WEBVTT - Ep 125: King Gizzard and the Lizard Wizard 0:00:00.760 --> 0:00:05.680 I spent most of my adult life doing this band, 0:00:05.720 --> 0:00:10.640 and I've spent most of that time feeling like it's 0:00:10.800 --> 0:00:14.480 all about to wrap up, and fuck, I'm just gonna 0:00:14.520 --> 0:00:15.920 have to go and get a real job, and like, 0:00:16.200 --> 0:00:19.239 holy shit, isn't that like just the most unbearable thought. 0:00:19.480 --> 0:00:21.840 I don't know what I'm gonna do, Like, holy fun, 0:00:21.880 --> 0:00:23.480 what am I going to do? This is a disaster, 0:00:24.000 --> 0:00:25.639 like I can't I can't do that. 0:00:26.239 --> 0:00:28.080 And so I think it probably has been like a 0:00:28.200 --> 0:00:31.120 slightly motivating factor and just doing a heuse of stuff. 0:00:32.920 --> 0:00:36.120 Welcome to Midnight Chats. Good evening, folks. Good to have 0:00:36.200 --> 0:00:39.239 you with us tonight. This is the music interview podcast 0:00:39.240 --> 0:00:42.040 for late night listening. I'm Greg and I'm here with Stu. 0:00:42.159 --> 0:00:42.920 How are you doing, Stu? 0:00:43.240 --> 0:00:46.040 I'm good, Thanks mate, Yeah, I'm good. How are you? 0:00:46.600 --> 0:00:47.040 I'm good. 0:00:47.040 --> 0:00:47.480 I'm good. 0:00:47.520 --> 0:00:51.800 You're serving up a hot and sizzling podcast for us tonight, 0:00:51.880 --> 0:00:55.480 as oh, you've been in the kitchen. 0:00:56.360 --> 0:00:59.480 Yeah, I suppose it is quite a hot and sizzling episode. 0:01:00.160 --> 0:01:03.840 This week on the podcast is King Gizzard and the 0:01:03.840 --> 0:01:07.800 Lizard Wizard main man, front man, main guitarist, main songwriter 0:01:08.200 --> 0:01:12.360 Stuart McKenzie. Another Stewart is chief. Yeah, yeah, exactly, the 0:01:12.480 --> 0:01:14.640 king of King Gizzard and a lizard wizard. 0:01:14.360 --> 0:01:17.520 Of all of the famous major music stars that you've 0:01:17.560 --> 0:01:19.280 now met called Stuart. 0:01:19.720 --> 0:01:21.600 Was this your favorite Stewart. I don't like to talk 0:01:21.600 --> 0:01:23.319 ill of the Stuarts because there aren't many of us 0:01:23.400 --> 0:01:26.800 out there. But there's only been one other Stewart on 0:01:26.840 --> 0:01:32.800 the podcast. Yeah, and that is Stuart Breakway from Moguay 0:01:33.120 --> 0:01:37.720 of Moguai, myself of course, Stuart Stubbs, and now Stuart McKenzie. 0:01:38.640 --> 0:01:42.360 Who's the best Maguy or King Gizzard Stewart. I'm gonna 0:01:42.360 --> 0:01:47.640 go I can't say I oh, gop out, I'm copying out. 0:01:47.760 --> 0:01:49.800 I mean, this is a great chat. I love King Gizzard. 0:01:49.840 --> 0:01:52.160 They have a reputation for being one of the world's 0:01:52.200 --> 0:01:55.240 best live bands for good reason, such an incredible band, 0:01:55.400 --> 0:01:57.840 so I was really excited to hear Stu talk about 0:01:57.880 --> 0:01:59.840 the band. I don't feel like he talks about the 0:02:00.040 --> 0:02:03.120 and that often, certainly not on podcasts. So this conversation 0:02:03.200 --> 0:02:06.400 went in some really interesting directions. Yeah, this is very 0:02:06.520 --> 0:02:10.639 much one for fans of the band, I think because 0:02:11.120 --> 0:02:13.560 we get into the music, and that is because there's 0:02:13.600 --> 0:02:16.400 so much of it if you are unfamiliar with Kinkizard 0:02:16.400 --> 0:02:18.880 and the Lizard Wizard. I'm saying the whole name every time, 0:02:18.919 --> 0:02:22.360 by the way, Greg, if you're unfamiliar. They are a 0:02:22.360 --> 0:02:26.960 psychedelic rock band from Melbourne in Australia and they have 0:02:27.080 --> 0:02:31.240 released twenty five albums over the last eleven years. The 0:02:31.280 --> 0:02:34.560 prolific nature of this group is that thing. We talk 0:02:34.600 --> 0:02:37.400 about it a lot on this podcast. So obviously there's 0:02:37.440 --> 0:02:39.640 a lot of music to get into. But here's what 0:02:39.720 --> 0:02:42.040 I love about this band. It's not just that they 0:02:42.320 --> 0:02:47.000 make so many albums, it's how considered each of those 0:02:47.040 --> 0:02:50.320 records are. I'm going to let me throw some things 0:02:50.320 --> 0:02:52.720 that you hear, Greg, because every record they do sort 0:02:52.760 --> 0:02:56.480 of has a experiment at the middle of it. So 0:02:56.919 --> 0:03:00.360 their album from twenty sixteen called nonagone Infinity was an 0:03:00.360 --> 0:03:03.920 album that played on a loop paper mache dream Balloon. 0:03:04.400 --> 0:03:07.640 They've got good titles as well. Twenty fifteen that was 0:03:07.680 --> 0:03:12.239 made exclusively with acoustic instruments. Flying Microtonal, Banana, you're. 0:03:12.120 --> 0:03:12.920 Making these up. 0:03:15.520 --> 0:03:16.760 The funny thing is you're not. 0:03:16.960 --> 0:03:17.240 I'm not. 0:03:17.400 --> 0:03:20.400 Yeah, that is a microtonal album. I'm still not really 0:03:20.440 --> 0:03:22.360 sure what microtonal is. To be honest, they've got a 0:03:22.400 --> 0:03:25.639 jazz album called Sketches of Brunswi Kids. There's always something, 0:03:25.720 --> 0:03:27.600 is what I'm getting at. There's always It's not just 0:03:27.680 --> 0:03:30.119 they're like dropping out these albums that all sound the same, 0:03:30.160 --> 0:03:33.760 that they've all been very considered. They've got very different 0:03:33.880 --> 0:03:36.800 things going on. And their current record, at least at 0:03:36.840 --> 0:03:38.960 the time of recording, and there's a very good chance 0:03:38.960 --> 0:03:41.240 a new King is that record will be out by 0:03:41.280 --> 0:03:43.960 the time you're listening to This is called the Silver Chord, 0:03:44.520 --> 0:03:47.640 and that one has been made purely with synthesizers. This 0:03:47.760 --> 0:03:49.920 is a rock band, you know, very much a guitar 0:03:50.080 --> 0:03:52.800 rock band, and this new record they've put down all 0:03:52.800 --> 0:03:55.560 the guitars. There's no guitars on it, and it's their 0:03:55.640 --> 0:03:59.840 electronic synthesizer record. And I just like that they challenged 0:03:59.880 --> 0:04:02.080 them in that way. And as I say, like there 0:04:02.160 --> 0:04:03.560 was just a lot to get into. So there's a 0:04:03.600 --> 0:04:07.960 lot of music talk in this episode. Let us know 0:04:08.000 --> 0:04:10.200 what you think of the episode. We are Midnight Chats 0:04:10.280 --> 0:04:14.240 Pod on the social platforms on TikTok on Instagram. You 0:04:14.240 --> 0:04:16.120 will be able to watch some video clips of ste 0:04:16.320 --> 0:04:19.320 chatting to Stu as well so so do go and 0:04:19.400 --> 0:04:21.360 check those out. Just one thing I wanted to say 0:04:21.360 --> 0:04:23.799 on that Greg actually on the social just a social's 0:04:23.839 --> 0:04:25.880 update because we are new to it here on the 0:04:25.920 --> 0:04:29.760 show Mate, we are doing some numbers, especially on TikTok, 0:04:29.839 --> 0:04:32.279 which I'm brand new to. I know you are as well, 0:04:32.760 --> 0:04:38.040 but I feel it's our calling. Check this out. Thirty 0:04:38.320 --> 0:04:41.200 six people we're following. That one doesn't really count because 0:04:41.200 --> 0:04:50.200 we've chosen that follow us seven likes eighty two. So 0:04:51.200 --> 0:04:54.480 pretty viral stuff going on over there. If you're listening, 0:04:55.960 --> 0:05:00.440 if you're listening as a TikTok person, get involved. 0:05:00.200 --> 0:05:01.880 Exactly, even if it's out of sympathy. 0:05:02.040 --> 0:05:05.120 For now though, here is Stuart McKenzie one of the 0:05:05.120 --> 0:05:12.680 best stewarts we've ever had on the show. I mean, 0:05:12.720 --> 0:05:16.080 do you get completely bored of the sort of thing 0:05:16.120 --> 0:05:18.520 that people want to talk to you about is just 0:05:18.560 --> 0:05:20.760 how many records you make and how prolific you are. 0:05:20.880 --> 0:05:24.599 Oh no, it's like very It's always very flattering to 0:05:24.640 --> 0:05:30.479 hear that people notice that shit, to be honest, and yeah, 0:05:30.520 --> 0:05:33.000 I mean I'm happy to talk about it. It's like 0:05:33.080 --> 0:05:36.800 kind of what I've spent my whole life doing, my 0:05:36.839 --> 0:05:37.919 whole adult life doing. 0:05:38.640 --> 0:05:40.520 Really, it's just mostly that thing. 0:05:40.560 --> 0:05:47.840 It's just like touring and making records and trying to 0:05:48.000 --> 0:05:51.279 keep the rest of my life on track in the 0:05:51.360 --> 0:05:52.360 in between moments. 0:05:52.400 --> 0:05:55.320 It is so unique. There's a few doing it, I 0:05:55.360 --> 0:05:58.359 guess like John Dwyer and the OCS, who I'm guessing 0:05:58.400 --> 0:06:01.800 you know quite well. Having really on castle face. Were 0:06:01.800 --> 0:06:03.320 you always a fan Have you always been a fan 0:06:03.360 --> 0:06:05.880 of artists who have that huge back castlock? Was that 0:06:05.920 --> 0:06:08.120 something that you wanted for yourself, Like we want to 0:06:08.160 --> 0:06:10.920 be a band that makes a lot of records. It 0:06:10.920 --> 0:06:13.440 has this sort of catalog, this that people can just 0:06:13.960 --> 0:06:15.080 live in forever. 0:06:15.120 --> 0:06:18.960 I think with I mean, firstly, shout out to John Dwyer, 0:06:19.000 --> 0:06:22.919 who who definitely did support us in like such a 0:06:22.960 --> 0:06:28.160 massive way, one of the first people outside of Australia 0:06:28.240 --> 0:06:31.599 to get behind our music in any way. But yeah, 0:06:32.040 --> 0:06:35.160 we didn't have too much of a sort of mission 0:06:35.200 --> 0:06:37.760 statement I suppose when we started the band, I mean 0:06:37.800 --> 0:06:42.960 we it was it was none of our first bands, 0:06:43.080 --> 0:06:46.520 and I think we definitely wanted to do a different 0:06:46.680 --> 0:06:50.320 thing to any of the bands that we were currently in. 0:06:50.920 --> 0:06:54.000 King Gis was definitely an experiment right from the beginning, 0:06:55.600 --> 0:06:58.600 and it was sort of like, what would happen if 0:06:58.640 --> 0:07:01.760 we did this, you know, or what would happen if 0:07:01.760 --> 0:07:04.599 we did this? And one of the very few things 0:07:04.640 --> 0:07:08.479 that we did say and think about early was let's 0:07:08.520 --> 0:07:10.960 try and make a lot of records. And I think 0:07:11.040 --> 0:07:16.560 the place that it came from was trying to drop 0:07:17.720 --> 0:07:21.160 any ego easy said than done, not be too precious 0:07:21.200 --> 0:07:27.760 about your songwriting easier said than done, and just learn 0:07:28.400 --> 0:07:33.320 on the go, because I had realized that, at least 0:07:33.360 --> 0:07:37.120 for myself, until I actually had put down a recording, 0:07:37.160 --> 0:07:39.160 and this kind of went for all the things I 0:07:39.200 --> 0:07:40.200 was doing before King years. 0:07:40.960 --> 0:07:43.160 I couldn't stop thinking about it. You know. 0:07:44.120 --> 0:07:46.080 I would work on a song, and I'd be working 0:07:46.080 --> 0:07:48.000 on it late at night in my bedroom, which was 0:07:48.000 --> 0:07:52.440 typically how I recorded at that point, and it just 0:07:52.480 --> 0:07:55.400 would be swirling around in my head until I put 0:07:55.400 --> 0:07:57.640 it on the internet, or i'd burnt it to a CD, 0:07:57.880 --> 0:08:00.520 which is what you did in the olden days, and 0:08:00.560 --> 0:08:02.880 put it in my car, or i'd just done something 0:08:02.920 --> 0:08:05.640 to put a bow on it. I was pretty content 0:08:05.680 --> 0:08:08.800 on putting bows on things and just finishing them and 0:08:09.640 --> 0:08:12.720 just being able to kind of move on and think 0:08:12.760 --> 0:08:16.200 about how to write songs. And learn how to write 0:08:16.200 --> 0:08:19.880 songs and just do it in public, I suppose. 0:08:20.240 --> 0:08:22.680 And it's so rare, isn't it, to like find a 0:08:22.720 --> 0:08:26.400 group of people willing to go with that? As you say, 0:08:26.440 --> 0:08:28.440 meant like it wasn't your first bands, and you sort 0:08:28.440 --> 0:08:30.240 of wanted. But you guys started very young, didn't you. 0:08:30.240 --> 0:08:31.760 Were you still in high school when you started. 0:08:32.320 --> 0:08:34.520 Ambrose was the only one still in high school when 0:08:34.679 --> 0:08:38.720 kids had started. He might have just been eighteen, maybe 0:08:38.720 --> 0:08:42.240 he was seventeen still, but Joe's maybe four years older 0:08:42.240 --> 0:08:45.600 than Ambros. So yeah, we started between let's say eighteen 0:08:45.640 --> 0:08:46.200 and twenty two. 0:08:46.360 --> 0:08:48.720 You went to school in Geelong, right, I did go to. 0:08:48.760 --> 0:08:50.400 High school in Geelong. I went to school. 0:08:50.679 --> 0:08:54.760 I went to high school with Cookie, but I also 0:08:54.840 --> 0:08:58.320 played So I played in a band with Cookie in 0:08:58.360 --> 0:09:01.560 high school. But I also played in a band with 0:09:01.880 --> 0:09:04.920 Lucas in high school, who also went to school in Geelong, 0:09:05.320 --> 0:09:06.280 but at a different school. 0:09:06.480 --> 0:09:07.480 What were those bands? 0:09:07.840 --> 0:09:07.920 Like? 0:09:08.360 --> 0:09:10.240 The band that I played in with Cookie was called 0:09:10.280 --> 0:09:15.559 Revolver and Son, and we were doing a I suppose, 0:09:16.320 --> 0:09:20.040 authentic to the point of literally being teenager's garage rock thing, 0:09:20.360 --> 0:09:23.839 like like a sixties garage rock thing to the point 0:09:23.880 --> 0:09:30.200 of like, you know, wearing Paisley button up shirts and 0:09:30.280 --> 0:09:35.520 cowboy boots and like and and playing with no distortion 0:09:35.679 --> 0:09:40.440 on our guitars and stuff like that. 0:09:41.200 --> 0:09:42.480 Exactly. Yeah, that sort of thing. 0:09:44.320 --> 0:09:46.520 So yeah, Cookie and I played in that band together, 0:09:47.640 --> 0:09:49.400 and then yeah, I also played in a band with Lucas, 0:09:49.440 --> 0:09:52.560 which was I suppose you would say more indie, but 0:09:52.800 --> 0:09:56.440 was definitely still like a rock band, rock band format, 0:09:57.960 --> 0:10:02.800 more indie and probably more psychedelically tinged a lot more 0:10:02.920 --> 0:10:07.000 sort of like bigger sounds and effects and spatial kind 0:10:07.040 --> 0:10:09.480 of things. And that band was called The Houses the 0:10:09.960 --> 0:10:13.960 Calves Drama from the king Is. He joined the Houses 0:10:15.520 --> 0:10:19.120 later and I reckon. That was my first year of UNI, 0:10:20.160 --> 0:10:24.440 and I met Calves through Eric, who was well it 0:10:24.480 --> 0:10:26.960 was part of the part of the band until a 0:10:26.960 --> 0:10:29.920 few years ago. Eric and I went to UNI together 0:10:30.120 --> 0:10:34.160 with Joe as well, and. 0:10:35.480 --> 0:10:37.600 Ambrose played in a band. 0:10:37.559 --> 0:10:39.400 With Lucas at the same time that I played in 0:10:39.400 --> 0:10:43.520 a band with Lucas and that was called Sambrose Automobile. 0:10:43.880 --> 0:10:49.840 So we actually are all connected deeply to like our 0:10:50.480 --> 0:10:53.959 very earlier, earlier years, and we were all living in 0:10:54.040 --> 0:10:58.760 sharehouses like most of us, maybe everybody at one point 0:10:58.800 --> 0:11:01.720 lived in these two sharehouses which were like on a 0:11:01.760 --> 0:11:06.400 corner in Carlton, which is in Melbourne. So and that 0:11:06.440 --> 0:11:09.440 was before the band started, So we were all the 0:11:09.440 --> 0:11:12.720 bands were kind of playing shows together and going to 0:11:12.800 --> 0:11:16.840 shows and going to parties and King Gis was a 0:11:17.000 --> 0:11:23.280 collective of people who wanted to be in the experimental band, 0:11:23.440 --> 0:11:28.120 I think, and the lineup included a lot more people 0:11:28.400 --> 0:11:31.520 in the earlier years, probably for like a two year period. 0:11:31.520 --> 0:11:33.960 It was a fluid membership. 0:11:34.240 --> 0:11:38.040 There was there was technically wasn't members of the band, 0:11:37.800 --> 0:11:42.360 I would say, but over the years most people decided 0:11:42.400 --> 0:11:44.880 it was like either boring or annoying to be in 0:11:44.960 --> 0:11:47.520 the band and bailed. So we sort of just were 0:11:47.920 --> 0:11:51.839 naturally solidified into the kind of the group. 0:11:52.280 --> 0:11:56.320 We also had Amy Taylor on the podcast Yeah last year, 0:11:56.360 --> 0:11:58.080 so we were talking we were talking about about like 0:11:58.360 --> 0:12:01.000 the Melbourne scene. She was about how Amil and the 0:12:01.040 --> 0:12:05.200 Stiffers started out purely to just play that friend's yard party, 0:12:05.320 --> 0:12:06.960 Like that was it, that was like the intention? 0:12:07.120 --> 0:12:08.880 We were the same, like that same. 0:12:09.120 --> 0:12:11.599 Yeah. I'm starting to think maybe that's like a typically 0:12:12.840 --> 0:12:15.559 like sort of Melbourne thing because where you are there 0:12:15.679 --> 0:12:19.120 is like a culture of house parties where bands turn 0:12:19.200 --> 0:12:22.200 up right and people play that mates house pis. 0:12:22.679 --> 0:12:27.800 I do feel like less kind of connected to the 0:12:27.920 --> 0:12:32.160 visceral sort of like house party thing these days, but 0:12:32.440 --> 0:12:36.079 I definitely can say that, Yeah, fuck fifteen years ago 0:12:36.160 --> 0:12:38.000 or whatever, when I started doing that sort of thing. 0:12:38.760 --> 0:12:41.360 It, yeah, it just was what it was like most 0:12:41.520 --> 0:12:42.560 house parties we went to. 0:12:42.960 --> 0:12:47.480 Someone played some form of like live music, and it 0:12:47.600 --> 0:12:51.240 was really dope and normal and like fun. One thing 0:12:51.280 --> 0:12:54.600 that I didn't realize at the time, and kind of 0:12:55.120 --> 0:12:57.079 after traveling a lot and seeing a lot of sort 0:12:57.120 --> 0:13:00.920 of like music cities, I realized it's maybe a little 0:13:01.000 --> 0:13:05.840 unusual and cool about Melbourne is most of the music 0:13:06.080 --> 0:13:12.520 industry is in Sydney in Australia, but Melbourne has the 0:13:12.559 --> 0:13:16.040 majority of the venues and the shows and the bands 0:13:16.080 --> 0:13:20.319 and the artists, like by a good stretch, and it 0:13:20.360 --> 0:13:26.800 does definitely create a different atmosphere because no one's like 0:13:26.960 --> 0:13:29.160 we didn't we weren't even thinking about We had no 0:13:29.240 --> 0:13:32.840 idea how anything worked, Like, we weren't thinking about how 0:13:33.080 --> 0:13:35.960 we would get to the next stage or any form 0:13:35.960 --> 0:13:37.080 of strategy or anything. 0:13:37.120 --> 0:13:37.200 Like. 0:13:37.240 --> 0:13:40.360 We were just playing shows because like it felt good 0:13:40.800 --> 0:13:43.840 and like we enjoyed playing music together in the sort 0:13:43.880 --> 0:13:46.560 of like wholesome, old fashioned. 0:13:46.280 --> 0:13:46.800 Sort of way. 0:13:47.240 --> 0:13:51.080 It is a beautiful thing about Melbourne and it may change, 0:13:51.120 --> 0:13:53.080 but I secretly hope it doesn't. 0:13:53.640 --> 0:13:57.080 In terms of these twenty five albums that you've currently made, 0:13:57.720 --> 0:13:59.920 do you spend much time looking back at the old 0:14:00.040 --> 0:14:02.440 ones or when they're gone? Are they gone? Because I 0:14:02.520 --> 0:14:04.959 was also thinking, how do you sort of even remember 0:14:05.000 --> 0:14:08.600 them on? Once you're getting into the twenties? Oh, yeah, 0:14:08.600 --> 0:14:09.840 we made that record, isn't we? 0:14:10.000 --> 0:14:12.880 I think I could still very easily name them all. 0:14:13.320 --> 0:14:16.800 I think I might struggle to rattle off track list. 0:14:17.080 --> 0:14:21.520 Maybe maybe that's where it starts, the memory starts getting hazy. 0:14:21.920 --> 0:14:24.040 I think maybe at ten records that were still pretty 0:14:24.040 --> 0:14:25.080 easy to like do that. 0:14:25.520 --> 0:14:25.640 Well. 0:14:25.680 --> 0:14:27.280 I'm glad you've said this too, because I had an 0:14:27.360 --> 0:14:28.800 idea of something we could do. 0:14:29.600 --> 0:14:30.680 Please don't make me do that. 0:14:31.000 --> 0:14:32.320 This is not going to be This is not going 0:14:32.400 --> 0:14:35.760 to be a test yep, as we've already established. I 0:14:35.800 --> 0:14:37.560 think it's incredible that you've made so many albums in 0:14:37.560 --> 0:14:39.920 such a short period of time. But what I think 0:14:40.040 --> 0:14:42.520 really makes it the next level is that each of 0:14:42.520 --> 0:14:46.320 those albums has got a very different experiment within it. 0:14:46.320 --> 0:14:48.480 It's not like you've made twenty five albums of the 0:14:48.480 --> 0:14:52.000 same album, like, far far from it. I thought, maybe, 0:14:52.080 --> 0:14:54.560 if you're up for this, I could if I could 0:14:54.600 --> 0:14:57.040 just name a couple and you could just tell me 0:14:58.160 --> 0:15:01.600 what you're int what your sort of instinctive memory of 0:15:01.640 --> 0:15:05.200 that record is. Again, let's do it and tell me 0:15:05.240 --> 0:15:07.320 the thing that the first thing that comes up, the 0:15:07.360 --> 0:15:10.680 first thing that comes up. Essentially, I've I've just got 0:15:10.680 --> 0:15:14.400 a few here, okay, not a gone infinity. 0:15:14.440 --> 0:15:18.000 This was very much inspired by playing a lot of shows. 0:15:18.520 --> 0:15:23.400 When we really started to tour internationally was kind of 0:15:23.480 --> 0:15:28.000 twenty fourteen, and that's really when the seeds of nonagone 0:15:28.400 --> 0:15:33.680 were set. And yeah, we were trying to do this 0:15:33.760 --> 0:15:38.400 thing in the shows at that point around twenty fourteen, 0:15:39.080 --> 0:15:43.240 where we wanted to start and not stop. And at 0:15:43.240 --> 0:15:46.080 this point we weren't doing like long shows like we 0:15:46.120 --> 0:15:49.040 are now. They might have been sixty minutes felt like 0:15:49.040 --> 0:15:51.560 a very long show in those days. But we were 0:15:51.560 --> 0:15:53.680 trying to do this thing where we'd start and play 0:15:53.680 --> 0:15:55.360 the whole time and every song would kind of like 0:15:56.360 --> 0:16:01.360 blend together and mash into each other, and you know, 0:16:01.440 --> 0:16:05.040 we didn't want it to be like atmospheric and ethereal. 0:16:05.120 --> 0:16:09.400 We wanted it to just like be like freakishly intense 0:16:09.520 --> 0:16:15.200 and like just an absolute assault of like all of 0:16:15.200 --> 0:16:15.840 your senses. 0:16:16.840 --> 0:16:20.040 I saw you on that tour and it was that 0:16:20.600 --> 0:16:23.080 really good to really good to scritch. It was amazing. Yeah, 0:16:23.120 --> 0:16:23.560 it was that. 0:16:24.040 --> 0:16:27.080 It probably did take us like eighteen months of touring 0:16:27.160 --> 0:16:29.520 to kind of figure out what was going to work 0:16:29.520 --> 0:16:33.920 in that way, and in fact we did. We started 0:16:33.960 --> 0:16:37.880 recording it. We made a good, good dint on it. 0:16:38.200 --> 0:16:40.440 We actually thought we'd recorded all of it, and we 0:16:40.480 --> 0:16:43.640 got to the end and we realized that it wasn't done, 0:16:44.000 --> 0:16:48.280 and so we took a break and we made paper 0:16:48.320 --> 0:16:51.240 Mashe a Dream Balloon, and that was like this incredible 0:16:51.280 --> 0:16:54.280 palate cleanser because it needed to be the opposite thing 0:16:54.320 --> 0:16:56.760 to Nonegone. It couldn't compete with any of those ideas. 0:16:56.840 --> 0:16:58.920 We should just say to people that maybe don't know, 0:16:59.160 --> 0:17:03.200 not a got Infinity, the record that plays infinitely, it's 0:17:03.360 --> 0:17:05.879 it's a loop, isn't it that records like a loop? 0:17:05.920 --> 0:17:07.160 That sort of it is a loop. 0:17:07.320 --> 0:17:10.600 Cup comes background and then the following Paper Masha Dream 0:17:10.640 --> 0:17:14.760 Balloon is the record that you made completely using acoustic instruments. 0:17:14.520 --> 0:17:16.919 Correct, Yeah, and so non agone has this sort of 0:17:17.000 --> 0:17:22.800 like intense atmosphere and everything is just on Max and 0:17:22.920 --> 0:17:26.560 sped up and there's no downtime and it's just it's 0:17:26.640 --> 0:17:29.120 just it's just like press play. 0:17:29.000 --> 0:17:29.880 And then just go. 0:17:30.520 --> 0:17:32.880 And we were trying to do that, which which did 0:17:32.960 --> 0:17:35.160 which did actually prove to be harder than we thought 0:17:36.160 --> 0:17:39.880 to just insert no breathing space into you know, nine 0:17:39.920 --> 0:17:42.080 songs in a row and make them work and make 0:17:42.200 --> 0:17:44.240 sense back to back. So yeah, I don't know, I 0:17:44.240 --> 0:17:45.600 could go on for I could go on forever. 0:17:45.760 --> 0:17:47.760 I mean it sounds like, you know this a lot, 0:17:47.920 --> 0:17:51.399 a lot better than I certainly would. There's many albums 0:17:51.440 --> 0:17:55.000 in Okay, here's a enough one. Yeah, let's go more 0:17:55.080 --> 0:17:56.960 more recent Infest The Rat's Nest. 0:17:58.160 --> 0:18:06.200 Okay, I remember it being insanely hot. Yeah, it was. 0:18:06.040 --> 0:18:07.640 It was. It was kind of we did the main 0:18:07.680 --> 0:18:10.240 tracking in the middle of summer and we're in our 0:18:10.280 --> 0:18:12.280 old studio at this at this point, it was probably 0:18:12.280 --> 0:18:15.560 one of the last things we did there and no 0:18:15.680 --> 0:18:18.840 AC in there. I think we I think we actually 0:18:18.880 --> 0:18:21.439 got AC right after this session because we were just like, 0:18:22.000 --> 0:18:24.119 holy fuck, this is like actually dumb, like this is 0:18:24.119 --> 0:18:25.280 like we're going to die or something. 0:18:25.560 --> 0:18:27.320 Someone's going to get the keystroke in here. 0:18:27.359 --> 0:18:32.800 Because it's like it's like illegally low ceiling and just 0:18:32.840 --> 0:18:36.639 like a very very small compact box that was also 0:18:36.760 --> 0:18:39.400 like never vacuumed or anything and just was like dusty 0:18:39.520 --> 0:18:42.840 and just like disgusting and the middle of Australian summer. 0:18:43.160 --> 0:18:47.600 But anyway, we had talked about making a metal record 0:18:47.960 --> 0:18:52.520 for four years, and I think when we made not 0:18:52.640 --> 0:18:55.560 Ago and actually going back to that at that time, 0:18:55.560 --> 0:18:57.679 that actually felt like us doing a metal thing, and 0:18:57.720 --> 0:19:01.879 in hindsight it wasn't really, but that was us leaning 0:19:01.920 --> 0:19:04.840 into that, but still sort of playing twelve string guitars 0:19:04.880 --> 0:19:08.480 with like you know, like I don't know, vintage fuzz 0:19:08.520 --> 0:19:10.240 pedals and shit, you know, like it was a different, 0:19:10.640 --> 0:19:12.520 different thing. And then Murder of the Universe felt a 0:19:12.560 --> 0:19:15.760 little heavier again, and then I think after that we 0:19:15.840 --> 0:19:17.320 sort of leant into some sort of. 0:19:17.960 --> 0:19:19.800 More metal leaning things. 0:19:21.720 --> 0:19:24.200 You know, Murder of the Universe has like vomit coffin, 0:19:24.240 --> 0:19:27.120 which maybe feels heavier, and then on Gum Boot Soup 0:19:27.160 --> 0:19:30.000 there's like great chain of being which sort of feels 0:19:30.280 --> 0:19:35.480 sludgy and maybe you could actually call that metal maybe, 0:19:36.280 --> 0:19:38.000 And I think we were trying to find this, like 0:19:39.080 --> 0:19:41.320 this niche that kind of made sense to us. 0:19:41.480 --> 0:19:43.439 Shout out to Vomit Coffin by the way. I mean, 0:19:43.680 --> 0:19:46.520 I can't let you just drop that in without a note, 0:19:46.640 --> 0:19:50.040 without recognizing the track title alone. I mean, you know, 0:19:50.119 --> 0:19:51.040 come on, well. 0:19:50.920 --> 0:19:53.040 The track title, the track to actually has a backstory 0:19:53.080 --> 0:19:59.800 as well. The backstories of the track title is my 0:20:00.040 --> 0:20:04.680 little brother Lucky and a few of his friends, including 0:20:04.720 --> 0:20:07.720 my cousin Tom McKenzie, and a bunch of other people. 0:20:07.880 --> 0:20:10.000 Actually can't remember the exact line up, but it was 0:20:10.080 --> 0:20:15.560 just a lot of people that were around our family 0:20:15.600 --> 0:20:19.639 house and wood when we were young, like early teenage years. 0:20:19.720 --> 0:20:20.440 I'd say. 0:20:21.960 --> 0:20:26.919 They had a band that would rehearse in in in 0:20:26.960 --> 0:20:31.880 the garage, in parents' garage, and it was like a 0:20:31.960 --> 0:20:35.200 parody metal band, and I think they were quietly taking 0:20:35.200 --> 0:20:36.919 the piss out of me and my friends and the 0:20:36.960 --> 0:20:40.199 bands that we were playing in. But but yeah, it 0:20:40.240 --> 0:20:41.960 was like a parody sort of like they were taking 0:20:42.040 --> 0:20:44.679 the piss out of out of out of everything, and 0:20:44.800 --> 0:20:47.720 just that actually, we're having an amazingly beautiful, awesome time 0:20:47.760 --> 0:20:48.160 as well. 0:20:48.359 --> 0:20:52.160 How much younger than you is your brother two years. 0:20:52.600 --> 0:20:54.280 I'm the younger by two years, and this is the 0:20:54.320 --> 0:20:55.920 sort of thing that I would do to. 0:20:56.520 --> 0:21:01.320 But anyway, the band was called Vomit Coffin and okay, great, 0:21:01.880 --> 0:21:04.720 and I'll never forget that because it's just it was 0:21:04.760 --> 0:21:05.600 just so perfect. 0:21:05.680 --> 0:21:08.080 It's like, this is this is amazing. 0:21:08.119 --> 0:21:10.800 I'm going to use that in something one day, and 0:21:10.880 --> 0:21:12.080 so yeah, one day it made it. 0:21:12.119 --> 0:21:16.520 Finally, it finally made it in twenty nineteen. With that record, 0:21:16.760 --> 0:21:19.800 did you get any sort of idea of how sort 0:21:19.840 --> 0:21:23.639 of metal fans like took it, Because you know, like 0:21:24.000 --> 0:21:27.880 all sort of really dedicated fan groups, they probably would 0:21:27.880 --> 0:21:30.680 have had had a thought on this other band who 0:21:30.680 --> 0:21:32.879 are not traditionally in a metal band suddenly making a 0:21:33.400 --> 0:21:34.960 trying to make a metal record. 0:21:35.000 --> 0:21:38.160 Honestly, I have learned to try not to dig into 0:21:38.160 --> 0:21:45.200