The Underground : Interview 2023

Jay admits that when Frenzal Rhomb started in the early 90s, no one anticipated they would still be making music 30 years later. He jokingly remarks that if he weren’t in the band, he’d probably be making sandwiches, humorously illustrating that music has been his main path for most of his life. While discussing the band’s continuous output, Jay expresses his drive to ensure the band’s new work isn’t overshadowed by their older hits. They don’t want to be defined solely by music from 25 years ago but aim to remain relevant by challenging themselves with new material.

He mentions that one of the keys to their longevity is their focus on having fun with their music. They make sure that the songs they choose to perform are enjoyable to play, often containing humorous or silly lyrics. The positive energy they bring to shows, combined with the loyal fanbase that still attends their gigs, keeps them going. Jay notes that they try to make their songwriting process as engaging as possible, balancing catchy, light-hearted lyrics with quality musicianship.

Ned and Jay discuss the current state of the Australian music scene, with Jay reflecting on the number of older bands like Grinspoon, Spiderbait making a comeback at festivals like Spring Loaded. Initially, Frenzal Rhomb was hesitant to join these nostalgia-heavy events, as Jay didn’t want the band to be pigeonholed as a “legacy act” living off their past success. However, after playing a few of these festivals, he realized how much fun they were and how meaningful those older songs were to fans who grew up with them. He describes the events as full of joy and nostalgia, with people of his age reliving the music of their youth.

That said, Jay emphasizes that the band is still committed to making new music. He points out that their most recent album, The Cup of Pestilence, is a testament to their focus on writing fresh material and keeping the band creatively alive. According to him, it’s vital not to rest on their laurels but to continue pushing themselves as artists.

Jay elaborates on Frenzal Rhomb’s songwriting process, which is surprisingly meticulous despite the band's irreverent image. They often write far more songs than they release, with around 60 demos created for The Cup of Pestilence alone. The band uses a democratic voting system to choose the final songs for the album, and each member is allowed to champion a “wild card” track they feel strongly about. While some of the unused songs are discarded, other members sometimes revisit old material to see if it’s worth developing further.

A major source of inspiration for their songs comes from everyday conversations with friends, neighbors, and even Jay’s wife. He explains that many of their humorous tracks come from late-night chats where random, funny ideas emerge, and the band keeps a running list of possible song titles based on these exchanges. Some ideas are duds, but occasionally, a gem will appear. For instance, Dead Man’s Underpants and How to Make Gravy originated from casual conversations, while Yoga But It Was Ketamine was inspired by a friend who turned from a high-flying corporate lifestyle to mindfulness—only to offer ketamine at the end of the night.

Ned brings up one of Frenzal Rhomb’s classic tracks, Mum Changed the Locks, asking Jay if there’s any truth to the story. Jay laughs and clarifies that his mother didn’t actually change the locks, but the song took on a life of its own. His mother was a high school teacher at the time, and her students, who were fans of the band, would tease her about it, leaving her with mixed feelings of pride and embarrassment. Jay speaks fondly of his supportive parents, even though his choice to pursue a career in punk rock wasn’t something they initially understood. Over time, they came to appreciate it.

When asked what he might do if music weren’t his career, Jay says he’d likely focus on his recording studio, where he helps produce and record music for younger bands. He’s passionate about mentoring up-and-coming artists and talks about the vibrancy of the current punk scene in Australia. He names several young bands like Private Wives, Flangipanis, and Coffin, who he believes are creating some of the most interesting and politically charged music today. He encourages people to check out these bands at local venues, believing there’s still a lot of exciting music being made.

In discussing life on the road, Jay notes that while Frenzal Rhomb still enjoys partying, they’ve become more selective. In their younger days, they would often find themselves in strange situations with strangers at 6 a.m., but now they prefer to party with close friends and bandmates in the comfort of their hotel rooms. Jay calls it “professional, sensible partying,” staying close to their beds so they can call it a night whenever they want.

When asked for Netflix recommendations, Jay mentions shows like Succession, Yellowjackets, and the Australian version of Alone. He humorously suggests that if he weren’t in a band, he might try his hand at being a survivalist—though he admits he’d likely last only a couple of days before getting too hungry.

A gelding (male horse), Frenzel Rhomb began competing in races around Adelaide and South Australia in 1996. The horse’s name—spelled slightly differently from the band’s name—originated from the fact that the horse trainer’s son was a fan of the band’s music. In fact, the son had also named another of the family’s horses after the Frenzal Rhomb song “Genius”.

As vegetarians who would later turn vegan, the members of Frenzal Rhomb initially had mixed feelings about having a racehorse named after their band. As guitarist Lindsay McDougall discussed at 30:50 on the Talking Records podcast, the band got in contact with the horse’s trainers. They reached an agreement whereby the horse could be named Frenzel Rhomb, provided that it was not subjected to cruelty, and that it was allowed to live its natural life.

Frenzal Rhomb once performed a set at the Homebake festival which coincided with a race that Frenzel Rhomb was racing in. The band interrupted their performance to broadcast the race over the P.A. system, for the crowd to cheer to.

The recording of the song on A Man’s Not a Camel includes audio from a race that was won by Frenzel Rhomb – a rare event, given that the horse only had 16 wins out of 117 starts. It finished racing in 2002, having won a prizemoney totalling $505,050. In 2016, the band noted that it had recently learned that the horse had died.