It is Rocket Science… Rocket Science interview by Di / Photo courtesy of Rocket Science Bursting forth in a blinding flurry from the Australian rock scene around four years ago, four piece Rocket Science have rapidly grown in stature and popularity in their home country. Their live shows and manic, frantic and fresh approach to rock and roll has carved the way for much more interest as they prepare to release their second LP, Contact High, here in UK. Di was recently given the opportunity to interview them via email and find out more about the band who promise to make this summer one to remember. How did the band form? Roman played guitar in The Martians. During that time, he reacquainted himself with keyboards, which he played as a youngster. He had in mind a new project, based around the organ, and wrote and demoed a batch of songs (including Burn In Hell, Copycat and Six Foot 4). He quit The Martians. Roman invited me to a rehearsal after my group, The Freeloaders had recently disbanded when our singer/guitarist/main songwriter, Guy Lucas passed away. I played in another band with Paul (Maybury, guitar) so I recommended him for the new project. Roman played in another band with Kit (Warhurst, drums) and invited him along. After a “one-off” rehearsal, we unanimously agreed to continue full-time. Later that evening at 2am, unable to sleep, Paul phoned me and asked, “was that as good as I thought it was?” I had to say that it sure was. We recorded that rehearsal on 2-track and included the instrumental, Welcome Aboard The 3C10 on our first Australian album.

How would you describe your music?
Rocket Science Music. I dunno, how about revenge on the revenge of the nerds? It’s all anarchy innit?

What kind of impact / effect do you want to have?
1. Adrenalin rushes, endorphin surges and general hormone overload. Body chemistry imbalance, motor-skill dysfunction and neuron disconnection.
2. If we are to be of influence to new bands, I’d like them to show initiative and respect by not sounding anything like us.

How important do you feel success, particularly commercial, is in this country?
Cliché warning #1: I have a love hate relationship with the idea of commercial success. Commercial success is a means to an end. Commercial success is important in that we need money to live, and like everybody else, I feel that I deserve to be paid for the hard work I do. Playing in a band has been a labor of love for a long time (and still is), but it’s so much more than a hobby or a business, it’s my life. The road to ‘success’ is paved with compromise and sacrifice, but like a moth to a flame, we all seem to be drawn to it. If it means that I can keep writing and recording new material with the people I choose to work with, then I am prepared to make some sacrifices. The only success that really matters is in the joy I experience when I create music that I enjoy, with people that I enjoy making music with. The main challenge is to enjoy, or at least tolerate all the associated bullshit. We have worked hard over the years, and it’s great that people enjoy our music outside our neighborhood and we get to visit new places. The desire for commercial success is a bittersweet and strange game (my sermon for day- money in the collection plate as you leave).

NME described you as 'The Hives being run over by a truckload of Small Faces' … an accurate analogy of your sound?
Sure, why not? I guess the point is to attract like-minded people to our music. Will that reel ’em in? Maybe. I prefer ‘more fun than a barrel of monkeys rolling down Mount Vesuvius’. We sound like whatever you reckon we sound like.

Cliché warning #2: Comparisons are a reflection of those making the comparison and there’s not much I can do about it.

Following in the same vein, given the chance, which bands would you like to run over?!
I prefer to run away from them. Having said that, I do have a chuckle at those anarchy-with-a-note-from-mum retail-punk bands mincing about at the moment.

Who are your musical influences?
Current and former band mates of mine have been influential over the years, especially Guy Lucas from The Freeloaders/Philisteins and Renestair EJ from Lubricated Goat/Bloodloss. Their approach to the art form has deeply affected the way I look at and create music. Of course, playing with Roman, Paul and Kit for years has altered my outlook too.

First and last albums you bought?
First Album: Double Platinum by Kiss.
Last Album: Bought 20+ in one hit including- Eyeball Of Hellby The Electric Eels, Riffin’ by The Cherry Valence, Metal Machine Music by Lou Reed, The Complete Works Of Public Nuisance, The New Geocentric World Of Acid Mothers Temple, De Capo by Love, Paul Revere & The Raiders Greatest Hits, Alive And Dangerous by Thin Lizzy and Arnold Swarzenegger’s Total Body Workout (honestly- Arnold counts “one, two, three, four, f**k you icehole” and “Sarah Connor?” over such classics as It’s Raining Men).

Most of your press revolves around your live shows. Is this a definitive point of what you love doing?
As much as we love the songwriting and recording process (probably more so actually), a live performance is the best way to express and expel energy. Not all our music is high energy, some of it is understated and dark, but on stage we keep that side to a minimum. I think that a live show needs to be exciting, and with the aid of dynamics, reach an appropriate intensity level. I have no trouble with self-indulgence per se, but not in public please.

Are you playing any summer festivals?
Reading & Leeds at this stage, hopefully more tba.

Your dream festival line-up - we’ll be generous and allow deceased artists!
Those with an aversion to shopping lists, continue no further.
1. Buy a copy of The Ultimate Revisionist Guide To Great Live Performances In Pop History.
2. Via time machine, transport the ultimate lineup of each artist from his or her ultimate period to the present.
3. Each stage to be continuously looped for days and days so no one will need to miss anything.
4. The festival programme would look something like this. Playing Times TBA.

The ‘Acid Visions’ Stage
Funkadelic, The Thirteenth Floor Elevators, The Silver Apples, Acid Mothers Temple, Hawkwind, Os Mutantes, Pink Floyd (67), Plasticland, The Shaggs, Neu!, Can, The Boredoms, The Misunderstood, Spacemen 3, Groep 1850, Brainticket, Bonzo Dog Dooh Dah Band, Goblin, The Damnation Of Adam Blessing, Magma, Boris, The Stone Roses, Anandar Shankar, The Butthole Surfers, The Dandy Warhols, Miles Davis (c70), Sonic Youth, The Soft Boys, Korla Pandit, Sun Ra.

The ‘All Black And Hairy’ Stage
The Music Machine, Question Mark & The Mysterians, The Missing Links, Chocolate Watchband, The Pretty Things, Q65, The Sonics, Davey Allen & The Arrows, Love, The Who (c66/67), Screamin’ Lord Sutch, The Creation, Paul Revere & The Raiders, The Monks, The Move, The Birds, The Litter, The Electric Prunes, The Sorrows, The Masters Apprentices, The Pleasure Seekers, The Seeds.

The ‘Kick Out The Jams Brothers & Sisters’ Stage
Chrome, MC5, New York Dolls, Velvet Underground, Captain Beefheart & The Magic Band, The Stooges, Blue Cheer, Electric Eels, The Birthday Party, The Liars, The Lyres, Freeloaders, Rocket From The Tombs, Beasts Of Bourbon, White Stripes, The Scientists, Motorhead, Miracle Workers, The Damned, The Philisteins, Lubricated Goat, The Real Kids, The Flamin’ Groovies, The Ramones, The Cynics, Mudhoney, The Drones, Guitar Wolf, Fu Manchu, The Mummies, Kyuss, Redd Kross, The Modern Lovers, The Bloodsucking Freaks, Dead Moon, The Morlocks, The Cramps, Thee Headcoats/Mighty Caesars/Buff Medways, Teengenerate, The Jesus & Mary Chain, Black Flag, Wreckless Eric, The Dirtbombs, The Gories, BRMC.

The ‘Family Affair’ Stage
The Zombies, Ike & Tina, Scott Walker, The Carrie Nations, Serge Gainsbourg, Nancy & Lee, The Ronnettes, Puffy, Burt Bacharach, The Shangri Las, Sly & The Family Stone, The Beach Boys, Supergrass, Suzi Quatro, The Bee Gees (68), Big Star, Cheap Trick, The Carpenters, Abba, Slayer, The Sweet, T-Rex, The Kinks, AC/DC (c76), Black Sabbath, Iron Maiden, Motley Crue (81), Van Halen (78), Thin Lizzy, David Bowie, Kiss (76/77).

The ‘Roots, Bloody Roots’ Stage
Johnny Burnette Trio, Eddie Cochran, Gene Vincent & His Blue Caps, Hasil Adkins, Legendary Stardust Cowboy, Johnny Cash, Howlin’ Wolf, Etta James, Nina Simone, Duke Ellington, Charlie Feathers, Thelonius Monk, Wanda Jackson, John Coltrane (any era, but 67 would be far out), Clara Rockmore, Elvis (55).

Contact High is released on 21st July 2003. Thank you very much to the band for taking the time to answer our questions and special thanks to Ian Cheek. Visit www.myspace.com/RocketScience for more.

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