This article originally appeared in NFH #17 in
the fall of 1989.
I first heard of The
Lizard Train via the free flexi that came with the Australian special of The Bob
magazine. That flexi had a pile of cool tracks on it, and one of the coolest was
Lizard Train's "She Is Like A Cloud", a song with a bruising guitar riff
and some hell-bent for leather drumming, topped with a nasty vocal. Bands as
diverse as feedtime and Died Pretty jumped into the mind's classification computer,
but as you can imagine from a band that can simultaneously conjure comparison to
these two disparate outfits, The Lizard Train have managed a sound of their own.
Intrigued, I chased
out after the other Lizard Train records, of which there are now four; 1985's Thirteen
Hour Daydream mini-lp, the "Beauty Underground" 45, and Slippery,
released in 1986. Listening to these reveals a wide range of styles; The Lizard
Train can vary from melodic and introspective pop to raging noise, and they do it
all quite well. The newest is a 7" ep released in the US by Sympathy For The
Record Industry consisting of some mighty fine sounding four track demos that the
band have cut as precursor to an upcoming lp.
So how did The Lizard
Train get that way? Let's let guitar player and lead singing lizard Chris Willard
around since early 85, and I was in a band before that called the Acid Drops with
Liz Dealy and a couple of other people, and I split off in late 84, and I'm a
friend of Phil, and we got together and started jamming with the idea of getting a
band together. And I sort of knew Dave and Shane...they'd been in a band called
Risque Humour, and we bumped into them through a mutual friend who became our sound
engineer and they said let's have a jam, so we all got together and it all started
from there, just jamming in Shane's lounge until we got a little more serious and
hit the practice room.
"We spent most
of 85 just getting songs together and sort of working out a sound. We did our first
gig in May of that year at a party and started to play some gigs around town, and
then at the end of 85, Christmas time, we recorded the ep Thirteen Hour Daydream.
1986 we just spent doing more gigs and writing new songs, and not much more than
that really. That culminated in the Slippery album, which we recorded in
Christmas of 1986.
"As regards the
Lizard Train and Twenty Second Sect...Liz and I have been going out for about six
and a half years, I guess. As you know we were in the Acid Drops and then following
the Acid Drops she laid low for a while and then got an all girl band together
called Revenge Of The Gila Monsters which I also filled in on guitar in for a while
when they kicked out one of the girls, but they only ended up doing two gigs and
then split. And then, oh, it would have been early 1987, she got the idea of
putting a band together and the Twenty Second Sect evolved with her and Sharon from
Bloodloss also playing guitar and the other members Scott and Michael and Orietta.
Then eventually Sharon couldn't get it together and she was out, and I filled in on
guitar for a while until they got Andrew in from Bloodloss and I think Scott, who
is a surfer bum, went away for awhile so David filled on on drums for a while. So
at various times I was in the band, then David, and then David and I together. And
then Orietta also took a break while David was filling in so I came in to replace
her and then she rejoined and we had three guitars for a while, but finally they've
got back to the lineup which is on the Get That Charge ep. David recorded
on the ep because Scott, the drummer was away, and couldn't make it, so that was
just his bad luck. So I hope that covers that aspect.
in 1986 we spent more time gigging Adelaide; I guess most of the gigs were
reasonably good. You asked what are first gig was like...it was great. It was a
party at David's house and it was quite wild and I think we surprised quite a lot
of people. We were planning to go interstate and then early in 1987 we got a letter
from Sweden from Party Productions, saying we'd like to release the Thirteen
Hour Daydream ep and bring the band over for a tour, which you know we found
hard to believe. So we wrote back saying, "Yeah, release the record, that'd be
great, and send us the money and we'll tour!" and eventually they did actually
send us the money and we went on a three month tour of Europe from August of 87
through October and did 40 gigs through Sweden, Finland, Norway, Denmark, Germany,
Austria and Holland. So for a relatively unknown band like ourselves that was a
real score. I think a lot of people in town couldn't in fact believe our luck and
were quite jealous. So I guess the tour slowed down our recording output in 1987,
and upon our return we'd found that the three of us couldn't get on with Phil
anymore so we asked him to leave and he reluctantly did so, and we've spent 1988
getting our act together as a three piece and writing new songs to suit the lineup
as well as adapting the old songs, and we did these demos in December of 88 and we've
been waiting ever since to record the album. I think as we explain later on our
practice room is being converted into a studio, and the guy who's been doing it is
taking his time. I think he smokes too much dope..."
The rest of Lizard
Train are Shane Bloffwitch, bassist and vocalist, and Dave Creese, who plays drums.
Phil Drew, who played guitar and contributed vocals on the earlier records, is the
odd lizard out.
Everybody in the
US who knows much about Australian bands immediately thinks of Birdman and Detroit
when they think about what sounds Aussie groups must have grown up with. But like
the Vanilla Chainsaws last issue, the Lizard Train come up with a different set of
Shane: Well, I
suppose in the past I was fairly influenced by the English sort of thing; the punk
and post-punk movement. Cure and Comsat Angels and Bauhaus etc etc. I suppose after
getting in the Lizard Train and being influenced by what you listen to and that,
now more of the American stuff, the Australian stuff...
Dave: More guitar oriented, things you can still hear like T Rex, cos it's just
great guitar rock and roll. I guess Sonic Youth have been a favorite for quite a
while and I thought they were pretty impressive live, although I would have liked
to have seen them a year or so earlier.
Chris: Yeah I think it would have been better to see them around Evol than
Dave: Yeah, that would have been mind blowing. There's been Adelaide bands,
like say, the Primevals...to see them live is a real kick.
Shane: The Acid Drops (laughs). The Velvet Underground have had an effect on
Dave: Well, I've only...in the last couple years I've only heard Velvet Underground
music, so that's still pretty fresh for me. I really like them a lot. They're
related to all different kinds of music; noise to sort of melodic stuff.
Shane: Well, everything from the Rain Parade to Sonic Youth, I guess, if that's
one opposite to the next. REM, would be another.
Chris: I guess we have tastes that would vary from melodic pop and fairly subdued
music to fairly noisy, well, not very thrashy music, but semi-experimental.
Dave: Yeah, like Swans. In our high school days and that we were all into Kiss
Chris: We love Kiss. Kiss are a definite influence. And you can print that.
Dave: Just by sheer coincidence.
Chris: What do we like about these bands? Aside from the music I guess, would
probably tie up to the previous question, it's honest music.
Dave: It sounds like it's done with feeling and with some conviction and not
Chris: Yeah, it's not manufactured for a record company executive.
Dave: Or even done in a sterile kind of way; there's sort of a rough edge to
things. Even when it's melodic and quiet and everything it's still got a kind of an
edge to it.
Shane: I think most of the music we listen to sounds like the band has done
it for themselves just as much as an audience, or more for themselves. It sounds like
they're happy with what they're doing whether people like it or not.
Chris: Yeah, that's always pretty important...to play for your own benefit at
first and then convince the audience that they should like it as well.
Dave: It's always good to see people in the audience enjoying what you enjoy
NFH: What do
you think the people who listen to your music get out of it?
Permanent erections! (laughs)
Dave: Well, hopefully what I get from watching a band...enjoyment. When you
go to see a band you can just be completely fucking mesmerized by them.
Chris: It's hard to be objective, because we've never actually seen ourselves
play, so we don't know what we're like...well we've seen it on video.
Dave: But you can't really be that objective about it.
Chris: No obviously.
Shane: You have a different effect on every different person, so you don't know
what you give to them.
Dave: There's obviously people that do come to see us and like us.
Shane: Hopefully we're giving a good performance...I think we give them honesty
if nothing else.
Chris: Yeah, no pretension. We just get up and play and don't have any flashpots
or smoke machines or anything. It's just us.
Dave: Well, I think we've done that one to death.
Chris: What does rock and roll mean to you?
Dave: Uh...just, uh....
Chris: Can we get that on tape; hand motions? (laughs)
Dave: It's just energy and adrenalin. It doesn't necessarily have to say anything
Chris: No, it's just enjoyment, really. A release from frustrations.
NFH: What do
you think of the comparison to Died Pretty?
Dave: I can
see it in a vague sort of way, but I see Died Pretty as being a little bit more
Shane: Died Pretty are Died Pretty.
Chris: They've probably got similar influences, I'd say. But they distill them
in a different way to us, and I'd put them on a different level to us. I don't know if
they're so good now, but when they first emerged they were one of those bands that
you just went and saw and were mesmerized by and just think fuck!, how do
they do that?
Shane: We've got their records, and I'd say we like them...
Dave: I'd say Free Dirt was a pretty moody kind of album, and it had its
ups and downs in a way, and in a way Slippery is similar in that it had its
sort of moody songs and its pop songs.
Shane: Yeah, they play some quite poppy melodies.
Dave: But that's really where the comparison ends.
Chris: I'd say their music is really a lot more consistent, a lot less light and
dark, whereas some of our songs are more definitely heavy metal oriented or noise
oriented or pure pop oriented; there's a lot more distinction. While it's still the
Lizard Train, there's more black and white.
NFH: For a
long time, I assumed all the good bands in Australia were in Sydney and that the
rest of the country was probably no better than the US, but Doug Thomas of Greasy
Pop got me set straight on that account by forcing me to listen (didn't really take
that much effort) to all the records on his label. I was curious to see if this was
a common attitude, or just my own personal piece of foolishness, and if being from
Adelaide helped or hurt...
Dave: Well, I
think there's probably a general attitude...a very general sort of thing...that a
local band isn't as good as a band from somewhere else. That probably happens....I
dunno if that happens all over the place, but I imagine it would.
Shane: Probably in your own state you tend to be a bit neglected I guess, but
as soon as you go interstate people want to see you a bit more.
Chris: Maybe...obviously in Australia Sydney is the music capital, and most bands
eventually find they have to move there to really exist.
Dave: Cos it's got the highest population
Chris: But I remember a few years ago when the Birthday Party and Nick Cave were
in their heyday and I never really thought much of them; I mean I thought they were
OK, but I wouldn't go out of my way to go see them. And then you'd see letters from
people overseas and they'd think they were god's gift to music, and we couldn't
believe that people would die to go see them. You do tend to be a bit complacent
towards local bands, I think.
Shane: Although we know there's good bands here that we listen to and enjoy.
Chris: What are the plusses and minuses of being in Adelaide?
Dave: Well, I guess the plus is that...
Shane: It's a nice place to live.
Chris: Yeah, it's fairly...uh...what's the fucking word?
Chris: No...it enables you to do what you want; there's no sort of preconceptions.
A lot of quite experimental bands have come out of Adelaide because they've got the
time and the space to create their own sound. Sydney bands tend to be more in a similar
vein; the post Radio Birdman vein, and the Melbourne bands are a bit more arty and
perhaps blues oriented.
Shane: Or nowadays, more thrash oriented.
Dave: There's a small handful of bands where each band has really got their own
individual sound. Like the Primevals used to be, which they're not around anymore,
Bloodloss, Twenty Second Sect or us; we're all kind of fairly different to each
other. But I think at the same time that all those bands are really good bands.
Chris: But on the minus side I guess there's not really much opportunity for
advancement in Adelaide. Without Greasy Pop there'd be no records coming out.
There's not very many venues, there's not a big audience. Really to get your music heard
you have to go interstate or overseas.
Dave: Yeah, and if you're staying here you have to be satisfied with playing
probably once a month or something so as not to saturate the audience, because it's
such a small audience.
Shane: Well, the old story with Adelaide is that most of the bands are cover
bands doing the basic top 40 hits, and most people that's all they want to see and
hear; they want to go out and hear something nice and safe that they know. And then
there's just a few other bands like us that just do our own thing. And consequently
because of the small population our crowds are never much over 50 to 100 people. A
hundred people is a good show these days.
kinds of venues do you play at?
small pubs with room for bands.
Chris: Occasional clubs.
Shane: And there's the odd support with interstate bands and things.
NFH: How do
the audiences accept you?
we've been going on for three years and it's sort of been up and down all the time.
Chris: Yeah, I think we've finally got to the point where there's actually a
little core following that regularly comes to gigs.
Dave: Yeah, but that seems to change from venue to venue as well. Like the Queen's
Arms, you see faces that you don't see at the Woodland's Inn.
Chris: You don't see any faces at all at the Woodland's Inn.
Dave: No, you don't...you'd probably see your mum and dad at the Woodland's Inn!
Chris: The people who like us do seem to be pretty convicted about it, don't
they? It's not this sort of "Oh, their a good band" sort of thing. I mean
sure there's people around that sort of like us and don't like us, but there's that
little core of people that just think the sun shines out of our collective
assholes, I suppose.
Dave: But like those young guys who come to our shows, when you were that age,
when you liked a band, you fucking liked them. You played their record every
day. A day wouldn't pass when you wouldn't play them.
Chris: Yeah, I guess I never realized that.
Shane: Well I don't know if we actually appeal to them like that, but it might
be close, though. It's pretty wild out there.
Chris: It'd be interesting to be out there and sort of observe it all, to be
in the gig and have that sort of mentality and watch the band and work out whether
you do like them or not.
Dave: But there's other musicians that come to see us who are in bands around
the place and I always harbor the sort of secret hope that they admire us as
musicians or think that we're a good band, or whatever. That'd mean a lot to me.
Chris: It provides a bit of justification and pride that somebody in a band that
you admire would come along and admire what you do...a mutual admiration society.
Dave: Yeah, that's what we need.
Chris: You're respected among your peers (laughs).
the best feeling you've ever got from playing live?
that first gig we played on the tour, that was just a fucking blast!
Shane: Complete headfuck.
Chris: Probably because it was so different from what we'd been used to. In front
of an enormous crowd on an enormous stage with an enormous PA...
Dave: ...and everything just fell into place...
Chris: It was a major band sort of setting, and for a relatively minor band.
Dave: I guess we were lucky in a way that it was a festival because there were
so many people there. I mean if only a quarter of the people came, there'd have
still been a thousand people watching us anyway.
Chris: Yeah, we played well and it went down well. I mean, it surprised us
probably that people readily accepted us and we were reviewed as being the
"dark horse of the festival, the unknown band from Australia that blew everyone
Dave: But like we were talking about it the other night, about a couple years
ago at least we played a Sunday night at the Tivoli, we played there on our own
with no other band to support or to play before or whatever, and we got a really
good audience and the audience was really receptive.
Shane: We've done some good gigs...we've supported Hunters and Collectors at
the Tivoli and that was quite good, and the Saints; both of those gigs were good
for us. And even last week, that was good; not many people or anything, but we all
got into it and played really well.
Dave: Yeah, when all three of us are firing and we're all getting into it, it
just feels great, even if there's hardly anyone there
Chris: You're having rock and roll orgasms now!
Dave: No, it's just great. But the tour was the good thing, that was just a complete
blowout. We never thought that a band like us could get off to something like that.
Chris: It's strong in our memories, still, isn't it? It's probably the only
reason we're still here.
Dave: It's like a rebirth or something.
Chris: We were getting telexes from Sweden asking us what we wanted backstage...what
kind of alcohol we wanted, and we were just laughing saying "What the
Dave: That's the first time we ever had drinks bought for us!
Chris: So we just said to send it all, and a couple of times we actually got
it. Like a bottle of Scotch, a bottle of red wine, a case of beer.
Dave: And we got 'em, yeah!
Chris: We just couldn't take it seriously! We finally felt like we got treated
like what rock and roll bands get treated like, you know?
Dave: People really were genuinely interested in music and took it all very seriously,
I mean not seriously, but the music was treated as more than a hobby.
Shane: Yeah, we were treated like a real band. Whereas back here we're more
or less a band that plays for themselves more than anyone else, and a weekend sort
of band, I guess.
Dave: Not really; I mean we like doing what we're doing, but it's not often we
get to, you know, be like a rock and roll band.
the worst thing that's ever happened to the band?
Dave: Well, we
had the good and bad in the tour. After the high of doing this festival, it was
unreal, it was outrageous, but to step out in front of that many people and then
say, right, on we go to the next gig...! We went to Denmark after that and we had
all our luggage in the van that we drove there. Had all the equipment inside but we
left our luggage in the van all covered up and that, and we did the sound check and
we came out and "Where's the van?"...we couldn't find it. It'd been
stolen, so everything we owned other than the clothes that we were wearing and our
guitars had gone.
Chris: We did everything that everyone said not to do like leave credit cards
and passports and money. Everything was in the van instead of being on our person.
We got ripped off badly and that was a really low point.
Dave: I guess because we were so far from home and that. We felt pretty lonely
in the big wide world. You suddenly realize how small and insignificant you are.
And we had no identification and no money...nothing! We were pretty lucky.
Chris: So after that we sort of thought, "oh, that's rock and roll" and
on we go!
Dave: A lot of it was good; I think in retrospect it probably strengthened our
resolve a little bit.
Chris: Well it certainly taught us to travel light! I mean I had a fucking big
suitcase full of all kinds of clothes and boots and cassettes and video cameras and
Dave: Yeah, we had a van full of personal belongings and we hadn't even got the
band gear in there.
Chris: And by the end of the tour we were carrying a little travel bag each around,
which was the most practical thing anyway. So it was a good lesson after all.
NFH: What kind
of media acceptance do you get? Any airplay or press?
Chris: There's really not a lot of support.
Dave: You have to go around begging for it really.
Shane: Like we did an interview with one of the main papers in town, you know
a full page spread about the tour and la de da, and it's our return gig, and the
crowd was still small.
Chris: Yeah, it was a bit of an anticlimax, really, wasn't it?
NFH: I thought
"Thirteen Hour Daydream" was a pretty smashing all-round debut, in that
it had four songs that were all quite different yet were all really solid on their
own ground. Were you happy with how that came out?
Dave: I listen to it now, and I still like it.
Chris: For the time it was a good indication of where we were.
Dave: The music was sort of "of the time", wasn't it? It isn't exactly
"dated" now, but it was a fair reflection of...
Chris: ...our first year together, I think. Fairly brash and enthusiastic.
Shane: And "Seventh Heaven" shows that we're not just all thrash, or grunge,
seemed to deliberately tone things down quite a bit and is more the sort of record
that you grow into over repeated listenings. Was there a conscious effort to make that
happen, or was it an accident?
Shane: It was
Dave: Yeah, it wasn't a conscious effort at all. It was like when we were mixing
the album it was all a pretty divided view on how it should come out.
Chris: I think part of the problem was the budget and the time we had; there
was very limited time. And there were sort of...not tensions...but sort of
disagreements as to how things should sound; how loud the guitar should be and how
much reverb there should be.
Shane: It was really just the songs we'd written after...it was just the next
songs on, really, that we'd wanted to record and had done.
Chris: It reflected the next year of the band, really, didn't it.
Dave: Well, there are some songs on the album that sort of rip the bag in a pretty
obvious way; "Swallow Your Tongue" and stuff like that. The production
was just so different from Thirteen Hour Daydream.
Chris: Yeah, I think we all agree that we're reasonably with the album, but if
we had the chance we'd like to do it differently. Probably remix it or rerecord
some of the parts, but there's not much point, I guess.
understand that there's a new record on the way. First of all, why has it taken so
long? Is coming up with new material difficult?
Dave: It can
be sometimes, but that's not the problem with the album coming out.
Chris: No, the reason we didn't get one out after Slippery is because we
went on tour, and then we became a three piece and that slowed us down. It's taken us a
good year and a half to get our act together.
Dave: Yeah, to come up with a new batch of songs as a three piece. But at the
moment it's the studio where we're going to record the album, where we recorded the
demo. We recorded that demo at this studio where we're hoping to record the album,
but the studio is still being built; it keeps getting put off. There's always
setbacks, so it's just taking a long time to get it together.
Shane: There are a few other studios we could go to, but we've heard what comes
out of them, and we're not overly happy with them. The sound's a bit small, and we
want something pretty huge this time.
NFH: Will the
new one be a departure from what you've done up to now...are you consciously
looking for yet a third approach?
Chris: It will
be different, but we're not consciously looking. That again I think reflects the
Shane: We'll just do what we're doing now.
Chris: I think we want to spend a bit more time on production and get a bigger
sound, and make up in a way for how we felt about Slippery.
Dave: Yeah, that's a bit of an understatement.
Chris: So whereas the ep went for the throat and Slippery sort of grew on
you, this will probably be a bit more of going for the throat but still be an album
you can listen to repeatedly.
Dave: And plus with the 3 piece sound the sound has changed a lot more as well.
In that interview you did with that guy you were saying that even though we've lost
a guitar we seem to have beefed up a little.
Chris: Yeah, it's tighter and heavier.
Dave: So hopefully that will reflect on the album as well.
Chris: He asked if we're consciously looking for a third approach, and we've
said we haven't, but I guess we have a fair idea of what we want.
Shane: But it's not a conscious "veering away" from any particular sound.
It's just to try to make the songs we've got now sound as best as they can.
Chris: I guess we've been reasonably happy with the recording we've done, but
we've never been a hundred percent satisfied, because it's always been such a rush
and on such a small budget. If we had a bit more money to splash around we could
take more time and try to get things a bit better. But I guess there's two ways of
recording and that's to get it done quickly and just catch it at the moment or
labor over it and end up with something that could still be just as dissatisfying.
Dave: Yeah but we have an idea of what we want, and I guess that's what we're
waiting for at the moment; the opportunity to put that idea onto a record. Because
I'm sure we all have an idea of what we'd like a record to be.
NFH: I thought
the "She Is Like A Cloud" thing on the Bob flexi was one of the best
things you've done...the rough and tumble production style seems to suit you well.
How was that song recorded?
Dave: After we
did Thirteen Hour Daydream we decided to have a look at some other studios,
and this was a 16 track to one inch, more or less a guy's own personal home studio
that he was just starting to let bands get into and we just wanted to try it out
and see what it was like. Consequently you heard what it was like. We didn't record
Chris: There's good elements in there; I think the drums and the vocals are fine
and the bass is fine, but the guitars tended to be a bit muddy.
Dave: It just wasn't quite there.
Chris: It was a very live sounding song because we used our live engineer. It's
fine, it's a good song. We're considering recording it on the new album, so we'll
see what sort of treatment it gets.
the story behind the meteorological bent of songs like "Cloud",
"Chain Lightning" and "The Day The Sky Went Black"? To me those are
three of your best songs and they all use weather as a major source of imagery...this
Chris) Well, they're all your songs.
Chris: No, not really..."The Day The Sky Went Black" is Shane's,
"That Chain Lightning" is Shane's music and my words, "She's Like A
Cloud" is me and Phil's. Coincidental?
Shane: I suppose, but the weather is something that affects everyone.
Chris: Yeah, I guess there's not much of interest to write about in Adelaide,
apart from weather and dying. I mean everyone's gotta get murdered, so...
Dave: Everyone gets rained on and everyone dies.
Chris: It's just like, why are there a lot of death references in our songs? It's
not that we're particularly morbid people, it's just that it's a good subject to
write about. It just seems to come into things.
Shane: You can't help thinking about it, I suppose.
Dave: You just feel more inclined to write about it...it's a bit more inspiring
than singing about...
Chris: ...how long your willy is!
Dave: Yeah, I mean...we could probably write a 25 minute epoch about that (laughs),
Chris: But we write songs about boys and girls and falling in love. It's not
that we're really serious, it's just that those subjects are good subjects.
Shane: It's just what they were at the time, it's how they come out. I think
Chris got "That Chain Lightning" reading in the newspaper.
Chris: And really the title of the song bears no relationship to the words. The
words are just a collection of sentences and "Chain Lightning" is just the
chorus. And even "She Is Like A Cloud" the title and words don't match up.
Dave: Yeah, it doesn't really mean that she's big, white and billow-ey. (laughs)
Chris: I don't think we think about it that much, really.
plans for the future (other than the new record) are there for the band? Do you
have any long term goals, or do you just let things happen as they will?
Dave: Well, I
don't think we've got any choice really.
Shane: Wed like to come and live and tour in America.
Chris: Yeah, can you get us any gigs?
Dave: How many camp beds have you got? We'll come over and sleep in your lounge!
Shane: Just another really good record that we're happy with.
Chris: Yeah, a record that blows the other two to bits as the new Lizard Train.
So it would in fact be good if it didn't bear a lot of resemblance to the old
Lizard Train and was a significant departure.
Dave: I think it is pretty well different.
Chris: Long term goals, we do tend to let things more or less happen. We're our own
Dave: We would really love to tour again, to go back to Europe, and we've talked
about going to America. Whether that's possible or not.
Shane: Unless you've got some top 40 sound or leaning, in Australia you'll do
all right in the underground scene, or the not-so-commercial scene, but you
couldn't live on it or anything. I mean for us to go to Europe and never have been
heard of before, and just about every gig was packed out and people going bananas,
I mean that's what we want more of. I mean if we could just go back and capitalize
on the first tour and show everybody that we're not dead and we're still ready and
rarin' to go. We're serious and not too serious if you know what I mean.
Chris: I guess we all know what we'd like to do, but whether we're able to do
it is hard to come to grips with. Probably the mundane things in life tend to
dominate too much.
Dave: Yeah, like the getting of money. That's the main obstacle; it takes a
hell of a lot of time. But we haven't had it too bad so far.
Chris: Well, we're the only band from Adelaide to tour Europe in recent years
on our level anyway.
Shane: Nyah, nyah, na-nyah nyah (laughs).