Subculture Radio Show Ep #116

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:19):
Hello and welcome to another episode of Subculture Meets the
Popcorn Conspiracy. I'm Dave Guy and joining me right now
is Halle Welcome it.

Speaker 2 (00:28):
Thank you Dave and hello again everyone joining us for
another episode. If it's your first time, lucky you. We've
got some fun stuff on. Let him know what we've got, Dave.

Speaker 3 (00:39):
Yeah.

Speaker 1 (00:39):
So we're going to continue our look at Packs twenty
twenty five, which is about to happen in Melbourne. We're
actually going to chat to the creators of a couple
of games, including Drift Kings and also Conquest for the Capitol.
We're also going to turn our attention to the other
big festival that is opening in Melbourne this weekend but

(00:59):
also so going right around Australia after that, and that
is Monsterfest twenty twenty five, Australia's largest horror and genre
film festival is upon us once again. We're going to
chat to a director who has put together an amazing
film for this year's festival. The film is called Diabolic.

(01:20):
It is an Australian film, so we're going to take
a little bit of a look at that later on
by reviewing the movie but also chatting to the director
as well. We've also got some very big music guests
this week. We're going to be joined by the guys
from Poison Oak, who have got a brand new track
out there are one of Australia's best bands at the moment.

(01:42):
And we're also going to chat to finish rock legends
the Rasmus, who have not only just put out a
new album but are also about to head to Australia,
so we're going to chat to them about that tour
as well. And Harley, we're going to play country of Origin.
Are you ready for country of Origin?

Speaker 4 (02:02):
I'm absolutely ready for country of origin definitely.

Speaker 1 (02:05):
So we will explain a little bit later on what
country of origin is, but basically Harley is going to
be judging the winners of a little contest where some
artists that represented the countries. I guess that's the best way.

Speaker 3 (02:17):
To put it.

Speaker 1 (02:18):
But if you're familiar with the show that Fiona and
I do for Thailand, you already know about this game
because we've played it on there a number of times.
But we had a request to play it with Harley,
so that is exactly what we're going to do on
today's show. But without any our further ado we shouldn't
go into the music because there's been a very special
show announced this week. So Jimmy Barnes this summer will

(02:41):
be celebrating the fortieth anniversary of his Working Class Man
album by doing a bunch of shows with some special
guests of his that are close friends. So he's going
to be doing these shows with ice House, I believe,
Kate Sobrano it's one of the other artists that's going
to be involved as well. But it is going to
be a true celebration of a truly iconic Australian album.

(03:06):
So we're going to kick off today's show by listening
to a track from that album. We're going to listen
to Ride the Night Away by Jimmy Barnes, but we're
also going to listen to what I think is probably
ice House's best track as well. I don't believe anymore,
but so sit back and enjoy. And if you're a
Jimmy Barnes fan, Holley, I'm guessing jump online and grab

(03:27):
those tickets because they aren't going to last long.

Speaker 4 (03:29):
Oh you heard him, snap them up, folks.

Speaker 1 (03:32):
All right, man, So let's kick off the show today
with Ride the Night Away by Jimmy Barnes.

Speaker 5 (03:52):
Sad, I know heed you feel.

Speaker 6 (04:02):
And I'm going feel we have about a talent Tembote,
Well he need talk about it, Tope.

Speaker 7 (04:17):
Will Adam brother feel the changes.

Speaker 8 (04:21):
But I can't turn back.

Speaker 7 (04:23):
And fangees that's hot.

Speaker 9 (04:26):
Robbie have to say us come to say anything.

Speaker 8 (04:37):
And that we're going with that away. Oh well, ain't
no time then a borrow. I guess I'll have to
think of that. It's a Bible. We don't know that.

Speaker 10 (04:56):
Now, don't that?

Speaker 8 (05:11):
Mbout myself. I then asking for Baddy some hell think about.

Speaker 9 (05:23):
Myself.

Speaker 8 (05:25):
Thank you the sing out of the few.

Speaker 9 (05:29):
He said no that I can't say.

Speaker 8 (05:34):
The same. I can love.

Speaker 9 (05:37):
Mading frass lady talk math. Will we need somebody, Sad?
I say, let bay, we ain't gonna take.

Speaker 8 (06:06):
The lands brow.

Speaker 11 (06:09):
I can't.

Speaker 9 (06:09):
I'll have to think about it.

Speaker 12 (06:11):
To my call.

Speaker 8 (06:12):
We're talking about.

Speaker 9 (06:15):
Rap now, I did not ba, you're.

Speaker 13 (06:37):
That n it's to lay the mast. Will I need
somebody last, Sad, I'll.

Speaker 8 (06:47):
Say, go.

Speaker 9 (06:53):
Way, Yet, I can't think.

Speaker 12 (07:11):
When my God, I never.

Speaker 8 (07:49):
Come to a.

Speaker 4 (07:52):
Guess that's the way that I'm going to You used
to meet someone on.

Speaker 8 (08:00):
A body I could understand. But now I'm don't about
and I don't know who you're wanting all those things.

Speaker 14 (08:15):
I hear you saying, you talk that way, you're a stranger,
and I don't.

Speaker 8 (08:23):
I let them begin, don't wanter hear you?

Speaker 15 (08:26):
Look again, I don't believe many, and this is all happened.

Speaker 3 (08:33):
No, I know a burdy before.

Speaker 8 (08:37):
I don't believe man, and.

Speaker 15 (08:59):
Don't number your voice that all this happened to us.
I could see I was shoot with a grist.

Speaker 16 (09:12):
Thank this young man, and you.

Speaker 9 (09:17):
We lost that too many And.

Speaker 12 (09:21):
That's the way I heard it.

Speaker 7 (09:24):
Love us come and love us go.

Speaker 8 (09:28):
And you think you know that just has anou.

Speaker 9 (09:33):
I don't know where to begin.

Speaker 8 (09:36):
The mon is again, I don't know me anymore. Listens,
I don't know, and love don't know any more?

Speaker 13 (10:01):
Shoots an whenso begin? No, guys, don't be says on

(10:54):
the snow.

Speaker 8 (10:59):
Don't be.

Speaker 17 (11:17):
Well.

Speaker 12 (11:17):
Listen.

Speaker 1 (11:18):
As we're continuing our look now at some of the
Indie Showcase winners from packs this year. The next one
that we're talking about is a game that comes from
a group called Nonsense Machine, and the game itself is
called Drift City Kings, and we thought to find out
a little bit more about it. We would actually get
Nick from Nonsense Machine on the phone to chat about

(11:39):
it now, So welcome to the program, mate.

Speaker 3 (11:42):
Hey, thanks, no worries.

Speaker 1 (11:45):
I've got to start off by saying congratulations, and I've
got to ask, what does this mean to you being
one of the winners of this year's Indie Showcase at PAS.

Speaker 3 (11:56):
I think it's a bigger deal than I thought the
first place.

Speaker 18 (12:01):
I didn't realize the Indie Showcase was so exclusive because
we never We've never shown our game at PAX before,
so that was always one of our goals.

Speaker 3 (12:13):
So, uh, it means a lot now.

Speaker 1 (12:18):
Racing games and car games have always been one of
my favorite genres of of video games, and I blame that.
I'm growing up on crazy Taxi when I was a kid.
So tell us a little bit about Drift City Kings.
Tell us a little bit about the game itself and
what we can expect when we had a long to
trial it at packs this year.

Speaker 18 (12:40):
Maybe don't expect anything, because it's not it's not your
everyday car game. It's a it's a sort of a
hybrid of a car game and an RPG and a
few other things. So maybe drop all expectations and just expect.
Well what did I say, expect nothing?

Speaker 1 (13:02):
So where did the idea? Where did the idea come
from in the first place.

Speaker 3 (13:09):
I don't think it came from a single thing.

Speaker 18 (13:11):
I think my idea is usually stew in my head
for a long time, and usually it's a combination of
a lot of things. So I think at that time
when I started it, I wanted to make a bigger
game than I usually do. I wanted to make like
an open world type game, and I wanted to make
something where you could go racing and customize your car,

(13:36):
but you also work in an office setting for most
of the day because I was kind of like sick
of my job and it was like peak pandemic as well.
That was sort of influencing my choices. Yeah, that's probably
just a few. You know, there's a lot to it,

(13:58):
but I can't remember.

Speaker 1 (14:02):
So the idea. Like one of the things, of course,
like I said earlier about the racing and the car genre,
is that there are so many games in that genre.
When you sat down to work on this, what kind
of things did you have in mind to make a
different to the other games that are out there in
that genre.

Speaker 18 (14:20):
That's a good question. You know, when when I started
making it, I was I wasn't thinking about things.

Speaker 17 (14:26):
Like that, Yeah, I was.

Speaker 18 (14:29):
I was kind of just doing my usual thing of
making whatever came to mind. But the differentiate from other
game was that the question? Yeah, yeah, yeah, differentiated Well,
I guess.

Speaker 3 (14:43):
It wasn't just a car game. You know when people
call it a car game, it's kind of like, is
it a car game? It's it's more an RPG. We
drive cars.

Speaker 18 (14:53):
Yeah, so that's that's I guess that's the main point
of difference from other car games.

Speaker 3 (14:58):
It's not just about the cars. It's it's kind of more.

Speaker 18 (15:01):
It's kind of more like a world you explore and
there's like an RPG story, but the main activity is racing.

Speaker 3 (15:09):
Yeah.

Speaker 1 (15:10):
We have a lot of writers who listen to this show.
Ironically enough, a lot of screenwriters and theater writers tell
us about developing that world. Like you said, this is
not just a car game, it's an RPG that's got
its own world. What was that like, sitting down and
developing that world.

Speaker 18 (15:31):
Yeah, it was interesting because because yeah, it changed a lot.
It was in development for like three and a half
years or so.

Speaker 3 (15:38):
It changed a lot.

Speaker 18 (15:41):
So in the beginning it was kind of it was
more about randomized text. I kind of wanted the game
to make itself. I didn't want to write anything by hand,
so it was sort of text sentences strung together, you know,
what people say when you talk to them. But it changed.
It changed as we were developing to like a straightforward,

(16:03):
linear like story and that was partly due to getting
funding from from vig Screen Screen Australia. So we had
like a small team at like halfway through, and we
had Raymond who was the narrative designer and ux designer,
and she helped a lot with like focusing the story

(16:28):
to something actually handwritten. And I've forgotten the question.

Speaker 1 (16:34):
Again, just how did you build that world?

Speaker 3 (16:37):
And yeah, yeah, so that was the preamble. Now the
real answer is is.

Speaker 18 (16:46):
Kind of just it's kind of just jokes, you know,
it's just jokes I see around and think of and
string together into some sort of nonsensical story. And Raymond,
Raymond helped a lot with raining all that in and
making it sort of cohesive.

Speaker 1 (17:05):
Yeah, and the look and feel as well, of course,
that's something that makes the game very different. It's got
a kind of punk vibe to it. Where did that
idea come from? Who came up with that idea and
how did you let that flow as you started to
work on the game.

Speaker 3 (17:20):
The aesthetics, So.

Speaker 18 (17:24):
It's just a style I like, you know, I cided
in other interviews as well, and Andy what's his name,
Andy Hook's Odd Pods is a really cool look, you know,
just crazy punk cartoon. He really tongue in cheek, if
that's the right phrase. I like that kind of style.

(17:45):
I like the really colorful, psychedelic looking art. So I
just wanted to make the city in the game really
really dense and like rich and colorful, you know, pack
it with character, packed it with life.

Speaker 3 (18:00):
So that was just the general design style guide.

Speaker 1 (18:04):
I guess did you did you base the city on
Melbourne or did you have a city in mind when
you sat down to work on it.

Speaker 18 (18:12):
No, it's it's it's pretty much laid out how Melbourne is.
It's it's sort of the layout of the city in
the game is sort of the bottom like the south
half of the CBD, and so there's a bunch of
buildings all throughout the game that are pretty much rip
offs of real buildings in the CBD. But but also

(18:32):
sort of Brunswick Area and also Danny Light. I don't
know why, but Danny Long Area too. Just whenever I
saw a building when I was passing through that caught
my eye, I kind of took a photo and had
a little reference folder, you know.

Speaker 3 (18:47):
So some of the buildings, you know, the mgvs.

Speaker 18 (18:49):
In there, you'll you might you might recognize a few
buildings if you're born, bred in Melbourne.

Speaker 1 (18:59):
So Nick, going by behind the scenes, that's I know
what a lot of our listeners are interested in. Like
I love to talk about how projects have come together.
How long did it take you to put together the
game from start to finish, and also what challenges did
you come kind of come across along the way.

Speaker 18 (19:16):
It was three and a half years, and I mean
it's there's still there's still I'm still working on it
a little bit for an update, but yeah, three and
a half years.

Speaker 3 (19:28):
Challenges was turning it from like my.

Speaker 18 (19:32):
Solo hobby thing where I didn't have any goals with it,
turning it from that into an actual product that we market,
that has funding, that has a team. So we started
a nonsense machine a year or so in to development
of this game. YEP, and so we had to sort

(19:53):
of fit fit in my like unorganized, improvised style of
development into more something a bit more organized and professional.
You know that that was a challenge because you know,
I was learning as I was doing it. Yeah, but yeah,
really really worth doing it for me.

Speaker 1 (20:12):
So talking about nonsense Machine, is Drift City Kings the
only game that you're working on at the moment? Or
have you got other projects that you've been working on?

Speaker 18 (20:21):
Drif City Kings is it's it's finished, but I'm still
just I've got the content update coming. It's just stuff
that I couldn't get into the game in time that
I really wanted. Yeah, so I count that as done.
But we've we've been working on a new game since
ship January. We haven't announced it yet, but hopefully sometimes

(20:46):
this year awesome.

Speaker 1 (20:48):
So if people want to come along to packs this year,
what can they do with Drifted the Kings? Will you
have demos set up there for people to play?

Speaker 3 (20:56):
What? What have you all got?

Speaker 1 (20:57):
What have you all got planned for packs this year?

Speaker 3 (21:00):
Yep?

Speaker 18 (21:01):
Just heading into the office now to work on the
demo because we haven't updated it since South Bay two
years ago. So the demo is the full game is
out now, so I wanted people to be able to
play more of the game without having to go through
you intros and tutorials. So I'm putting in a menu

(21:22):
that lets you skip to certain chapters, or you can
just straight go to a race without having to get
any introductions and stuff.

Speaker 3 (21:31):
So I just wanted to make it a bit quicker
to access more of the game for packs. Ye, and
we've got pins and shirts coming awesome.

Speaker 1 (21:40):
Well, make to finish off if people out there do
want to go and play, just to the kings, what
how can they play it? Where can they play it?
And what would you like to say to them before
they play it?

Speaker 18 (21:53):
They can play it on Steam, they can come to
packs to play a demo. And what do I say
to someone who's about to play the game?

Speaker 3 (22:03):
I love you.

Speaker 19 (22:06):
Such a foscar, always such a host, always such a fasco, always.

Speaker 8 (22:12):
Such a fast girl.

Speaker 19 (22:15):
Ask you the Simbova every day, take back his poem
who I begin? Always such a fasco, always such a
fast back.

Speaker 8 (22:26):
Gult the name still get last shut up?

Speaker 19 (22:34):
I got back a big Also, ask you the sibling
every day.

Speaker 8 (22:43):
As the Siba every day? As I said, come back
from me the back man, get as.

Speaker 7 (23:01):
Why nothing of the roses day.

Speaker 8 (23:12):
The foster I got there a bad bosom as the
sympatan every day as the spot every.

Speaker 19 (23:25):
Day that I said, look back to me the back
and get ask why.

Speaker 9 (23:41):
Why as it's a pasta always a pasta, pas.

Speaker 8 (24:42):
A pasta such are so says the last best version
I got a stag.

Speaker 9 (24:52):
Fashion, wasn't that?

Speaker 7 (24:57):
Jason Jesson Jessic.

Speaker 1 (25:24):
Well, Now on Subculture, it is time to play a
game called country of Origin. As we said earlier, this
is a game that Fiona and I often play on
our show in Thailand. But we had a listener who said,
I think you need to play the nineties dance edition
with Harley on Subculture. So that is exactly what we
are going to do right now. So basically, Harley, are

(25:46):
you ready for Country of Origin?

Speaker 4 (25:48):
I am absolutely ready. I was born ready.

Speaker 1 (25:52):
Awesome. So how this works is that we basically choose
a topic or a genre. Today's topic genre is these
dance hits. We then pick two songs or two artists
to represent their country of origin in the competition. Today
we are going to have Team Holland, We're going to

(26:12):
have Team Germany. We are going to have Team Italy
and Team France now to kick off everything, and basically
what happens is Harley's going to say which two tracks
or which two artists he liked the most, and that's
going to be the winner. So to kick it all off,
we're going to kick it off with Team Holland and

(26:32):
representing Team Holland today we have the younger boys and
we have Alice DJ. So Harley sit back and enjoy
what Team Holland has to offer us right now?

Speaker 3 (27:28):
Do you think you.

Speaker 17 (27:35):
Do you think you?

Speaker 3 (27:42):
Do?

Speaker 20 (27:42):
You think you're.

Speaker 21 (27:49):
Do you think you.

Speaker 22 (28:10):
Something sounds sounds sounds?

Speaker 20 (28:24):
Do you think you're bed around?

Speaker 22 (28:31):
Do you think you're mad around?

Speaker 3 (28:34):
Long?

Speaker 9 (28:52):
Do you think you're.

Speaker 23 (29:00):
Thinkin? Thinks? Sounds fine?

Speaker 8 (29:52):
Barny, not fine?

Speaker 20 (29:53):
What's money?

Speaker 24 (29:59):
That's fine, that's something to tell you.

Speaker 25 (30:21):
Got news for you, gon go some Will's emotions.

Speaker 8 (30:27):
Get ready because we're coming through, coming through.

Speaker 23 (30:31):
Hey now hey, now you want to say, now, help's
just a gon now hay now you want to say,
don't Will be there for you? Bena versus coming and
everybody's jop with New Yorker semprances of them. In the
second Stan, the Wills are still a june just to

(30:54):
catch us and show me if you like your body,
get on and move your side.

Speaker 13 (31:00):
Spot speak spike spotty spe potties be spike spotty.

Speaker 23 (31:20):
It Hey now hey, now you want to say now happy,
it's just a round a ConA.

Speaker 8 (31:28):
Hey now hey, now you want to say now we'll
be there for you.

Speaker 23 (31:34):
Bend bus is coming. Then everybody is jumping new to
s Francisco in the city, dancing the wheels of Steelers journey,
even tramping up. Turnhow me a few lectures start? I
didn't want to move your body. Bend up bus is coming.
Then every bi is jumping newank some Francisco in the city,

(31:54):
dancing the wheels of Steelers journey, traffic lights turning to.

Speaker 8 (31:58):
Me a few less then.

Speaker 20 (32:10):
Mean like upon it mean like we liked about it,
We like upont it mean.

Speaker 8 (32:16):
Like we like to buy it, about it, we liked
about it, upon it, we liked to put it.

Speaker 23 (32:32):
Stops just sentence steel wheels steel.

Speaker 8 (32:55):
So if you like.

Speaker 1 (33:13):
And welcome back. Well, that was Team Holland with Alice
DJ and the younger boys. Hally, how are you feeling
about Team Holland.

Speaker 2 (33:21):
There, that's a pretty good representation I always loved Alice
DJ song. So yeah, very very tempting there. Younger boys
are always good to get a crowd dancing. But yeah,
I've got to wait for judgment.

Speaker 4 (33:39):
What's next?

Speaker 1 (33:40):
Okay, so we've got Team Germany up next. We're going
to have Hadaway and Labush coming up for Team Germany.
So take it away, Team Germany.

Speaker 26 (33:49):
What is that lady don't hear me, don't hurt me
no more, lady me, don't hurt me no more?

Speaker 3 (34:12):
What is that?

Speaker 14 (34:30):
Oh no, you're not there, see you won't know, but
you look?

Speaker 9 (34:37):
What is fine?

Speaker 27 (34:39):
What is worn city summer?

Speaker 26 (34:43):
What is the way you don't hurt me, don't hurt
me no more? What is the way you don't hurt me,
don't hurt.

Speaker 8 (34:56):
Me no more?

Speaker 20 (35:31):
I don't go, then I do.

Speaker 8 (35:35):
I's gonna say so no World War were?

Speaker 26 (35:45):
What is that where you don't help me, don't love
me no more? What is that where you don't hurt me,
don't love me no?

Speaker 3 (36:16):
What?

Speaker 14 (36:24):
What maybe you don't hurt me, don't hurt.

Speaker 28 (36:37):
Me no more?

Speaker 8 (36:50):
No no love, no mother, no no. This is so
outs up. We'll be need you be.

Speaker 3 (37:11):
What is that?

Speaker 26 (37:12):
Maybe you don't hurt me don't hurt me no more?

Speaker 3 (37:18):
What is done?

Speaker 26 (37:20):
Maybe you don't hurt me, don't hurt me no more.
Maybe you don't hurt me, don't hurt me no more.
Maybe you don't hurt me, don't.

Speaker 8 (37:38):
Hurt me no more.

Speaker 3 (37:42):
What is that.

Speaker 8 (38:14):
You want?

Speaker 27 (38:16):
Indeed one of my club and I one of my clubs.

Speaker 3 (38:55):
Don't I.

Speaker 1 (38:58):
My?

Speaker 8 (39:00):
Okay, my god, bro Yes, don't want to be younger?

Speaker 3 (39:10):
But taking mother like, no, not done?

Speaker 8 (39:12):
Don't Then they're getting down the whole night.

Speaker 7 (39:14):
I'll never let you down, my love.

Speaker 13 (39:16):
Them gonna be done, beat like the man.

Speaker 8 (39:18):
I won't bet them.

Speaker 25 (39:18):
Beating, telling you none like your brother in law.

Speaker 21 (39:21):
Yeah, I want to be younger, say my, hi, hi.

Speaker 8 (40:28):
My, I'm know you want to be. I know you
want to be.

Speaker 1 (41:21):
And Halley, that was Team Germany's effort there with how
do I and La Bush? How are you feeling about
Team Germany's effort?

Speaker 2 (41:29):
Well, that is a brilliant pair of tracks, and I'll
mention La Bush I've loved for ages. The female singer
in there, Melanie Thornton I think her name is. She
died in a playing crash a little while just after
starting her solo career back in the day, So that's

(41:51):
a bit heartbreaking. So it's good to hear her being played.

Speaker 1 (41:54):
Again, definitely. And now we're going to have Team Italy
and this one's a little close for us for our
Thai show because of course our theme music in Thailand
is actually a remix of Eifel sixty five that's done
by David Guetta. But we now have tem Italy taking
the stage and we've got Eiffel sixty five and we've

(42:14):
got Corona as well. So Harley, how you think what
do you think Tim Italy is gonna be?

Speaker 29 (42:20):
Like?

Speaker 1 (42:21):
Do you think this is going to be a pretty
strong representations?

Speaker 2 (42:25):
That's definitely a strong representation, especially with Corona. I mean,
come on, loved Terry forever in the day.

Speaker 1 (42:32):
All right, then let's take it away with Team Italy.

Speaker 8 (42:36):
Yo.

Speaker 30 (42:37):
Listen, here's the story about a little guy that lives
in a blue world and holiday and all night and
everything he sees it's just blue like him.

Speaker 8 (42:50):
Inside and outside blue.

Speaker 7 (42:52):
His house with a blue little.

Speaker 31 (42:54):
Window and a blue corvet and everything is blue for
him himself and everybody around because he ain't got nobody.

Speaker 32 (43:08):
I'm lude halbat over die hab at tabortown tapatit other
die haberteen tabletown, Tapa, Taba died, Darbort tarbot tabataver die.

Speaker 20 (43:23):
I'm blue.

Speaker 8 (43:24):
I was ade, I was died, and the other time
I was out the die the.

Speaker 32 (43:30):
T other times hate ob die other diet.

Speaker 8 (43:36):
Other die.

Speaker 33 (43:58):
Si a blue house with a blue no, Blue is
the color.

Speaker 12 (44:03):
I'm out?

Speaker 3 (44:03):
Then I went down.

Speaker 33 (44:05):
Blue out the streets and now the trees are too.
I'm a comin and she is a blue blue? Are
the people here that walk around blue?

Speaker 17 (44:17):
My?

Speaker 33 (44:17):
My god, it's in and outside blue?

Speaker 10 (44:20):
Why the word I say?

Speaker 8 (44:22):
Why I think blue?

Speaker 33 (44:24):
Why the feelings the live inside me?

Speaker 12 (44:28):
All the.

Speaker 20 (44:31):
Other other time a bull the other other do now the.

Speaker 34 (44:52):
F I have a blue house with a blue window.

(45:16):
Blue is the color I bothered?

Speaker 8 (45:18):
No wear blue?

Speaker 33 (45:20):
O the streets and all the trees are true. I
have a cousin and she isself blue blue. Are the
people here that walk around blue?

Speaker 20 (45:32):
Like my garden?

Speaker 33 (45:33):
It's ending outside blue? Why the why I say what
I think blue? Are the feelings live inside me?

Speaker 8 (45:42):
Blue? All the other die blue?

Speaker 20 (45:58):
The other the d D the din the d D
B D die the d outside.

Speaker 31 (46:11):
And outside blue? His house within the blue little window
and a book or record and everything is blue for
him and himself and everybody around because he had got
nobody can.

Speaker 3 (46:25):
Do this end.

Speaker 10 (46:27):
I'm blue now the D.

Speaker 20 (46:30):
D the T nowther dther do the D D.

Speaker 12 (46:38):
D die?

Speaker 3 (46:39):
The D.

Speaker 20 (46:43):
D other die Now the D O D other die.

Speaker 8 (46:50):
No, the D do die, b D die. This is

(47:13):
the rhythm, madam that.

Speaker 29 (47:16):
That, Oh yeah, the rhythm Bamba lies. This is the
rhythm Mama life, my live. Oh yeah, the rhythm Mama live.

Speaker 8 (47:49):
On the face.

Speaker 19 (47:51):
Also take me to jab the magen.

Speaker 9 (47:59):
Say, oh God, love your ma, Will you give me.

Speaker 25 (48:08):
The rollo boll somebody. This is the rhythm mother, Oh yeah,
the rhythm mother.

Speaker 8 (48:26):
This is the rhythm.

Speaker 9 (48:27):
B oh yeah, the river what the bus? Love me?

Speaker 8 (49:00):
Don't mean man, and let.

Speaker 25 (49:02):
Me hold your head.

Speaker 9 (49:06):
I don't want to.

Speaker 8 (49:10):
Please think of me saying that so to me, no
reason theory and you will say this.

Speaker 25 (49:20):
This says the rhythm mom.

Speaker 20 (49:23):
No man, really die nous die.

Speaker 8 (49:33):
Back?

Speaker 9 (49:34):
Oh yeah.

Speaker 35 (49:37):
Really this is really brocom don b oh really die.

Speaker 9 (49:48):
No bad.

Speaker 8 (49:52):
Back?

Speaker 9 (49:53):
Oh yeah the real di.

Speaker 25 (50:13):
That sous rhythm broom Oh yeah, really rock that.

Speaker 9 (50:27):
Oh yeah.

Speaker 7 (50:29):
Real this so no real rock them do.

Speaker 8 (50:39):
Real b.

Speaker 9 (50:41):
Nod?

Speaker 8 (50:46):
Oh yeah, real no.

Speaker 25 (50:52):
That says the rhythm Broom.

Speaker 1 (50:59):
And then we go that was Eiffel sixty five and
Corona representing Team Italy. There, Halley, how did you feel
about Team Italy's performance there?

Speaker 2 (51:08):
Very strong tracks, good contenders there. I have to say,
you know, Eifel sixty five, I kind of feeler in
that similar category to say Vanger Boys, where it's like
that's that track is something that immediately kind of gets
you hooked, so you know, you.

Speaker 4 (51:29):
Get drawn in.

Speaker 2 (51:30):
But then I think maybe Corona offers something a little
more than just the hook for me anyway, So I
don't know what's what's what's lucky last?

Speaker 1 (51:41):
All right, So we've got one team left and that
is Team France, or according to my run sheet, for
some reason, it says Team Francie. That's our Team France
are going to I'm gonna line up next, and we've
got star Dust and Mozo who are going to take
it away for Team France. So Harley, sit back and
let's see if Team Frantz can impress you.

Speaker 36 (52:02):
Now, lady, give me too, like goes my feeding. He's

(52:30):
just so as we dance by the more, can't you
see yo?

Speaker 8 (52:38):
My dear that.

Speaker 9 (52:40):
Lady?

Speaker 25 (52:42):
I just feel like I won't get you.

Speaker 8 (52:45):
I'm a bye mine.

Speaker 25 (52:47):
I bee love found the first and I know that
is to a canta.

Speaker 8 (52:54):
By the look in.

Speaker 36 (52:55):
Your lady, give me too, like goes my beating. It's

(53:31):
a sore n as we dance by the moon can't
you see yo, my dear light lady, I just feel
like I won't catch you.

Speaker 7 (53:46):
I that my mind.

Speaker 36 (53:48):
I be love found the person, and I know that
is too a cantle by the look in your lady

(54:28):
hear me too. That goes my feeding. It's just so
right as we dance by the moonlight. Can't you see yo,
my dear night Later, I just feel like I won't get.

Speaker 22 (54:46):
You out of my mind.

Speaker 8 (54:49):
I feel love for the first time, and I know
that is true. I can't tell by the look in
your hea.

Speaker 9 (55:04):
Not my being to me.

Speaker 8 (55:06):
Is a story, a doora.

Speaker 36 (55:13):
Malf has just be like life. I be loved love
a bird of bird lads after.

Speaker 37 (56:33):
Get out take you must to get that. I feel

(57:11):
nickers you you must get that.

Speaker 8 (57:56):
Maybe I feel all right. The music sells man, I
will you love mite bring us back to get the eyes.
That's so cool. I feel right the music sounds man.

(58:18):
I will you love might bring us back to get there.

Speaker 9 (58:31):
Maybe I feel right us that I will you.

Speaker 8 (58:43):
Bring us back to get I feel right the music
that I with you.

Speaker 9 (58:59):
Brings back.

Speaker 1 (59:43):
And that was Team France rounding out this edition of
Country of Origin, which of course saw Team Germany take
on Team Holland take on Team Italy and Team France.
So hally, if I had a drum here, I'd be
playing a drum roll right now. But who wins the

(01:00:04):
inaugural Country of Origin on subculture? Which team wins and
why do they win?

Speaker 2 (01:00:13):
It's really tough, especially after playing Team France. Those are
two awesome tracks. They get stuck in my head frequently.
I actually hadn't heard both of them for a while,
so playing them again is like, yeah, they're going to
be stuck in my head for a while now, Okay,
so let's go through. We had Holland first, Younger Boys

(01:00:38):
and Alice DJ. I mean, yeah, Alice DJ always has
a special place with me. Venger Boys good dance tracks,
But I don't feel there as strong a choice as
a lot of the other ones, So I don't think

(01:00:58):
it's Team Holland. I think I feel the same about
Team Italy. I love both of those tracks, absolutely, but
I feel like the Eiffel sixty five track maybe isn't
as strong as maybe like Corona. And then you know,

(01:01:19):
the other tracks remaining were So it comes down to
Germany and France.

Speaker 3 (01:01:25):
They are all you started it.

Speaker 4 (01:01:32):
No we didn't.

Speaker 1 (01:01:37):
Therender Now.

Speaker 2 (01:01:42):
It's the Gal's fault. No, Oh, it's really strong. They're
all really good tracks. I guess it's going to come
down to the fact that maybe the two French tracks
were kind of similar and the German tracks offered two

(01:02:03):
more diverse flavors, and they're both really strong groups. So yeah,
it's Team Germany. Team Germany wins the war.

Speaker 1 (01:02:14):
Awesome, So there we go. So the inaugural winners of
Subculture's version of country of Origin goes to Germany. And
I'm sure we're going to be playing this game again
on this show because it is a very very fun
game to play. But Harley, seeing that you have given
the laurels of victory to Germany, we are going to

(01:02:36):
play another German dance track now that we know that
you love. We're going to play Max, don't have sex
with your ex from Erotic because we know that you
love Erotic.

Speaker 3 (01:02:44):
Don't you.

Speaker 2 (01:02:46):
Yeah, that would have been a hands down if Erotic
had been one of the tracks. It was just like,
I don't want to hear the rest.

Speaker 8 (01:02:51):
They win, So here we go.

Speaker 1 (01:02:54):
Here is the lap of honor from Team Germany, with
Erotic taking to the stage right now, and Harley, thank
you so much for playing the first version of Country
of Origin.

Speaker 8 (01:03:07):
Very good.

Speaker 4 (01:03:08):
Actually, maybe let's.

Speaker 2 (01:03:11):
Let us know if you're listening and you enjoyed that,
do you have some suggestions for genres that you'd like
us to play next time around? And maybe I could
pick for David next time. We'll see how it goes.

Speaker 1 (01:03:27):
Definitely, but Team Germany, you're the winners, so let's do
your lap of honor.

Speaker 17 (01:04:03):
Well, I'm Max.

Speaker 29 (01:04:04):
I'm Max.

Speaker 20 (01:04:04):
Let me call me Max.

Speaker 3 (01:04:05):
I'm in love with you and I don't show my axe.

Speaker 20 (01:04:06):
Well, I'm Max, Max, pull me Max.

Speaker 25 (01:04:08):
I'm thinking what they get an I'm giving what it.

Speaker 8 (01:04:10):
Takes you Max, Max Flax. I'm in love with you
and I love my axe.

Speaker 7 (01:04:13):
I love your mothers and to be cruel, I don't
know what I'm known I do.

Speaker 25 (01:04:17):
I can't have lon you Max, have sex with your X.

Speaker 8 (01:04:21):
It will make your lucky.

Speaker 38 (01:04:22):
Thanks mom, Max, Baby, take thanks. Don't have sex with ux.
It will not be puty max O, Max, please.

Speaker 9 (01:04:31):
Cool an shot peep.

Speaker 33 (01:04:46):
One Max, I Max.

Speaker 9 (01:04:47):
Let me call me Max.

Speaker 14 (01:04:48):
I'm in love with you and I love my ass.

Speaker 3 (01:04:49):
Well.

Speaker 20 (01:04:49):
I'm Max Max.

Speaker 25 (01:04:50):
Poll me Max because your brother.

Speaker 7 (01:04:52):
I'm coming love Heather Flax. I'm Max Mac.

Speaker 3 (01:04:54):
Come Max.

Speaker 20 (01:04:54):
I'm in love with you and I love my ax.

Speaker 14 (01:04:56):
I don't want to make your fuel gon do.

Speaker 17 (01:04:58):
I don't know what I'm gonna.

Speaker 23 (01:05:00):
I got to warn you Max on her sex with
you x it will make your lack of.

Speaker 20 (01:05:05):
Bas man Max, Baby, take it easy.

Speaker 38 (01:05:09):
Best one her sex will you x it will lock
you up your legs all Max, please cruel and shas
pretty less.

Speaker 8 (01:05:17):
I gotta born.

Speaker 9 (01:05:18):
You don't have sex with x x.

Speaker 8 (01:05:49):
Ah sex malass.

Speaker 38 (01:05:56):
O Man, I gotta born.

Speaker 8 (01:06:10):
You will make your looks Baby take still chaspy.

Speaker 1 (01:06:53):
Well listen as we are continuing our look at packs
this morning by taking a look at one of the
games which has picked up one of the Indie Showcase
Awards for this year. The game is called Conquest for
the Capitol. It's a tabletop game and we thought today
we would actually get one of the people behind the
game on the phone to chat a little bit about it.
So welcome to the program, Daniel, Thank you, thank you

(01:07:16):
for having me here.

Speaker 3 (01:07:17):
No worry.

Speaker 1 (01:07:18):
So Daniel, first of all, I've got to ask, how
do you feel about being one of one of the
Indie Showcase winners for this year.

Speaker 3 (01:07:26):
I'm kind of like ecstatic about it.

Speaker 39 (01:07:29):
We've been working on the game for something like ten
years and at the start of the year we decided
to think, oh, it's finally done and we just wanted
to put it out there. When we saw that Pax
was opening up the Indie Showcase, we submitted and we
were just so surprised that it was selected for the

(01:07:53):
winning for the Indie Showcase winners. We were just like
absolutely thrilled about being show it off and launch at
the same time.

Speaker 1 (01:08:03):
So, for those that don't know much about Conquest for
the Capital, tell us a little bit about the game itself.
What are some of the characters that you can expect
to find in this and what is the general theme
of the game itself.

Speaker 39 (01:08:17):
Conquest with the Capital is a strategy table top game
where four players compete against one another and a central
non player faction to seize control of the couple of
pile and they do that over five turns by building
up their forces and developing more power by getting upgrades

(01:08:38):
throughout the game. And it takes place over five turns,
which usually takes about one and a half hours to play.

Speaker 3 (01:08:46):
And there's four factions currently available.

Speaker 39 (01:08:49):
The Dwarves, which play much like you'd expect, sitting in
one spot with remote canon towers that allow you to
interact in other people fights, Elves which like to control
the battlefield and control the map, Orcs which don't care
about control, they just want to be in as many
fat battles as possible. And undead that want to go

(01:09:13):
over and invade and then take the bodies of their
fallen victims and raise their armies to increase their own numbers.

Speaker 1 (01:09:26):
Okay, so where did the idea come from? Like, how
did this all start for you? You mentioned that it
started ten years ago. Where did that idea first come from?
And when did you decide, Hey, this might actually work
as a game.

Speaker 39 (01:09:38):
So when I was in UNI, we'd carve out like
entire weekends to play these games like Access and Allies
Diplomacy Eclipse and like we said, it's no time, but
we never got to games like Twilight Imperium and stuff
like that, these big four X Grand strategy kind of tabletop.

Speaker 3 (01:09:54):
Games, but you never have the amount of time you
need to actually play it.

Speaker 39 (01:10:00):
So I SETI size some time that can years ago
to kind of think of a way where do you
get the same kind of feeling, but you match it
down into like a two hour time, not spending all
that time planning and then not even finishing it. I
guess really the biggest inspiration is Diplomacy because the hidden

(01:10:23):
movement and simultaneous movement is a core gameplay feature for
that to me, And yeah, that's one thing that I
really wanted to introduce into this.

Speaker 3 (01:10:33):
Game as well.

Speaker 1 (01:10:35):
So from there, where did you?

Speaker 3 (01:10:37):
How did you go? Like?

Speaker 1 (01:10:38):
What were the steps from that spot? Once you realize
that I want to create a game that can be
played in one and a half hours to two hours?
What were the steps?

Speaker 17 (01:10:47):
Then?

Speaker 3 (01:10:51):
Look, the first part we came up with was we
came up with a lot of mechanics.

Speaker 39 (01:10:59):
When we put them all in and it didn't work,
and we refined and refined it, and after about two
years of doing that, we said, no, this isn't going
to work. We scrap it all and we started again.
I did that three times, which is why it took
so long for us to get to this point here.

(01:11:21):
But it was really a lot of help from our
playtesters and sometimes even like just hearing their brutal honesty saying, oh,
this isn't working.

Speaker 40 (01:11:32):
What do you need to do?

Speaker 39 (01:11:33):
Well, I don't like the entire bits, or I don't
like this bit. We really worked a lot with our
playtesters to kind of refine our process.

Speaker 3 (01:11:42):
We didn't get there immediately.

Speaker 39 (01:11:45):
Yeah, like we have an alpha version that's overly complex
and not at all fun because we were aiming for
something and just mashed as much as we could into
it without thinking really ahead. But yeah, like really really
refining our processes is how we end up in this position.

Speaker 3 (01:12:04):
But yeah, it took a long time.

Speaker 1 (01:12:06):
I guess one of the advantages that you've got as
well is because Concrest for the Capital only takes like
ninety minutes or two hours to complete. As well, you
might be able to have people at packs that can
go through the whole thing. Is that something that you've
thought about as well, like what you'll actually have there
for people at packs?

Speaker 39 (01:12:25):
Yeah, so the full game, we have some online play
tests and we put it up on Tabletop Simulator and
table Topia if people are interested in seeing it there
and funding it there. But at packs we've got a
demo run available where it's at five turns. It just
takes two turns and it's limited to an hour long Awesome.

Speaker 1 (01:12:44):
So, tell us a little bit about what you've got
going on outside of Concrest for the Capitol as well,
because of course you've formed a company called Mountain Sole Gaming.
Have you are you working on other games at the
moment as well, and can you tell us a little
bit about the other projects that you're working on.

Speaker 3 (01:13:00):
So this is obviously our debut title.

Speaker 39 (01:13:04):
We're working primarily on this one, but the next one
we're going to a look at is my fiance's title
Limb Shot. It's a very easy to play a game
where the intended audience is one player verse one player
or two player vers two player to eliminate their limbs

(01:13:27):
before you're able to defeat them, and you set up
in teams rolling dice to target them. But we're not
yet ready to fully announce that. We're still working on
the prototypes for the models that we're looking to introduce.

Speaker 1 (01:13:43):
Awesome, So, Daniel, people out there do want to find
out more information about Conquests for the Capitol or Mountain
Soul Gaming. Where can they go to find out more information?

Speaker 3 (01:13:53):
We have an Instagram and a Facebook page where they
can reach us.

Speaker 39 (01:13:56):
We also have a YouTube that we occasionally put video
up on, but primarily if you want to have a
look at Conquest of the Capital. Where going live in
eighteen days, so from the day of this interview on Game.

Speaker 1 (01:14:11):
Found Awesome, So that's October first for everybody out there
as well who might be listening at a later date,
so you'll be able to go on to Game Found
and find Conquest for the Capitol in October, the first
Daniel to finish off. What would you like to say
to people out there before they head along and check
out Conquest for the Capital at PAX, I'd.

Speaker 39 (01:14:32):
Probably say that where we'll have new versions of the
box available, but where we're going to be working towards
getting new art, new materials, So what do you see
A packs is as close to as finish as possible.
We're going to be constantly refining that until we ship

(01:14:53):
it out on the on the day, but it's a
very exciting project. We've got a lot of art currently
in the game. So it is like a beautiful product
that I'm very plishable.

Speaker 8 (01:16:44):
Through the vase of your story. Show you god Father,
see love a job.

Speaker 10 (01:16:57):
Killy, We never.

Speaker 8 (01:17:00):
This can't be curs Ways can I say more time.

Speaker 9 (01:17:08):
Voice?

Speaker 25 (01:18:00):
It's Chauncey things.

Speaker 8 (01:18:07):
Far dis five f it's far diverse ferus.

Speaker 41 (01:18:21):
No one's gone. It's as Johnson things divers fives from

(01:18:44):
the ass.

Speaker 8 (01:19:17):
Still sat.

Speaker 9 (01:19:23):
Side, it's still to set s.

Speaker 11 (01:20:42):
Hello, welcome back to the show. I'm your host, Kyle,
and I'm going to be looking at Good Boy, a
movie which I caught at Melbourne International Film Festival, and
it is going to be playing at Monster First and
it will be he soon released a hopefully nationwide as well.

Speaker 14 (01:21:05):
Well.

Speaker 11 (01:21:06):
I'm a dog person myself, and whenever my dog, who
is a Collie, is getting his monthly beauty treatment by
my regular grooming franchise, he does something peculiar. He stares
out the back of the trailer into the darkness. You know,
I work late hours at that's some kind of fixed point.

(01:21:28):
I can't see what he's staring at. And the groomer
says she can't see it either. But we've dubbed this
invisible target my dog's ghost. Now it seems like all
dogs have some sort of ghost which only they can see.
Now in this movie, for Indy, who stars in the
movie as himself, who is a retriever, his ghost is

(01:21:50):
more literal. With Indy's owner, Todd played here by Shane Jensen,
having a breakdown over growing health concerns, he decides it's
bad to get away from it all, against the wishes
of his sister, Vera played by Ariel Friedman. Todd and
Indy relocate far from the big city and the nearby
hospitals to the abandoned cabin which once belonged to their

(01:22:15):
late grandpa played by Larry Fessenden. Now something is waiting
for them there, or maybe it came with but Grandpa
died in this cabin and the family have considered it
cursed ever since. Immediately on arrival, Indy consents something is wrong.
He can hear things which Todd doesn't, and he can
see things which Todd can't, and he senses a malevolent

(01:22:38):
force lurking in the shadows. As Todd's health Terry ates
history may be repeating itself because many of Grandpa's dogs
abandoned him and fled that unholy place over the years.
But not Indy, however, because Indy is a good boy.

Speaker 3 (01:22:57):
Now.

Speaker 11 (01:22:58):
This is a horror film with a familiar style. It's
got a familiar tone, and it's got some familiar scares
in it. However, it's still one of the most interesting
films that I saw at the Melbourne International Film Festival,
and it should probably be one of the most interesting
films playing at this year's Monster First as well, because
it has a major difference. Now Good Boy is told

(01:23:21):
almost entirely from the perspective of Indy the dog. It's
directed by Ben Leonberg, who is Indy's real life owner, who,
along with his producer slash wife Carrie Fisher not that one.
They shot the film for an epic four hundred days
over the course of three years. They say that you

(01:23:44):
should never work with children or animals in Hollywood, and
this is why now the film's leading boy, Indy is
a born four legged movie star. It opens with home
footage of his adoption as a puppy, growing up and
showing love for his master. We immediately fall in love
with him in return, and I don't think I've heard

(01:24:07):
quite so many ohs from the ladies in the cinema
audience before, as I did while watching good Boy, and
just a picture of this photogenic pooch is enough to
tell you why. The length the shooting process of Good
Boy pays off well, with Indy's performance in the film
being particularly believable and quite disturbing at times. I mean,

(01:24:30):
I have no idea how Leonberg directed Indy, but his
emotions and his confusion, his fear, his panic and his
anger they all feel convincing. And I know that it's
possible to train a dog to act scared, but so
nobody should should call animal rescue or anything. But still,

(01:24:53):
the commitment to Indy's perspective and the role of Indy
as a protagonist makes those moments much more raw and
hard hitting than any traditional horror flick. The simple idea
following a dog around trying to confront a supernatural horror
is terrifying in its own right. The musical score by
Sam boss Miller heightens this tension and eeriness of Cabin

(01:25:19):
as the increasingly unhinged home videos of Grandpa Tire that
Todd is watching. But when locked up, Indie can't go anywhere,
he can't tell his owner it's time to get out,
and his loyalty dictates that he must protect this weakened
man who he calls his master. So it's a different

(01:25:40):
kind of helplessness that we're not used to seeing in
standard Cabin in the Woods ghost movies. While I paint
this film as an unexceptional spooky flick, that's not entirely fair.
There isn't much of a story here, and the film
is only about seventy two minutes in length, but what

(01:26:00):
it does explore is a commitment between a dog and
their owner. The horror aspect itself is more interesting than
most as a metaphorical look at the growing pain, anger,
and despair within Todd, the idea of a I mean,

(01:26:21):
it can be hard to like Todd at times, as
we're not exactly seeing him at his best, but he's
a man who's suffering from a serious illness and one
which makes him lash out or behave in appropriately to
those around him. But families stick together, and that's why
dogs are called man's best friend. Indy is there for
Todd even when Todd wants to be completely alone, so

(01:26:43):
it's a fascinating watch, especially having such a short run time.
The gimmick doesn't overstay. It's welcome, and good Boy turns
the conventional haunted house blueprint on its head. By entering
through the doggie door. You'll have your tail between your legs,
and you'll care for Indie more than any scream cream
in history. It might even make dog lovers hug their

(01:27:06):
very friends just a little bit tighter before going to
sleep that night. So I'm gonna get this four out
of five. I quite enjoyed it. It's just an interesting
little horror film, kind of a haunted house movie with
a difference.

Speaker 16 (01:27:26):
Gadgy, these suppostitionous back with thousand petitious, No mass mole.

Speaker 3 (01:27:34):
Remains the same.

Speaker 20 (01:27:38):
I feel like I'm in I've then her from the
girl for poor girl their.

Speaker 8 (01:27:47):
Swiss again. Well, I guess this city.

Speaker 42 (01:28:04):
O Boson talks the wounded soul, frost fresh off the
sirens and beautiful really so he sums up from the
broken trees, the families out of rubbedies.

Speaker 8 (01:28:22):
We keep back pass thanks tram, tell me.

Speaker 9 (01:28:32):
Sounding as.

Speaker 8 (01:28:39):
I can't yet tell me, sell me.

Speaker 16 (01:28:50):
Let me fall today, walking chalk on subab the streets,
the sound of ding sounyfy, I guess it have as oh, again,

(01:29:17):
so he tiss up here.

Speaker 8 (01:29:19):
In your head have a complex.

Speaker 12 (01:29:22):
Mace that never that's whay up.

Speaker 8 (01:29:26):
You'll get some tell me tell me?

Speaker 9 (01:29:39):
Can you go?

Speaker 8 (01:29:42):
Can you tell me?

Speaker 9 (01:29:46):
Tell me? Tell me? Tell me?

Speaker 8 (01:30:25):
We can get a.

Speaker 12 (01:30:31):
Can't tell me?

Speaker 8 (01:30:35):
Tell me?

Speaker 12 (01:30:42):
Fort can it?

Speaker 8 (01:30:56):
Can it? Tell me?

Speaker 1 (01:30:59):
It's well listeners, we are about to play the brand
new single from a band that needs no introduction on
this show. Of course, the track tell Me by Poison
Oak when absolutely crazy with you guys. You were requesting

(01:31:23):
it for weeks and weeks and weeks, and we're here
to tell you right now that Poison Oak have got
a brand new single out called a Little Bit Like You,
which were about to play on our show for the
very first time. They've also just recently announced their upcoming
album as well, so we thought today we would actually
get James on the phone not only to chat about
the new single, but also about the album as well.

(01:31:44):
Welcome to the program mate, Hey Dave, thanks having me
no worries now, it's great to have you back on
the show. And I guess let's kick it off. Tell
us a little bit about this brand new single. What
can our listeners expect to hear with this track, and
how did it come into being.

Speaker 3 (01:32:03):
It's a it's a song about it's a song about
I don't know. We wrote pretty quickly.

Speaker 17 (01:32:13):
It's basically about reflecting, like as in high school teachers,
like having a conversation.

Speaker 3 (01:32:19):
Like with a student who sort of perceive.

Speaker 17 (01:32:21):
You of not knowing what it's like to go through youth,
and it's sort of like, hang on, I used to
be a little bit like you. I do understand. Maybe
I don't do some of those things now, but you know,
it's sort of a reflection from adulthood to youth and
the things that I guess, the trials and tribulation that
happened in youth you still do understand in adulthood.

Speaker 1 (01:32:41):
Definitely. I find that really interesting. I find that a
lot in my own life as well, where young people
will be talking to you about something and it feels
like they think that that you were never a teenager
and never went through that kind of stuff as well.
How easy did you find that to put into into
words for the track?

Speaker 17 (01:33:00):
I think this one came about pretty pretty quickly and
I just sort of flew okay, this was a song
that really came together. I think the more the lyrics
that just felt fell out of me and I just
sort of just kept going and well.

Speaker 3 (01:33:13):
This is what the song's about.

Speaker 17 (01:33:14):
I'm trying to keep going with it, and I sort
of worked out pretty easily. I think the first sort
of a sort of is about just sort of like
the mundane is about it hold like trying to do
like sort of talk about dating, and then it sort
of goes into like owning a house, and then sort
of the course it reflects back to the conversation.

Speaker 3 (01:33:32):
About hanging on. I used to be a little bit
like you. I didn't have all these things to do either.

Speaker 1 (01:33:39):
So tell us a little bit about the Poison songwriting process.
Is it you coming up with lyrics first? Is there
normally music already there or does the music come after
the lyrics?

Speaker 17 (01:33:52):
There really is no set process at all, sort of
just really depends how each one comes. Like for this song,
I came up with the cause and lyrics and the
verse and chorus first, so that was very much how
it happened. But songs like tell me as people on
this radio station that came up with I'm actually Ray
our guitarist, and he came up with he just had
the chorus for that and he came up with a

(01:34:15):
malady actually on his guitar and he played and he's like,
I was just singing something like this, and I was like, man,
that's really high.

Speaker 3 (01:34:20):
And then I sort of gave it a few goes and.

Speaker 17 (01:34:22):
Sort of did it in falsetto, and that's how that
song sort of came apart. So there's no real set formulas.
Either someone brings an idea or someone has an idea.
We just come up with an idea in the room,
and I might write nearly a whole song by myself
and then it gets changed. There's really, I guess, no
real formula definitely.

Speaker 1 (01:34:37):
So now tell us a little bit about the album.
The album announcement has come out. When can we expect
the album to drop? And what can you tell us
about the album?

Speaker 3 (01:34:48):
I think he's going to drop around at mid late
next year.

Speaker 17 (01:34:50):
We just finished recording the last six songs on it,
which we're really happy with. We think we've released already
four songs, and we think the next six that we're
going to release. A couple of singles are a little
bit more, a little bit more advanced than those songs,
but still still still definitely has the same sound.

Speaker 3 (01:35:07):
The song the album school we used to talk and
still just about reflection.

Speaker 17 (01:35:11):
It's a little bit about reflecting on your past, so
that's what it means why we used to talk.

Speaker 3 (01:35:15):
So there's a lot of it goes through the difference,
like I main sort of.

Speaker 17 (01:35:18):
India pop pop, pop, punk rock styles in there, but
there's actually there's a few little breakaways with a heavier
rock song, some more another melancholic sort of song like
tell Me in there and sort of Yeah, I guess
we're looking pretty looking forward to and it's hopefully going
to come out somewhere in the second half of next year.

Speaker 1 (01:35:37):
So who have you worked with on the album as well?
Have you had a producer that you've been working with
or if you guys self produced.

Speaker 17 (01:35:44):
I know we do work with a producer. We've worked
with someone called Rockwest and he he works with like
Betty Rays and stuff like that. I think he's done
some work with June Rat so he's got a particular sound,
so we went we went with him specifically for the sound.
He sort of producers.

Speaker 1 (01:36:03):
And how did you find that experience of recording the
album was it? Was it a pleasurable experience or I
know some bands get stressed when they head into the studio.
How did you find that experience?

Speaker 17 (01:36:15):
I think it was quite pleasurable for us. This is
our second album, and then we recorded also three vps
and a couple of singles before that, so we've got
a bit of recording experience under about and we're getting
a lot more relaxed when we do it. It's one
of our favorite.

Speaker 3 (01:36:27):
Things to do.

Speaker 17 (01:36:29):
I really like having another opinion with brock west in
sort of throwing his ideas. I'm like, oh, yeah, that
sounds really cool. I like being able to look at
a multiple different ideas. I guess the other thing for
us is since we live in towns Or, we have
to travel to Brisbane, so we have to really be
conscious of the time. But I think since we've done
it a few to a few times, now do we

(01:36:49):
get we get pretty good at predicting how long it's
going to take. We can give ourselves a few extra
day so we can really put a trial out as
many ideas as possible. But no, it's not a stressful
process as much for us.

Speaker 1 (01:37:00):
Now awesome Now with all the buzz around the band
at the moment, it seems as each single comes out,
you guys seeing them attract more and more fans. What
have you got planned now going ahead? Apart from the album,
You're hoping to get down south a little bit and
do some shows. What are the plans going ahead?

Speaker 3 (01:37:18):
Yeah, yeah, we are going to play some shows now.

Speaker 17 (01:37:21):
So we spent all of this year working on that
album and just working on songs and songs, and I
guess for us, it's pretty hard to try and do
shows and working on songs at the same time because
some of us.

Speaker 3 (01:37:30):
Have kids and we all own houses and we've got
to do that life stuff.

Speaker 17 (01:37:35):
But now since we've finishing the album, we're rehearsing and
we've got a couple of shows in towns and we're
hoping to do as many shows as we possibly can.
Our lives will let us we can.

Speaker 3 (01:37:45):
Get all that time, so you know. So yeah, yeah,
so once we play quite a few shows.

Speaker 17 (01:37:49):
In towns, we've got a broaden our horizon.

Speaker 3 (01:37:52):
But yeah, it's been a bit harder ship because we've
been We've.

Speaker 17 (01:37:54):
Gotten show offers for shows everywhere, and you have to
turn them down because like, shuld we do the show
or should we keep working on the songs? And I
think at the end of the day. We wanted to
keep working on the song, so we want to write
the best possible songs we can. We have to turn
down a show with you and Mine, which was a
tough one, but we're like, oh, should we do the show?
I was like, oh, and that was like one week
out before recording the album. But I think we sort

(01:38:16):
of were like, nuh, let's keep focusing on the album.

Speaker 3 (01:38:18):
Because we know it'll be worth it definitely.

Speaker 1 (01:38:21):
Now, of course, we are going to play a little
bit like you on our show now for the first time.
So what would you like to say to our listeners
out there before they sit down and take a listen
to this great new track?

Speaker 17 (01:38:32):
Turn up, sit back, relax and enjoy it.

Speaker 33 (01:38:45):
Well, so, and why is my hands in white?

Speaker 20 (01:38:48):
And then the nice amount of dating apps?

Speaker 32 (01:38:50):
So I like fudging nails in the house and do
the work because must best guys big.

Speaker 8 (01:38:58):
Like you show the things.

Speaker 20 (01:39:01):
I'd welcome.

Speaker 8 (01:39:02):
Who are you gosponsibility?

Speaker 20 (01:39:05):
It seems to me that's all I'm jazz placed.

Speaker 8 (01:39:09):
It's time dress, brace.

Speaker 7 (01:39:14):
T look out, flop to go.

Speaker 13 (01:39:16):
The Nati stopping about was watching time that the SI
fast and so.

Speaker 9 (01:39:22):
It's times fast for me?

Speaker 8 (01:39:24):
Is twice bag a little bit like you for my
flash on the things.

Speaker 32 (01:39:29):
I thought work, Well you call the sposibil serious betray
that's tim j.

Speaker 9 (01:39:36):
Just Base's time brace.

Speaker 13 (01:39:42):
Really all day got on bea jove execond job been watched.

Speaker 8 (01:39:55):
Used, I used to be, I used to do and
I used to listen, let out like.

Speaker 33 (01:40:16):
I used to be a little bit like some be
something well.

Speaker 43 (01:40:21):
Shout Sponsible says, that's all.

Speaker 11 (01:40:34):
So big like you.

Speaker 9 (01:40:41):
It's sound to place, times of place, sounds of place.

Speaker 1 (01:40:58):
Well, it is school whole nights I am. And of course,
if you are looking for a film to take your
kids along to see that they are going to enjoy
and perhaps you, as an adult might enjoy as well,
I am going to recommend Kangaroo, the brand new Australian
film from director Kate Woods. Now, this is an absolutely

(01:41:19):
magical film because, of course, if you're a fan of
Australian cinema, you will know that Australian cinema does family
films very very well and also films with a touch
of heart as well. Like if you think of movies
like Oddball of Course, which had Shane Jacobson teamed up
with a cute Cute Dog. We did that very well.

(01:41:41):
We did Paper Planes very well. We also did Red Dog,
which for me is still one of the best Australian
films of all time. And I know that film does
have a bit of a touch of sadness to it
as well, but it is an Australian film that tells
the story and has a lot of heart, and I

(01:42:02):
would put Kangaroo into that kind of area as well.
So Kangaroo tells the story of a young Indigenous girl
called Charlie played by Lily Whiteley, who is living in
an outback town with her mum Rosie Deborah Mailman, but
she is really feeling the loss of her father, who

(01:42:26):
ran a kangaroo sanctuary and looked after kangaroos. Life hasn't
been the same for her since losing him, and she
tries to rescue kangaroos where she is now, but of
course Rosie isn't too happy about having a ton of
kangaroos around the house now. At the same time, in Sydney,

(01:42:49):
we have weather man on breakfast radio, Chris Masterman played
by Ryan Kore. Now he dreams of doing a lot
more than playing the comical weather man who gets water
tipped on him and stuff like that, and he sees
his opportunity one day when he is down at Bondi
Beach with his producer Liz played by Brooks Satswel, and

(01:43:11):
he sees a trapped dolphin. Now he goes to rescue
the dolphin, despite the fact the life savers tell him
that he shouldn't, that it's under control, and sadly that
rescue leads to the death of the dolphin, which then
in turn leads to an online outcry and we know

(01:43:32):
about them these days to get Chris fired as a
weatherman or because as people are calling him now the
dolphin killer. So Chris finds himself in a very very
awkward situation. He thinks his employers are going to hold
onto him. They aren't, and soon he finds himself without

(01:43:52):
a job and finding it very very hard to get
anyone to even take his calls. Now, he does receive
one person offering him a job, but that involves driving
across Australia to get to another town. But also you
kind of know from the get go that that job
is dodgy and it's never gonna happen. So on his

(01:44:13):
journey across Australia, Chris suddenly finds himself in more trouble
when he hits a kangaroo, but to be fair, he
does the right thing. He checks the pouch, finds a joey,
and then heads into the nearest town to get help.
But of course he's already had a bit of a
problem in that town because he accidentally insulted the local

(01:44:35):
restaurant owner, Jesse played by Rachel House, when he kind
of thought that her town was a little bit of
a hick town and perhaps her credentials weren't quite what
she said.

Speaker 3 (01:44:46):
So with the.

Speaker 1 (01:44:48):
The locals or not all that in avid with Chris
being there, things start off really rough with him, but
soon he finds himself bonding with Charlie and helping her
on her Chris of helping kangaroos while her while her
uncle Dave played by Ernie Dingo repairs Chris's kh Now

(01:45:08):
this is where this story becomes a very very interesting story.
Of course, when we think about back Australia, we kind
of have been programmed almost as cinema lovers to see
the dark side of these towns. We've got movies like

(01:45:31):
Wake in Fright that kind of shows you the darker side.
We've also got Wolf Creek that very much shows you
the darker side of things. So it's nice to be
able to see a film like Kangaroo that kind of
shows you the softer side. And there's a lot of
fun with this movie. Like, yes, at first, the locals
are kind of judgmental on Chris, but at the same time,

(01:45:54):
you have people like the character of Dave played by
Ernie Dingo, you have people like Ralph played by Wayne Blair,
and you have people like Jesse as well, played by
Rachel House that make these towns so special. And it's
only a matter of time, you know, from the very
start before Chris starts to get to know these people

(01:46:15):
and see that they've got an absolute kind heart, and
that is what happens here. But I think this is
also a very important film because it kind of teaches
us about that difficult mix between humans and animals. I mean,
we're always going to have accidents there. As humanity spreads

(01:46:37):
more and more out into the out, into the wilds
and suburbs take over what were once for us, You're
always going to have these incidents where people accidentally hit
a kangaroo or something like that the fact that this
film depicts that love that people can have between animals

(01:46:58):
shows as a side of Australia I think a lot
of us have been forgetting about. I know a lot
of people in my local area. I live in a
kind of semi rural suburban mix, which is kind of weird.
Where we are is the suburbs, but a kilometer down
the road is bushland. There are a lot of animals
that get hit, and there's a lot of people who

(01:47:19):
get very angry about the fact that those animals get
left there, either in pain or with babies on them.
So this movie I think will open up a younger
generation to that of learning that Australian animals something that
we need to protect. That's something that Charlie's doing here.

(01:47:40):
But this film also goes deeper than that. It has
a sense of belonging. Chris needs to find that place
that he belongs, Charlie needs to find that place that
she belongs, and she can't belong somewhere where she can't
have the same thing that she had with her dad.
So there's some very very deep bonds in this film
and some very deep morals and some very deep theme

(01:48:00):
that are great to walk away from and discuss with
the kids afterwards. I've also got to take my hat
off here to the performance is the acting here. Lily
Whiteley is an absolute star that has been uncovered here.
The fact that she's able to mix it with someone
like Ryan Kore who is a brilliant actor, but also

(01:48:23):
have that kind of humor as well with this movie
where there's people like Wayne Blair and Roy Billing doing
the comedic parts. Everything comes together very, very magically with
this film. This is the kind of film that as
an adult you can sit down with a child and
enjoy thoroughly. So look, I am recommending Kangaroo. I know

(01:48:45):
this is a film that a lot of people out
there might think really a family film. No, this is
a genuinely great film. It is heartwarming, it is funny.
You will laugh, you may want to cry at times
as well. But I think this is a very very
importan and film that we need here in Australia at
the moment. So make sure you go and check out Kangaroo.
I'm giving it three and a half out of five.

Speaker 44 (01:49:13):
Every time I think, god you, I get a shot
right through until a bolt of blue. There's no problem
with mine. But it's a problem I find living a
life that I can't leave behind. There's no sense in
telling me the wisdom mother form set you free. But

(01:49:36):
that's the way that it goes, and is what nobody knows.
And every day my confusion grows. Every time I see
you falling, I get down on my knees and pray.
I'm waiting for that fine moment you say the le's it.

(01:49:58):
I can't say I feel fine, I feel good. I
feel like I never should whenever I get this way,
I just don't know what to say. Why can't we
be ourselves like we were yesterday? I'm not sure what

(01:50:19):
this could mean. I don't think you're what you see.
I do admit to myself that if I heard someone
else say, and I'll never see just what we're meant
to be. Every time I see you falling, I get
down on my knees and pray. I'm waiting for that final.

Speaker 8 (01:50:44):
Moment you say the words.

Speaker 44 (01:50:46):
If I can't say, every time I see you falling, oh,
get down on my knees and pray. I'm waiting for
that final mom.

Speaker 22 (01:51:02):
I can't say.

Speaker 1 (01:51:04):
Well, listeners, it is October, and it is we're in
Melbourne at the moment, so Monsterfest is just around the corner.
But of course Monsterfest this year is not just in Melbourne,
it's also in many other capital cities around Australia. And
if you've been watching our website you will have seen
that those Monsterfest dates and times and films have all

(01:51:25):
been announced up there. One of the films that we
were talking about online is the brand new film from
Daniel J. Phillips called Diabolic, and we thought today, seeing
it's actually premiering at Monsterfest, we would get him on
the phone right now to chat to us about this
amazing film. So welcome to the program.

Speaker 3 (01:51:44):
Mate, Thank you, thanks for having me.

Speaker 1 (01:51:47):
No worries now, we spoke to you very early on
in the piece about this film, that some of our
listeners may have missed that. So let's go back to
the start with this film. Tell us a little bit
about where the eye idea for the film first came about.

Speaker 3 (01:52:03):
Yeah.

Speaker 40 (01:52:03):
Sure, So I've always been interested in understanding sort of
what possession can look like as subtext in a horror film,
and I think horror has become this really big canvas
now we can tell these just much more psychological, introspective stories.
It doesn't have to be all superficial as it probably
had been in previous decades. Maybe, So I was always
interested to explore possession and sort of in a deeper

(01:52:26):
way and see if I could bring something different to
that sort of subgenre of horror. And then I met
Mike Harding, who was a US based writer who lives
in Utah, and he told me about the Fundamentalist Latter
day Saints, which is this cultish offshoot of the Mormon Church.

Speaker 3 (01:52:41):
It's a real thing that exists in America.

Speaker 40 (01:52:43):
They're kind of crazy, they're sort of believe in underage
marriage and you know, dispelling male youths that threaten the
alphas for all the other women, and you know, polygamy
where they have sort of you know, ten twenty wives
each and things like that. And it was sort of
the fascinating sort of element that came in and really
gathered that unique thing.

Speaker 3 (01:53:02):
That it needed to be.

Speaker 40 (01:53:03):
So sort of that sort of possession piece combined with
the FLDS piece that to me, made it a story
I really wanted to tell, and.

Speaker 1 (01:53:10):
It's something that we don't always see as well in
my other role as a journalist. At the moment, I've
been interviewing and talking to a lot of people who
have been psychologically abused by a church in Melbourne and
been finding out these really intriguing and interesting stories that
would normally be swept under the carpet. When you started
to do you a little bit of a deep dive

(01:53:32):
into what the results are of things like that within
a church. What kind of things did you start to
find and how did that shape the character of Elise
as well.

Speaker 40 (01:53:44):
Yeah, I think that the FLDS is sort of primary
thing they do is a massive oppression of women, and
I think that sort of really changed the lean in
regards to how a Lisa's freedom has expressed in the film,
or lack thereof the types of things that PTSD can
create for people who leave cultish situations and churches like that.

(01:54:06):
So I think it definitely it may have an impact
because there's so many stories coming out about the FLDS,
and I feel like every religion kind of has its
day in the sun to be scrutinized in media or
in narrative content, and the FLDS has had a few
pieces in the last of a few years, but nothing,
you know, certainly not in a major film I guess so.
I think, you know, listening to stories about when people

(01:54:26):
are left, what they had done, and how they stop
women from leaving the church, and the types of things
they do to the young girls, and the kind of
hazing rituals that they have, and especially the Baptism for
the Dead ritual which is in the film. A lot
of those things ended up finding their way into the
movie and affecting the characters too.

Speaker 1 (01:54:41):
Can I ask how you were able to go about
doing your research, like, apart from working with Mike, were
you able to speak to survivors or were you able
to read survivors' stories in a bit to try and
bring that character of release a more realistic feel, because
that's what I felt with her character that a lot
of as you said, in Possession genre of films, you
don't get that very often these days, that realism, but

(01:55:03):
there's a real realism here.

Speaker 40 (01:55:07):
Oh thanks, Yeah, I think that we actually had firsthand
experience within the team, so in relation to the FLDS
and that kind of stuff. So t Sha Madson, who's
Mike's wife, was actually in the FLDS and she's a
contributor and has a story of credit on the film.

Speaker 3 (01:55:24):
As well.

Speaker 40 (01:55:26):
She shared her experiences in the church and a lot
of the stuff that happens to release in the film,
a lot of the real life things, including the kind
of affair she has, and some of those sort of
reveals and secrets that happened to her really did happen
to Tisha when she was in that church and she
was able to escape the church, and her sister is
actually still in the church and they're trying to get
her out at the moment, which is like breaking someone

(01:55:48):
out of prison.

Speaker 3 (01:55:48):
It's really really difficult. So we have this great firsthand.

Speaker 40 (01:55:54):
Account of being in the FLDS and leading it, which
was really really helpful for us, But lots of detail things,
you know, just stuff that if people who are familiar
with the church, they'll notice there's a lot of details
in there that are really really accurate. And then Mike
and I read a lot of accounts of the things
we could get access to of people who had left
the church and their experiences within it. Obviously watching a

(01:56:14):
lot of secret footage that had leaked and all of
the other sort of documentaries and shows that have been
made about it to see if there were extrabits and
pieces we could learn, So yeah, it was.

Speaker 3 (01:56:22):
It was a lengthy process.

Speaker 1 (01:56:24):
So once you had that screenplay written, then how did
you go about casting? Because I think that's the other
thing that adds to the realism here as well as
the performances. How did you go about finding the right
actress to play a lease in Elizabeth Cullen, but also
how did you go then about the other casting around
her as well?

Speaker 40 (01:56:47):
Yeah, well, I guess the great thing about Horror is
that we don't need to have these big, massive stars
and bring in, you know, Tom Cruise to play roles,
thank god. So I guess it sort of liberates you
because you're to just really find the best actor you
can for the role. And I think, you know, with Lizzie,
with Elizabeth Cullen, there was a real intelligence to her

(01:57:09):
and a vulnerability and a strength as well, and she
was just very, very professional in the way she dealt
with things, even from the very first meeting. So I
think we interviewed and auditioned a lot of people. We
had hundreds of people in Australia auditioned for it. And
there's sort of a bit of a cutoff straight away
where this film set in America and everybody has to

(01:57:30):
be believably American, both in you know, sort of cultural assumptions,
but most importantly the accent. And a lot of Australian
actors can do fantastic American accents to the point where
you can't actually tell they're from Australia, but some can't,
so I guess there were some who were who were
instantly kind of just crossed off that list because we
didn't think they're at the level that they needed to be,
because the believability of the characters are so important, and

(01:57:51):
if that accent is off for even one moment, you know,
people just got, oh, hang on a second, I'm in Australia,
not in America. So and yeah, Lizzie just had a
great take on the cart as well. I just think
that she the way she approached it was she was
asking a lot of questions about the decisions and suggesting
alternatives that you'd never that aren't in the film or
in the script, but just her joining A to B

(01:58:11):
two C by understanding why the character would make this
decision and what would move her there. That was kind
of the main reasons that I kind of wanted to
work with her, and she was great.

Speaker 1 (01:58:19):
Yeah, you mentioned a little bit about her approach to
the role. But as a director, how did you work
with her knowing that this character is based on real
people and it goes into some pretty dark places. What
was that like for you as a director working with
her and taking her on that journey.

Speaker 40 (01:58:38):
Yeah, I think that with the real life components, we
made sure that the script was very reflective of that,
you know that we were portraying it very accurately. But
I guess when we moved into the production phase and
Lizzie took on that role, we really sort of liberated
ourselves from oh no, well there was nothing like where
I said, oh.

Speaker 3 (01:58:56):
No, it didn't happen like that had happened like this.

Speaker 40 (01:58:58):
It was more about understan that it needed to be
true to what the dramatic piece was in the script
because otherwise it's not going to translate to an audience.
It could be accurate, but it doesn't necessarily mean it's
interesting or that it works or anything. So I mean
there's nothing in the film that's you know, unaccurate that
she did or anything. It was really great, but I
think it was just on a case by case basis
and just talking through like what do you think is
believable for the character. What do you think feels true

(01:59:19):
in this moment? What do you think is going to
resonate with people rather than trying to sort of get
ourselves hung up on you know, Oh no, she started
on her left foot rather than.

Speaker 3 (01:59:27):
Yeah.

Speaker 1 (01:59:28):
So tell us a little bit about the shoot as well.
Was it a shoot that you found to be a
tough shoot? Was it a shoot that you enjoyed working on?
What was the shoot itself like?

Speaker 40 (01:59:40):
Yeah, it had as challenges I think, you know, with
any kind of low budget thing, like it's always going
to be. It's that the spirit and passion of the
crew really makes a difference, because you know, it's it's
not like we're paying the big bucks as they probably
do on some some bigger things. So I guess everybody's
got a really believe in the project and bring their

(02:00:01):
a game every day, and the crew absolutely did. The
crew was unbelievable, and as was the cart I think
that it was sort of in two parts. The location
part of the shoot was very tough. We were in
the forest in the hills of Adelaide in the middle
of winter at nighttime, in the rain for a lot
of it, which sucked and you know, I'd say that

(02:00:22):
not so much for myself, but for the you know,
poor grips carrying massive you know, stands and things while
trudging through knee deep mud. And yeah, it was a
tough It was a tough shoot. And I think we
had the studio shoot after that. So we went from
this kind of very like stressful, harrowing kind of shoot
in the in the forest where the elements were really
against us and you know, had constant flooding and cars

(02:00:44):
getting bogged and like it was just crazy. And because
of where the location was from where our base was,
we could only shoot for nine hours at instead of
ten hours a day, which really does add up after
a few weeks you start losing you know, really like
whole days it adds up to you know. So so
that was sort of tricky too. But I think after
we got out of the location stuff, we went to
a very nice, cushy studio that was all nice and

(02:01:05):
warm and you know, standing there with my coffee instead
of on the side of a hill getting blasted with rain.
So it was sort of two parts. It was kind
of a bit of pain and then we sort of
finished off with the pleasure bit.

Speaker 1 (02:01:17):
The actual scenes that were shot in the baptismal Were
you able to kind of create that going off the
stories that you'd heard about what they would look like
in real life and things like that, or was that
completely the vision of the of the set designer.

Speaker 40 (02:01:38):
It's a bit of both the baptismal well the Baptist
tree that sort of space. The modern ones don't really
look like that. The modern ones are kind of, you know,
very ornate, as is the design of the Mormons. They're
normally sort of you know, there's marble everywhere, and there's
like golden oxen underneath the font, and like it's very

(02:01:59):
very like elaborate and.

Speaker 3 (02:02:01):
Over the top.

Speaker 40 (02:02:02):
Yeah, I think our story we just thought that was
too clean and not scary enough in all honesty, So
we looked back at kind of like what the early
baptistries looked like, the ones that were kind of you know,
where the baptismal fonts were, that the bath at their
baptized in was made of like mud or brick or
just in the ground surrounded by some sort of you know,

(02:02:23):
thatched sort of building, because we just thought that just
way more visually interesting. So sort of part of the
story is that the building that's been there, has been
there for hundreds of years, and it's not a modern font,
but it is relatively realistic to what those sort of
spaces were like back then. Yeah, before they started, before
they had heaps of money where they could have solid
gold oxen and you know all that stuff.

Speaker 1 (02:02:44):
So yeah, so a good friend of mine, Grant Hardy,
as a producer on this film. I should probably let
people know that in case anyone says conflict of interest,
but tell us a little bit about that with how
Monster Pictures became involved with the film as well, and
what they were like to work with as well bringing
this project to life.

Speaker 40 (02:03:06):
Yeah, well, you know, Grant's one of the the most
knowledgeable horror people I've ever the mat for sure, and
really really loves movies and loves horror movies, and I
think that, you know, when you're working on a film,
sometimes not all producers are horror fans or even movie fans.
Have be amazed how many producers you work with that
just don't even watch films at all.

Speaker 3 (02:03:26):
And Grant certainly not like that.

Speaker 40 (02:03:27):
He's certainly very on the pulse of what modern horror
is and how an audience will respond to things. So
he was a good, really good resource at the beginning
and has been involved in the project pretty much since
the very very beginning, says Monster Pictures as the distributor,
and I think that you know, Monster is absolutely the premiere,
are a label in Australia and absolutely the best distributor
for this FUK. So yeah, it's been great.

Speaker 1 (02:03:48):
So how do you feel now that the film is
about to premiere at Monster First? Are you excited?

Speaker 3 (02:03:53):
Are you nervous?

Speaker 1 (02:03:55):
How are you feeling?

Speaker 40 (02:03:58):
Yeah, I'm on a excited I think you know, We've
got a preview screening in Melbourne very very soon, and
I'm really looking forward to seeing what an audience thinks
of Diabolic. It's been shown in front of some audiences before,
we did some test screenings and things and the response
was really really positive. And yeah, but I'm interested to
see how a brand new audience feels about it and

(02:04:21):
if I can scare the shit out of them as
much as I think I can see if it all works.

Speaker 3 (02:04:25):
Excited to see awesome?

Speaker 1 (02:04:27):
Well, mate. To finish off the interview, what would you
like to say to people out there who are about
to head out and check out the film for themselves?

Speaker 3 (02:04:36):
I think you know.

Speaker 40 (02:04:38):
I just hope you enjoy it. I think that's the
main thing. I hope you have a really fun time
watching it and it resonates with you. And if you
do love it, you can share it with you know,
your networks and your people, because it's hard for these
small films to get out there and get exposure, and
it really relies on people spreading the word and helping
us out.

Speaker 3 (02:04:52):
So if you do.

Speaker 40 (02:04:53):
Enjoy the film, you know, make sure you tell everybody
about it. And I can't wait to see the results.

Speaker 25 (02:05:13):
Sounds just like a scream.

Speaker 8 (02:05:15):
I don't know what you mean.

Speaker 45 (02:05:18):
You Witch cross all around me and your racket pagan scene.

Speaker 7 (02:05:25):
You tell me all the.

Speaker 45 (02:05:26):
Ways about my garden that you like. I float to
slide the bubble headache for a spy. All is well
between the breasts of pass and Translator who.

Speaker 8 (02:05:42):
Never made out light. John Witch.

Speaker 45 (02:06:00):
Like to see himselfer for your fancy and film, but
he felt sick. Wow, we may love and he's out
there somewhere still love feeling the spell that you have
cast taught a gnastic babill go coming down just like

(02:06:20):
on a big red car.

Speaker 43 (02:06:24):
I can't have phone looking outside more gallanting. I can't
have phone looking outside for Gallant Unshi to keep out

(02:06:47):
heading when Loo come brown.

Speaker 8 (02:06:50):
But I'm not side. I'm gon stay siding on the ground.
You'll have a tide.

Speaker 43 (02:06:57):
It suffer because I'm your contable, my natural.

Speaker 8 (02:07:11):
He's watching from the window of a bow.

Speaker 34 (02:07:15):
I see.

Speaker 8 (02:07:17):
He loves you. I'll bring you close.

Speaker 25 (02:07:21):
Something in my face says it's not bribe me.

Speaker 8 (02:07:26):
Tell me, am I cursed? I am I blessed. I
can't tell. Oh.

Speaker 45 (02:07:32):
Yes, that's all this world between the breasts of pass
up r as style.

Speaker 8 (02:07:38):
A number, Magan out John, the Witches.

Speaker 3 (02:07:43):
A right.

Speaker 43 (02:08:12):
Cha frock look not sound, fuck garantyech phone lock that
side for Gaga, see.

Speaker 9 (02:08:33):
Cha from luck and sul fuck.

Speaker 8 (02:08:38):
Garantty building.

Speaker 43 (02:08:44):
Chap from Logan not side or Gaanty a chair from
Locky outside So.

Speaker 17 (02:09:30):
Well.

Speaker 1 (02:09:30):
One of the big Australian premieres at Monsterfest this year
is the brand new film from director Daniel J. Phillips.
It's called Diabolic and I've had the luxury of being
able to sit down and interview Daniel about this film
as well as also being able to watch the film.
So there may be a couple of things in my

(02:09:52):
review today that are a little bit different to what
I would normally talk about, just because I have spoken
to Daniel and know a little bit about the behind
the scenes stuff as well. But one of the first
things that hit me about this film was the fact
that we do have so many possession movies demon possession
movies in cinemas these days, not only on streaming platforms.

(02:10:15):
There is a ton more once you start talking about
streaming platforms, but as Daniel said in the interview, there
are so many out there at the moment. His idea
was to make something different, and that was one of
the first things that hit me about this film was
that this is a possession film with a difference, because
it goes a lot deeper than simply a priest showing

(02:10:37):
up and having to perform in exorcism. This is a very,
very different film. This is a film that follows a
very lost and hurt young girl called Elise, a young
woman played by Elizabeth Cullen, and she's with her partner
Adam John Kim, and they know that something is not right,
and as the film moves on, they start to realize

(02:11:02):
that that is as a result of her growing up
in the Church of the Latter Day Saints. Now, her
therapist suggests going back and talking to It's very very
difficult to explain what these people are like. I guess
they're kind of elders in the church, but they can

(02:11:26):
work with people. And there's a little bit of witchcraft
in there as well. It's very very difficult to explain
if you don't know much about the Church of Latter
Day Saints. It's basically seeing these people and taking an
ellucinogen to try and work through the stuff that has happened. Now,
they Elise and Adam, decide to go back with their
friend Gwen played by Mia Challis to where Elise grew

(02:11:51):
up in this church and to go back and face
all of these things. Now, what comes out of that
is very very surprise, and I guess in order to
be able to talk about the film and why I
like it in a sense, I do have to deliver
a little bit of a spoiler. So if you don't
want to listen now, perhaps now is the best time
to kind of tune out. But this film explores some

(02:12:15):
very very deep topics that I think need to be explored.
I've worked with people who and had to interview people
who have been through psychological and physical abuse in the church.
This film kind of goes into a bit of a
different direction though, and looks at how this branch of

(02:12:36):
the Mormon Church deals with homosexuality and what happens there,
but also, I guess also looks at the psychological abuse,
because what happens to a Lease after that is very
much a form of psychological abuse. And I think that's
where Diabolic is very very different to the other possession

(02:12:58):
films that are out there, because.

Speaker 3 (02:13:01):
This film.

Speaker 1 (02:13:04):
Explores the roots behind how Alease ended up being the
way that she is. It explores church abuse, and church
abuse itself is a very interesting topic because quite often
people who are inside the church, who haven't experienced it
themselves don't realize that it exists. So this film doesn't

(02:13:28):
just portray everybody as that's involved with the church as
evil or bad people. There are people here that we
see generally do care about Elise, so that, I guess
is the very different side to this film. It also

(02:13:49):
looks like most possession movies that we look at or
watch revolve around the Catholic Church, so it's very very
different here to be able to sit down and and
watch a film that's revolving around the Church of the
Latter Day Saints. Now, this is where I think the
power of this movie comes to the four because Daniel J.

(02:14:12):
Phillips being able to work with Mike Harding and Tisha Madison, who,
as we learned in the interview, Tisha had personal experience
with this church. Them working together, they've been able to
develop a very very realistic screenplay, and that comes to
the four on the screen. This is a movie where

(02:14:33):
you sit down and you watch it, and you kind
of at times I found myself forgetting that I was
watching a horror movie. I felt like I was watching
a film that was so soaked in realism that it
almost felt like a biographical story. When the elements of
horror came in, they worked brilliantly well. But like I said,

(02:14:55):
there were times when I was watching this film where
it was so realistic that it it made me forget
that I was watching a horror film. Now, the other
side to that being able to work is the performance
from Elizabeth Cullen. She is absolutely brilliant in this film.
She puts in a performance here that deserves to be

(02:15:19):
talked about come awards time. And I'm not just saying
that about the awards here in Australia or the awards
at Monsterfest. I'm talking about world wide awards. She puts
in an absolutely amazing performance here, and she's got some
great scenes with John Kim who plays Adam as well.
Together they are just absolutely amazing with what they've been

(02:15:43):
able to do with this film. Now, this is a
film that I know a lot of you out there
are going to want to go and see. I know
we do have a lot of horror fans who listen
to this show, but this is also a film that
goes a lot deeper than that. Like I said, this
is a movie that shouldn't just be kind of hidden

(02:16:06):
away at a horror movie festival. This is the kind
of film that needs a general release. It should be
being shown in big multiplexes because it does show the world.
It reveals a shining light on these practices that are
happening in churches right across the world that are absolutely
horrific and need to be stamped out. They need a
light shown on them, and that is exactly what this

(02:16:27):
film does. The fact that the film is a genre
film as well and manages to make that work with
that realism just goes to show just how brilliant that
screenplay is. From Mike Harding, Tisha Madison, and Daniel J. Phillips,
they do an absolutely amazing job with this screenplay. I

(02:16:48):
think it's also time that we start to talk about
the fact that Daniel J. Phillips is a great director.
You can see off the back of this movie that
he is going to expose himself to Hollywood big time,
and I wouldn't be surprised if the calls aren't coming.
This is a brilliant film. Like I said, it is
a horror film that is soaked in realism, which is
so so rare these days. It's brilliant, it's magnificent. It

(02:17:14):
is an absolute must see for people out there. The
fact that this is also a movie that kind of
bridges that gap between art cinema and genre mainstream cinema
itself also makes this a movie that is an absolute
must see. So go and see it at Monsterfest if
you get the opportunity to. If you don't get to

(02:17:35):
see it at Monsterfest, then definitely look out where this
film is going to go after that. Because this is
an absolutely brilliant film. I'm giving it four out of
five stars.

Speaker 3 (02:18:02):
So sh sheep, no sleep. I'm dealing. Go finding the answer.

Speaker 8 (02:18:17):
Go stop, We'll.

Speaker 20 (02:18:20):
Stop before a f jore for this cancer.

Speaker 46 (02:18:26):
Sometimes I feel like going down and so is connected.

Speaker 20 (02:18:35):
Sometimes I know that I am wanted to be wanting.

Speaker 25 (02:18:44):
I've been watching, I've been awaiting.

Speaker 8 (02:18:48):
The shadow. I've been set the model in the shadow.

(02:19:11):
They say.

Speaker 12 (02:19:15):
That I was learning to before I could feel safe.

Speaker 8 (02:19:20):
But I'd rather kill myself.

Speaker 33 (02:19:26):
Than turn into their safe.

Speaker 23 (02:19:30):
Sometimes I feel that I should go and play with
the thunder.

Speaker 36 (02:19:39):
Somehow I just do want to stay and wait.

Speaker 25 (02:19:45):
For a longer.

Speaker 8 (02:19:47):
I've been watching the way in the shadow that time
and be sag.

Speaker 10 (02:19:58):
Be let me Brotto my.

Speaker 13 (02:20:04):
Last shackle a ben Falcons, balcon Or Girls.

Speaker 27 (02:20:11):
Project, play them something Billy Touchy Disney Contact, the.

Speaker 8 (02:20:25):
Watching My Day and the.

Speaker 7 (02:20:29):
Shadow My Job, the Sage Rotto and they watching.

Speaker 8 (02:20:47):
The awaken a Sage.

Speaker 17 (02:20:56):
And let.

Speaker 1 (02:21:19):
Now listeners, we know that there is an album and
also a tour that you are very very excited about
at the moment. So we thought today to find out
a little bit more about the Rasmus's brand new album
and also the tour that is coming up as well.
We would actually get Larry on the phone to chat
all about it. So welcome to the program mate, Thank.

Speaker 17 (02:21:38):
You, thank you.

Speaker 3 (02:21:39):
Good to be here and finally get ourselves to Australia.
It's about time.

Speaker 1 (02:21:45):
Well let's start with that. How excited are you guys
about being able to come down to Australia. This must
be something that you guys are very excited about.

Speaker 3 (02:21:54):
Yes, we've been waiting for so long, and so have
the fans.

Speaker 47 (02:21:57):
You know, we've obviously had fans since you know, In
the Shadows came out two thousand and three, people from
Australia went wild with that song and ever since they've
been asking like when when do you guys get over here?
And it's like, you know, I don't know what happened.
I just don't know what happened, why we didn't get

(02:22:20):
there earlier. But you know it's late, better late than never.
So we'll be there in January playing three concerts and
hopefully many times after that.

Speaker 3 (02:22:30):
And this is just the beginning.

Speaker 1 (02:22:32):
How does that change your set list? Because of course,
when you're playing in Europe or Scandinavia there countries that
you get to play in a lot, So how does
it change your set list when you come to Australia,
a country that you don't get to very often.

Speaker 47 (02:22:48):
Yeah, we'll have to look at that separately, I think,
because we'll be touring this year until almost Christmas and
then we have a little break before we go to Australia,
so I think that's a nice time to kind of
look at the setlist again and plan nextd air for

(02:23:10):
But I think a lot of people would like to
hear songs from you know, Dead Letters album that came
two thousand and three, Hid from the Sun that came
after that one, and also the new songs from Wirdo
have been very popular among the fans. We've been getting
so many messages like people like this new, heavier, harder sound,

(02:23:34):
and we want to present that as well, you know,
like as we feel like the Rasmus has kind of
reborn or something like there's a new chapter in life
of the band and.

Speaker 3 (02:23:50):
It feels good.

Speaker 47 (02:23:50):
We have a new guitarist and she joined us well
three four years ago already, but this was the first album.

Speaker 17 (02:23:57):
She was making with us from the very beginning, and.

Speaker 3 (02:24:01):
She had a big influence on this too. And you know,
the feeling in the band is like really.

Speaker 1 (02:24:06):
Good right now, So tell us a little bit about
this album because I found this to be an album
that when I sat down to listen to it, it
took me back twenty years when I was the weirdo
at my school, Like growing up listening to heavy music
in a high school that was dominated by pop music
was a bit of a weird experience. But tell us, so,

(02:24:28):
what kind of things were you thinking about when you
first sat down to work on this album And have
you found that that people are relating to the themes
on this album.

Speaker 47 (02:24:39):
Yeah, I think it's very common, Like we're all a
bit weird in different ways, and that's good. I want
to celebrate that, and I want to change it from
being an insult, you know, the word, to be a compliment,
at least in my games.

Speaker 3 (02:24:55):
I'm proud to be a weird of Still.

Speaker 47 (02:24:57):
You know, it was more difficult for me obviously when
I was a kid. When I was fifteen, when we
started the band, I was bullied and I was, you know,
I didn't want to go to school and I was like,
you know, having issues. But later in life I could
find people like me, you know, who became my best

(02:25:19):
friends and eventually the Rasmus, and you know, it's.

Speaker 17 (02:25:26):
It's important not to change.

Speaker 47 (02:25:27):
Yourself for anyone else, Like, just be true to yourself,
be who you are, and that's the end of it.

Speaker 17 (02:25:36):
I think.

Speaker 47 (02:25:39):
That world is still very accurate and current, like it's
been around. But you know, I still feel that I
wanted to write this album around this concept because it
moves me. And I think, especially nowadays with social media,

(02:25:59):
there's a lot of pressure pressure on and young young
people and why not older too, to be something and
look like something and be successful and blah blah blah.

Speaker 17 (02:26:11):
You know so many things that are just bullshit.

Speaker 1 (02:26:14):
Yeah, I'm glad you said that too about how it changes,
because that was what it was like for me. I
went to like I said, I went to a school
where there was not very many people into alternative music.
But then the first day at university I walked in
and saw heavy metal shirts and alternative rock t shirts
everywhere and went ah. And I think that's a really
powerful message to get out because unfortunately here in Australia

(02:26:38):
we do have one of the highest suicide rates amongst
teenage boys in particular, and I think that's a very
important message to get out there. And do you think
that this is an album that might help people who
are going through that at the moment in their lives.

Speaker 17 (02:26:55):
Well, I sure hope.

Speaker 47 (02:26:56):
So it sounds very grand, but I mean I've I've
heard stories from people not only this album, but many
from before. We've written songs that have given people hope
and given them strength to go through hard times. And
that's a really great compliment for someone who writes music.

(02:27:21):
But obviously I have to say, like I'm always writing.

Speaker 3 (02:27:24):
From my personal point of view and like kind of
like small, like small songs so.

Speaker 47 (02:27:31):
To speak, Like there are like just about my life
and like I never think too wide like how this
will affect people at the audience there. You know, it's
it's more like everyday kind of problems that I'm dealing with.
But it seems so that a lot of people have
the same, you know, same things that we are afraid

(02:27:55):
of the war and we are afraid of you know,
like whatnot.

Speaker 3 (02:28:00):
It's just like.

Speaker 47 (02:28:03):
We all share common experiences of life, and it's nice
if my lyrics can resonate in some other people too.

Speaker 1 (02:28:15):
Yeah, I understand. The title track, Widow was also the
first track that you wrote for this album, and it
kind of shaped the album. Tell Us a little bit
about that.

Speaker 47 (02:28:25):
Yeah, it's always when when I started to write the
new album, I'm always kind of looking for that one
song that would be the key key song and sort
of open the concept for the album or at least
give ideas for the couple of other songs to come about.

(02:28:47):
And and this weirdo song just sult like a good,
solid Erasmus song that had that message that has been
around in my life for ever sing I've been writing music,
Like on the first album We Ever did, there was
a song called Myself, and I was writing from the

(02:29:09):
weirdo perspective again, like how it sucked to go to
school and I couldn't.

Speaker 3 (02:29:15):
Be myself and I can't be myself. I can't be myself.
And that was pretty much the same message as I
have now.

Speaker 47 (02:29:23):
Obviously I have my life experience and I've grown up
and you know, and but I still feel like I'm
not complete. I'm not ready. I'm not finished yet. I
don't know where I'm going yet, you know. And that's
that's okay. I just want to say, like, don't take
too much pressure of like who the world wants you

(02:29:48):
to be or to do. Just listen to your you know, heart, and.

Speaker 3 (02:29:53):
Like to well, it feels good yourself.

Speaker 1 (02:29:57):
You mentioned before as well about how you like to
be close to your fans. I was so taken back
by the fact that you guys were able to go
to Ukraine and play for your fans there. I found
that such an emotional experience just watching you guys online.
I know, I was on the other side of the world.
How did you find that experience of being able to

(02:30:18):
go to Ukraine and play for your fans there.

Speaker 47 (02:30:24):
Yes, it was a beautiful thing. We were invited to
play the charity festival and we were the only band
from outside of Ukraine to be there, so it was
like a special honor for us to show our support

(02:30:44):
for the Ukrainians. And it was a terrible trip. I
gotta say, like I was really scared.

Speaker 3 (02:30:50):
We were in the middle of actually two air attacks.
There were. First night we had to sleep in a shelter.

Speaker 47 (02:31:05):
Below the hotel and a bomb shelter, and there were
like three hundred drones that night hovering above the city
of Kiev, and also like thirteen missiles and you know,
the ship was real and we were safe, but I
was always made me really feel sorry for the you know,

(02:31:28):
Ukrainian families who might have kids and they have to evacuate,
you know, every third night to a metro station, go
down there and sleep on the concrete floor.

Speaker 3 (02:31:41):
And I was like, oh my god.

Speaker 47 (02:31:43):
You know, I was exhausted after four days, but imagine
these people have to deal with this for like almost
four years now, so that's crazy.

Speaker 3 (02:31:53):
But we played this festival and that night nothing happened.

Speaker 47 (02:31:56):
So we could finish our show, and it was really
full of joy, honestly, like despite the Christis and the madness,
we were having this beautiful moment with these fans and
people who just came.

Speaker 17 (02:32:13):
I think they were, like, you.

Speaker 47 (02:32:14):
Know, twenty five thousand people in front of us, like
singing along and like smiling and just forget about and
forgetting the war for that one moment, And that was
kind of the point of the whole mission.

Speaker 3 (02:32:32):
We went there to bring them something else to think about,
some good vibes for a change.

Speaker 1 (02:32:41):
Definitely, And like you said before, I think your music
does have that power of healing as well. Like I
know so many people here in Australia who write to
us here on the show and say, can you play
this track from the Rasmus I need to hear it
at the moment. And I think you've got that power
where you're going to find that when you come here
to Australia. I can guarantee you'll have a lot of

(02:33:03):
people coming up to you and saying this track got
me through this time in my life or got me
through this. So I think you'll find that when you
come to Australia.

Speaker 17 (02:33:13):
No, thank you, that's so sweet.

Speaker 47 (02:33:15):
Yeah, that's really a compliment, the best one will I
can get from anyone. Yes, And it's always nice to
be close to the fans, Like we do a lot
of designing sessions and like meet and greets, and I
also meet people on the streets outside the venue or

(02:33:36):
just you know.

Speaker 3 (02:33:38):
When we go explore the cities on the tour.

Speaker 47 (02:33:40):
A lot of people come to us, and I think
that's nice and I think we're quite easy people to approach.

Speaker 3 (02:33:48):
Like not too scary.

Speaker 47 (02:33:52):
People come to God to us and they share their
stories and it's very inspiring for me. And I've written
songs to about some of the things I've heard from
the fans.

Speaker 3 (02:34:02):
And.

Speaker 47 (02:34:05):
I always consider it now more like the fans are
really part of this whole thing we're doing, Like especially
the moment when we play live, having those people come
over there from you know, some people drive six hours
or more to get to the show. Then we go
in this room and then we scream together for.

Speaker 3 (02:34:28):
Two hours and then we go home.

Speaker 47 (02:34:31):
Like it's pretty freaky, like if you come to think
of it, like the whole thing is like a ritual
that happens there. But it's really like we are just
four guys equal to the audience, just like we were
doing it together. And that's a nice way of thinking
the whole thing, like having the fans, you know, being

(02:34:54):
part of the russmus even though we've never met them
and they are in Australia the other side of the world,
and so yeah, it's really the power of music is really.

Speaker 1 (02:35:05):
Strong, definitely, And I guess because we are running out
of time very quickly, that's a good way to finish.
So I wanted to ask, do you have a special
message for your fans out there, not only before the
tour but also before they sit down and listen to
the album in full as well.

Speaker 47 (02:35:23):
Well, Well, we are obviously sorry that we couldn't come
to Australia sooner than you know. It took us twenty
five years as that sucks, but we'll make it up
to you. We're going to play three shows in January,
and I hope that we get to play many more
already next year.

Speaker 3 (02:35:40):
And yeah, things are looking good, so stay weird and
we see you in January.

Speaker 28 (02:35:50):
The Cuna mena dancer in a dive, both on the
wrong side of time. The Cuna mena dancer and a nightclub,
but they're not. I could have been a preacher, but
the problem is.

Speaker 46 (02:36:05):
I don't believe. So why don't you tell me, honey?
Is why don't you tell me?

Speaker 8 (02:36:16):
Honey? You want me to be when my scouts is fined? Mony?
You want me to say? When my sky is cold?

Speaker 17 (02:36:28):
Not?

Speaker 8 (02:36:28):
Do you want any? When? Why do you want me
to go? I'm just gotta be a hamro. I could
have been a dealer on the corner turney tricks to
so far.

Speaker 45 (02:36:47):
I could have been a heap man, but I never
could say in the side of blood, I could have
been a soldier.

Speaker 8 (02:36:55):
What the problem is? I hate to plead, So don't
just sell me. Who do you want me to be?

Speaker 12 (02:37:04):
When?

Speaker 8 (02:37:04):
Miscu? Why do you want me?

Speaker 12 (02:37:10):
When?

Speaker 8 (02:37:10):
Mister, why do you want me to turn?

Speaker 3 (02:37:15):
You know.

Speaker 9 (02:37:19):
Why you want me to go.

Speaker 3 (02:37:22):
I'm just so.

Speaker 9 (02:37:23):
Weird to read.

Speaker 8 (02:37:38):
When this gay is falling, when the skin is trap?
What do you want me to do when I didn't
want me to I'm just so wed. I'm just too weird.

Speaker 1 (02:38:40):
And that is it for this episode of Subculture meets
the Popcorn Conspiracy. But Harley, there is so much going
on right now around Australia. I know packs Monsterfest. I'm
also heading along and have been heading along with work
to the Royal Melbourne Show as well. So there's lots
of stuff going up on our website at the moment

(02:39:04):
letting people know what's going on. And Alex First has
been pumping out a lot of theater reviews recently. So
where can people go to find all of those on our.

Speaker 2 (02:39:11):
Website, You've got to go to www dot subculture Entertainment
dot com. And if you're checking us out on the
socials looking for links to some of the stuff we mentioned, well,
check out Subculture Entertainment on Facebook, Discord, TikTok, Twitter or

(02:39:32):
x Blue Skies or look for a Subculture Dave on
Instagram and threads.

Speaker 1 (02:39:38):
Definitely, and there's a lot of film reviews going up
there at the moment. As well that are not making
it onto the show. We really really try to put
interviews ahead of reviews on this show, So if we
have an interview for a movie or a theater show
or whatever, we normally try and put that on over
the top of review. So if you are looking for
reviews of those movies, they're all up on our website

(02:40:01):
as well, and there seems to be a ton going
up there, So yeah, jump onto subcultur Entertainment dot com
to check out all of those things. But Harley, I
guess we probably should get out of here right now.

Speaker 2 (02:40:14):
So for now, I've been and I've been, Harley, and
catch us again the next episode.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Subculture Radio Show Ep #116

Episode Transcript

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Subculture Radio Show Ep #116

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