The Pink Tiles interview
With all of the Aussie music I hear people talking about here in the US, it’s predominantly seriously skuzzy, hardcore, lo-fi, brain damaging sludge punk, and don’t get wrong, there’s nothing wrong with that stuff. Hell, I love me some lo-fidelity mental assault as much as the next guy, but there’s more going on over there than all of that. I feel like a lot of the time bands like The Pink Tiles get the raw end of the deal, especially here overseas. They’ve got this perfectly polished, pop punk attack that could only really grow and be perfected where they’re from in the heart of Melbourne. Incorporating some really interesting, almost country or rockabilly licks, but keeping every song on their debut album clocked in at less than three minutes, The Pink Tiles are taking things back to basics, except this time, they’re doing things their way. There are some seriously tasty lead lines here, slinking under the surface of drums and keys that shiver and shake the rhythm of the song into the listener’s bones along with bass that lodges it firmly in their brain shortly thereafter. Victoria de Fruita’s sweet, innocent sounding vocals are perfectly teamed with the minimalist sound of The Pink Tiles, harkening back to a time I can recall in the 80s when things didn’t need to be so angry or in your face about everything that they did. The interesting thing is the vocals turn on a dime and get seriously sultry and demure at times, extremely dark and alluring. The backup parts on The Pink Tiles debut album sounds like the best of Mo-Town at times, but with a sweet bite, an added edge that sets them apart and above the rest. Think La Luz, except with no surf, and done totally differently… No scratch that. Just think Pink Tiles and click the link below for an exact definition on that.
– Listen while you read: http://cobrasnakenecktierecords.bandcamp.com/album/the-pink-tiles
– More info: http://www.thepinktiles.com/
What’s the current
lineup in The Pink Tiles at this point?
Have you all gone through any lineup changes since you started or is
this the original lineup?
lineup in The Pink Tiles at this point?
Have you all gone through any lineup changes since you started or is
this the original lineup?
It’s changed three times since we started. The lineup as of October 2014 is:
Paul Maybury – lead
guitar
guitar
Leigh Barker – Casio
Sammy Strawbags – percussion, backing vocals
Jay Williams – drums
Victoria de Fruita – guitar and lead vocals
Mara Williams – bass and
lead vocals
lead vocals
Mara and Paul: As for
lineup changes, the original line up saw Paul Maybury as Casio Master and
Arnaud Thiebault on lead guitar.
Unfortunately, Arnaud was only in Australia for one year as an exchange
student, so Paul stepped into the role of lead guitarist. This left a Casio vacancy, which was promptly
filled by Cozi de Fruita, sister of Victoria.
Cozi had to leave the band for personal reasons, so Leigh, who had never
played Casio, took over the Casio role.
Sam joined The Pink Tiles as a guest for a one off gig so she could
attend a party, and it was so much fun, she stayed on.
lineup changes, the original line up saw Paul Maybury as Casio Master and
Arnaud Thiebault on lead guitar.
Unfortunately, Arnaud was only in Australia for one year as an exchange
student, so Paul stepped into the role of lead guitarist. This left a Casio vacancy, which was promptly
filled by Cozi de Fruita, sister of Victoria.
Cozi had to leave the band for personal reasons, so Leigh, who had never
played Casio, took over the Casio role.
Sam joined The Pink Tiles as a guest for a one off gig so she could
attend a party, and it was so much fun, she stayed on.
Are any of you in
any other active bands or do you have any side projects going at this
point? Have you released any music with
anyone in the past? If so, can you tell
us a bit about that?
any other active bands or do you have any side projects going at this
point? Have you released any music with
anyone in the past? If so, can you tell
us a bit about that?
Mara: Not me. The Pink Tiles is the first band I’ve ever
been in.
been in.
Paul: I’ve been
playing in bands in Melbourne and Sydney Australia for twenty five years. These include: HOGG, Megalong Valley, Rocket
Science, The In The Out, The Bowerbirds, The Swingin’ Nutsacks, Chigwell Sharp,
and others I have forgotten. No side
projects at the moment.
playing in bands in Melbourne and Sydney Australia for twenty five years. These include: HOGG, Megalong Valley, Rocket
Science, The In The Out, The Bowerbirds, The Swingin’ Nutsacks, Chigwell Sharp,
and others I have forgotten. No side
projects at the moment.
How old are you
and where are you originally from?
and where are you originally from?
Paul and Mara: The
Pink Tiles are roughly two years old.
It’s a Melbourne bedroom band. We
started out learning to play in the bedroom of Victoria de Fruita, and still
rehearse in a bedroom to this day.
Pink Tiles are roughly two years old.
It’s a Melbourne bedroom band. We
started out learning to play in the bedroom of Victoria de Fruita, and still
rehearse in a bedroom to this day.
Victoria: Originally
from the island of Negros in the Philippines.
from the island of Negros in the Philippines.
What was the local
music scene like where you grew up? Did
you see a lot of shows or get very involved in that scene? Do you feel like it played a large role in
forming your musical tastes or shaping the way you perform at this point?
music scene like where you grew up? Did
you see a lot of shows or get very involved in that scene? Do you feel like it played a large role in
forming your musical tastes or shaping the way you perform at this point?
Paul: There were a
lot of great shows and bands in Sydney in the late 80s and early 90s, and they
were very influential on me. Notable
bands: The Space Juniors, Lubricated Goat, Massappeal, Hard-Ons, Munroes Fur,
Splatterheads, and loads more! Sadly, venues
started closing in Sydney and there was nowhere to play. After visiting Melbourne, I realized that the
music scene there was very strong, so I jumped into a van heading south and
never looked back. Every band I have
seen, good or bad, has been an influence on what I do now.
lot of great shows and bands in Sydney in the late 80s and early 90s, and they
were very influential on me. Notable
bands: The Space Juniors, Lubricated Goat, Massappeal, Hard-Ons, Munroes Fur,
Splatterheads, and loads more! Sadly, venues
started closing in Sydney and there was nowhere to play. After visiting Melbourne, I realized that the
music scene there was very strong, so I jumped into a van heading south and
never looked back. Every band I have
seen, good or bad, has been an influence on what I do now.
Mara: Yeah, I grew up
in Melbourne and as a teenager would go to the under ages shows. The first gig that I attended was with my
brother Jay at a suburban youth hall called EV’s. Pavement headlined and Magic Dirt was the
main support. Our aunty dropped us off
and picked us up, and we had a blast getting crushed in the mosh pit by sweaty
teen dudes. After that experience I
attended gigs whenever I could, even bands I didn’t like! Guess I liked hanging out even though I
didn’t really know anyone else. Although
I strongly supported the music scene as a punter, it never occurred to me that
I could actually play in a band! So I
didn’t, until I met Victoria decades later.
in Melbourne and as a teenager would go to the under ages shows. The first gig that I attended was with my
brother Jay at a suburban youth hall called EV’s. Pavement headlined and Magic Dirt was the
main support. Our aunty dropped us off
and picked us up, and we had a blast getting crushed in the mosh pit by sweaty
teen dudes. After that experience I
attended gigs whenever I could, even bands I didn’t like! Guess I liked hanging out even though I
didn’t really know anyone else. Although
I strongly supported the music scene as a punter, it never occurred to me that
I could actually play in a band! So I
didn’t, until I met Victoria decades later.
Victoria: Zilch. The Philippines are the land of karaoke and
music is distilled to the cheesiest most unpalatable kind. Air Supply and Barry Manilow are still
cashing Filipino airplay checks, for sure.
Although, classics are getting played like popular Elvis songs, Madonna,
the Beatles, or Ricky Jervais’s band Seona Dancing’s one hit track “More
To Loose”. I never really got into
music that much until the summer of ’94 when a few kids pirated a radio station
in my hometown Bacolod, and played songs from The Jesus And Marychain, The
Pixies, etcetera. It was like an
awakening for me.
music is distilled to the cheesiest most unpalatable kind. Air Supply and Barry Manilow are still
cashing Filipino airplay checks, for sure.
Although, classics are getting played like popular Elvis songs, Madonna,
the Beatles, or Ricky Jervais’s band Seona Dancing’s one hit track “More
To Loose”. I never really got into
music that much until the summer of ’94 when a few kids pirated a radio station
in my hometown Bacolod, and played songs from The Jesus And Marychain, The
Pixies, etcetera. It was like an
awakening for me.
Leigh: The local
music scene in Canberra was a lot of fun, but seemed fairly cut off from the
rest of the world. It was always
exciting when a national or international act passed through, especially if a
band you were in landed a support with a big act. When I got my driver’s license, I found
myself travelling further, to places like Sydney or Melbourne, to see or play
gigs. Eventually, I decided that Melbourne
was the place for me to immerse myself in music.
music scene in Canberra was a lot of fun, but seemed fairly cut off from the
rest of the world. It was always
exciting when a national or international act passed through, especially if a
band you were in landed a support with a big act. When I got my driver’s license, I found
myself travelling further, to places like Sydney or Melbourne, to see or play
gigs. Eventually, I decided that Melbourne
was the place for me to immerse myself in music.
What about your
home when you were a child? Were either
of your parents or any of your close relatives musicians or maybe just
extremely interested or involved in music?
home when you were a child? Were either
of your parents or any of your close relatives musicians or maybe just
extremely interested or involved in music?
Paul: My mum was a
huge influence and always playing Country Blues and Chicago blues. My parents had many a fondue party listening
to Joe Cocker and Neil Diamond, which I guess had some kind of effect. My older
sisters were huge music fans and introduced me to rockabilly and garage rock at
a young age.
huge influence and always playing Country Blues and Chicago blues. My parents had many a fondue party listening
to Joe Cocker and Neil Diamond, which I guess had some kind of effect. My older
sisters were huge music fans and introduced me to rockabilly and garage rock at
a young age.
Mara: My mum loves
music; Abba, Evie, Billy Joel, Streisand, Andrew Lloyd Webber, so on and so
forth. So, naturally I rebelled as a
teenager. I do however have many secret
shames. I love musicals, good lyric
writing, and shed a tear when I saw Stephen Merritt recently, because he writes
the perfect music for the perfect lyrics so artfully.
music; Abba, Evie, Billy Joel, Streisand, Andrew Lloyd Webber, so on and so
forth. So, naturally I rebelled as a
teenager. I do however have many secret
shames. I love musicals, good lyric
writing, and shed a tear when I saw Stephen Merritt recently, because he writes
the perfect music for the perfect lyrics so artfully.
Victoria: My parents
were both guerilla fighters when I was a kid and we were taught to sing
revolutionary and folk songs over campfires when we came for visits. My infrequent visits to my father’s Baptist
family were among my first memories of live music, hearing gospel choirs that
play upbeat and fun songs, unlike the boring catholic masses and their
depressing songs.
were both guerilla fighters when I was a kid and we were taught to sing
revolutionary and folk songs over campfires when we came for visits. My infrequent visits to my father’s Baptist
family were among my first memories of live music, hearing gospel choirs that
play upbeat and fun songs, unlike the boring catholic masses and their
depressing songs.
Leigh: My dad has
always been really into music, it was his horribly cheap guitar that he paid
five dollars for in the early 70s, which I was determined to learn that got me
into the passion of performing. I also
spent hours on end listening to his records and cassettes through headphones
each night.
always been really into music, it was his horribly cheap guitar that he paid
five dollars for in the early 70s, which I was determined to learn that got me
into the passion of performing. I also
spent hours on end listening to his records and cassettes through headphones
each night.
What do you
consider your first real exposure to music to be?
consider your first real exposure to music to be?
Paul: Seeing Brownie
McGhee at The Basement in Sydney when I was fourteen. My mum bought me a ticket on my birthday and
I went by myself. Thanks mum.
McGhee at The Basement in Sydney when I was fourteen. My mum bought me a ticket on my birthday and
I went by myself. Thanks mum.
Mara: We didn’t have
MTV in Australia at that time, as far as I am aware, at least our household
didn’t. We had a TV show called
Countdown, and I used to love watching Madonna sing “Holiday” with her teased
hair, excessive make up, and splatter paint attire.
MTV in Australia at that time, as far as I am aware, at least our household
didn’t. We had a TV show called
Countdown, and I used to love watching Madonna sing “Holiday” with her teased
hair, excessive make up, and splatter paint attire.
Victoria: The AM
radio receiver. I predominantly grew up
in rural countrysides at my grandfather’s farm on the shoulder of the volcano,
or visiting my parents in the jungle with no electricity. The AM radio, powered by D batteries was my
friend. It wasn’t until twenty years
later when I saw Spencer P. Jones and The Escape Committee play live in Sydney
for the first time at a venue called Hopetaun Hotel, that I was exposed to
proper live music. I’ve been hooked ever
since.
radio receiver. I predominantly grew up
in rural countrysides at my grandfather’s farm on the shoulder of the volcano,
or visiting my parents in the jungle with no electricity. The AM radio, powered by D batteries was my
friend. It wasn’t until twenty years
later when I saw Spencer P. Jones and The Escape Committee play live in Sydney
for the first time at a venue called Hopetaun Hotel, that I was exposed to
proper live music. I’ve been hooked ever
since.
Leigh: Some local
band at an all ages gig when I was about thirteen or so. I guess it was the first time I experienced
the raw power of live gigs and the rush it can give you.
band at an all ages gig when I was about thirteen or so. I guess it was the first time I experienced
the raw power of live gigs and the rush it can give you.
When did you
decide that you wanted to start writing and performing your own music? What brought that decision about?
decide that you wanted to start writing and performing your own music? What brought that decision about?
Mara: Writing music
is something that I did not actively pursue.
It just happened one day following an event I felt very guilty
about. I encouraged my friend to ask a
guy out, with positive affirmations like YOLO, “What’s the worst that could
happen?” so on and so forth, and she was shut down very dramatically. The rejection hurt so bad even bystanders were
affected. I felt so bad, and the guilt
came out in a song. Then more songs
followed based on real life events. Ever
since then, whenever I’ve felt strongly about something, another song arrives.
is something that I did not actively pursue.
It just happened one day following an event I felt very guilty
about. I encouraged my friend to ask a
guy out, with positive affirmations like YOLO, “What’s the worst that could
happen?” so on and so forth, and she was shut down very dramatically. The rejection hurt so bad even bystanders were
affected. I felt so bad, and the guilt
came out in a song. Then more songs
followed based on real life events. Ever
since then, whenever I’ve felt strongly about something, another song arrives.
If you were to
pick a moment, a single moment that seemed to change everything or opened your
mind to the infinite possibilities that music presents?
pick a moment, a single moment that seemed to change everything or opened your
mind to the infinite possibilities that music presents?
Paul: As stated
above, Brownie MacGee.
above, Brownie MacGee.
Jay: Listening to
“Albatross” & “Waterloo Sunset” on a compilation on a
drive up to Queensland as a kid with my mum and sister, and feeling an
overwhelming sensation as I fell asleep in the car; I wasn’t driving.
“Albatross” & “Waterloo Sunset” on a compilation on a
drive up to Queensland as a kid with my mum and sister, and feeling an
overwhelming sensation as I fell asleep in the car; I wasn’t driving.
What was your
first instrument? When and how did you
get that?
first instrument? When and how did you
get that?
Mara: I had a Yamaha
keyboard when I was about eight. I loved
it because setting number ninety nine had the sound of the waves. Also, it had another setting where you could
set a beat, and play a note and it automatically played a song. Suffice to say, I hated lessons and thus
never advanced. In fact five year olds
progressed faster than I; true story. I
had a guitar when I was about fifteen but it was more for the look than the
actual playing, thus I never played it.
Following these two experiences, I decided that I was not a player, but
an admirer of those who could.
keyboard when I was about eight. I loved
it because setting number ninety nine had the sound of the waves. Also, it had another setting where you could
set a beat, and play a note and it automatically played a song. Suffice to say, I hated lessons and thus
never advanced. In fact five year olds
progressed faster than I; true story. I
had a guitar when I was about fifteen but it was more for the look than the
actual playing, thus I never played it.
Following these two experiences, I decided that I was not a player, but
an admirer of those who could.
Jay: Pa (grandfather)
gave me my first classical guitar when I was seven and bought me my first steel
string acoustic when I was eleven. I
bought my first decent guitar when I was fifteen, a Maton Em325. I didn’t own my own drum kit till I was
nineteen. They were too big for the
house and way too expensive.
gave me my first classical guitar when I was seven and bought me my first steel
string acoustic when I was eleven. I
bought my first decent guitar when I was fifteen, a Maton Em325. I didn’t own my own drum kit till I was
nineteen. They were too big for the
house and way too expensive.
Leigh: I had a little
keyboard with a fun little synthesizer built into it when I was five. I think I drove everyone crazy with the drum
machine parts and weird synthesizer sounds I’d come up with.
keyboard with a fun little synthesizer built into it when I was five. I think I drove everyone crazy with the drum
machine parts and weird synthesizer sounds I’d come up with.
Paul: There were
always guitars and other instruments hanging around the house for my mum’s
hippy mates to play “Bobby Macgee” on. I
had a couple of lessons in playing “Ba Ba Black Sheep” and “Au Claire De Lune”
on the acoustic guitar when I was seven.
The teacher had a beautiful Gibson electric guitar sitting in the corner
that we weren’t allowed to touch. This disappointed me so much that I gave it
up until I was about sixteen when I got a job and bought first, a great pair of
shoes, and then, an old Italian semi-acoustic electric guitar, ‘cause it looked
cool. Then, I realized I would look
cooler with my new shoes and guitar if I could play the damn thing, so I got
two lessons from a local guitar teacher.
He wanted to teach me scales. I
wanted to learn the lead parts for “Johnny B. Goode”. Once I had convinced him to show me about
half of that, I said, “Thanks, see you later”!
My real musical education came from just getting in a room with friends
and making an uninformed racket.
always guitars and other instruments hanging around the house for my mum’s
hippy mates to play “Bobby Macgee” on. I
had a couple of lessons in playing “Ba Ba Black Sheep” and “Au Claire De Lune”
on the acoustic guitar when I was seven.
The teacher had a beautiful Gibson electric guitar sitting in the corner
that we weren’t allowed to touch. This disappointed me so much that I gave it
up until I was about sixteen when I got a job and bought first, a great pair of
shoes, and then, an old Italian semi-acoustic electric guitar, ‘cause it looked
cool. Then, I realized I would look
cooler with my new shoes and guitar if I could play the damn thing, so I got
two lessons from a local guitar teacher.
He wanted to teach me scales. I
wanted to learn the lead parts for “Johnny B. Goode”. Once I had convinced him to show me about
half of that, I said, “Thanks, see you later”!
My real musical education came from just getting in a room with friends
and making an uninformed racket.
How did the
members of The Pink Tiles originally meet and when would that have been?
members of The Pink Tiles originally meet and when would that have been?
Mara: Victoria and I
met at the legendary band venue in Melbourne called The Tote, in December
2011. One woman band Becky Lee Drunkfoot
was playing. I noticed Victoria because
she was alone, and I almost was, and she looked like a Filipina which is also
what I am. It’s rare to spot a Filipina
at The Tote, as the crowd is mostly a white middle class one, so we got
chatting. It turned out she liked Kim
Deal and wanted to play the Ukulele.
Coincidentally, I had a pineapple shaped Ukulele and loved Kim Deal from
way back. We became friends, and played
Spencer P. Jones and Elvis on the Uke.
met at the legendary band venue in Melbourne called The Tote, in December
2011. One woman band Becky Lee Drunkfoot
was playing. I noticed Victoria because
she was alone, and I almost was, and she looked like a Filipina which is also
what I am. It’s rare to spot a Filipina
at The Tote, as the crowd is mostly a white middle class one, so we got
chatting. It turned out she liked Kim
Deal and wanted to play the Ukulele.
Coincidentally, I had a pineapple shaped Ukulele and loved Kim Deal from
way back. We became friends, and played
Spencer P. Jones and Elvis on the Uke.
Paul: I met Mara at work
and was immediately bewitched and bedazzled.
and was immediately bewitched and bedazzled.
When and what led
to the formation of the band?
to the formation of the band?
Mara: I awoke one day
following a bad dream. In the dream my
boyfriend Paul Maybury was having an affair with someone, and in that dream, I
didn’t feel bad about it because I was on some outdoor stage playing a seafoam
coloured bass to the masses. When I
awoke, I was angry with my boyfriend for this alleged affair. Days later he bought me a bass. Still annoyed about the dream affair, there
was really only one thing to do. Start
playing the bass. Victoria had a guitar,
so we started learning our instruments together by playing covers of our
favourite songs by Alex Chilton, Detroit Cobras, Wipers and more. This was the first version of the band. As original songs were written, friends and
family joined in. I wrote a song called
“We Need a Drummer”, and played it to my brother Jay, who cracked and said,
“Fine, I’ll do it for one or two months”.
As it happens, he’s still with us.
Arnaud, our first lead guitar player, joined in because he was an
international student and new to town, and didn’t have anything better to
do. We didn’t even know he could do
it. The only other time we heard him
play was with an acoustic guitar around a campfire at a Game of Thrones
party. But Arnaud turned out to be
awesome on guitar and a garage rock fan.
Paul joined in on Casio because he was too good on guitar, and he’d make
the rest of us look shit and feel bad about being crappy. He also played percussion, egg shakers and
tambourine and handclaps, and won fans who loved the way the beans fell in the
egg shaker when Paul played them; one of those musical geniuses who can do
anything.
following a bad dream. In the dream my
boyfriend Paul Maybury was having an affair with someone, and in that dream, I
didn’t feel bad about it because I was on some outdoor stage playing a seafoam
coloured bass to the masses. When I
awoke, I was angry with my boyfriend for this alleged affair. Days later he bought me a bass. Still annoyed about the dream affair, there
was really only one thing to do. Start
playing the bass. Victoria had a guitar,
so we started learning our instruments together by playing covers of our
favourite songs by Alex Chilton, Detroit Cobras, Wipers and more. This was the first version of the band. As original songs were written, friends and
family joined in. I wrote a song called
“We Need a Drummer”, and played it to my brother Jay, who cracked and said,
“Fine, I’ll do it for one or two months”.
As it happens, he’s still with us.
Arnaud, our first lead guitar player, joined in because he was an
international student and new to town, and didn’t have anything better to
do. We didn’t even know he could do
it. The only other time we heard him
play was with an acoustic guitar around a campfire at a Game of Thrones
party. But Arnaud turned out to be
awesome on guitar and a garage rock fan.
Paul joined in on Casio because he was too good on guitar, and he’d make
the rest of us look shit and feel bad about being crappy. He also played percussion, egg shakers and
tambourine and handclaps, and won fans who loved the way the beans fell in the
egg shaker when Paul played them; one of those musical geniuses who can do
anything.
Who came up with
the name The Pink Tiles? What does it
mean or refer to in the context of your band name? How did you go about choosing it? Were there any close seconds that you almost
went with you can recall at this point?
the name The Pink Tiles? What does it
mean or refer to in the context of your band name? How did you go about choosing it? Were there any close seconds that you almost
went with you can recall at this point?
Mara: Paul came up
with the name The Pink Tiles. It’s based
on the 60’s flat he used to rent. The
flat had a renovation sometime maybe in the 1980s, and instead of getting rid
of the old tiles, they covered them with white tiles. By 2012, the white tiles were falling off,
revealing the original pink tiles.
with the name The Pink Tiles. It’s based
on the 60’s flat he used to rent. The
flat had a renovation sometime maybe in the 1980s, and instead of getting rid
of the old tiles, they covered them with white tiles. By 2012, the white tiles were falling off,
revealing the original pink tiles.
Is there any sort
of creed, code, ideal or mantra that the band shares or lives by?
of creed, code, ideal or mantra that the band shares or lives by?
Mara: Have fun and be
yourself, I suppose. Fuck the bullshit
and all that.
yourself, I suppose. Fuck the bullshit
and all that.
Leigh: Yeah fuck the
bullshit.
bullshit.
Paul: Fuck the
bullshit and have something to eat, for fucks sake!
bullshit and have something to eat, for fucks sake!
Where’s the band
located at this point? How would you
describe the local music scene where you’re at now?
located at this point? How would you
describe the local music scene where you’re at now?
Mara: Melbourne is
the hometown of The Pink Tiles. The
music scene’s very healthy here.
There’re lots of venues and it seems like everyone I know is in at least
one band, but usually more. There’s
punters and musicians alike supporting a little, yet thriving scene.
the hometown of The Pink Tiles. The
music scene’s very healthy here.
There’re lots of venues and it seems like everyone I know is in at least
one band, but usually more. There’s
punters and musicians alike supporting a little, yet thriving scene.
Do you feel very
involved in the local music scene or anything?
Do you book or attend a lot of local shows?
involved in the local music scene or anything?
Do you book or attend a lot of local shows?
Mara: I do, because
once upon a time, several years ago now, it was my life goal to see at least
five gigs a week. That has dropped off
now that I’m in a band. Although I can’t
sustain the goal of going to that many gigs, I still try to attend at least a
couple of gigs a week on top of doing my own band things. This is really helpful when booking Pink
Tiles gigs, because you already know the bands you like.
once upon a time, several years ago now, it was my life goal to see at least
five gigs a week. That has dropped off
now that I’m in a band. Although I can’t
sustain the goal of going to that many gigs, I still try to attend at least a
couple of gigs a week on top of doing my own band things. This is really helpful when booking Pink
Tiles gigs, because you already know the bands you like.
Paul: We go to lots
of shows, Mara and I work at a local community radio station and I run a recording
studio.
of shows, Mara and I work at a local community radio station and I run a recording
studio.
Has the local
music scene played an integral role in the sound, history, formation or
evolution of The Pink Tiles? Or, do you
all feel like you would be doing what you are and sound like you do regardless
of location and surroundings?
music scene played an integral role in the sound, history, formation or
evolution of The Pink Tiles? Or, do you
all feel like you would be doing what you are and sound like you do regardless
of location and surroundings?
Paul: Everything is
an influence. Food, drinks, bands,
books, cats…
an influence. Food, drinks, bands,
books, cats…
Are you involved
in recording or releasing any music at all?
If so, can you tell us about that briefly here?
in recording or releasing any music at all?
If so, can you tell us about that briefly here?
Mara: We released our
cassingle, which was incidentally recorded at Paul’s studio called A Secret
Location. We were about to release our
LP, but it ended up getting picked up by a record company in the eleventh hour.
cassingle, which was incidentally recorded at Paul’s studio called A Secret
Location. We were about to release our
LP, but it ended up getting picked up by a record company in the eleventh hour.
I love the sound
that you all have going on and the more I listen to your stuff, the more I can
hear popping out at me. Who are some of
your personal musical influences? What
about major musical influences on the band as a whole rather than just
individually?
that you all have going on and the more I listen to your stuff, the more I can
hear popping out at me. Who are some of
your personal musical influences? What
about major musical influences on the band as a whole rather than just
individually?
Mara: As a band? Alex Chilton Like Flies on Sherbert for it’s
shambolic-ness, yet awesomeness.
shambolic-ness, yet awesomeness.
Paul: I’m a huge fan
of the production on Everly Brothers, Nick Lowe, Eddie Cochrane and Freakbeat
records.
of the production on Everly Brothers, Nick Lowe, Eddie Cochrane and Freakbeat
records.
How would you
describe The Pink Tiles sound to our readers who might not have ever heard you
all before?
describe The Pink Tiles sound to our readers who might not have ever heard you
all before?
Mara: I say throwaway
pop. Our friend Jeff says perfect pop
with noisy guitars. My cousin says The
Breeders meet Gidget. I think all are
accurate.
pop. Our friend Jeff says perfect pop
with noisy guitars. My cousin says The
Breeders meet Gidget. I think all are
accurate.
What’s the
songwriting process like for The Pink Tiles?
Is there someone who usually comes in with an idea or maybe a riff for the
rest of the band to build off of and work with, or do you just get together and
kick ideas back and forth until you distill something from the exchange that
you’re interested in working on and refining?
songwriting process like for The Pink Tiles?
Is there someone who usually comes in with an idea or maybe a riff for the
rest of the band to build off of and work with, or do you just get together and
kick ideas back and forth until you distill something from the exchange that
you’re interested in working on and refining?
Mara: Usually I write
a song, present it to Paul or Jay, and we work out how it goes. Then, the rest of the band play along and
work out a part, and then the fresh ideas come out of it. The best ideas are usually accidents.
a song, present it to Paul or Jay, and we work out how it goes. Then, the rest of the band play along and
work out a part, and then the fresh ideas come out of it. The best ideas are usually accidents.
What about
recording? I’m a musician myself and
while I think that most musicians can obviously appreciate the end product of
all the time, work and effort that goes into making an album. But getting to that point though, getting
stuff recorded and sounding the way that you want it to, especially as a band,
can be extremely taxing on the band to say the very least. What’s recording like for The Pink Tiles?
recording? I’m a musician myself and
while I think that most musicians can obviously appreciate the end product of
all the time, work and effort that goes into making an album. But getting to that point though, getting
stuff recorded and sounding the way that you want it to, especially as a band,
can be extremely taxing on the band to say the very least. What’s recording like for The Pink Tiles?
Paul: Grueling.
Do you all prefer
to take a DIY approach to music where you handle most of the technical aspects
of things on your own so that you don’t have to compromise on the sound with
anyone else? Or, do you prefer to head
in to the studio and let someone else handle that side of things so you can
just concentrate on the music and getting the best performances possible out of
yourselves?
to take a DIY approach to music where you handle most of the technical aspects
of things on your own so that you don’t have to compromise on the sound with
anyone else? Or, do you prefer to head
in to the studio and let someone else handle that side of things so you can
just concentrate on the music and getting the best performances possible out of
yourselves?
Paul: Both are
good. But circumstances dictate which
way to go.
good. But circumstances dictate which
way to go.
Is there a lot of
time that goes into getting a song to sound just so-so with every little
section and change worked out before you record it, or do you get a good
skeletal idea of what a song’s going to sound like while allowing for some
change and evolution during the recording process when needed?
time that goes into getting a song to sound just so-so with every little
section and change worked out before you record it, or do you get a good
skeletal idea of what a song’s going to sound like while allowing for some
change and evolution during the recording process when needed?
Paul: We work hard to
get a great arrangement before going into the studio. Then, we change everything.
get a great arrangement before going into the studio. Then, we change everything.
Do hallucinogenic
or psychoactive drugs play a pivotal role in songwriting, recording or
performance processes for The Pink Tiles?
A lot of people tap into the mind altering effects of those drugs and
channel them into their art and I’m always curious about their usage and
application regarding the art that I personally enjoy.
or psychoactive drugs play a pivotal role in songwriting, recording or
performance processes for The Pink Tiles?
A lot of people tap into the mind altering effects of those drugs and
channel them into their art and I’m always curious about their usage and
application regarding the art that I personally enjoy.
Mara: I’d like to say
yes, because I would sound more interesting, but the answer is no. But I’m quite sure there’s a dose of mental
illness on my part when writing.
yes, because I would sound more interesting, but the answer is no. But I’m quite sure there’s a dose of mental
illness on my part when writing.
Paul: I like to smoke
and drink. All the time. Haven’t taken any psychedelics for a while,
I’m probably due for a refresher course.
and drink. All the time. Haven’t taken any psychedelics for a while,
I’m probably due for a refresher course.
Last year (2013)
you all self-released the Cassingle cassette tape. Can you share some of your memories of
recording that first material? When and
where would that have been at? Who
recorded it? What kind of equipment was
used? Is, or was, Cassingle limited to
any number of copies and is it still available at this point?
you all self-released the Cassingle cassette tape. Can you share some of your memories of
recording that first material? When and
where would that have been at? Who
recorded it? What kind of equipment was
used? Is, or was, Cassingle limited to
any number of copies and is it still available at this point?
Mara: Cassingle was a
massive achievement of ours. When we
started the band we never thought we’d record, so it was audacious to even
think we could have a cassingle. When I
was a kid I saved my pocket money to buy cassingles, so the concept of making a
cassingle was extra special. We made
fifty copies and vowed to never produce the cassingle version of them ever
again. They sold out in about a month.
massive achievement of ours. When we
started the band we never thought we’d record, so it was audacious to even
think we could have a cassingle. When I
was a kid I saved my pocket money to buy cassingles, so the concept of making a
cassingle was extra special. We made
fifty copies and vowed to never produce the cassingle version of them ever
again. They sold out in about a month.
Paul: We recorded
that at my studio and at home. I mixed
it at home on an old laptop through the hi-fi.
that at my studio and at home. I mixed
it at home on an old laptop through the hi-fi.
Earlier this year
in 2014 you followed up Cassingle with your self-titled debut full-length The
Pink Tiles for Cobra Snake Necktie/Love & Theft Records, which sounds like
the first pressing of which is flying off of the shelves and is almost sold out
at this point! Was the recording of the
material for The Pink Tiles very different than Cassingle? When and where was that? Who recorded that material? What kind of equipment was used this time
around?
in 2014 you followed up Cassingle with your self-titled debut full-length The
Pink Tiles for Cobra Snake Necktie/Love & Theft Records, which sounds like
the first pressing of which is flying off of the shelves and is almost sold out
at this point! Was the recording of the
material for The Pink Tiles very different than Cassingle? When and where was that? Who recorded that material? What kind of equipment was used this time
around?
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Mara: The Pink Tiles
LP was recorded in 2013 and 2014 over various sessions with various band
members. We actually recorded it for us,
to say we did it once in our lifetimes, and then the label picked it up in the
eleventh hour and took over production.
LP was recorded in 2013 and 2014 over various sessions with various band
members. We actually recorded it for us,
to say we did it once in our lifetimes, and then the label picked it up in the
eleventh hour and took over production.
Paul: The album was
again recorded at my studio. Some
overdubs were done at home, but mostly it was all done at the studio, mixed on
my D&R Octagon console with plenty of crusty analogue outboard gear.
again recorded at my studio. Some
overdubs were done at home, but mostly it was all done at the studio, mixed on
my D&R Octagon console with plenty of crusty analogue outboard gear.
Does The Pink
Tiles have any music that we haven’t talked about, maybe a song on compilation
or a demo that I might not know about?
Tiles have any music that we haven’t talked about, maybe a song on compilation
or a demo that I might not know about?
Mara: We did a
live-to-air performance at WFMU October 2nd for the program Surface Noise
presented by Joe McGasko. That has some
of our newer material and out-takes!
It’s available on the Free Music Archive. Also, we were featured on the Shit Fest tape
from January 25th, 2014, the compilation tape made by Bits of Shit.
live-to-air performance at WFMU October 2nd for the program Surface Noise
presented by Joe McGasko. That has some
of our newer material and out-takes!
It’s available on the Free Music Archive. Also, we were featured on the Shit Fest tape
from January 25th, 2014, the compilation tape made by Bits of Shit.
With the release
of The Pink Tiles earlier this year, are there any other releases in the works
or on the horizon for you all at this point?
of The Pink Tiles earlier this year, are there any other releases in the works
or on the horizon for you all at this point?
Mara: We hope to get
back into the recording studio before the end of the year.
back into the recording studio before the end of the year.
© Joe Belock
With the
completely insane international shipping rates going on at this point I try and
provide our readers with as many possible options for picking up imports as I
possibly can. Where’s the best place for
our US readers to pick up your stuff?
completely insane international shipping rates going on at this point I try and
provide our readers with as many possible options for picking up imports as I
possibly can. Where’s the best place for
our US readers to pick up your stuff?
Mara: Unfortunately,
we don’t have a US distribution deal.
The record actually cost The Pink Tiles $21.00 to produce including
recording, mastering, record production, but obviously we can’t sell it with a
mark up at that rate, locally or internationally. The cheapest possible way to get our material
is downloading it via Bandcamp. If
there’s anyone out there that wants to put it out stateside let us know at
thepinktiles@gmail.com.
we don’t have a US distribution deal.
The record actually cost The Pink Tiles $21.00 to produce including
recording, mastering, record production, but obviously we can’t sell it with a
mark up at that rate, locally or internationally. The cheapest possible way to get our material
is downloading it via Bandcamp. If
there’s anyone out there that wants to put it out stateside let us know at
thepinktiles@gmail.com.
What about our
international and overseas readers?
international and overseas readers?
Mara: Same as above!
And where’s the
best place for our interested readers to keep up with the latest news, like
upcoming shows and album releases from The Pink Tiles at?
best place for our interested readers to keep up with the latest news, like
upcoming shows and album releases from The Pink Tiles at?
Mara: Our website
thepinktiles.com lovingly put together by members of The Pink Tiles or Facebook
thepinktiles.com lovingly put together by members of The Pink Tiles or Facebook
Are there any
major plans or goals that you’re looking to accomplish in the rest of 2014 or
2015?
major plans or goals that you’re looking to accomplish in the rest of 2014 or
2015?
Mara: Play more
shows, go to new places, win hearts and minds.
That is all.
shows, go to new places, win hearts and minds.
That is all.
Do you all spend a
lot of time out on the road touring? Do
you enjoy being out on tour? What’s life
like on the road for The Pink Tiles?
lot of time out on the road touring? Do
you enjoy being out on tour? What’s life
like on the road for The Pink Tiles?
Mara: The Pink Tiles
have never been on tour. We’ve only been
on a band holiday, and that was lots of fun.
have never been on tour. We’ve only been
on a band holiday, and that was lots of fun.
Do you remember
what the first song that The Pink Tiles ever played live was? Where and when would that have been at?
what the first song that The Pink Tiles ever played live was? Where and when would that have been at?
Mara: The first gig
The Pink Tiles played was with the scrappy, now defunct, garage three-piece Bad
Aches, and Queensland’s Running Gun Sound.
The first support act dropped out, so The Pink Tiles were asked to play
in a room called the Gaso upstairs, no bigger than a lounge room. It was noisy,
scrappy, loud, outta control and even fun for some of the members.
The Pink Tiles played was with the scrappy, now defunct, garage three-piece Bad
Aches, and Queensland’s Running Gun Sound.
The first support act dropped out, so The Pink Tiles were asked to play
in a room called the Gaso upstairs, no bigger than a lounge room. It was noisy,
scrappy, loud, outta control and even fun for some of the members.
Who are some of
your personal favorite bands that you’ve had a chance to play with over the
past few years?
your personal favorite bands that you’ve had a chance to play with over the
past few years?
Mara: Well, we’ve
mostly only played with local bands, and there’s some really great ones out
there, Empat Lima, an all girl three piece doing exotic Asian pop covers, Sugar
Fed Leopards a live disco act, SMB this trashy three-piece featuring Steve
Miller from The Moodists, The Clits a Melbourne atypical punk three-piece,
Ukeladies Orchestra, some real musicians with Clare Moore playing vibes, and
the one man band genius BJ Morriszonkle.
Playing with Bits of Shit for their farewell show ‘Shit Fest’ was also
an honour. The only international acts
we’ve played with are Nobunny, The Hussy and Smoota.
mostly only played with local bands, and there’s some really great ones out
there, Empat Lima, an all girl three piece doing exotic Asian pop covers, Sugar
Fed Leopards a live disco act, SMB this trashy three-piece featuring Steve
Miller from The Moodists, The Clits a Melbourne atypical punk three-piece,
Ukeladies Orchestra, some real musicians with Clare Moore playing vibes, and
the one man band genius BJ Morriszonkle.
Playing with Bits of Shit for their farewell show ‘Shit Fest’ was also
an honour. The only international acts
we’ve played with are Nobunny, The Hussy and Smoota.
In your dreams,
who are you on tour with?
who are you on tour with?
Mara: The Breeders,
but since that’s a pipe dream, Valentina Tapia/Shantih Shantih from Atlanta
would be a good fit for us. Anything
King Louie is associated with. Whenever
I have a hard note to sing I always ask myself, “What would King Louie
do?” I love him irrationally.
but since that’s a pipe dream, Valentina Tapia/Shantih Shantih from Atlanta
would be a good fit for us. Anything
King Louie is associated with. Whenever
I have a hard note to sing I always ask myself, “What would King Louie
do?” I love him irrationally.
Paul: Wreckless Eric
and Amy Rigby; or Motörhead.
and Amy Rigby; or Motörhead.
Do you have any
funny or interesting stories from live shows or performances that you’d like to
share here with our readers?
funny or interesting stories from live shows or performances that you’d like to
share here with our readers?
Paul: Nothing
printable.
printable.
Do you all give a
lot of thought to the visual aspects that represent the band to a large extent,
stuff like flyers, posters, shirt designs, covers and that kind of thing? Is there any kind of meaning or message that
you’re trying to convey with that kind of thing?
lot of thought to the visual aspects that represent the band to a large extent,
stuff like flyers, posters, shirt designs, covers and that kind of thing? Is there any kind of meaning or message that
you’re trying to convey with that kind of thing?
Paul: Yes and
yes. The message would be “Fuck The
Bullshit, Do It Yourself”.
yes. The message would be “Fuck The
Bullshit, Do It Yourself”.
Do you all have
anyone that you usually turn to in your times of need when it comes to the
visual side of things? If so, who is
that and how did you get hooked up with them originally?
anyone that you usually turn to in your times of need when it comes to the
visual side of things? If so, who is
that and how did you get hooked up with them originally?
Mara: Our friend Greg
Tippett helps us with some design things.
Otherwise, the answer is no.
However, at our launch a guy turned up, and took over doing the
lights. Little did we know, he was an
amateur and was doing the lights to build on his experience, but he didn’t have
any training. After the strobe effects,
the stage went dark and Victoria told him to turn the lights on because she
couldn’t see the frets on the guitar.
Tippett helps us with some design things.
Otherwise, the answer is no.
However, at our launch a guy turned up, and took over doing the
lights. Little did we know, he was an
amateur and was doing the lights to build on his experience, but he didn’t have
any training. After the strobe effects,
the stage went dark and Victoria told him to turn the lights on because she
couldn’t see the frets on the guitar.
With all of the
various methods of release that are available to musicians today I’m always
curious why they choose and prefer the various mediums that they do. Do you have a preferred medium of release for
your own music? What about when you’re
listening to and purchasing music?
various methods of release that are available to musicians today I’m always
curious why they choose and prefer the various mediums that they do. Do you have a preferred medium of release for
your own music? What about when you’re
listening to and purchasing music?
Mara: We wanted to
release on formats we would buy. So,
vinyl was the obvious choice, although it’s really expensive to do in
Australia. Downloading is the standard
way to make it accessible if vinyl is too expensive to buy and ship. CDs weren’t pursued because it would just be
another thing we’d have to find a place to store.
release on formats we would buy. So,
vinyl was the obvious choice, although it’s really expensive to do in
Australia. Downloading is the standard
way to make it accessible if vinyl is too expensive to buy and ship. CDs weren’t pursued because it would just be
another thing we’d have to find a place to store.
Do you have a
music collection at all? If so, can you
tell us just a little about that?
music collection at all? If so, can you
tell us just a little about that?
Mara: Everyone in the
Pink Tiles has an interesting music collection.
I’m not a collector, I just like to listen to songs mostly and sing
along to them. So, I don’t have prize
pieces, except for my Sebadoh record I got when I was about fifteen and had Lou
Barlow sign it after chasing him down the street following an in-store, but
that’s more sentimental for me. I’ve got
a northern soul section, indie rock, musicals and soundtracks, country, and
several Folkways releases of pretty weird music. I used to have a public radio show with my
friends for four years, so when you do radio, you’re always listening, and
always seeking.
Pink Tiles has an interesting music collection.
I’m not a collector, I just like to listen to songs mostly and sing
along to them. So, I don’t have prize
pieces, except for my Sebadoh record I got when I was about fifteen and had Lou
Barlow sign it after chasing him down the street following an in-store, but
that’s more sentimental for me. I’ve got
a northern soul section, indie rock, musicals and soundtracks, country, and
several Folkways releases of pretty weird music. I used to have a public radio show with my
friends for four years, so when you do radio, you’re always listening, and
always seeking.
I grew up around
my dad’s killer collection of music and I was always encouraged to not only
listen to his music, but to anything that interested me. He would take me around to the local shops
and pick me up random stuff that I wanted and I would rush home, stick on a
pair of headphones, read the liner notes, stare at the cover art and just let
the music carry me off on a trip! Having
something physical to hold in my hands, something concrete and real, always
made for a much more complete listening experience, at least for me. Do you have any such connection with
physically released music?
my dad’s killer collection of music and I was always encouraged to not only
listen to his music, but to anything that interested me. He would take me around to the local shops
and pick me up random stuff that I wanted and I would rush home, stick on a
pair of headphones, read the liner notes, stare at the cover art and just let
the music carry me off on a trip! Having
something physical to hold in my hands, something concrete and real, always
made for a much more complete listening experience, at least for me. Do you have any such connection with
physically released music?
Paul: Yes,
absolutely. I like to stare at record
covers.
absolutely. I like to stare at record
covers.
Like it or not,
digital music is here in a big way. The
crazy thing to me though, is that’s jus the tip of the iceberg, really. When you combine digital music with the
internet then you really have something on your hands then! Together they’ve exposed people to a literal
world of music that they’re surrounded by, allowed them to reach out and even
interact with those bands and in doing so, a lot of geographic boundaries that
would have crippled bands in the past have been virtually eradicated. On the other hand though, while people are
being exposed to more music than ever they’re not necessarily interested in
paying for it and with everyone being given a somewhat equal voice it’s harder
and harder to get noticed in the chocked digital jungle out there right
now. As an artist during the reign of
the digital era, what’s your opinion on digital music and distribution?
digital music is here in a big way. The
crazy thing to me though, is that’s jus the tip of the iceberg, really. When you combine digital music with the
internet then you really have something on your hands then! Together they’ve exposed people to a literal
world of music that they’re surrounded by, allowed them to reach out and even
interact with those bands and in doing so, a lot of geographic boundaries that
would have crippled bands in the past have been virtually eradicated. On the other hand though, while people are
being exposed to more music than ever they’re not necessarily interested in
paying for it and with everyone being given a somewhat equal voice it’s harder
and harder to get noticed in the chocked digital jungle out there right
now. As an artist during the reign of
the digital era, what’s your opinion on digital music and distribution?
Paul: I don’t like
giving away something that has cost time and creative energy to produce. Also, MP3s and mastered for iTunes codecs
sound like garbage, we should be digitally delivering at 24bit 44.1khz by now.
giving away something that has cost time and creative energy to produce. Also, MP3s and mastered for iTunes codecs
sound like garbage, we should be digitally delivering at 24bit 44.1khz by now.
I try to keep up
with as much good music as I can but with so much cool stuff out there it’s
hard to even know where to start sometimes.
Is there anyone from your local scene or area that I should be listening
to I might not have heard of before?
with as much good music as I can but with so much cool stuff out there it’s
hard to even know where to start sometimes.
Is there anyone from your local scene or area that I should be listening
to I might not have heard of before?
Mara: I’m a big fan
of Girl Crazy and Loose Tooth, who are probably two local bands that probably
don’t even have recordings. Heirophants
who are big fans of Country Teasers, featuring members from Ausmuteants and
Frowning Clouds, are one to watch, they’re releasing a record next
February. Over the past coupla years
I’ve enjoyed records by The Stevens and Peak Twins.
of Girl Crazy and Loose Tooth, who are probably two local bands that probably
don’t even have recordings. Heirophants
who are big fans of Country Teasers, featuring members from Ausmuteants and
Frowning Clouds, are one to watch, they’re releasing a record next
February. Over the past coupla years
I’ve enjoyed records by The Stevens and Peak Twins.
Paul: Anything Steph
Brett does… Deafwish.
Brett does… Deafwish.
What about
nationally and internationally?
nationally and internationally?
Paul: Woah, that’s a
big one. Hmmm….
big one. Hmmm….
DISCOGRAPHY
(2013) The Pink Tiles
– Cassingle – Cassette Tape – Self-Released
– Cassingle – Cassette Tape – Self-Released
(2014) The Pink Tiles
– The Pink Tiles – 12” – Cobra Snake Necktie/Love & Theft Records (Lipstick
Pink Wax Vinyl 12” limited to 250 copies, Lipstick And Leather Pink and Black
Wax Vinyl 12” limited to 100 copies)
– The Pink Tiles – 12” – Cobra Snake Necktie/Love & Theft Records (Lipstick
Pink Wax Vinyl 12” limited to 250 copies, Lipstick And Leather Pink and Black
Wax Vinyl 12” limited to 100 copies)
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014
