Speaker 4: same positive effect on the world. It's all into linked.
17:38
Speaker 1: Yeah.
17:38
Speaker 3: Yeah. Is it crazy to you that people, maybe people
17:42
Speaker 3: knew you from your TikTok.
17:44
Speaker 4: I don't personally have TikTok because the accounts are originally
17:47
Speaker 4: started by a commuter who was coming through flindustry station
17:52
Speaker 4: being like, oh my god, this is great, and started
17:54
Speaker 4: all these accounts and then eventually handed them over to
17:57
Speaker 4: me and my team. And you know, the band administrators,
18:01
Speaker 4: Cass and Rocks, took over the tikto because they knew
18:03
Speaker 4: I didn't want to be on TikTok.
18:05
Speaker 8: Is it crazy that it look? I don't know. People
18:09
Speaker 8: are always going to find you based on one thing
18:13
Speaker 8: or another.
18:14
Speaker 4: Like I still bump into people who say, hey, you're
18:17
Speaker 4: on that TV show in twenty seventeen, Like people still
18:20
Speaker 4: remember that that thing was That thing was a drop
18:23
Speaker 4: of urine on a toilet seat in the world of media,
18:25
Speaker 4: and somehow people still remember that. I don't understand, but
18:28
Speaker 4: like there are people who remember me from a group
18:35
Speaker 4: of Melbourne University students in twenty ten who started a
18:40
Speaker 4: secret Facebook page called the Melbourne Afrojack Black Appreciation Society,
18:45
Speaker 4: and they would bump into me out on the street
18:48
Speaker 4: and take photos of me and uploaded to this group.
18:50
Speaker 4: And then when that group was eventually made public, that
18:53
Speaker 4: went the Facebook equivalent of viral about eight years ago.
18:57
Speaker 4: People will always find the thing I remember you from
19:00
Speaker 4: related back. But I think what I want to do
19:03
Speaker 4: is try and railroad excuse the pun. Railroad is much
19:06
Speaker 4: of that into the music and into police in Melbourne
19:09
Speaker 4: where it's actually useful, where people will actually find something relatable.
19:13
Speaker 3: That's right, Because that's what I was going to say,
19:15
Speaker 3: is that is that weird that you you know, people
19:17
Speaker 3: recognize you from that, but yet you've you've had this
19:19
Speaker 3: band for fourteen years. I think it's really smart if
19:22
Speaker 3: you can reroute those people into the music. But is
19:25
Speaker 3: that do people obviously still recognize you from your music
19:28
Speaker 3: as well, or is it just.
19:30
Speaker 4: Yeah, Look, it's really endearing when people go, hey, I
19:35
Speaker 4: remember a set you guys played at the Brunsigo telling
19:38
Speaker 4: twenty fourteen. Guitar went flying off the stage and crashed
19:41
Speaker 4: through a rack of glasses that were, you know, spread
19:43
Speaker 4: out on the bar.
19:44
Speaker 8: You guys were shit that night.
19:45
Speaker 4: You know, Because now I've got to show them that
19:48
Speaker 4: we're not shit anymore and that it's not the same
19:51
Speaker 4: people in the van. But like, yeah, it's people still
19:55
Speaker 4: remember you know. It's it's normally people who aren't as
19:58
Speaker 4: engaged on social media. But if they remembered me from
20:01
Speaker 4: the yester years of you know, the wild West days
20:03
Speaker 4: of the Northern Suburbs music scene from the early twenty tens,
20:08
Speaker 4: I find that really endearing as well.
20:10
Speaker 3: Yeah, and this is the last time I'll mention the
20:14
Speaker 3: voice of Flinders, But can you give us your best line?
20:17
Speaker 3: I know this is on the spot, but can you
20:19
Speaker 3: give us like your best call?
20:20
Speaker 1: Oh? Don'try. He's got them.
20:21
Speaker 4: Oh I think it was the airport one.
20:30
Speaker 8: Do you want me to do it?
20:31
Speaker 3: Yes?
20:32
Speaker 8: Hang on.
20:37
Speaker 4: To Flinder Street station. The next train to depart from
20:39
Speaker 4: platform one is the twelve oh seven Rnder Servers. This
20:43
Speaker 4: train will reach a cruising altitude of approximately twenty feet
20:46
Speaker 4: above the ground. Please return your trade tables to their
20:50
Speaker 4: full upright position and your chairs. Fuck, please return your
20:54
Speaker 4: chairs to their full up right position and stow your
20:56
Speaker 4: trade table for takeoff. I'm just starting to fade. I
21:01
Speaker 4: don't remember it as well.
21:02
Speaker 8: As I used to do.
21:03
Speaker 4: No worry.
21:03
Speaker 3: That was a huge ask. But you got there. Thank you,
21:06
Speaker 3: thank you. I love it is there? Okay, change of pace? Now?
21:11
Speaker 3: Is there a difference sonically on your new single to
21:14
Speaker 3: your past releases?
21:17
Speaker 4: Albums one and two were both recorded in the same
21:20
Speaker 4: recording sessions. There's really only one song left that needs
21:23
Speaker 4: a few parts added to it, so there's quite a
21:26
Speaker 4: consistent sound across the board. The band that we've got
21:30
Speaker 4: at the moment is mostly not the band.
21:33
Speaker 8: That recorded this music. There are a couple of members
21:35
Speaker 8: that were on it.
21:37
Speaker 4: So I'm really excited for what album three is going
21:41
Speaker 4: to sound like because it's going to be this band
21:44
Speaker 4: and us working together on it, and having heard how
21:47
Speaker 4: they've taken interpreted the music from albums one and two,
21:50
Speaker 4: that's something I'm looking forward to. But with Tigris, its
21:55
Speaker 4: release is born out of the same period of writing
21:59
Speaker 4: and productions as the last one, so you probably gathered
22:03
Speaker 4: that with the With the music, there's a lot of
22:05
Speaker 4: different facets to it, like, you know, Confession being this
22:10
Speaker 4: enormous orchestral power ballad, Citizen being this furious, you know,
22:15
Speaker 4: almost punk rock outburst, Genetic Connection being this foul you know,
22:20
Speaker 4: bluesy chugging you know, ac DC almost like banger Like.
22:27
Speaker 4: There's there's a there's a breadth of sort of vibe
22:31
Speaker 4: and mood across the music, and I think that's partially because,
22:34
Speaker 4: you know, being raised on you know, meat Loaf and
22:38
Speaker 4: and Bruce Springsteen and stuff. They they weren't sort of
22:41
Speaker 4: one one note artist like they They had a lot
22:44
Speaker 4: of different facets to them and they like to explore
22:46
Speaker 4: a lot of different moods on their albums. So Tigress
22:50
Speaker 4: definitely is born out of that really sort of moonshine
22:54
Speaker 4: sounding like.
22:55
Speaker 8: Blues rock kind of thing. And you hear that in
22:59
Speaker 8: genetic net.
23:00
Speaker 6: In the Yeah, the riffy rock kind of stuff like
23:02
Speaker 6: genetic connection, and you know that's definitely a fundamental bassis, yeah,
23:06
Speaker 6: I think, but it's it's just one element.
23:09
Speaker 4: It's very much wheelhouse this stuff for sure. Yeah.
23:14
Speaker 3: So is there with the new lineup of you guys
23:17
Speaker 3: or newer lineup? Is there do you guys sound different,
23:21
Speaker 3: like in a different genre or is it.
23:24
Speaker 2: Like we don't really play the songs as they're recorded,
23:29
Speaker 2: like almost any of them. Yeah, Like even the arrangements
23:32
Speaker 2: have changed in some sections because we like there's a
23:36
Speaker 2: much broader available set of instrumentation.
23:39
Speaker 9: Like we've got like a couple of female vocals, a
23:43
Speaker 9: couple of violent the access to acoustic guitars, and like
23:47
Speaker 9: then like Lawrence can put down his guitar and jump
23:50
Speaker 9: on the piano whenever because we've got two other guitars
23:51
Speaker 9: if we want, like all these kinds of things.
23:53
Speaker 1: So it has it is it is fairly different, but
23:55
Speaker 1: it's it's all very late.
23:56
Speaker 2: Yeah, it's quite subtle, but it's all based in those
24:00
Speaker 2: in those same recordings, which is like like Lawrence was saying,
24:03
Speaker 2: how it's all a bit interpreted by the band. Now
24:05
Speaker 2: it's it's kind of Jean's up a bit for the
24:08
Speaker 2: next round of writing and stuff, like we were talking
24:10
Speaker 2: about earlier.
24:12
Speaker 3: Yeah, can be quite obviously you're not chauvinistic, and you've
24:16
Speaker 3: included the females in there, and you know they're getting
24:18
Speaker 3: to have a solid go. Three females and three males
24:21
Speaker 3: in a band is pretty unheard of.
24:25
Speaker 2: And it's also like like a lot of the skill
24:28
Speaker 2: is on that side of the bed. You don't run
24:34
Speaker 2: into male traditional Irish music fanatics, particularly violent, so like
24:41
Speaker 2: that kind of came along easily enough. But when Zell
24:46
Speaker 2: hit us up to join the band, that was awesome
24:48
Speaker 2: because she's a phenomenal drummer with a really like extensive career,
24:53
Speaker 2: and funnily enough, we have some mutual friends in the
24:57
Speaker 2: music business in England because I used to go they're
25:01
Speaker 2: working on festivals and stuff, so Je she just dropped
25:04
Speaker 2: right in.
25:04
Speaker 1: It was great and it is.
25:06
Speaker 2: It's not like we didn't go out being like we
25:09
Speaker 2: need we need any girls in the band.
25:11
Speaker 1: It just worked out like that and it was awesome.
25:14
Speaker 2: Yeah, it's really really good to not have six dudes.
25:18
Speaker 3: Imagine.
25:19
Speaker 4: Yeah, like, oh man, it's like the smell you know, yeah,
25:26
Speaker 4: just in my experience, things can become stagnant like that,
25:30
Speaker 4: Like you just it's just the same vibe all the time.
25:33
Speaker 4: The band is so much more fun because it's actually
25:36
Speaker 4: a diverse bunch of characters, you know. And it's as
25:39
Speaker 4: Joe said, like there was no targeted hiring or anything.
25:43
Speaker 8: It's just the way that it wound up.
25:45
Speaker 4: I was just you know, when I was rebuilding the
25:48
Speaker 4: band after it broke up in early twenty twenty three,
25:53
Speaker 4: and I was like, fuck, I'd actually sort of gotten
25:56
Speaker 4: to the point where I was like, this is the
25:57
Speaker 4: last time I do this. If I'm if I'm going
26:00
Speaker 4: to rebuild sort it, because I'd done it three or
26:02
Speaker 4: four times before, I just went, if I'm rebuilding Sordid,
26:05
Speaker 4: this is the last fucking time.
26:06
Speaker 8: This is it. If it doesn't work this time, I'm
26:09
Speaker 8: walking away from this project.
26:11
Speaker 4: And I sort of waded into the pool of you
26:16
Speaker 4: know who was in the music scene. But of course,
26:18
Speaker 4: you know, as a as a thirty four year old
26:20
Speaker 4: man at the time, I was waiting into the pool
26:23
Speaker 4: of people that I knew. I don't know who the
26:24
Speaker 4: younger kids were coming up through, you know, the music
26:27
Speaker 4: team playing rock and punk and you know the older
26:30
Speaker 4: guys that are all starting to do a lot of
26:31
Speaker 4: like covers and tribute stuff that they were getting paid
26:34
Speaker 4: quite well for, which is, you know, if they're going
26:35
Speaker 4: to spend their time in music and that's how they
26:37
Speaker 4: want to do it, that's fine.
26:39
Speaker 8: So I was sort of I just had to.
26:41
Speaker 4: I went to a cafe on the day that I
26:44
Speaker 4: decided this was the moment I'm going to start rebuilding it,
26:47
Speaker 4: and I wrote all these names down onto a page.
26:50
Speaker 4: It was basically every guitarist, every bass player, every drummer
26:54
Speaker 4: that I and I scrolled through, scrolled through Facebook and Instagram.
27:00
Speaker 4: I wrote down every single name and then I went
27:04
Speaker 4: here we go phone on the table, picked it up
27:07
Speaker 4: first message, sent it out and just started approaching people.
27:11
Speaker 4: Most of them weren't playing music anymore, so many of
27:14
Speaker 4: them have moved overseas, so many messages like I just
27:19
Speaker 4: got married and put a mortgage down, like I'm just
27:21
Speaker 4: not it's just not a part of my life anymore.
27:23
Speaker 4: Like it was honestly ninety eight percent of people that
27:27
Speaker 4: I had known in the Brunswick punk scene in you know,
27:30
Speaker 4: in the Cherry scene, you know from twenty you know,
27:33
Speaker 4: twenty ten through to twenty sixteen, nearly everyone just wasn't
27:37
Speaker 4: doing music anymore. The only people who were still doing
27:39
Speaker 4: it were the people who still cared. And the first
27:45
Speaker 4: person to jump on board was Jake fucking Winter over there.
27:48
Speaker 4: And I'd watched him. I'd watched his band Winter Moon
27:51
Speaker 4: play many times. We'd opened for him a couple of times.
27:54
Speaker 4: I knew he was a fucking incredible guitarist, and so
27:56
Speaker 4: when he came in for a jam and I put
27:59
Speaker 4: it to him and he sees yes, it just spilled
28:01
Speaker 4: out from there. He recommended Joe because they knew each
28:04
Speaker 4: other from music back of the day, Joe playing bass
28:06
Speaker 4: for Decadence of Kin and it was like, oh, I
28:08
Speaker 4: know this guy is part of the Kingdom crew in Brunswick,
28:11
Speaker 4: like you know, fucking solid. I don't know if he's
28:13
Speaker 4: doing anything at the moment, and so Jake hooked that up.
28:17
Speaker 8: I was a.
28:17
Speaker 4: Massive fan of both the ramshak Lami and the Bottlers,
28:21
Speaker 4: and ramshack Lami were not doing too much because one
28:24
Speaker 4: of their members had moved to Tazzy and I knew
28:27
Speaker 4: that Ella had moved from Sydney back to Melbourne to
28:30
Speaker 4: spend more time with her family and like having the
28:34
Speaker 4: two violinists in Australia's Celtic punk scene who were like
28:38
Speaker 4: two of the best known violiness in australia Celtic punk scene.
28:42
Speaker 4: People are like climbing over each other and fucking, you know,
28:45
Speaker 4: gouging a thumb through each other's eyeballs to work with
28:48
Speaker 4: Cado Gotham and Ella Castein. And so when I approached them,
28:51
Speaker 4: like it really was me going for the best of
28:54
Speaker 4: the best in that scene. And then it's a funny thing,
28:58
Speaker 4: Like we were talking earlier about how you know, the
29:00
Speaker 4: political connections and you know, maintaining integrity and you know,
29:04
Speaker 4: which invites people of integrity into your life. I had,
29:09
Speaker 4: you know, in the Voice of Flint the Station Days,
29:11
Speaker 4: I had shared a ceasefire rally that was taking place
29:17
Speaker 4: with Flagstaff Gardens. I shared that on my socials across
29:20
Speaker 4: the band personal and Voice of Wind Stage of socials,
29:23
Speaker 4: and and Zelle had replied to the story and just said, hey,
29:30
Speaker 4: thanks for doing that. That was you know, great work
29:32
Speaker 4: sharing that event. And I clicked on a profile picture
29:36
Speaker 4: and went to a profile and it's a drum page
29:39
Speaker 4: and I was like, oh the fuck God.
29:41
Speaker 8: This is a sign.
29:45
Speaker 4: You're a drummer. Are you doing anything? I'll tell you
29:48
Speaker 4: what the greatest healing was that I didn't have thirty
29:56
Speaker 4: five mutual friends also following her.
29:58
Speaker 8: I was like, she's virtually untouched.
30:01
Speaker 4: What is this. It's like walking into a It's like
30:05
Speaker 4: walking into a fucking op shop and seeing you know,
30:08
Speaker 4: in nineteen sixty three Stratich after on the fucking wall,
30:11
Speaker 4: but without a line out the door trying to auction
30:14
Speaker 4: it off.
30:15
Speaker 8: I just couldn't believe it.
30:16
Speaker 4: And I was like, she was like, yeah, I've just
30:18
Speaker 4: moved to you from New Zealand. I'm really in like
30:21
Speaker 4: two other bands, but I'm not doing too much. And
30:23
Speaker 4: I was like, oh, I've got a band. Do you
30:25
Speaker 4: want to come and play with this? We went for
30:26
Speaker 4: a beer that afternoon, like.
30:28
Speaker 3: Oh my god.
30:29
Speaker 4: That was born out of integrity. That was literally born
30:33
Speaker 4: out of being like, oh, we're standing up for something
30:36
Speaker 4: here and someone responding to that, Yeah, yeah, one.
30:38
Speaker 3: Hundred percent exactly. So that's clear. You know how you
30:42
Speaker 3: guys the sorts of messages. I guess you guys want
30:45
Speaker 3: to get across in your music as well, and do
30:48
Speaker 3: you want to talk about that a bit as well?
30:50
Speaker 3: The themes that you do sing about.
30:53
Speaker 4: Sure, yeah, look it's it's it's not a band like
30:57
Speaker 4: it's not a band like mud Rat, where like literally
31:00
Speaker 4: every single song is political. And I think, like Brandge
31:03
Speaker 4: against the Machines a bit like that, we're probably a
31:06
Speaker 4: little bit more like the Oils. I guess, like there's
31:09
Speaker 4: there are political songs, but then there's deeply personal songs
31:13
Speaker 4: as well, and I think that's like a lot of
31:16
Speaker 4: the music that's been written for the band so far.
31:18
Speaker 4: Obviously I wrote, you know, it's quite auto biographical, so
31:23
Speaker 4: you know, it's it is the deeply personal stuff, but
31:27
Speaker 4: that is also connected to the political you know, like
31:30
Speaker 4: coming out of the you know, a militaristic religious cult
31:34
Speaker 4: like the Catholic Church and then having to learn not
31:39
Speaker 4: to hate gay people like that is that is an
31:42
Speaker 4: act of political salvation in a way. That is like
31:46
Speaker 4: you know, having I had to rebuild my entire personality,
31:48
Speaker 4: my entire set of values from scratch, and that was
31:51
Speaker 4: because I went to Latronpy University in two thousand and seven,
31:55
Speaker 4: you know, and I was typically doing an arts course
31:57
Speaker 4: that I typically dropped out of. But like the people
31:59
Speaker 4: that I'm met who took me under their wing and like,
32:02
Speaker 4: and it was people from it was queer people, it
32:06
Speaker 4: was people of color, and you know, like they saw
32:09
Speaker 4: this young, impressionable kid who's you know, nuts and bolts
32:12
Speaker 4: all weren't too you know, put together, and you could
32:15
Speaker 4: argue that they still aren't, but they could see that
32:17
Speaker 4: there was a misalignment in values there and you just
32:20
Speaker 4: needed to be sort of set straight and looked after.
32:23
Speaker 4: And that's what happened at Latroro. But I just met
32:25
Speaker 4: people who were four or five six years older than
32:28
Speaker 4: he had been around a little bit longer. And I'm
32:29
Speaker 4: this eighteen year old kid who's like hungry to learn
32:31
Speaker 4: about the world and do everything.
32:33
Speaker 8: But also you know, I.
32:34
Speaker 4: Had a just a few wires crossed and they sorted
32:39
Speaker 4: it out, you know, and that's something that I sing
32:42
Speaker 4: about and sort of being you know ingratiated into, you know,
32:45
Speaker 4: a community that values activism, you know in standing up
32:49
Speaker 4: for First Nations rights and you know, hopefully eventually decolonization
32:55
Speaker 4: and standing up for standing up against weapons manufacturing in
32:59
Speaker 4: Australia that you know, to this day he's bombing places
33:01
Speaker 4: like Palestine. Now it's you know, the political stuff is
33:05
Speaker 4: tied in with the personal stuff, and.
33:08
Speaker 8: I want to cover it all. I don't think I'll
33:10
Speaker 8: ever be that one track writer, and when the bands
33:13
Speaker 8: start collaborating and writing together, I doubt it'll all go
33:16
Speaker 8: down the one the one track mind. But yeah, I
33:21
Speaker 8: like that broadness of like talking about the deeply personal
33:24
Speaker 8: human experience which is also connected to a world that's
33:28
Speaker 8: dictated literally by politics, whether you acknowledge that or not.
33:31
Speaker 3: Exactly exactly if you can not only have a political
33:35
Speaker 3: message for nothing or not for nothing, but just a
33:37
Speaker 3: political message. But you know, obviously, if it's personal to
33:40
Speaker 3: you guys as well, and you're really combining those two,
33:42
Speaker 3: it's pretty amazing.
33:44
Speaker 8: I think it's more genuine that way.
33:46
Speaker 4: Yeah, of course, it comes across.
33:48
Speaker 6: More more genuine if you're a sort of actually.
33:50
Speaker 3: Yeah, exactly, And that's why I like, as you mentioned
33:55
Speaker 3: Midnight Oil, Like, that's why I like their stuff too,
33:57
Speaker 3: because it's not just saying stuff for the hell of safe.
34:00
Speaker 2: Yeah, they they like and Lawrence as well, tend to
34:04
Speaker 2: like handle their story storytelling with their politics in the
34:09
Speaker 2: same way.
34:10
Speaker 1: Like they're like Blue Skymine.
34:11
Speaker 2: They tell the story of like unionism and working and
34:14
Speaker 2: stuff through the eyes of a guy who has to
34:16
Speaker 2: go to work every day.
34:16
Speaker 1: Digging a hole. Yeah, like if no one's going to
34:19
Speaker 1: save me, like so like all those kinds of things.
34:22
Speaker 1: So it's it does it's good to be like personal
34:27
Speaker 1: with stuff.
34:28
Speaker 2: I think, like one of my favorite things, like I
34:29
Speaker 2: got really into heavy metal and all that being a
34:31
Speaker 2: teenager and an angry kid in Queensland and all that,
34:34
Speaker 2: and like one of the things that I found really
34:38
Speaker 2: attractive to that scene was like the expressionism and outlet
34:41
Speaker 2: of like being that piste off at the world, but
34:45
Speaker 2: having a community who like very openly and like are
34:49
Speaker 2: a lot of times aggressively kind of engage in that,
34:51
Speaker 2: and having like even like the physical expression of like
34:54
Speaker 2: going to gigs and moshing and that kind of stuff.
34:56
Speaker 2: It's like, I think it's really important as a musician
35:00
Speaker 2: an artist in general to connect with people on a
35:02
Speaker 2: real level rather than just staying here is the political statement.
35:07
Speaker 3: Yes, yes, exactly. You guys are headlining Metal in the
35:10
Speaker 3: Mountains in November. How big is that for you guys?
35:14
Speaker 2: I'm pretty stoked. I think it's good. I mean, like
35:18
Speaker 2: on the on the like the practical side of like
35:21
Speaker 2: the band's path, it's good to cut into the festival
35:24
Speaker 2: circuit because now there's something to say, look we did that, yeah, yeah,
35:27
Speaker 2: and mind the festival because for the next festival that
35:29
Speaker 2: kind of thing. So there's that like very management practical
35:32
Speaker 2: aspect of it. But just like through playing with decadence,
35:36
Speaker 2: my favorite thing turned out to be going and playing
35:38
Speaker 2: rural shows. Yeah, because particularly we grew up in Brisbane,
35:42
Speaker 2: which it was a small city. It was a small
35:46
Speaker 2: scene back then, which is like it's quite a resilient
35:48
Speaker 2: scene because all their all their venues and bath close
35:50
Speaker 2: every three years and reopened like a year later. As
35:52
Speaker 2: a running cycle for decades. They're on a pretty long
35:56
Speaker 2: down turn at the moment actually, but like it's great,
36:00
Speaker 2: but you've played the same forty people every week, yeah, yeah,
36:04
Speaker 2: which is cool. And then you come to Melbourne and
36:06
Speaker 2: we found that there's so many gigs on that you
36:08
Speaker 2: couldn't convince anyone to come to yours because the saturation
36:11
Speaker 2: of the market was so extreme.
36:13
Speaker 1: But then you go and play in like like.
36:15
Speaker 2: A Chuka or like we did a lot of shows
36:18
Speaker 2: in Canberra and you make deep personal connections with people there.
36:22
Speaker 4: Yeah, that's the best part.
36:24
Speaker 2: Like I'd rather go and play to twenty people in
36:27
Speaker 2: the mountains who love it, yeah, and become your mates
36:29
Speaker 2: for the rest of your life than twenty people in
36:32
Speaker 2: you know, Saint Hilda who couldn't give a fuck them
36:34
Speaker 2: and threw up in your guitar case.
36:36
Speaker 4: Yeah, that's so much new.
36:39
Speaker 2: So like metal in the Mountains particularly, I'm real stoked
36:43
Speaker 2: about to go up there and play to a crowd
36:44
Speaker 2: of people who but they're kind of a big deal
36:48
Speaker 2: for like a big show to come to down and
36:50
Speaker 2: like belt like it has meaning.
36:53
Speaker 3: Yeah, that's right. It's the collection of all those people
36:55
Speaker 3: in those areas. I guess that you know would go
36:58
Speaker 3: to your gigs and all in one area from everywhere.
37:02
Speaker 3: That's yeah, that's awesome. How did you guys all meet?
37:05
Speaker 3: I mean, well, I guess you already explained that a bit, Lawrence.
37:08
Speaker 3: You just was at the same foot Joe and Jaki.
37:11
Speaker 1: You looked up.
37:12
Speaker 4: Well, I'm keen to hear this story myself. Actually, I
37:14
Speaker 4: don't know how those two metal what the early interactions
37:16
Speaker 4: were like.
37:17
Speaker 1: So we met when my band moved to Melbourne in
37:22
Speaker 1: twenty eleven.
37:24
Speaker 2: Yeah, we moved into a permanent rehearsal space on Inkerman
37:29
Speaker 2: Street called Sox and Music and Winter Moon were one
37:34
Speaker 2: of the other bands we shared that room with.
37:36
Speaker 1: Oh really, yeah.
37:38
Speaker 6: The reason where we shared it kind of we paid
37:41
Speaker 6: a monthly fee to be.
37:42
Speaker 4: Able to use the room as much as we like,
37:44
Speaker 4: and we shared it with one o the band.
37:46
Speaker 6: I think we ended up having two other bands at some.
37:48
Speaker 2: Point something like that varied, but there was no one
37:51
Speaker 2: other band that I even remember meeting for more than
37:57
Speaker 2: like like a couple months.
37:59
Speaker 8: Really.
38:00
Speaker 2: I think there was one other band who was there
38:01
Speaker 2: for a while, but they were just just a rock
38:05
Speaker 2: act who weren't like real social just it was a
38:08
Speaker 2: bit weird. There was a little bit of friction there
38:10
Speaker 2: I remember, with like how gear was treated and moved
38:13
Speaker 2: around and that kind of shit.
38:14
Speaker 1: But we got along great and we can bake.
38:17
Speaker 2: Lived around the corner on Gray Street, Gerner Street on
38:20
Speaker 2: Gerna Street in a little house there, and I kind
38:24
Speaker 2: of like wedged my way into that hole like run
38:27
Speaker 2: of flats and friend group in that. So we've did
38:31
Speaker 2: make for a really really long time.
38:33
Speaker 7: Yeah.
38:34
Speaker 1: Yeah, And then like after when Decadence broke up.
38:37
Speaker 2: In like twenty fourteen or something, well thirteen somewhere around then,
38:43
Speaker 2: I just kind of went into just work and I
38:46
Speaker 2: was doing a lot of like touring gigs in the
38:47
Speaker 2: UK and that kind of stuff, so I didn't have
38:49
Speaker 2: any time for music. So I didn't play in a
38:51
Speaker 2: band for like ten years, oh wow. Until one day
38:55
Speaker 2: Jake was like, Hey, I'm jamming with this dude, Lawrence.
38:56
Speaker 1: He's got a band. You want to come and check
38:58
Speaker 1: it out?
38:58
Speaker 2: And I was like yeah, cool. Lawrence is like, how's
38:59
Speaker 2: your politics? I was like fucking left hands and he's
39:02
Speaker 2: like you're in.
39:03
Speaker 4: You're in?
39:07
Speaker 1: Yeah, don't love cops? Good good, good good.
39:12
Speaker 6: And I think Lawrence and I just met through the
39:14
Speaker 6: music scene around Melbourne years ago, right.
39:16
Speaker 4: Like, yeah, it was it was you guys seeing this
39:21
Speaker 4: guitarist with this like cascading blonde hair. He was like
39:25
Speaker 4: the Robert Plant of guitar. I was like, I was
39:28
Speaker 4: so intimidated. He plays this enormous, fucking hollow body Hanstrom
39:32
Speaker 4: and like the hair is just wild. People say that
39:36
Speaker 4: I've got like cool hair. This guy had the head
39:39
Speaker 4: and went down past his shoulders.
39:41
Speaker 1: It was like.
39:43
Speaker 4: Croatian Viking. Yeah, it was really impressive.
39:46
Speaker 3: Grow it back. That's on the way, all right, And
39:53
Speaker 3: last question, Lawrence, are you in Melbourne at the moment,
39:56
Speaker 3: I am Yeah, Okay, do you still want to get
39:58
Speaker 3: the freak out of Melbourne? Or Melbourne look on.
40:03
Speaker 1: The weekend like.
40:06
Speaker 8: It's so much easy? Break needs a break?
40:10
Speaker 4: Yeah, yeah, Like like Jake, I love getting out of
40:14
Speaker 4: the city. You should see Jake's set up for getting
40:16
Speaker 4: out of the city. Like he's got this fucking land
40:19
Speaker 4: Cruiser eighties era tank, Like the only thing that's missing
40:22
Speaker 4: is the gun on the front.
40:23
Speaker 8: It's fucking enormous.
40:25
Speaker 3: Like.
40:26
Speaker 4: But yeah, one of my favorite spots to get out
40:29
Speaker 4: of Melbourne and escape too was the Great Ocean Road
40:32
Speaker 4: And I did that on on a few occasions with
40:34
Speaker 4: a particular girlfriend years ago who also sang back up
40:37
Speaker 4: on that single even after we'd broken up, and just
40:41
Speaker 4: because I associated those memories with her so much, and yeah,
40:45
Speaker 4: it just had some really nice times down on the
40:47
Speaker 4: Great Ocean Road at the at the most highly pressurized times.
40:51
Speaker 8: In my life.
40:53
Speaker 4: So yes, I still want to get the fuck out
40:54
Speaker 4: of Melbourne. I love being here. But I would really
40:57
Speaker 4: love to do a tour of Europe right now, opening
40:59
Speaker 4: for someone cool. That'd be good, that'd get me the fuck.
41:01
Speaker 8: Out of Melton.
41:02
Speaker 1: Yeah, yeah, that'd be all right.
41:03
Speaker 3: Yeah, we'd love to go to you come in. Yeah. Well,
41:09
Speaker 3: thank you so much, Sordid Ordeal, keep your eyes peeled
41:13
Speaker 3: everyone for the single Tigress this Friday, coming out this Friday,
41:17
Speaker 3: and the video clip coming out on the eleventh. Thank
41:20
Speaker 3: you so much, guys, thank you so much for