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?
It’s changed three times since we started. The lineup as of October 2014 is:
Paul Maybury - lead 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
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.
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?
Mara: Not me. The Pink Tiles is the first band I’ve ever 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.
How old are you 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.
Victoria: Originally 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?
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.
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.
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.
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.
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?
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.
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.
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.
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.
What do you 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.
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.
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.
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.
When did you 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.
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?
Paul: As stated 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.
What was your 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.
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.
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.
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.
How did the 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.
Paul: I met Mara at work and was immediately bewitched and bedazzled.
When and what led 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.
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?
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.
Is there any sort 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.
Leigh: Yeah fuck the bullshit.
Paul: Fuck the 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?
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.
Do you feel very 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.
Paul: We go to lots 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?
Paul: Everything is 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?
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.
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?
Mara: As a band? Alex Chilton Like Flies on Sherbert for it’s shambolic-ness, yet awesomeness.
Paul: I’m a huge fan 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?
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.
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?
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.
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?
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?
Paul: Both are 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?
Paul: We work hard to 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.
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.
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.
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?
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.
Paul: We recorded 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?
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.
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.
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?
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.
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?
Mara: We hope to get 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?
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 email@example.com.
What about our 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?
Mara: Our website 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?
Mara: Play more 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?
Mara: The Pink Tiles 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?
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.
Who are some of 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.
In your dreams, 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.
Paul: Wreckless Eric 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?
Paul: Nothing 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?
Paul: Yes and 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?
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.
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?
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.
Do you have a 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.
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?
Paul: Yes, 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?
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.
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?
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.
Paul: Anything Steph Brett does… Deafwish.
What about nationally and internationally?
Paul: Woah, that’s a big one. Hmmm….
(2013) The Pink Tiles – 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)
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014