#85 QUAN YEOMANS | REGURGITATOR - Chats With Guitar Cats

Episode Transcript
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good morning good people of YouTube or
any of the podcast sites you may be just
uh listening to this because this is
available as audio only versions at all
the regular places I am sitting here
with no other than Mr Quan from rator
hey Quan how you going bro good how you
doing Rick keep it down back there keep

(01:37):
it down keep it down I'm good mate I got
to say um I said to you before I was
always a big gge fan so it's nice to
have you on for a bit of a chat man and
um thank you thanks for having me not
just guitars I was always a fan of you
guys production and stuff anyone that
knows me knows I've worked a fair bit in
the production world as well and I tend

(01:58):
to back in the 90s listen to what was on
the on the radio and you guys were
everywhere back then um and you still
play you've been playing again right oh
we had a big year last year we toured
quite a lot like I think we did about I
don't know must have been close to 80
shows or something or maybe maybe a few
less maybe 50 60 shows and I am kicking
myself that I didn't catch any man I

(02:18):
really am uh I need to start yeah I need
to subscribe to some Street Press or
something because it's not till
afterwards when uh people are posting
photos I'm how did I miss that
yeah it's I don't know how people find
out about uh shows mostly these days I
assume just through Facebook and
following bands and stuff I don't I
don't really know yeah I've been I've

(02:40):
been to a few shows recently uh more
than I I normally would and I just moved
house so it's kind of strange that I'm
further away from the city but I've seen
probably more acts in the last like six
months than I have in years for some
weird reason yeah so seen pretty cool a
yeah um I don't know that we used to get
back in the day I'm trying to think of
the name of the street press that was
getting around in

(03:01):
Brisbane uh oh was it like the beat or
something or what was it
called oh God I don't know you got me
but that are you still based in bris are
you in I'm on the Gold Coast oh you're
on the Gold Coast okay yeah yeah so did
you guys play Miami maretta recently or
last year yeah that's just around the
corner for me and it's not until after
the show like I said that I find out

(03:23):
yeah so Quan I usually start these as I
told you before by quizzing people about
what sparked the fire for the guitar and
music in general for
you uh I guess it was um I think it was
listening to lead Zeppelin finding lead
Zeppelin uh 2 I think it was and then
hendrix's uh live at winterland on tape

(03:46):
yeah I had on a tape I remember that
tape distinctly so those two records
probably were the things that really got
me interested in like guitars and going
oh wow this is a really cool sound there
some awesome riffs I'll try and teach
myself so I I had an acoustic guitar
that I I I think I stole and then gave
back to the school it was a really
crappy acoustic um I think it might have

(04:08):
been a 12 string but I don't think I
strung it that way and then I just would
teach myself how to play by listening to
this records and my mother went to LA
once and kindly very kindly brought me
back at Gibson S1 actually which was a
stratas version of a a Gibson guitar but
there trying to be a strat so it had
three single coils quite thin solid body

(04:30):
guitar but reasonably lightweight and a
decent neck on it so I was very lucky to
start on a reasonably good
guitar do you remember what the first
song you learned to play was oh
god um I don't off hand but it would
have been it would have been something
like foxy lady or um yeah voodo child
something like that probably and then

(04:52):
off I can't remember what's on L 2 off
hand now but probably Communication
Breakdown or something like that that's
on the first record though I don't know
what's on the second I can't think yep
yep cool and at what point did you get
good enough to start playing in
bands uh well that's debatable I don't
know if I'm now but um uh I started I

(05:14):
think I I joined a high school band
called The crunge obviously named the
crunge yeah which is a song of Leed
Zeppelin 3 I think oh okay yep maybe
it's off five maybe it's off hous of the
hly um but yeah that was the name of the
high school band so I played and I think
at that stage I had a Gibson Les Paul by
then yeah I was listening to Guns and

(05:35):
Roses as well when that when that
Appetite for Destruction record came out
I I I really got into that slashes
playing that was total Game Changer
wasn't it for a lot of people yeah yeah
totally totally incredible I love the
way that he he uh constructs guitar
solos as well he's not just a flashy
player he has a real sense of Melody and
where he wants to take it and I feel
like those kind of players are the

(05:56):
players I've always been attracted to
not really into like the crazy kind of I
mean even Van Halen he's incredibly
skilled but he also knows how to direct
a solo into a decent place uh so I think
I think slash was the first guy that
really impressed me I mean Jimmy Jimmy
Paige as well and Hendrick's to a
different way I mean Hendrick is just
part of his his instrument so he just

(06:18):
played exactly what he felt and you can
hear it playing so there's no one that
touches him yeah you're right though
about about Slash being so melodic I
mean the guitar solo in sweet Childer
mine that's a song in itself isn't it
yeah yeah but the whole song is
constructed for the solo as well like
the core progressionist alter so he's
they're writing the song uh with a solo

(06:39):
in mind and he's thinking about it and
and working out where to go with it
taking it to a higher place and then
letting it drop back into the song
really brilliantly and that that a lot
of my friends didn't like like Ben hates
guns and roses and you know they haven't
aged particularly well I definitely give
him that um but that record in
particular I was obsessed with and I I I
just the guitar playing particular on

(07:00):
that record really changed my um my view
of of uh guitar playing and and just
heavy metal in general yeah yeah so Van
Halen was a big Turning Point you
mentioned Eddie as well and the great
thing about Ed is he does all the but
it's usually the last lick of the song
is just most beautiful melodic thing
that just brings it home I think that's

(07:20):
the difference right that guy's
technique is just off the charts I never
really got into van halem I mean I I
like the songs their pop songs a lot
like jump and and Panama and all that
stuff uh because they're great songs and
the way the band gels is is brilliant
and you know David Lee Roth and his
voice and his Antics and [ __ ] but I
never listened to Van Halen as a player

(07:41):
because it always felt Out Of Reach for
me I never got technically that good so
it was always Out Of Reach so I never
really listened to him and tried to
learn his stuff at all ever yeah um I
did listen to to I did get Steve V's
flexable record when I was quite young
as well and I remember listening to that
and go what the [ __ ]
yeah that was probably a fairly standard

(08:01):
reaction to that record I would imagine
at the time yeah cool I listen to that
recently again actually it's still
pretty out there it is very out there
isn't it um I've only sat through it
once or twice because it was kind of
hard to get a hold of it's hard to to
back in the day but um what I did notice
on there was there's a few little themes
recurring themes that happen in his

(08:23):
latest solo work as well really Haven
listen to any of his newer stuff yeah
right and Eddie Van Halen done that as
well where there's certain themes that
were in a Solo that he's made a song out
of albums later and you're just like
right right yeah there's a little
earworm there yeah right hey Quan at
what point did you start writing

(08:43):
songs um pretty early on I remember
doing a mixtape for my uh in my high
school um audio visual uh I can't
remember prod production and performance
class I think it was called I went to
Kelvin Gro before it was um it was just
a primary School uh sorry just a
secondary school yeah so um when it was
Kelvin Grove High and they didn't have

(09:04):
very good programs or anything like that
it was pretty average primary school at
that point state state school but they
had a production and performance class
and I was like I'm going to record music
and and and bring it in so my first tape
that I made was called uh something like
uh the happy dip thong and it had like
this weird Frank fretta fretta um
picture of The Moth Man on it or some

(09:26):
weird guy with a with a an elephant nose
or something on it and it was just a
collection of weird songs that I
recorded on my um I think I had a Tascam
Porter Studio at the time or maybe the
Yamaha I can't remember a lot of the
early stuff I did was on a t on a Yamaha
Porter studio type thing I can't
remember the exact model but had an
awesome dbx switch on it which um you

(09:47):
know you see VST emulations of now which
is kind of nuts so when you switched it
it had this effect of taking the
compression off or the dbx off whatever
was doing to it and just opened up the
sound so it sounded like it was being
compressed or something it just really I
blew it open and I just remember that
was like the magic switch on the box and
so I record something with it on take it

(10:07):
off and just be like whoa yeah this
sounds so much better so a for track
it's funny how some cheap gear um I had
this little boss mixer when I first
started um trying my hand at production
tiny little faders and stuff and I just
knew that when all the inputs went into
the red [ __ ] just started sounding good
and I didn't understand why now you we

(10:30):
spend our time trying to recreate that
the saturation that you get
froms tape and saturation it's all about
that yeah yeah so you said you started
writing then um did you have a few bands
before regurgitator or was that I joined
a really [ __ ] blues band called 12 Bar
Bernie in the Kick-Ass blues band and I

(10:51):
I played in a couple of rsls with the
guy he was a really strange character
Bernie I don't know if he's still alive
or not um I just remember the way smoke
joints was really lame that's that's all
I I actually played bass in that band I
don't think I play guitar didn't last
very long and then I decided to join a
band with my schoolmate Matt um Matt

(11:12):
wilky who was like an obsessive uh Bas
like slapper he loved slap Bas he was
obsessed with Primus I got into Primus
at that point was listening to uh the
Chili Peppers first couple of Records
before they went really bad um and yeah
he was a real slapper Fado so he was he
got me into dvo he got me into dead
kennedies he also got me into um Primus

(11:35):
and um I guess the Chili Peppers I kind
of found on my own uh and we would we
would get together with these other two
people that I don't know how we met I
think I think Matt knew them before me
and so we were rehearse in a dress shop
uh an old Warehouse that was used to be
an old dress shop that the drummer lived
in with his uh really hot girlfriend

(11:56):
they were both circus people and he had
like 10 10 ABS he was like a skinny rake
guy and he worked for the circus and he
could he was one of the very few people
in the southern hemisphere that could
juggle seven items at once I think wow
and he was the drummer and he was
obsessed with poly rhythms and just
playing really strange African beats and
Vic Vic pingle was the singer and she

(12:17):
was like a punk chick who was like an
anarchist uh type uh woman with a very
short temper and Matt was the bass
player and so we would go up to this
place in fish Lane in West End and
rehearse and listen to like um oh God
what's that metal band from the '90s
that was big in Brisbane only pretty

(12:38):
much my manager managed them that was
his very first band and he managed I can
never remember their name um a bunch of
really really aggro metal it was like uh
metal thrash I wonder who that poison
and soup was the name of the record we
listened to that on vinyl and we listen
to Primus in this in this dress shop and
then we would rehearse and then uh we

(12:59):
would go out and try and find gigs and I
we got a couple of openers for with
panga for example which was my bass
players from aurit Tat's first well his
first big band yeah uh and that's that
was my intro into music and it was the
weirdest stuff like it was play as fast
as you can Fusion of metal and and punk
and you know weird weird time signatures

(13:22):
all that sort of stuff when you're young
that's what you're into so I did that
with them I later found out but the
drummer would we go to shows I think we
played at the Metro in the city when it
was in the city and he would invariably
throw up like he'd throw up before every
show we played and I was like what's
wrong man is it nerves and [ __ ] it was
later on because I was so naive that
they I found out they were all heroin
addicts like

(13:42):
junkies like you know high level users
they could function functioning users
but they were all all and I was just so
I didn't even know like I was the same
man oh there was so many smacky in on
the scene down here in the
90s um it's funny uh sound guys at
venues I'm not going to name any names

(14:02):
um there was a guy at a pretty popular
venue down here and we all just used to
take the piss out of him thinking he was
just a bit slow um and then there was
this a rehearsal recording room and and
the guy that ran that where you just go
oh yeah he's a bit slow and it wasn't
until years later I bumped into both
these guys at the big day out and they
were normal that they'd kick the

(14:25):
habit what and yeah people who were a
bit more in the scene going yeah those
guys were junkies and I was totally
naive to all that as well there was a
lot around yeah there was there was they
were pretty chill though to to jam with
as a result I think yeah yeah the music
was fanatic as [ __ ] like I listen to it
now and I'm like I don't know how I
played that I just don't have it in me
now it's would be impossible for me to

(14:46):
get my head around yeah and it's funny
you said about them throwing up because
when I was quite young there was a
little stage where I would get nerves
before a show and I'd have a little but
it was only because um we had that many
singers come and go you may have heard
of one of my first bands the pum nickols
did that ring ring a bell back in the

(15:06):
day yeah that was a pretty well-known uh
band here on the Gold Coast um and then
had another band
Nemesis um back in the day
but we had that many singers come and go
that it was like Rick you're doing it
and I was always a guitar player and for
the first few shows I would actually
beforehand really yeah so I I get when

(15:28):
you say was it nerves but yeah well it
might have been a bit of both I don't
know say yeah another thing
unfortunately Ah that's a shame that's
sh and I think the drugs were to blame
but some people just never get over it
yeah now you mentioned panga uh I
remember seeing them around the place
and just thinking wow you guys are

(15:48):
really really good yeah that were wild
yeah and uh the story I hear is that um
Ben was actually trying to shop around
gab but happened to have you guys on the
B side right yeah it wasn't a BS side it
was a separate demo that I record I was
doing an sa course at the time before
before computers so it was all on tape

(16:09):
so we had like a um it was only I think
it was only an eight track eight track
tape machine in there and a really
shitty desk in in at the
uh the Paddington or I guess what's the
next one down I think it was I think it
you'd call it Paddington um but there
the sa had a had a studio setup there
that that would they were doing lessons

(16:30):
at a course that and I did that and
finished it pretty much the only thing I
leared was just to make that demo tape
that was pretty much it really so I got
those guys in to to to record four songs
I think it was and then yeah because of
Ben's relationship with Michael perzy
who was from Warner the anr from Warner
who was interested in pay payo at the

(16:50):
time uh Ben just said here check this
out I think you'll like it more and so
he listened to it and um yeah he did he
liked it way more than
and and I think the guys from Pang were
a little pissed about it actually for
some time they got over it but I think
they were quite pissed about it um and
yeah that's how that that's how we got
signed for that five album deal how did

(17:11):
you meet
Ben um actually the the singer from my
first band and him were hanging out
quite a lot yeah I don't know if he was
using at the time what was going on but
uh they came over to my mom's place to
score pot cuz they knew my mom smoked a
lot and she always had weed there and
was the guy downstairs doing the music
and um Vic was like yeah come over she's

(17:34):
great you'll love her and they were they
got high upstairs and then he popped his
head in downstairs and I was T like
tinkering around on my for track and uh
he was like oh man what are you working
on I think I was actually I may have
played in the the rift to Kung Fu Singh
or something at the time cool and um and
then yeah he he was like damn I know

(17:55):
this other drummer who's in Brazilia
this other kind of fusion rock band that
was kicking around Brisbane and doing
quite well uh his name's Martin and he's
half Chinese and I think we should have
a jam so he he's always been the
facilitator Ben he's he's he's always
been the people guy and and very kind of
open about creating relationships so he
got the band to start rehearsing I can't

(18:16):
remember where we first rehearsed I know
we got a a um I know we got a a
scheduled rehearsal going on with the
with we sh had a room with pounder
finger on an Street above Galaxy records
for a while there and that's where I
think a lot of the first songs are
written sweet sweet so you already had
some material written beforehand then
huh I did yeah I had a few songs I think

(18:38):
I probably had track one written and
Kung Fu Singh written and some heavier
Tunes as well like like it like that I
think came from jamming and yes a lot of
the stuff on the first DP probably came
from jamming with those guys as well
yeah right so you said you went to SAE
uh and you learned enough to to do those
demos and stuff was that your

(18:59):
introduction to MIDI sequencing and
stuff as well oh God no that was well
before that [ __ ] really it was really
primitive no computers at all that I
remember there um and just a really old
school teacher teaching you about like
waveforms and you know amplitude and
[ __ ] like that I didn't take any of it
in at all at the time the only I Learned
was how to roll leads correctly and then

(19:20):
just to do that demo on the seat of my
pants like I really had no idea what I
was doing yeah um so yeah I didn't get
introduced until I bought my first
prot's rig um I might have used qbase
first very early iteration of it on on
an old Power Computing when Mac and Mac
was dead and apple was on the way down
yeah and I wish I bought shares then but

(19:43):
I had a I had a Mac clone set up in my
house that was a a power Computing
computer that had ran Mac OS but was not
an apple and that was the last time that
ever happened I think so that would have
been early 990s like 94
95 and I ran qbase I think I started
learning about midi then and that would
have been for the unit record I believe

(20:05):
sure because the first two
EPS didn't have oh no you had a couple
loops and stuff on there I my
introduction to you guys was I went to a
festival called alternative Nation oh
God yeah do you remember that one I
remember that very well because rain it
poured down in every single place that

(20:25):
we played yeah just poured down
unusually it was like
an act of the devil or the or God or
whatever but it it felt like it was
cursed because the promoters the
promoters looks really dodgy I remember
they they just look like characters out
of like a a really dodgy kind of Novel
like like really super dodgy dudes and
we just felt like the whole thing had

(20:46):
some Dark Cloud hanging over it yeah at
the time yeah so I won like a dozen CDs
they had this matchmaking tent thing
that friend of mine's sister was running
um where they would put people's details
in it and it would match guys and girls
and and the funny thing is man

(21:07):
um they they they told me the story that
it spat my name out and they laughed
they no we can't have Rick you know
they'll seem rigged and they kept trying
to come up with new matches and it just
kept spitting spitting me out with
different girls and to the point they
just went this thing just wants Rick to
win for some
reason and so I was performing there
with the singer of the band I was at the

(21:28):
time but just doing some some busing
around the place so um after we'd
finished for the day we went and smoked
a joint and I'm not really good in
public stoned I get really paranoid and
I'm I'm about to watch some big band
maybe tool or something like that play
and um they come out go oh we've got

(21:50):
another match on the computer love uh
love match tent and I remember thinking
to myself oh how how embarrassing would
it be if they called name out right now
and they called my name out and I swear
everyone in that stadium that knew me
turned around and looked at
me but of the CDs that I that I won

(22:10):
there
um did you guys have two EPS out by then
probably yeah yeah I think there was
both of them what year was
it5 95 yeah we would have had both those
EPS out for sure so I reckon I got those
was like death effects it was skunk

(22:30):
hour um 9in Nails man that was the first
time I ever saw 9in nails and that was
life-changing for me seeing yeah that
was after downward spiral was it or it
was the downward spiral tour yeah man
that record is phenomenal yeah the crazy
thing is they had the song closer out uh
so I knew what Trent resar looked like

(22:51):
I'd seen him in the street press just
dating back to Pretty Hate Machine days
I'm standing in the crowd with the
singer from a group called ball back in
the day Matt and I said to him is that
the singer from 9in nail standing just
in front of us man and he goes no no
that's just a fan trying to look like
him about five minutes later this big
security guy comes up stands with this

(23:11):
guy and I watch them
walk directly backstage I'm like oh my
God that was that that guy I should have
said something and after that
performance I be it revolutionized my
world I just saw what they did when I
don't know what the [ __ ] that was but I
want to do that and I
lost myself in the world of production
for I forgot about being a guitar player

(23:32):
for 15 years I really did oh really wow
yeah his is really incredible like the
way he brings it is just incredible
absolutely absolutely but yeah that was
my exposure to you guys um now getting
back to was there much programming from
memory there was the odd little loops
and stuff it would have all been like

(23:52):
just handt triggered
um s1000 s2000s like a samp list all the
way up until unit the end of unit we
were using those like I was I've started
doing singing lessons for some bizarre
reason just to protect my voice as I get
older and I was telling the story to my
singing teacher yesterday about um how

(24:13):
we did the S the song formly known as
vocals were all resampled like he took
all my my vocals like syllable by
syllable yeah and put them into the the
the uh s100s and and then sequenced them
in a really old version of QB that was
running in in tandem with Protools wow
and that's so none of that is actually

(24:34):
sung it's all being triggered because
that's all we had that that was the only
way I could pitch it up that high at the
time because neither me nor Ben I don't
maybe Ben could do it at that time but
my voice was never that good um
especially back then I was constantly
writing songs out of my key which is
just the dumbest thing you can
do but that's that's that's the kind of
price you pay when you when you you know

(24:55):
teach yourself yeah you you make Dum
mistakes like that yep so yeah we used
those Samplers and I think the
introduction to that [ __ ] was through
Martin he was very on The Cutting Edge
of of Technology he introduced me to a
lot of different technology um drum
triggers he he used drum triggers a lot
he was really into hip-hop which I'd

(25:15):
never listened to apart from when I was
much younger and I got my first hipod
record that I got into was ice cubes
America's Most Wanted and I listened to
that when I was 19 and then the Beasty
Boys and Cypress Sil I guess but he
introduced me to Dre
yeah and Timberland as well yeah and
yeah that that that got me into
production like interested in beats

(25:36):
interested in how to record like cleaner
and and to do more varied things yep
it's funny that you bring up Martin
doing that because uh just when you guys
started getting known there was a little
high-tech store in Brisbane right next
to the stadium I'm trying to think what
that place was
called oh yes Andy run that or he was

(25:59):
the main Tech
dude I got to know Andy through other
stores after that but there was this
other place not music lab this is pre
music lab oh wasn't music lab I don't
know I don't know it then yeah it's
right next to the stadium um but being
in there and seeing seeing Martin there
and thinking this is weird seeing a
drummer in a Hightech shop yeah he was

(26:20):
into it and he was really it cool
because I was thinking maybe um meoo got
you into all that kind of stuff um auu
had his head around it but uh he was I
mean he he really kind of just pushed
the Beatles and stuff on us for those
early records yeah he was more
interested in pushing Us in terms of
communication between us as a band which

(26:41):
can be pretty bad when you're young
right and you're fighting for your your
rights in the studio so he was very he
was very
um he just wanted us to be aware of how
we we broke at our our individual
opinions and to be as you know fair
about things as we could be so he worked
on communication he worked on production

(27:01):
uh values and just experimentation and
he really wanted us to listen to The
Beatles a lot and for songwriting um
tips so that was his more of his thing
Martin was definitely more into the tech
side of things I think yeah it's funny
like um Meo really became the um
producer everyone wanted to work with in

(27:21):
Australia for a while there after
working with you guys didn't he yeah
yeah I mean I wanted to work with him on
the last record but it just didn't feel
right I don't know what I was expecting
but we kind of started talking to him
again we all got kind of excited about
it but it just didn't really happen for
some reason the spark wasn't there I
feel like he's moved on from that now
he's an academic now and he I was going
to say that I heard that because I'm I'm

(27:42):
actually going to UNI fulltime myself
studying production just to get my bit
of paper I've been working in production
for a long time in radio and stuff since
the late 90s but got to get qualified if
you want to teach that kind of stuff at
SAE or anything like that so and I've
heard his name mentioned that he was um
yeah he's a senior lecture now I think
at at um uh I want to say Griffith but

(28:05):
I'm not sure I thought SAE or Sunshine
Coast is he Sunshine Coast Bas perhaps
oh yeah Sunshine Coast that sounds right
yeah yeah cool cool so just looking at
at at unit and stuff I want to ask you
about some of your gear so I I've said
something before about the guitar that
used to play that looks like uh a strat

(28:25):
that had been cut into a teardrop shape
yeah it
was what's that tell me about that
guitar um I think that was the first
kind of I don't know why my mom had
gotten me a couple of nice Gibsons or
one Gibson and then I I think I had a
strat for a little while or maybe that
ianz that I got was actually the next

(28:46):
guitar that I got after that Gibson I
can't remember but it was at like a it
was an a low model um JM type guitar I
don't know what exactly maybe an RG or
something like that yeah and it was back
and it it had uh had a wizard neck so it
was really flat and I got used to
playing those pretty early on so I still
to this day prefer flat and X than than

(29:07):
the routed ones yeah um but yeah I think
playing in
zura there was a very there very much of
kind of punk energy around that band and
not give a [ __ ] kind of attitude towards
that band and I can't remember whether I
decided at one point I covered it in
glitter at one point silver glitter yeah
and it was really uncomfortable play it
was scratching me up and I just

(29:30):
meanness towards the guitar and also
because I was like oh well it'll look
[ __ ] up if I do it I just cut off the
Wings off it yeah myself with a hacksaw
and then just played with played it for
a while before it got
pied W was a very identifiable guitar
man that was I guess so I guess so uh it
was not a fun guitar to play after that

(29:51):
point it just was weighted really
weirdly and it didn't sit on your lap or
anything so I I don't think I kept it
for that long after that yeah right the
other thing I remember you using back in
the day was a marshall but it was out of
its head shell am I remembering right it
was just I think I had it carpeted it
was carpeted because back then you
toured with all your gear right yeah and

(30:13):
I couldn't be bothered either I couldn't
be bothered or I couldn't afford to get
a proper um I think that were just too
damn heavy for a start but you put all
that [ __ ] onto an airline and you toured
it like I remember Martin taking his
whole kit as well so I take my head I
think I took a quad box for a while
there as well W and Ben would take his
whole rig as well and I just got either

(30:35):
I didn't want to get a um a proper case
for it because it was just so damn heavy
yeah uh or I couldn't afford it either
way I thought maybe if I just put some
red carpet on it that'll ease ease the
blows that shocks that it gets and of
course it died after about two months of
touring like this and I there was a fan
in an airport and I just gave it to them

(30:59):
the valves are probably shot on it just
take it it's not working anymore but
you're welcome to have it I wonder if he
still has it I think it was an 800
because I Remember Loving jcm 800s and
then at some point in my career none of
the higher shops started having them
anymore and they all went to 900s and I
just I I would just loathe touring
because I couldn't get oh they're

(31:20):
horrible I hate 900s so much yeah
there's a scratchiness about them that I
hear yeah there was a there was a point
where I couldn't play 800 anymore I had
a beautiful um Jubilee
5025 which I sold to um a friend in
Brisbane that was sounding no it wasn't
silver uh it was it was a marshall 5125

(31:40):
Jubilee series but it was a head so a
smallish head oh the sound was really
great um but there was a period where I
was touring on 900s and I thought [ __ ]
this I'll go to rectifiers cuz you know
what could be worse than a 900 and
rectifiers were only marginally more
tolerable in my Sonic kind of ear I hear
you I hear you and then after that the

(32:02):
technology started changing and I I was
introduced by Greg our current mixer
into quilter amps and like solid state
amps that actually started sounding good
and now I just tour with a um a line six
stomp HX that's all I use nice nice so
yeah do you use the modeling in that or
yeah

(32:23):
absolutely just straight in straight
into the PA nice yeah a lot of people
that now um yeah I did some guitar tech
work for Jack Jones and Southern Suns
about two weeks ago on their Queensland
and Jack was running a big rack with um
an egat ie4 preamp and a Sano x88 preamp

(32:43):
but going into one of his effects units
and using the speaker simulation and
just going direct so it was a kind of a
Best of Both Worlds there and it sounded
Mighty but that that's probably his
playing as
well yeah yeah I mean the difference it
made made to his mixes out front were
was is phenomenal like he just gets so
many great compliments and it's because

(33:04):
you're not fighting with amps on stage
most of the time and just focus on the
vocals and getting the drums sounding
good and it just works so much better so
we all use in monitors now which is
something that's happened over the last
maybe six years yeah and you comfortable
using in ear I am now for sure and the
it just helps you your singing just so
much more that's what I hear I've never

(33:25):
tried them and had to sing um
but the once or twice I've tried them my
guitar was too direct and I thought I
was [ __ ] up that I wasn't sitting in
the pocket and everyone's going no
sounds fine but it's just so direct yeah
you've got to get the balance right and
if you're using an amp simulator it kind
of helps in a way because it does sound
more like a an amp that's playing in

(33:47):
your head but obviously the the spatial
perception stuff is something that takes
a while to get used to for sure yeah so
the the old 800 you were talking about
is that what you used on the first two
EPS uh it would have been I'd say so
yeah I don't know if I owned an amp at
that point I might have done but I would
definitely have picked an 800 over
anything else in the studio possibly a

(34:09):
basement at some point I don't know
pedals Drive pedals or anything the only
pedal I really used live was a rat at
the beginning a rat pedal for Distortion
and a w that was it really cool and
towards the middle part of the maybe
after that I probably got OCD pedal like
one of those and to th with that pretty

(34:30):
much exclusively into a into a Val Vamp
nice nice so unit was quite a a
departure embracing more of the
technology and everything at the time
yeah um and man I I actually didn't
realize how many songs known songs you
guys have got until it was last night I

(34:51):
was showing my girlfriend um she's like
God do you remember these guys and every
song I play she's like yeah I know this
song I know this song and a lot of them
are from from unit um did you guys just
set up your own qbas setup or protool
setup and do it all yourselves or what
was the process yeah yeah we uh we hired
I don't even know what we paid for it

(35:12):
but it was a a house in the middle of um
uh the valley yeah that was due for
demolition in four weeks oh cool so was
just a house yeah and then so MCU
Argonaut who was our touring guy uh
mixer at the time and Martin and Ben I
think I don't know what I was doing I
don't know why I wasn't involved in the
setup I was just like yeah do whatever

(35:32):
guys so they got this house and they
layered the house walls with um carpet
underlay it was so ghetto and it was
literally just an empty five-bedroom
house and meoo set up the studio in the
main room the large room and yeah he had
a Protools rig I think it was um linked
to qbase on a comp on a probably a Mac

(35:55):
but maybe not maybe a power computer
thing as well I don't know what he was
using yeah um and we used digital audio
tapes like dat Adat tapes
ad uh that was the main setup and then
he had some outboard gear I don't know
what compressors I think he was using
smart compressors at time yeah uh he had
a relationship with Joe Malone we all
knew Joe Malone in Brisbane who was the

(36:17):
he's the engineering G genius who makes
his own preamps so he probably had a few
of his preamps and maybe some
compressors of his um but yeah he had
that Neeve smart I think he was really
happy with that that compressor and he
he loved Sans amp Distortion units so he
put distortion on pretty much anything
there was some problem with the mix he
go just put more distortion on that was
his thing and so we just we just set up

(36:40):
in a couple of other rooms to do
overdubs uh and it was literally like
being in at the shittiest chare house
you could ever imagine I think there was
a dirty piss stained mattress on the
ground for a couch a couple of chairs
strewn about uh I had just gotten some
new Roland gear from Roland um through
Warner I guess or through some
connection so we had that that first

(37:01):
Groove box they put out which is
polyester girl basically just written on
that oh really and that that was that
was another piece of technology we had
we had a couple of rack mounted s2000s
or S 2500s I can't remember XL AI
Samplers um and there was not much else
like not much else some mics that was
about it it's amazing

(37:23):
now how technology has changed because I
used to have the external samp and
everything and people don't understand
what we went through in trying toine
tune your samples try and find the
starting point and everything by ear
turning knobs like yeah there it is now
you just hit a button and it slices it
all up for you and assigns it all to the
different keys so it was a lot harder

(37:43):
back then wasn't it and even there's a
lot of manual labor but you know it
slowed you down and it kind of made you
think it's it's kind of the the
equivalent in photography is that it's
all point and shoot now right if you
want it to be you don't have to think
about anything but if you use one of
those old manual cameras you got to
think about framing you got to the
timing the framing becomes more that's

(38:03):
the priority not absolutely not the
finished product it's about whether you
can control the environment to make it
work just to get the shot if you're
lucky enough to get it so I think that
is definitely an evolution that's
happened over time and it's a a thing
that's altered the way that people
produce music and produce art in general

(38:25):
across the whole board y I think today
as well because we've got so many
options you get that whole option
paralysis thing
where I had five kick drums on a on a
drum machine that I had a little boss
one now I've got 5,000 kick drums and
yeah exactly dude you know it's really
hard not to sit there and sort through

(38:45):
the 5,000 it was so much easier with
less options huh yeah exactly you have
to train yourself to kind of just let
things go if that's a skill that's the
skill you kind of need now the most to
go it's fine no one is going to give a
[ __ ] about this Kick Drum either it hits
or it doesn't yeah and if it hits leave
it and move on and just focus on

(39:06):
something else and that that's more
important like the vocals you know yeah
uh so yeah it's a completely different
process but you know it was really fun
because in that environment in that
house that was due to be de demolished
we didn't care about anything in there
it didn't matter if you broke the walls
it didn't matter if you stuck a hole in
the wall to stick leads through no one
would give a [ __ ] and we could be in

(39:28):
there at any time of night making a
complete Rock Ruckus or you know
fiddling around with these [ __ ] up old
dinosaur things that took ages to work
and it didn't matter so we were on
nobody's time I think that's the most
important thing about when you're
recording a record you got to be on
nobody's time but your
own and you've got to be in a space
where you can do whatever you want so do

(39:48):
whatever you want literally that's
awesome man what I think that's part of
the reason why that record worked so
well because we had that environment we
had the people who had the time and had
the priority to work um and yeah it it
makes a difference it definitely makes a
difference yeah I saw a little snippet
of um the Beasty Boys recently talking
about their Paul's Boutique album um and

(40:11):
how they started doing
it Commando with with just bits and
pieces of the technology that they had
access to then the record company wanted
to send them to some big studios and
they said they recorded one or two songs
compared it to their original demos went
it's not better it's not better so um

(40:31):
you know I've actually experienced this
as well do you know the metal band sunk
Lotto yeah yeah yeah so their last album
they did for Sony I did all the
pre-production demos for and man we were
we were vibing on those demos for a good
year or more before the actual record
came out oh wow okay that's and when the

(40:52):
real record came out that which they
spent a couple hundred thousand on
just didn't have the same Vibe and I had
so many people I'm biased because I
recorded the original ones and people
just go it's just not the same and Jason
sounds like go in studio clock's running
go whereas his vocals with me were just

(41:13):
so much more personal and yeah exactly
exactly when you've got that time and
the money is going down the drain you
know it and it really stresses you out
and if you have anxious players and
anxious creative people they're not
going to perform at their best there's
no way so you're way better just taking
it out of that environment and doing it
like you said I mean that's part of the
whole demoitis thing is that that is

(41:34):
particularly what they call demoitis a
huge chunk of it is what you're talking
about where you go into a studio you
listen to the demos you're used to them
for a start and then you go into this
really stressful situation and and try
and recreate something or make it better
it's never going to work yeah yeah very
rely yeah and I think a lot has to be
said about not giving a [ __ ] yeah like

(41:57):
when you're doing the demo go I'm just
going to put this as a placeholder to
know that something should go there and
you're not overanalyzing as soon as you
start trying to get that perfect take
you're taking the soul out of it aren't
you most of the times the first take of
the vocals is the one yeah pretty much
like 90% of the time unless you're going
to get really finicky about it and do
thousands of takes like Billy eyh and

(42:17):
cut out every single syllable the first
take is usually going to be the one that
works yeah absolutely absolutely hey
once you you finished recording unit and
then had to go out and play the [ __ ]
live was there a
big okay how do we do this now yeah we
we uh recruited Shane rodkin as our uh

(42:38):
keyboard player for live so he would
play the KE kear yep so he could cover a
few of the keyboard things because back
then like backing tracks were not cool
right you you you'd see a rock band and
you hear backing tracks and everyone
would be going what the [ __ ] this is not
live music uh obviously it's somewhat
different now you're lucky abolutely
saw an awesome band called um Bob

(42:58):
Villain the other night with uh who
supported Amy Amy EML and the sniff
sniffers sorry oh yeah and they they're
an incredible band because they're kind
of like a a rap act like he's a really
good rapper um but they do punk music
with guitar like heavy guitars and a
live drummer um but there was no guitars
on stage it was just him two-piece him

(43:20):
rapping and singing and screaming over
backing tracks with just a drummer and
that's totally acceptable now and it was
a good it was a good show it was fine it
was nothing wrong with it and the music
is awesome I still love the band it got
me into the band more and listening more
to their recorded music uh but you know
back
then it it was a real kind of like okay
these are these guys for real are they

(43:41):
actually doing this to us so but the way
the only way that I could there were so
many different configurations at the
time because the technology was so
difficult and in in inefficient and just
clunky so we tried um we tried put
burning it on CDs which is ridiculous to
have on stage we tried minis which was

(44:02):
the next technology same problem it
would like every time the sub hit it
would bounce like
thrown I've been there [ __ ]
ridiculous at the very end of that
technology um slump I had a whole
Protools rig on stage like fully encased
and touring with us which was just so

(44:24):
stupid someone was telling me about the
INXS drummers guys um protols rig that
he toured with and he still uses today
apparently but it's literally the size
of half this room apparently it's
massive just with all this built-in like
obsolesence and and uh not what do they
call redundancies it's this huge rack

(44:45):
system with loads and loads of hard
drives and all this other [ __ ] that he
built in the 80s or 90s I guess 9s must
have been yeah but he's still uses it
today apparently but you you do need the
redundancy rig hey because cuz [ __ ] does
[ __ ] I've never had one though we've
never had redundancy rigs ever have you
had any major [ __ ] ups it [ __ ] up B
that's just bad luck you start again or

(45:06):
if you can't do the song you move on
we've always been like that and I think
that's part of our charm like you don't
go to see us for a perfect show it just
doesn't happen yeah yeah we've Gott a
little bit more consistent lately
because I think we're a better band than
we used to be or we we seem to be I
don't know more professional b or
something our rig is much more efficient
and works pretty much every time but

(45:28):
what
you oh we I just run Ableton Live and
I've just started moving it to something
else now so I'm going to try and take an
iPad Mini out and just run all the
tracks off that to be honest um that's
probably the most consistent setup that
doesn't [ __ ] up I was playing with some
guys in a cover
band uh few years ago now and he just

(45:49):
had an iPad and was sending click out
one side to his drummer and just a mono
mix to the front and I don't recall that
ever [ __ ] up but I've um so the head
lecturer at the uni course that I'm
doing is Brad hosking and he's Amy
sharks musical director and I've known
I've known Brad for for quite a while
now and yeah redundancy he said early on

(46:12):
in Amy's career he had two laptops uh
running Ableton they were doing a big
Festival in wa in the afternoon direct
sunlight both of his laptops melted and
they were just like oh no yeah
yeah and honly because we we we don't
all there's not a lot of s maybe maybe

(46:33):
there's about six or seven songs that
require backing tracks y we can just do
a punk show if that all fell apart we
just go okay well we're not doing those
we can't even do the hits you know a lot
of the hits have got backing on them as
well so too bad we're just going to do
this now and this is the way it is yeah
and you know that that does mean that no
two show is exactly the same with us

(46:54):
because you never know where we're going
to [ __ ] up and how we're going to [ __ ]
up so that's kind of the enticement I
think yeah yeah man I I think people
want to see the train wreck I remember
when I first started doing this live
stream Chat thing um some people saying
you know oh man what if things [ __ ] up
and and things have [ __ ] up people
have bad internet connections and it

(47:15):
drops out they'll just keep talking so
they log back in uh I remember the first
time I had a bit of a [ __ ] up I had
Jennifer baton Michael Jackson's ex
guitarist oh wow um and she had her dog
on her lap
and it decided to leap off and take out
her laptop and that was the first time
something [ __ ] up and I was
like that's why you tune in you want to

(47:35):
see the the train wreck and she just
phoned back in as soon as she got set
back up yeah I mean that's it's life you
know things happen I I yeah I don't want
to go to a perfect show like I just I
just find it boring you know yeah yeah I
did go to a concert recently um a pop
artist and I wasn't convinced that most
of what I heard was actually being

(47:56):
played that the drums and the Bas were
definitely live but the keyboards and
guitars I'm thinking that's all on track
isn't it like yeah there's I mean
everyone's got a threshold for for live
kind of what's being played but it's all
about performance like it is a it is
supposed to be a live performance so if
the performance is there and you're
being entertained by a performer no

(48:17):
matter what they're doing they can be
playing their instrument and singing and
doing an incredible job that way can be
very impressive but if they're giving
something else of themselves and and
really working the crowd and it's all
backing behind them it still can work
provided that Persona is real and you
are engaged with that person yeah uh I
think that's that's the thing that's

(48:37):
impossible to recreate with AI and [ __ ]
like that which is definitely going to
take
over scary isn't it it's scary have you
heard a
Isis
no this was about two years ago a dude
did a record using Ai and with Oasis
kind of vibe you think you're listening

(48:59):
to unreleased Oasis tracks and it's not
guides did it with AI yeah yeah yeah
scary but just talk about running tracks
and stuff man you said you're using
Ableton do you have it set up so that
you can extend parts of the song or do
you have we don't really Jam like that
over over our backing tracks they're
generally we're a pop band at heart so

(49:21):
we feel like playing More Than 3 minutes
is a bit much on a on a track for the
most part there's a couple of like prog
rock tunes that Ben's written that go on
a bit longer than that but and maybe
some stuff like can that we like the
kind of uh hypnotic stuff that repeats
but mostly we don't Jam over backing
tracks I mean I think I I don't think

(49:41):
it's something Ben really enjoys a lot
of the time playing to yeah uh he is
definitely more of a live jamming person
if we go to write a record he will
insist on a live Jam at some point if
not on at many points before so he can
write in that environment I don't need
that I can sit in front of a computer
for hours and hone hone a beat and hone

(50:01):
lyrics by myself and then take it in and
go play whatever you want over it but
just try and keep the vibe yeah and um
that's generally the kind of flexibility
I have
um but no I just we hit play and then it
stops you know I trigger each song at
the moment and and it it usually stops
and then I can find another one on on a

(50:22):
keyboard that's next to my mic stand
cool
now talking about lyrics and stuff man
um you guys sort of were were were
pushing it with you know some of the
expletives and you know sucked at a lot
of [ __ ] to get where you are and all
that kind of stuff did you face
any Kickback oh not Kickback but just um

(50:44):
yeah were people opposed to that in any
way going oh you you can't say that you
know with censorship oh yeah I mean any
old pedophile that was around at the
time uh like Alan
Jones he did wonders for our career
actually um yeah a lot of the Christian
fundamentalists as well um definitely
push the sales of that record so I I

(51:04):
thank them on the regular for that are
you saying that Alan Jones had had words
to say about your songs yeah he had beef
he definitely had beef with us I think
we mentioned in his book even so
apparently I take people are aware of
him his arrest what he got arrested for
in in England years ago right years ago

(51:24):
I don't know when was that I'm not even
aware of what his history all I knew was
that he was a [ __ ] and I had nothing
to do with him I didn't give a [ __ ] what
he said dude he got
done uh how do I say this without sort
of getting
sued um performing lud Dax in [ __ ]
public toilets yeah yeah I'm sure I mean

(51:46):
all power to him I don't really I
wouldn't hate on someone for doing that
I mean I think George Michael's great um
but for somebody who be so vocal against
that that actually being such a vocal
hypocrite and really putting you know
making it harder for people who to be
themselves uh in in the society I don't
you know I don't agree with that I feel

(52:07):
like that's that was his shtick you know
it was just his performance and he was
getting paid a lot of money to perform
that um so yeah he did that I think he
he was outraged or supposedly outraged
by our record and used his radio show to
to piss on it on several occasions and
we are mentioned his book apparently
um so yeah I think a lot of that

(52:29):
censorship and a lot of that push back
really excites kids it work it's worked
for for decades and decades right ever
since the Beatles I'm sure absolutely
absolutely you have those conservative
types going up against it so the kids
love it even more and it definitely
helped unit a lot and probably our
earlier records as well but um yeah he
was definitely a a a good Kickback guy

(52:53):
and uh even Warner were like opposed to
they were like they heard sucked a lot
of [ __ ] and like we can't put that on
the you can't call it that on the record
can you change it to rinsing or
something and I was like no sorry it's
just coming out unless it's called that
and they like okay so you can get away
with a lot when you're selling records
soon as you stop selling records then

(53:13):
they come and come into the studio and
go why don't you try this or that and
that really started happening on the on
the fourth record after after art
started dwindling and and um we started
selling less uh they had a new a Ani guy
come in and start messing around with
the record we did in England with Andy
Gil from the gang of four oh yeah uh

(53:35):
particularly that fat cop song of Ben
which kind of ruined it for him every
time he we play it live he thinks about
that anr guy coming in and telling him
about the chorus and how he should do it
this way and really pretty yeah yeah
that sucks yeah yeah hey uh somebody's
just asked about um any memories you can
share from the tour with the Chili
Peppers uh my memory of the crisman

(53:56):
entertainment center Gig was that
regurgitator handed it to them that
night oh that's a glowing review yeah I
mean I had a lot of people say that to
me strangely enough I thought I think
they were they were pretty much at the
height of their career at that point
maybe not the best they' ever played but
um they were certainly still performing
really well um I remember the whole of

(54:19):
the band came to see us at a sideshow in
Perth except for Anthony so Chad was
there and um John not John Dave Navaro
and um flee came along and saw us play
at some tiny little place uh maybe the
planet or something like that in Perth
um and we were kind of excited about
that it was a great first tour for us

(54:41):
because we'd never played stadium before
we were just kids yeah I was only 23 or
24 at the time Ben was just a little Ben
and Martin were just a little bit older
um and so yeah we've never experienced
that I mean the sound was Dreadful and
always still Dreadful in always is in
although we played recently with weea in
bundle and I felt like that was the

(55:02):
first time that I'd ever been able to
play to a crowd of that size like
normally I I don't feel like I can
entertain a crowd bigger than a thousand
maybe 1,500 at the most but that time I
like I actually felt comfortable on
stage and I felt like I was entertaining
for the first time y some bands are
really greated others should never
really play like a punk band like us was

(55:24):
so used to playing shitty little venues
that hold 300 400 people and just having
a ball and having a sweaty old time that
when you get put into that kind of venue
It Feels So alien it sounds you know
cavernous you're playing really fast
music a lot of the time and so it
doesn't translate very well there's a
reason they call it Stadium rock yeah
and it's because of the the Acoustics

(55:44):
and and a lot of bands specifically
wrote that kind of music to play bigger
venues and became bigger bands because
of that reason if you play Slow melodic
stuff it works
better in those venues yeah um but I
thought I thought they were nice they
didn't really say too many things to us
the only odd thing that I found about it

(56:06):
was that they seem to wear makeup all
the time like obviously Nar it's the
thing for Navaro but the whole band
seemed to be wearing makeup all the time
at that stage I guess they were entering
their late 30s 40s at that point I can't
remember how old they were yeah but they
were obviously that level of Fame you
have uh you're constantly under the
spotlight and um

(56:26):
yeah they seem pretty nervous kind of
being out in public for sure but they're
all really nice and they all
complimented us like the Rhythm I never
met Anthony the whole tour but the other
guys complimented us and and said we
were you know a great band to play with
and they were all very talkative and
stuff so it was cool what other cool
bands did you guys get to play with oh
man there's been so many in the early

(56:48):
days our first big shows that were set
up by our manager Paul probably Primus
in the Roxy which was uh an amazing show
for us to play we played with um uh also
John Spencer's Blues explosion van goob
in East Brisbane that was one of the
first kind of bigger shows we played as
well um yeah I mean we played with so

(57:09):
many bands I mean recently played with
kiss for the first time i' never played
with kiss before that was outrageous
wow and we did we did a couple of side
shows with Weezer which was lovely
except I probably had the weirdest
interaction I've ever had with that uh
that guy River yeah backstage just
saying oh I just wanted to thank you for
having us and he just sort of crawled up
inside himself I just was like God sorry

(57:32):
I didn't but he's he's notoriously uh
awkward um really Personality yeah very
very difficult to talk to he's um he's
he's an interesting character but yeah I
just felt like uh I'm sorry I didn't
mean to even talk to you after that wow
but yeah unfortunately most of most of
the big bands I've met I've I haven't
had the best experience with just

(57:52):
because of timing and because you know
people don't want to be harassed all the
time I can say that the nicest people
nicer people that I've met have been
probably um oh God I can't even think of
a name now um from garbage what's her
name oh Shirley Manson Shirley was
lovely yeah and I mean we've had a
relationship with peaches for a long

(58:13):
time and she was in one of our um she's
she she did a um a collab with us on the
last record and that's something I'm
starting to do a lot more just working
with different kind of people yeah but
yeah I met I met B and she was like
meeting my an angry drunk mother was
just awful really you know I I really
respect these people listening to their

(58:33):
music and then you meet them like I did
a tour with a prodigy as well as a solo
we'd play with them as regurgitator as
well but I also did a solo tour with
them and they just they just like
Bristol boys that really just bratty as
[ __ ] and I didn't really connect with
him so I Lov that band for a long time
and that was another band that that
Martin introduced me to as well so he
really pushed me into that electronic
side of things yeah right that's

(58:56):
interesting to hear man um so i' I've
been friends with um Dave Leslie from
the baby animals pretty much since I was
a teenager and um had had quite some
good conversations about oh who who have
you met that's been cool and all that
and he's always said the opposite he
said man most of the really big people
that they've played with have been
really nice and it's usually the people

(59:17):
that are on their way up that are being
the [ __ ] and they tend to fall
pretty quickly as well well sure so yeah
that's interesting to hear that um I I
think it's a lot of its context as well
like if you're meeting someone at an
Afterparty and they're drunk or you're
meeting someone who's stressed for time

(59:38):
then you've just got to accept that no
star is going to be on their best
behavior all the time no no person is
going to be that way especially if
they're being bombarded by people
constantly people we've toured with
we've never really toured with any
horrible people like they've usually
been really nice uh people that support
us support bands have been incredible
most of the time and the people we've
supported have been really lovely as

(59:59):
well I've never really run into any kind
of Divas or any nastiness you know even
even some of the brattiest
Bands uh and craziest bands like the
MCHS from I don't know if you know the
MCHS but they they're probably my
favorite punk band of all time yeah
extremely underrated band they don't
exist anymore but the the guitarists
their brothers um Cody and um uh God

(01:00:23):
what's his name but the the other
brother became Unknown Mortal Orchestra
don't know well they were a massive kind
of electronic um sort of I guess chill
band um that blew up around the same
time that Tam and paa did like similar
kind of Vibes um but just a single guy
doing all like DJ kind of work and
Sample work and he's an incredible

(01:00:44):
guitarist but the M chicks they're
[ __ ] nuts like really crazy band and
incredible band you got to listen to if
you like like Punk crossover music um
that crazy crazy s dumb no record is
phenomenal like some of the Rifts and
the it's like listening to really early
yes like progue kind of stuff but really
out there and punk mixed with it um and

(01:01:06):
just the playing is phenomenal their
father did the production in their
basement it sounds terrible wow wow as a
punk band they pretty much everything
you could ever want in my mind is that
Min as in minin I I gotta look this up
what's that Min n chicks is it Min mint
mint chicks mint okay sorry yeah yeah
it's

(01:01:27):
a it's a New Zealand a kiwi expression I
think for hot girls yeah okay cool but
yeah the drummer is just like phenomenal
the bass play everything everything
about that band just gels but the singer
is so crazy Cody um he would just on
stage you just never know what the [ __ ]
you turn around andd be on the ceiling
like Spider-Man and then you fall and
just fall onto one of the uh wedges

(01:01:48):
perfectly poised his vocals are
incredible yeah the guitar playing
everything is amazing about that band
but they were like we'd go out to clubs
afterwards and he just was so
impulsive uh he would be he would just
go up to the DJ decks when the DJ had
gone to the toilet and start [ __ ]
with them or' be start hanging off the
the the um uh disco ball in the middle

(01:02:10):
of the room and get kicked at he he got
kicked out of every single club we went
to wow he's just he seemed like a real
mild maned dude but when he got the
impulse he would just do crazy [ __ ] I
think on the last tour he was almost uh
I think he was kicked out of the country
because he tried to steal a gun from a
cop just for funsies like just Jesus
just a mad mad dude but he's a sweet

(01:02:32):
they're all sweethearts and they're
really amazing and they were lovely to
tour but one of the most one of the most
underrated punk bands out there I reckon
cool I have to look them up I have to
look them up so I I just joked about my
hearing then man has the the band life
and touring life taken any effect on
your hearing uh my hearing is probably
not great it's not terrible Ben's is

(01:02:53):
definitely getting way worse
particularly one
and the in are a double-edged sword
because you technically you should have
them lower but the tendency is to turn
them up to get a little bit more Vibe
and you're getting more direct sound
because of it so you're probably doing
just as much damage in some ways if
you're not careful with it yeah so yeah
it is something that I think about
especially my hearing is actually way

(01:03:14):
worse if I've been mixing a record
though if I've been working on a record
and mixing it in headphones which I
always do now yep uh my hearing does
suffer a lot it's funny um just with uh
Bri Johnson from ACDC when he had to
take some time out because of his
hearing the guy that invented in
monitors actually issued an apology and
said sorry man that's probably my

(01:03:36):
technology it's done that and it's
something another reason I've avoided it
is um because I want to save what's left
of mine
um if you if you do if you're very
disciplined about it and you get ones
that are closed that'll block out most
of the drums and you're going have it at
a reasonable level then you know an

(01:03:57):
hour's listening is not going to do that
much damage if you're if you're if
you're careful about it it's much better
than I mean I used the two were just
always using um earplugs so mine didn't
get hammered as much ben would just
constantly play without them yeah even
to go C bands I I wear them I've always
done it same so probably yeah the in and

(01:04:17):
the and the headphone mixing has
probably done more damage over the last
10 years than the early days but the
difference has made with my vocals is
phenomenal like I trying to sing with
your head voice with you know earplugs
in blocking out the rest of the band
it's really not that great you're going
to strain your voice so it's one or the
other really you lose your hearing or
you lose your voice that's just what

(01:04:37):
happens when you get older sure so mate
you you guys had like Fair bit of time
apart and then what was only a couple
years ago you guys got back together to
do some shows I mean we've always kind
of we've never really had a proper
Hiatus except for when I had my first
baby uh so my first kid uh I think we
took about 18 months off yep and that

(01:04:59):
was really the only real Hiatus we've
had we've always played the odd show
maybe at the lowest point we were only
playing like 10 shows a year but lately
we've done more recording and released
more records and and done a like a tour
every two or three years like a proper
tour uh and we take we take Festival
shows all the time still I think we're
still a a reasonbly good quality live

(01:05:21):
band yeah um and that's the thing about
' 90s bands we played a lot with some of
the older bands and just watching them
I'm like I can see why these guys still
work and they're still good because they
are really good musicians they play well
as a band like magic dirt Jeb they all
work well live it's quite amazing to
watch and it is very different

(01:05:42):
to uh seeing a a modern act with loads
of backing tracks like watching a live
band is somewhat different and when it
works it's impressive and if you can
still do it at at this age and you're
doing it well then I think it's you know
it's worth keep going to keep going you
know not just for the nostalgic trip but
also to show kids something a little bit
different you know is a real Resurgence

(01:06:04):
in um in the 90s bands um I know a
friend of mine's got a a really cool
'90s grung tribute band called outshined
uh they pulled some some big
crowds and listen bad bad motive finger
record recently actually just to hear it
just to hear it again it's it's pretty
good yeah and yeah I've just noticed a

(01:06:26):
lot of the the Australian bands from
back then are out to ring again and yeah
um I think we're at that age where you
got to make the most of it before
everyone uh gets too old and not go out
anymore and I mentioned to you earlier
that I play with all the the 80s pop
stars yeah and I gotta say I worked with
a couple of guys that were involved in
that band before I joined I was working

(01:06:47):
at a music store yeah and they were
getting some huge crowds back then but a
lot of those people that grew up on that
music are now sort of around 60 odd and
aren't really going out as much as they
used to it seems to be more than now the
'90s bands that people uh maybe getting
on it's like yeah make the most of it
while they're still there but their kids

(01:07:08):
are totally into it that's one thing
I've noticed at Uni is uh the kids know
a lot of 90s bands not your traditional
grunge bands it's more radio Head Rage
Against
machine um Muse stuff like that although
that were probably a little bit later
not 90s band is it no no it was more
2000s wasn't it I think so yeah just

(01:07:29):
after us yeah and I would always say you
how how do you guys know this music and
they're like oh through our parents yeah
yeah I think there was a lot of that
generational um passing down and the
kids they seem to like it I mean I'm
always surprised that there's like 20 20
year old sub20 year olds sometimes in
our shows and they they're really into
it you know it's really great to see and

(01:07:50):
I think that if you can keep the level
of performance up and you keep fit and
you still sing and you can still enjoy
it and still have fun on stage then
there's no reason why that you know that
piece of art can't keep going and keep
keep generating new um feedback and new
kind of audiences and I I love that

(01:08:11):
about it and I'm I'd love to keep doing
it until they drop you know yeah as long
as it's embarrassing it's fine well you
guys haven't gotten fat so yeah that's
that's one of the the things is a lot of
people yeah get a bit older and they get
fat but you guys are still still in good
Nick actually I was at a music store um
pedal Empire in in

(01:08:32):
Brisbane year or two ago more like two
years I'd say and um Ben came in with
his pedal board wanting to get it
rewired and he was right beside me I
heard him sort of going oh yeah I just
want to get this all rewired properly um
get a pro job done I didn't click it was
him I did not click it was him at
all uh until he left and the guys on the

(01:08:52):
shop went oh we just had Ben from gator
in and I and I I instantly rewound and
went oh [ __ ] me that was him I would
have said something if I hadn't known
that was him yeah he's looking pretty
good he's started going to the gym
pretty much every day over the last year
he quit drinking which is another thing
that kills all rock stars obviously
drugs and alcohol I've seen a lot of
Alcoholics in our in our time like come

(01:09:13):
through probably the worst one I ever
saw was the the they had a ringing um uh
who was it custard had a ring in one
year I mean custard a pretty full on as
well but they they had a ring in of a
slide guitarist like a steel lap steel
guy holy [ __ ] that you could smell that
guy from a mile away he was on his way
out that dude was such an alcoholic was

(01:09:34):
so bad and I you know you see that a lot
of the time and just go I cannot that is
not happening to me no [ __ ] way and
you know I think a lot of the reason why
we still can perform is because we got
off that [ __ ] or never got into involved
and it's really changed Ben's life not
drinking's he's been dry for about a
year and a half now and he's he's
feeling so much better so less like a

(01:09:56):
lot less paranoid about playing and and
being on stage and doing the things that
he does and just a lot more clear-headed
I mean I've never done it particularly
um so I've never had to suffer that but
uh I think a lot of people cope with
anxiety by drinking and using drugs
obviously and when that goes then you've
got to like face your demons and and

(01:10:18):
kind of mature in a way that you've
never given yourself a chance to do so
so it's really nice when you can see
that in older musicians or older
creatives and they can get through it
and develop afterwards as well yeah so
that's really nice I've been really
lucky I've never really had the taste
for alcohol but um I've had a couple of
friends in the last two years drink

(01:10:39):
themselves to death and I can't say that
about any other drug we talked about how
being a bit naive back in the 90s and
there was junkies all around us and we
didn't know yeah yeah don't know anyone
that ever died from it uh but alcohol
I've seen that really ruin a lot of
lives since when people say oh hey man I
have a beer I'm like oh no thanks mate

(01:11:00):
uh the first thing most people think oh
you're recovered alcoholic sorry mate
I'm like no no I just taste I got asked
so many times to go to parties and like
that's the reason why I write songs
about that stuff because I was always
the straight guy always the desert anded
driver yeah um I only had a couple of
kind of like small periods of my life
where I went back to drinking

(01:11:20):
occasionally but yeah some people it
just doesn't Vibe with one of my best
friends in Hong Kong is a a magician and
he was a he's an AA dude because he
worked in bars all through his 20s and
got fully into it he stopped basically
because he started bleeding from every
[ __ ] orifice and he had to go to AA I
went to one of his meetings and my God
some of the stories and some of the
stories he tells me about you know just

(01:11:42):
guys being so drunk they fall asleep
with their babies in the bath and the
babies drown and [ __ ] like that you know
it's just like oh yeah you don't want
that in life man it's just not worth it
and it's legal that's the that's the
funny thing is you know like people we
say
oh pot bad or blah blah blah it's like
uh especially when I was a single guy

(01:12:04):
and I would be on Tinder uh or Bumble or
one of those things and I would see
these
women no drugs you know no drugs yet
every picture there's them with a
champagne in their hand it's
like that's funny you're not putting two
and two together here are you yeah so
it's it's really weird that it's
acceptable yeah I know I know so dude

(01:12:27):
are you still writing stuff for
regurgitator as well you guys working on
on new stuff as well we did a a show we
did the album last year which was really
great and I really enjoyed doing it um
but we'll probably take a quiet year
this year and just do the odd kind of
festival and and just you know bubble
away and then we might turn our hands to
writing again towards the end of the

(01:12:48):
year I think at this point but I'm going
to work with a few other people I'd like
to do a hip-hop record in between
because I'm enjoying doing hip-hop again
so you said there was a new record last
year this is another thing that I miss
about current times um hey I think it
was time off magazine just came to my
head oh yeah there time off there was
beat and there's time off there's two of
them yeah so you would know when people

(01:13:10):
were releasing new stuff or you'd go to
the record store and you'd see the
posters hey regurgitator's got a new
album coming out and like and now I I
mean I just looked up the death tones on
um uh Apple music the other day and
there's been so many albums that they've
put out in recent years that I had no
idea that they were still putting out

(01:13:30):
new stuff and I mean you got to kind of
the the amount of stuff out there is so
wide and the amount of releases is so
huge you really have to narrow your
focus and go I need to find this thing
and you have to make the effort to find
it if you want to discuss stuff again
like that yeah or you just take whatever
the algorithm gives you right so you're
not necessarily going to hear anything

(01:13:50):
about a band like us if you don't make
that effort or a band like de tones even
yeah um yeah that's that's the reason so
what's your new album called the new
album is called an Invader Invader cool
okay and see I had no idea that you had
one out but I do now so um you should
check it out it's an interesting record

(01:14:11):
yeah and it as I said it's got a few
collaborators which is very unusual for
us we' never really done it before so
there's an indigenous rapper on it
called jk47 who's amazing uh peaches is
on a track cool uh and there's this
indigenous um uh writer called Tyson Yap
Porter who wrote a poem I got in contact
with because I loved his book sand talk
incredible indigenous thinking book um

(01:14:34):
which really just blew my mind and and
continues to do so you know it's uh just
the colonialist mindset that I'd been
living in and you know not thinking that
I was uneducated about Australia and its
history it just
really made me think that I really
needed to focus more on what was
actually happening and and the way that

(01:14:56):
indigenous cultures uh their their
intelligence and the way that they they
actually are are structured is so
fundamentally different to my
understanding of society and that that
book and his other book WR story wrong
story as as well he's just an incredible
thinker very worth a look at another

(01:15:16):
book that i' I've been recently like
foring over was Rick rubin's creative
act book I don't know if you've read
that or heard of that I haven't no it's
really good if stuck creativity like
creatively and you you need to you've
got roadblocks in in your flow that book
it's kind of like a Zen Buddhist book so
if you're not into that sort of stuff
you think that's mumbo jumbo whatever it

(01:15:37):
may not be your thing but I found that
reading it it just freed me from
overthinking freed me from just getting
too caught up in what other people think
or which you you know as your career
progresses you can find yourself in
those Loops so absolutely no matter what
people say about him as a producer and
he has produced some of the biggest
records of all time a lot of the the

(01:15:59):
newest stuff not so great some of the
old stuff not so great but there's been
incredible records as well but the way
he I think the way he fac facilitates
creativity in other people is his key uh
skill yeah and when you read that book
you kind of get an understanding where
it's coming from and how it works yeah
right and did you self-produce this
record did you guys record home did you
go to Studio we only went to record

(01:16:22):
drums actually in hunting ground in
Maroa we did a drum session there which
was quite useful um but it was mostly
written at home there was one initial
thing out in Brisbane as well so I flew
up to do most of the pre-production
stuff um PLS land I think it was there
was this weird little studio in a shed
out there that we did a a pre-production

(01:16:43):
thing and wrote a couple songs out there
um but like I said I tend to prefer to
work at home alone until I'm happy and
then take it in so I did a lot a lot of
the writing was well after that and then
getting other people involved with
something that I really wanted to try
because I'd never really done it before
and i' really like to do a lot more like
that as well cool and and what are you

(01:17:05):
recording with you Pro Tools these days
or I use Studio One now I I weaned
myself off Protools over Co and taught
myself how to use Studio One and it's
gotten a lot better over the last so now
it's 7.1 I think and it's really I would
never go back to prot tours they had me
over a barrel for so long with their
subscription models and they and they're
just [ __ ] like monster code like old

(01:17:28):
code um so it just never went anywhere
and um yeah I can just remember how many
times it crashed on me and it was just
like I want to do this but I can't you
know um and Studio One just sticks all
the boxes for me obviously it's usually
whatever thing you start with is going
to be the best for you but y if you can
wean yourself off something that's
caused a lot of headaches for you and
get onto something new then sometimes

(01:17:49):
it's worth it and this in this case it's
definitely been worth it because it's a
beautiful balance between all audio
malleability and midi control like cubas
is the master of midi yeah and
particularly for orchestration stuff I
did a little bit of TV work which
required like big orchestral kind of
templates and Protools handled it okay

(01:18:11):
uh and I'm not really done and then I
made the switch to Studio One so I
haven't done a lot of TV work since then
so I'm not sure how Studio One will go
but it seems to have most of the tools
that I'd need so um but for writing pop
music and rap music and like different
genres I find it really really easy
right cool I I started dabbling with
Studio One for the same thing man Pro

(01:18:32):
Tools in their subscription I'm a broke
uni student right now and my I have to
have protols
um but my subscription ran out and they
tried to renew it I didn't have enough
cash for it so and I'm I'm think I'm
just going to cancel it bounc out a
couple of sessions that people might
need some stems and things so but I'm

(01:18:52):
getting rid of anything that's that
subscrib that slate plugins as well you
know you think oh this is great it's
like you know what I've got equivalence
of that in stuff that I actually bought
and it just works no need to upgrade so
that whole business model that people
are starting to do now I think people
are starting to push back against it and
justan it's just that they never they

(01:19:14):
just stagnated and give you like tiny
little updates like the amount of
updates that studio one has had over the
last three years has been insane even
since they were bought by Fender they
were recently bought out by Fender I
think a year ago or something but still
it's still it's still doing quite well
like keeping up with all the others it's
a bit of an under underrated one I think
I mean it's very difficult because

(01:19:35):
Protools are the industry standard so
they just they sell on that pretty much
90% of
it I think that's changing because
because I'm going to UNI with all the
young people and I see what they're
using themselves on their laptops and it
all seems to be logic Ableton
yeah and Studio One hasn't really

(01:19:57):
started to take hold here I'm seeing
more Americans use it but I got given a
copy by prus of Studio One 6 yeah
and it's really hard learning a new door
man isn't it like when when you open it
up it's a bit of a candy store so
there's a lot there is a lot if you
spent about three months with it you get

(01:20:19):
you're basically off with everything and
you go oh my God I can't believe I
didn't have this before like just even
slip editing and stuff in that like oh
my God it just saved my life so much
with like editing drums and [ __ ] it's
just so much more intuitive in so many
ways and the dragging and dropping in it
it's great but obviously there's a lot
of people that use logic and there's a
lot of people that use Ableton and they

(01:20:39):
love it so whatever works really it's
whatever works I tried doing a mix for
somebody recently in logic because they
had started it and I thought you know
what I'm just going to try and do all
this but it just got really messy really
quickly yeah I think mixing logic is
tricky and live and live obviously is
not a great mixer either I think that
that's where Studio one works for me

(01:21:01):
it's laid out you can see all the all
the things you can make them small you
can make them large you can do you can
pull out windows across two screens no
problem and it just it sends makes sense
to me it's all drag and drop so you can
just drag effect sends just you know you
can grab a plug-in drag it and it
creates uh an effect sends
instantaneously it has a lot of

(01:21:22):
shortcuts that once you get to know and
you can also create macros with it
really easily so it has a lot of bonuses
for me um and like I said it's a
beautiful mixture between the midi
facilities and the audio as well so once
you get used to kind of the quirkiness
of it there are some things in prots
that I still miss like some looping

(01:21:43):
aspects and stuff like that that are
never going to be fixed because that's
the way it is but apart from that I
think it's it's it's really ahead of the
game for most of the stuff yeah um have
you ever recommend
yeah I'm I'm gonna I'm going to give it
another go I did mix something a couple
of years ago there's this really cool
band that's getting a lot of work around
here lately called disgraceland and

(01:22:05):
they're a um a punk band fronted by an
Elvis
impersonator and okay they are opening
for a lot of bands lately um yeah oh who
have I seen that Advertiser opening for
um Rose Tattoo James
rain they just opened for Pudo Echo the
other day um and I I did their initial

(01:22:28):
demos like I went to a studio uh that I
I built years ago and filmed it and then
I got all the audio and just did like a
bit of a
um a collage of songs for them as a
promo real um I think they've probably
long outgrown that but they they're
really starting to take hold and get
some great stuff but I did all that mix

(01:22:50):
I thought okay let's there's only one
way to put something through its paces
and I did in in studio one and I had to
Google a lot of stuff along the way but
some like of course that was really easy
to do that yeah yeah so I'm thinking
you've just talked me into giving Studio
One Another go there was one thing that
I thought was really missing that I
missed from protos that they just fixed

(01:23:11):
now so you can now bounce groups like
freeze groups I could never do that
before and it was kind of like uh that
was part of the key for orchestral but
the thing is with the I I'm still on an
Intel machine right I'm going to update
to an m for like Ultra this year at some
point when they come out a studio and so
a lot of this stuff won't matter you can

(01:23:31):
just run thousands of ests at once in
real time you won't even need to bounce
yeah stuff down it's kind of crazy so
when the technology gets to that next
level a lot of the stuff that you
thought you needed from a door you don't
actually need to worry about anymore
because it can handle everything so yeah
that's another thing to think about but
yeah you do have to spend time you have

(01:23:51):
to you have to dedicate yourself and go
I'm not ever going to use protols again
because I hate it and I really did that
I I drew the line and I didn't have to
do any TV stuff at that point so I was
like I've got six months to get used to
it and get it out of my system and I
never open it now like I not opened it
for two years now I think well man I'm
going to
export some some mixes and stems for

(01:24:14):
something I did last year just in case
they they want that and then I'm going
to burn the subscription same with slate
digital yeah when I say industry
standard it's the it's just if you work
in studios yeah it's still Pro Tool
somehow it's still protool I mean audio
recording it's solid now you can bring
your own laptop and just interface
directly true true I think that's

(01:24:35):
probably going to be what changes the
game eventually what you said definitely
so I have to go pretty soon
unfortunately because I've got to I've
got to uh take something back to a
higher shop of all terrible excuse can I
just quickly ask you before you do go
you've mentioned a couple of times doing
TV work man what what type of T work TV
work I I I was kind of into animation

(01:24:56):
I've always been into animation so I put
my feelers out to see if I could get any
animation soundtrack work yeah just see
and I I did a local thing in Melbourne
uh called Kitty is not a cat which is
like a kids
program the guys the guy used to play in
um or still does oh God now I can't
remember the name a a kind of classic
90s 80s 90s um Indie band he was one of

(01:25:18):
the directors I can't even think of the
name now they're a great band cold
feeling was one of the records um but
that's Morris and another director from
the ABC um was part of the team and that
went for three seasons I think so I
produced probably about three hours of
Music Al together so they were 13 minute
episodes and they just wanted a real

(01:25:39):
variation a huge variation of music so I
I thought oh that's kind of my thing I
can pretty much ape anything so I gave
that a go and it was a great learning
curve and really fun to do and then I
did a couple of random things for HBO
and um some for Warner Brothers
uh Blue Ribbon like some like adult kind
of cutting stuff as well um uh but that

(01:26:01):
was about it I haven't had I haven't
done much soundtrack work I don't think
I have the chops to really do it quickly
enough I need to spend a lot of time um
I can be pretty dedicated at it but it
does require if you if you're a great
piano player for example or a good
keyboardist it's a great job to do
because you can do things quite quickly
and you can have fun doing it and it's

(01:26:22):
not like an arduous thing but I had to
do like classical complex classical
pieces and I can't play the piano so I'd
have to like sit there and think about
what was in my head and try and get it
into midi and make it sound realistic
and it would take me forever you know
but it was a fun thing to do fun gig to
do awesome awesome Quant thanks so much
for your time man I know when I first
reached out to you you you were like oh

(01:26:43):
I don't know if I really got much to
talk about guitars but it's so much more
I could talk to you about music
production for another hour or two you
know um what I was really hoping to have
today was I just to go back to guitars I
was going to to pick up my new Ernie
Ball um music man Albert Lee it's like a
mint green Albert Le what you're playing
yeah the white one right I saw some some
pics that's a maraposa which is a um

(01:27:04):
it's a that Rodriguez guy from at the
drive-in's guitar like I I love I I love
signature guitars I just buy them all
the time I've I've never had one of my
own obviously because I'm not really
guitarist but the the ones I do tend to
gravitate are the signature guitars so I
had like a Jan jet special for a while
and then I had I've had this this um
Omar guitar which I love is my main

(01:27:25):
guitar and I recently got an Albert Lee
a mint green colored Albert Lee one
which is great Jetson kind of angles and
stuff on it but those music men I would
never play a fend or Gibson ever again
because the they just play so well
they're so well made and there such
beautiful guitars so I was really
excited because I was getting the neck
shaved on this one I got a second hand
in Tasmania but it's a bit too thick for

(01:27:47):
me so I've given it to a guy Alia to to
shave down the neck so I was hoping it
was going to be ready today because I
really wanted to play it but and show it
but I don't have it unfortunately bummer
bummer yeah it's gorgeous I'm enough to
come and see you guys when you're
touring again this time man I'm Gonna
Keep A an eye open gonna be thin on the
ground this year but I'll I'll
definitely let you know when um the next

(01:28:08):
Brisbane show is or goco sorry goast
yeah yeah if we'll one for a while but
we'll definitely do a run towards the
end of the year there's there's some
talk of like a singles run which means I
have to learn all the [ __ ] singles
that we put out do every single single
from from the records that we've
released so that'll be interesting if
you're up to it at the time man I'd love
to bring a camera along and do a quick
little Rig Rundown of what you're

(01:28:29):
playing through before the show and
stuff if you more than welcome more than
welcome that' be awesome Quan thanks so
much man for your time it's been [ __ ]
great chatting to
you settle down settle down dude I'm G
to hit the button I got the magic button
right here which brings up the logo and
I say adios amigos C man

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