The Black Keys Unofficial Site

After recording 2004's Rubber Factory in an abandoned tire factory, The Black Keys -- drummer Patrick Carney and singer/guitarist Dan Auerbach -- returned to the basement to make Magic Potion. Despite the rumblings that it would be, at long last, the sell-out album that found the band cleaning up their lo-fi act -- a worry that was exacerbated by the band switching labels from the punk/lo-fi indie label Epitaph to the Warner-backed Nonesuch -- Magic Potion is as uncommercial and inscrutable as ever.

Prior to setting off on the road, Carney talked with Adam McKibbin of The Red Alert about Magic Potion's shift away from strict blues, the perils of outside collaboration, and the ever-controversial decision to license songs to prominent television commercials.

How did the timeframe of Magic Potion compare to its predecessors? I know that thickfreakness was made during a marathon session, for instance, while Rubber Factory was a longer process.

I guess we took about as much time with this one as with Rubber Factory. We spent about two months recording and writing, and about a week making demos.

Do you enjoy handling the technical aspects [Carney also produces the Keys], or is that a matter of necessity because you can't find anyone else who fits the bill?

I always was into it, yeah. I got my first four-track when I was still in high school. We both enjoy recording. Recording The Black Keys is so much different than most other bands, because we're hesitant to overdo it. That makes it that much more fun because of those limits. But, yeah, we did this one in the basement, and for the first time ever, we had equipment that didn't break every other day.

Have you tried letting someone from the outside come in and man the controls?

We've never considered it for actual records, but we've done stuff like that. Fat Possum [the band's first label] once rented a studio for us for a day, and we recorded there with an engineer. The guy that owned it was a nice guy, but Dan and I just didn't get along with the engineer. He was in a really foul mood. We were trying to basically overdrive the compressor to get a gritty sound, and he was fucking losing it like we were going to break the compressor that was designed to do that. He eventually got to the point where he would let us start touching the knobs; he thought we were going to break everything. It was fucking awful. Then he ended up taping over one of our songs. Dan and I definitely don't have the understanding of recording like this guy -- he'd been doing it for like 30 years -- but he's recording over songs and treating us like shit!

The only other time was with this guy who recorded the Killers record. Way before that band probably even existed or was created, this guy wanted to sort of manage us. It was really early on. He flew us out to San Francisco to record some demos, and at the time, it was kind of a cool free trip to California. So we went. He was super nice, but he was really into us trying to sound like a modern rock band. We did like five songs, and it ended up sounding like there was absolutely no personality to the recording. By the third day, there was no way to change anything because he was controlling everything, and then you start convincing yourself, "Oh, maybe it sounds alright, maybe it sounds alright." We went home with the copy of it, and we got in the car when we landed in Cleveland, and we put it in and started shaking our heads. You can really get mind-fucked by working with other people. They can totally lead you astray. I think that ever since that experience, we've always been guarded about getting involved with people unless we know that they respect what we're trying to do.

When it comes time to release the all-important lead single, how do you choose?

I don't know. I guess, for us, our first single is "Your Touch" because we made a video for it. But Dan and I aren't fucking nuts, and we realize that a single in Black Keys terms is like an album track for any other bands. There's no way -- for us, releasing a single is almost silly because we know it's not going to get radio play or MTV play. If the world worked in the way that Dan and I think it should, maybe "Your Touch" would be an actual radio single. At the same time, we're not trying to make radio singles. There's one modern rock station in Cleveland and Akron, and every once in a while you'll hear a decent song, but I listen to it just to get mad. It's all a bunch of emo bands that sound the same. They all sound like babies. Maybe we need to auto-tune and put Dan's voice up about three octaves.

That's a great idea. How many ideas do you scrap? Are you pretty efficient as songwriters, or do a lot of songs not make the cut?

We usually only record a song if we'd like to listen to it. On Rubber Factory, I think we had one extra song. For this one, we had eight extra songs, and that's the most we've ever had. In a way, they all kind of fit on the record, but we each picked our favorites, and the 11 that we both liked a lot are the ones we put on the record.

Would Magic Potion have worked on Fat Possum, given that they're so blues-based? It seems to take a few more steps away from the stricter definitions of blues.

Well, we made the record before we decided what label we were going to be on. By the time we signed with Nonesuch, the album had been mastered and the artwork was almost complete. But we were always hesitant to sign with Fat Possum because there was a blues influence in our music, for sure, but we didn't want to get pigeonholed as a blues band -- because we're not. In a way, [Magic Potion] also reflected the stuff we'd been listening to; Dan was getting much more into rock music versus blues or blues rock. I think we were both listening to stuff that had more to do with rock and riffs than the blues.

You were both pretty heavily influenced by music that your fathers listened to as you were growing up. What did that do for your rebellious period? Was there a time where it was like, "I hate this Stax music, old man"?

I've never had the need to rebel against my parents. Like any kid, I'd fight about wanting to stay out later, you know, but I respect especially my dad's taste in music. He's the one that got me listening to the music that I listen to now. We disagree on stuff, just like me and my friends. My dad has a secret obsession for smooth jazz. (laughs) It's a guilty pleasure. But he also likes Cream and Captain Beefheart.

You and Dan make a lot of music that is ripe for road trips. When you're out on the road -- and you've been out on the road a lot -- do you feel like you're able to take it all in?

Well, always the most fun thing about being on tour is being in the van and stopping at the standard rest stop and buying air fresheners of half-naked cowboys or whatever, and just observing the fucking total weirdos. At the same time, we probably are total weirdos. I mean, my least favorite part of touring is the hotels. Hotels are a complete bummer.

One of the topics on your online forum that generates the most attention and feedback is licensing songs for commercials. Do you sympathize with the concern that fans have about where your music ends up? Or does that seem like an irrelevant discussion?

Well, I remember when Nick Drake's "Pink Moon" was in that Volkswagen commercial, and I thought that was very strange. I mean, you feel like you're the only one that likes Nick Drake, when in reality there were thousands and thousands and thousands of people who have been fans of his for a lot longer than me. And because of that commercial, a lot of people know who he is. Maybe he's rolling in his grave -- I think that might be questionable when you're dead.

For us, it's easier to justify doing a commercial. Modest Mouse did a commercial for Nissan, we did a commercial for Nissan as well. I was a fan of The Shins before their first seven-inch even came out, and they had a song on a McDonald's commercial. I see no problem with it -- at the time, no one knew who those bands were. Now people do, and I think they make awesome music. It obviously hasn't corrupted them. Rancid got nearly two million dollars to do a shampoo commercial -- I don't know, maybe that's the punkest thing they could do.

If someone offers you enough money to buy a new guitar and pay your rent for a while, and you don't have to do anything for it.... The only thing you have to do is take the flak. We've turned down ads, we don't take everything we get. We turned down a Hummer ad. We finish records in a basement, we live in Akron, Ohio. Not too long ago we were making five bucks an hour.

Well, I will say that a lot of those people who are making the decisions on music in films and advertising are pretty genuine music fans.

Oh, for sure. The dude that signed Hilary Duff is a genuine music fan. He probably has way more knowledge and a way sicker record collection that I have. That's the thing that can really fuck you up, man. When you're meeting people with these labels, you realize that they actually have really good taste, and you think, "Well, maybe it isn't such a bad idea to make a record with these people." That's the sort of mind-fuck. We meet a lot of bands that are totally immersed in the L.A. scene. That's why Dan and I stay in Akron, Ohio. There isn't even a radio station here that plays our music. I'm fucking serious. If you heard "Float On" on the radio -- I'm talking about now, two years after the record came out -- it would be kind of a big deal.

Livewire: I just saw your show and you guys deliver an unbelievable amount of raw, intense energy onstage. I think that a lot of that energy also comes through on your new album Thickfreakness as well.

Dan: Thanks.

Livewire: Your music has been described a lot of ways by the press. How would describe it?

Patrick: Just rock 'n' roll, I think.

Dan: Yeah, just rock 'n' roll.

Livewire: How long have you two been playing together?

Patrick: We've been playing off and on since 1996, when we were like 16 or 17.

Dan: We've been pretty much doing this full-time for about two years.

Livewire: And that's when you came out with your first album?

Dan: Yeah, it was a little over a year ago, last May.

Livewire: What makes Thickfreakness different from your first album?

Dan: It's a bit more laid-back. I think it's a little bit more in the groove than the first one.

Patrick: It's a little heavier.

Dan: The last one was our first album and we really didn't know exactly what we were doing, so it was a little edgier.

Livewire: Has it always just been the two of you. Have you ever had a bass player or any other musicians?

Patrick: It started out just the two of us, and then about two years later we had one of our friends practice with us a few times, but it didn't work out. But he did play on a few songs on our first record.

Livewire: So what made you decide on going out, just the two of you?

Dan: Well, it's always pretty much been like that, anyway. We never really thought about it. There wasn't anybody that we knew immediately who could fill the roll, so we just started playing as a two-piece and recorded ourselves over at Pat's dad's house when we were in high school. We just become accustomed to hearing ourselves playing together as a two-piece. When we had that guy come and play organ the couple times he did, it didn't really feel right. It didn't click, I guess.

Livewire: You describe your music as simply rock 'n' roll, but you've also got a big, heavy blues sound as well. When you first started out did you immediately gravitate towards the blues?

Dan: I was listening to a lot of blues and I was teaching myself how to play guitar. I was really getting into early electric blues. So that's my main influence. That's definitely become one of our main things.

Livewire: When you say electric blues, are you talking Muddy Waters or Stevie Ray Vaughn and Clapton?

Dan: I'm talkin' like early '50s - Howlin' Wolf and Sun Records. It was still country but they just plugged in. It still had that country feel where they still finger-picked the guitar, but it was definitely electric.

Livewire: It sounds as though The Black Keys still retains that soul of the Delta. What was the first thing you heard as a child that was like a light bulb in your head?

Patrick: My dad used to make weird tapes of stuff from the '60s like Frank Zappa, The Beatles and Rolling Stones, but I think the main thing that got me wanting to play music was when he got Jimi Hendrix' Smash Hits tape when I was in sixth grade. That's what made me want to play guitar. That and my friends playing.

Livewire: So you started out as a guitarist and not a drummer, Patrick?

Patrick: Yeah, I started out playing guitar.

Dan: I grew up listening to my dad's records and my mom has a big family, and whenever we'd all get together they'd play bluegrass. I think that had a big influence on me wanting to play guitar and sing those kind of old songs. It just felt good to me.

Livewire: You've been getting your fair share of positive press over the last couple of years. Were you surprised at being so well received?

Dan: Yeah, we really didn't expect it. We're definitely working harder than ever.

Patrick: We're pretty fortunate.

Livewire: Were your parents always supportive in your choice to become musicians?

Patrick: My dad's brother is a musician who has struggled... not struggled, but has been reaping the benefits and also at the same time going through the hard times that you experience when you're a musician. So I think my dad wanted me to play music, but he also wanted me to have a college degree as well, because he didn't want me to have to struggle. That's one of the concerns of being a musician; you don't really know when your next paycheck will be.

Livewire: Dan, I understand that your father was so supportive, in fact, that he drove you down South to hear the rural blues that you love so much.

Dan: Yeah, both my parents have been very supportive. I went on a trip to Mississippi with my dad. I wanted to go see Junior Kimbrough. I got his album in '98 when I was in college my first year. So that summer I went with my dad to Mississippi and tried to find Junior Kimbrough. He owned this club he played at every Sunday night. We went there and even though we never did see Junior Kimbrough, we saw some music and it was a great time.

Livewire: Junior's club isn't there anymore is it?

Dan: Yeah, it burnt down a few years ago.

Livewire: When you were down there, however, you managed to hook-up with T-Model Ford.

Dan: Yeah, that was actually a different time. I've gone down a few times and dragged different people along with me just to go listen to music.

Livewire: That's definitely the place to hear some great music. My wife and I took a trip down ourselves last year.

Dan: Where did you go?

Livewire: We actually did the whole Highway 61 thing - from Memphis down to New Orleans. Of course we stopped off at Clarksdale and Greenville [MS] and stopped off at Dockery Farms and Charlie Patton's gravesite.

Dan: Cool. It's a different world down there.

Livewire: You actually played with Ford down there, correct?

Dan: Yeah.

Livewire: How much of an influence did that experience have on the music that you're playing now?

Dan: It's really just the whole idea of how he played - with just drum and guitar and the simplicity of his music. That definitely influenced me. But as Pat and I progress, I think the influence has become less and less. But it's still there.

Livewire: Have you made the pilgrimage down South, Patrick?

Patrick: Yeah, we've been down there, but just for a day.

Dan: We played this horrible college bar in Oxford. Because before we signed with Fat Possum [Records] we went to Oxford to play a show.

Livewire: Don't they have a scene down there for music?

Dan: Oh god, it's so bad. But the cool thing was that all these college dudes with Polo shirts and sandals on are walking straight out of the club while we're playing. We knew that the guys from Fat Possum were also there, and we were so depressed. But later they said that's how they test their bands - if everybody from Oxford walks out then they sign 'em (laughs).

Livewire: So the thumbs up from the Oxford Polo shirts isn't a good thing.

Dan: Exactly.

Livewire: Do you keep in contact at all with Ford?

Dan: Yeah, I've seen him a couple of times at shows.

Livewire: Does he remember you?

Dan: Yeah, I had to remind him. He doesn't have a great memory. He drinks a lot too.

Livewire: I recently saw him open for Johnny Winter.

Dan: Really? That's right. I heard they had to carry Johnny Winter on stage.

Livewire: It was real sad.

Dan: Heroin, man.

Livewire: Well, he also broke his hip not too long ago. Of course, maybe that's why he broke his hip. He had a pretty hot band that picked up the slack, but it was still sad to see an old legend like that in that kind of shape.

Dan: But, T-Model's great. Great soul.

Livewire: It sounds as though you've got the soul of black man in your voice.

Dan: Pfffft (laughs).

Livewire: You do, though. I mean, how old are you, in your early twenties?

Dan: I just turned 24 in May.

Livewire: Well, you certainly don't sound like a 24-year old white kid.

Dan: Thank you...I dunno.

Livewire: Has that sound always come naturally, or was it something that you've tried to emulate?

Dan: Kind of. When I first started playing when I was like 17 I had those tapes and my voice is higher. But it's the same kind of thing, I just tried to sing naturally.

Livewire: Do you have a single favorite blues artist or artists?

Dan: So many different people.

Patrick: Devo's my favorite band.

Dan: Yeah, Devo's from Akron.

Livewire: When are we going to hear that influence on your music?

Patrick: I think it's there.

Dan: You just have to listen for it.

Livewire: You've just recently signed with Fat Possum Records. It must feel nice to be sharing the same label with artists that you admire, such as Junior Kimbrough and Fred McDowell.

Dan: It's cool. It feels really good. Fat Possum's been great to us, and Epitaph, especially, has been really supportive of us. We try and stay away from the whole blues thing though. We try and play rock 'n' roll clubs and that was our only question when we signed with Fat Possum, "Are we gonna be placed in the blues bin at the record stores?î It would be easy for them to put us in the blues category and have us play blues festivals. People want to hear someone play like Stevie Ray Vaughn at a blues festival. We don't want to hear that and we don't want to play like that, so we stay away.

Livewire: I go to the Chicago Blues Fest every year to catch one performer, [David] Honeyboy Edwards.

Dan: I love Honeyboy Edwards! I read his book [an autobiography entitled The World Don't Owe Me Nothing]. It's fucking great! His memory is so intact.

Livewire: It still is. I recently interviewed him at his Southside home and he was telling his tales of Robert Johnson and what life was like in the South early last century like it was yesterday.

Dan: He's like T-Model. He's got those rosy cheeks and that gold-capped smile.

Livewire: As a bass-less duo playing blues-rock, do the comparisons to The White Stripes bother you?

Patrick: We can't control what we get compared to. We don't mind it so much. There's definitely worse bands to be compared to. I'm a fan of those guys, but I don't think that we sound anything like them. I think that any band gets a little frustrated when they get compared to other bands constantly. I think every band wants to stand on their own. You never hear Radiohead getting compared to anybody.

Dan: Coldplay (laughs).

Livewire: Do you feel that the heavy blues / rock sound you're doing fits into this whole rock renaissance thing.

Dan: No, I don't like it, really. It's gonna be gone in about a year, I think. It sucks to be lumped in with anybody. Hopefully we can stand on our own.

Patrick: We do play Renaissance Faires.

Dan: (laughs)

Livewire: With the chain-mail suits and the swords?

Dan: Yeah, and a guitar with the family shield on it.

Patrick: So, if you'd like, you can lump us into that Rock-Renaissance Faire thing.

Livewire: Do you see a long-term future for blues-rock?

Patrick: Well, it's been going on now for like 40 years and rock 'n' roll's been around for 50 years, so yeah.

The Black Keys are Dan Auerbach and Patrick Carney. They hail from Okron, Ohio, the home of Devo but we can honestly say they sound nothing like Devo.

Auerbach plays guitar, Carney plays drums and together they are blues brothers.

They spoke to Undercover's Tim Cashmere.

Tim Cashmere: Your new album 'Thickfreakness' has received rave reviews from all over. Did you realise what you had when you had finished it?

Dan Auerbach: I think we were proud of it.

Patrick Carney: Yeah, I think we were proud of what we had accomplished.

Tim Cashmere: …and on top of that you've been nominated for the Shortlist awards. Is that an honorable award to win… as opposed to say… a Grammy?

DA: It seems to be, from what we know about it, you know? The whole idea of awards shows are weird, you know what I mean? But it seems like they're doing things in an alright way.

PC: It's cool to see our name up there with all other bands.

TC: Do you see your name out there a lot?

PC: I've never seen our name more in any magazine than this issue of Blunt. Our name appears, I think I counted like fifteen times. It's on the cover, then we're on page two and three and then you flip in and there's this whole thing and we're in the mess hall part. We're in another part, we're in the Doors part, we're in the Vegas Kings part.

TC: You've really studied this magazine…

DA: Yeah, no shit…

PC: No I read it on the plane! I was like what the fuck?

TC: The Black Keys magazine… with the White Stripes on the cover. That seems to be almost an inevitable comparison. I don't particularly think the music is the same… but how do you feel about that comparison coming up?

DA: Yeah it definitely happens, it's pretty old now though, but I don't know what to think of it. It doesn't really bother me. It's just that I don't think we sound a whole lot like them.

PC: I like the Blue Cheers comparison.

DA: Blue Cheers is a cool comparison… we get that one a lot too, mostly from roadies and sound guys! [Laughs]

TC: I imagine you guys would be an easy job for roadies.

DA: You'd think so. We can't afford roadies though! That's a lie…

PC: We have roadies on this tour for the first time.

DA: It's great man, you just pay 'em in speed. Yeah having roadies man, it's the bee's knees!

PC: The bee's knees? Hey guess who we saw on the airplane today!

TC: Elvis?

PC: The Australian Idol people! They sat right in front of us. I want to meet the people that idolize those fuckers!

TC: Was the chick that did 'You Shook Me All Night Long' there?

PC: Oh I saw that!

TC: Your album [getting back to the subject] almost sounds like a demo. You only did it on an eight track?

PC: I think it's cool if a band wants to make an album that sounds reminiscent of bands that they like.

DA: …but I think it's really important to make something that sounds like yourself, that you're happy with.

PC: People are just confused. People go into those fancy studios to make records because it's the thing to do… The Eagles did the same! Our stuff sounds like the Eagles demos! I just think that bands that make good records sound interesting and every record that is a classic record has its own feel to it. If you listen to Beatles records, those things sound fucking awesome, but they sound nothing like what the standard of good is… they were much more organic and experimental.

TC: …and they were done on a four track!

PC: But Abbey Road was done on an eight track… but our record is much better than Abbey Road! [Laughs]

TC: The drum sounds were quite stripped back in a way. Did you feel like you had to do a big solo or something along those lines?

DA: A drum solo?

PC: I'm known for my solos!

DA: He is known for his solos, but he's so modest he didn't put them on the album.

TC: But the beats are quite simple and I suppose the guitar is fairly simple as well. Did you have to hold yourself back to get that sound?

PC: I actually had to push myself!

DA: No, no, no. That's just the sound we like.

PC: When we recorded that I was just a mere boy.

DA: Now you're a mere man?

TC: Mere man or merman?

PC: I'm a merman mere man! There's a Captain Beefheart album called 'Mirrorman'. Dude, you need to check out 'Safe as Milk' by Captain Beefheart. It's an amazing album.

DA: Yeah, you'd like it. I can tell!

TC: But your album is kind of bluesy… at times especially bluesy... especially in the track 'I Cry Alone'. That's the standout track, it's a little different. Did you feel the need to include something different?

DA: No.

PC: We just didn't have enough songs!

DA: That was done on a four track… that was probably the first time we'd ever played that song.

PC: It's the same one with track nine…

DA: um…

PC: uhh…

TC: I've got the CD in my bag if you need it…

DA: Yeah bring it out, we haven't seen it in a while.

TC: Track nine… 'If You See Me'.

DA: Yeah 'If You See Me' and also 'Hold Me in Your Arms', that was a first take. Number six was too wasn't it?

PC: Let's see, first take songs were five, six, seven, eight, nine and eleven.

TC: You mean you sat down and wrote it, and then put it down? You didn't just write them on the spot did you?

DA: Exactly… that was the first time…

PC: It was the first time we had ever recorded it.

TC: What about the live show... is it pretty similar to what you hear on the CD?

PC: With the exception of the five extra members we bring on stage! We hire the Ravonettes backing band. You know that band the Ravonettes?

TC: Yeah, from Denmark.

PC: Yeah. They're a duo, but I guess in Danish duo means five. I'll rip on that band!

DA: No, they were really nice, we met them.

PC: Yeah they were really nice.

TC: I'm confused, do you like them or not?

PC: I'm not a fan of the music, but I like the people. I'm just saying there are a lot of people in the band for a duo, but it's just the translation!

DA: Did you know the legal age for sex in Denmark is fourteen? Well I'm just a mere man! It's eighteen in the United States. You got a lot of people getting in trouble in the United States.

PC: If you're Jerry Lee Lewis it's thirteen!

TC: …or Gary Glitter?

PC: Come on man, let's not knock Gary Glitter.

DA: Yeah, let's not knock Gary Glitter, the person who's driving us around, her name's Mishel, she's a big fan of Gary Glitter… oh… there she is!

PC: Jet are! Remember when we were talking to Jet in London about Gary Glitter?

DA: Yep, they sure are!

PC: Are you a fan of Funkstrom? They're the only German techno band I've ever seen. I saw them at a squat in Cleveland and they were using laptop computers and everybody had fallen asleep while they were playing, but my friend Jamie, he's in another band called the Party Helicopters, was inspired by Funkstrom to start his own German techno band, and he put on this screen behind him, and the whole set would just be him checking his e-mail! [Laughs] Because like six guys can set up laptops and fuck around with the sounds on their computers or something, but you never know what they're doing, you can hear it though.

DA: Jesus! That's some tough tea there… that's Australian rules tea, that's hardcore. [Referring to his almost full mug in front of him].

PC: It's Australian for tea!

TC: You do have this bluesy sound. Was that an intentional thing to go for it?

DA: No that was unintentional. When I started playing guitar I learnt from the blues. I'm actually not that much of a blues fan, but just because that's how I learned it has to be there as a base because that's all I know how to do.

TC: Do you find blues fans understand the band a little better?

DA: No. I don't think so. I don't know who really understands us better. I don't know. I don't think we play blues, I think it's just rock 'n' roll. Who knows? I guess the people who come out to our shows and dance and have a good time understand us.

TC: From a lot of the other things I've read from you guys, it seems like quite an important thing for you to stay on an independent label. How do you feel as the band is growing?

PC: Well we're on an independent label and we're going better than we ever expected on an independent. I think if you're willing to work hard and you've got a label that supports you, then that's what counts, so we trust Fat Possum, Epitaph and Shock, more than we could if we were working for a major corporation that owns cable channels.

TC: Have you been approached by a major?

PC: Sure, we were approached by the guy that signed Madonna, Seymour Stein. We were approached by DreamWorks, Warner, Capitol, Atlantic, Polydor, Sony…

TC: Did you have people look over the contract when you got it?

PC: No.

TC: You just took it and signed it?

PC: We're lawyers! If you ever get arrested, just call us up.

DA: For our first contract we didn't look at the contract.

PC: …but I think the owner of the label had never looked at a contract either. It was his first time. I think he just copied it out of a book.

TC: How about the Factory Records contract? "The label owns nothing, the band owns everything, the bands have the freedom to fuck off whenever they want."

PC: That's the best contract I've ever seen. He signed his own contract in blood! Have you ever seen that?

DA: No…

PC: Factory Records, you gotta see that movie '24 Hour Party People'. The dude that used to run that label manages The Kills now.

TC: Tony Wilson?

PC: Yeah that's the guy.

TC: The Kills are another duo… they're popping up all over.

DA: They're our home-dudes. We just had dinner with them in London a couple of weeks ago. They're some cheeky cows!

TC: What about your website, do you have much involvement with that?

DA: Kind of, it's still being set up.

TC: The story of you throwing stuff out the window was pretty cool.

PC: Yeah, that's because our brothers were the ones that did it! We got kicked out because of them!

TC: Well thanks for your time…

DA: You got anymore questions?

TC: Uhhh… no. What do you think of Melbourne weather?

DA: It's alright. I like the rain. I wish it were raining a little bit more.

PC: I'm only happy when it rains!

DA: Yeah I know… raindrops keep falling on my head.