Kid, you got a question? A minor fleeting thought? Shout it to the crowd Demand yourself an answer Revise what you’ve been taught Thinking aloud allowed
Thinking aloud allowed is a motto at our school. That’s not to say it happens though.
To waste your time in battles not of your choosing is more than just a mistake, it is stupidity of the highest order.
Robert Greene
Today I’m feeling: Average. Tired. Today I’m grateful for: Tangmo coming for a quick visit when I came home. I always enjoy his unconditional interest and acceptance when he’s here. He’s not so needy now and sits patiently outside until he gets bored and goes home. The best thing about today was: A quick snooze after coming home at lunchtime where I never got into a deep sleep but enjoyed some lucid dreaming. Daily thought Are you lucky? I don’t believe in luck as such though good fortune may come my way from time to time. So, I may be lucky but it’s just random. I also try to look at many situations as being of good fortune even if they seem otherwise. In this sense then, yes I am lucky. If you could interview one person from the past, who it would be? Why? Now my mum has gone I often think about questions I’d like to ask her. I guess I would have lots of questions for my dad too, having no memory of him. I would love to talk to Steve again too. Perhaps this question is supposed to be answered along the lines of proposing someone famous historically. I think the people I am interested in historically hold that place because of what they themselves have already written and left behind as their legacy so there’s not much left for me to ask them. Asking why someone made such and such a decision won’t really change the situation as it is today. But then as I’m thinking more, perhaps Lee Harvey Oswald. His story never got heard leaving somewhat of a mystery that has fascinated people for the last 60 years. Ultimately though it wouldn’t affect anything really.
I took this picture because this big lizard was making a racket outside the door. I chased him around to the other side of the house where I can still hear him asking for rain.
[Editor’s note: Pangbianr’s man down under (actually, he lives in Beijing) Bob Blunt writes in with a report on Shaun Tenzenmen, founder of eponymous Australian DIY label/distro tenzenmen. Shaun’s one of the earliest and hardest-working proselytizers of Chinese music abroad. Between his distro, his Alternative China tumblr, his Sino-Australian Music Exchange program, and his general web omnipresence in all matters China-music-related, he is nothing short of an indispensable component of the greater Chinese rock diaspora. If you’re so inclined, you can get 30% off all Tenzenmen releases through Bandcamp during the entire month of June. And here’s Bob with some background on the man behind the Tenzenmen enterprise:]
Fans – those who love what they first hear, they find it, follow it, fuck with it, it fucks with them, then they meet friends, acquaintances, lovers, and presto- a lifetime passes and the memories are sweet, the stories are long, and no matter how many times you scratch the itch, it won’t rub out- it’s in your blood, tiger, so just enjoy it.
Fans again – the people that write fanzines, those that hunt record stores, those that collect old dusty vinyl, have crates of scratched CDs, manage their friends’ bands, and, if they are clued up enough, they may even start a label or a venue of their own, spreading some germs to different corners of the world.
Well, if you get my long-winded drift, then meet Shaun Tenzenmen, he of his own self-named label, and one responsible also for the distribution and touring of fine Chinese bands into Australia, as well as other corners of the world. He’s a trooper, a fan, and a lovely guy.
I couldn’t help first asking him if he was fucking mad to pursue such a thing and all he could say was:
“Perhaps it’s a sign of madness that I’ve never even considered the possibility. I live in Australia so it makes sense to promote music into this country though I’m pleased that I get attention from all over the world. Still, it’s not enough to make me any money, but then that’s not really my motivation.”
Bob Blunt: Of course, it isn’t your motivation, and generally it isn’t with a lot of us. We just like what we hear, and if someone else isn’t sharing the love, the motivation within us to share it somehow is the essential part of what fandom really is. Am I right?
Shaun Tenzenmen: First and foremost I’m a music fan. I’ve always liked my music a little less conventional so even in my youth I would enjoy the weirder ends of the spectrums within a specific genre. For me, it has always been about discovery, whether searching thru the racks in record stores and taking a chance at the look of a record sleeve, or scouring the internet for some obscure gem from a backwater band in a garage. There are plenty of easy ways to find Western music so it seemed less interesting to me to add to that, and instead focus on something that not many other people were doing. After moving to Australia and becoming exposed to many other different cultures, I became curious about music from the East. Japan was already known about, but how about elsewhere? I got curious, I started investigating and I started finding gems! What was particularly attractive was that some of the equivalent music scenes were still in their genesis and hadn’t become segregated by micro-genres or jaded with time. It was a return to the origins of punk and all of what was encapsulated in its ideas. Many of these musicians are dealing with the struggles of daily survival and it’s amazing to see the communities born out of this adversity. As a comparatively rich observer, I felt I could lend my support to these scenes by promoting them and making it easier for others to discover them just as I had.
Shaun left England for Australia in 1994 when he was 27, thankful that he had been exposed to a burgeoning punk scene that even made it to Dorset in the south. It was there that the seeds were sown for his love affair with punk and DIY culture, which he still can’t shake off and wouldn’t want to. Here goes his background story:
ST: Whatever romantic notions you may have about England, it’s not a great place for a young lad prone to depression to grow up in. I found solace in the punk scene as best I could living in the countryside in Dorset. During the late ’70s and early ’80s, punk was such a huge phenomenon that it had penetrated even the remotest parts of the country, so yes I’m thankful for that. I was a vocalist in a couple of bands and after growing up a little I got somewhat involved in the organization of shows with a bunch of friends. I was also writing a bit for local zines and was somewhat immersed in the DIY ethic which was born out of the Crass/anarcho-punk scene. Not really having any idea about my future at this point though, when I fell in love with an Aussie girl I accidentally found my escape!
BB: How did that transpire in Sydney then?
ST: I sought and found the local punk scene here in Sydney and quickly got involved with it, most notably putting together a complete Aussie special edition of Maximum Rocknroll. Also at this time a record label I had been involved with released some noise recordings I had made back in England and this went under the moniker of Tenzenmen – it’s a bit of a collector’s item and may finally see a re-release on cassette through a good friend in Finland. Anyway – that was the start of the name, though I wouldn’t see or use it again for another 10 years.
BB: So what spurred you on as a kid then? I’m guessing you for postpunk blood?
ST: Looking back further I can remember my mother taking me to see her boyfriend’s folk band playing in pubs around the Lake District – I was 5 years old. She had a limited music collection but I really remember the band Mud and Lonnie Donegan standing out because they were so much faster than the other things she had. Next thing I remember is I’m watching Top of the Pops, as much of the nation did every Thursday night, and these out-of-control freaks are playing “Pretty Vacant”. I tell my mum that the bass player looks like Frankenstein. I’d start taping things off the TV (cassette tape – no video back then!) and I kept listening to this track and remembering the performance. And that was it – punk rock fever set in at the tender age of 10. I was quite rigid in the music that I allowed myself to like back then and I had to sit through some awful disco music to hear the occasional punk tune, but in retrospect, I was hearing a lot of great music in that period and it all had an influence. The definition of punk was also extremely broad and that is something that has really stuck with me so it is of particular annoyance seeing kids these days just go and see one style of band play, especially on a mixed bill lineup. You don’t have to like everything you hear – but to me, it’s all punk. In fact, this is a phrase we used a lot back in England in the early ’90s as gentrification was taking place: “It’s all punk rock, innit?!”
Twenty years on from 1977 Shaun became curious about China, and particularly its influence around Sydney at that time. You indulged in all things Chinese, am I right?
ST: I started going to the library and reading whatever I could find – be it history, culture, anything. I made myself a profile on an old China Friend Finder website, signed up for [Chinese chat program] QQ and started making friends. With the help of a few of them, I took the plunge and headed over in 2001, having no idea what to expect, which in turn produced a myriad of amazing stories that I needn’t bore you or any of your readers here with. Asides what was amazing about this first trip was that it was much cheaper than I expected and I could afford to go again six months later. Of course, both these visits coincided with the May and October holidays, as that was also the only time my new-found friends had time off from work. On the second trip I picked up a weekly English-language newspaper which was only about 10 pages, but it was great to be able to find something I could actually read. In there was an article about this tiny, tiny punk scene in Beijing. Very curious, the only clue I had about it was that they hung out somewhere near a train station (whose name I forget now). Of course, I went there and only saw thousands and thousands of your everyday Chinese going about their daily lives. No pink Mohawks and no leather jackets.
Shaun then took the plunge starting Tenzenmen, and it was then that he first toured a Japanese band, Limited Express, inAustralia. Through this, he was able to garner a shitload of contacts for people to help book the shows, and then…
ST: Everyone was coming to me and asking me the same questions – who do I contact here or there to book a show. I decided to start keeping a database to share this information with everyone, and as that expanded, I started investigating who would you contact in all the Asian countries to do the same thing.
BB: And China?
ST: Through all this investigation I found out what I could about those punks in China. Through an amazing set of circumstances, I ended up back in Beijing in 2007 and went to D-22, as I had a feeling this was the place to be. And boy, it sure was. What I saw there was amazing to me. In just six short years something was born out of almost nothing. And the energy and enthusiasm were infectious – I couldn’t really believe what I was seeing and it felt like I was watching history happening. Whilst some of the music was very Western-inspired, I was pleased to see a couple of bands really push the boundaries with what they were doing. I don’t remember all the bands I saw but I reckon it was all the top ten bands at the time. Can’t believe how lucky I was to have been in the right place at the right time.
BB: Now that it has been boiling for some time now, how do you see it all evolving?
ST: This is a difficult question for me to answer as I haven’t been to China for 4 or 5 years now, and as you well know, things change constantly there. I think already there is a feeling that artists need to take more control over their own destinies. Perhaps 7 or 8 years ago there was only the dream of being signed and somehow being made famous. I think these illusions were quickly shattered as everyone, as elsewhere in the world, is struggling with how to be able to make money with music these days. Piracy culture is even more prevalent in China than elsewhere, so artists know they really need to engage with their audience. There is also the two-pronged approach to promotion with bands obviously keen to market themselves abroad, but I think increasingly now bands and artists are more aware of nurturing something locally as that is really the long game.
BB: What about punk and DIY attitudes. Is there a real voice there?
ST: Continuing on this thought about developing a local scene really plays into the punk and DIY attitudes. It’s a grassroots thing and this is how I see it surviving. There will always be artists kicking against the pricks even as others fit into the mainstream or leave through frustration. There are already small waves starting to happen in the more experimental genres (who truly fit the definition of punk these days).
The ambiguity of terms like “indie” and “alternative,” and the marketing of them at will, to some extent “punk” also, can have a blurred effect on what people’s perception of style and voice really is. Shaun has some interesting thoughts on this:
ST: DIY is a very ambiguous term these days, and will probably transform in the same way “indie” has changed over the last 30 years. For me, DIY has developed out of the early punk cultures where one took control of their own work and output, and didn’t necessarily buy into the existing systems in place which generally benefit others rather than the artists themselves. If I analyze the work I do, it is not correctly called DIY as most things I do are for the benefit of the artists. I just do my best to break even and if I don’t that’s no big issue as this is my passion. When you ask about labels I assume you mean such as “punk,” “DIY,” “indie” etc – to me these are just quick identifiers that point in the general direction of a sound but it’s all very vague these days. It’s pretty useless and pointless to debate what does and doesn’t fit into one label or another. Just listen to the music and decide if you like it or not!
But your question also begs the question about labels such as Tenzenmen or EMI etc. From my point of view, I see Tenzenmen as a literal “label,” like Heinz or Louis Vitton for example. It might help identify for people something of quality or meaning when compared with something from another label. I push artists to take as much control of their work as possible. To be honest, I shouldn’t even have to do Tenzenmen – artists can do everything for themselves! And this has become the case quite often with artists coming to me saying they already have a product, everything already paid for and ready to go – nothing for me left to do except promote and distribute. These artists are keen to be part of the Tenzenmen label because they might see it as an advantageous association or they’re happy to help build a little community of understanding around the label. (Maybe there are other factors I don’t know about – I guess it’s a question for the artists.) Either way, it’s all positive and indicative of a culture of everyone pitching in to help each other to make something happen.
BB: So what now? I mean you’re a 9-5er in an office gig, where do you get your strength and longevity to do this love of your life?
ST: I’m worse than a 9-5er – I’m generally on call 24/7/365 and often have to work over weekends too. My strength is in my passion for what I’m doing. I do question my sanity on a weekly basis, and there are a lot of things to get down over, but there always seems to be something that comes along that picks it right back up for me. Right now I’m hoping to do a 7″ with a new-ish Sydney band that I’m really excited about. It reminds me of the traditional 7″ from the late ’70s – not in sound, but in style. A two-minute infectious pop song gem on the A-side and a more experimental, longer track on the B-side, which starts to stand out the more you play it. I don’t know if this will end up on Tenzenmen, but it is things like this that keep me excited. In amongst all this, there’s so much great stuff coming from China, too.
So the main struggle is time and how to wind down. I do have the help of a friend or two now – one who sends out the weekly mail list for underground/non-commercial shows in Sydney, a list which has come out weekly for the last seven years or so. And also a young web guru who helps me out with the website and also ideas to help promote what I’m doing. Ideally, I’d love to be able to start working with someone who has the same keen attitude who could keep Tenzenmen going as my involvement drops off, as I have plans to go live in South East Asia myself and kick back if I can remember how. Otherwise, I think I might have to draw a line in the sand sometime in the next few years and say, that’s it for the label for now.
[Editor’s note: I’ve been sitting on this article for far too long. In that time Tenzenmen has pivoted in the direction of focusing even more exclusively on Chinese music. I asked Bob to oblige my sluggishness in posting this by hitting Shaun up with a few quick followups:]
ST: As for now I’m pretty much doing what I’ve always been doing — helping with distributing Maybe Mars and Genjing products around Australia.
BB: A labor of love hey?
ST: It’s what it is. That’s not to say there’s no interest. I mean it is still a niche thing. As always there are things in the pipeline and who knows what is in store for this year. But really I’ve been seeing and feeling that for the last 2 or 3 years.
BB: What do you mean by that?
ST: What I mean is that things grow fairly organically and at a steady rate, but obviously not fast enough for me to make a fortune and retire though…
From local Sydney music press Music Feeds. We only seem to be on a surname basis tho – pretty appropriate considering the Chinese releases 🙂
By James Armstrong
Starting out as a noise project some 15 years ago, tenzenmen has evolved to the point where Hemsley is now using it as a catchall umbrella for all of his ‘crazy schemes’. With a motto of “do something”, Hemsley has involved himself heavily in the DIY scene for many years, helping not only local bands, but international acts find ways to circumvent the standard tour circuit and take the road less travelled.
With his roots in the late 70’s and early 80’s punk scene in the UK, Hemsley grew up with the DIY ethos. When he began taking a larger role in the Sydney underground, it was natural for him to explore the option of warehouse and arts space shows, where actually putting on a good show took precedence over making money.
In the past, Hemsley has brought out bands from Southeast Asia, but with his keen interest in Chinese history and culture, it was natural that tenzenmen would become involved with something from that region (though Hemsley says that he plans on continuing to work with SE Asian bands).
Having travelled to Beijing on several occasions and made friends with bands at local club D22, Hemsley became fascinated with the vitality of the emerging music scene in China.. Part of this scene was a record label started as an offshoot of the D22 club, Maybe Mars, which tenzenmen now licenses for release in Australia.
With the release of the Maybe Mars series, tenzenmen is exploring the world of underground Chinese music, ranging from melodic hardcore with English lyrics to noise rock sung in the band’s local dialect. The ambitious scope and variety of this project is nothing new for Hemsley, who has been running a wide variety of music-related projects as a labour of love, with no thought of material profit.
With minimal help from the media, the Maybe Mars series and, indeed, tenzenmen, are focused on getting the word out on the street, building a catalogue and seeing what will happen.
“I have every confidence in the music I’m releasing so feel it could just be a matter of time before people’s curiosity is piqued and they start investigating,” says Hemsley.
Hemsley goes on to say that the goal of these releases is just to get some great music out for people to enjoy, and to contribute to something bigger, in a holistic sense.
With the difficulty of getting the Maybe Mars bands over to Australia to tour (it’s hard to get a visa and there are some insane ‘money in the bank’ requirements to guarantee that the bands will actually head back to China at the end of their tour), for the time being, the best way to hear this music is to grab a copy of one of the releases, which have faced their own difficulties in being released in their homeland.
“For any artist in China wishing to release a CD, lyrics must be submitted to the government for approval. I believe this is a requirement from the CD factories to protect them against possible closure for inappropriate material. However, considering these restrictions, some of Demerit’s lyrics are quite critical of life in China, and other bands can cleverly conceal other meanings in more poetic lyrics (PK-14, in particular, are well respected among the more scholarly kids in this sense),” explains Hemsley.
With a new release coming out every six weeks, get in on this – it’s vital, with a spark that may be enough to reinvigorate the most jaded ‘punk.’
“In the West, we already have a historical rebellious musical background to draw upon. China has just discovered all this music – and all at once. So influences can be drawn from many different fields and filtered through into what are hopefully new and exciting sounds. Bands like Mafeisan and Muscle Snog are really pushing boundaries even on Western terms.”
Here’s a short online interview with a cool webzine, foxy digitalis + there’s a few things in the pipeline release wise so be patient.
Who started the label and why?
I, Shaun, started the label around the end of 2003.
I was working with Jochen as a part of Hinterlandt, which was essentially an anything goes live improv unit of between 3 and 23 musicians (and on recordings just as Jochen solo!). Jochen and I shared some similar musical interests and we were both European immigrants, he from Germany me from England, to Sydney. He was on his way back to Germany and I felt that I couldn’t really contribute much to anything else here not being a particularly talented musician in any shape or form but I still wanted to be involved with music somehow.
Being a big fan of file sharing and always on the lookout for new, interesting and exciting music I decided I could give something back myself and hopefully expose others to some of the music I was discovering.
What’s the story behind the name?
Hmmm…it came about a long time ago – I used to write a lot of lyrics and would enjoy playing with language – it’s really just a by-product of that. tenzenmen also released an extremely rare and sort after piece of vinyl back in the early 90’s.
Unbelievably someone else had come up with this name for an album later in the 90’s too – the way I found this out was that the domain name http://www.tenzenmen.com was already taken, hence my website being http://www.ten-zen-men.com
What keeps you inspired to continue doing the label?
Simply – music. The internet has made it so easy to discover fantastic new exciting underground music from people just strumming guitars in their garages in the USA to whacked out craziness in the colds of Finland and through the usual bizarreness that comes to be expected from Japan.
I wish I had more money and time to get this music that is so exciting to me out to the rest of the world. I know there are people out there craving more than the mainstream provides, even when the mainstream claims to be providing the alternative as well.
What’s the hardest thing about running an independent label these days?
Distribution is my biggest concern at the moment. I’ve been trying to counter this with the Eccentrics series which is basically a 3 band split CD and trying to get bands from different scenes and parts of the world to be involved so that they each get exposed to the others.
I also offer extra discs to the artists at my cost price because I feel that live shows is where a band will sell more CDs these days and they can control the price and distribution themselves. This has had some success but I would still like to get my CDs to more outlets just so people have different options.
If you could work with any one artist, who would it be and why?
Hmm…no – I don’t think there’s an artist in particular that fits this criteria…probably it would be any new musician or group that strikes me as totally original and interesting and to be able to expose them to a wider audience. I’d love to be able to pioneer music in much the same way John Peel did in his time.
What’s your demo policy?
No policy – people should send me their music! You would do well to check out some of the previous tenzenmen releases so see if you might fit the criteria of music that moves me – I mean I’m not into straight forward straight up music. I’ll check out any genre so long as boundaries are being pushed and I don’t expect everyone to enjoy every band that I work with.
What do you have planned for the future?
I’m continuing on with the Eccentrics series and always approaching bands to contribute to that. I have a few other possibilities on the boil too. Not trying to be vague here but plans are always changing. I’m a very patient person and I know good things will come when they’re ready.
What’s the best record you’ve heard in the past year?
There’s just so much! I mean I’m still discovering bands dating back to the sixties. For new-ish bands there seems to be this kinda odd scene on the west coast (I think) of the US with bands like the Mae Shi, Rapider Than Horsepower, Alarmist and 400 Blows.
I’ve been amazed by some of the music on a Japanese label called Usagi-Chang, especially Plus-Tech Squeeze Box and Eel – it’s a perfect example of what I was talking about before about musicians pushing boundaries within a genre. The genre here is electro-pop I guess and these guys are just going nuts with it!
I also actually listened to all my own releases recently (by choice!) which showed me the power of the music that it could still appeal to me even after hearing it so many times in preparation for release.
Any closing advice?
Always keep an open mind whatever you’re doing. Thanks for your time and this opportunity – it’s really appreciated.
happy with lucky food bar & the greasy poorz and ditzy squall
the day seems to slip by easily. in the afternoon we cruise around cuba street, checking out record shops and eating.
at 5 we have a radio interview at radio active. we opened the interview with a track being played from the tenzenmen release eccentrics #2. sadly the interviewer was a bit of a dork and wasn’t very successful at getting the best out of us. but the music seemed to say it all and one listener we spoke too later said limited express (has gone?) came across really well but the interviewer didn’t look so good!!
later after more eating, we crammed the car full of gear and made our way down to a club called happy. set up and sound check was smooth and then all we had to do was wait. tuesday night is a shit night for a gig in most towns, but yeah to wellington and a good crowd came out to see limited express (has gone?)’s first gig in new Zealand.
lucky food bar and the greasy poorz were first up; the line-up was turntables, vocals and guitar. johnny marks was the vocalist and was almost diamanda galas in performance, an impressive first set.
ditzy squall followed up. a tight three piece dishing out uppy angular songs that bounced between shellac-like trance to choppy ‘blink and you miss it’. by the end of the set people were up the front dancing away and anticipation was building for limited express (has gone?).
the crowd had filled out nicely by the time jj, yukari and koji took the stage and ripped into their first number with all the energy you could hope for. all heads stayed turned on the band while they played and people danced and danced during the length of their set. the band finished with yukari bouncing in and out of the audience, then minus bass, and jj was on top of the piano at the side of the stage.
the audience hollered for more, an unusual sight for a tuesday night and the band returned to the stage in response for a rapturous encore and performed 2 more songs. some cds were sold and people hung around basking in the glow of a most excellent first night.
jj – “i am glad to meet wonderful family. so we played nice show today. today we want to introduce japanese new music to more new zealand people.” yukari – “kieran, chrissie and their daughter are pretty good!!! i love so much! it was on tuesday, but many people came to our show! thanks a lot! i was excited!” koji – “i was not nervous – kieran, chrissie and their family was very kind for us so we could play great gig.”
had to stir the band at 9am otherwise, they would’ve slept all day. after some pumpkin gnocchi breakfast koji and i played some soccer at the park while the others got ready. packed the car, dropped off the gear at the bowlers club, made a quick appearance at paint it black record store in newtown. the band are all keen to hear new australian music.
had a successful interview at fbi despite all our nerves and excitement. much kudos to nick who was very professional despite a crushed vertebrae. another quick look around red eye records and it was off to lunch and an interview for japanese newpaper info-m. the band is tired so we head up to the bowlers club where they all fall asleep on chairs as the sound guys work around them.
bowlers club with la huva, love of diagrams, youth group
just got the soundchecks finished in time – the sound guys aren’t too sure what to make of limited express (has gone?) but i know what’s coming. many introductions and friends were made with the other bands and with about 50 curious people through the door yukari, koji and jj ripped the place apart with their huge grins and bouncy theatrics.
must say many thanks to tim from la huva for coming to the rescue when jj broke a string and tim loaned his guitar for the final two songs.
so 30 minutes after the start of the samurai-koala show and there seemed to be 50 new fans all eager to talk to the band and purchase cds. yukari slept through some of la huva’s set – they were certainly different after limited express (has gone?) but had some really nice pop songs that everyone enjoyed. can’t stress enough – la huva are cool people.
had to pack up a lot of stuff and only managed to catch a few songs of love of diagrams whose music is as good as ever. we hope we can catch youth group another day.
koji “i was a little nervous because it was the first show but i enjoyed it very much”
jj “yeah – i was very nervous – we hadn’t played a show for one month until now. i was happy many people enjoyed our show” yukari “i was so glad to see everyone’s smiling face”
maggotville show with pure evil trio and many other dj’s and bands
wow – now this place is cool – a warehouse location with a great diy feel, drunk punks and dogs running around and all. after grooving to misanthrope everyone got setup and the room started to fill – it was party time. champagne was served and the audience popped poppers (among other things i’m sure) and the balloons started flying.
with a much more intimate environment the bands grins were reflected right back at them and it was a joyous occasion for all. jj jumped straight on to the speakers and urged the audience on and surely, halfway through some drunk punks decided to join in during stop-go and even picking up the bass during tiger rock (and doing quite well at that!).
again many friends and fans were made. we all hung around to check out pure evil which all the band enjoyed for various reasons – yukari scoring a free album after smiling sweetly at pure evil’s bass player.
finally, at 2.15 am, it was time to head back for some food, some ping pong club and maybe even some sleep.
jj “the australian audience has a great reaction – i like the australian underground scene”
koji “i was a little scared of the punk crowd but they were cool”
yukari “when the guy got on stage and picked up my bass i felt it was great to have this kind of interaction and participation”
1994ever 