Seedy Jeezus recently released ‘The Hollow Earth,’ another killer album taking influences from 60s heavy psych to 70s full-throttle space rock.

The band found its feet in 2015 with the release of their debut album, which was followed quickly by an etched tour 12” and a 7” single. Since that time the band has released 2 studio albums, 2 etched tour 12” records, 4 x 7” records, 3 CD’s EP’s, a limited 12” bonus release and 3 x Live albums.

Photo by Stephen Boxshall (Rag and Bone photography)

“In Melbourne we had some crazy lockdowns, some of the strictest in the world. There was a window between lockdowns where we had the chance to get a group of friends together without social distancing et cetera so we took the chance to get into a studio, and have a bbq, catch up and a jam. Mark flew in from Tasmania for a rehearsal the day before the recording session. What we got was a great testament to where we were after lockdowns and very little time together. During lockdown Lex had learnt to play ‘Voodoo Chile (Slight Return)’ and dropped it on the band to cover it… we selected a mix of old n new for the session. We played 2 sets, and thought we’d get an album out of it, but as it turned out we had enough for a double album. This went down at Studio One B here in Melbourne, with David Warner engineering it all. Tony Reed came on and mixed n mastered what we sent him, and did a killer job. Stephen Boxshall took the cover photo and with a little help from our friends it all came together. We hope you like it… What’s next? Well… we have the material for the next studio album almost sorted, and the artwork… It’s just a matter of getting together in the studio and laying it down. So standby for more material.”

Paul Crick – Bass
Mark Sibson – Drums
Lex Waterreus – Guitar/Vox

“We’ve never been a band that likes to lock in how a song goes”

Would you like to talk about your background? How did you first get interested in music?

Paul Crick: I’ve always been interested in music, both creating and performing from an early age and this interest increased when my dad brought home the Beatles Collection box set when I was about 7 years old. As I got older I was always friends with other people that had music as a priority in their lives. I got interested in Australian bands when I was 14, especially Midnight Oil. I guess they tipped me in the energetic guitar driven direction. After that I liked punk, the Sex Pistols and Dead Kennedys. Then again I liked Australian music; the Cosmic Psychos, Hard-Ons, the Meanies, Budd, Christbait, et cetera. They were always accessible while growing up in Sydney and then moving to Melbourne. I just ended up consuming more and more music and getting into more and more genres.

Lex Waterreus: I had always loved music. Ever since I was a kid, my dad played guitar, but sadly he had no interest in teaching or showing me anything. He was a complicated person. My mum on the other hand took me to find a teacher, but I didn’t find a teacher I liked, so I continued to figure it out myself by ear… but either way, she helped me get a Hondo Stratocaster and encouraged me to learn. I had made a friend in the local music shop who had started to teach me about chords, and songs and well… the basics of playing guitar. He was the catalyst to me realising I could maybe do this.

Was there a certain moment when you knew you wanted to become a musician?

Paul Crick: In a science class in 1984 a friend of mine wanted to get a band together and I offered to buy a bass so I could join. I had an electric guitar and traded it in on a bass. We found a drummer and singer and off we went. I still have our first ever performance on VHS at a friend’s birthday party.

Lex Waterreus: There wasn’t any real particular moment. I remember being 8 years old and writing out lyrics to songs and taking them to school (I was THAT kid). I always just loved music, but I remember sitting up one night and learning by ear ‘The Messiah Will Come Again’ by Roy Buchanan. That was a wow, I learnt that, and then it was, “What’s another song?” I probably played it wrong, but to my ears it sounded right.

What kind of records/cds/tapes did you own when you were a teenager?

Paul Crick: I’ve always bought records or CDs. My first record was the ‘DEV-O Live’ by Devo and an Adam and the Ants single from about 1981. I had some Jimi Hendrix Experience and Led Zeppelin albums but when I was a teenager I always liked less “popular” bands. I’m still not sure why. I really appreciated the DIY ethos but just loved the self-made/recorded idea of bands like early Ween, Alice Donut, Mudhoney, Steel Pole Bathtub and the Melvins. I usually learned to appreciate the classic bands in reverse order working back from the small periphery bands back to bands like Sabbath, Pink Floyd, et cetera.

Lex Waterreus: I got into buying everything from certain bands Jimi Hendrix Experience, Deep Purple, Black Sabbath, T. Rex (although I discovered with T. Rex not everything was great), Thin Lizzy et cetera. I still have em. I also really loved New Zealand music. I had been collecting 60s/70s rock. A NZ band Human Instinct had a buzz in mates circles, cause they had a song ‘The Stoned Guitar’. So I tracked the albums of NZ bands like that, and Australian. Some of those bands still reverberate for me when I listen to them Master Apprentices and Billy Thorpe and the Aztecs being two of them.

Would you like to speak about your first bands?

Paul Crick: The first bands I played in were just horrible joke bands at school. Making up stupid songs with no real talent but I guess this fuelled my passion for odd, punk, homemade/recorded music where emotion and capturing excitement and difference was way more important than polish and amazing talent.

Lex Waterreus: My first band was made up of mates, my best friend from school and my next door neighbour and my neighbour’s best mate. We would play covers, Hendrix, SRV (Stevie Ray Vaughan), Jane’s Addiction, Smashing Pumpkins, Faith No More et cetera. We were called Slight Return after the song ‘Voodoo Chile (Slight Return)’. Often we’d play 3 nights a week for 3-6 hours a night. 6, if it was a party et cetera. We travelled around NZ, having a great time hanging out.

Lex [Waterreus], you were in an interesting group called Boxmonster. The band released ‘Picasso In A Planecrash (The Last 74 Minutes)’, would you like to share some memories from being part of that before we move on to Seedy Jeezus?

Lex Waterreus: Boxmonster was a great band. We had so many Spinal Tap moments. Our first gig was at this festival show day and our bassist Kim booked it. She didn’t know much about it but got us on. So we turn up all the hair and noise. We were in between a woman dressed as a fairy and surrounded by small children singing kiddie songs … and I think after us was some other just as odd performance, probably a guy in leotard and someone dressed as a Lion. So we are all … what the fuck are we doing here ??? We set up … we started playing our slot on the stage just as the Fairy lady finished. We are screaming and jumping round the stage distorted guitars et cetera … kids are now crying and moving away … and adults are watching. We found our audience …. It’s going ok. Then this ice cream truck drives in front of us between the stage and audience … and stops!!! Right there. People are now yelling at the driver to fuck off. We are now playing in a truck. It was hilarious. That was a fun gig.

Boxmonster was me, Ray, Kim and Den. We’re all still good mates. We chat and are still musicians. We recorded that ‘Picasso In A Planecrash (The Last 74 Minutes)’ album ourselves and released it. I took the plunge to max out the credit card to pay for it. Once it was out … Ray and I went back to NZ for a holiday. Ray was my neighbour growing up and we had always been in bands together. We went home and then when we returned it was all over. Boxmonster never broke up, we just didn’t gig again or rehearse. Sooo Spinal Tap. There’s a whole lot of learning that I got from that band. Many great moments. But the funny ones are gold.

Paul [Crick], and you also played with Lumber? Tell us more about it?

Paul Crick: Lumber was the first band I played in that involved playing in bars and putting out recorded music. We were pretty slack and poor so we didn’t release much but we played for a long time and it was about socialising and having a good time. It involved friends from school and basically went from 1994 till about 2014. We released two albums, the first one was distributed in Europe. They took influence from our favourite bands at the time. Think if TAD, the Cosmic Psychos and Iron Maiden made a record together. Dan the guitarist was and still is a very talented guitarist and was great to play with and watch.

How did you guys get together and what led to the decision to start a band?

Lex Waterreus: I saw an ad in a local paper for a guitarist to play 60s Mod songs. I thought I could play that. I hadn’t played for maybe 8 years. My guitar was sitting under a couch at my boss’s house for ages. So I got it back and started practicing. It was difficult as I had left hand issues. Severe pain in the joints when playing A minor chords et cetera. So I auditioned and was accepted. I met Chris Clarke (original bassist in Seedy Jeezus). A few things changed with the line-up and it began not being the band I had signed up for so Chris and I decided to leave and find a drummer that fitted in more with what the band was beginning to become. Seedy Jeezus. I placed an ad on Gumtree. It’s like an online trading post. We auditioned a few drummers – then Mark phoned me up. We click immediately on the phone. I knew he was the guy … We auditioned and he was a dead certainty. We had our second jam and it happened … When you play with a musician and it feels like it’s one mind. That was how jamming with Mark was for me. We clicked immediately. Like siblings. Soon Chris left and we got another bass player, Lief. We played for a while and then he had other musical commitments and had to prioritise those. Paul and I were playing in an improv, space rock band called Slocombe’s Pussy- imagine Hawkwind meets Comets on Fire all dressed in Sunn O))) cloaks. I played more shows than I did rehearsals. Anyway when Lief left I rang Paul and asked if he knew anyone and he said, “Yeah, me.” I sent him a tape and when we had our first rehearsal he knew all the songs we knew we were gig ready. And away we went…

How did you come up with such a cool name?

Lex Waterreus: Well Mark, Chris and I are sitting round throwing names and Chris says Seedy Jesus… and explained he used to DJ with Compact Discs and he was called Compact Disc Jockey Chris – aka CD JC as in Jesus Christ. We all agreed that was a great name and I suggested we change Jesus to Jeezus so no one would confuse it as a religious connection. The name stayed.

In 2014 you released your debut album. How do you recall those early days of the band?

Paul Crick: I look back fondly at recording and releasing our debut album. Early on we thought Seedy might just be like our other bands that were fun and an outlet for our passion for music but never really amounted to much. We knew as a trio that we clicked and had something but you never know what the future holds. We used to play all the time and everywhere we could. We released a few live CDs of shows we did and this gave us something to sell on the merch table. We went up to Canberra, Sydney and Wollongong and played with a few bands like The VeeBees who I knew from the Lumber days. We played lots and lots of shows. I would play a one o’clock show in St Kilda on a Thursday night and basically go home and then go to work straight after. The Basement Apes music TV show was just starting and we got a few shows on there and that got some of our music out there.

Lex got to know Tony Reed a few years before and we all loved what he was doing with Mos Generator and his other side projects. We knew if we recorded an album and released it, it would have to sell itself off the turntable if it was to sell in Europe and the U.S. because we never thought we would have a chance to tour overseas. Lex put it to Tony if he would produce it and he said he would love to. He and Audrey came over and they flew from Seattle in the depths of winter and landed in Australia in the middle of a two week heat wave. We recorded it at a venue called the Tote. It’s sort of the CBGB’s of Melbourne. We love to record live and just cast the net out to see what we come up with. Tony had some great ideas to record like this in a bandroom and away we went. We recorded for a week and everyday was about 42-45 degrees. I guess as a band we have always found another gear when faced with adversity and it came out really well. The 14 minute version of ‘How Ya Doing?’ was recorded in one go, first take. We had played at The Tote lots of times so we were comfortable there and we were really well rehearsed and so it recorded really well. We knew Désirée Hanssen (Lay Bare Recordings) in Nijmegen and sent her a recording and she loved it so we put it out in Europe on her label and it sold off the turntable really well. We toured and played Freak Valley and met up with her in Holland and we’ve had a great and encouraging relationship with her ever since. She’s the BEST!

Tony is awesome too. He’s very talented and has a great ear. He has so many sides to his musical interests and is a wealth of information across song structure, production, genres and history. He came over and recorded our next album ‘Polaris’ and will come back in January to do our next recordings. He is like the fourth member of the band…

Lex Waterreus: When Seedy Jeezus formed, and we’d had 2 bassists, Chris and Leif, then Paul joined. He was the catalyst for the album happening. We had material prior to his joining, but the idea of LP or CD was not something we (Mark n I) were thinking of. We’d made homemade CDs, and demo’d stuff and recorded things, we sold those at gigs… but a proper album really came into focus when Paul joined. The buzz for me was when Tony Reed entered the picture. I was in awe of ‘Late Great Planet Earth’ from Mos Generator, and his subsequent work was fantastic. We were friends, I had done some artwork for Mos Generator, and that opened up the dialogue of Tony working with the band. When Tony arrived and we recorded the album in the Tote, it was mid heatwave about 44 celsius temps (110 Fahrenheit). Tony melted… it was really difficult.

I’m very familiar with ‘Tranquonauts’. You did a collaboration with Isaiah Mitchell [Earthless]. Were you fans of his band before or how did the collaboration come about?

Paul Crick: We all loved Earthless from their early days and went and saw them every time they came out to Australia. We even played at Freak Valley in 2015 with them so we had met Isaiah many times. The whole band, Mike, Mario and Isaiah are all unbelievable musicians in what they do and Lex was talking to Isaiah about doing some sort of collaboration together. We were recording regularly at Studio OneB in the northern suburbs of Melbourne and had some long jams we had recorded with a keyboard player Matt Murphy. He is the keyboard version of Isaiah. We sent them over to Isaiah and he put his guitar parts on and we loved it so we put it out. We have more ‘Tranquonauts’ albums in the pipeline. Isaiah also came and toured Australia with us as his backing band. We played many of the songs that inspired him during his youth and it was a great time. I got introduced to so much music and had some awesome times on stage especially when we decided to elaborate on the songs or really jam them out- Lex and Isaiah can just take off!

Lex Waterreus: I met Isaiah on his Black Elk Medicine Band tour of Australia. Like anyone who meets Isaiah for the first time, you feel you’ve been friends forever. I then did some artwork for the following Earthless tour, and we talked and kept in touch. I felt comfortable enough to ask him if he’d play on the track, he heard it, and was down for it. From there we just kept in touch with him… The ‘Tranquonauts’ came out of a conversation, it was all pretty easy … then when we toured the ‘Tranquonauts,’ that was a lot of fun too. We had a lot of laughs and great times, and played some killer shows.

How was it to work with him?

Paul Crick: He’s great! It’s a long time on the road and a short time on the stage, but he makes it great the whole way!

Lex Waterreus: Isaiah is a pro. I don’t wanna sound gushing, but he really is a pro. His attitude, his approach, his performance. I’ve learnt a lot from him by just watching him play. He has zero ego, and if you want to learn about what he is doing, he will show you, or explain it … nothing is secret, he shares the knowledge. He’s great to work with.

Would you agree that the real sound of your band must be experienced live? There’s a fantastic live record you released, ‘Live At Netphen – Freak Valley 2015’. How do you like the captured sound?

Paul Crick: That tour was our first time playing overseas. We toured with Freedom Hawk from North Carolina. They are just magnificent guys and the tour was great. We played in so many cool venues and were shown such wonderful hospitality. I guess one of the highlights was when we played at the Freak Valley Festival. It’s one of the best festivals ever! I’ve been going to Meredith and Golden Plains Festivals for more than 15 years but Freak Valley has a similar “No Dickheads” policy but it’s all RAWK and ROLL! We played shows every week in the lead up to the tour and so we hit the ground running. The crowd were so receptive and just dug it! We met such wonderful people. People we still communicate with now. Not just people in the industry, but fans who came and saw us at other shows and who live and breathe SEEDY! One thing about the band is the dedicated fans. We love them. Anyway, we got the live recording and loved it so we put it out. Jason Fuller (Goatsound) mixed it and Lex made the cover of us playing and it had the Status Quo ‘Blue for You’ vibe. I love it!

Lex Waterreus: Our debut album is essentially us live, and live is where we really shine. We try to push the song’s arrangements and feelings into ideas. When Mark, Paul and I first met, we clicked and could read each other without having to explain where we were going. We feed off each other’s energy. I love the ‘Live at Freak Valley’ album … although, when I listened to it for the first time, I was thinking, what am I doing … Then I remembered I was bunny hopping and jumping off monitors et cetera having a real blast. I wasn’t playing for the recording which is what you do in a studio, I dug it. It’s what Live is about, the performance onstage.

In 2018 you released ‘Polaris Oblique’, would you like to share some words about it?

Paul Crick: We had been listening to tons of Pink Floyd and I guess that comes out in some of the songs. It’s got the usual Seedy songs on there but we also wanted to try our hand at songs that give time and space too and still have an effect on the audience. It’s sort of easier to get the audience going with the fast paced mayhemic songs but we wanted to work on songs that had more build up and the release of the explosion. Songs like ‘Dripping From the Eye of the Sun’ and ‘Treading Water’ lead us to experiment with that Dave Gilmore up on ‘The Wall’ sort of solo vibe, whereas PF fans it sort of makes you wanna laugh and cry at the same time where it assists you to expel all the shit from your week and celebrate the good. I mean I never think we would be as good as the bands we worship but I don’t mind hitting the barn door when compared to them. ‘My Gods are Stone’ was a little different for us and having both Tony Reed and Isaiah Mitchell play on it makes it this really cool country/truck driving thang, where the guitars can communicate with each other. It was also cool with the diversity of the record when you get feedback from people about the different songs and what people use your music for. A guy at a show told me he puts on ‘Oh Lord, Pt, 2’ before he goes out every weekend to get him in the mood. Ha, who would have thought!

What about your collaboration with Tony Reed [Recorded Live In Liège 18-07-2018]?

Paul Crick: I couldn’t make the Euro tour in 2018 so Tony Reed strapped on the axe and did the shows. They had a great tour, again meeting some really awesome people. A few of the shows were recorded and we chose this one to be a snapshot of the band playing with Tony playing bass.

Lex Waterreus: We played the tour with Tony as Paul wasn’t available to tour. Tony knew all the material from working on it, and he fit in easily to the band. That gig was a lot of fun. It was on a River Boat in Liege. It’s a killer venue. The great thing also was the folks we met at that gig became great friends. That’s the cool thing about Europe, the venues and the folks we meet are totally epic. They enter your lives and you know 10 years later and you still chat to them and catch up with them.

And here we are discussing your latest album, ‘The Hollow Earth’. Was there anything you did differently this time around?

Paul Crick: I had purchased a few Levitation live in lockdown sort of records over the period and thought we should do something similar. Melbourne has been one of the most locked down cities in the world. So when we had a chance at doing something in a closed space we recorded two sets at Studio OneB and invited some really close friends of the band. We put on a BBQ and everyone bought food and booze. It was awesome. I guess it’s not something bands usually do and it ended up being such fun, I’m sure we will make it an annual event! We had a few new songs that will make an appearance on our next releases and as it says on the album. Lex learnt ‘Voodoo Chile (Slight Return)’ while he was killing time in lockdown and then “We had to learn it….” It all came out really well and it sort of reinforces the things we do when we play live. Lex just unleashes in the middle of ‘Voodoo,’ when Mark and I sort of took it in a slight Krautrock vibe, something I don’t think anyone has done to Hendrix. The set list basically sorted itself out and it went so nicely on two albums. It works really well. I guess it’s a taste of what’s around the corner when we record again with Tony in 2023.

Lex Waterreus: We debuted new material before it was released on a studio album. We went back to the way we originally played ‘How Ya Doing?’, with a lot of jams and solos.

<a href="https://seedyjeezus.bandcamp.com/album/the-hollow-earth-double-live">The Hollow Earth ( Double Live ) by Seedy Jeezus</a>

How’s this last year under lockdown been for you? Have you found the isolation creatively challenging or freeing?

Paul Crick: Just like everyone else, lockdown was not good in most ways but it did allow us to listen to lots of music and tinker away ourselves. We couldn’t get together as in Melbourne we also had curfews and 5 km travel limitations. So when we got back together we almost had too many ideas so that brought about another issue of how to store all those ideas and not forget them. Anyway I guess it’s a good problem to have.

Can you share some further words about the recording and producing process?

Paul Crick: We have some ideas about the sound, vibe and tones we want our recordings to have. The debut we wanted that real live, frantic feel but with ‘Polaris’ we wanted to mix in that emotional tonality. With the next recordings I guess we want to develop our sound even further. I bought a Mellotron over lockdown and we’ve been messing around with how we incorporate that into our recorded and live performances. Tony Reed is also just awesome at those musical conceptions and with him at the helm we’re in a great place to develop and push out sound. I don’t know if you’ve heard the last few Big Scenic Nowhere albums but Tony has done some amazing stuff with the production and recording of those. Just exceptional.

Lex Waterreus: Paul and I are mapping out the next album. Mark lives in Tasmania so he can’t rehearse every week to help write, so Paul n I are working to and demoing stuff to send him. But with the past 2 albums, we write the material, and Tony Reed when he comes produces the stuff and adds his vision to it, total genius. Tony brings something unique to how he produces.

Can you tell us about the instruments, pedals and effects you are using?

Paul Crick: Personally, I’ve got a swag of fuzz pedals, some vintage and some new and others are clones of classics. At the moment my main sound uses a clone of a Lovetone Big Cheese/Brown Source that Tom Graham made me at Big Cheese Pedals. He’s the greatest guy! I grew up loving the fuzz sound of Ross Knight from the Cosmic Psychos and his Shin ei fuzz pedal, but I really like the technical proficiency of Colin Greenwood from Radiohead. His fuzz sound on Exit Music is just mind blowing. He used a real one – but I don’t have the $1500 lying around to finance that operation. I also use a light theremin in ‘How ya Doin?’ and on some parts in the ‘Tranquanauts’ album. I have a few versions of the ones from Electro Faustus. I had one modded so it was easier to use during the day, they are awesome. I also use a Big Bottom pedal from Tyms Guitars in Brisbane. They are an excellent accessory to use to keep the bottom end up when using distortion pedals.

Lex Waterreus: Primarily I play USA Fender Statocaster 88-93, I play these as the necks all feel played in when I pick them up. The effects I use are reasonably common. I use Firehorse FX, they’re a NZ company, small imprint on the board with a BIG sound, I also use Hotcake a NZ brand, a Strymon Lex pedal, Tyms’ Seaweed and Fuzz Munchkin … essentially though, I use a wah, distortion/od/fuzz, chorus, flange, delay. I have multiples of some on the board as I don’t like to tweak pedals onstage, I usually forget settings, so I tape over them so they don’t move.

How important is improvisation for you and how do you usually approach music making?

Paul Crick: I guess free running and improvising on stage is sometimes fraught with danger but we’ve been playing together for long enough to sort of know where we are heading when we change up or slip into something new mid-song. We’ve never been a band that likes to lock in how a song goes. Even in the recording process we have certain points where we don’t nail everything down and although this can make things a little loose it also allows us to put some magic moments out of our arses….

What are some of the most important players that influenced your own style and what in particular did they employ in their playing that you liked?

Paul Crick: As I said before, growing up I just loved that tractor-like Shi ei Japanese fuzz sound and as a three piece that works for me to be the bass player and fill the rhythm guitar space too. I also loved the bounding straight ahead style of Ray Ahn from the Hard-Ons. I never really knowingly stole his style but once Lex was at an artist’s event in Sydney with Ray and Glenno Smith and Ben Brown, et cetera and he saw Ray play and he texted me and said “Um, is this you?” Ha! Ray asked Lex if I could teach him some bass moves and I am chuffed with that. Ray is a lovely guy! As I get older I’m Colin Greenwood and Bent Saether from Motorpsycho. I guess you always have to be growing, developing and moving forward and Colin is pretty technical for me so I like that. Bent is the best as he can do it all, write, record, produce, sing, play a right handed bass upside down left handed… makes it really hard to work out his licks!

Lex Waterreus: I love Hendrix, Doug Ford, Rory Gallagher and David Gilmour, mainly for the lyricism in their playing, the bends, the tone, the vibrato, those surprising notes that transform a solo. It’s kinda hard to explain what I get from playing because it also inspires you to things you wouldn’t think of, which can come from anything. I remember hearing ‘Solar Music’ by Grobschnitt, losing my shit over it, the chaos and beauty all in one, that influenced me, or recently hearing Nektar and thinking….woah! There is soo much great music out there yet to be heard, just waiting.

Your music has a timeless quality to it, is that quality important to you?

Paul Crick: I guess the 70’s were the best decade for rock n roll and when something has already been cool then outta date it really dates again. I think too Lex has such an understanding of the classics of the time and I bring the out there contempory silly stuff.

Lex Waterreus: Timeless, wow thank you. That’s a HUGE compliment. We try to write about where we are in our lives or what we are feeling, I’m seriously flattered that it would be referred to as Timeless. That’s definitely a quality I would like to be dropped on the music, but not something intentional from my end… I like to think we are honest in our music.

Are any of you involved in any other bands or do you have any active side-projects going on at this point?

I recorded an album with Dave (Sula Bassana) and Lulu (Electric Moon) after the second tour. It’s tentatively called Moon Seeds. I have to finish a couple of things and then I think it will come out. Dave is this incredible musician, soo talented on many instruments and records and produces, he’s a very gifted musician. In many ways he’s cut from the same cloth as Tony Reed in his prowess as a musician and producer, but in a very different way. I also have been working on an album with Tony Reed. I had these sketches and ideas of songs I’d brought to Seedy but didn’t work for various reasons, so I played em to Tony, and what he liked, we recorded. He played drums and bass and produced it, we shared guitar duties, Tony will play mellotron et cetera … and mainly me on vocals… Tony shaped it. It has a 90s vibe about it, that will be called Waterreus Reed.

What are some future plans for you?

Paul Crick: European tour, NZ tour, Japan tour and play Queensland…

Lex Waterreus: 2023 – we hope to release the next studio album and do a European tour, gig and write.

Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?

Paul Crick: Motorpsycho – ‘All is One,’ Kingdom of Oblivion,’ ‘Ancient Astronauts’ albums. Best band on the planet and the back catalogue to send you bankrupt.

Earthtongue – An awesome two piece from Wellington New Zealand. Sleep meets the B-52s.

Neil Young – ‘On the Beach’

Black Sabbath – ‘Never Say Die’ and ‘Technical Ecstasy’. Nice to revisit from time to time.

Anything Elder (especially the later prog stuff!!) and Delving. Nick is so good.

Emu – A fantastic new band from Queensland, Australia. Riffs, riffs and more riffs. They are recording their debut album as we speak!

Thank you for taking your time. Last word is yours.

Paul Crick: Thank you so much Klemen for taking your time and liking our music. I appreciate it heaps!!

Lex Waterreus: Thank you for your time and interviewing us. I really appreciate it. You asked a few questions that I’ve never been asked before. You really did your homework. Thank you for that.

Klemen Breznikar

Headline photo: Stephen Boxshall (Rag and Bone photography)

Seedy Jeezus Official Website / Facebook / Instagram / Twitter / Bandcamp / YouTube
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