© Mel Garrick

Mark down another win for the blistering Aussie scene!  While Ruined Fortune seems to be as much of
an experiment in creating music as it does a band, an evolving orb of utter
madness, there’s just enough grounding in twisted and infectious pop to keep
the music moving in the right direction. 
The history of the band is an interesting one and most likely showcases
why the band’s sound comes off like it does, frantic, yet extremely cunningly
performed.  Minimalist punk and noise
elements seamlessly crash with garage rock and noise-psych a la Chrome, while
also inhabiting the body of a mid-80’s club junkie; and in the best senses
possible.  It’s refreshing to hear a band
that’s so chaotic and crazy at times, who still rely on the strength of the,
sometimes atonal but always monstrous, unholy beasts of riffs that trip blindly
groping out of the anarchy about them. 
Following up 2012’s Bulls Eye single on R.I.P. Society with a highly
anticipated debut full-length on HoZac Records, Ruined Fortune are out to prove
they’ve come to kick ass and take names! 
Armed with enough fuzz, distortion, feedback and churlishness to outfit
an army along with an unrelenting urge to use it, this music is for fuzz,
garage, psych, head, noise and punk junkies alike.  I could spend even more time talking about
how amazing the tracks that I’ve heard previewed from the Self-Titled Ruined
Fortune LP on the boss HoZac Records are. 
I could talk about how much they seem to have grown, how infectious and
heavy the riffs are, how well the almost vocals compliment the music, even
about how the production quality seems to have once again shifted to perfectly
reflect the soul of the music that it helps to produce.  Instead though, I’ll just say that not only
are Ruined Fortune another amazing Australian band, they’re one that isn’t
afraid of breaking the mold, make an original statement and they do it all
while paying homage to the greatness that’s come before them.   I guess the only thing left, is for you to
click on one of the links below, read the article and eventually, for you to
just cave in and buy the album…  Wait for
it, the urge’s coming…

Listen
while you read: https://soundcloud.com/ripsociety/ruined-fortune-bulls-eye

Or:
http://vimeo.com/39604295

http://adhoc.fm/post/ruined-fortune-black-and-red/

http://3hive.com/2014/02/14/ruined-fortune/

What is Ruined
Fortune’s current lineup?  Is this your
original lineup or have you guys gone through any changes since the band
started?

Nic:  Ruined Fortune
has had quite a scattered existence, lots of long silences between blurts of
productivity.  Our first show was
actually just the two of us and a cassette 4-track in late 2011, something
we’ve returned to for a few shows recently. 
Since then we’ve been joined by Sam Chilpin and John Duncan on stage,
and hopefully some day on record cause they’re mad dogs.

Are any of you
currently in any other bands at this point? 
Have you released any music with anyone else?  If so can you tell us a little bit about
that?

Nic:  I currently play
in the rock group Bed Wettin’ Bad Boys, the new-wave (for lack of a better
term) group Model Citizen and play solo in experimental-mode as Exotic
Dog.  I’m a complex person.  I need all of these outlets to express each
facet of my complex existence. 

Angie:  I make music
on my own at the moment.  I don’t really
have any other musical projects apart from that and Ruined Fortune.  My solo project is just me on different
platforms with a revolving backing band style, similar to Circle Pit.

Where are you
originally from?  How would you describe
the local music scene where grew up?

Nic:  I grew up in
Cairns, Far North Queensland and the music scene was poor/non-existent as far
as I knew; I could have been wrong, I have since seen evidence of weird music
existing in Cairns.  Once I moved away
people started putting on house shows and bizarre punk bands formed, which was
great to see.

Angie:  I grew up in
inner-city Sydney.  The music scene was
kinda boring, like bland indie music everywhere and mostly over eighteen venues
that seemed kinda expensive.  I eventually
gravitated towards the hardcore/punk scene here because it felt more exciting
and more dangerous, full of life.  It
felt like around that time there was a similar feeling from other people and it
kinda exploded, and for a while there was a feeling that something was really
starting and changing.  I feel a bit out
of the loop now through.

Did the music
scene there play a large part in your childhood, your musical tastes or how you
play these days?

Nic:  Not really, but
I do think the lack of any music orientated youth culture in Cairns was
somewhat of a blessing.  No “scene”,
meant no rules.  I got to choose my own
adventure through music.  I managed to
bypass pop punk or any other bland unified youth trend, so I guess that
influenced how I play.

Angie:  I feel like it
doesn’t, but subliminally it must.

Was your household
very musical growing up?  Were any of
your parents or any of your relatives musicians or extremely
involved/interested in music?

Nic:  I didn’t grow up
in a musical household, although my Dad was involved in the making of a musical
comedy cassette while in medical school under the name Doctor Funk.  I did grow up in an extremely encouraging
household though, which paired with my discovery of the “it was easy, it was
cheap, go and do it” ethos has given me the confidence to waste my life playing
music.

Angie:  My Dad is
really into rock and roll, has a great vinyl collection and would play me
Credence in my cot.  I always grew up
around great music, basically classic rock and then Aussie rock like Rose
Tattoo, Sunnyboys, etcetera.  My dad
loves ZZ Top and Blue Oyster Cult, so I got exposed to that kinda stuff as a
child too.  He never played music though;
he was a scientist by trade.  My cousin
runs operas, and has been a concert pianist and my grandfather plays amazing
piano.

What was your
first real exposure to music?

Nic:  I don’t really
have any fond or strong memories of music as a young child.  I’d say I had a pretty typical relationship
with music as a kid.  Then as a teenager
I got into hip hop, Wu-Tang, Gang Starr, Public Enemy, etcetera (note: this
music was all ten years old by then) and some more current “underground” hip hop.  This was the first time I had an intense,
active interest in music and I think the attitude and subversiveness of hip hop
paved the way for future interest in punk, rock ‘n’ roll, all sorts of
out-there experimental music and so on; in short rap rules, Geto Boys 4 life.

Angie:  I used to listen
to my dad’s music all the time, heaps of Oz rock and classic rock, and then
when I was a teenager I would stay up all night and watch RAGE, which exposed
me to more current music that really just exploded from when I was about
fifteen.  I became obsessed with learning
every single song I could on guitar and incessantly playing it over and
over.  My room was full of tab sheets
everywhere, ha-ha!

If you had to pick
on moment of music that redefined everything for you and opened up the infinite
doors of possibilities, what would it be?

Nic:  I think hearing
The Stooges “I Wanna Be Your Dog” was a key point.  I mean, it’s kind of made me re-assess what
qualities were significant in music entirely, and then when the Funhouse album
clicked the floodgates really opened.  It
was rock music divorced of any attachment to a counterculture stereotype I’d
ever seen on TV, or in movies or anything. 
The Saints were a similar phenomenon, especially considering they were
from Queensland.  I guess this lead to a fairly
standard pathway of finding those groups that preempted punk, or attempted to
subvert-the-punks, or music that wasn’t in the punk lineage by any means, but
seemed to have a similar renegade streak. 
This could be early electronic music, jazz, Beefheart, Whitehouse, lots
of stuff.  Of course beyond that, I’ve
developed other ways to navigate through music beyond the typical,
teen-against-the-status-quo route.  I
think I’m even into the group Status Quo now.

Angie:  I think it’s
hard to pinpoint this exactly, but I guess I would say when I first heard bands
like Beat Happening and DNA, weird American bands that made me realize, “Wow,
there’s no real way to define rock music anymore, it can be whatever it wants
to be”.  I wasn’t really aware of an
Australian legacy like this at that point but wow, it’s good and weird too.

When did you
decide that you wanted to start writing and performing your own music and what
brought that decision about?

Nic:  Seeing The Sex
Pistols on cable TV, hearing/reading about punk, hearing The Stooges first
record, somehow hearing The Electric Eels and Throbbing Gristle (although only
a brief snippet).  As naive as it now
sounds this was incredibly liberating, it gave me a completely new set of
values as to what constituted music and sparked my curiosity in hearing more
righteous, weird sounds.  Also my now
band mate in Bed Wettin’ Bad Boys Joe, said we should start a band in high
school.  I didn’t play anything so he
said I should sing, so I said, “Ok”.

Angie:  I wrote my
first song when I was about twelve.  It
was called “Urinal Cake”, ha-ha.  It
wasn’t too bad, actually the other day I was saying to a friend I feel like my
songwriting is regressing back to that point when I wrote songs as a twelve
year old.  I didn’t really make a
“decision” to do it.  It just happened
naturally I guess.  You can only
appreciate music so much before you make that leap in creating it yourself.

When and how did
you all originally meet?

Nic:  I met Angie as a
fan of her previous band Kiosk.  When I
moved to the outer-Sydney region of Penrith at age seventeen, they were the
first Sydney band I became a fan of and ritualistically travelled the hour in
on the train to see every show I could. 
They were a great introduction to the Sydney music underground, a
politically important band for Sydney. 
She thought I was a freak because I wanted her to sign the Kiosk 7”s
which I bought for two friends up North. 
To my surprise I was greeted as a friend at the next Kiosk show after
she researched my MySpace account and saw that I enjoyed Can, Rocket From The
Tombs, etcetera.

©Mel Garrick

What led to the
formation of Ruined Fortune and when was that?

Nic:  A band asked
Circle Pit to play a show, Circle Pit were inactive at that point.  Angie said she had a new thing going, which
was kind of a lie and we wrote the first four Ruined Fortune songs as a
result.  Angie says I volunteered to play
in her new rock band, although I remember her asking me if I’d like to start a
new band with her.  The band nearly broke
up multiple times before we even did anything.

Is there a shared
creed, ideal or mantra that the band lives by?

Nic:  Drink and drive,
you’re a bloody idiot.

Angie:  We don’t
really agree on anything but I would say subliminally it would be to not be
boring, and to cross that fine line between straight up rock and roll and the
outsider, weird elements.

What does the name
Ruined Fortune mean or refer to? Who came up with it and how did you go about
choosing it?

Nic:  I’m not sure but
I think I’m the “Ruined” bit and Angie is the “Fortune.”

Where’s the band
currently located at?

Nic:  Sydney,
Australia.

How would you
describe the local music scene where you’re at now?

Nic:  Marginalized and
mostly ignored, but kind of a healthy and interesting musical breeding ground
because of it.

Are you very
involved in the local music scene?  Do
you book or attend a lot of local shows or help to record or release any local
music?

Nic:  I work at my
favourite record store Repressed Records, run the record label R.I.P Society
and for the last two years have been the co-director of the Sound Summit
festival.  I don’t believe in being a removed
artist or expecting anything from anyone. 
I love D-I-Y/outsider music culture and believe if you love a culture
you should contribute in some way to the good of that culture, for the good of
that culture.

Do you feel like
the local scene has played a large role in the history or sound of Ruined
Fortune or do you think you all could be doing what you’re doing and sound the
way that you do regardless of location or surroundings?

Nic:  I think Sydney’s
music scene has probably indirectly influenced the sound and approach of Ruined
Fortune.  Culture and the arts aren’t
really a priority here; it’s the business centre of the country.  There aren’t many established paths or
ladders to climb in the “band scene”. 
It’s either, be a schlub and do things in the boring/correct manner, or
choose your own adventure.

I am good at a
great deal many of things when it comes to interviewing bands, or at least I’d
like to think so, but describing how bands sound to our readers is not one of
those things.  I don’t subscribe to the
fact that music can be neatly labeled or classified and as such my descriptions
get quite verbose and end up being more confusing than anything else.  Rather than me making some bizarre and
ultimately awkward attempt at describing Ruined Fortunes’ sound, how would you
describe your sound to our readers who might not have heard you yet?

Angie:  A segment of
my mind crystallized.

While we’re
talking so much about the history and background of the band I’m curious to
hear who you could cite as some of your major musical influences?  What about influences on the band as a whole
rather than individually?

Nic:  We share a lot
of favourite artists, from Blue Oyster Cult to Brian Eno but there was no real
template for this band.  The idea of
reference points don’t really work when collaborating with Angie; which is
good!  I would say there’s some type
affinity to bands like Swell Maps, Chrome and Royal Trux in the way they’re
chained to rock ‘n’ roll while simultaneously trying to break those chains.  Personally, I started fooling around with a
6-string guitar a short time before we started Ruined Fortune, so I’d consider
that an influence on our sound.  I’d been
playing bass for years before that.  I
can pin-point wanting to play guitar down to two people; Roky Erickson and Alex
Chilton.  Although I’d been a fan of both
for ages, hearing Radio City or The Evil One didn’t really make me think “maybe
I could do this too”.  It was the footage
of Roky Erickson in the graveyard, getting the Holiday Inn Tapes LP and Alex
Chilton’s Like Flies On Sherbert that made me want to play guitar.

Can you tell us a
little bit about Ruined Fortune’s songwriting process?  Is there someone who approaches the rest of
the band with a mostly finished riff or song to work out and compose with the
rest of you or is there a lot of jamming and exchange of ideas when you all get
together to play that gets distilled into a song?

Nic:  Angie and I
worked fairly collaboratively on most of the material for the album.  For example I’d bring a pairing of riffs,
some unformed words or text and we’d make it a song together.  As the songs are quite open, almost sketches
before heading into record, I think the other players on the recordings and
Andrew McLellan as an engineer/producer shaped the outcome of the record
immensely.  Essentially the structure and
lyrics stayed the same, but Andrew in particular turned a lot of stuff upside
down.  There’s was about as little
jamming as possible when recording the LP. 
It doesn’t feel like a band as much as a “project”.  When we record again, I would hope to be more
of a unit and for more things to be grappled with and jammed on, as well as
some stuff from the incredible minds of John Duncan and Sam Chiplin.

Do you all enjoy
recording?  As a musician myself I don’t
think that there’s a lot out there that beats holding an album in your hands,
knowing all the hard work, time and effort that went into it; but mostly
knowing that it’s yours and you made it and no one can ever take that away from
you.  Getting that recording done though,
especially when it comes to dealing with an entire band can be a little
stressful and nerve-wracking to say the least. 
How is it recording for you all?

Nic:  Unlike
everything else I’ve been involved in, Ruined Fortune thought about its
recording first, with performing live actually being a bit of an
afterthought.  I loved recording the
7”.  Mixing wasn’t at all painful either;
couple of beers with Owen in an afternoon and it was done.  Going into recording the album I felt uneasy,
as it was much more of an experiment than anything I’d ever done and I felt
some pressure from this uncertainty.  The
stakes felt high and I hadn’t mulled over the material at all, I don’t really
know where a lot of the ideas came from. 
Song-wise the record is a lot more out-of-body and intuitive than I’m
used to.  Everyone around me was highly
capable though, I was just concerned about getting the most out of it.  By the end of day two I was quite confident
it was going to be a good record and overall, I had a great time.  I’m always grateful for any opportunity to do
something creative.

Does Ruined
Fortune utilize studio environments for recording or is it more of a DIY
prospect where things are done on your own time and turf?

Nic:  So far we’ve
recorded in a home studio, a proper studio, and in a more DIY manner;
whatever’s appropriate for the recording and within our means.  No doubt Steely Dan wouldn’t be as magical on
a 4-track and Darkthrone wouldn’t have the same atmosphere if it was recorded
“better”.  Funnily, the first review of
our LP refers to it as “lo-fi” a few times but we actually recorded it in a
professional studio.  I guess on our
album hi and lo-fi meet at points, for example a cassette 4-track was used as
an instrument on one track.  If we’re to
make another album, I’d like to blur those lines even more.

You have a rapidly
approaching album coming in 2014.  What’s
the name of the album?  Was the recording
of the material for the full-length album very different than the session(s)
for your earlier single?  Was the
recording of the album a fun pleasant experience for you all?  When and where was it recorded?  Who recorded the material for the
full-length?  What kind of equipment was
used?

Nic:  It’s a
self-titled album.  I think we covered
most of this in other questions right?

Does Ruined
Fortune have any music that we haven’t talked about yet, maybe a single I
missed or a song that appeared on a compilation or something?

Nic:  Nope, there was
a demo CD-R floating around but I haven’t even got a copy.

With the upcoming
release of the HoZac LP right around the corner, are there any other releases
in the works or on the horizon at this point?

Nic:  No.

With the
completely insane postage rates I try to provide people with as many options
for picking up imports as I possibly can. 
There’s nothing worse than knowing an albums out, being able to afford
it but not being able to pay for shipping, it drives me nuts!  Where’s the best place for our US readers to
pick up copies of your music?

Nic:  Your local
independent record store.  If they don’t
have it hit up HoZac.

What about our
international readers?

Nic:  HoZac seems to
have good distribution, so lots of places!

And where’s the
best placer of fans to keep up with the latest news like upcoming shows and
album releases from Ruined Fortune at?

Nic:  Our Facebook or
Tumblr blog.  Or Google.  Sorry, we’re not that internet active. 

Are there any
major goals that Ruined Fortune is looking to accomplish in 2014?

Nic:  Avoid
self-destruction. 

What, if anything,
do you have planned as far as touring goes for the New Year so far?

Nic:  We’ll play some
shows across Australia once the album is out, that’s about it.  I can’t imagine doing any shows overseas in
2014, I have other bits of my life I’d like to sort out that have been long
neglected and a full schedule for R.I.P Society.

Do you remember
what the first song that Ruined Fortune ever played live was?  If so, what was it and where and when was
that?

Nic:  I can’t
remember, but it would definitely be one of the following: “Bulls Eye”, “Long
Song” (we still don’t have a name for this one), “Hope Diamond” or “Transparent
Faces”.  It was at the legendary Black
Wire Record store.  Angie and I played
live guitar and sang over a 4-track cassette machine containing multi-tracked
synth experiments I had made years earlier. 
It was quite a mess, but in hindsight I think it went quite well.

Do you all spend a
lot of time touring or out on the road? 
Do you enjoy touring?  What’s life
like on the road for Ruined Fortune?

Nic:  We’ve done
weekends away, but no real touring. 
Australia’s too big and expensive, plus too many other duties holding us
down.  Life, oh life.  Du, du, du, Du.

Who are some of
your personal favorite bands that you’ve had a chance to share a bill with so
far?

Nic:  Well the live
band came together solely for the purpose of playing with Blues Control when
they came to Australia.  I think they’re
one of the best bands to come out of the USA in the last twenty years!  We also played with Home Blitz, another one
of the USA’s finest exports.  It was
really special playing with The Native Cats in Hobart, Cured Pink on a couple
of occasions, Oily Boys and Total Control in Sydney and Melbourne’s finest,
Constant Mongrel (Interview here). 

Do you have any
funny or interesting stories from live shows or performances that you’d like to
share here with our readers?

Nic:  Most are a
fairly standard concert affair…  We
played in an old movie theatre once, though. 
That was nice.

In your dreams, who
are you on tour with?

Nic:  If we had a time
machine I would love to tag along on the Alternative TV tour where they played
the outdoor festivals with hippy collective Gong/Here & Now.  Or The Shadow Ring and Harry Pussy
“Siltbreeze presents…” tour in the early 90s. 
Or some type of Blue Oyster Cult/Alice Cooper group, triple-headline
tour around 1973.

With all of the
various mediums available to artists today I’m always curious why they choose
the various methods that they do and why. Do you have a preferred medium of
release for your own music?  What about
when you’re listening to and or purchasing music and if so why?

Nic:  I like records
best all round.  I still buy CDs
occasionally and think tapes are great for basement-spun-weirdo stuff, or punk/hardcore
demos.  Music will be much worse off
without the network of independent labels, stores, distros, publications,
etcetera.  Even with the internet, I feel
substantial music culture is still communicated via these networks in a
semi-word of mouth/community manner, that’s very similar to how things operated
in years past.

Do you have a
music collection at all?  If so can you
tell us a little bit about it?

Nic:  Yes.  In this day and age I’d probably be
considered a record collector, although I just see myself as someone that likes
owning and listening to records I feel are interesting.  I’m probably considered an obsessive; I think
I’m just extremely curious and non-complacent. 
I don’t care for coloured vinyl, or limited edition pieces, or nothing
like that.

I grew up around a
fairly large collection of music and there’s was always something awesome about
being able to wander over to the shelves of music and pick something completely
at random, pop it into the player, stare at the artwork, read the liner notes
and let the music transport me off to another dimension.  As a result I developed an appreciation for
physically released music pretty early on and have never really been able to
shake it.  There’s something about having
an album to hold in my hands, liner notes to read and artwork to look at that
serves for a rare, brief glimpse in the minds of the artists that created it
and make for a more complete listening experience; at least for me.  Do you have any such connection with physically
released music?

Nic:  I share this
connection with you Roman, although I didn’t grow up with a large collection of
music at my disposal, at least music I was interested in at the time.  I would add that I believe this physical item
commands a more active listening experience; the listener perseveres with the
record and is likely more engaged with the recording.

As much as I love
my music collection, and I do love my music collection rest assured, there’s
always been one main problem with it.  I could
never take it on the go with me.  Even
with the advent of tapes and CDs I wasn’t able to fill a duffle bag full of
enough music to keep me happy out on road trips and the like.  Digital music has taken care of that problem
overnight and when you team it with the internet has become a real game
changer.  It’s exposing people to a whole
world of music that they otherwise would never have had the chance to
experience.  On the other hand, illegal
downloading is running rampant and it’s harder and harder to get noticed
amongst the chocked digital jungle out there. 
As an artists during the reign of the digital era what’s your opinion on
digital music and distribution?

Nic:  I don’t think
Ruined Fortune really has much authority to comment on such a matter.  I do have feelings on this, but it’s too much!

I try to keep up
with as much good music as I possibly can but there just aren’t enough hours in
the day!  I spend more time than I would
like to admit searching for new music online, poring over the bins at the local
shop and chatting up the store clerks looking for listening tips.  A lot of the best suggestions I get come from
musicians such as yourselfers though!  Is
there anyone from your local scene or area I should be listening to that I
might not have heard of before?

Nic:  You could say,
start at the R.I.P Society then make a family tree of the members other groups
and so on.  The same could be said about
many starting points in Australia.  Down
here the guitar pop of Woollen Kits is only one branch away from intense synth
outfit NUN.  Constant Mongrel is one
branch from manic hardcore outfit Velvet Whip, Housewives is only branch away
from Ghastly Spats and Teen Ax, two branches away from Pleasure Bros.  Love Chants could act as a gateway to the
world of Alberts Basement or Matt Earle’s Breakdance The Dawn.  Bitch Prefect would lead you to The
Friendsters and Roaming Catholics.  It’s
all connected, whether they like it or not!

What about
internationally?

Nic:  Neil Michael
Hagerty still makes great records with his group The Howling Hex.  I think he’s now based in Colorado.  The mid-west of America is still the most
fruitful region, with tons of great punk, hardcore, basement rock, trip metal
and other weird musical activity. 
Memphis is cool and has a strong link to Australia; I love True Sons Of
Thunder a lot!  Always worth checking in
with Philadelphia’s Richie Records and whatever’s going on with Siltbreeze
Records.  Mordecai are from Butte,
Montana (ha-ha).  Dan and Letha Melchior
reside in North Carolina and sure do make great records.  It’s worth keeping tabs on Graham Lambkin’s
work, plus everything on his record label, KYE. 
He resides in Poughkeepsie, New York. 
From the UK I like the punk group Good Throb, Call Back The Giants and
the trendy electronic music group, Factory Floor.  Spain seems to be one of the world’s leading
producers of raging hardcore.  I’m
actually uncertain of the country of origin for many of the PAN records
artists, but I know the label owner is Greek and has also lived in Germany;
some of that stuff is real good!

Thanks so much for
taking the time to complete this thing, I know it was kind of a monster and it
can’t have been easy to finish. But hey, you’re done now and hopefully it was
at least a little fun to look back on everything you’ve managed to accomplish
and done so far! Is there anything that I might have missed or that you’d just
like to take this opportunity to talk to me or our readers about?

Nic:  Dear Sir/Madam

I am a staff of Natwest Bank London. I am writing following
an oppurtunity in my office

that will be of imense benefit to both of us. In my
department we discovered an abandoned

sum of $22.5million Dollars (twenty two million five hundred
thousan Dollars) in an account

that belongs to one of our foreign customers Late Mr. Morris
Thompson an American who

unfortunately lost his life in the plane crash of Alaska
Airlines Flight 261 which crashed

on January 31th, 2000 including his wife and only daughter.

You shall read more about the crash on visiting this site.

http://www.cnn.com/2000/US/02/01/alaska.airlines.list/

and

http://www.nativefederation.org/history/people/mThompson.html

Since we got information about his death, we have been
expecting his next of kin or relatives

to come over and claim his money because we cannot release
it unless somebody applies for it

as next of kin or relation to the deceased as indicated in
our banking guidelines.

Unfortunately I learnt that his supposed next of kin being
his only daughter died along with

him in the plane crash leaving nobody with the knowledge of
this fund behind for the claim.

It is therefore upon this discovery that I and two other
officials in this department now

decided to make business with you and release the money to
you as the next of kin or

beneficiary of the funds for safety keeping and subsequent
disbursement since nobody is

coming for it and we don’t want this money to go back into
Government treasury as unclaimed

bill. The banking law and guidelines here stipulates that
such money remained after five

years the money will be transferred into banking treasury as
unclaimed funds.

We agreed that 20% of this money will be for you as foreign
partner, while the balance will

be for me and my colleagues. I will visit your country for
the disbursement according to the

percentages indicated above once this money gets into your
account. Please be honest to me

and my colleagues trust is our watchword in this
transaction. Note this transaction is

confidential and risk free.

As soon as you receive this mail.please do your very best to
get in touch with our

(FOREIGN PAYMENT DIRECTOR)

email at: lewis_alderwood@virgilio.it  or lewis_alderwood@zwallet.com 

Please note that all necessary arrangement for the smooth
release of these funds has been

finalised. Our Foreign Payment Director,Dr LEWIS
ALDERWOOD.will give you specific instruction

on what todo. Please in your response include your telephone
number for easy communication

between us.

Best Regards!

Mr Crawford Leeds

DISCOGRAPHY

(2012) Ruined Fortune – Demo CD-R – Self-Released

(2013) Ruined Fortune – Bulls Eye – 7” – R.I.P. Society
Records

(2014) Ruined Fortune – Ruined Fortune – digital, 12” –
HoZac Records (Gold Vinyl limited to 150 copies, Black Vinyl limited to 450
copies)

© Mel Garrick

Interview made by Roman Rathert/2014

© Copyright http://psychedelicbaby.blogspot.com/2014