EGG IDIOT: The Interview

The Interview

Baby Lemonade

“Only assholes eat Mars.
What a shitty stupid disgusting fuck…BAH!”

Quando ascoltai per la prima volta Egg Idiot, nel maggio ’21, mai mi sarei immaginata che un giorno avrei avuto la possibilità di vederlo live per 4 volte, di conoscerlo e di fargli un’intervista. Mi ricordo ancora le circostanze in cui mi sono imbattuta nel suo primo EP. Io e Saldacani eravamo in viaggio in autostrada e io dovevo occuparmi del sottofondo musicale. Vado su YouTube, guardo tra le ultime uscite e mi salta subito all’occhio questa immagine molto buffa di un omino imbronciato. Leggiamo che è il progetto solista di un membro degli Ex-White (quindi bene) e parte la prima traccia. Sound veramente catchy, virtuoso, veloce e molto, molto weird come piace a noi. Da quel giorno non ho mai smesso di ascoltarlo. Tra la moltitudine di pubblicazioni, quelle di Egg Idiot hanno trovato il loro primo posto nel podio e nel cuore – e ancora oggi ci rimangono. 

Per questo motivo, cioè per questa mia quasi-ossessione, dopo averlo conosciuto durante il suo tour italiano, non mi sono fatta scappare l’occasione di rivolgergli qualche domanda e conoscerlo meglio (grazie Saldacani per l’aiuto!)…quello che ne segue è il risultato!

-Baby Lemonade


Hi George, how are you doing? You just got back from a tour in Italy, you played with S.G.A.T.V. and Doc Flippers, how was everything? Did you enjoy Italy?

Hey Federica! I am doing wonderfull! I had so much fun onthis tour, I don’t know how to describe it. It felt like a very long lasting joke and here I am now a week later sitting in my bed still laughing. I am filled with joy. I didn’t really know the dudes from S.G.A.T.V. but now they have their own place in my heart. If there would be a fun police we would all be in jail. Life sentenced, torture and the electric chair. Do I sound like a hedonistic asshole?
So I did the first 3 shows with them and then they dropped me off in Rome. I took a look at the old shit in the city and then Doc Flippers came and let me into their van. Oh boy and a new chapter began. Feels like now I have two families. Both taking good good care of me and all my needs.

You perform under the name of Egg Idiot and you also play the bass in Ex White. Did you play in any other band we might know? Do you have new plans for the future?

Back in the days I played in that band called Zhod. “Zentralheizung of death (des todes)”. A bit punk, a bit pop, kind of fast, lots of riffs, didn’t really like it tho. And I played with Dr. Urban. Punk-Trio pretending the german wall still stands. Main focus: getting as drunk as possible before the show. I even had a blackout at our first gig.
I-Just-Don’t-Remember-Anything. And no, I don’t really have plans. Would love to do a coversong-album.

wwdis sartoria – Feb. 21 (@zletiz)

Can you tell us the origin story of Egg Idiot?

Oh the origin story of Egg Idiot…gonna make it as short as possible.
Had a band, looking for a name. We we’re sitting in that Bar in Leipzig east. Someone had tagged „Eier“ on the door so we named the project EIER (means eggs in german). Idea: dress up like eggs for the shows. Band didn’t do it (4 practices) and when I tried to record my own shit years later I just took the idea with me. I went to the practiceroom with the intention to record a song that sounds like a song from the old game “ROAD RASH” where you ride a motorcycle against others but you can kick and punch them. So that’s why the first song is called “RAGE OF ROAD”.

And the funny thing is: I never heard the thing “egg-punk” before. I knew there was this weird genre but I had no idea it was called egg-punk. Only a big coincidence.

What’s the creative process behind your music?

I live my life, go to the practicespace, record a riff, record guitar toppings, then the bass, then the drums and then I listen to it, get the vibe and the energy, try to come up with something silly, good and real and do the lyrics. That’s how I do most of the songs (90%). The rest is just shitting into the microphone.

As everybody knows, when you perform you wear an egg costume and put scary makeup on. Do you think your performances would have make sense without the whole costume?

Well without the costume I would just be a dude on a stage screaming into the mic. We have all seen it before. The costume is only underlining the stupidity of my music. I’m more like a modern clown. And to be honest – I don’t like it. Sometimes I think people don’t take my music serious. I know it is meant to be a whole bunch of shit and sillyness but deep down, if you take a good look, there is so much going on and I am doing my best to put out a good song that works in it’s structure and all the rest blablabla. A fine line…

wwdis sartoria – Feb. 21 (@babylemonade)

What are the biggest inconveniences of your costume?

I dress like an idiot so people see me as an idiot. My name includes “idiot” so that doesn’t come from far. But the worst… mhhh there is actually NOTHING good about it. It takes sooo much space in the fucking car. And the heat… fucking hell you can’t imagine how hot it’s getting in there. And when there’s a nice crowd I do my best to move as much as possible and so…it is like the hardest workout but with your winterjacket on.
After the show I am soooo exhausted. Trying to catch my breath for at least 10 minutes.

Egg Idiot is a solo project but occasionally you perform some songs with live band. According to your experiences, what are the disadvantages and advantages of playing alone and those of playing together with bands?

I mean it couldn’t be more simple than playing soloshows like I do. Laptop and microphone, soundcheck normally about 2 minutes. Sometimes even less. What else I need on stage? A little box to put my shit on. That’s it. I thank myself for having such a quick and easy set up. And I believe everyone else included too. I don’t need to ask when there’s time to practice, I just go when I feel like. And in this Egg Idiot time I had only one practice. Tried the songs once the night before my first show. But since the process of writing the songs is so intense the songs are branded into my brain. Oh and another good part is: I don’t have to share the money. so I can live a little bit off it. The bad side is the sound. I recorded all the songs quite poorly with only a mic and the free shitty software on my laptop. so on big stages it just sounds crappy.

A backing band would give it so much power and style. Now that i have finished the second album (a year ago) I kinda wish for another project including more people than just me. I am craving for other brains. I don’t enjoy being alone anymore as much as when I started 2 years ago. So…hello? is there someone interested in some shit? I want it fast, brutal and…I don’t know. call me

wwdis sartoria – Feb. 21 (@saldacani)

I like to read the lyrics of the songs I love and yours are so funny and a little bit cinics. Egg Idiot definitely isn’t a role model or the nephew that all grannies would have (see “Guess Who’s Calling”). How much do you “believe” in what you sing in your songs?

I believe in every single line I ever wrote for Egg Idiot. Haha, I mean, not all of it really happened. Sure it is a hole for the outside world to have a look what’s going on inside my head.

“Guess who’s calling” is based on reality. Well, it actually is true. I never said bad things to her but that is what I thought when she wouldn’t stop calling me for nothing. I changed my number but my mom gave it to her – how stupid is that? But when I look at the tracklist – lot of it has a true origin story.

Like “Wifi Wizard”. I was driving Omni from Atlanta through Europe so they got this pocket device to provide them with wifi all through the tour. We called it Mr. Asshole. Sometimes Mr. Asshole had it’s issues and broke down. The song’s just about that.

Or “Suicide Rider”. I don’t know why but gravity often tends to work harder on me than on others around. That night when I smashed against the wall with the sled I fell many many times. Once even on my fucking face. But normally I don’t get hurt. “Trunk” has the same topic.

Oh and I really like “Nose Warriors”. One very long night… we started to believe we took meth.

I’m having big problems listening to music with shitty lyrics. If I don’t understand them-that’s okay -but if I get it: problem! So many songs about made up problems, only trying to use words as an rhyming instrument but without any real sense behind it. And if I hear only “blabla” that’s not
even written with quality and feeling or slightly funny -I really dislike it. Rather don’t say anything then. Say stupid stuff, that’s harder to judge. I’m not too proud of what I write but I stand behind it. And that’s a rare thing for me.

Do you have a song you wrote inspired by an event you experienced or that someone told you about? If so, can you tell us something about it?

Oh I think that question is now covered. But since you’re asking. “Pills in my butt”. There’s not much to say. You got some pills, you really want them at your holiday on the other side of the border so you’re willing to go safe and hide them from the cops in a very warm and secret place.

You also do amazing animations and comics. When did you start drawing?

Oh thanks. I started drawing as soon as I knew how to use my hands. Doing animation I think I started around 10 years ago. Inspired by the amazing series “Superjail”, showing that EVERYTHING is possible. But since I am a lazy fuck I do maybe one cartoon a year. I could do it now – there’s nothing to do – but I rather stay on my couch getting fat only thinking about what bar should I go to later.

For what concerns punk music and DIY attitude, Leipzig seems to be one of the hottest spots in Germany and Europe. Is it how it seems or are there any downsides? Which other German city do you recommend for his affinity to Leipzig?

I heard about it but I don’t know. Yes there are quite a few bands that matter to me that are based in Leipzig but I think there are also quite a lot in Berlin. Don’t know much about the scene from “the other side”. By that I mean Westgermany. So at least to me – Leipzig and Berlin are the two cities that musically matter. It doesn’t take long. Maybe 3 Years to crawl through the corners of both, getting to know all the bands and the people and so the scene. Going to a gig or party in B or L – I am most certain I know at least 10 faces. And it is just a 2 hour drive. You should ask someone else about music scenes in Germany -I don’t know shit.

Name a song, a band/artist and an album you like.

What’s your favorite egg recipe?

Keep the egg warm so a fucking chicken comes out =)
Let it grow, feed it, love it till it dies then cry.

Here’s a final question for you. You have to pick one: Twix or Mars?

Only assholes eat Mars. What a shitty stupid disgusting fuck…BAH!


EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

Read More »

The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

Read More »

Baby Lemonade

KLINT – Interview + bonus track

Intervista a
+ bonus track

Baby Lemonade

I kinda missed the 90s.
But in the 2000s I started organizing concerts together with some younger people in our local youth center. We also organized some anti fascist, political events.We founded an official association called Profan (Probsteier Forum Anti Nationalism)

Dopo un incontro mancato al Get Lost 8 ad Amburgo, ho avuto l’occasione di entrare in contatto con Sven aka KLINT (Germania), creatore del cosiddetto “Viking Synth-punk”. Fin dalla prima volta che ho ascoltato la sua musica – che ho avuto modo di recensire e di aggiungere nell’ultimo Fritto Mixtape – sono rimasta incuriosita dal suo stile. In questa intervista Sven/KLINT, il vichingo, ci parla della sua visione del mondo di oggi, di ieri e di domani. 

Questa intervista, inoltre, anticipa l’imminente uscita della seconda tape, “Existence”, prodotta dalla nostrana Goodbye Boozy Records. Per l’occasione KLINT ci ha regalato (oltre alle sue parole) un pezzo inedito con alle spalle una storia pazzesca, che troverete qui sotto tra le righe e sul nostro canale YuouTube. 

Questo è quanto cari e care amanti del ROK, buona lettura a tutt*!!

Hi Sven, I’m so happy to do this interview, thank YOU so much for agreeing to answer to a few questions. After we lost the chance to meet in Hamburg al Get Lost, we couldn’t loose the occasion to know you and your art!

Let’s start talking about your solo project KLINT (that’s your surname, right?), how came out the idea of a Viking Punk returned from the past to fight against our society?

Your music reminds to me, in fact, a scenario of war or revolution. Your music is so fresh and original. I recognize there is a good part of egg-punk in it but, in the other hand, much of your vibes are unfamiliar to me. Where do you get the inspiration?

That’s right, KLINT is my surname. In the danish language it has the meaning “steep coast” or “cliff”. In german it is only a not so common name. We are living in northern germany near the danish border and near Haithabu.
1000 years ago Haithabu has been the so-called capital of the vikings and at that time with about 5000 inhabitants the largest trading place in Nothern Europe (this may sound a little ridiculous in italian ears). Located at the end of the 40 kilometer long and only ‘fjord’ in germany, going out from the baltic sea inland. From Haithabu it was therefore possible to transport (viking) ships over short distance on land to reach a near river wich flows into the north sea. This saved the vikings the long sea route around denmark.
Enough history, sorry me. But so it was clear to call my project “KLINT – Viking Synthpunk based in Haithabu”, as it should be a viking cliff of humanity in the rough seas of turbo-capitalism, nationalism, climate change, war et cetera.

I started at the beginning of this year with dusting off and repair the old instruments and bying additionally some old used hardware…after Caro (my wife) and Lars (Klint, my brother – he is playing in a band called “State of Value”, great, more the “Shades Apart” style…check it out) kicked my ass to finally do it.
The idea has been around a little longer, practically since Eggpunk hatched out. The Coneheads time, maybe. I wanted to do something like this. But additionally use a synthesizer, a nasty synthesizer. There is definitely a lot of untapped potential for synth in pumkrock.
Then the war came. And the first song was “Terrortorial Integrity”.

What’s your creative process?

Very different.
Sometimes I “steal” things and transform them.
Sometimes I have ideas and usually implement them first with the synth. Or with the guitar.
Actually a song must always theoretically be written in it’s entirety before I record the drums first. Of course I use a drum machine and this has to be programmed. It is fortunately very precise so it’s not too bad if I add some human mistakes by playing the instruments afterwards.
The recording machine is an analog Yamaha 8 track tape.

Your lyrics are a open critics over our society and, in particular, the war. How much all the catastrofic events (from the immigration issue to Middle East and Ukraine war and the pandemics) had influenced you as an artist and as a person?

These things touch and influence me every day. Espacially the war and the pandemic.

The pandemic simply because it has an impact on my profession. But also because of how people in my professional and private environment are reacting to the pandemic. I know some people who have never been politically active in their lives or have rebelled against any kind of abuse. But now seem to have found their purpose in life and know so much more than experts and professors. Or accuse them of conspiring with who knows who. And they don’t care about getting infiltrated in their bubble by fascists.

Last week a bought a book which was released a few days earlier. It is called “Heaven above Charkiw” written as a war diary by the Ukrainian artist Serhij Zhadan. I think he plays in a ska-punk band also. It is a tragedy. And a seemingly never ending story of warcrimes in 2022 committed by a terrorist state called Russia.
The war might not have been the mainspring for me to start to make music again, but it accelerated the whole thing. The war started Feb. 24… Two weeks later Gabriele released “Terrortorial Integrity” on Goodbye Boozy Records as a digital charity output. I really wish german government was as fast as this with delivering weapons to the Ukraine. The song was created without really knowing how to use the recording technology but with so much desperate hate as stimulation. It was similar with the song “Selected Welcome” regarding the refugees situation.
But at this point I have to say I also have doubts about my anti-nationalistic attitude because I would have expected russian civil society to get out on the streets on the morning of Feb. 24….in hundreds of thousands …in Moscow, in Sankt Petersburg, in Omsk, in Novosibirsk, in Wolgograd…..
But nearly nothing came. So I say russian civil society is naive, selfish, antisocial. And Russia is a terrorist state.

We can say you are a Pacifist Viking?

That was definitely over on Feb. 24..
I see no other way of stopping russian fascism and russian terrorism than through violent defense.
And it was definitely already over in 1990 when fascists from east Germany raided and burned asylum homes in our area. I remeber protecting them with violence.
And is about to be over when people want to exercise power over other people.
In other situations you can say I am a pacifist viking …or at least a humanist viking. But it is just noise.

When we spoke about doing this interview you said to me that the last interview you did was in the 80’s, when you used to play in the german punk band “Go Ahead”. I tried to do some research on the internet but i didn’t be able to find any information about it. Who were “Go Ahead”? did you play in other bands during this years?

Oh yeah, it must have been about 1000 years ago.
Go Ahead started in 1987, the hightime of american hardcore in Northern Germany (we are always a little later). I played bass guitar and lived in a small shared appartment together with our drummer Kalle (he did the legendary fanzine “Anti System” in the early Eighties and played together with our Go Ahead guitarist Ulf in the legendary band “Scapegoats“). Bille was our second guitarist and lived in an appartment with Ulf near to us in Kiels’ problem area “Gaarden”. Bille also made a fanzine but I forgot the name.
We always went to gigs in our area together (mostly with my brothers Tiny Giants kids). You are italian, I remember Negazione in Kiel, no one was dancing but me. I jumped on stage for diving but no one came to catch me. Negazione was laughing but afterwards playing Tutti Pazzi for me, haha. 

We had our practise room upstairs from my parents shoe shop and made a demo tape wich was very well reviewed by Armin (X-Mist Records, still existing as fantastic label and mailorder) from TRUST Fanzine (first regulary releasing punk/hc zine in Germany – still existing). Because of this review we got a record deal and released an LP and single on Weird System (Label in Hamburg).
During that time I helped out in a unknown band called “Los Comas” and in the straight edge band of my brother called “Tiny Giants”.

I kinda missed the 90s.

But in the 2000s I started organizing concerts together with some younger people in our local youth center. We also organized some anti fascist, political events. We founded an official association called Profan (Probsteier Forum Anti Nationalism), this made it easier to get support from the city I lived in. It was a small town with about 6000 inhabitants. But the concerts were incredible. 200 people fit in the room. Most of the time it was packed with a mixed audience from the Kiel punk scene and the local village youth. That was the right educatioin for the young people. You had to dance because it was so packed. Sweat ran down the walls. Some kids told me years later that these gigs were the only shining point for them making their life worth living. Puh.

You come from a generation in which the digital wasn’t so much dominating as today in the way of doing music and mostly in the way of comunicate it. What’s your relationship with this new medium?

If the Internet can no longer be destroyed, at least the so-called social media should be switched off immediately. The loud-mouthed insanity that is allowed to be spoken out there with impunity in the form of lies, division, selection, hatred, hate speech, threats and fantasies of violence against minorities doesn’t deserve a platform.
I would also be happy if I could run to the post office every day for weeks, for example to receive the stone-carved single Raped Ass by our Swedish Viking colleagues Anti Cimex, which was ordered months ago and transported carefully by Viking longboats. That includes an appreciation that, with the flood of (very good) publications and their easy accessibility, falls far too far by the wayside for me these days. The quantity displaces the enjoyment.
So I buy more tapes in these days as in the Eighties and equal amount of vinyl.
(But of course I use Bandcamp. It is a drug and costs lifetime. And of course I should go to the Fediversum. We all should go. No Punk Rocker should use twitter, no Ukrainian will buy a tesla)

You said to me that you are “full time working in a normal stressing job”, what do you do for living? Are your everyday job and your musical career anyhow related?

I don’t just do this to make a living, I really enjoy doing it.
I am shoemaker master. Like my forefathers have been since the year 1776 (proven). Now in industrial times of course as orthopedic shoemaker. Caro has the same technical schooling.

We serve people with severve disabilities throughout the northern area of germany (Bundesland Schleswig-Holstein) with handmade orthopedic shoes. Caro is a technical genius. And I’m allowed to deliver the shoes made by her. I take the plaster casts from the mostly spastic deformed feed and have the direct contacts to the care facilities and the disabled people. I love this. I love the people with disabilities.

One of them, his name is Mario, is the biggest Kraftwerk fan worldwide. And becuse of their song Autobahn the biggest fan of german Autobahnen. Despite his handicaps, he can draw Germany’s entire Autobahn network by heart. Of course he gets his orthopedic shoes in Autobahnschild/highway sign blue and with the white Autobahn street sign as embroidery. And because he is also a true audiophile I made a song for his birthday called “Elektro-Mobilität”. His carers are still grateful to me to be able to hear this song day and night at full volume from his room, haha.

I still get angry when I think about times in Germany my grandfather lived through. People with disabilities were obliged to wear a black triangle as a mark of identification, similar to the Jews’s star. Until 1942 they too were systematically killed. With this past I still find it difficult to be proud of anything in germany.
Most of the mentally not so disabled people know my music because I always tell about it and play it. Some of them are my greatest fans. This is something I can not say about other people in my area. Otherwise it is a very international scene in which we move. If I want to talk to people who like similar music like me I have to drive to Hamburg. It seems like Punx in Schleswig Holstein never heard about things like eggpunk, synthpunk et cetera. The scene does not move here. Not yet.


Only one?
A must know from the past (for younger readers): Verbal Assault – Learn. And new…I bet your readers watch the scene but perhaps they overlooked this:

Song: Circuits – Mediocrity
Album: Sprgrs EP1
Nearly everything: Platinum Crack

If I’m not mistaking, you were at Get Lost’s first day. What were your favorite bands?

Yes, I was there only at friday and I was really looking forward to it. It was the first gig for me in years. And then with some of my favorite bands.
All the bands were incredibly good.
Pink Room surprised me the most. I did not expect this insanity. They reminded me of NoMeansNo.
Clearly: Prison Affair and Powerplant knocked me out of my socks.
But Chain Whip… I couldn’t control myself anymore and as an almost thousand years old viking I was right in front of the stage…in the pit…and immediatly got an elbow in the face. Never mind, I felt so good in the pit again. It was like in the eighties. This energy. I still love this kind of HC punk.

What bands you’d really like to see live?

7 Seconds. I always missed them. I love their spirit. But I think they quit.
Dr. Sure. I missed them last week in Hamburg.
I’m looking forward to Mononegatives in Europe. They told me they will try to come.
And of course you can see me in the pit again if Gee Tee and RRC actually do a eurpean tour in 2023. If I haven’t turned to dust yet.

We at Super Stanzy are crazy about Twix and one of a ritual question during the interviews is “TWIX or Mars”. But we are crazy for kebab too. After Turkey, Germany it’s like the homeland of kebab and falafel, so I’m going to ask you: KEBAB or FALAFEL?

Sorry, no Twix, no Mars. You should try Lindt, especially the Lindor balls, in hazelnut.
Kebab. That is clear.


EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

Read More »

The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

Read More »

Ferruccio Quercetti (CUT) – Interview

Intervista a Ferruccio Quercetti dei CUT

Serena / Wilson / Cason

"In Scozia abbiamo provato il Mars fritto nel burro: lo scartano, lo avvolgono in una pastella di burro, poi lo friggono e te lo servono."

Luppolajo has been rocked once again. I CUT sono scesi dal palco da qualche minuto e il collo di Ferruccio è stretto da una salvietta azzurra che in quel momento somiglia più ad un salvagente antisudore.

Lo accompagniamo nella stanza delle meraviglie, in una foresta di fusti di birra che quasi abbagliano sotto le luci da laboratorio. Fuori la musica riattacca e tutti ballano. Pizze di Liquirizia, Wilson e Cason hanno un po’ di domande per FERRO, che sembra ancora scosso dai feedback della sua Telecaster massacrata per circa un’ora dallo psycho-blues-punk del trio che da Bologna ha depredato mezza Europa negli ultimi 25 anni. Ci guardiamo le scarpe, sono bianche di polvere sollevata dal pogo.

Super Stanzy: Domanda più importante di tutte – da questa dipende il resto dell’intervista. Twix o Mars?

F – Twix. In Scozia abbiamo provato il Mars fritto nel burro: lo scartano, lo avvolgono in una pastella di burro, poi lo friggono e te lo servono. Sai che così è più buono? Abbiamo un sacco di amici in Scozia che, siccome siamo italiani, per contrappasso ci fanno provare tutto il loro junk food. Ad esempio, hanno l’Irn Bru, una roba che dentro ha il ferro, un energy drink che assomiglia ad una soda molto dolce. Vende più della Coca Cola, e contiene un ingrediente segreto che non si può sapere. Lo bevono pure a colazione i bambini.

Qual è invece il pasto italiano peggiore che hai fatto all’estero?

F – Nel 2008 ci fermiamo a Lille, suoniamo a Le Yeti. Il nome dovrebbe dare l’idea di un posto grande, in realtà durante il concerto non si può andare in bagno perché il palco blocca la strada da quanto è piccolo il locale. Hanno una convenzione con un condominio di fianco che tu puoi usare un cesso in comune al primo piano mentre le band suonano. La figlia del proprietario apprende che siamo italiani e ci vuole fare la pasta a tutti i costi. Noi ovviamente le diciamo subito di non preoccuparsi, e che comunque anche in Francia c’è una buona cucina. Lei però insiste e si mette ai fornelli: acqua ancora fredda e pasta già dentro. Poi prende dal frigorifero una roba aperta che aveva già il marciume sul bordino, la versa sopra la pasta senza neanche mischiarla e la serve. Noi tra l’altro avevamo una fame mostruosa perché eravamo arrivati all’ultimo momento e non eravamo riusciti ad andare a mangiare. Non sapevamo come comportarci, è stata la cosa più terrificante che ci hanno servito.

Nella mia testa collego sempre i CUT al suonare in giro per l’Europa. Non ci sono tante altre band in Italia che hanno viaggiato così tanto all’estero, soprattutto raccogliendo i vostri consensi. Qual è il consiglio che daresti a chi suona per non scoppiare quando si macinano così tanti chilometri, dormendo ovunque e vivendo sulla strada?

F – Prima di tutto devi avere bene in testa perché fai quella roba. Se la fai perché ti aspetti di essere trattato in un certo modo solo perché suoni, allora puoi stare anche a casa. È normale che quando vai a suonare in Germania o in Francia senza promozione o distribuzione nessuno ti conosca, e che tu sia allo stesso livello di un gruppo di ragazzini che ha iniziato ieri. Quindi credo molto che in qualche modo tu le cose te le devi anche conquistare. Quando ero piccolo, l’unica cosa che volevo era riuscire ad avere un gruppo e fare la musica che piaceva a me, che era l’unico modo per poter comunicare con il mondo in un modo che mi facesse sentire vivo, non una merda.

Io ho 50 anni, in Italia negli anni ’80 era il mondo dei Paninari – era tutto bello, ma se vivevi in provincia eri morto. Sono cresciuto in un paesino dell’Abruzzo, a Giulianova, nell’isolamento più totale. Ero talmente sfigato che nell’86-87, invece che uscire con le ragazze e i miei amici, facevo un programma radio, su Radio Azzurra, di sabato sera. Perché mi rompevo le palle. Questo per dire che, nel momento in cui ho una band che mi piace, ho persino un posto che mi invita a suonare e della gente che vuole sentire quello che faccio, io sono arrivato. Non ho altre finalità se non comunicare attraverso la musica, perché è l’unica cosa che mi fa sentire bene. Fare dei dischi che un giorno mi faranno pensare che comunque un segno alle mie spalle l’ho lasciato, una traccia di quello che sono.

Questo mi ha portato a poter comunicare con delle persone dall’altra parte del mondo che si riconoscono in quello che faccio così come io mi riconoscevo nei dischi degli Hüsker Dü, Dinosaur Jr quando avevo 16 anni.

Quella comunicazione lì è per me il fine ultimo, tutto quello che c’è in mezzo è necessario per arrivare a quel momento. Se quei 45 minuti di concerto non ti ripagano di tutto, allora è meglio che stai a casa. Ripeto che ho 50 anni, dovrei stare a casa a guardare Netflix? Almeno esco, faccio le prove, vado in giro per l’Italia. Conoscere delle persone come voi questa sera è la forma di comunicazione più vera che io riesca ad avere con il mondo. E poi c’è un’altra cosa importante: quando fai un concerto, mai essere presi male. Anche se c’è una persona a vederti, non sai mai cosa potrebbe significare per quella persona ciò che stai facendo sul palco. Quando ho visto i Gun Club c’erano quattro miei amici e me, e fecero un concerto bestiale. Sono stato cambiato da queste persone. Anche in quelle sere di merda dove sembra che ci sia un cane e un ubriacone che ti segue, non si sa mai chi potrebbe esserci in fondo alla sala, magari qualcuno per cui quel concerto è la cosa più bella che abbia visto in vita sua. Ti giuro che succede.

Super Stanzy: Prima hai parlato del periodo “nerd” a Giulianova negli anni ’80. Avevi già qualche progetto musicale al tempo? Come hai iniziato a suonare?

Io devo tutto ad un amico di Berlino che veniva al mare con la scuola a Giulianova. Un giorno un mio amico mi dice cha ha conosciuto uno uguale a me, ma tedesco. Mi dice che lo devo assolutamente conoscere e organizza questo appuntamento stile Tinder tra me e questo tipo. Lui è più grande di me e più bravo con la chitarra, e mi dice di fargli sentire qualcosa di mio, ma mi vergogno come un cane. Quando poi riesce a convincermi, mi sorprende dicendo che le canzoni gli piacevano molto, e che dovevamo registrarle. Aveva un quattro tracce a cassetta, e con le sue chitarre elettriche sopra il materiale che registriamo diventa una sorta di demo. Lo mandiamo ad un po’ di giornali e la recensione esce addirittura su Rockerilla, la mia Bibbia. Non ci potevo credere. A lui devo tutto, se non ci fosse stata questa sua sveglia io sarei ancora a casa a cagarmi addosso. Poi mi sposto a Bologna per l’Università e la città era vibrante, la gente ti dava le locandine dei concerti ogni giorno mentre passeggiavi in via Zamboni. Era il ’91…

Super Stanzy: E che esperienze ti tieni stretto di quel periodo?

Be, ricordo un live incredibile NOFX con Offspring in apertura al Pellerossa, mettevano i cuscini sulle colonne del posto per evitare che la gente si uccidesse nel pogo. Poi Fugazi tante volte, e Jon Spencer Blues Explosion. Li vidi a Londra, e probabilmente fu il live che più mi ha cambiato. Ma anche suonare con i CUT insieme a tante band incredibili mi ha insegnato tanto. I Make-Up ci firmarono le nostre copie personali dei loro dischi ringraziandoci per aver suonato con loro, con un’umiltà e tranquillità incredibili. Valorizzare te piuttosto che celebrare loro – l’approccio secondo me è questo. È una cosa che ho rivisto anche con gli Stooges, noi eravamo una band che doveva dividere il palco con loro. Eravamo a Villafranca, Verona, e Jason Williamson dopo il soundcheck mi tolse l’ampli per far spazio al mio. Oltre all’onore e al piacere di aver suonato con loro, ci insegnarono come si fanno le cose.

Un’altra esperienza bellissima di questo tipo fu con i Sonic Youth. Dicono “non conoscere mai i tuoi idoli” – io penso di essermeli scelti bene i miei. Loro dovevano andare da Bologna a Roma, serviva un driver e lo feci io: li accompagnai per tutto il giorno, avevano anche la figlia molto piccola con loro. Mentre parcheggiavo, gli altri stavano andando al ristorante e Thurston Moore era rimasto con la bambina seduto accanto a me. Allora gli dico “Thurston, tutto ok? Non vai con gli altri?” e lui “Aspetto te!”. È gente che comunque ha fatto la vita che facciamo noi, non se l’è dimenticata.

Hai scritto un libro sul concerto dei Clash a Bologna nel 1980. Qual è stata l’impronta più evidente che quell’evento ha lasciato sul tessuto culturale della città? Secondo te è giustificabile la contestazione anarchica che si verificò in quei giorni?

Dunque, l’impatto di quell’evento è stato pazzesco, hanno fatto un concerto clamoroso e Topper Headon stesso ha affermato che quello fu il secondo loro miglior concerto. Quel giorno poi si sono riuniti tutti i punk d’Italia, ed è stato il momento in cui è nata la scena hardcore da tutta la contestazione, dando vita a quella rete che poi negli anni ’80 è stata quella dei centri sociali. È stato molto importante anche per Bologna come città: il Partito Comunista in origine non era proprio a favore del rock, una roba americana. 

È stato un concerto che ha sdoganato il punk verso la sinistra, perché loro stessi erano di sinistra, si dichiaravano antirazzisti e antifascisti. 

All’inizio c’era un po’ di paura, si pensava che il punk fosse nichilista, tendente a destra. Io ho una mia idea su questo: il punk in Italia è stato anche un modo per uscire dagli anni ’70. Giocare con i simboli delle ideologie in un momento in cui se sbagliavi scarpe o quartiere rischiavi di non tornare a casa era anche un modo per dire “basta” alla gioventù che si ammazza a livello intestino per le ideologie, al terrorismo, alle accoltellate nelle scuole. C’era un desiderio di superare un momento di polarizzazione che veniva di fatto utilizzato dall’alto per non cambiare mai lo stato delle cose. Per quanto riguarda la contestazione, c’è da dire che gli anarchici contestarono molto il Comune prima di tutto. Quel concerto veniva visto come una mossa politica in vista delle elezioni. Sicuramente è stata una mossa furba, in una città dove c’era già una forte scena punk/post-punk.

Ma diciamocelo francamente: meglio una mossa furba così che le manganellate che adesso prendono i ragazzi appena occupano un posto. I ragazzi che hanno contestato erano anni che chiedevano al comune soldi per le loro sale prove ed eventi, e vedevano come un atto ipocrita lo spendere così tanto per i Clash. Avevano sicuramente le loro ragioni, ma prendersela con i Clash… Se io non avessi trovato nel mio negozietto di Giulianova i loro dischi, probabilmente non avrei scoperto nemmeno la musica di quelli che li contestavano quel giorno.

Per concludere, vorrei sapere il titolo di un disco che ogni volta che lo metti su è come se ti abbracciasse, che ti fa sentire a casa.

Warehouse: Songs and Stories degli Hüsker Dü. Nelle note di copertina c’era scritto: “La rivoluzione inizia ogni giorno, quando ti metti davanti allo specchio di casa”. 


EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

Read More »

The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

Read More »

Italia 90 – Interview

Edo Serena aka Pizze di Liquirizia

Intervista a ITALIA 90

We once saw a boy vomit after eating Twix and Pringles. It was at a cricket game. That’s very British.

In un fine giornata primaverile più caldo del revolver di Ugo Piazza in Milano Calibro 9, la Super Stanzy Delegation™ – per l’occasione rappresentata da Pizze di Liquirizia e Wilson Wilson (da qui in poi WW) – viaggia verso la città del vizio e del peccato. Il Biko accoglie i londinesi Italia90 per l’ultima data dell’atteso, tematico, quasi eponimo primo tour italiano. Gli highlights del breve soggiorno, come ci spiega poi la band, sono stati (manco a dirlo) Bologna – con un Covo stracolmo condiviso con i Qlowski – e Macerata, dove al Dong un manipolo di pipistrelli goth si è abbandonato al loro live, stropicciando le ali in attesa del dj set a tema. Noi, però, ci permettiamo di aggiungere anche la data milanese. Quando salgono sul palco i quattro, infatti, si capisce immediatamente che l’occasione è speciale, o almeno questo è ciò che noi percepiamo, mentre l’energia elettrica si accumula sulla pelle pezzo dopo pezzo. Il concerto è stellare – nel senso tipo le stelline scoppiettanti di Capodanno. Gli Italia90 si muovono sul filo di un rasoio decisamente (post)punk, con il basso gommoso che rimbalza tra note allungate e fughe splettrate, la batteria che è un ibrido contemporaneo Strokes-Wire, e la chitarra che sprigiona fragore e lancia allarmi, chiaccherando con l’abbaiare sguaiatamente britannico della voce. Dopo due encore, raggiungiamo in camerino J DANGEROUS (batteria), UNUSUAL PRICES (chitarra), BOBBY PORTRAIT (basso) e LES MISERABLE (voce) – estenuati ma visibilmente felici.

I think I know the reference behind the name Italia90 – but why did you choose it? Is it because Italian culture has any kind of special appeal to you? Were you looking forward to this Italian tour?

J DANGEROUS: About the name, we have no good answer for it – it’s boring. We us three like football and Unusual Prices wasn’t in the band when we chose it: he wouldn’t have approved, probably. Yes, we have been so excited to come here, more than anywhere else. And there’s various reasons. One: food! But also, because we’ve had a lot of Italian fans for a long time – and you can tell from social media, it’s been people with Italian names liking our stuff for years and years.

UNUSUAL PRICES: Best food, best wine, pretty good music. We’re talking Puccini, Verdi…

LES MISERABLE: And thanks for the battery. Thanks for the violin – lovely music!

J DANGEROUS: Lasagna, lasagna!

WW: What’s your favourite football team?


WW: Why? It sucks! Wasn’t it you that was holding a scarf from Parma Football Club in a photo or something?


J DANGEROUS: Parma are cool, though.


I’d like to talk about aesthetics for a moment. Looking at Les Miserable’s outfit, I obviously think about iconic British subcultures – you are often sporting the Laurel Wreath on stage. When you see young people wearing those classic garments, do you think that there is still some kind of sentiment rooted in identity and subculture? Is there any sense of belonging left? Or is it merely fashion?

LES MISERABLE: There’s a bit of both. I think you can tell. When subcultures become influential in mainstream fashion, there’s elements that integrate into that. But I think you can tell when someone has just something that originated there, or if they really are part of a subculture. It’s probably less tribal than it used to be, but people who are still part of a subculture identify with other people involved in the same thing. That’s what’s all about really, innit?

J DANGEROUS (to LES MISERABLE): And the way you look all dressed and hair and stuff… people come up to you and talk to you because of the way you look – and it’s almost always about music.

LES MISERABLE: yeah, that’s true. People just constantly walk up to me and say: “do you like reggae?”

Yeah, it kind of goes full circle! And I believe that this is also what makes you so appealing for us Italians. There is this crossing of paths between the imagery of football – which Italians are obviously nuts for – and a very fascinating British sound that Italia90 represents. And that’s an interesting combination.

J DANGEROUS: Yeah, Italia90 is supposed to sound slightly exotic. We could have been called something like fucking UK Sludge!

BOBBY PORTRAIT: It just sounds cool.

LES MISERABLE: There is also a thing now where bands like being very English and adopting English culture, and even parts of English culture which have been seen as not things you would wanna like. I think there’s a thing with some English bands that are really going into that again, d’you know what I mean? They are trying to turn this Englishness into a really positive thing.

J DANGEROUS: There’s bands – and some of them we are friends with – that have songs about pubs, or fish and chips or that kind of thing.

I’ve been going through some Italian articles regarding Italia90 in the last few days. You’ve already been labelled as a post-punk band, and you’ve been associated to the idea of “post-post-punk renaissance” the press has talked about a lot in recent years. What do you think about it? Does it make any sense?

UNUSUAL PRICES: I think post-punk is one of the least well-defined genres of any music. Basically, any music that came in the 80s and had a guitar that was influenced by any of the music that came in the late 70s is considered post-punk.

BOBBY PORTRAIT: It’s almost like a negative description, like “this is not punk, this is something else”.

UNUSUAL PRICES: Yeah, if you compare like Orange Juice and Joy Division – there’s almost nothing in common, it’s just music that came after punk at a certain time and stylistically it’s pretty hard to draw a circle around everything that contains that genre. The fact that there is a resurgence – I don’t know – in the same way I find it hard to see how there’s much similarity between a lot of these bands. Most genres you can pinpoint particular stylistic motifs and textures. But if you try to outline a post-punk band, it’s pretty hard to have an all-encompassing definition of it.

LES MISERABLE: The way people talk about it kind of implies that there has been this moment in London when post-punk came back, but that’s not true of us and not true of any band I’ve ever met. It’s just that there was a new wave of a lot of bands that played something that most easily could be described as post-punk. Punk was something that happened and people got into that and was well defined. But no one in London in the last ten years has felt part of a new movement, we never got together and said “let’s make post-punk music”. I don’t feel part of any post-punk scene.

J DANGEROUS: There’s like 5 current bands around the thing you are talking about and the advertisement they make. Italia90 might sound like some of these, but not intentionally.

BOBBY PORTRAIT: It’s just PR… they are successful British bands, someone’s putting on a gig – how do you get people to come? You say those bands sound like other bands you like. I think there’s no need to pay so much attention to that.


While you were on stage, I couldn’t help but notice that Les Miserable has the PIL logo tattooed on his arm, which suddenly made me realise that Bobby’s bass tone and playing reminded me of Jah Wobble’s. So now I wanted to ask each one of you to pick an influential record, or just one you particularly like.

UNUSUAL PRICES: We have spent so much time together on the road, which implies listening to music together and sharing things. Actually, I think our taste is so disparate and that fuels a lot of energy in the band – there’d be a particular idea, and we’d try to contrast it with other influences. I’m really into electronic music and that’s why I have crazy pedals and try to contrast a bit with this standard post-punk set up for a band or whatever.

BOBBY PORTRAIT: It’s interesting you mentioned the PIL tattoo, because when we started playing together, they were one of the few bands we had in common. We wanted to have a particular sound, and they were one of the few we did reference.

LES MISERABLE: If each one of us had to pick a song on a particular theme, the four places we’d go are usually completely different – nothing in common.

UNUSUAL PRICES: I really like the new Richard Dawson’s record, by the way. The one he did with that Norwegian metal band – it’s called “Henki”.

J DANGEROUS: If it’s an answer on how I play drums, then it’s definitely The Strokes. That’s all I wanna do. That’s all it is, really.

LES MISERABLE: For me, a record that I remember when I first listened to I was like “that’s what I want to do” would be “Bela Lugosi’s Dead”, and then Public Image Ltd. I just love the bass lines.

UNUSUAL PRICES: PIL are like a sort of Frankenstein creation, because Jah Wobble was into reggae and stuff and brought all of that in like a sort of punk band.

LES MISERABLE: To be fair, that fusing of dub with punk without it being a punk band playing a reggae song – that’s the think I’ve most looked up to.

BOBBY PORTRAIT: I’d say maybe a band like This Heat or Camberwell Now – post-punk but loads of different influences in there. And Lifetones, which combines bits of dub with a touch of world music and jazz but it’s still a like a kind of recognisable post-punk record.

WW: Before we let you go, here’s a final test for you. You have to pick one: Twix or Mars?

UNUSUAL PRICES: For me it’s Mars.


UNUSUAL PRICES: Ok, wrong answer.

J DANGEROUS: I’m 100% Twix, genuinely. The thing that’s nice about Twix is that it’s sweet and savoury, but that’s like choosing between my children to be honest.

UNUSUAL PRICES: Where do you stand between Mars ice-cream VS Twix ice-cream? Cause Mars ice-cream is fucking sick!

WW: Oh, that’s another story, man!

LES MISERABLE: I eat Twix more often, but when I eat a Mars it’s a bigger, man.

J DANGEROUS: I agree with that! It’s like a luxury. I carry chocolate with me, almost always. And it’s usually a Twix.

BOBBY PORTRAIT: We could probably do half an hour more on this question.

J DANGEROUS: I once saw a boy vomit after eating Twix and Pringles. It was at a cricket game. That’s very British.



EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

Read More »

The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

Read More »


di Saldacani

JIBBA JABBA - Intervista a Cluttered Grotto

Punk californaino di soli 12 anni. Intervistato da Saldacani.

Cluttered Grotto è lo stordente progetto del giovane roker Lucas Harmer. Con il suo primo EP, JIBBA JABBA, va dritto al punto e in sei minuti offre un concentrato esplosivo di rok che-se-ne-frega. Vortici di chitarrine pazze, batteria elettronica e nonsenso canoro direttamente da Concord, California.

Gli abbiamo fatto qualche domanda per capire chi si nasconde sotto quella busta di carta. 

How old are you and for how long have you been roking? 

I am 12 and a half and I started playing guitar at 9.

When and how did you start Cluttered Grotto? Why did you pick this name? Does it have a particular meaning for you?

I started Cluttered Grotto at 11. I’m not really sure how I started Cluttered Grotto but I’m pretty sure it’s because I was listening to a lot of cool bands, and I thought I could do what they were doing, so I did. This name doesn’t particularly mean anything to me because I just picked two words I thought sounded cool and that became the name of the project.

What influenced you the most when you started this project?

What influenced me the most were bands like Gee Tee, Powerplant, The Shifters, The Satanic Togas, Tee Vee Repairmann, etc.

From what I understand you did everything by yourself, right? What’s the biggest advantage of a solo project? And what’s the biggest limit?

Yes I did start everything by myself. I think the biggest advantage of being a solo project is that I can record when I want, I can write songs about whatever I want with nobody holding me back, but the disadvantage of being a solo project is that it’s hard for me to play live.


Have you ever played this music live? When you play do you usually wear a paper bag on your head?

I have never played music live, but I hopefully will be able to not so far in the future. I don’t plan on playing with a bag on my head, hah, I just thought putting a paper bag on my head would be a cool album cover.

Name one song, one album and one artist/band you really like and you would suggest to our readers. 

One song I like is My Room at Night by Liquids, off of the EP Terminaldiarrhea, one album I like is S/T by Gee Tee, and one artist/band I would suggest is Nick Normal.

Ecco il video integrale di “Jibba Jabba” caricato sul nostro canale YouTube.


From: Concord, California
Label: not on label
Album cover: Cluttered Grotto
Release: March 11, 2022



EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

Read More »

The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

Read More »

The Lost Record

di Edoardo Serena

The Lost Record

L'intervista ad Alexandra Cabral e Ian Svenonius, tra chiacchiere e cous cous

The Lost Record è un “radical psy-fi exploitation movie” che parla di “dischi, amore, controllo, distopia, sesso e un po’ di altre cose”, nelle parole dei suoi unici creatori: Ian Svenonius e Alexandra Cabral. Nelle nostre, è escapismo allo stato puro. Escape-ism – che è in effetti il nome della realtà sonica parallela nella quale i due mescolano rock’n’roll primitivo con andamenti elettronici – si mette stavolta in gioco con un vero e proprio film, e il risultato incanta. Ciò non deve stupire: Alexandra è un’incredibile artista, fotografa e regista che lavora a LA, mentre Svenonius è uno scrittore, critico e performer anfibio, oltre che uno dei frontmen più magnetici che la scena indie americana abbia mai rigurgitato dalle sue budella contorte. Insieme hanno lanciato qualche tempo fa Radical Elite Press, un organo attraverso il quale pubblicano mensilmente “The Cellophane Flag”, una zine che spazia dalla politica ai loro lavori artistici. La coppia sguazza quotidianamente nello spazio interstiziale dell’underground culture, riaffiorando di tanto in tanto con trovate sensazionali, sempre e stoicamente indipendenti. È infatti completamente da soli che hanno scritto, prodotto e girato l’apparentemente improbabile love story tra “una ragazza… e un disco” attorno la quale ruota “The Lost Record”. Attraverso questo inossidabile rapporto, il film demistifica i meccanismi che portano alla feticizzazione degli oggetti, e alla conseguente corporativizzazione degli esseri e dei sentimenti umani, illuminandoci allo stesso tempo sulla natura del rapporto tra musica e masse. In un tipico venerdì sera settembrino, Ian e Alexandra hanno presentato il loro nuovo film a Milano e Super Stanzy ha condiviso con loro un piatto di cous-cous, con la promessa di trascinarli negli stanzini per organizzare un concerto insieme. Potete leggere qui sotto la nostra chiacchierata.

 E: Ian, qualche tempo fa stavo guardando una tua intervista in cui esponevi un concetto che trovo interessante: il problema del rock’n’roll è che ad un certo punto ha iniziato a prendersi troppo sul serio. Lodavi a questo proposito l’abilità di Serge Gainsbourg di prendersi gioco della musica scrivendo pop songs esclusivamente come forma di divertissement. Mi domandavo come, nella tua persona, questa concezione della musica si sposasse con le politiche radicali.

I: Sono stato raffigurato come una persona politica, ma non mi reputo una persona politica. Le persone mi identificano sempre come un cantante punk politico, ma penso che l’idea che qualcuno possa essere politico sia assurda. Io penso che Serge Gainsbourg sia molto politico! Non canto niente di esplicitamente politico… ciò che canto è semplicemente emotivo, o per lo meno un tentativo di divertirmi. Penso che ciò che intendevo dire è che il prendersi eccessivamente sul serio è incarnato da un sacco di musica grunge/post-hardcore che… voglio dire, quando lo noti capisci davvero perché il rock’n’roll sia morto! La musica dovrebbe essere giocosa, e la stessa cosa vale per la politica radicale. La ragione per la quale la Sinistra è così orribile in questo momento è che è anti-divertimento. Pensano di poter decidere come le persone dovrebbero vivere e non c’è nemmeno un programma politico alla base di tutto ciò, è semplicemente una questione di farle sentire male – passano messaggi tipo “be, stiamo cercando di costruire un mondo migliore” ok, e quale sarebbe questo mondo? Queste moderne politiche liberali non valgono nulla. È solo una sorta di rigore religioso. E mi piace la religione, credo che possa essere molto divertente – e quando qualcosa è divertente, allora è grande! Se vai in una cattedrale e ti senti rapito dall’arte stupenda che ci trovi, inizi a flagellarti e vai a vivere in un convento – tutto questo è divertentissimo, ma queste false politiche moderne non sono per niente divertenti, sono solo delle stronzate. Mettiamo che sei un punk rocker quattordicenne, e sei tipo “fanculo le autorità e fanculo la Chiesa”, sei in fissa con il femminismo radicale – fantastico! Ma tutto ciò ha la sua forza intellettuale perché è una reazione all’egemonia. Nella politica moderna, quello che succede è che le persone che controllano le narrative sono miliardari che stanno usando le politiche di un punk quattordicenne per controllare la società… così non è più il quattordicenne frustrato in casa dei suoi genitori che pensa che le sue opinioni siano rivoluzionarie… no, queste idee ora arrivano dall’alto e sono usate per creare una sorta di campo di prigionia. Dovremmo essere in grado di riconoscere che ciò che amiamo è a volte usato contro di noi – e puoi guardare alla religione nello stesso modo.

                        E: Cosa ne pensate della concezione della vita come una costante performance teatrale?

I: I nonni di Alexandra erano degli attori shakespeariani e quando mi racconta della loro vita tutto è teatro, penso che lei abbia una sensibilità teatrale più acuta della mia. Ma è interessante quello che mi chiedi, perché oggi, con una società dove vige una costante sorveglianza, tutti sono sempre sul palco in un certo senso. Costruiamo un’identità e ci comportiamo in un certo modo, e hai sempre questo sentore che ad un certo punto tradirai il tuo io più autentico. Ma poi ti chiedi “be, cos’è questo io e quando l’ho costruito?” – è interessante perché se sei in una band o un qualsiasi tipo di artista, hai questa specie di curriculum che tutti possono controllare e ti senti come se avessi una sorta di tatuaggio sulla pelle. Mettiamo che ti fai un tatuaggio di Mickey Mouse quando hai dodici anni, poi sentirai di dover essere leale a Mickey Mouse per sempre. È strano con la musica perché fai uscire un disco e pensi che dovrai mantenere sempre quella persona, band o qualsiasi cosa tu ti sia costruito be… per sempre. Personalmente, ho iniziato da un paio di anni un progetto di distruzione di tutta quella persona – e The Lost Record ne fa certamente parte.

E: Arriviamo a The Lost Record, per l’appunto… Nel film c’è la rappresentazione di un mondo distopico che è chiaramente messo in mostra attraverso il suo lato più erotico. Mi chiedevo se ci sono delle opere di carattere sci-fi che hanno influenzato The Lost Record.

I: Assolutamente… “La Decima Vittima” di Elio Petri è stato l’ispirazione principale per il film. Ci sentiamo anche molto ispirati da Santiago Álvarez, i suoi collage te li consiglio se non li conosci. Ma per quanto riguarda il distopico, amiamo “Rollerball”, e tutto quel filone di roba sci-fi. Allo stesso tempo però non abbiamo bisogno del sci-fi, perché ci viviamo dentro. Mi spiego meglio: in America, c’è questa cosa chiamata Corte Suprema che plasma parecchio la nostra realtà. Viviamo in uno stato corporativo legalizzato che fa sì che le decisioni della Corte Suprema diventino sostanziali. Hanno preso una decisione circa dieci anni fa: hanno stabilito che le grandi società sono umane, e hanno gli stessi diritti degli esseri umani. Di conseguenza, se una grande società è equiparabile ad un essere umano, vale anche viceversa. Nove mesi dopo questa decisione, Instagram è nato. Vedi, Instagram permette alle persone di auto-commercializzarsi, e così in un mondo dove tutti sono un prodotto, l’amore diventa una questione di feticismo delle merci. Voglio dire, io stesso sono certamente innamorato di oggetti, dischi. Tutti abbiamo delle relazioni sentimentali con questi oggetti, e la protagonista del film è senza dubbio un prodotto più che un umano.

E: Per quanto riguarda l’estetica del film, ho trovato molto affascinanti le atmosfere e il design spiccatamente 60s, che immagino rispecchino il vostro gusto nella moda in generale. Ma ci sono dei motivi particolari per i quali le avete scelte come setting per la vostra storia?

I: Alexandra è molto brava ad incorniciare le cose in modo bellissimo… A: Sì, l’intero film è stato girato su un’Éclair, una camera francese della Nouvelle Vague. E poi il Rudi Gernreich Archive ci ha donato gran parte dei vestiti che abbiamo utilizzato per vestire gli attori I: Rudi ha fatto tutti i vestiti per Space 1999, e se guardi “Mondo Hollywood” ha pure una piccola parte nel film.

E: Qui devo essere onesto: la prima volta che ho incrociato il tuo nome è stato come frontman dei pionieristici Nation of Ulysses. Questo grazie ad un video su YouTube in cui suonate alla Sacred Heart Church di Washington con i Fugazi. Hai voglia di abbozzare per noi come fosse vivere e suonare nella leggendaria scena punk di DC?

I: In realtà è divertente che quello sia un nostro video famoso perché abbiamo fatto tanti concerti, ma quello che c’è su internet è l’unico in cui il nostro chitarrista non si fece vedere! Ad ogni modo, quando avevo circa tredici anni ho scoperto tutta quella roba, iniziai ad ascoltare la college radio e poco dopo scoprii il punk di DC e la Dischord… ed erano degli eroi per me. Quando ero adolescente frequentavo l’art school ed ero in classe con Mike Fellows, che era una divinità per me perché suonava nei Rites of Spring, ma poi li abbandonò. E poi praticamente mi sono trasferito con quella gente: Guy (Picciotto) e Brendan (Canty) e Mike Hampton, e c’erano una cosa come dieci persone… tutta quella generazione, insomma. Iniziai a suonare con il fratello di Brendan, ed eravamo solo una band del cazzo, non ci prendevano sul serio. Ma ad un certo punto Calvin Johnson venne in città, perché era stato in tour con i Fugazi e sua madre viveva a DC. Ci vide suonare e ci disse “ragazzi, siete fantastici e voglio pubblicare il vostro disco”, e ci diede molta fiducia. E poi andammo in tour con i Fugazi… erano nostri grandi amici, e sono ancora tra i miei migliori amici. A dire il vero, Brendan ha aiutato con il mix del film e Guy mi aiuta con la pubblicazione del mio magazine. Sono persone davvero importanti per me. Comunque, in quegli anni c’era una vera cultura underground e l’Italia mi ricorda di quel periodo in qualche modo, perché c’è un po’ di localismo, e puoi ancora organizzare delle cose qui ad un livello che non si basi su qualche stronzata dettata da Pitchfork, mi spiego? In America, tutto ciò se n’è andato, perché Internet sta distruggendo la cultura. Almeno questo è quello che penso. 

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EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

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The Lost Record

Edoardo Serena ha intervistato la coppia Svenonius (Nation of Ulysses, The Make-Up, Chain and The Gang ecc…) Cabral a Milano, dopo la presentazione del loro film “The Lost Records”.

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Intervista a DadGad

di Baby Lemonade

Intervista a DadGad

who da fuck is this?

Qualche giorno fa ho aperto YouTube per fare il mio quotidiano giro per gli ultimi aggiornamenti musicali, entro nel canale di Tremendo Garage, scorro e mi fermo su un demo. Apro, inizio ad ascoltare, mi piace, è perfettamente in linea con tutto quello che ascolto adesso. Super lo-fi un po’ synth un po’ garage un po’ punk, da volare. Per ora niente di così sorprendente, un altro EP da ascoltare fino all’infinito e sicuramente da recensire nella prossima puntata di Stanzy Reviewsss. Se non che poi leggo la caption di Tremendo:

“OMG!!! We were all really looking forward to this. One man mess from Italy, Dadgad’s first demo is available on bandcamp and physically on Loopy Scoop Tapes, grab your fucking copy!” … Ho dovuto rileggerla almeno tre volte prima di rendermi conto che era veramente così…Dadgad è italiano. Chi l’avrebbe mai detto? Apro bandcamp e vedo Varese…sì ok, è vero, questo demo è italiana. 

Chi è DadGad, quindi? Nessuno lo sapeva e per cercare di capirlo abbiamo deciso di rivolgergli qualche domanda e svelare questo mistero…

Ciao DadGad, intanto grazie per regalarci un po’ del tuo tempo, abbiamo ascoltato il tuo primo demo e siamo rimast* folgorat*. Dove sei stato tutti questi anni, perché non abbiamo sentito parlare di te prima? L’unica cosa che sappiamo è che sei di Varese e che il tuo demo spacca. Insomma, da dove arrivi veramente? 

Ciao a voi e grazie mille per lo spazio e le belle parole! 

Sono nato e cresciuto a Varese e dai primi anni del liceo ho cominciato ad entrare in contatto con alcune delle realtà musicali che la città aveva da offrire. Ho suonato in varie band girando tanto generi e strumenti diversi (chitarra e voce in un gruppo hardcore punk, basso in un progetto thrash/crust di breve durata ma super intenso e la batteria in una band Stoner con due miei carissimi amici). Trasferendomi a Roma per l’università mi sono trovato da solo e con una gran voglia di suonare, ho cominciato così ad approcciarmi alla home production mischiando analogico e digitale. Di base sono sempre stato un sostenitore del DIY e di tutto il mondo che sta dietro a questo concetto. 

Dadgad è uno dei miei progetti più recenti e la pubblicazione è stata un qualcosa di abbastanza improvviso. Jeff di Loopy Scoop Tapes mi ha contattato intorno a fine luglio e nel giro di una settimana abbiamo organizzato tutto. 

Non potrò mai ringraziare abbastanza Jeff per la fiducia e la passione riposte fin da subito nel progetto oltre che all’occasione in generale. 

DadGad è anche un’accordatura aperta che si usa sulle chitarre, è la stessa che usi te o c’è qualche altro significato dietro a questo nome? 

Sì è un accordatura che mi piace usare oltre alla standard. 

In realtà non ha un collegamento diretto col nome, è la parola in sé che mi piace. 

La tua demo è perfettamente in linea non ha niente da invidiare a tante le altre uscite che si trovano sui vari canali youtube che conosciamo, quali sono le band che apprezzi maggiormente in questo momento?

Ultimamente sto ascoltando molto Amyl and the Sniffers che hanno fatto uscire il nuovo album (ed è una bomba). Poi mi sto ascoltando a ripetizione Wawita Violenta dei Moplo o lo split dei Prison Affair coi Research Reactor Corp. 

Hai altri progetti musicali oltre a DadGad?

Sì produco jungle e drum and bass col nome 2phat. Sono dei generi che ascolto da un po’ e con cui ho sempre voluto avere a che fare.

Ad aprile ho fatto uscire una demo su cassetta a tiratura limitata completamente autoprodotta, un lavoraccio che però ha dato molte soddisfazioni.  

Supporto cassetta, una scelta economica, di “stile” o di resa del suono? 

Direi tutte e tre le cose perché la cassetta è un supporto che mi piace proprio per il suo essere low budget, per l’immaginario e il tipo di esperienza che la contraddistingue e le potenzialità dal punto di vista del suono. 

Suona scontato da dire ma in generale mi piace la resa del supporto analogico. 

Ti sentiremo mai live con questo progetto? Se sì devi assolutamente venire a suonare da noi!

Ho in mente di portare il tutto in live, probabilmente collaborando con degli amici. 

Mi serve un po’ di materiale in più e che la situazione covid si calmi e lasci di nuovo respirare tutto il mondo della musica live in generale. 

In ogni caso grazie mille dell’invito, a questo punto speriamo di vederci presto!

DadGad – “DEMO” 
da: Varese
Label: LoopyscoopTapes
Copertina: ?
Uscita: 31 agosto 2021

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EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

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Kel Mason’s GEE TEE – Interview

di Wilson e Perthe

Kel Mason's Gee Tee - Interview

Gonna go the twix cause ya get 2 stix

Quando ho sentito per la prima volta questa roba, è stato come mangiarmi direttamente dalla bocca di una gabberina un Twix già masticato e mescolato con qualche sostanza che mi ha fatto l’effetto piccione (sarebbe muovere la testa avanti e indietro compulsivamente, proprio come i piccioni). Sto parlando dei Gee Tee, band Australiana, più precisamente di Sidney, frutto della mente e del braccio di Kel Mason che conosceremo in questa intervista.

Hi Kel, first of all, you need to know that we are as obsessed with certain types of junk food as much you are with race cars. So we ask you: Twix or Mars? Kebab or falafel?

Gonna go the twix cause ya get 2 stix, and for kebabs ill go either. Go a snack box sometimes too aswell, the hot chips with shredded meat and sauces on top. Chilli, garlic, tabouli hell yeh. 


If i’m not mistaken you used to play in this band called Draggs. Have you played in other bands previously? And when and for what reason did you then decide to form the Gee Tee

Yeh Draggs thats the one, before that when I was in my last year of high school my girlfriend and I at the time tried to get a band going but nothing really came of it. 2013-2015 I was bedroom recording on a 4 track myself until Draggs formed late 2015. Then that ended late 2017 and I started Gee Tee. The main reason for Gee Tee starting would simply be that l like recording/ playing everything myself. It’s easier to keep quality control and direction when the only opinion you have to consider is your own. I find it this way anyway.


What are your favorite non-Australian bands active in recent years?

Dang to many to list, but recently a heap of Personal and the Pizzas. But man, its hard to beat White Fence especially the earlier albums. Weird tracks, weird production.


What was the first place you ever played? Have you ever played in a kebab shop? If you ever do, will you dedicate a song to Super Stanzy?

Playing in a kebab shop haha, surely someones done it. I’d give ya a shout out, but I think the chances of us playing one are slim. A house party is the first place I’ve ever played.



“Synth melodies are usually hours of pissin around on the thing. I got the notes written on the keys, and I’m googling what notes fit in what chords”



Australia is truly churning out noteworthy bands in industrial quantities. You are originally from the Gold Coast but now you live in Sydney, was it a decision also due to the greater possibilities to play? What are the cities and hotspots where this garage / punk / psych scene is pushing the most?

 Yeh for sure. About the Gold Coast, there aint much going on. Sydney’s got a lot more opportunities for bands yeh, one of the reasons why I moved for sure. Heaps of really hot current bands going in Australia now. A lot  in Melbourne and Sydney especially within the garage / punk scene. The other major cities got stuff happening too, Perth over the opposite of the country has some great bands. But depends on what ya like of course. Australias got a pre large pysch rock scene aswell but It ain’t for me. 


If we think about your songs the first thing that come in our mind (with rare exceptions) is the synth melodies. When and how do you write them? Are they one of the final things or do you happen to start from those to compose a song?

Synth melodies are usually hours of pissin around on the thing. I got the notes written on the keys, and I’m googling what notes fit in what chords. Sometimes its a fluke and I get something good, but most of the time that ain’t the case. Like for example the track “Kombat Kitchen”, I had all the other instruments done on it first, then had the synth melody fit to the vocals. Occasionally though I can get some outta tune humming vocals over the track worked into a feasible synth line if I’m lucky then make some vocals fit… usually easier to do vocals first most of the time though. The secrets out.


How did you get in touch with Gabriele from Goodbye Boozy Records? What do you think is the reputation of this label in Australia?

I remember after just releasing the Gee Tee demo I hit Gabriele up over facebook with a link to it asking if he wanted to release a 7” haha. Goodbye Boozy has a real good reputation with people in the underground garage / punk music scene I’d say.


What is the secret of your super lofi sound? Often a musician is never fully satisfied with his creations. Is it the same for you ? Because they sound perfect to us. Do you think it will evolve somehow?

4 tracks baby. Past couple of releases I’ve been plugging guitar n bass direct in and not using any amps. I don’t really use many pedals, a boss overdrive on guitars and a fuzz war on bass is what is on most recordings. I use an Ibanez SG copy guitar and a cheap as bronco bass that I’ve had since I was in grade 3. Alotta people get caught up in the gear, searching for the right pedal or sound and spend thousands but if the songs sucks then whats the point ya know. 

I’m pretty happy to continue recording stuff myself at home though, doubt id ever do a  “studio” record. The budget recording adds to the sound. But the price of cassette 4 tracks has gone pretty ape over the last couple of years. So if ya don’t wanna blow a stupid amount of cash, boot whatever recording program ya have on ya computer up, clip the inputs, work the EQ’s and crank a track out. The entirety of the “Atomic” 7” was recorded on computer.



So far we have only talked about you but it is right to say a few words about the live band. We know basically nothing about them to be honest. Tell us a little about them : in what other bands play, how they became part of Gee Tee, etc..

Yo for sure. 

Ryan drums, who was actually the Draggs drummer and ran Slime Street Records, he moved down to Sydney around the same time as me. I met the other members when the old live band played a Sydney show 2 years before I moved down. Ryan wasn’t drumming in the band at this point but Seb was who’s in the gee tee 96 tears video on the tube. 

Ishka who plays guitar, is Satanic Togas/Set Top Box, plus song writer/ guitarist for Research Reactor Corp. He records all his music/ plays everything on his records, same set up as me, 4 track, cranked to 3 . I actually lived with him for a few months when I moved to Sydney, he’s drumming on a couple of the chromo-zone tracks, which was all recorded in his room.

Cam Shaft goes on bass, we played a show with his band Concrete Lawn, which he actually plays guitar in, on the first trip Gee Tee had to Sydney. 2nd time we came down and played the year later he knew I was movin down so asked if he could join gee tee and I said yeh haha.

Mikey plays synth and is the newest member but I met him around the same time as Ishka and Cam. Before covid I was doin the synth with vocals for the live set up.  I’d just play some of the synth bits like the first couple bars of the song then piss it off when I had to do vocals. Gets kinda limiting though since your missing half the sound of the songs without the synth. Mike was keen so got him on it. He records his own music aswell under 1800-Mikey and Dying Adolescence. 

Me and Ishka both play in the 1800-Mikey live band. 


We once covered your song Caltex with our friend Julien Papen. Unfortunately he, not knowing the lyrics, had to improvise something. Tell us what that text says please! 

Haha yeh I’ve seen a video of that. The lyrics are…


“Put the numbers, in the screen 

 Pull the trigger, whats it mean

To the counter, you pay

Petrol fumes, id hate to stay

We’re hangin out at caltex

And we wanna know ya car specs

We’re Hangin out at Caltex

In my car gonna flex”

Dumb as haha.



Is there a song of yours that you feel particularly attached to and why?

Yeh I’ve always really liked “Muscle World” which is weird as it barely has much of a chorus on it, I just reckon its a lil rocker and “Cop’s n Robbers” thats probably one of the best tracks I’ve ever recorded. I’ll probably never get sick of playing “Imma Germ” and “FBI”  though


Will you ever tour Europe once this Covid shit will be over? If so, please make sure to come in Italy, too <3

Yeh for sure I’d like that to happen, Gee Tee ,RMFC, Satanic Togas and Research Reactor Corp Mega Euro tour, we’ve all spoken about it before and are keen, so it’ll happen eventually. Cheers!

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Avete presente quei momenti in cui vi dite: ‘Basta, mollo tutto e me ne vado’? Ecco, a Nicola è capitata più o meno la stessa cosa, ma, a differenza di tanti quaquaraqua, l’ha fatto davvero.

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Videointervista agli a/lpaca

di Wilson, Susiskunk, Perthe

Video intervista agli a/lpaca

This time make it better

Qualche settimana fa gli a/pachini sono passati dall’ormai nota stanza delle proiezioni a casa di Marra, rivendicata dal collettivo come ‘SuperStanzyLand’ per una seratina niente male, a base di Twix e Ricard Pastis de Marseille, sponsor ufficiale di queste interviste. Abbiamo cenato in loro compagnia e di tale Manuel, amico del sopracitato padrone di casa, cresciuto in Carmine, ma con un forte accento veneto. Boh. Dopo cena i regaz ci hanno concesso un’intervista che ha tirato fuori il meglio e il peggio della band. Tantissimi retroscena scabrosi che ancora nessuno ha osato indagare sul complesso virgiliano, colpi di scena e colpi bassi, la serata è finita con un knock out di Christian, frontman della band, il quale il mattino seguente ha dichiarato: “Questa serata ha avuto la meglio su di me”. Il resto è già storia.

Prossimi al loro album di debutto che uscirà il 19 marzo per We Were Never Being Boring, Sour Grapes Records e Sulatron Recors, gli a/lpaca hanno già rilasciato due singoli, “Beat Club” e la recente “Make it better“. Dato che non possiamo garantirvi sul fatto che rimarranno nell’anonimato a lungo, vi lasciamo godere di questa fantastica intervista e un giorno potrete dire ‘io li conoscevo quando ancora non li conosceva nessuno!’

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Avete presente quei momenti in cui vi dite: ‘Basta, mollo tutto e me ne vado’? Ecco, a Nicola è capitata più o meno la stessa cosa, ma, a differenza di tanti quaquaraqua, l’ha fatto davvero.

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EGG IDIOT: The Interview

Dopo averlo seguito per 3 live di seguito durante il suo tour italiano, Baby Lemonade ha deciso di intervistare l’idolo dell’egg punk tedesco, George a.k.a. EGG IDIOT.

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Jake Robertson’s Alien Nosejob – The Italian Days

di Lorenzo Budget

Jake Robertson's Alien Nosejob - The Italian Days

Twix is the only candy with the cookie crunch

“Ciao Vez, ho sentito Jake Robertson degli Ausmuteants/Alien Nosejob su Instagram la settimana scorsa e gli ho buttato lì di fare un’intervista per Super Stanzy. Io in realtà non saprei bene cazzo chiedergli se non le solite robe, ma te che lo facevi anche su Sottoterra magari hai un po’ più dimestichezza in ste cose. Ti può interessare preparargli qualche domanda?”

“Volentieri, lo avevo già intervistato proprio per Sottoterra, se vuoi faccio una chiacchierata con lui su Messenger e te la mando, qualche anno fa ho anche comprato una chitarra con lui a Como!”

Ah, sei hai qualche problemino con l’inglese qui la trovi anche in italiano

Do you remember man?

Yeah of course I remember. It was a surrealistic moment. I flew to Italy a few weeks prior to a Frowning Clouds tour. I drove from Milan airport straight to a Lumpy and The Dumpers show in Monza. I was so loopy and have little recollection of the night. All I remember is hanging out with you and Dadar and doing an interview pretending I was in Lumpy and The Dumpers. I hung around on their European tour for a week, vomited from eating too many Valencian oranges, then had 10 days by myself in Milan. I was so lonely. I just spent most of my time walking around in public parks, reading my book and eating second rate pizza. I remember sending you a message just being like “I NEED TO TALK TO SOMEBODY” I was so stoked when you drove from Parma to meet me. We went straight to some Facebook Marketplace family home in Como to buy a guitar and the family was looking at me like I was an alien. I put on an even thicker Australian accent and started talking about crocodiles and kangaroos to their kids. I asked them if they had ever seen George Clooney, but they hadn’t.

From then on we spent few days together, ate as much as we could (just to feed some useless stereotype about Italy) and played some AC/DC..

I don’t know if you knew how happy I was when you organised a rehearsal spot for us to make some noise with Luca. I hadn’t played music with anybody in a month or so, and didn’t realise that I was having withdrawals. I know you lot are sick of pasta, at least according to the Dadar 7”, but I loved it so much. The carbonara that either you or Lucy made hit the spot. Also, that fancy place we went to in Como. I haven’t eaten meat for a couple of years now, but I feel like I’d be tempted to if I went back there. As for the jam, I remember playing some songs by The Victims, AC/DC, The Saints and I think we threw UFO Dictator by Tampax in there for good measure.

“I tend to get a little cheeky when I am overseas. Telling lots of lies about Australia. Just little pointless ones like ‘We don’t have chewing gum’ or ‘Purple cars are banned, because our prime minister is allergic to grapes”

As you said you weren’t in Italy with one of your bands but luckily Italy was included in the Lumpy & The Dumpers tour!

Ausmuteants were meant to play in Italy, well technically Sardinia, but unfortunately due to a huge basket full of shitty organisation we had to cancel. It was probably the most exhausted and defeated I’ve ever felt. I think that’s why the following year I made a point to come to Italy by myself for a holiday. It was just a nice coincidence that my St Louis buddies were on tour at the same time.

Going back to food, what was that typical Australian kinda hot-dog super deep-fried you said I should definitely try?

Haha, mate, I have no idea what you’re talking about! Maybe a sausage roll or a meat pie? Maybe I just made something up. I tend to get a little cheeky when I am overseas. Telling lots of lies about Australia. Just little pointless ones like “We don’t have chewing gum” or “Purple cars are banned, because our prime minister is allergic to grapes”.. I wouldn’t be surprised if I told you that we don’t have ovens and you have to deep fry everything you eat.

Btw I guess things that only seem to be sold in Australian Fish and Chip shops are Chico Rolls and Dim Sims – Oh shit, that’s what I was talking about earlier – the deep fried hot dog. It’s pretty gross, but all the bands that want to be Cosmic Psychos pretend to like it. The majority of Australian restaurants in metro areas are other Countries’ cuisines. In Melbourne (where I live) there are large Vietnamese, Greek and Italian populations, so when I eat out, it’s more often than not one of the above.

Are you good at cooking? Who in general of your bands is the best and the worst?

Out of all my bands, I think Ausmuteants are the best cooks. They would give any other band a good run for their money at cooking. All four of us make great food. Billy was a chef, Marc has all of these New Zealand baking skills, Shaun has all of the Chinese mum kitchen secrets and I watch a lot of cooking shows. As for the worst food, we didn’t cook it, but when I was in Hanamatsu, Japan, I ate a ‘Noodle salad’ that tasted, and had a slimy texture similar to what I imagine alien jizz would be like.

Well, maybe we should talk about music, that I guess was the aim of this interview. What you’re doing man? Alienosejob seems your main project at the moment. You’ve joined Smarts? Ausmuteans put definitely on hold?

Yeah, Ausmuteants are finished, but I might do another band with Shaun and Billy soon. Alien Nosejob is nice because the recording side of it is just in my bedroom, which is a place I spend a lot of time. I’ve recently started doing it as a band, but so far (due to COVID) we have only played one show. At the moment I am juggling Alien Nosejob (no genre restriction), Smarts (goofy, weird punk), Swab (Boston Hardcore influenced), The Stingers (surf instrumental) and I’ve got a few recording things I’ve got lined up with some friends, but nothing too formal or stressful.


 “I try to be open to everything now, I really don’t want to be one of those older people that rejects what the younger generation is doing/interested in. You know the kind of people that are like ‘Punk or nothing!’ or ‘I only listen to music between 1965 – 1968’ – Fuck that.”


The very first time we’ve got in touch was 2014 for the interview on the first issue of Sottoterra (with Billy) about Geelong, Anti Fade and all your (and not) bands that were growing at that time. You’ve been living in Melbourne for a few years, how is the situation now in Geelong and with new generation in general?

I was in Geelong on the weekend actually. I miss that place a lot. I’m not sure how quickly things will return to ‘normal’ post-COVID, but I imagine that guitar music will always exist in some form and move in and out of popularity like soundwaves. I’m unsure if I’ll be an older cousin to the new generation of Australian music weirdos, but I’ll always be interested in what gets created. I think one of the best things about kids who have grown up in an internet age is that they seem to like lots of different stuff. They’ll play Discharge, Blood Incantation and Billie Eilish all in the same Spotify playlist. I was always a little ignorant when it came to modern music, which is a thing that kind of shits me about myself. I try to be open to everything now, I really don’t want to be one of those older people that rejects what the younger generation is doing/interested in. You know the kind of people that are like “Punk or nothing!” or “I only listen to music between 1965 – 1968” – Fuck that. At the time, I hated a lot of pop music in the 90’s and early 2000’s, but I love it now. So, who knows, perhaps I’ll do an album in 2034 that sounds like Playboy Carti or Ariana Grande?

Hmm, I was convinced you’d have mentioned The Chats!  Lorenzo buddy, I loved ya pasta and hanging out. But this song straight up sucks” Ahaha

This was just me being a cheeky monkey. I got no issue with the Chats. They know how to write a tune and by all counts they’re a pack of legends. I reckon it’s great they have such a huge followin.

Who needs Smarts, anyway?

Too bad, I thought I would pop a Super Stanzy scoop at the first appearance! I’ve failed… Instead, do you guys hanging at Caltex or is it just Kel and the Gee Tee?

Maybe that’s an extension of the aforementioned Cosmic Psycho’s view of Australia. Post-Brown Cardigan (Australian blog / Instagram page that makes fun of ‘bogan’ culture) times. Where people (ironically or not) have mullets, wear singlets, drink longnecks of VB, have a tattoo of Bob Hawke and talk in over-the-top Australian accents. I reckon that Gee Tee song is catchy and sure, I’ll go to a Caltex when I need to fill up petrol, but only if it’s cheaper than a BP.

Since we’ve talked for no big reasons about food, Super Stanzy are obsessed with this topic: (personally I don’t like sweet snacks and I don’t give a fuck but shhhh…) Twix or Mars?

I’m way more of a savoury boy than a sweet boy, but Twix is the only candy with the cookie crunch.

Ecco, ora che ho fatto questa domanda mi sento veramente Super Stanzy Channel, ho paura a guardarmi i piedi, nel frattempo probabilmente mi si sono trasformate le calze!

Jake interview on Sottoterra 2014

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