Jace Rogers is a prolific musician who has lived and played in bands all across the east coast of Australia. Now at age 40 and finally cracking the doorway of underground success with his bass and drums duo DEAD, he certainly knows a thing or two about longevity. In this, the first of a two part interview, Jace discusses the early days of his music career starting in regional Australia in the early 1980’s. Conducted on 28 September 2013 at Jace’s house in Castlemaine, Victoria.
So you grew up in the northern rivers of NSW?
I grew up in Mullumbimby, well I went to school in Mullumbimby. I did primary and high school up until year 10 in Mullumbimby. Then I moved to Griffith in the Riverina for Year 11 and 12.
I started playing in bands in Mullum. But I probably did my proper apprenticeship in Griffith where there was actually a lot of people playing music and they were pretty super judgemental about how you played. So you had to have your chops up.
Was that The Stiffs?
No that band was in Griffith. I think I was the only kid around who was into punk music. And I think due to that fact it was like I got more into it because, it was sort of like, I could either just give in to Motley Crue and Guns ‘n’ Roses or go further. And I ended up roping a couple of mates into getting into shit like The Buzzcocks and The Ramones and stuff like that. Shit that you could play really easily without many skills.
So were you in a band in Mullum?
Yeah I was. I was in a couple of bands. I think my first band was when I was about 13 or 14 and we were called The Ramjets…cause we loved Roger Ramjet.
And we kinda played pretty much just covers. We used to like the idea that punk bands would do 60’s songs and punk ‘em out, so that’s kinda what we did. Rather than do covers of punk bands, we did covers of 60’s and 70’s music and punked ‘em up. At that stage though we were still learning our instruments and it’s hard to tell even now, it probably sounded like shit.
So what were you playing then?
Was that the first instrument you picked up?
Yeah that was my first instrument. I remember when I decided I was going to play an instrument, I was about 10 and I thought it should be drums but I think my parents weren’t really keen on me being a drummer and said “how about guitar?” so I went with guitar. It was probably a pretty good thing because it was easy to get one and not piss everyone off by practicing and stuff.
So that was like late 80’s?
No it was like ‘84. I think an uncle of mine gave me a shitty acoustic guitar that I’ve still got and actually a nun taught me the rudiments of guitar. My mum is a teacher in the Catholic system and she knew this nun who is actually a pretty tops person. She taught me just chords and basically how to read music. It was actually pretty cool and the sorta shit that I remember.
What sort of stuff were you into back then?
When I first started playing guitar?
1984 man that’s a long time ago…
Yeah I can’t remember when Money For Nothing (Dire Straits) came out, but I was right into that guitar sound. Before I started playing guitar I was just into pop stuff, just whatever was on the radio.
Pretty much soon after I started playing guitar I heard AC/DC and I just wanted to play like that. I was pretty interested once I heard he played the blues…that’s something I used to record like twenty 12 bar riffs over on my cassette player and then solo over that, that’s kinda how I learned how to play like Angus Young, or as close as I could get haha.
So that was in Mullum and then your folks upped stakes and moved to Griffith?
Which was a real big culture shock, like in Mullum some of my mates had older brothers who were into punk and stuff…and right before I moved to Griffith in 1989 and that year was when Bleach by Nirvana came out and the first Mudhoney EP and before that the older brothers had given us the Sex Pistols and a lot of British punk music and we were also into hardcore and thrash and stuff like D.R.I and anything that was fast like Slayer. If it wasn’t fast then it was gay pretty much haha.
Like even Motorhead to a degree we were into. Then we went to Griffith and there was just no one on my wave length at all, like only older people had even heard Led Zeppelin. People my age were just getting whatever they were given. I’ve been looking up music for a long time even pre-internet when you had to read a book and stuff…pretty much everyone was into Guns ‘n’ Roses…
Yeah but Guns ‘n’ Roses were better than a lot of other stuff like Michael Bolton or Boys to Men
I guess like the musicians were into Guns ‘n’ Roses. There was this younger crew that were into Credence Clearwater Revival and they’d obviously delved into someone’s record collection which is kinda cool.
There were 3 guys in town who were into metal and they kinda worshipped Black Sabbath which was awesome but they also kinda liked Extreme…
…yeah and Def Leppard and stuff like that. And that kinda music I never got because it just wasn’t heavy. I remember I heard the name Motley Crue when I was still at Mullum and I thought “that sounds pretty heavy”. And then when I heard the band I just couldn’t believe that was it. I found way more power in listening to The Buzzcocks or The Jam or something like that. I thought that had way more balls.
I guess I also grew up on third or fourth generation cassettes so that by the time I heard something super polished from Hollywood it sounded like shit to me. It sounded like it hadn’t been flushed down the dunny yet.
On a side note, did you ever catch wind of any of that sort of Underbelly stuff going on in Griffith?
Yeah for sure and it’s funny because like I’ve got a lot of friends from there and one of my really good friends from there is Italian. I think when I moved there it was like 60% first or second generation Italian and that’s a pretty heavy concentration.
I’d already read books by Bob Bottom before I was there and I was kind of into it. I really shouldn’t say too much because I’ve still got family there haha. I delivered a table for this guy that I used to do work for sometimes and there was like a dog fighting ring going on during the middle of the day. That shit is definitely there, it’s not just stories. That whole Donald Mackay stuff…his family got harassed for years.
Tell me about The Stiffs?
That was just a band where I roped guys in. The rest of the band didn’t really play any instruments. It was like that classic thing where you get your mate to play bass because bass doesn’t matter. If you turned the guitar up enough you didn’t even notice that he’s faking it haha.
Then we found a drummer who was really into Iron Maiden and I think it wasn’t too much of a stretch to get him to play punk music. So we just did a lot of Ramones covers and Hard Ons covers…obviously that’s where the name comes from. It was basically just about playing music that kinda offended everyone that didn’t know about it.
Feeling sort of ostracised already, it was like “Let’s put it in people’s faces” kind of thing. I wasn’t probably really trying to antagonise anyone it was just like a thing of expressing who I am. I thought that kind of music was light years ahead of what everyone else was listening to and it was like I’m really smart and they’re really dumb haha. It was a really teenage arrogant way of thinking about stuff.
We kinda hijacked school socials and stuff like that and everyone hated it. It was really good for getting noticed by girls because you were the odd one out and that was really good actually.
Were you playing pubs back then?
We were too young, maybe in Year 12. I think we played school things, parties and maybe the PCYC. We did a bunch of gigs but I can’t remember playing any pubs. I think that sort of came later. You know the context of regional Australia is pretty much that you play covers. We did play covers but no one knew any of them. If you didn’t do the standards you probably just didn’t get a gig really.
That kind of was my next band where I was approached by these guys in their mid-20’s…. maybe I was 18 or 19 and these guys approached me to play guitar in their band. And even that band…
Which band was that?
That was Firehorse. It was kind of different for Griffith because we weren’t doing Taking Care of Business or Bang a Gong (Get It On) kinda thing. It was right when the big Nirvana came out and Red Hot Chili Peppers…it was the beginning of alternative music getting noticed by everyone. So we played that kind of stuff which actually went down okay in Griffith.
I think if you have your chops and you add the odd song that everyone knows then it’s all cool. There were a couple of songs like Rolling Stones or something that made it okay to be a band in town.
Nirvana kicked open doors for a lot of people back then. Did you think that you were gonna make it?
I definitely knew that it wasn’t gonna happen with that band (Firehorse),but back then no one had told me that I couldn’t. Back then I actually thought….playing those shows back in Griffith as a cover band we were getting paid really well.
More money than now?
Yeah I got paid more money back then than I do now.
Haha that’s shit isn’t it?
Yeah I got paid 3 or 4 times as much. Some people actually make a living from playing 2 or 3 cover shows a week and that’s their living. I used to read Hot Metal magazine and all that, I was just living in a complete fantasy world that if you had a good band you would be home and hosed kind of thing.
I think I just thought that if I was getting paid that much money to play covers in Griffith which is the middle of nowhere, I’m gonna move to Sydney and it’s gonna be awesome. And it was a real shock. In hindsight it is funny, living in Australia the chances (of making it) are so much slimmer than living in the States and it’s still the case.
You know now when we (DEAD) go to the states I see bands like Big Business or Red Fang, you know bands that are sort of heavy and stuff that actually make ends meet. Part of their culture is going to see bands and everyone understands…there’s a bit of a respect for people that are touring around. It’s much more normal for people who had the dream of doing that but never did it.
I think people don’t sort of just…people understand it a lot more than here. You know when you tell people what you do and they say “When are you going to give it up?” They can’t understand that if you haven’t really made it, made it big time then why are you still bothering when you’re 40 years old. It’s a hard thing to explain, I don’t think you really can it explain that shit to someone who really doesn’t understand.
How did you cope living in a country town being into weird music?
Mullum was pretty easy even though it was pretty, you know, it wasn’t the norm but there were enough weirdo’s around…we kinda got right into looking like punks, you know, like leather jackets with liquid paper on the back and Mohawks and all that.
I saw pictures in rock music magazines of the Sex Pistols and The Damned and stuff. I always loved the way The Damned look, I thought they looked awesome. I think we also kinda looked…by that time we were also seeing stuff like The Exploited and G.B.H. and that kind of hard leather and boots kinda thing. We kinda all got Doc Martins as soon as we could, all that shit, and it definitely stuck out in a kinda rural/hippie town.
Not long after I got into punk there was this bunch of people that decided that they were going to live out the back of Mullum, they were from Melbourne and we called them Rat people. I don’t know who the fuck they were but they all had rats wherever they went. They would wear swastikas….they were some kind of punk group. I don’t know what they did but after a while they got asked to leave the shire, they got moved along…
I don’t know where they went, I think they were kinda junkies and they…like I saw one time in a park one of the guys washing a baby and he was washing the baby by spitting on it and then shoving its head under a tap. So we weren’t the weirdest people around.
But then in Griffith I used to get quite a lot of abuse….pretty much no one skateboarded there and whenever I skateboarded people would yell out at me from cars or throw eggs, just general shit that you cop. It took a while until I was playing in the band Firehorse, I would cop shit regularly actually but it just kinda steeled my resolve in a way.
I would go into the record store there and they had a magic book that had everything in it and I’d go “Wow you’ve got the entire Dead Kennedys back catalogue” and I’d try to order that, that and that and they’d always go “No worries, two weeks”. A year later…they’d do it with a slight grin, like “this record is never showing up man, we’re not even going to place the order”. After a while I just gave up and bought Led Zeppelin because that was the best thing they had in town haha.
What were your early recordings like, just 4-tracks and stuff?
We just did a demo with The Stiffs and that was someone’s 4-track. I don’t know whose it was, there was a rich kid that we knew that had a lot of equipment and I suspect it was his. No one knew what they were doing…maybe one guy who did live sound thought he knew what he was doing, but it just sounded like…if you put one mic in a room now and recorded it onto your computer, THAT probably sounds better than our 4-track recordings haha.
Then with Firehorse we actually had a guy who had a pretty awesome recording studio out there (in Griffith). I think he had a vision that he would entice bands out to his mansion with a pool and whatever. If it wasn’t so far away it probably would have worked, but it was just in the middle of nowhere and I don’t know how anyone would have even found out about it.
The guy who owned the studio was good but we had a dude producing us who was shit and he fucked up the recording. We were kinda telling him at the time, “shouldn’t these levels be a bit higher”, not that I knew anything but it was like “I can hardly hear this shit” and everything just sounded lame so I wasn’t particularly proud of that recording.
The dude who owned the studio tried to fix the recording after the fact but it was a polishing a turd situation. But, it was all songs that I had written and it was just a good document of where I was at (musically), at the time.
You obviously did a few cassettes back then and being the pre-internet era, how did you distribute your music?
I think in those days it was just…we had no connections to anyone that existed and my idea of what it was, was that that at some stage I’d walk into some guys office at Sony Records and he’d have a revelation and invite me to dinner.
So at that time the people who were buying it were just our friends. When you’re a kid you have heaps of friends and you sell a couple’a hundred, which was another false…you know like, “As soon as I get to Sydney I’ll be selling a million of these things” haha.
So we didn’t distribute them (cassettes) at all, we just sold them at gigs and I think we had them in the local shops in town and that was it really.
You weren’t tape trading?
Nah, it was a real isolated community and we weren’t connected to any of the national sort of stuff. There was no press…they probably sold 3 copies of Hot Metal magazine a month. So I actually did pull out some contacts from Hot Metal magazine and tried to contact people, you know…like I was trying to entice some bands to come to Griffith. I think it used to be in the early to mid-80’s a tour path between Sydney and Melbourne, like bands used to come….
Cold Chisel or something?
Yeah actually Motorhead…
Yeah but they didn’t play because in sound check they blew up the P.A. That would have been pretty incredible actually. No band that wasn’t on the radio really came to Griffith in those days. It was like…you know the band that we were actually in (Firehorse) was probably the most popular band in town. We got all the supports that actually came through which was like Choirboys, Johnny Diesel and Screaming Jets and all that kind of stuff.
For me being 18 or 19 was actually a bit of a thrill actually, but soon became like, “these guys are all boring fucks”, just treating you like a dick. There was certainly no sense of camaraderie like they were going to help you in anyway. You were almost there to carry their shit.
There was an attempt by some local businessmen at one stage, and it pretty much brought all those bands…
I’m sure I read that PiL played in Ballina or something like that
They played in Byron Bay in ’89 at the piggery which was the Byron Arts Factory…which was an old piggery. Actually in that era bands of that ilk would play all the major cities and then play Byron Bay which was a bit of an anomaly.
Byron was one of the first places that had a lot of raves and once that happened the bands stopped coming. Rollins Band and All and Hard Ons used to play there…it was actually pretty good and a bit weird that that would be the case. Actually I remember when PiL played and there was a lot of people there but I didn’t really like it, because I was into the first 3 records and they were doing…
That would have been the bad period
Yeah it was when they brought out that “9” record and I didn’t like the band. Everyone was calling out “Sex Pistols” and he was just getting angrier and angrier and it was just a bit weird.
PiL definitely played in Ballina at the Ballina RSL on their ’84 Australian tour…minus two points for Jace. Interestingly they also played in Jindabyne and Frankston on the ’89 tour that Jace attended.
Did you ever see Mortal Sin? They were a pretty legendary and heavy touring Aussie band
I saw Mortal Sin but after they were cool.
So how did you come to move to Sydney?
I kinda had family, my dad grew up in Sydney. It was kind of the city that I most went to as a kid to visit my grandparents. There were also quite a few bands that I really liked like Massappeal and Hard Ons and I really liked the beaches. I was into skateboarding and surfing and it just made sense. I had friends living there and it seemed like a really logical thing to do…until I got there.
Yeah like until the reality of after the first few weeks hit of where I was and the feeling of “What the fuck am I going to do?” I had no contingency plan whatsoever, I had no idea what I thought was going to happen. Being in bands had always been kind of easy and I’d always kinda met everyone who was in a band and decided who was going to be in my band and then went to Sydney and being in a band was heaps less of a big deal. You were just one of….
Small fish in a big pond?
Yeah yeah, and actually meeting any likeminded people was actually pretty hard. I actually ended up forming a band with an old mate from Mullum and a mate from Griffith.
Was that Kato?
No, we were called T.I.T. The drummer I used to play with back in Mullum….we used to love playing D.R.I. and M.O.D. and S.O.D. and every band that had one of those names.
I think he thought up the name, it was sort of obnoxious but we could never think of what T.I.T. stood for haha so we just ended up being Tit. It was kind of like my updated version of what we were doing back in Mullum, but it was all just our own stuff. It was all sort of fast and punk stuff.
Did you guys move up to the Gold Coast after that?
Yeah so we started the band in Sydney and then we got this offer from this Gold Coast based manager and an agency to be involved with them. I guess it was like they would get us gigs and help us record and it was a pretty nice offer really. We all kind of just thought “It’s what we wanna do” and it was kinda going along really well and we were getting paid really well and doing good gigs.
Then the manager guy died of a heart attack. He used to deal directly with the agency and then we had to deal directly with them. They were ripping us off and any gigs that came directly through us they were taking a cut of and it just kinda became unworkable. They also promised a lot of things that never happened so, we were just too young to know how to work out what to do. In the end without the manager it was just impossible so we just moved back to Sydney.
Did you ever see or play with that old Gold Coast hardcore band Thrust?
I played with Thrust a few times when they got back together in the mid-90’s.
So after that you moved back to Sydney and T.I.T sorta fizzled?
When we moved back to Sydney we kinda decided that…well I had been writing a bunch of different material. I was getting into Butthole Surfers and sorta more weirder shit and I didn’t want to play that more punk stuff.
When we were doing T.I.T. it was sort of the time of that Southern California pop-punk shit and even though we weren’t doing that stuff you could kinda relate it. We were playing a lot of those shows and indirectly we were part of that crew. I hated all those bands but that just seemed like what was going on.
I was writing different shit and our drummer became not the right guy and that’s when Kato happened.
Some of the same guys?
Same guitar player..
So you were playing bass?
Yeah I was playing bass in T.I.T. and then in Kato. Actually I think Kato might have started right after the first time that I saw Nunchukka Superfly. It was sorta all the things that I’d heard like maybe Melvins Bullhead and Butthole Surfers and just seeing stuff like Kiss My Poodles Donkey…and it just really changed my perspective on what music could be.
I really wanted to play those driving basslines. So that’s how I started writing music around the bassline and it’s kind of how I’ve written music ever since actually. It really changed the art of songwriting for me.
What gear did you have back then?
My first bass rig was an Acoustic…I think it was like a 270 head. I had 4×12 box, but it was a bass box and it had that, you know staggered Z shape speaker configuration kinda like a Sunn. I had no idea what it was, it was just something that I got off a guy in Sydney.
My first bass was a Rickenbacker…I think it was an ‘81 Rickenbacker. Ever since I saw Sid Vicious playing bass I thought it was the best most awesome bass ever. I thought it was the most ridiculous bass ever. When I tried it out at the shop I thought “Holy Shit”, it sounded like a piano..and no pedals, just turn it right up.
What did you achieve with Kato?
Well to be honest not a lot, we did quite a lot of shows. It’s interesting, the guys that I was in the band with were really good musicians but they didn’t, but it took me years to work out that there main prioritiy in life wasn’t being in this band…and that was my main priority.
I think it was kinda a constant case of them actually going “It’s a bit naive to think this band’s going anywhere” and me going “why the fuck aren’t they prioritising this”. We were just…cause we were mates we stayed in the band together but I was sort of constantly frustrated. We did a whole heap of home recordings and we released a few things, but it wasn’t released properly, it was still just selling at gigs and a few shops that would have it kind of thing. It wasn’t really distributing it, and we couldn’t back it up with enough shows because, or touring, because they had jobs.
It was a really frustrating time for me actually. I sort of talked about doing other music projects with other people but to be honest I was sort of out of my depth from being a country kid. I kinda went from having everything being a possibility to nothing being a possibility and it was all in my mind but that’s just my perspective on it.
It all seemed like…I didn’t fuckin’ know anyone to get a gig and I went from somewhere where everyone knew me to being like, “I don’t know anyone here”…how to get gigs, I’d try and talk with bands and it was a pretty hostile scene to be honest. There were a few bands like Blitz Babies and the Hard Ons were always lovely…but it was around the time that Hard Ons were splitting up and I think Blitz Babies split up not long after. Actually it was around that time that I started hearing more about Melbourne bands and I was considering moving there but just didn’t do it for another 15 years or so…
Haha. So how did PD Idol get started – was it similar dudes?
There were a few different lineups of that band. The first one was an old mate from Griffith and a guy that I met through Drum Media. I put an ad in that said “Do you like Melvins, Jesus Lizard and No Means No” something like that and this really quirky drummer from Holland answered…actually there were a few people that answered and we tried a few people out and um, Pete, ah, I had some friends from Sweden and I really like European people and I seem to get along with them really well and a similar sense of humour and stuff and he was great right from the word go. He was a big fan of The Fall and heaps of post-punk music, so it was just really easy to communicate with him and play music with, he was just a really good fit.
Was there anything different with that band, where you slowly started to find your way with booking gigs and all that sort of jazz?
Yeah we did a lot more gigs, it was still a little bit frustrating with the lineup changes and stuff…actually ended up playing with the guitar player from Kato. I was the bass player all throughout PD Idol. That’s where I was writing the songs from and it seemed like if I was writing the songs from that point, I was best off playing that instrument and really liked playing that instrument. Pete was a real pleasure to play with, like his drumming and my bass playing really suited each other.
We were still a bit frustrated because Pete was a bit older and he was sort of thinking about having kids. The whole scenario of the last band kinda happened again and it was kinda like and I started realising how lucky you are when you get in a band with likeminded people where it actually works. I guess the band lasted a while and we did a fuckload of rehearsing and I’ve kinda always written a lot of material but actually playing outside of Sydney was a bit of a problem.
Did you do any touring?
Nah not really. I think we played Newcastle and Wollongong and stuff like that. We got a bit of radio play and there were a bunch of things that happened right at the end of that band. That was when I had my kid and a few things happened where we actually moved out of Sydney at that point so that was the end of that band.
It kind of was a long frustrating time living in Sydney for me in a way. It kind of coincided with a bunch of new fire laws that shut down a bunch of venues and then the pokies came in and just gutted the whole live music industry and as a consequence the gigs were way more hard-fought over. I remember ringing up the Annandale once cause we’d played a gig at the Annandale and I was ringing up to try to follow that up and the guy says to me, and it had only been a month or so ,and he says “So what have you done in between now and then” and I was like “We’ve rehearsed and written songs, what do you mean?” and he was like “Well why should I give you another show?” and I was like “Cause the last one was pretty good” and he was like “Well it wasn’t that good” and hung up. That was kinda like…to me, as someone who wasn’t really an insider it was pretty harsh.
I think there was a lot less money in doing that so they were like “Why would I give a shit kicker band a go”.
So after that you moved up to Lismore?
No we went via Griffith again when Eli was born….it was for 8 months or something, but I didn’t play music there. Then we went to Lismore and I went to study.
You did art?
Yeah I studied visual art.
That whole period you were in Lismore was pretty productive – you did a bunch of different projects
Yeah I had a purely art thing, that was just noise with a guy from uni that was heaps of fun. Like I’d seen stuff like KK Null…I’d seen a bunch of noise stuff in Sydney and once again it was sort of like a revelation.
I didn’t see Masonna but I got a CD by him….it was really hilarious to me that the tracks were moving on but you couldn’t tell the difference between the start and finish…
Yeah I felt like maybe that was what it was like to be around in 1977 when punk happened, like these people were actually revolutionising even though it wasn’t the beginning of noise by any means.
When I was in Sydney I also got right into John Zorn…a lot of experimental music which I got into through Pete (PD Idol) who was also into Krautrock and stuff. He actually more than being a great band member he exposed me to so much music, he really helped me, he gave me 20 years of music in 2 years or something.
So I did that (noise project) which was just a drum kit and guitar playing as loud as I possibly could…you know I went to a show once where I felt sort of physically ill. I thought that was pretty amazing to make people have a physical reaction and I was sort of trying to do that.
I used to do things like have a box of oranges and hand them out and make the whole room smell like oranges, cause everyone was peeling oranges…it was sort of like, pretty wanky art stuff.
That was the first thing I was doing, then I hooked up with another guy at art school who had been in bands in Melbourne…
Jace formed a band with Cornelius Delaney aka Nique Needles who had previously acted in cult 80’s movie Dogs in Space, starring alongside Michael Hutchence of INXS fame. It’s a strange world.
Was that the Box Monster’s guy?
Yeah, he was about 10 years older than me or something, but we initially hooked up because we had a similar visual aesthetic and stuff. Then I found out that he was a musician and I said “Do you wanna do something?” and we kinda met somewhere around the Tom Waits and Cramps area. I don’t know, he was in that movie Dogs in Space so he was of that era where, he got that era but he sort of also rejected it slightly.
He was in Lubricated Goat, like an early incarnation of Lubricated Goat and I think he got a….
Yeah he thought they were really bad people. So we kind of got a monster theme, it was more like a visual arts project that had a soundtrack to it. So I was painting a lot of warped super hero kind of stuff…I guess it also had a slight gothic sensibility, so we made a band around visual stuff really. The sound that came out probably evolved into something different.
I think the first gig that we played, I think it might have been an open mic night or something, I can’t even remember. I had this mate Billy who I knew played drums, we’d never jammed before but I thought he’s gotta be the right guy and we had a jam…we just played that show and Cornelius said “yeah he’s the right guy” and that’s how the band formed really, on stage. I’m sure the show was complete shit.
I met Jace sometime around 2005/2006 and my old band Brain Resin ended up doing some touring with Pigman Vampire in late 2006.
What about Pigman Vampire – how did that kick off?
That kind of came about when the art project got boring and because I’d always had more experiemental ideas in my head…playing Cramps riffs kind of bored me after a while. We didn’t have the scope to get it as cool as Tom Waits, it was somewhat a limited thing and it really was only meant to be a couple of gigs and it just lasted a couple of years…
I kind of wanted to have a band that was like The Melvins mixed with black metal mixed with pure noise. Somewhere in there it was improvised. I know that the vision of that band (Pigman Vampire) was bigger than anything that ever came out sonically, it was more of a cerebral thing and me and the drummer Billy from Box Monsters, both seemed like we were on the same page but our ideas were bigger than what we were ever going to achieve.
Maybe in Lismore but if you were in New York or something
There were some other guys in that band – Rohan and Oliver?
Yeah they kind of…
Cause you were playing guitar in that band?
Yeah basically Oliver was only in the band for a short period of time, basically because he wanted there to be rules. It was probably to the detriment of the whole band really, that was just our whole idea…he was thinking that we had to mold it into some kind of jazz thing. In a way that kind of structure might have worked but we just weren’t interested in what he had to say haha.
Rohan played loopy keyboard atmospheric stuff and it really wasn’t what he wanted to do, we were kind of on his back making him do that. He was interested in drinking some homebrews and having a jam but he wasn’t really interested in freaking out psychedelically. So yeah, basically the whole band never really worked sonically, there were definitely some killer jams but they just happened in the middle of nowhere and no one heard it.
The band never really had a vision of, like I never really had anything that I was gonna play or whatever, it was actually just trying to make the thing succeed in a room at any given time. At any given time
Jace’s Bass Rig
Gallien Krueger 800RB
Sunn Beta Lead
2 x Lorantz 4×10
1 x Marshall JCM 900 Lead Series 4×12
1 x Custom made 4×12
Hughes and Kettner Tube Factor
1986 MIJ P Bass
Jace Rogers Discography
|1997||PD Idol||Sonic Euthanasia||CD-R EP||Godmum||Guitar/Vox|
|1999||PD Idol||Ixodes, Ricins, thysanura, Coleoptera||CD-R||Godmum||Bass/Vox|
|2000||PD Idol||Brittle Bones||CD-R||Godmum||Bass|
|2004||Box Monsters||Enter The Flagon/ Sketches Of Homebrew||CD-R||Self-Released||Guitar|
|2006||Pigman Vampire||Pigheaded Gods – Demo||CD-R||Satanic Lentil||Guitar/Vox|
|2007||Pigman Vampire||The Bloated Aftermath||CD-R/Digital||Satanic Lentil||Everything|
|2007||Bikini Eyebolt||S/T||CD-R||Satanic Lentil, Tenzenmen||Guitar/Bass/Vox|
|2008||Fangs Of…||S/T||CD-R EP||Satanic Lentil||Guitar/Vox|
|2008||Fangs Of…||Fangs of Satanic Soccer Mums||CD-R EP||We Empty Rooms||Guitar/Vox|
|2009||Fangs Of…||Fangs of a TV Evangelist||LP/Digital||We Empty Rooms||Guitar/Vox|
|2011||Fangs Of…||Fangs of a Vengeful Altar Boy / Injured Ninja split EP||7″ EP||Aniseed Records||Guitar/Vox|
|2011||DEAD||Thundaaaaah!||LP/Digital/Tape||Weemptyrooms, Wantage(USA), Ricecooker (Malaysia), Tenzenmen||Bass/Vox|
|2012||DEAD||DEAD/Cyberne/Knellt – 3-way split||CD||Impulse Records(Japan)||Bass/Vox|
|2012||DEAD||Idiots||LP/Digital||We Empty Rooms, Eolian Empire(USA)||Bass/Vox|
|2013||DEAD||DEAD/No Anchor split EP||7″ EP||We Empty Rooms||Bass/Vox|