SUBCULTURE RADIO SHOW Ep #098

David Griffiths, Harley Woods and Kyle McGrath return for Ep #098 of the Subculture Radio Show.

This time around they chat to Nicholas Brown, D.A.D., Ok Go and Poison Oak

They also review films Hysteria, Sinners, The Accountant 2, Thunderbolts* and a theatre show called Refused Classisfication

Episode Transcript

Speaker 1 (00:30):
And welcome to Subculture meets the Popcorn Conspiracy. I'm Dave
g and joining me right now is Halle Welcome.

Speaker 2 (00:36):
Mate, Hello Dave, Welcome to the show.

Speaker 3 (00:40):
Everyone.

Speaker 2 (00:40):
We've got another action packed, busy, busy episode, so let
him know what's happening.

Speaker 1 (00:48):
Yeah, so we've got a lot on today's show. We're
going to kick off the show today by playing some
brand new rock music that's out. We've got some Jimmy Barnes,
We've got some Kingswood, we've got some Eric Gronhol as well.
We're going to be chatting to Nickills Brown, who we
had on the show a few weeks ago with his
last single. He's got a news single out. But we're
also going to be chatting to a very very famous

(01:09):
European band who I actually felt kind of underrated. You
may have known them back in the eighties underneath their
name Disneyland After Dark. Now, of course they had to
change that name for copyright reasons and today they're just
known as Dad. They're returning to Australia and they're kind
of in that hair metal kind of hard rock kind

(01:31):
of sound of like Kiss and bands like that. And
I've always thought these guys are seriously underrated, so we're
going to have them on today to chat about their
Australian tour. Talking of tours, Harlie and I are going
to discuss later what is the best Toto track because
some of our listeners headed along to the Toto shows

(01:52):
that were held in Australia recently and they got into
a little bit of a fight about what is the
best Toto song, So we're going to chat a little
bit about that.

Speaker 3 (02:01):
Lay.

Speaker 2 (02:01):
Yeah, this is going to be a tough one. I mean,
these are some classic tracks that came up, so yeah,
stay tuned to that one.

Speaker 1 (02:09):
We're not going to chat to a band and I'm
sure a lot of Ossie's known called Okay Go. These
are the guys who broke the internet about a decade
ago with their video clip for their track here It
Goes Again, which was them on on walking machines, those
exercise machines. So we're gonna chat to them about their
brand new album. Kyle's going to be doing a lot

(02:31):
of reviewing today as well. He's been along and seeing Sinners,
He's seen the accountant to some more comedy festival reviews
in there from Kyle as well. We're also going to
chat to the boys from Poison Oak about their brand
new track, and yeah, we've got a lot on today's show,
so we probably should just jump straight into it. Jimmy
Barnes has got a brand new track out. I think

(02:52):
it's time we give it a little bit of a
play on our show. So we're going to kick today
off with a triple play of Jimmy barnes Is new track,
Kingswood's new track, and Eric Bronhol's brand new cover of
the classic Forever Young. So let's kick off today's show
with New Day by Jimmy Barnes.

Speaker 4 (03:28):
You're not talking to that Dadada was Baggiam new Man
now so bac on track again?

Speaker 5 (03:44):
Two long conclusions like that didn't before.

Speaker 6 (03:47):
I don't have the same alusion a man anymore.

Speaker 4 (03:53):
You're not talking to the Dadada was bagging.

Speaker 7 (04:00):
My foody?

Speaker 4 (04:01):
Don't the gas is hona take my time?

Speaker 7 (04:04):
Care single thing that.

Speaker 8 (04:06):
I am facing it snu it's snood. I can feel.

Speaker 7 (04:20):
Sunshine and down on me it's snow. E'll be okay.

Speaker 6 (04:34):
Don't week come down the moment. I feel like this
snoonball that some mobile the roof bowlers out of the
best room.

Speaker 7 (04:47):
Ble, I don't need freak of the.

Speaker 6 (04:52):
Copping of up face of things, hoping word I didn't.
I said, it's going to freedomway, don't week a bound
a morning to be.

Speaker 7 (05:01):
That come miss normal. It's a it's a near.

Speaker 5 (05:16):
To be O the sun shining down.

Speaker 7 (05:18):
Hold me, it's a near.

Speaker 8 (05:22):
Linto be old head.

Speaker 9 (05:27):
It's in need.

Speaker 7 (05:31):
And they didn't hurt me?

Speaker 6 (05:33):
Was a listener word into the fire, make the back.

Speaker 7 (05:57):
It's a.

Speaker 8 (06:01):
It's mum, it's sun sat.

Speaker 7 (06:17):
Down, aby, it's to not be rot run a rod

(06:52):
to not reserve already yourself unless you me?

Speaker 8 (07:01):
Should I go down?

Speaker 10 (07:03):
Then if you.

Speaker 7 (07:04):
Stay too low in trouble tale o ye to let
me baby, gret me too, but you know me, you

(07:24):
can't see you dude, nail and again I get to
see ready, I don't win. I'm gonna break deep, rescue me.
Should I go wrong?

Speaker 8 (07:44):
Head?

Speaker 7 (07:44):
If I dyked, we stay too low?

Speaker 8 (07:54):
Jehu ret me lady, you and.

Speaker 7 (08:02):
What's your love me?

Speaker 11 (08:05):
I guess sh.

Speaker 8 (08:37):
I'll be the boy.

Speaker 12 (08:40):
In the corner rock pet, you be the girl.

Speaker 7 (08:46):
At the high school days on me where about and
just pretty dub wh you know yes what you know?

Speaker 12 (09:27):
Let let's just style.

Speaker 7 (09:58):
Let's dance for while heaven can wait.

Speaker 13 (10:02):
We're only watching the skies, hoping for the best, but
expecting the worst.

Speaker 7 (10:07):
Are you gonna drop the bomber?

Speaker 3 (10:09):
Not?

Speaker 7 (10:11):
Let us die young and let us live forever? We
don't have the power, but we never seen to ever.
Sitting in a sandpit that fists a short trip. The
music's for the sad man. Can you imagine where this
phrase is? Wan turn and call the faces.

Speaker 14 (10:30):
Into the sun, praising the leaders.

Speaker 15 (10:33):
We're getting into the music's playing battle the mad man.

Speaker 8 (10:38):
Pev I want to be forevery Do you really wanna
live forever? Forever? Thever? Forever? I want to be forever?

Speaker 7 (10:58):
Do you really want? Some are like water, some a
like the heat, some a revelity, and some other fat
sooner related the ki car. Why don't stay up?

Speaker 16 (11:22):
It's a together with that, A cause I don't pers
like d and juves.

Speaker 7 (11:30):
Like diamond, silver sun and diamond sap forever.

Speaker 16 (11:36):
So many advantiers can happen to today, so many subbuts
we forgot to play, so many dreams winning out We
let the countrey.

Speaker 8 (11:52):
I want to be for real, don't really run on
that forever forever never for Rey? I want to be
for really don't really want to laugh forever forever.

Speaker 7 (12:45):
Let's let us study will it stands for a while?
Heaven can wait?

Speaker 17 (12:50):
We're only watching the skies, hoping for the best, but
expecting the worst.

Speaker 7 (12:55):
Are you gonna drop the bomberah?

Speaker 1 (13:31):
Well, listeners, you might remember a few weeks ago we
had Nicholas Brown on the show to chat about his
brand new single. Well, he's got another new single coming
out now called Don't Mind Me, and we thought we
would actually get Nicholas back on the phone right now
to chat a little bit about this new single that
we're about to play on our show as well.

Speaker 3 (13:50):
So welcome to the program, mate, Thank you, Dave, lovely
chatting as a ways.

Speaker 1 (13:55):
Definitely now, mate, tell us a little bit about don't
Mind Me. How did this that come into being and
what kind of things were you thinking about when you
first started to put it together.

Speaker 18 (14:05):
Yes, well, don't Mind Me is a song that used
to be a funk song of mine back in the
day when I was in a funk band quite a
few years ago, and I adapted it recently with my
mate mind Electric Amazing Perth DJ and we turned it
into a modern new disco house track, which I'm really

(14:29):
really fond of. It always had a kind of seventies
I Leo Sayer, You make Me Feel like Dancing, Womac,
Womac Remind Me Baby, a few tear crops kind of
vibe to it, and there's something really kind of fun
and daggy but also joyful about it.

Speaker 3 (14:51):
And I wanted to create a really.

Speaker 18 (14:53):
Uplifting song, you know, like been with this lovely day
and hopefully it makes everyone'm feel really really good and
happy and is a nice song to start your day with. Basically,
that was the That was the memo.

Speaker 1 (15:09):
Yeah, So we had an artist on a few weeks
ago who had turned a heavy metal track into a
reggae track with his new project that he was working on.
What's that journey?

Speaker 3 (15:18):
Like?

Speaker 1 (15:19):
How did you find that journey of taking something that
was funk and turning it into something electro?

Speaker 3 (15:26):
Like?

Speaker 1 (15:26):
Was it a difficult task to do or did it
kind of lend itself to that genre?

Speaker 3 (15:30):
Really well? I think it happened naturally.

Speaker 19 (15:32):
I think funk songs.

Speaker 18 (15:34):
Are so catchy anyway, and their melodies are so you know,
gorgeous and vibrant. It's an easy thing to turn it
into a dance track. I think maybe just sort of
simplifying lyrics a little bit more because the dance genre
isn't often like too many lyrics.

Speaker 11 (15:57):
But it worked really well.

Speaker 18 (15:58):
I think it's worked really well, and we've sped it
up because it was a lot slower before and added
some lovely seventies strings and double clap clapped, and I
really pleased with the outcome.

Speaker 1 (16:13):
And of course you were working with Dave Wenell on
this one as well. Tell us a little bit about
that working relationship with Dave. What's he brought to you
to your music and how do you find sitting down
and working with him.

Speaker 19 (16:25):
I worked with Dave on Strange Shadow, which was my
last song.

Speaker 18 (16:29):
This one I worked with mind Electric the per dj
Okay mind Electric remixed Strange Shadow.

Speaker 3 (16:37):
I did this amazing nineties funky remix of it.

Speaker 18 (16:40):
So I reached out to him again to work on
the second single. It was very collaborative. He really loved
the original version of the song, and it's actually called
mind Electric Edit. It's not so much a remix because
it's the single that I'm releasing, but.

Speaker 19 (17:00):
He just kind of.

Speaker 3 (17:04):
Did a special edit of it and it was it was.

Speaker 18 (17:07):
A lovely creative collaboration. Because we worked together on the
remix of Strange Shadow. We had quite a rapport.

Speaker 20 (17:13):
Yeah, there was a lot of back and forth, and
you know, he sent me the chorus and I said, oh,
I think we need we need some sexy seventies strings.

Speaker 3 (17:24):
How about this melody?

Speaker 18 (17:25):
And I'd whistle the melody to him say yeah, okay,
we're about half of that, and what about this melody?
And he try, he try a new kind of strings
melody and it was It was a really lovely collaboration.
I love working with him and he's such a great
DJ and a wonderful producer.

Speaker 1 (17:42):
You also will have a remix of this single coming
out as well, where you've worked with Russell Small. Tell
us a little bit about that. Like last time around
it was mind Electric who was doing the remix, this
time it's Russell Small. Tell Us about that relationship.

Speaker 18 (17:59):
Yeah, Well, I've just always always loved his Kelly Rowland
remix of Work, which is a Bollywood sounding remix, And
when I heard it at clubs back in the day,
I just noticed that everyone would go crazy. So I
always had in my mind, oh gosh, I'd love to
send him the track and see if he could work

(18:20):
his Bollywood magic, because obviously I'm an Indian. My background
is Indian and a lot of the music that I
do has I try to include as much Indian fusion
as I can, as I did with Strange Shadow and
Dave Well. And so I wrote to him and sent
him don't mind me and said, how about a Bollywood

(18:41):
remix of this? And he didn't do a Bollywood remix
of it? He did his own thing and turned it
into a house remix and it's really really fun and
it's something you can kind of march to.

Speaker 3 (18:57):
It's got this marching band house kind of feel to it.
So I was stoked that he agreed to work with
me because.

Speaker 18 (19:03):
He's worked with some pretty amazing artists. I also love
his remix of Kylie Minogue's song the One, which is
just iconic actually, So I was stoked that he wanted
to work with me, and I'll.

Speaker 3 (19:17):
Be putting the remix of his out very soon.

Speaker 1 (19:21):
I was going to ask about that because, of course,
like you said, he's worked with the likes of Kelly
Roll and Kylie Minogue.

Speaker 3 (19:26):
What does that mean to you.

Speaker 1 (19:27):
As an artist that he would take the time to
work on one of your tracks. That must mean a
hell of a lot to you.

Speaker 19 (19:36):
As I said, I was stoked. I mean, I sent
him some of my other music and he liked it
and agreed.

Speaker 18 (19:43):
I mean, I haven't met him personally. This is just
me sending an email. And look, if you don't ask,
you don't receive. I asked him and he said yes,
and that was a wonderful feeling, you know.

Speaker 1 (19:56):
So where to Now for you? Of course, your first
thing all was really really well received. I'm sure this
one is going to be the same. Where to Now
for you?

Speaker 18 (20:06):
As an artist, I'm working on an EP and we'll
hopefully have that out by the end of the year.
So Don't Mind Me and Strange Shadow will be on
that EP and maybe three, three or four other tracks.
So I'm working with various producers to get that out
hopefully soon. So that'll be yeah, that'll be out by

(20:28):
the end of the year.

Speaker 3 (20:29):
Pingers crossed awesome on Nicholas.

Speaker 1 (20:31):
We're going to play Don't Mind Me Now on the show.
So what would you like to say to all of
our listeners out there before they take a listen to
this track?

Speaker 18 (20:39):
This is an uplifting new disco track. I hope it
makes listeners feel really really good. I hope it gets
you boffing around. I hope it makes makes you feel
like you're unstuffable. It's about it's about unapologetically being yourself
and throwing caution into the wind and strutting about confidently

(21:02):
being you.

Speaker 3 (21:02):
You know your true self. So I really hope you
enjoy it.

Speaker 7 (21:06):
Today I'm feeling fine. Let's go. My truth we had
yesterday was a child no help platform down tomorrow.

Speaker 21 (21:21):
Missus Brando's making days on the street camp.

Speaker 7 (21:29):
I'm thinking town of Pine of one day movie, frumming
down the street.

Speaker 8 (21:51):
I'm getting again, I don't know who you want those downs?

Speaker 7 (22:25):
A French star, hell.

Speaker 12 (22:33):
Lies child, but.

Speaker 7 (22:39):
The same.

Speaker 22 (22:47):
Face a Mott Street.

Speaker 8 (23:02):
Don't the moment. I'm saying Pat again, the data don't
know who we want to pay those twent and all that.
And I'm saying Pat again, the data don't know we
want to play those towns.

Speaker 7 (23:22):
And now that.

Speaker 8 (23:33):
You don't.

Speaker 3 (23:45):
Know that.

Speaker 7 (23:48):
You don't.

Speaker 23 (23:53):
Don't.

Speaker 24 (24:02):
Hello, welcome back to the show. I'm your host, Kyle,
and I'm going to be talking about the preview night
film for the twenty twenty five HSBC German Film Festival,
which we'll be starting pretty soon late April, i believe.
Now on the twenty ninth of May nineteen ninety three,

(24:23):
this is a real story, something that actually did happen.
Evil struck as the large Turkish family of a asylum
seekers slept in their beds in the German city of Solingen.
This was the latest in a spree of anti foreigner

(24:44):
attacks and four men with extremely far right leanings set
fire to the family's home. Now in the wreckage, five people,
all females between the age of twenty seven and five
years old, were dead, and it would go down as
one of the worst instances of racist of violence in

(25:07):
modern Germany. Now thirty years later, and this is the
fictional part that I'm talking about now, the German based
Turkish filmmaker Yigit played here by sirk and Kaya, along
with his producer and partner at Lilith, played by Nicolette Kribbitz.

(25:29):
They are making a film about this cruel time of history.
They film a controlled house fire and for added realism
they hire some locals from a nearby refugee center to
act as extras during the cleanup. The scene is effective
with the amateurs turning in really raw and emotional performances

(25:52):
until one of them makes a discovery something that is
a true horror to some and completely consequential to others.
You see, a real Qur'an was used as a prop
in the house fire. Some of the extras are incensed
by this desecration, while some are completely indifferent to it.

(26:16):
Yugret is happy with the scene, however, and Lilith entrusts
the footage to the young intern and second assistant director, Elith,
played by devreim Linglau. Now Ilif is fresh out of
college and she's thrilled to be working under her idol Lilith.

(26:36):
But in trying to cover up one mistake, Elith allows
another to happen, and before she knows it, she finds
herself stuck in a complex world of secrets, lies, and paranoia.
In the face of growing tensions over sensitive issues, Elith's
dream job turns into a nightmare which she cannot seem

(26:58):
to escape from. Now Hysteria comes written and directed by
Now Please Forgive Me mehmet Akif Boyer Catille now who
Memett is making his follow up to his award winning
debut feature Ora from twenty nineteen. This film actually comes

(27:20):
straight from the Berlin Film Festival, and he actually won
an award for Best Debut Film for Oray at that
same festival. It's part satire, part meta commentary on the
exploitedive nature of culturally aware filmmaking, and it's also a
takedown of what people do and do not find offensive.

(27:44):
As a preview night film for the twenty twenty five
HSBC German Film Festival, it brought now biding tension and
even a few laughs to its audience. Now, the movie
is built around a thriller of a character trying to
find their way out of a hall which only seems
to get deeper the more they keep digging. Hysteria hits

(28:06):
on many different prevalent talking points, and I admit heading
into the film, I was somewhat dubious due to the
possibility that was just going to be It's going to
potentially be another self righteous and obvious story about the
evils of racism in modern Europe. Now, the thing is

(28:27):
very early on in the movie. The character of Mustapha
played by Aziz Caproc, who is a former theater director
and now asylum seeking extra He accuses jiggurt of making
exactly that type of movie, and for how heartbreaking the
story of the Solongun massacre is a movie about It

(28:49):
is a hollow thing when a filmmaker just reinforces the
cinematic portrayal of Muslims that they can only ever be
terrorists or victims. Yet at the same time, most of
us feels as if he somehow has ownership over his
people's suffering. Now he and your Get are cut from

(29:09):
the same cloth. Yet because you Get is a second
generation immigrant and successful, then he is apparently less worthy
of telling this story. And this divide between the characters
it fuels much of the conflict throughout the story. There's lies, egos, obnoxiousness,
and greed which poison the wells. So even when a

(29:31):
peaceful resolution seems in reach, the characters let it slip
through their fingers. Elif shuns her and father, for example,
because his kind nature allows for him to be taken
advantage of by people, and in such case, I mean
they would be they would be the pricks, not him.

(29:51):
But Elif resents his generosity regardless. Now it's a film
where you may walk out of the cinema or less
despising everybody. As the writer director pulls no punches. Any
situation where his characters may be righteous, it's marred by
their own actions later on. It's a very different film

(30:14):
to Spike Les Do the Right Thing from nineteen eighty nine.
But I love how Hysteria taps into that same level
of complexity with its characters, chiefly their refusal to respect
and to be attuned to the perspective of others. Even
beyond that level of empathy, the film is a nail

(30:36):
bier which will leave you with knots in your stomach
like a pressure cooker. Just kind of builds to this
almost inevitable explosion, and as we see the eyes through
see the story through the eyes of Elith, the mystery
of who can she trust? It instills a level of
dread and anxiety, and with Ilif's amateur digital surveillance and

(30:59):
information gathering, it generates some incredibly chilling moments over the
course of the film. And all of this and she
just wanted to get a foot in the door of
Hollywood Hysteria. It's an intense look at human nature and
the ever growing chaos surrounding race and religion, when even

(31:23):
people from the same background can turn on each other
over just minor differences. The world's kind of a scary place.
Either because we refuse to understand one another or refuse
to let things slide, We're just never going to get along.

Speaker 11 (31:40):
Now.

Speaker 24 (31:40):
Some may see this movie as a black comedy, but
that's more because our world is just so ridiculous at times,
and when a film such as this reflects that same
fractured human nature so accurately, the only thing that we
can do sometimes is just laugh. So Hysteria will be

(32:01):
playing as part of the twenty twenty five HSBC German
Film Festival. It starts the thirtieth of April in Candra,
but all across Australia it is starting. There's different times
at other places. It starts early May, but for session

(32:22):
times in venues nationwide, I recommend going to Germanfilmfestival dot
com dot au. Pretty simple. But for this movie, I'd
probably give this movie a four out of five. I
really did find it quite an interesting, quite an interesting
take on its subject matter, and especially when it was

(32:43):
one that I.

Speaker 9 (32:46):
Like.

Speaker 24 (32:46):
I said, I was pretty dubious going into it, So
it's a four out of five for me.

Speaker 8 (33:20):
Mumblingold morning and raising my head, my bad breath tears
to my bill on.

Speaker 7 (33:25):
Bed, takes a look at the day and turns and
stay in mad.

Speaker 8 (33:33):
Oh mynyes when the day, I say, that's in the
world and a slip all right now my day man,
so listened.

Speaker 7 (33:42):
My Dan's safe. Oh Lord, my god, bless.

Speaker 8 (33:46):
The names from the nail in the seven years.

Speaker 7 (33:51):
I see in my head and the night comes to
the city I see, I see.

Speaker 8 (33:58):
In my head that is my patent. Sit the middle,
skip in my asking. Do you say game, my friend,
I'm stealing my dad. When you're me begging, I'll be

(34:25):
round to me, letting you in with a smile on
the face side that I dream mood him. So if
you want to travel along with me, you better sleep.
Take the rest of the day, you see, I could
be a sleeper.

Speaker 7 (34:42):
And stop rest. I last decide to say, when the
son's coming back in the plane, super us, I'm skimming
my head.

Speaker 8 (34:54):
When the name comes to the city, I see it,
I'm skimming.

Speaker 12 (35:00):
Yeah, my man, send the little.

Speaker 7 (35:03):
Lasses last again, my friend.

Speaker 25 (36:10):
Sleeping about it.

Speaker 7 (36:22):
Cannot sun now around and.

Speaker 8 (36:30):
Sweat.

Speaker 7 (36:31):
It's notas.

Speaker 26 (36:35):
Ac Yes, our listeners, we have a tour coming up

(37:05):
that we know that you are very very excited about
Dada heading back to Australia and this time it's their
Greatest Hits tour, and we thought tonight to find out
a little bit more about this Greatest Hits tour, we
thought we would actually get Jacob from the band on
the phone to chat a little bit about it.

Speaker 1 (37:23):
Welcome to the program mate, Thank you very much, Thank you,
no worries. Now, Jacob tell us a little bit about
how you guys are feeling about heading to Australia for
this amazing tour.

Speaker 3 (37:37):
Well, we are very excited to go once again. We
were there as some of you might remember in November
of twenty two. Yep, and I had a great time.
It was like a big welcoming home. I think I
felt like that anyway, although we haven't been there for
years and years and years like it was great, audience

(37:58):
were amazing, We had a great time and we were
really looking forward to come back. And this time we
as you said, the greatest is but we also have
a new album note which now this this time is
like we're going somewhere. Lifetime was like hatching up and.

Speaker 27 (38:18):
This but this time we'll will take you.

Speaker 3 (38:21):
And introduce you for the new stuff also, and so
that's going to be great.

Speaker 1 (38:26):
I think, yeah, definitely. You said that last time you
were here it felt like coming home. What what made
that feel so special for you?

Speaker 3 (38:36):
It's because we realized that people have they have really
listened to especially in no of your little diss album. Well,
they have listened to that over the years, and I
was stuck with it, and and they came and saying

(38:57):
along to most of the songs. It was amazing. They
was like the never left quite amazing. Actually, so it
was like just seeing all friends again. It could have
been just a few days ago, but I think that
was amazing after so many years.

Speaker 1 (39:16):
You mentioned before as well about the fact that the
brain new album is out. Of course, Speed of Darkness
is out. For all of our listeners out there, you're
in a unique position because a lot of bands that
have been around for forty years, they're only playing tracks
from like twenty years ago or twenty five years ago
because they've got no new material. But you guys have
had what three albums since twenty ten. How does that

(39:41):
change things for you?

Speaker 28 (39:42):
That you've got.

Speaker 1 (39:43):
Fresh music there as well as your greatest hits.

Speaker 3 (39:48):
I think that well, I think that if you can,
if you have, I mean you have to. You don't
have to put out new albums. But I think it
keeps you alive, and it keeps you communicating, and it
shows people where you are. And when you make a

(40:09):
new album, then if you settle, if you make that
decision to make a new album, then you you need
to you need to work, You need to pull yourself
together and and tell the world who you are. And
then it makes and I mean that that makes you
check yourself and the music seriously and people can sent that. Yeah,

(40:34):
So it's it's obviously you may make your most paints
makes the best stuff when they are in this winds.
Let's just let's face it. But maybe we did too.
Out knows. I'll leave the audience be the judge of there.
But I think we manage actually to make a great
new album, which we are proud of.

Speaker 1 (40:57):
It is such an amazing album. How of the track
been going live from Speed of Darkness.

Speaker 3 (41:05):
It's been going really well and we've only played a
few shows since we we released the album, so we're
still it's still fresh for us, and Australia is gonna
it's actually the first store outside of Denmark where we'll
play quite quite a few songs from the new album.

(41:27):
So that's going to be exciting. So I think that
we're going to play some stuff from the No Fuel
album obviously, and then we're going to play quite a
few from the new album as well.

Speaker 1 (41:41):
Yeah, I was going I was going to ask with
the new material and also so many classic tracks as well.
Was it kind of difficult these days to put together
a set list, so when you're coming to a country
like Australia that you don't get to you very often.

Speaker 3 (41:58):
Yeah, I think in this case it's not too difficult actually, because.

Speaker 11 (42:05):
The new album is quite.

Speaker 3 (42:09):
It's not similar, but it's the same band as back then,
and in a good way. I mean they're in a
good sense. I feel they're in a good sense. And
then we've done some stuff in between, which is kind
of albums Sendema came out in Australia, so that's kind
of a relemant, so we just keep that. So we're

(42:31):
going to place most of it I very new stuff.
I think that it's going to be a really rock,
energetic rock setlist for you.

Speaker 1 (42:40):
Guys and j Yeah, were you surprised how many people
did know those tracks from those albums that weren't released
in Australia because Australia when I was growing up in
the eighties and the nineties, there were always a lot
of bootleggers at markets and places like that, and they
used to go over Yeah, they used to go overseas
to get albums. Were you were you kind of surprised

(43:02):
at how many Ozzies did know tracks off those albums?

Speaker 3 (43:08):
Yes, I was. I was impressed actually when we played
some of the songs from the later albums. But people
responded and I could tell that some of the people
they had then those records too, although they weren't released
officially in Australia. So that's great and it's going to

(43:29):
be it's gonna be fun to see to see this
time around what people respond to.

Speaker 1 (43:37):
Yeah, jakeb I want to take you right back forty
one years ago to nineteen eighty four. Tell us a
little bit about the early days of the band. What
it was like you you came into your brother's band
and started to play. What was it like back then,
and did you have any kind of feeling at all
that the band would still be going strong forty years.

Speaker 3 (44:00):
You know, Well, we didn't know how this would turn out.
We had no idea we had. We were very young
and we had a lot of different bands all the time.
From when we were like fourteen fifteen, me and my

(44:21):
brother and our friends and Steek and Peter. We all
we were skateboard kids on the streets of Copenhagen and
we were just doing what we thought was cool, which
was riding a skateboard and being in a paint. And
we had those of different pins all the time, and
we never thought that any of them would last very long.

(44:44):
It was just an idea, you know. We just we're
just basically just tooling around with the whole thing. And
then he has just started playing with Steak and Peter
and they made this made up this country count thing
by accident, and we thought it could be funny if
I joined us as guitar player. So I did that

(45:05):
on a Sunday and we played our first kick on
the Monday night, and that was kind of it, and
then we just played the next and the next and
the next kick, and then it was just went on.
It was never really conscious. It was just like missing
around really And then after a while when we started

(45:26):
making money and we thought and we saw that, you know,
people actually shut up and stood in line and bought checks.
Then okay, we might have something going here.

Speaker 1 (45:39):
How did it go to that next level as well?
Of course, because then five years later, No Fuel Left
for the Pilgrims came out and that album was big
right around the world. I can remember it coming out
here in Australia as well. How did it go from like,
as you put it, messing around and then suddenly you've
got this hit album on your hands that's going right

(46:01):
around the world.

Speaker 3 (46:02):
What was that like? And that was that was an
amazing feeling. And when we started to write No Fuel
Less and beg Rooms, we we felt that we needed to, yeah,

(46:28):
maybe make less fun of it and try to make
some some rock and roll that maybe felt a little
deeper and more substantial. We were it was all kind
of a joke in the beginning, and we thought, okay,
let's now let's play some really dangerous rock with us.

(46:48):
Let's let's do that. They're willing that, and.

Speaker 29 (46:54):
And we we we had that passion for working hard
and writing list and trying it out, and we feel
that ways something going.

Speaker 3 (47:06):
We did nothing else, but we rehearsed every day, and
we worked really hard and we wanted to get a
record deal, and so it is. Yeah, And I thought that,
you know, okay, this this album would probably sell a
little more than the one before. But I had no
idea that it would. It would, we would get a

(47:30):
record deal in the US, and it will. It came
out shug shit. I had no idea.

Speaker 1 (47:38):
Yeah, So how do you keep your passion going? We
see so many bands these days, they come and go
after just a couple of albums and you never hear
from them again. For a band like you, to for
your band to keep going for forty years, it's an
amazing feat. How do you keep that that passion going

(47:59):
and that freshness going as well? I mean, we listen
to your new album and it's so fresh. How do
you keep that passionate freshness going for forty years?

Speaker 3 (48:10):
Well, one way is to for me personally, it's there's
always been that curiousness about music and going digging into
the music and the crafts, freshmanship of writing music and

(48:30):
play and and it's always it's always there somehow. I
always feel that what I s and write something new
that will make me feel in a certain way. I'm
always curious about music, and I'm always interested. I'm passionate
about composing and so if you actually spend time with

(48:56):
your instrument, then it will give something back to you.
What the most difficult part is actually or the hassle
around it, you know, the traveling all that? Ye uh,
And that's that's charging. As I usually said that I
get paid to travel. Our play for free, but you

(49:16):
pay me to travel. But I think if you have to,
you can find the passion for music once you had it,
and it is no question of not destroying and I think.

Speaker 1 (49:32):
Definitely. So I know we're running out of time very quickly,
and so I guess to finish off, what have you
got going for the rest of this year? Are you
working on any new music or anything like that? And
what would you like to say to all of your
Australian fans before they head out to these shows.

Speaker 3 (49:53):
I will say that I am looking forward to doing
this and the last time most it was like a
coming home and this time is cover coming home back
home with new stuff and I'm so excited to meet
you guys and feel feel the rockness of Australia. It's

(50:16):
a real rock country and it's it's kind of similar
to Denmark. You know, you meet up, you have a
large beer as a rock and roll. It's it's simple,
but it's the same for you in here as down
on look with you guys. So I'm looking forward to
that very much.

Speaker 7 (51:08):
Stay out of frame and bending.

Speaker 8 (51:10):
Out of shape.

Speaker 7 (51:12):
Nothing's really except the many that we make sering. That's
the place.

Speaker 10 (51:16):
What is it you wants?

Speaker 3 (51:17):
Me?

Speaker 7 (51:18):
Can take a turn and I to see well, like
to see you.

Speaker 8 (51:22):
That's a brand new stuff by Ma'm sad the fastest
cart My nerves and tristan nature said no, John's do
the word.

Speaker 7 (51:35):
And now I'll tell you for free. Now I start
to stop being.

Speaker 8 (51:39):
Me, but she said, won't believe got out of the
leave when I'm a bad grace. And that's the time
I have to look TV and none.

Speaker 7 (51:49):
Go out of too bad grace.

Speaker 8 (51:52):
See the shadow stands at over see them say to
leave the hell out.

Speaker 7 (51:58):
Here like a TV. No one who watches mines filled
with ys, no muches. Walking trails of my living.

Speaker 8 (52:08):
Room the floor. I feel that life won't be the same,
must be followed like an explorer.

Speaker 28 (52:14):
I'm looking for help.

Speaker 8 (52:16):
I want to be happy, to find myself and trying
to temple home.

Speaker 7 (52:23):
To be my balance on the constr own really leave
a bad race?

Speaker 8 (52:31):
I got the time I had to.

Speaker 7 (52:33):
The TV and I'm blocking the phone.

Speaker 8 (52:36):
Bad fast to be on the ground now my Moscow
bad trade.

Speaker 7 (52:44):
See because you won't believe live when I'm.

Speaker 8 (52:47):
Alone, man try to Man's two many.

Speaker 7 (53:44):
When I'm alone?

Speaker 3 (53:48):
All right?

Speaker 1 (53:48):
Well, as you all know, on this show, we'd love
to be able to answer listener questions and we've got
a really, really good one this time around. This is
from one of our listeners called Lee and he's from
Glenorchy in Tasmania and his question was what is Recently
we traveled across to Melbourne to see Toto play their

(54:10):
Australian shows. On the flight back, my wife and I
got into an argument over what is Toto's greatest single?
Was it Africa? Was it Hold the Line? Or was
it Rosanna? And we just wondered what you guys think
which was the greatest of Toto's singles. And I'm actually like,

(54:31):
really glad that people are talking about this because so
many people I know think that Toto were a one
hit wonder with Africa, So it's actually good that people
are actually talking about the fact that they did have
more than one hit single. So Harley, first of all,
what are your thoughts on Toto and what's your thoughts

(54:53):
on this argument of whether Africa Hold the Line or
Rosanna was their greatest single.

Speaker 2 (55:00):
Well, I'm just thinking this is going to be a
very unhappy relationship because I think you're picking an argument
that you just can't win.

Speaker 9 (55:13):
Look, I love Toto.

Speaker 2 (55:14):
I remember just hearing them all the time as a kid.
So I'm one of those people that will just wander
around all of a sudden, I get an old song
in my head. I'm like, oh, yeah, what was the
name of that song? Who sung that? And invariably it
will be something like Toto or America or ten Zz
or something. Just trying to rediscover those old songs. So

(55:38):
it's quite funny that just in the past week or so,
I've had Rosanna in my head. So this is a
very timely question. Yeah, And I just kind of played
each of the songs through again before we started recording,
just because I'm like, let me think, let me just

(55:58):
hear them fresh, and I'm like, oh, I love the song,
and then they'll play the next one. Oh I love
this song. Play the next one. I love this song
and I'm like, oh, so I thought, hey, let me
listen to a few of their other tracks, and you know,
there's a lot more the slower kind of stuff, and
I'm like, you know what, these three really are the
standout kind of ones that you always remember. And I

(56:24):
don't know if there's a definitive answer to say, what
is the greatest single? I mean, the only way I
could personally phrase it is that I think Africa is
the most stand out because it's the most different yeap,

(56:45):
just that that sound of it is something different and
special and I just remember that since childhood, Like I
love the rock vibes of Hold the Line and Rosanna,
Like I said, that's been stuck in my head recently.
But I just think maybe it's the differentness of Africa

(57:08):
stands out for me in this argument. Yeah, which isn't
me really necessarily saying it's the greatest, but I dislike
that it's one of their most different kind of tracks.
There's a classic sound that just I don't know where
it came from, but I just love it and it
singles out itself.

Speaker 1 (57:30):
I get what you mean by that because I'm like
that with Starship. I love We Built this City, But
my favorite Starship song is Sarah. I love that song
like because different to anything else that they that they did,
it's like a real kind of standout. And this to me,
like this argument is kind of like when I went
to see Scorpions a few years ago, and of course

(57:51):
if you'd asked me before that concept what my favorite
Scorpion song was, I would say, oh, Wind of Change definitely.
And then when I was there and like hearing them
play live, I realized how much I also like rock
You Like a Hurricane and Send Me an Angel. And
it's like now I can't like, whenever I listen say,
oh I'm going to listen to Scorpions, I have to

(58:12):
listen to all three of those tracks. I can't just
listen to Wind of Change because it's.

Speaker 2 (58:16):
Like, well, actually, you raised a good point there that
was sort of occurring to me when you, you know,
stated the problem is that you know, if you've just
gone to hear them live as well, you've got a
whole other experience versus the recordings. Yeah, exactly, So what

(58:36):
might be done in a live performance, whether it's what
they're doing on stage or just the way they're playing
the song in this particular version adds a whole other
dimension to the argument. So it's like, yeah, where are
we going now?

Speaker 1 (58:52):
Yeah, And that happened to me with Europe a few
years ago as well. I went and saw them, and
of course the Final Down is the first song you
think of when you think of Europe. But then when
I was at the show, Rock the Night was the
best track that they played that night, Like it was
just it just felt like it took you to a
whole different place. And then like there would have been

(59:13):
a lot of people I'm sure walking away from from
that show going oh my goodness, I forgot how good
Rock the Night and Carrie, whereas songs like yeah so
because for me with this, for me it comes down
to Rosanna or Africa, because I love Africa as a track,
but I love Rosanna as a track as well, So

(59:36):
it's like, yeah, I don't know if I can.

Speaker 2 (59:38):
It was funny, it was I had to kind of
think for a minute about hold the line. I'm like, oh,
for a minute, I couldn't remember how it went, and
then once it was in my head, it was like, oh, yeah,
I love this song. It's just like you cannot win
this argument, even if you're arguing with yourself, because I'm

(59:59):
the same, Like.

Speaker 1 (01:00:00):
I'm thinking, well, I love Africa, It's one of my
favorite songs. But then I like think of Rosanna, and
it's like, I'm like you. That song gets in my
head all the time, Like I'll be walking around and
I'll suddenly find myself going dn d D D D
Dan denn. It's like, yeah, I can't split both two.

Speaker 2 (01:00:19):
And you know that song particularly got stuck in my head.
I remember years ago when Will and Grace was on
and they're visiting someone in prison, and then Grace sees
one of her like high school crushes is an inmate
and he's like Grace Adler and he starts, you know,

(01:00:41):
kind of seducing her in the prison because he wants
someone to vouch for him and help get him out
of prison. And he's like, oh, you know that that
song by Toto Rosanna. I used to secretly sing that
in my head with your name, Grace Adler.

Speaker 1 (01:00:59):
Yeah, oh you know what, let's throw it open to
our listeners. We're actually going to play Africa, Hold the
Line and Rosanna in a triple play right now, and
we want you guys to let us know online which
one you think is the best Toto track. And next

(01:01:20):
week we'll actually discuss, like the what people actually said
was the best Toto track. So we're going to throw
it open. So Eric, I hope you're okay with that.
We are going to throw it open to all of
our listeners to let us know which is the best
Toto track. So sit back, enjoy your trip back to
the eighties because we're going to play a triple play

(01:01:40):
of Toto right now.

Speaker 7 (01:02:02):
I hear the drums are.

Speaker 28 (01:02:03):
Go in tonight.

Speaker 30 (01:02:06):
She hears only whispers of so quiet God, the same
show she's coming in twelve thirty fins the moon The
Twigs reflected the stars that God Beturt sol Page Shone.

Speaker 31 (01:02:26):
I stopped to know the man along the.

Speaker 7 (01:02:28):
Way, hoping to find some more forgotten words a range
of bad noise.

Speaker 32 (01:02:37):
He turned to me as if to say, hurry boy,
it's waiting there for you.

Speaker 8 (01:02:47):
Gotta think at the day away from mend men on market.

Speaker 7 (01:02:58):
I'm that's arrayed in Africa.

Speaker 33 (01:03:03):
We're gonna make the time to.

Speaker 19 (01:03:04):
Do a thing.

Speaker 34 (01:03:06):
Ever, the wild dogs cry out in the night as
they grew restless, logging moresome solitary called.

Speaker 31 (01:03:33):
I know that I must do what's right.

Speaker 30 (01:03:36):
Sure, as Kiln and jo Rod rises like alembers about the.

Speaker 35 (01:03:40):
Sambrigan, I seem to cure what's deed the inside, frightened.

Speaker 9 (01:03:48):
Of this thing that I've become, should make.

Speaker 8 (01:03:55):
The bay away for me. There's been another bunnet man,
I'm mark.

Speaker 7 (01:04:05):
I guess the rays down in as Africa. It's gotta
takes the time to do that.

Speaker 33 (01:04:12):
Things w never.

Speaker 7 (01:04:43):
Three boys, she's waiting that feel sure to think a
lot away.

Speaker 8 (01:04:55):
There's been a lot of bunod man.

Speaker 7 (01:04:57):
I'm marked.

Speaker 36 (01:05:01):
I must to praise down in a regod. I miss
the raise down in the end, recod I mist to
raise down in a regod. My best to praise down
in the end?

Speaker 7 (01:05:19):
Regard I best raised down in the end.

Speaker 33 (01:05:24):
We got on coind of takes some time to do
the things you have.

Speaker 27 (01:06:27):
It's not in the way that's the moment. It's not
in the way you say you can. It's not in
the way.

Speaker 7 (01:06:38):
You've been treating the brands.

Speaker 12 (01:06:41):
It's not in the way that you start to it's
not in the way you look for the.

Speaker 7 (01:06:49):
Things that you said. The lie that isn't always on
line for the life that is a dobby on time,
both boom, it's not in.

Speaker 12 (01:07:12):
The worst that's telling her.

Speaker 7 (01:07:17):
It's not in the way you say. It's not in.

Speaker 21 (01:07:22):
The way that you came last. It's not in the
way that your love said with me. It's not in
the way you look on the things that he said.

Speaker 8 (01:07:36):
For the life.

Speaker 7 (01:07:40):
That is a hobby is on time, Hoom.

Speaker 8 (01:07:46):
For the line.

Speaker 12 (01:07:50):
That is a hobby on time, it's not in the

(01:08:39):
way that some.

Speaker 8 (01:08:43):
Is that in the ways.

Speaker 21 (01:08:48):
It's not in the way that you came. Actually, it's
not in the way that's love.

Speaker 8 (01:08:58):
It's not in the way for the pass said produced before.

Speaker 33 (01:09:02):
The line.

Speaker 7 (01:09:06):
That is a parway is on time.

Speaker 33 (01:09:12):
For the line.

Speaker 7 (01:09:16):
That is a para is on time. The line.

Speaker 8 (01:09:26):
Come is a parways on time? That is always. That
isn't parways on time. That is a parway is on time.

(01:09:46):
Come isn't parways on time. That isn't parways on time.

Speaker 7 (01:10:10):
Anything. I went a wake up in the morning, see
you lie.

Speaker 30 (01:10:24):
Rosaiana, Rosana, I not that good, like you could have
a cap.

Speaker 7 (01:10:33):
Rose and.

Speaker 3 (01:10:35):
Anything.

Speaker 8 (01:10:39):
I don't want to do all a man.

Speaker 7 (01:10:40):
Love him and as all the time, Dada.

Speaker 3 (01:10:45):
But that.

Speaker 8 (01:10:47):
I didn't know you the morning, I would never be.

Speaker 7 (01:10:54):
Why should she wins? Yeah, no shoes and shap.

Speaker 8 (01:11:11):
Meet you all the way, meet you all the way back,
meet you all the way, meet.

Speaker 3 (01:11:29):
You all the way.

Speaker 30 (01:11:37):
I can see your list shot due to an army
on the side.

Speaker 7 (01:11:42):
Rose said Rosa. I don't know that a girl like
you to make a pace.

Speaker 33 (01:11:48):
You said.

Speaker 7 (01:11:51):
Lose and I did not. Never never happened, not no,
said pro sad.

Speaker 8 (01:12:06):
Never not knew that we could never had a mad.

Speaker 7 (01:12:12):
Bad Since she went away, said Now she's gone, and
I have to say, meet.

Speaker 33 (01:12:30):
You all the way, meet to fall away, meet.

Speaker 7 (01:12:41):
You all away, make you all the way since she

(01:13:33):
went away.

Speaker 11 (01:13:35):
Us.

Speaker 7 (01:13:39):
Now she's gone and I have to say meet away.

Speaker 23 (01:13:55):
Away to all the way, to all the way, all
the way, all the way.

Speaker 7 (01:14:25):
To all the way.

Speaker 28 (01:14:31):
To all the.

Speaker 5 (01:15:25):
Welcome back to the show.

Speaker 24 (01:15:26):
I'm your host, Kyle, And well I'm going to be
looking at one of the latest comedy festival show.

Speaker 3 (01:15:33):
That I saw.

Speaker 24 (01:15:33):
Now the Melbourne International Comedy Festival has wrapped up, but
the final show that I saw was zach Ran and
Alexei Toleopolis in Refused Classification and this this is a
show which really does tap into my fondness for filmmaking.

(01:15:56):
I once saw a video of a speech by the
late journalist Christopher Hitchins, and it was about the virtue
of having the right to yell fire in a crowded theater.
Now it's beyond me to attempt to condense his entire
presentation here, but the focus was on censorship and its effects.
He put forward the question of who is out there

(01:16:19):
who you would deem worthy enough to dictate to you
what you can and can't say, and what you can
and can't experience for fear of being offended or giving offense.
Now the highly controversial movie Ken Park. It was released
in two thousand and two and it was directed by

(01:16:39):
the provocative filmmaker Lara Clarke, and, like his earlier work,
the eye opening nineteen ninety five film Kids, Ken Park
explored the lives and relationships of a group of teenagers,
both violent and heavily sexual in its subject matter. Ken
Park portrayed extremely graphic depictions of teenage ages engaging in

(01:17:01):
various sax acts alone and with each other. The amateur
performers or While they were all over the age of eighteen,
they still looked young enough for the film to feel
authentic and a little bit uncomfortable for many viewers. So Australia, well,
they did what they did best when folk are challenged

(01:17:22):
by work of fiction, and following complaints by religious and
political figures, the film was banned, limiting its release nationwide.
This applied also to film festivals, where usually such concerns
are overlooked, but in protest, various screenings popped up, such

(01:17:43):
as the one which was attended by film critic Margaret Pomerans.
She was an abject supporter of the film and what
followed was an embarrassing historical showdown with local police whose
job it was to protect us from seeing boobies and
willis now a bizarre moment in Australian film history, to

(01:18:05):
be sure, in one which anybody over the age of
thirty five who calls themselves a film fan likely remembers.
For their new show, Refused Classification, comedians and film lover
Zachary Ran and Alexey Toleopoulos, they take the audience down
memory lane in this informative, energetic and hilarious comedic look

(01:18:30):
at the history of censorship in Australia. Now opening with
Zachary and Alexey lampooning David Stratton and Margaret palmerans with
Dodgy Wiggs and even Dodger impersonations. The laughs came at
the audience fast, while they looked nothing at all like

(01:18:51):
the hosts of ABC's The Movie Show. Refused classifications, adherence
to Verbaden re enactments and the two comics their mannerisms
made the illusion oddly complete. But this is only one
element of refused classification. As like film loving Michael Moore's,

(01:19:13):
they explained to us with much vigor and comedic excellence,
just how a mess like that Ken Park screening came
to be. The parties involved, the laws which were challenged,
the sordid history of Australia's love with censuring and massing
up an artist division because some Karen got offended. Now

(01:19:35):
I already knew much of the story behind refused classification,
mostly that the story of what happened with the film
Ken Park and it's the controversy in Australia.

Speaker 31 (01:19:49):
And yet.

Speaker 24 (01:19:51):
Still the information was related to me in such an
enthusiastic way that it was still exciting. Zachary and Alexey
figuratively were dancing off of each other and literally bouncing
off of the walls to make an otherwise bland history
lesson really fascinating. But also they taught me a heap
of things about the past of Australian cinema which had

(01:20:13):
completely eluded me for all these years. Now, many Aussie
film fans have had their own stories of how they
experienced Ken Park, whether they attended an underground screening, or
they bought it from a boutique DVD store, or they
downloaded it themselves, or they simply found a DVD in
cash converters. Because realistically, nobody actually cares about the graphic

(01:20:37):
content of this movie. This story is one of overreach
and control by those who wish to tell adults you
can't watch this because I say so. So you can
tell why Zachary and Alexei and so many other Australians
would still feel so strongly about this story years later.
Now I don't know one hundred percent agree with some

(01:20:58):
of the conclusions they form, and I'm not even sure
if Margaret Pomerans would. Yet this is where the passion
fueling this show comes from. Why, over twenty years later,
these two guys can make this doco comedic reenactment about
such a niche subject and still have the audience eating

(01:21:19):
out of the palm of their hands. Now, So I
thought Refused Classification was an incredible performance from two blokes
who clearly admire Margaret Pomerance for her goal and Ken
Park may not be a brilliant movie or even Laric
Clark's best work, but it continues something which started twenty

(01:21:40):
years ago, which is the fuel discussion about what is
and isn't appropriate for audiences to experience and does anyone
have the right to make that decision for the rest
of us. So, like I said, I saw this movie
at ACME, not this movie, so this show about a movie.

(01:22:04):
I saw it at the Australian Center for the movie
Moving Image at the Gandal Lab. Now it actually wrapped
up there the twentieth of April.

Speaker 3 (01:22:14):
Like I say, the.

Speaker 24 (01:22:15):
Melbourne International Comedy Festival is finished now, but I would
highly recommend that if maybe for the Fringe Fest of all,
this show gets put on again. I believe that they
had pretty good numbers. I believe that they were sailing out.
I saw it on a Sunday in the middle of

(01:22:35):
the afternoon and the place was packed. Really didn't expect
that kind of turnout. But it was packed and I
think that, like I said, it's just there's something about
the story that still resonates with Australian filmmaker film enjoys
twenty years later. So yeah, if this show gets put

(01:22:57):
on again later on in the year, maybe next year,
I highly recommend checking it out.

Speaker 7 (01:23:15):
It could be some medics.

Speaker 9 (01:23:16):
Get from them half an hour and to god boat.

Speaker 37 (01:23:21):
So you guys, a second second, stuff the rest of
the ask you with my job, swinging thing.

Speaker 8 (01:23:33):
Job, just swinging thing down, just when you get your
girls here it cols here, cats gets shooting now shooting raw,
shooting mill.

Speaker 7 (01:23:47):
Here it goes girls, I goes girls.

Speaker 35 (01:23:54):
Starts that easy seven simple sound, sleazy, sudden, ancient.

Speaker 8 (01:23:58):
That's the edge of reserve notes, theticulations making dost novel,
the girl just ping, you think and you talk, Just
pring your bank and sing down. Swing Here it goes here,

(01:24:18):
it goes here, it does, get.

Speaker 7 (01:24:21):
It goes got shut, no shuting, no shouting, not.

Speaker 8 (01:24:26):
It goes get here, it goes, it goes, it go.

Speaker 32 (01:25:00):
You just gotta be a break.

Speaker 37 (01:25:02):
Monotony would raise household.

Speaker 7 (01:25:07):
So you've got a second spars.

Speaker 8 (01:25:15):
Regardless you regardless, Here it goes.

Speaker 7 (01:25:19):
It goes shut shirting.

Speaker 1 (01:25:30):
Know well, listeners, we know that you are a huge

(01:25:59):
fans of Okay Go. You have been asking us to
play their music now for years and years and years,
and they've got a brand new album that's just about
to come out. So we thought today we would actually
get one of the members of the band on the
phone to chat about the brand new album. Welcome to
the program, Tim.

Speaker 11 (01:26:18):
Thank you, David.

Speaker 1 (01:26:18):
Nice to be here now. Tim, tell us a little
bit about this brand new album. Tell us a little
bit about what you guys were talking about in the
in the very beginning when you first started to work
on this album.

Speaker 11 (01:26:32):
Yeah.

Speaker 38 (01:26:33):
Well, the records call it and the Adjacent Possible and
we've been making it an onus since about twenty nineteen,
so it's been a few years, and you know, it's
probably the most comfortable in our skin we have ever
felt making a record. And I would say that it
has a real kind of mixtape quality to it.

Speaker 3 (01:26:56):
A lot of my records do.

Speaker 38 (01:26:57):
But this one even more so, I think, because I
don't know, I feel like our band we've been around
for almost twenty seven years now and so sort of
felt like we had our flag has been planted and
we don't have to.

Speaker 11 (01:27:15):
Worry about doing that anymore.

Speaker 38 (01:27:17):
And so we really kind of felt very comfortable exploring
many different musical styles on this record, and that was
a lot of fun for us. So, you know, we
we do anything from like a heavy like heavy rock
song to sort of like a sixties ballad to like
a fifties like almost like musical theater number at that point, Like,

(01:27:40):
we go all.

Speaker 11 (01:27:41):
Over the place on this one.

Speaker 38 (01:27:45):
But I think we worked with Dave Fridman, who is
a producer and mixer for bands like Flaming Lips and
MGMT and Tam and Paula, and we've worked with him
a lot in the past, and we produce the record
ourselves at home in Los Angeles, but we went to
Dave to mix it, and he kind of helped take

(01:28:06):
all these different sort of genres that we were working
with and put it kind of into one sonic universe,
I would say, And so he really kind of helped
do the whole thing together, and that was kind of it.

Speaker 11 (01:28:20):
Really.

Speaker 38 (01:28:21):
You know, we kind of other than that, we weren't
really referencing anything in the zeitgeist. We sort of forgot
to like we sort of forgot to reference things. You know,
we just we just sort of were like comfortable in
our skin and just kind of started writing for ourselves.

Speaker 1 (01:28:41):
Basically, it sounds like you you almost feel like there
was a freedom there with this album that you haven't
had in the past. Is that Is that a pretty
good way to sum it up.

Speaker 11 (01:28:52):
That's a that's a good way to sum it up.

Speaker 38 (01:28:54):
Yeah, I mean, but the freedom was from ourselves, you know,
it was from our own critical brain.

Speaker 3 (01:29:00):
It's really.

Speaker 38 (01:29:03):
It's not like we were trying. It's not like people
were forcing us to be one sound or another. I think, like,
you know, I can remember on our second record writing
songs that to us sounded a little bit like Prince
or something like that, and thinking like, well, that's a
cool song, but obviously we can't do that, you know,
like that's we no one will believe it coming from us,

(01:29:26):
and we just kind of decided to stop thinking like that.
You know, it's just like, well we like it, we
should do it, you know, like let's stop getting in
the way of ourselves.

Speaker 3 (01:29:36):
Basically.

Speaker 38 (01:29:36):
So, yeah, that definitely is a sense of freedom, but
like it was really like a sense of freedom from
our own critical thought.

Speaker 11 (01:29:44):
Yeah.

Speaker 1 (01:29:45):
So in that writing process. When somebody came to the
table with an idea, was it kind of like Christmas Morning?
You didn't know what you were going to get each
time somebody presented an idea for a track.

Speaker 38 (01:29:57):
Yeah, I would say it was like probably the most
exciting it's been for just like, hey, here's some stuff
I've been working on. Check it out, you know, like
because without really too many rules in place, we were
starting to kind of, I don't know, go to like
very different corners of the music of musical universes than

(01:30:20):
we really have before. So yeah, it was it was
super fun to be like, oh, wow, that that sounds like,
you know, sort of like vintage Bowie or something like that.
That's something we haven't really tried before. Let's let's that's cool. Yeah,
So I suppose it was kind of like Christmas Morning,
you know, the Devil Sessions.

Speaker 3 (01:30:39):
Yeah.

Speaker 1 (01:30:40):
And does that kind of reflect also your musical tastes,
Like are you someone like me that will sit down?
And my dad had a saying when I was growing up,
and I guess I live by that saying as well,
there's good music in every genre, you just have to
find it. Is that kind of your what your musical
tastes a lot as well.

Speaker 38 (01:31:00):
Absolutely, you know, I grew up my formative years of
music listening were like in the eighties, and pop radio
in the eighties was so all over the map.

Speaker 3 (01:31:11):
You know.

Speaker 38 (01:31:11):
You had like Michael Jackson and Prince next to like
you know, Devo and Talking Heads, you know, and the
Police and stuff like that, and then you have like
Whitney Houston, you know, and and then like early hip
hop was coming up too, and so and that was
all like living together.

Speaker 11 (01:31:29):
On pop radio at the time.

Speaker 38 (01:31:32):
And so you know, even pop radio when I was
growing up had a kind of mixtape quality to it.
So you know, for sure, I think like were we
grew up listening to music that way, you know, and
just like like you said, always trying to find the
best in every genre. And it's a it's a fun

(01:31:55):
way to write, you know, when I think back, you know,
I am by no means comparing our record or records
to any Beatles record, you know, which which I hold
in pretty highest team. But you know, I think back
even to my favorite Beatles records is like the White Album,
you know, which just goes all over the musical map,

(01:32:15):
you know, But then it is like brought together by
production essentially, And you know, I never questioned that record
in the same way that like for the first time
maybe ever, we didn't question and the adjacent possible, whereas
I think like ten years ago we might have. You know,
I think we would have like left a lot of

(01:32:36):
these songs off and probably would have tried to have
write a few more to like, you know, sound more
more like I don't know, at least arrangement wise, more
cohesive or something like that. But I'm glad that we
were just more exploratory here.

Speaker 11 (01:32:56):
Yeah.

Speaker 1 (01:32:56):
You mentioned as well that you started working on the
album back in two thousand than nineteen, which means you
were kind of working on the album during the COVID
pandemic as well. Did that kind of help you, guys
in the sense that it gave you longer or did
you find that was a really difficult time to write
music during.

Speaker 7 (01:33:16):
It.

Speaker 11 (01:33:16):
Certainly, Yeah, it kind of.

Speaker 38 (01:33:20):
It did give us more time, and that helped to
give us more perspective. I don't think we've ever had
this much time to make a record, and it was
really nice to be able to write something in twenty
nineteen and come back to it in twenty twenty one
and either go like, oh, okay, I see what we
were excited about here, but we don't feel that anymore,

(01:33:42):
you know, or like, wow, you know, two years later,
this still feels good, you know. And so we had
a lot of perspective on all the songs, and we're
able to sort of like come back to them several
months later and go like, I like, but okay, I
don't like that. Let's let's keep working on it. We're

(01:34:04):
not done yet, you know. So, yeah, it was great
to be able to have a bit more perspective this
time than on other records.

Speaker 1 (01:34:13):
You've also got some guests on this album as well,
including people like Ben Hoppa. I'll tell us a little
bit about some of the guests that you worked with
on this album.

Speaker 38 (01:34:24):
Yeah, Ben Arbor saying on a song of ours called
a Goo Good Day at Last, and he's, you know,
a phenomenal musician with an incredible voice and a friend
of the band, and so, you know, it was it
was a pretty like casual sort of thing. He came
by one day, we had this song and we're just

(01:34:45):
sort of like, do you feel like throwing anything down
on this?

Speaker 13 (01:34:49):
You know, Like, yeah, he really like he just like came.

Speaker 11 (01:34:54):
We just we had a ton of fun with him.

Speaker 38 (01:34:56):
We just did like a day in the studio with him,
and it was like, wow, yeah, okay, he's staying on
this song, you know, like, which was really cool. We
we did a song with one of our like musical
like punk heroes when we were growing up, Craig Wedren

(01:35:18):
from the band Shut Her to Think. He co wrote
a song on our record called Golden Devils, and basically,
like for Damien's birthday during COVID, we had like made
him a bunch of like video birthday messages and Craig
had sent him like the first half of Golden Devils

(01:35:40):
and was like, I don't know, like, you know, I
feel like there's something there. Maybe you want to do
something with it, you know, like and basically it was
just like happy birthday, Take take take this bit of
the song and make it's your own kind of thing,
you know. So so that was like a real thrill
to work with Craig because he he's just I don't

(01:36:02):
know if he's iconic to us.

Speaker 7 (01:36:05):
Yeah.

Speaker 1 (01:36:06):
Yeah, And of course we've been really wowed by the
video clips that you guys have had come out for
the singles off this album so far, and of course
whenever you guys do a video clip, it's always very,
very creative. In fact, even the Apple CEO Tim Cook
recently tweeted about the fact that you guys always make
incredible music videos. Is it getting harder to be creative

(01:36:29):
with music music clips these days? Or because of the
technology out there, is it getting easier to be creative?

Speaker 3 (01:36:39):
That's a good question.

Speaker 11 (01:36:39):
I think, you know, the part of the experience of
being an okay go, the experience of getting.

Speaker 3 (01:36:50):
To make.

Speaker 11 (01:36:52):
You know, videos, you know, little little.

Speaker 38 (01:36:56):
Mini cinematic moments, it feels like such a blessing for us.

Speaker 3 (01:37:03):
You know.

Speaker 11 (01:37:03):
It's it's something we really enjoyed doing.

Speaker 38 (01:37:07):
It's something that not all bands like to do, you know,
and it's but it happens to be a thing that
along with making the records and touring and writing music,
you know, we.

Speaker 3 (01:37:18):
Like to make these films.

Speaker 11 (01:37:20):
And so.

Speaker 38 (01:37:22):
It doesn't feel harder to be creative these days, I think.
And certainly technology has made it more possible, I would
say to to you know, to make things that would
have been just prohibitively too expensive twenty thirty, forty years ago,

(01:37:43):
or something like that, you know, So yeah, I think
in general, it's you know, it's it's been it's been
a good time to be creative for us. And I
don't know the one the problem we are. Our problem
has never been lack of ideas, I guess, yeah, it's

(01:38:04):
usually like our problem is just like how do we
get everything we want to do made?

Speaker 3 (01:38:10):
Essentially?

Speaker 1 (01:38:12):
Now, Oh yeah, I'm going to play a couple of
tracks off the album in just a moment, but to
kind of wrap up, I had two quick questions. First
of all, what have you guys got planned for the
rest of this year? And is there any chance that
we might see in Australia at some stage as well?

Speaker 38 (01:38:29):
Yeah, we begin touring in North America a week from
today basically, and you know, I'm not sure when this
is airing, but we're today.

Speaker 11 (01:38:41):
Is April fourteenth, I think, so, yeah, we were April fifteenth.
So yeah, we start touring in a week.

Speaker 38 (01:38:50):
In the Midwest here in the States, and we're going
all over the United States first, but it's looking like
we're going to be doing international touring and twenty twenty
six basically, and Australia is definitely in the plan.

Speaker 3 (01:39:04):
Book for sure. We want to come awesome, So we're
super excity to come.

Speaker 11 (01:39:10):
Yeah, we haven't been in a long time, so we're
due for some shows.

Speaker 1 (01:39:14):
There, definitely. And to finish off, what would you like
to say to people out there? It's it's pretty much
a two week holiday time for us here in Australia
at the moment. So what do you like to say
to people out there who are about to use that
holiday time to sit down and take a listen to
and the Adjacent Possible.

Speaker 11 (01:39:35):
Yeah, I was gonna say, it's vacation.

Speaker 39 (01:39:37):
We made it.

Speaker 38 (01:39:38):
We made a pretty good vacation record, I would say. So,
you know, started off by listening to the and the
Adjacent Possible, you know, and then midway through keep listening
to and the Adjacent Possible. And then when you're packing
up and getting ready to go home, listen to and
the Impossible.

Speaker 8 (01:39:55):
So this is how it hurps.

Speaker 7 (01:40:02):
Now in contraverd pun truth sadly in.

Speaker 31 (01:40:09):
To the swim.

Speaker 40 (01:40:13):
Street, No das sex, making up, working away the winds.

Speaker 5 (01:40:27):
No, this is how it urens.

Speaker 7 (01:40:33):
So ruthlessly out this now hap beneath that near simplesto clear,
but God, how I felt such a fold that it

(01:40:54):
took me so.

Speaker 31 (01:40:57):
To see.

Speaker 7 (01:41:00):
The written happens both slowly.

Speaker 3 (01:41:04):
And it was.

Speaker 15 (01:41:10):
I suppose nobody who broniest explanation.

Speaker 7 (01:41:15):
Now my mistaye was thinking it with me, said when
this is how.

Speaker 41 (01:41:21):
It ends, When this is how it ends, And it's

(01:41:44):
almost embarrassing now, the tortured contortions.

Speaker 7 (01:41:53):
It took just to believe that Thurston.

Speaker 15 (01:42:01):
Ma in my pesantine God snaps to causes listen effects.

Speaker 17 (01:42:12):
I still live to take in my dizzy who change
magical car to break a choice to bay?

Speaker 7 (01:42:26):
But I sposed dobody from the step with all.

Speaker 10 (01:42:30):
Me that eything God have nfe don't.

Speaker 7 (01:42:34):
Even massive bye to everything.

Speaker 42 (01:42:39):
When this is Howie, when missus how it wait, messs

(01:43:01):
Howard el w misss Howard.

Speaker 8 (01:44:09):
Live God so long.

Speaker 13 (01:44:14):
Fee for a sound, fee for a song, fall song
your eyes m love Dan.

Speaker 7 (01:44:29):
Starts un again.

Speaker 8 (01:44:33):
And in this, Grandpa, Mam, nothing that's you have some more.

Speaker 40 (01:44:38):
With something that's we worn.

Speaker 7 (01:44:40):
All music's invented again.

Speaker 8 (01:44:45):
In this, Grandpa roh mother, nothing ness we saw we sound.

Speaker 7 (01:44:50):
The only song that's ever bend love, the only song
that's over bad.

Speaker 3 (01:44:59):
Just no.

Speaker 7 (01:45:03):
Weil me something's up place again love.

Speaker 8 (01:45:41):
Less just to be.

Speaker 7 (01:45:46):
And say.

Speaker 8 (01:45:50):
Sir, I came home to me and in this grandpon
no love nothing that you have, so wren.

Speaker 21 (01:46:07):
With something that's we swirl.

Speaker 7 (01:46:10):
Music syvented again.

Speaker 8 (01:46:14):
In this Grandpa, no love nothing that we saw, we sells.

Speaker 7 (01:46:20):
The only song the ether bed.

Speaker 8 (01:46:24):
Love, the only sometimes best speak up, loil me somehas
bas again dollars, feel the somethings, and again.

Speaker 7 (01:46:54):
Such the right hard Chad Scott. Scott set so.

Speaker 3 (01:48:00):
I did.

Speaker 43 (01:48:00):
I attended to fill myself long before rail showers fell,
and the sidelock of amusements there whilst on the band
and the b sience of silence to its more gentle
hand never resound, any handppened.

Speaker 7 (01:48:25):
So my question.

Speaker 31 (01:48:27):
No single thing else.

Speaker 8 (01:48:29):
Said, Oh take me well, do well, let's take.

Speaker 7 (01:48:43):
We spy fot sends down. I need don't take me
away to do it, sorr light waiting for questions, Wait

(01:49:05):
for you, sta O take me away.

Speaker 44 (01:49:27):
Under this particle of red wood bounds our stems and
are plans. It's nearly laughable now, little flutterings, a lighter
less but very well.

Speaker 45 (01:49:40):
Friends of something that brought both of us to this
time of place where things built so carefully, casually of rings.

Speaker 43 (01:49:53):
Maybe our little lines make a little difference in.

Speaker 8 (01:50:01):
Oh take me way do.

Speaker 46 (01:50:10):
Let's take wits back post, I need you, don't don't.

Speaker 35 (01:50:18):
Take me away down that side, whit birth glands to
ths be like.

Speaker 8 (01:50:33):
When you re be like win mes be.

Speaker 5 (01:50:41):
Like when.

Speaker 7 (01:50:44):
Stame, Oh take me away.

Speaker 28 (01:50:47):
You Oday, take me with you doing.

Speaker 7 (01:51:11):
Well?

Speaker 46 (01:51:11):
Then let's stake it we spotts stay, I need to turn.

Speaker 7 (01:51:21):
Day O'Day when you honey, let's spend.

Speaker 8 (01:51:32):
Man here, when feel.

Speaker 7 (01:51:38):
Yeah?

Speaker 28 (01:51:39):
When feel.

Speaker 7 (01:51:42):
Today? Take me when you.

Speaker 24 (01:51:59):
Hello? I'm your host, Kyle, And the film we're going
to be looking at now is Sinners Now. People say
that music has power in all of its forms. It's
got the power to inspire, power to thrill, and to
draw out emotions. But there are some who have the

(01:52:23):
ability to use that power to do even more with
their music. They can pierce the veil between our world
and the next, the living and the dead, and even
reach through time itself. People like the young upcoming jazz
singer Sammy played by Miles Katton, who tonight is going

(01:52:44):
to make his debut.

Speaker 11 (01:52:46):
Now.

Speaker 24 (01:52:47):
It's nineteen thirty two and it has been eight years
since anyone in Mississippi has seen the Twin Brothers Smoke
and Stack, both played by Michael B. Jordan, Yet their
reputation lives on The brothers instilled fear in whoever crossed them,
and their brutality seemed perfectly suited for Chicago's criminal underworld.

(01:53:08):
But returning home with a bag full of money and
a truckload of booze, the two have a dream. They
want to make a duke joint filled with music, dancing,
gambling and all just for black folk like them. They
are two dollars in need of a dime and picking
up their young cousin, Sammy, they reunite with various other

(01:53:30):
friends of the past for their grand opening. The night
is a massive success. They are making real money like
they never dreamed before their sex, drinking, fighting and all
the other things which come with partying. But Sammy's incredible
music has reached the ears of someone very dangerous, someone
who simply wishes to be friends and for everyone to

(01:53:53):
get along. But he and his ever growing clan are
only asking nicely. One months after that, they plan to
take Sammy's ability for themselves. Ryan Cougler, the Oscar nominated
director of Black Panther and Creed, brings us his first
arguably completely original work, part historical drama, part musical, and

(01:54:20):
part supernatural horror thriller. The film blends these genres into
a portrayal of black fellowship and celebration turning into a nightmare.
Coogler's work has always looked at the experience of being
black in America today. Sinners continues this similar trend with
a movie which starts out as a quite interesting pogal

(01:54:44):
back through time to Jim Crow era Mississippi. With costume
designed by Root E. Carter and cinematography by Autumn Durrold
a Compella, Coogler creates an at first beautiful, yet intense
and authentic look at the deep American South. Churchgoers, plantations,

(01:55:04):
and a sense of community is developed long before the
film even gets to the Twins' opening night. A lot
of this is why the earliest parts of the film
are its most effective, as you're transported back and Coogler's
screenplay is brought to life by vibrant performances from a
talented cast, with some playing against types, such as Hailey

(01:55:27):
Steinfeld as Mary, a fast talking girl from the Twins' past,
but for my money, the most impressive was Delroy Lindo
who plays Delta Slim, an aged alcoholic, world worn jazz musician.
He turns in the best performance I think I've ever

(01:55:48):
seen from the veteran actor, one which I think, if
nothing else, deserves great recognition. Michael B. Jordan proves himself
an incredible leading man with presidents and charisma, times charming
and slick, while at others he can be terrifying and
willingly violent. The aspect of him playing jewel roles, unfortunately,

(01:56:09):
it comes off as a gimmick. While there's obviously a
connection between the brothers, there's no real reason that they
had to be twins. And maybe I'm just dance but
I had the same issue that many others had recently
with Robert De Niro's similar dual performance role in The

(01:56:31):
Alter Nights. As Smoke and Stack are identical beyond their costumes,
and as Jordan plays the brothers as really two sides
of the same coin, I had trouble differentiating them early on. Besides,
while an actor handing objects to himself was an interesting
special effect thirty five years ago when Back to the

(01:56:53):
Future Part two came out, by now it's a little
bit played out, so it really did come off like
a a bit of a gimmick, not one that really
helped the film or the story, and on top of that,
just the whole there were times where it seemed like
they were kind of trying to show off that they

(01:57:15):
had the two actors interacting with each other. Again, the
two actors both played by the same actor interacting with
each other, and yeah, that's old hat now. That stuff
was interesting, Like that stuff was interesting when I was
like four years old. The film merges from this southern

(01:57:38):
character drama into a supernatural horror in the film's later half,
and much like From Dust Till Dawn, this happens with
little foreshadowing and the movie becomes a much louder, bloodier,
action packed affair, like if, say, The Color Purple turned
into a monster movie midway through, but it's not altogether

(01:58:01):
quite as interesting as that sounds. The usage of music
and it's potentially corrupting power over us is a fascinating
twist on the horror genre and it's one that I
had not seen used before. And there's this extensive single
take sequence which shows the magical phenomena and it's just

(01:58:22):
incredible as music is kind of reaching through time and
you're seeing musicians from the past and musicians from the
future interacting. It's a really great moment in the film.
But when the other shoe drops and things turned on
their head and the movie becomes just your fairly common
violent monster flick, one which had me longing for the

(01:58:46):
films more, I think much more engaging and unique first half.
It's a steamy and a sexy story of passion and
brotherhood where ambition collides with greed in this musical explosion,
and it's mixed with a balls to the wall gory,
supernatural thriller. And there's hallmarks of Ryan Kugler's filmography present throughout,

(01:59:11):
and racial tensions always feel like they're a lingering threat.
So your enjoyment of Sinners really will come down to
how well you feel Coogler blended all of these themes together.
While the movie appears like it's setting up to be
one of the highest rated films of the year, I
just got to admit it just lost me with its

(01:59:34):
halftime genre twist. It failed to maintain the strong script
and the originality which I thought was present in the
film's initial stages. So I'm gonna probably just give this
three out of five. Like I said, it had some
great moments. It had the technical aspects really amazing, But

(01:59:56):
technical aspects as in more traditional costume design and cinematography,
the whole thing of having a single actor playing two
different characters interacting with each other. When you see that
in movies like Norbert, it's kind of old hat. So yeah,
three out of five for me for this one.

Speaker 3 (02:00:17):
Just I.

Speaker 24 (02:00:19):
Feel it from dust. Dawn did more or less the
same interesting thing in less time.

Speaker 20 (02:00:25):
What can I say.

Speaker 3 (02:00:29):
Something?

Speaker 5 (02:00:30):
Mother want to tell you for a long time.

Speaker 7 (02:00:34):
It might hurt you.

Speaker 5 (02:00:36):
I hope you don't lose your mind.

Speaker 47 (02:00:39):
Well, I was just a book about do me a Bible,
mister Shippy wrong. See, I love your baba.

Speaker 5 (02:00:50):
You did all you could do, and.

Speaker 47 (02:00:53):
They say the truth hurts.

Speaker 36 (02:00:55):
So I lied to you.

Speaker 47 (02:00:58):
Yes, I lied to you.

Speaker 48 (02:01:19):
Hey, s somebody check me in your home tonight. Somebody
checked me.

Speaker 9 (02:01:35):
In your home tonight.

Speaker 7 (02:01:41):
Sbody check me.

Speaker 9 (02:01:45):
To Lord, nobody take me.

Speaker 5 (02:02:20):
Somebody tell me, somebody take.

Speaker 49 (02:02:44):
Sus hope the chance serve you all.

Speaker 7 (02:03:00):
I loved she all full of the blue. Who's holding her?
I know it?

Speaker 28 (02:03:10):
Birth?

Speaker 24 (02:03:12):
So I lie.

Speaker 28 (02:03:14):
So future speaking, I know you birth?

Speaker 3 (02:03:21):
Yes, I like.

Speaker 7 (02:03:24):
I love I got.

Speaker 50 (02:04:06):
Sack dodging all these so petitions back with thoughts and

(02:05:50):
rare petitions.

Speaker 7 (02:05:52):
Don't my smile remains the same.

Speaker 28 (02:05:58):
I feel like I'm in off then have from the
drive full.

Speaker 7 (02:06:02):
Force of the girls there black, But I'll play my
home to suk and.

Speaker 50 (02:06:22):
Well, I guess that's city or monson talk the wounded
song bro, scratched.

Speaker 7 (02:06:28):
Up siren, sing beautiful really.

Speaker 37 (02:06:32):
Song songs up from the broken trees, the families out
of rubbies.

Speaker 14 (02:06:42):
We keep back pasts, tell me, sell me, yeah.

Speaker 7 (02:07:00):
Tell me, tell me, let me so.

Speaker 24 (02:07:12):
To day.

Speaker 7 (02:07:25):
Walking chalk on stub and streets.

Speaker 28 (02:07:28):
The sound of it sun off you.

Speaker 7 (02:07:31):
I guess it'll have as all again.

Speaker 8 (02:07:37):
So he tiss up here with gin your head ha,
the complex mace that never.

Speaker 39 (02:07:44):
That's when I find you forgotten pass.

Speaker 8 (02:07:51):
Tell me sell men's gods.

Speaker 3 (02:08:06):
So so.

Speaker 8 (02:08:45):
Resu so.

Speaker 1 (02:09:30):
Well, listeners, we know that you love Townsville rockers Poison Oak.
How do we know that because you guys were requesting
their last single tell Me so much over the weeks
that when it first came out, So we thought today
we would actually play their brand new single called Replay
for you and to find out a little bit more
about this track, we thought we would actually get James

(02:09:53):
from Poison Oak on the phone to chat a little
bit about it. Welcome to the program mate, No no
worries now may Like I said, there was a lot
of people who listened to this show who loved tell me,
I'm sure they're going to love Replay as well. So
tell us a little bit about Replay as a single
on how it came into being.

Speaker 11 (02:10:13):
So, Replay was originally written by a bass player, Adrian.
He sort of just came up with the base if
we call it noodles, we're winning noodles in rehearsals and
sometimes I'd be like, hey, I stop, what was that
that thing you're playing like just then, or like an
hour and twenty minutes ago, and then so I sort
of developed from there, and he originally came up with

(02:10:36):
the concept that it's about well, I think he was
sort of going through a divorce and like the replay
of going to the office every day and of life
that we sometimes get stuck into some path like even
my phone or social media addiction. When you get home,
you're sort of just replaying through the sort of actions continuously.
So we sort of recorded a demo, then went over

(02:10:58):
and re rewrote the song, and then yeah, we went
and recorded with Brock and I. Then Asian gave some
ideas for lyrics and I sort of went back and
rewrote them and made the more metaphorical to try and
really hit that ideology that we were trying to get
through the song.

Speaker 1 (02:11:19):
Yeah, did you feel a little bit more pressure with
this track, because, like I said, both tell Me and
Wasted did so well on our station, and I can
imagine that it did that they both did the same
on other stations as well, and drew a lot more
attention to the band. Did you feel a little bit
more pressure writing some of these newer tracks, Well, we.

Speaker 11 (02:11:37):
Wrote them all at the same time, so tell Me, Wasted,
we all recorded them. We've all recorded them.

Speaker 3 (02:11:41):
At the same time.

Speaker 11 (02:11:42):
So obviously I think we felt more pressure to promote
it more heavily because I felt like tell Me really
resonated with a lot of people, and you sort of.

Speaker 3 (02:11:51):
Want to go, all right, well, we got.

Speaker 11 (02:11:52):
To get this. This next track's got to do just
as well to keep them, to keep the I guess
the train going along. So I think there was pressure
in the sort of promotional phase that we've got to
really hammer it a bit more, but I guess in
the end of the day, but if a song's good
and it resonates, just sort of just we should do
a bit of from a yeah way, I guess.

Speaker 37 (02:12:15):
Yeah.

Speaker 48 (02:12:15):
Yeah.

Speaker 1 (02:12:16):
So you've also now of course announced the album as well.
What can you tell us about this album?

Speaker 11 (02:12:23):
Well, it's cooled. It's actually we used to talk. It's
sort of about all the songs are about reflections on
sort of the past or oneself. So waste is about
reflecting on yourself and youth growing up. Tell me he's
reflecting on a relationship or someone where they were avoidant
in them, like avoidant from that, and so it's sort.

Speaker 3 (02:12:42):
Of all songs that reflect on that.

Speaker 11 (02:12:44):
And we're going down to Brisbane in June July.

Speaker 3 (02:12:49):
To record the last six tracks for it.

Speaker 11 (02:12:51):
We'll have another single come out after replaying in a
couple of months and then we'll call the last tracks
for the album hopefully have it out by next year.

Speaker 1 (02:13:00):
So was there a reason why reflection was the theme? Like,
was that just something that you were all talking about.
Was it something you were going all going through personally?
Where do you think that theme came from?

Speaker 11 (02:13:11):
I think it was just one of The first couple
of songs were that, and I was like, well, I
think this should be the theme and all the future
songs should tie into that, because it seems like that's
what we were commonly writing about, and maybe being a
little bit old. We're not too old o in our
thirties were sort of reminiscing on sortain. Yeah, sort of
reflects on our youth and where we are now, and
I guess the comparisons of that and I guess perhaps

(02:13:33):
that's what we were just writing about.

Speaker 1 (02:13:35):
Definitely, and now a lot of people. Of course, our
show goes right around Australia, but for us down here
in Melbourne, there's been a lot of people asking when
are we going to be able to see these guys
live as well? I mean, we hear that you guys
have been doing some amazing shows. Is that something that's
on the cards with the album released as well? Maybe

(02:13:55):
a tour around the country.

Speaker 11 (02:13:57):
Yeah, it's definitely on there once we finished these So
we're really focusing on writing the best possible songs and
getting them finished when really finished writing the moment. Once
we record them, and we'll start playing lots more shows
and trying to get to places because I think we're
starting to get more of a following on radio and
people are starting to listen to songs. And once we
you get all these songs done, we'll open us up

(02:14:18):
to start playing more shows and getting out of our
North Queensland bubble.

Speaker 1 (02:14:23):
I guess, So tell us these tracks that you're writing.
At the moment you said that you're heading back to
the studio. Who are you working on with those tracks?
Have you got a producer that you're working with or
are you guys doing it alone?

Speaker 11 (02:14:38):
We work with So we record it all ourselves alone.
Then we go back and analyze it to the absolute tea.
So we recorded about three times ourselves and then we'll
send them to Brock Western is the producer we work with.
He's a producer for like Betty Ray's. I think he's
done some work with June Rats, a lot of he
plays and Bugs. He's a drummer for Bugs actually if

(02:14:59):
you know that bad and so we work with him.

Speaker 3 (02:15:02):
So we'll send the tracks to him and.

Speaker 11 (02:15:04):
Then he'll give us some feedback and then little sort
of use that feed change what he tells what's to change,
and then we'll then we head down and record it.

Speaker 1 (02:15:11):
With him awesome. Well, mate, I think what we're going
to do now on the show is we're actually going
to play a triple player. We're going to play tell
Me Wasted and replay all back to back on the show. So,
is there anything you'd like to say to our listeners
out there before they take to listen to these three
amazing tracks.

Speaker 11 (02:15:29):
If you like them, follow us the Spotify. We really
appreciate the support and love it that you guys love it.
That's awesome, Dalla take out the.

Speaker 7 (02:15:55):
Track weeks, months, years, It's a never and then last.

Speaker 43 (02:15:59):
Time, feeding up the machine, the seven cap here Starchit Aanetta.

Speaker 44 (02:16:03):
And a Dream twenty four seven three sixty five down
number one.

Speaker 16 (02:16:08):
It's a lot to get high to thirty and five
pusson locks at home.

Speaker 7 (02:16:13):
So fuck getting along? Its just times got Redlet you
just stop.

Speaker 46 (02:16:18):
Getting read, let up, it's just stop Bleedlet you should
stop comp here.

Speaker 13 (02:16:38):
Quinn somewhere tell I used to do a full fuck
now toad Beings Friendship feeding along the road, my Bacot
sauce smashed in the plus home nest a Dreams part
I used to be twenty b seven three sixty five,
used to drink chain and cloud at hide.

Speaker 8 (02:16:56):
So thirty a phone question rocks at home, So fucking
a stop getting way by this stop not stop wait
wed she stopped off the stopped way wait wait way
way lass way by stopped that way lass way by

(02:17:21):
stop going mess star.

Speaker 7 (02:17:54):
Stop So time start start Jesus start stop stand.

Speaker 24 (02:18:41):
Hello, welcome back to the show. I'm your host Kyle,
and I'm going to be talking about the accountant to.

Speaker 11 (02:18:49):
Now.

Speaker 24 (02:18:49):
He goes by many names, all of which historical mathematicians,
but Christian wolf played here by Bean Affleck, is the
one that he's sticking with them. A man with high
functioning autism whose military father's idea of tough love was
to raise him to be a lethal killing machine. But
that's not his only particular set of skills, as he

(02:19:13):
was an accountant to less than reputable organizations, and he
would uncook their books, identifying embezzlement and fraud. Now when
he wasn't gunning down those who took their wrongdoing as
a step too far. Now, Wolfe has been living a
quieter life recently, less dangerous and less violent. But then

(02:19:37):
his former associate Ray King played by JK. Simmons, is
gunned down while investigating the disappearance of a Central American
family king's protege Marribett Medina played by Cynthia Ada Robinson
of the Financial Crimes Enforcement Network. She takes it upon

(02:19:59):
us to investigate her mentor's death. Now, using her expertise,
she discovers whatever King was working on, it had connections
to Wolf and following kings beyond the grave instructions to
quote find the accountant. Medina and Wolf join forces, but

(02:20:20):
they are going to need even more help, and Wolfe
seeks out his estranged brother, Braxton played by John Bernhal
trained in all the same deadly arts by their father,
but while Wolf struggles with his autism and his sense
of morality, Braxton has no such afflictions. He's a call

(02:20:42):
blooded killer, but forever loyal to his brother. So now
the trio find themselves up against kingpins, people, smugglers, and
the mysterious woman named Anas played by Danielle Pinetta, someone
who may just be as broken as Wolf and Braxton,
but also as lethal. The Accountant was an underappreciated action

(02:21:07):
thriller which was released back in twenty sixteen. It was
part John Work, part Goodwill Hunting. The film is action
packed but full of surprises. It's now nine years later,
but fans of the original film, such as myself were,
we're more than happy to dive back into this world
of cooked books and violent confrontations. The original film's director

(02:21:31):
Gavin O'Connor and its writer Bill Debuque of Dubuque, they
both are returning so we can take these characters to
the next level. The Accountant two goes in a very
different direction than one might expect after watching its predecessor
O'Connor and Debuque. However, yes Say's name, they seem less

(02:21:52):
interested in attempting to live up to or to exceed
the action sequences that they crafted the first time around.
There's also less in the way of mystery, or at
least the evil bubbling under the surface is much more apparent.
The Accountant does a lot less accounting this time, and
despite Affleck I think, looking to be in great shape

(02:22:16):
a decade later, he doesn't do much fighting here either.
What is focused on, however, and expanded from the first film,
is the fire and ice relationship between Braxton and Wolf.
The film is almost it's something of a buddy comedy.
When the two characters get together, the duo only the

(02:22:38):
two actors. They only shared a single scene together in
the twenty sixteen original film, and yet they still had
great chemistry, which this film really runs with bouncing off
of each other. As their troubled relationship it hasn't developed
much off screen due to Wolfe's standoffish wolf doesn't change

(02:23:02):
much in this film, and instead, this time it's Braxton's
turn for some introspection.

Speaker 11 (02:23:09):
Now.

Speaker 24 (02:23:09):
Affleck has been able to show his range for both
drama and comedy over the years, but Bernhal's roles had
tanted towards the more intense. While he still plays the
part of Braxton mostly straight, he's allowed to be the
lighter of the two characters.

Speaker 11 (02:23:26):
Now.

Speaker 24 (02:23:26):
I recently said that in his minor role in The Amateur,
Bernhal was admirable as the prototypical American badass character. So
despite Braxton's viciousness such as I mean attempting to facilitate
the murder of Anna Kendrick's love interest character in the
original film, the actor's magnetic personality still makes him likable regardless.

(02:23:52):
On that same note, it's worth saying that while in
action movie cliches, there's no reason to expect Anna Kendrick
to return. It is still a shame with almost every
main character from the first film making an appearance. It
would have been nice had some possible cameo been worked
into the script, especially with this sequels more lighthearted, less

(02:24:15):
gritty philosophy, I think that a union between Kendrick and
Affleck would have been nice, even if it was just
a brief one. The account and two is a much
more fun, playful affair than the first, with an ip
drawing the comedy out of its world. With talk of
completing the trilogy, I think that this might be something

(02:24:36):
of like an anti middle act, kind of the something
which bucks trends and as opposed to a movie like
Empire Strikes Back, which is, you know, the darkest and
the lowest part of the trilogy of the Star Wars films,

(02:24:57):
this could kind of be something maybe of an ant
time middle act of that where it actually leaves the
characters in a happier place than where they are in
their beginning and they're closing chapters. But regardless of that,
it just might not be a better film all up
with villains and intrigue falling to the wayside. It has

(02:25:22):
its moments, and it's got an effective race against time finale,
but I think a little more action would have gone
a long way towards giving fans the satisfying follow up
that well we've waited nine years for. So I'm going
to give this one three out of five. I mean,
check it out, especially if you're a fan of the original.

(02:25:43):
And yeah, I guess see what you think for yourself.

Speaker 10 (02:26:00):
Dog ah no.

Speaker 3 (02:26:13):
No se.

Speaker 7 (02:26:20):
See live wanns.

Speaker 51 (02:26:23):
She drank coffee, She drink teasy and chicken housey see
now Mosey dressed in greasy well since stops her Golden
seas see now hosy she.

Speaker 7 (02:26:39):
Live homsy dressed in crazy make a mazy loose his
hazy see now Mosey that dress horsy four thousand dollars.
She will have seen mon oh.

Speaker 8 (02:27:00):
Woh oh.

Speaker 7 (02:27:13):
See done see thy b.

Speaker 32 (02:27:21):
See long lord sea lime Walter.

Speaker 10 (02:27:32):
She drank hosy.

Speaker 7 (02:27:34):
She drank teas and sugar home.

Speaker 25 (02:27:38):
See down sea lime water see dressed in grease well
silk stock is landing Golden seas seed line w seal.

Speaker 42 (02:27:51):
Lime Walley, dance and res make this amazing.

Speaker 51 (02:27:56):
Lose his haste, lose his hair, loose he.

Speaker 7 (02:28:02):
Losey ha.

Speaker 5 (02:28:05):
God By n.

Speaker 7 (02:28:10):
Lose his hate, busy his hate, loose his hate.

Speaker 39 (02:28:30):
Oh god, oh.

Speaker 31 (02:28:46):
Say, don't think, Oh.

Speaker 39 (02:29:04):
Oh no, Mama, see loud water.

Speaker 5 (02:29:25):
She drink coffee.

Speaker 8 (02:29:27):
She drinks jeep.

Speaker 7 (02:29:29):
Then she'll go home.

Speaker 8 (02:29:31):
She loud woman, She loud MoMA. Let's din gream, let's
hill start her morning. See see you, lie mo.

Speaker 52 (02:29:44):
She lied walnut hatste red nave this name Lucy uses
wosleshoot you she sleep, she step.

Speaker 1 (02:30:21):
Well listeners. There is a brand new Marvel Cinematic Universe
movie in theaters right now. It is called Thunderbolts, and
I'm happy to kind of report that this film feels
like it kind of captures that old magic of the
Marvel films. It also does things a little bit differently

(02:30:43):
as well, which I think is actually a bit of
a welcoming surprise as well. Now, Thunderbolts is actually the
last movie of this Phase five of the Marvel Cinematic Universe,
which I think many of us would agree has been

(02:31:03):
a little bit of a letdown. It feels like for
a lot of it, Marvel were kind of free falling,
not really knowing what to do with different characters. Some
characters seem to have disappeared completely off the face of
the earth after having films set them up. It felt

(02:31:24):
like things for me, I know a lot there were
people out there that disagreed, but for me, it felt
like Marvel were getting back on track with the Last
Captain America film, and Thunderbolts ties into that completely. Thunderbolts
tells the story of a rag tag group of heroes

(02:31:47):
that are kind of thrust together. You've got Yolena played
by Florence Pugh, Bucky Barnes played by Sebastian Stan John
Walker played by Wyat russ All, task Masker played by
Olga Carolenko, and and of course Red Guardian Alexi played

(02:32:10):
by David Harbor, and also a ghost played by Hannah
John John Cayman. Now it does feel, like I said,
like this is kind of your old school Marvel in
the sense that you kind of have a humanic villain
a set up here with Valentina played by Julia Lois Dreyfus,

(02:32:35):
and she's being brought into an impeachment hearing, which means
that she's basically got to try and get rid of
all of her assets that we've seen her running in
the Marvel TV shows and the Marvel movies recently, and
this film is at the start is told through the
eyes of Elena, and she gets this call up from

(02:32:56):
Valentina and says, look, I've got this one last job
for you, and then I'm going to give you a
public face of this of what I'm doing. So she
gets called out to this kind of compound in the
middle of nowhere, and suddenly these guys that become the
Thunderbolts find out that they've all been sent to kill
each other, and at the end of it, they realized

(02:33:17):
that that was the plan, that they were supposed to
kill each other and then the whole thing was going
to be incinerated. Now, during this time, they quickly work
out what is going on and try to save themselves,
but they also end up discovering Bob played by Lewis Pullman,
a character who later on becomes century and void. Now

(02:33:42):
I want to touch on that because this is where
I think this old school kind of Avengers feelm comes
into this film. This is one of the first times
in a long time that we've been given access to
a Marvel villain in the sense that we know what
makes them tick. Now, this film, which is actually directed

(02:34:04):
by Jake Schruer, who has done a lot of heartfelt
films over the years. He's only real touch into pop
culture has been directing episodes of Skeleton Crew, the Star
Wars series, But apart from that, he's done a lot
of really touching dramas that touch on human emotions. And
that's what happens with this film, because this film becomes

(02:34:24):
a look at how Bob becomes Century and how it
becomes void. This film goes very, very deep into things
like depression and isolation, and even at times Yolena realizes
that she's kind of heading down the same path as
Bob as she starts to feel the same thing. And
I guess, even to a lesser extent, Alexi is also

(02:34:47):
going through the same thing. But all of these characters
are going through things in their lives that means that
they're alone. There's a touching story there as well, with
John Walker having lost his family. And it's weird because
when it first starts happening in the movie, you're like,
am I am I seeing this? Am I really watching

(02:35:08):
a Marvel movie that is going deep into depression? And
there's a there's a scene in this where Bob's kind
of in this world that he's built for himself in
his mind, and he's battling depression and battling isolation. And
as someone who suffered from depression in their life, I
can say that is so realistic the way that that

(02:35:31):
is done, Like that's what it feels to the person
suffering from depression, and to see it in a Marvel
movie is something kind of special because it's going to
reach an audience that it wouldn't normally reach out to,
and it feels almost goes artistic at times. One of
the things I did like about this film as well
is that it kind of held back. It kind of

(02:35:55):
held back a little bit on the on the action,
not saying that there's no action in this, but if
you remember a few years ago, I really loved the
film G I. Joe Snake Eyes because of the way
that they did that, where the action felt realistic. That's
what happens here as well, which seems weird seeing that
at some stage you've got a helicopter taking on a

(02:36:15):
godlike creature in the sky. But for a majority of
this and I guess it's because these guys are not
super powered to the extent of the Avengers. Of course,
Bucky and Alexi are super soldiers, but therefore a lot
of the fighting sequences in this feel more like a

(02:36:36):
spy thriller like rather than a big action masterpiece. But
I think that's what Marvel actually needed. I think there
for a while the films became so repetitive. And while
I'm not saying that the stanza that happens in this
film with one of the fights is anything different to
what we've seen before, because it's not the real fight.

(02:36:59):
Here is the inner emotions of the characters which it
then goes into, which is something pretty special. There are
a lot of nods in this film to the films
of the past as well. Of course, with Valentina actually
buying Stark Towers and trying to turn it into her tower,
it does feel that there's a lot missing out of
this film. It feels like Valentina's rise to where she

(02:37:23):
is now has kind of been ignored. Maybe in some
of the films. She's always in the telling TV shows
as well, she's kind of always like shown up and
been there and trying to do stuff. But I don't
think we really had a scope of just how far
she had come with what she was, what she was
trying to achieve. I also like there's a little nod

(02:37:45):
to Captain America at the end of this as well,
with the press calling the Thunderbolts the new Avengers and
apparently Sam Wilson having a little bit of a trouble
accepting that to the point where he actually is trying
to sue them for using the name. And there's a

(02:38:06):
little inkling there as well that that perhaps Sam is
trying to put the Avengers together behind the scenes. But look,
this is a pretty good Marvel film. I've got to say,
there's some great performances in this film. I think Wyatt
Russell does an absolutely amazing job here, as does Sebastian

(02:38:29):
Stan Florence pu is great. David Harbor does all the
comedic stuff that he needs to do. There's also a
bit of a storyline developing as well for Geraldine Vizwa
Nathan's character Mel, which we might get to see what
happens to her in the future as well. But I
think acting wise, the person that really steals the the

(02:38:51):
scene here is Lewis Pullman as Bob. It'll be interesting
what they do with that character, because, yeah, like I said,
he actually has become one of the more memorable kind
of Marvel villains with this film, So we'll see how
it goes. But look, I am going to give Thunderbolts
three and a half out of five. Is it a
perfect film?

Speaker 3 (02:39:09):
No?

Speaker 1 (02:39:11):
Is it a move in the right direction for Marvel?
I say yes. Thunderbolts is has a general release, so
it should be screening in a cinema near you. I'm
giving it three and a half out of five.

Speaker 7 (02:39:43):
Let him see where you're crazy.

Speaker 8 (02:39:45):
I don't care, just fun.

Speaker 7 (02:40:00):
If we'll want too hard, we're the fuller Bolts.

Speaker 8 (02:40:07):
Can be treating again. Stand it's drop, it's gotta stocks.
Please still.

Speaker 7 (02:40:31):
Let me say we're crazy. Oh dude, they know, but
you around me made it to ever.

Speaker 8 (02:40:39):
Let let the world around us just fall back.

Speaker 7 (02:40:46):
Then they can make it. If we'll have too hard.

Speaker 8 (02:40:51):
And we can pay this treat again.

Speaker 7 (02:40:57):
Understand it's strap, it's gone stop cross do this word.
We'll still had each other. No, it's gonna stop past,
it's gone to stop past.

Speaker 8 (02:41:19):
Stop stop.

Speaker 7 (02:41:47):
Let him sit awhere. You're crazy.

Speaker 8 (02:41:49):
I don't care to know that, but you haven't ever
him beating in.

Speaker 7 (02:41:54):
Don't over the bad. Let the world home on its
fall back. Many we give make it if we'll want
too hard.

Speaker 8 (02:42:10):
And we can be this strange again. Stand it's trong,
It's God stuck untill sure.

Speaker 7 (02:42:34):
Let me say we are crazy? H d they know?
But you want around me, baby to over let.

Speaker 8 (02:42:44):
Let the world around us just fall up.

Speaker 7 (02:42:49):
Ben Ay give Macy if we'll have too hard, and we.

Speaker 8 (02:42:56):
Can give this trege against.

Speaker 1 (02:43:25):
And that is it for this episode of Subculture meets
the Popcorn Conspiracy. We have had an absolutely huge show
today with rock music galore, and there's a lot of
stuff going up online at the moment as well. There's
an and Or Star Wars interview up there at the moment.
So Harley, where can people go to check out our

(02:43:48):
stuff online?

Speaker 2 (02:43:51):
The best place to go, as always for everything in life,
is www dot Subculture Entertainment dot com. And yeah, we've
got tons and tons of things. If you've heard anything
on this show or on previous episodes that you want
to hone in on, you'll find it on the website

(02:44:12):
as well as well as you know, full recordings of
our podcasts and shows. But yeah, you can find individual articles,
heaps of reviews, interviews, lots of news on things upcoming,
and if you do love all that extra content. Also,

(02:44:33):
check out patreon dot com because there is a Subculture
Entertainment page on Patreon. You can sign up there and
get even more exclusive stuff. So yeah, stay tuned because
it just never stops. It's the avalanche of entertainment with Subculture.

Speaker 1 (02:44:52):
Definitely, And of course you can also follow us on
socials as well to see where we've been out about
what we're doing. You can follow Subculture Dave on threads
and Instagram. You can also follow Subculture Entertainment on Facebook
X and Blue Sky as well, so yeah, make sure

(02:45:14):
that you jump on.

Speaker 2 (02:45:17):
Don't forget TikTok for all you TikTok junkies.

Speaker 1 (02:45:20):
Out there, definitely, and also as well, if you're an
AFL footy fan, we've actually got a reporter who covers
AFL football for us as well, so you can go
to Subculture Entertainment as YouTube channel. You will see all
of his interviews up there for AFL football as well.
So there you go. We better get out of here, Harley.

(02:45:42):
So for now, I've been Dave.

Speaker 2 (02:45:44):
G and I've been Harley. Join us again next week
for another chock full episode and maybe some more interesting
listener questions and responses, m