SEA SCOUTS INT. Corner Hotel 26/7/97
[Done mostly backstage while Dern Rutlidge (I think) were playing, thus shitloads of background noise and thus a bastard to transcribe. Wherever I had to make an educated guess as to what was said, I've put it in square brackets . Apologies if I've misquoted you anywhere, Tim.]
[We'd been talking about a recent, more or less unfavourable review of Pattern Recognition in the local street press - most of what I say here about the review was my (partially formed, perhaps a tad judgemental) opinion at the time. Not immutable fact, 'kay?]
OK: Sorta related to that stupid review you got - I was thinking that maybe the average Joe's perception, if they got to listen to you, would be of some sort of gothic band - in a lot of ways.
TIM: What, from that record?
OK: Not necessarily from the record, just from seeing you live. Y'know, as far as your 'image' or whatever and the music, all that stuff... I guess it is fairly dark, what do you reckon?
TIM: Dark? I suppose we fit into gothic as much as we fit into anything. But I don't think we fit into anything, personally.
OK: Well - that's what I said last time and you guys pointed out, you sort of said oh, we sound like a lot of bands.
TIM: Yeah, we sound like a lot of bands but -
OK: - but you don't fit into -
TIM: - but we don't sound like just a lot of indie bands, or just a lot of gothic bands, or just a lot of noise bands, you know?
OK: Yeah, maybe we've all got our derivations back in whatever we listen to but it's not.. I dunno, I find it pretty hard to see any particular band's sound in your sound at all, and I think that's pretty cool.
TIM: That's the number one priority in some ways, not to sound like anyone else.
OK: You wanna aim for it, anyway.
TIM: And that was the aim of the record as well - to make a record which didn't sound like anyone else. The way it was recorded.
OK: I guess I didn't ask you how it was recorded - I s'pose -
TIM: It was just a straight four-track. I mean, it was a pretty dodgy recording..
OK: Yeah, but I mean, there's plenty of four track recordings that sound completely fine, even some bands that have a lot of loud shit happening, so it's not like it's impossible to make that sort of thing work. [this admittedly was part of the reviewer's contention too]
TIM: It's not meant to be an easy listening record.
OK: [laughing] I don't think many people expected it to be, but..
TIM: But we've challenged them further, though.
OK: Challenged them?
TIM: Well I mean some people are basically saying that it was unlistenable.
OK: No way. Is there more than one person that you've heard saying that?
TIM: I've heard a few people say that. I mean it's a pretty out there record, as a record I reckon.
OK: I dunno. I think, for instance, when I listened to your 10 inch -
TIM: The ten inch doesn't count, man.
OK: Yeah, oh well okay let's assume it was well recorded. I'm just talking about the songs here. I suppose I don't get into outright noise stuff as much as some other people might, like say 'The Boat Song' got a little bit tedious for me, so... [losing train of thought] I dunno, was I trying to make any point there at all? [regaining train of thought] But some people, yeah obviously would find that not all that musical at all. But they shouldn't be listening to it in the first place.
TIM: I think that we made a challenging record, and I think that's good.
OK: Is there any ulterior motive to the Sea Scouts apart from the music..?
TIM: Is there what?
OK: Ulterior motive, philosophy or whatever.
TIM: Yeah there is, there is a total philosophy. The philosophy is essentially about cultural rebirth. It's about changing the direction of the kind of culture that's being created by bands like um, alternative bands, by indie bands, whatever you want to call them. And I think they're creating a um.. pretty dumb culture. A pretty dumb, consumerist, accepting culture. The idea behind the Sea Scouts is first to encourage a... I suppose in some ways you could say more intellectual culture.
OK: More innovative, artistic..?
TIM: More artistic, more individual, more intellectual, more.. encompassing of the basic human nature. But that's our aesthetic, it's an extremely large aesthetic.
OK: The Sea Scouts by itself probably isn't capable of that -
TIM: Of course it's not. Of course it's not.
OK: But you're hoping to engender a movement or something?
TIM: Yup, exactly. Not a movement based around the Sea Scouts, but a movement based around an aesthetic. An idea, just an encouragment, y'know? Because when people see us play you generally get, you know, people coming up to us afterwards who actually felt something from the music. And it's not just like, y'know 'oh you write catchy songs' or something, it's like there's the communication happening.
OK: That's right. That's probably the most powerful thing about the music. It doesn't just... I dunno it's not as simple as appealing to your sense of melody or rhythm -
TIM: Yeah, exactly. And that's why I reckon our record's a bit dodgy. It's because we've tried to fit so much onto one record. We've tried to capture an aesthetic on the record. See people listen to it and they go, this doesn't capture the band's live performance or whatever, but it's a record. We're trying to capture more than that. We're trying to capture um...
OK: Actually I thought that was a bit of a cheek because I mean, how does he [the reviewer] know what the band should sound like and what you're about. He's being pretty presumptuous saying "this isn't what the band should sound like".
TIM: Yeah. Well I dunno maybe he's seen us a few times, I'm not sure. But um.. that's just our first record. There'll be more.
OK: So there is a long term plan to keep the Sea Scouts going as long as you're...
TIM: Not necessarily the Sea Scouts. But I'm into the idea of um, making... A lot of the bands I like are Australian bands. Bands like the Dirty Three, Birthday Party, um... Venom P Stinger... I've been through all the classic Aussie bands. And the reason why they're good is, they don't shy away from Australian culture, right? They be intelligent, they be smart Aussies, they don't be dumb Aussies like a lot of Australian bands. People go, Australian music: Cosmic Psychos. Because Cosmic Psychos is about beer and it's about chicks and stuff, and that's fair enough you know, that's okay. The thing is, there's gotta be some more intellectual music made by Australian bands which isn't... um, when people want to make intellectual music, they usually end up drawing from a lot of culture from overseas. Because Australian culture's so young and it doesn't have like a great literary history.
OK: Yeah and we don't have, for instance, America's rock'n'roll history, we don't have Europe's classical history -
TIM: Exactly. We don't have a literary history, you know, great intellectuals and great [??philosophers? writers? actors? can't tell] and so forth. So people end up drawing from overseas, they usually end up drawing from America from what I've seen. But I think it's good to be Australian, to have an Australian sound, and to sing in an Australian accent, not an American accent... and try and make good music but still be inspired by the bigger picture, you know.. And I think that's what makes a good Australian band.
OK: I think it's interesting that the three bands you mentioned, the Dirty Three, the Birthday Party and Venom P Stinger... really aren't bands that [initially] got recognised here in Australia much, well on any large scale. It took a word of mouth thing, for influential people from overseas to start liking them before anyone back here started really taking any notice. Do you reckon that'll be the case with the Sea Scouts at all?
TIM: I dunno if we're as good as any of those bands, because to me the Birthday Party are one of the greatest rock'n'roll bands... of the eighties. To me there's been nothing really as intense as the Birthday Party... Big Black perhaps but not much else. I dunno if another Australian band can have that impact like that. The Dirty Three have had a very big impact.. because the Dirty Three are a classic Australian - they're a band that could only have come out of Australia, like the Birthday party could only have come out of Australia. But the Sea Scouts, you know... we're not really, you know.. I don't think of ourselves in the same class as those bands.
OK: But I couldn't see the Sea Scouts coming out of anywhere else either. But I guess what I was getting at was... given that you're pretty much gonna stick with independent releases and that kind of thing.. and probably staying in Tasmania I guess..?
TIM: Maybe, maybe not. You can't really keep playing to the same people in Tasmania. Not only... it's not like some thing where we've got to go out and tell people about our band, it's more like, for us - we're not pushing us. Because we don't feel excited about playing - because we know that nobody else is excited because they've seen us so many times. Why would they be excited?
OK: They're not going to see anything they haven't seen before.
TIM: Yeah exactly, it wouldn't matter what we did, we couldn't really shock them. I mean, especially seeing the way the band started, it was really much more noisy than we are now.
OK: Yeah, I gathered that. I never caught your first couple of tours.
TIM: But they were very noisy, so it's like, we're not going to do anything now to really shock people. We're not that keen on trying to be a 'shock value' band..
OK: I guess there are hardly any venues to speak of in Tassie - is it just like halls and parties and stuff - ?
TIM: - there's basically two venues, there's two pubs you can play at, there's all ages gigs every now and then.. um, the kids don't seem to be really that up for it, for the all ages shows.
OK: Yeah, there's not much [all ages] here either really.
TIM: Yeah. Like most places, the band scene is very socially geared. You go out to see who else is out and about as much as they do to see a band. But um.. you can't keep playing to the same people forever. Just for ourselves.
OK: Well I guess even staying in Melbourne that eventually will become a problem, so... Anyway, what about radio, is there any good radio in Hobart?
TIM: There's one community radio station called 92 FM.
OK: Any good?
TIM: Well, it's been neglected by the.. alternative music scene for a few years now. No one's really had shows on it. But just recently it's picked up again, some people are doing shows.
OK: Yeah it's good the way some things go in cycles like that.
TIM: I think as much as anything it's got to do with the fact that there's never been much Hobart music documented, recorded. So I think now that there is, there'll be new people doing shows and playing weird tapes and... as far as the stuff that goes on in Hobart, there's a lot of much weirder stuff than us [that] goes on there.
OK: I think you mentioned a few last time. Is there any stuff that you'd recommend I listen to, send away to Fear of Children or through you guys or whatever..?
TIM: ...I think the main band that sticks out in my mind would be a band called U.F.O. [Here's a link to an old article from TOGATUS magazine, circa '95 which mentions them along w/ 50 Million Clowns and Little Ugly Girls. And if you wanna hear some great audio files, click here.]
OK: Zach's old band?
TIM: Before the Sea Scouts. They got back together for a few gigs recently. And they to me are.. really.. have chipped away at something, at some kind of aesthetic. They've made headway.
OK: What are they like, can you describe them?
TIM: Um, when they first started they had this sort of.. almost prog-rock kind of vibe. And it was, you know - cos they can all play. But then after a while they.. settled and just became really good players playing really good music. I suppose -
OK: Songwriting rather than intrumentalising?
TIM: Not, oh they were always very songwriting-geared. Always, very. But at the beginning they tended to be three people playing separately. But now they sorta gel and sound like a band. And um.. when they sound like a band, there's nothing better. That band, they are amazing. I've seen them play absolutely amazing gigs.
OK: Yeah I'll have to -
TIM: I dunno how you'll get a tape. There'll be some way of getting it.
OK: Haven't they got one on Fear of Children or something?
TIM: Yeah maybe.
OK: That's an old one I think?
TIM: It's good though. Karen Carpenter's a good bet too.
OK: Another thing you notice about the Sea Scouts is the alien obsession, I wanted to ask you about that, cos I didn't even mention it in the last interview.
TIM: Oh I dunno. I don't know how that came about.
OK: Some of your posters, there's like three aliens in a city landscape sort of thing.
TIM: Yeah, see people lump that in with the whole X-files pop culture thing, but it's not really about that. The way it came about was, I was using aliens to sorta describe people who were...
OK: Set apart from everybody else?
TIM: Yeah, basically people who were.. seeing people as individuals. You know, and I think drawing an alien you really think about that person as an individual. And I sort of like the idea of aliens within an environment.. um, people who are at odds with their environment. People who don't necessarily accept their environment as the right environment, or as the natural environment. And I think that's what I like about the alien symbolism, because it gives a real sense of isolation to it, a real sense of... it's pretty lonely I suppose.
OK: Do you think your music reflects that in some ways?
TIM: Um, definitely I think.
OK: Do you think... I just sort of thought of this - if you've, say, not so much created, but if you're immersed in this so-called alien culture... whether it's like, someone who's begun something different or new, or you've begun it yourself.. Should it.. is it better that it enriches mainstream culture or is it better to be kept separate?
TIM: Well that's the question, that's the question isn't it? Um, I think it's naive to believe that the forces that control popular culture, the forces that basically control the world being.. you know, I mean it's fairly well accepted these days in intellectual circles that multinationals run the world -
OK: Yeh, "there are no nations any more" [laughing]
TIM: Yeah, that's fairly accepted. So it'd be naive to believe that any.. kind of 'subversive' kind of culture or.. art movement which basically.. was at odds with that could ever realistically exist in pop culture without being deliberately perverted. Which is, you know.. what happens.
OK: Only the acceptable bits get siphoned out and -
TIM: That's the way pop culture works. And that's why I get annoyed with people who are fascinated with pop culture. Because they're basically accepting that. They're basically accepting that these companies run the world, because if you accept pop culture on that level then you know, then in a way you've given up I think. In only a small way, you know I think it's like ...[trails off] And that's the other thing I like about the alien symbol, is the fact that it is something at odds with, you know it is an individual, it is an isolated unit. Which is everyone. And everyone will look at that and -
OK: [See the truth in it?]
TIM: Damn hopefully. That's what I hope.
OK: To be honest I don't know much of, or can't decipher much of your lyrics. Is there any general sort of..
TIM: Well I was going to print the lyrics on the record, but I didn't.. I'm not sure why. We may.. when we get the money we'll probably re-issue the record on CD. It'll sound a lot better on CD 'cos half the problem's the actual pressing. Not the actual recording, that's the other thing. I liked the DAT tape much more than I liked the actual record. So that'll get re-issued on CD and I'll probably, I'll think about printing the lyrics with them. A lot of stuff about... sort of.. coming to terms with not having.. basically about coming to terms with feeling at odds with your environment, coming to terms with feeling alienated from your environment. And that's only the beginning. That's not a nihilistic thing which I'd like to make a career out of doing, I'd much rather go, I'm at odds with my environment, and now what are we going to do about it?
OK: Um, Pattern Recognition for instance. That name makes me think of some computer programming idea or something. Is that what it concerns, anything to do with that?
TIM: Oh, it's just about.. it's about society, it's about technology, it's about all of that. It's just about the human nature, one of the things which defines intelligence, one of the primary things which defines an intelligent creature is its ability to recognise patterns.
OK: Oh right, yeah.
TIM: Um, after I wrote the song I actually found a book by the same title.. by a Russian um.. I think his name's Bongard, he's a Russian.. what is he? I think he's worked in, that's right, in Artificial Intelligence, that sort of thing. Which was pretty freaky.
[ED: By the way, anyone who's interested can check out Pattern recognition, Spartan Books, New York, 1970]
OK: So.. this is a way of testing if a monkey [or computer program] has..
TIM: Yeah, well a monkey can detect patterns, a lot of animals can. [to Alex, I think: You going there now? Okay, see you there.] So that song is basically like, you know.. human unit - detect patterns. It's like the [album] cover y'know. That cover's expressed that whole thing you know. Who am I, what am I in, what's going on. It's, if people think about everything they'll eventually - you know, it's good for people to think about detail of what's the bigger picture. Cos I think with Australia too often we don't think about the bigger picture.
OK: 's true. Yeah, in the music as well I suppose. Are you going to that gig at the Empress? [ED: Local bands Jaguar, Buck Fifty and Beware were playing]
TIM: Yeah are you going?
OK: Yeah, I just got told about it. Gazebo were one of my favourite bands and then they split... and I really want to see what comes out of it.
TIM: Who? Gazebo?
OK: Yeah, apparently Nick from Gazebo is doing one of the bands...
TIM: Oh maybe he is, yeah..
OK: I mean I've seen um, Jarrod's project, The New Season. I'm not all that keen on it, but... It may have developed, well see what happens.
What else.. I've got a few more questions. What do you think it takes to be a good musician?
TIM: Oh fuck.
OK: [laughing] Or to write good music. Are any of these things important to you, as far as what you think is good music - does talent matter? Does technique matter?
TIM: Nuh. None of that matters.
OK: Songwriting ability?
OK: Um, just new ideas, and a bit of energy?
TIM: Energy matters, because making music is a physical process. You have to have energy.
OK: Does musical taste matter?
TIM: Um.. no, I don't think it does.
OK: That.. um, assumes you derive your music from what you listen to.
TIM: Yeah I know people who make completely different music to what they listen to. Which is always good. But I think.. I think insight is what makes good music. Because a lot of people say, and I used to believe it myself even, a long time ago, that the role of the musician was to say, 'this is this, this is this', you know, and preach.
OK: As far as lyrics, yeah.
TIM: But obviously I was wrong, and obviously other people who think that, I think they're wrong too because.. to me the only reason for music is only to bear witness to what's going on. To document what's going on, on an intellectual and emotional level. The same with art, the same with painting. Any good artist, you always find that they're on about a fuck of a lot. Because that's what makes their art good.
OK: Yeah. They're usually saying, I mean more often than not, they're saying what something means to them though. And -
TIM: - Well I don't think they are, I don't think they are. Because when I think about the Nineties grunge culture [ED: appropriately enough, Rock'n'roll High Schoolers Bindi (I think) are playing in the background, nearly drowning the tape out] I find incredibly offensive because you get people.. um, you know Kurt Cobain was Kurt Cobain whatever good on 'im, but he's spawned in a way a generation of people who think it's acceptable to stand there for 45 minutes and talk about themselves, to sing about their pain. And sometimes people get confused when they see the Sea Scouts thinking that I'm going on about me me me me me but I'm actually not. That's the thing.
OK: Well that'd be very boring [laughing]
TIM: I'm trying to go on about a much bigger picture. And to me, it's obviously being shown by the music that's being pursued by people who are going me me me.. it's never very good. [pauses] If they're not doing something to be a bitch because that's inside and that's you know..
OK: I mean perhaps there's an exception if the person happens to be a very interesting person.
TIM: Yeah or that person just happens to come from a set of circumstances which are very profound. Yeah. And then by talking about themselves, they're actually not, they're talking about the bigger picture, which everyone is to some degree, but people think that they're so fucking important that they're so.. you know. I mean Something For Kate comes to mind a lot when I say this. That guy just seems to talk about himself thinking that you know, that's important.
OK: Yeah. I've sort of listened to some of their lyrics. I dunno, some of them aren't too bad. And.. I think it's more the way he actually expresses it vocally that seems to.. be a bit painful to me.
Um.. so.. what about things like life experience I suppose would matter then for making good music?
TIM: Fuckin' oath it does. I've got a friend who I think makes really good music, but he thinks he doesn't. Because he's had a very sheltered upbringing. He's very.. middle class, white, um.. background and all this stuff. And I keep saying to him, look, because I'm from a really small rough town where a lot of bad shit went on... He always says to me "I can't make good music because I'm too much of [this] background, and that's bullshit. Because if he has insight, he doesn't actually need to have.. because he's part of a world, he's part of a bigger picture. He's not blind, he's not stupid, he knows what's going on in the world, so of course he's gonna make good music if he has the insight to see what's going on.
OK: You can't be from the 'wrong' circumstances -
TIM: - to make good music. Exactly.
OK: On a bit more technical note, rather than philosophical: Your guitar tunings. For starters you've only got five strings. I noticed Dik from S: Bahn does the same thing, I dunno if he saw you guys before he started doing that - apparently not.
TIM: Oh there's a lot of people who only use five strings. It's just 'cos when you learn guitar, when I learned guitar I started with one string -
OK: You always broke the top one?
TIM: - then two strings - no, I went string by string, and I stopped at five.
OK: You don't like the higher pitch ones?
TIM: Well I do, but my guitar's only got five tuning heads, so I haven't got around to it yet. I probably will get around to it eventually.
OK: You like your guitar, you're never gonna trade it in for something different?
TIM: Well I can't because it's got a particular sound which I can't get on any other guitar. 'cos of the way -
OK: Yeah, how do you get the sound, cos your sound itself, even guitar-wise is pretty different from any other bands.
TIM: Yeah well I went out of my way to do that as well. I didn't want to have the same guitar sound as everyone else. Made my own amp, made my own speaker boxes. That sort of thing.
OK: Yeah, I noticed.
TIM: Just to put personality into my sound rather than just accepting what some preconceived idea of what.. See, everything's important - the dimensions of the guitar box are important, the size of the speakers are important, the wattage of the speakers are important, whether there is a back on the speaker box is extremely important. Um.. whether you've got two speakers, how they're wired, whether this is in phase or whether that's in phase.. you know -
OK: Did you just experiment with this and see what sounded good or did you just have the knowledge already -
TIM: - Yeah, by the time I had enough to buy shit, I decided that I had to make my own stuff because I couldn't get what I wanted any other way. Because I'd played with this amp, that amp, every other amp.. because I've always liked really small amps, and for years I couldn't figure out why I liked really small amps. The reason was, was because they were being overdriven like fuck because they were so small, but it was also because the design of the box which is a small box and generally doesn't have a back on it and just has different...
OK: Yeah, it's a very.. I dunno I sort of flippantly described it to someone as 'serrated-edge'. Because there's there's this gnawing sort of buzzing sound.
TIM: It's changed lately. I've got some new gear as well now. I ended up getting rid of the head that I made myself. Well I haven't got rid of it, I'm selling it, trying to flog it off to someone. Um, I've got a new head, a bass head which um hopefully I'm getting more of the sound I'm after at the moment through. But it's still got the same sound as before basically but with a few minor things changed.
OK: Does having different sounds with your guitar, and using different tuning obviously, make it easier to write songs sometimes? Cos I think, watching some bands I notice that.. the songs sort of are.. almost obvious that they're written around the tunings, because it almost comes naturally if you use that particular tuning.
TIM: Yeah, oh definitely, that definitely happens. I don't have that many tunings, I suppose I have probably... seven tunings.
OK: Is one of them EGCFB?
TIM: Nah, I don't have anything that complicated.
OK: I thought it was something like that. I had a listen to it, I was pretty sure.. oh well, nothing like that?
TIM: Nuh, not like that at all. I actually don't like telling people my tunings. Because the tunings is part of playing. It's almost like telling someone a riff, for me. Because like you said before, the tuning decides the song, really. It decides the parameters of what you can do with the song. Unless you're a really good guitar player and you know all your gear inside out, which I don't, you know? So in some ways I don't like telling people my tunings because if anyone freaks out on guitar they'll come up with the same stuff. They don't need to find out from me.
OK: Nuh. I mean, I can figure them out but..
TIM: But you see that's the thing, this is a good example, see if I told you my tuning, right - 'you' just being x person out there - you might set up your guitar like it right, and come up with shit, but -
OK: - and think it's original and it'll sound like you -
TIM: - but the thing is, you thought I sounded like this [indicating my tunings] right, so you tune your guitar like this and you come up with all this intense shit. You know? That's much better.
OK: Better that it isn't -
TIM: - that you've figured it out for yourself. It's the same with Sonic Youth tunings. You know, it's like some of my friends were buying magazines with Sonic Youth tunings in them and stuff. And learning the tunings, and I was just like no, fuck that I'm not learning any tunings. And you know, just did my own tunings, and it ended up there were some similarities with the tunings. Of course there would be.
OK: Yeah, a lot of the time it's just mucking around and you just go, I can't make this chord because my fingers won't stretch that far so you tune the thing down so you can play it.
TIM: It's like, yeah we played with Pavement the other day and I was talking with Steve..
OK: They don't even sound like they've got different tunings, but -
TIM: Well they have. Me and him have heaps of tunings similar, I found from talking to him. Which is bizarre because we have totally different sounds.
OK: Yeah, it's obvious that they don't - well not much anyway - they don't write songs around the tunings..
TIM: But they're quite good guitar players though. That's the difference between me and them, I'm very.. don't know any theory or any shit like that.
OK: But once again that's not really what matters is it -
TIM: - no, that's not what matters to me, but.. you know... sometimes it would help.
OK: Okay. That's about all I've got to ask -
TIM: Good -
OK: - but. But. I did want to figure out a bit of the Tassie band sort of trees and all of that thing..
TIM: Give us a look at what you've got. [looking at my family tree scribble] well you know a bit about it don't you... Okay, I can help you out here. You got a pen? [fills in stuff] This'll be good to have in a zine.
[helps me fill in family tree]
The Scouts have returned to Melb. heaps of times since these interviews, and unlike other bands I end up seeing too often, they
have never lost their effect with familiarity.
Sara left the band around October 97, to be replaced by Monica, their original tom-thumper.
Infinity was replaced by Unstable Ape as the mechanism for releasing Sea Scouts (and friends') material.
There've been plenty of new recordings and releases (see below), though I think there was a bit of a songwriting lull during 1998 while all members were attending University.
The Sea Scouts went overseas during the second half of 1999, touring Europe and the US with Ninety-Nine.
Sadly, their old motto 'forever' cannot hold true for the band - they plan to break up in 2000. There may be a few posthumous releases on 7" vinyl.
Their last show will be on Feb 18th at the Corner Hotel (with 2 Litre Dolby, The Vivian Girls and A Slow Loris)
(I'll stick to stuff which either is, or was, available to the general public)
Pattern Recognition LP (Chapter/Infinity) 1997 A great
record with amazing songs, though not a patch on them live. And some of the pressings are a bit of a worry with the holes off-centre etc.
Wonder From a Quarter Acre CD (Augogo) 1997 Compilation featuring two Sea Scouts songs lifted from the Pattern recognition LP (Lightning Song and Zach Heard a Scream), along with bands such as Art of Fighting, S: Bahn, GLB, etc.
Beacon of Hope CD (Patsy/Unstable Ape) 1998 A better recording than Pattern Recognition and equally awesome songs.
Puppet Show CD (TOG + TUU Inc) 1998 Compilation of Tasmanian bands featuring 'Inbuilt Obsolescence' from Beacon of Hope, along with stuff by the Frustrations, Flying Phallus, The Stickmen, 50 Million Clowns, The Nation Blue, etc.
Pattern Recognition CD (Unstable Ape) 1999 A re-recording of the original classic for CD. Different versions, different recording
Word as a Weapon' b/w 'Destroy Your Local McDonalds' 7" (Zum) 1999 Two older songs, re-recorded with the current lineup.
some related projects:
Some other bands mentioned in the interview:
Unstable Ape - PO BOX 1999 Hobart Tasmania 7001
Fear of Children - PO BOX 223 Hobart Tas 7001
Consumer Productions - GPO BOX 2118 Hobart Tas 7001
Chapter - PO BOX 4292 Melbourne Uni Parkville Vic 3052
Patsy (thru Choozy) - PO BOX 4434 Melbourne Uni Parkville Vic 3052
Back to the first Sea Scouts interview
Tassie band family tree
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