Comments Off on Interview with Patto Millman: Wicked City, Fire Witch, Ageing

Patto BassPatto has spent more than a decade anchoring bass heavy Melbourne bands including Fire Witch, Wicked City and Inappropriate Tough Guy Behaviour. This interview was conducted at the Town Hall Hotel in North Melbourne – Wednesday July 31 2013 lubricated by dark ale.

When you were a teenager, what was your reason to pick up bass?
Dude in the neighbourhood, it was a bass player. Yeah I wanted to play after seeing him. He listened to 90’s kinda punk like Pennywise and shit like that. I picked one up.

How old were you?
It would have been like late primary school, 11 or 12 years old. That was basically it.

What gear did you start off with – probably something not very good haha?
I put my bass through a Hi-Fi. I was playing through a Hi-Fi and had no actual rig to speak of haha.

What bass did you have?
It was a black Yamaha RBX, shithouse haha.

How did you progress from there to actually playing in a band?
I took a few lessons at high school from the in-house bloke. I didn’t really enjoy that, learning Autumn Leaves and shit like that. I played in my first band with a friend from another high school and he played guitar. I had a few lessons from an external guy, this old rocker guy in Camberwell. He was trying to teach me technique and whatever I was just like,” look I just wanna learn Rage Against The Machine basslines” haha. He was teaching me about awesome bass players like John Paul Jones and I learnt stuff like Lemon Song. I only did a few lessons there and then started playing with some local chaps in this high school thing.

Played the Carey high school formal in Kew. We played that gig that was probably year 8 when I was 14. We played Spiderbait covers and we had a few originals. But that was all kinda bedroom jamming. Then I went to a different high school and hooked up with Jem and Tom. I met them around the same time and that’s when we started Fire Witch in about Year 10. We were at this high school where we all did music (Swinburne). We basically had rights to this one really small jam room. We got into there as much as we could and wrote most of the songs that we would play for the next 8 years or so haha.

So what did Fire Witch sound like when you first started? Were you playing covers?
Yeah we had a few covers – Crimson covers like The Talking Drum. The second gig we played we had a few Zappa covers. We were all pretty into late 60’s/70’s stuff. We were obsessed with this band called Pre-Shrunk from Sydney, who are like another 2-bass and drums band. We’d seen them play at an underage FReeZa alcohol and drug free events. We took the bus up to Ararat to see them play with Dreadnaught. So they were a massive thing.

So that’s where the Fire Witch twin-bass thing came from, Pre-Shrunk?
Yeah I reckon it was. They had an awesome heavy experimental thing, it was actually a bit dancey. Those guys listened to heaps of techno haha. But we liked their rock albums the best. That was our aim, to be heavy and unusual. The whole Melvins thing, you know we were just getting into later Melvins like Hostile Ambient Takeover. Kevin Rutmanis playing slide bass – that was a huge influence. We were all like, “what’s this brutal sound?” which we’d never heard before. And so Tom took up that role and I took up rhythm bass.

I was always wondering about that, how the high and low bass set-up transpired?
Yeah we knew sonically it needed to happen. You know it’s like when you’ve got a band were everyone can sing but someone has to be the main singer. And Tom was just the best at playing that high stuff.

How did you wind up being instrumental?
It was more of just a practical thing and none of us were crash hot singers. We were also listening to a lot of post rock stuff like Godspeed and Mogwai. And we were obsessed with tone basically. But the need for vocals seemed a little…

Redundant?
We were worried about what distortion pedals were going to do what and what textures our instruments could make…and none of us could sing for shit haha.

What gear did you have by that point? Had you upgraded from the Yamaha?
Yeah that was still Yamaha days. The amps were a little better cause we were using school stuff. We blew a few of those up well.

Yeah those 60 watt combos don’t really go far
Actually previous to all this I did actually have a few bass guitars. I got my first amp in a package with a Park/Marshall and it came with this other Sunburst bass which I ended up leaving on a train one day. I used to have to catch the train from Hawthorn to Ringwood for school and I’d put the bass down on the seat next to me. And I did the same thing again with a bass that was like a hire-purchase thing and I just left it on the train haha. Too much pot smoking haha.

Was there any tension between you and Tom trying to outdo each other?
Not so much trying to outdo each other, definitely tension in songwriting. It was generally a democratic thing where everyone put in their two cents. But it ended up being the person who was most attached to the song. They would end up with the most passion about where it should go. It was rare that we would bring in riffs and write around that, it was all pretty much jammed and improvised.

It wasn’t too long before you guys ended up recording some material?
Yeah fuckin’ here actually (Town Hall Hotel). Our first release, Live at the Townie. I’ve still got about 200 unmade copies at home haha.

Was there any significance behind it being live?
Yeah we booked a residency here every Wednesday for a month. We took this local bloke who said he could record it digitally. So we were like right, this will be our first release. It was largely organised by Jem who had been in bands before. He was like I reckon this is a good way to get our first thing on the cheap. Record each gig and select the best from each gig. We ended up using pretty much the last gig mostly, maybe 1 song from a previous week.

How about your first studio recording?
After the live one we did a 3” which was recorded at La Trobe at Sub Studios. We recorded a couple of tunes there (Kritta/Critter).

What about your next recordings? How was the reception from the different engineers with the twin-bass setup?
….yeah haha, particularly Barry at Fat Sound – he mostly recorded folk, folk rock. Jem had recorded there with his first band The Union. He was a good dude. He had a whole bag of carrots a day, an entire kilogram bag haha. He was a bass player so he understood that we wanted to be fat and brutal. We always had that separation – Tom with his 5-string. We were trying to leave enough distinction with the two basses so that it sounded like a standard 3-piece. He was pretty old school, he always called distorted bass, fuzz bass. And we were like, No, it’s distorted bass haha.

How about your live gigs back then – were you pretty much just playing Melbourne?
Yeah it wasn’t too long before we went regional, Warrnambool and Fish Creek. Jem was totally onto booking all that shit. Tom and I basically tagged along pretty much haha.

How was the crowd reaction in the regions?
Yeah people were pretty good like, “Fuck, these guys have two bass players, that’s pretty weird”. It probably would have been hard for some people to get into it. We were pretty young dudes. We didn’t really give a shit.

Later on you ended up going to Japan
Dad They Broke Me had brought over Ryokuchi and Birushanah from Japan at the same time I think. John the drummer had played with Birushanah a bit in Japan. They brought them out and asked us to play with them on this line-up at Pony. I was like what the fuck! I’d never heard anything like it before. It was fucking mind blowing. They love tone, they love amps.  Guys were playing aluminium necks, with A/B Boxes going to two guitar amps haha. Using half stacks as distortion pedals, you know, just crazy shit. The gig was awesome. That was around 2006. We ended up going over to Japan in 2007.

After the gig Harada from Ryokuchi came up to us, I think the Dad They blokes had been in his ear. Harada liked our sound as well, he was all about bass and they were a two-piece. He was like after the gig (best Japanese accent)” Fire Witch, Ryokuchi, split cd launch” and you know a Japanese tour. And we were like, holy fuck!

I have an issue of Unbelievably Bad somewhere which features a Fire Witch tour diary
It was the first time I’d been overseas. It was a different environment to be playing in, where you didn’t know anyone in the crowd and didn’t know the mixer. The gear was always awesome, like Ampeg fridges on stage. I think Tom and Jem lucked out on the in-house gear though. I think Jem said some of those kits were just fuckin’ shit house haha.

Did you feel a sense of inferiority compared with those Japanese bands?
Not really. They had their thing, and we were a heavy band. We always thought we played several different types of music. We could be heavy and we could be really quiet and that was the post-rock influence. We could do multiple kinds of styles and Ryokuchi were kind of like that as well. There was just an appreciation for each other’s music. I think playing with a band like Corrupted was probably one of the loudest bands I’ve ever seen. It was more just like, we were learning.

You weren’t overawed?
Nah, just their commitment to amplifier worship. We were like, “maybe we should play through heaps of gear as well” haha.

Everything seemed to fizzle after the Japan tour?
Yeah, we recorded some music over there which we put on our 10”. That was all recorded by Harada from Ryokuchi. We got back and we had reached that post-high school… where maybe we wanna do other things. Tom was studying Botany and went off to do fire fighting with the DSE in the country.

Post-Japan, I think we did a couple of tours to Sydney and Adelaide and stuff like that. We did an Australian tour with Ryokuchi in 2007.

You guys didn’t really play much after that?
Largely because Tom was out town. I joined Wicked City around that time as well.

Any unfinished business?
I’ve got cd’s upon cd’s of jams and unfinished jams that we were working on. And towards the end it was pretty exciting shit to be honest. We play so infrequently and we’ve all got other shit going on and it will probably never see the light of day. Towards the end we played the odd gig here and there in between people going overseas and Jem going on tour and stuff. Whenever we got back in the same room it was always pretty exciting.

Patto also plays in the totally awesome Wicked City along with Paddy Warner on Drums and Nick Grammenos on Guitar. Patto joined around 2006/2007 and they’ve since gone on to release an EP, 2 LP’s and a 3rd LP which is due to drop shortly. They’re technical and heavy with stoner, punk and indie influences. Difficult to explain, easy to listen to.

How did Wicked City come to be?
I vaguely knew those guys from going to gigs and Nick’s brother was Gerasimos from Peeping Tom a band that Jem (Fire Witch) got us all into. He was like go and check these guys out, they’re the new Black Sabbath kind of thing. At the same time we were discovering bands like Kyuss and the whole stoner thing. And they (Peeping Tom) were one of the best kinda live Melbourne bands. And then they started this band. They had another bass player, he was a bit flakey and he didn’t have a good rig. They asked me to join. Had a few jams and I was like, this is cool music that I’ve not really done before.

So were you using the Rickenbacker by then and the Sunn?
Yeah

Was there a set you had to learn?
I learned a bunch of their existing songs from cd’s and stuff pretty much. Jammed in bedrooms.

What was it like being in a more conventional band with guitars and shit?
Ultra exciting, really exciting. At times Fire Witch was a little bit too experimental. It was just cool to play tunes that were just a bit more, you know where I wasn’t so attached and emotionally invested. It was still that same kinda vibe where everyone had that equal kind of…everyone makes decisions. You start playing with people and you gradually get more and more comfortable with each other.

Did you start doing serious gigging after you joined?
Things definitely progressed a bit more.

What’s the first milestone with Wicked City?
The EP was a big thing. That was recorded down at Fat Sound as well. The first milestone was kicking the singer out really. Getting rid of the dead weight. I guess we were heading in a different direction, I guess it was a bit more straight-up when the singer was in the fold.

How did you wind up at Head Gap for the first LP?
Head Gap was new place and we wanted to record on 2” tape. Around that time was when it was just getting set up. He had good gear, he’d recorded Warped. Nothing official. He had credentials, he was in love with Shellac and analogue recording which we thought was cool. That was the push to go there.

Was that self-released?
The first album was on Afterdark Records, The Old Bar guys. We paid for the recording and some of the pressing. It didn’t really make it into JB Hi-Fi or anything.

Did you do much touring by that point?
After the first album we went up to Batemans Bay and Adelaide. This is brutal on the memory dude haha.

At about that point you ditched the Rickenbacker for a P-Bass?
I’ve always liked the Rickenbacker and always liked its versatility, particularly in Fire Witch where I would bust out a Mountain Top solo kinda thing. But it was an old 70’s thing and I couldn’t get into the sound of it anymore. I would put on new strings and it just wouldn’t sing that well. Along came the internet, all of a sudden there were basses up online.

It was also after seeing Ray from Nunchukka…Mark D…it’s the first fuckin’ bass ever invented. It’s got sweet credentials.  Actually Ray had told me that a lot of the Japanese P-basses from the 80’s were always a pretty good bet. So I just kinda bought one on a whim from eBay for $900. I still play it as my main bass.  Playing in a 3-piece as basically a rhythm bass player, it was time to get something a bit fatter. I couldn’t make that Rickenbacker sound good. Even now I’m kinda like, uhggh, I should probably sell that and buy other sweet toys.

How did the Wicked City European tour go?
It was a bit of a slog trying to book all of the shows, between all of us trying to scrounge up all the contacts that we knew. I more so was trying to contact bands that we didn’t know.

All through MySpace?
Yeah MySpace days. You know it was a similar thing like, you don’t want to play with shit bands. It was like, hey, here are our tunes, we’re going to be in Europe at this time. We didn’t have any solid dates. It was more of an online thing, not really sending them stuff. Sending bios and links to tunes. We went to Germany where we picked up this station wagon that we were going to cruise around in. Took guitars and snares and what have you, so generally gear wise we were at the mercy of what we could borrow.

Who’s station wagon?
That was through Paddy’s mate that he’d been surfing with. We bought it. It was a bit of a fuck up. The car was awesome. We bought it for $1500 but through a translation fuck up, we actually hadn’t bought it. It was basically just a long term hire, which was fucking great for cruising around Europe except for all the tolls and shit.

How about the shows themselves?
We played about 13 gigs and we were there for about 5 weeks. We played a bunch of gigs and partied and had a good time. That was in 2011. We played in Germany, Austria, Switzerland, France, mainly southern France, played a bunch of gigs in Spain with this bloke we met at The Old Bar, this bloke Nacho. They were some of the better gigs. Booking it was a fucking nightmare. So many, you know, “yeah yeah, we’re interested in having you play”, but most of them didn’t eventuate.

When we weren’t playing shows it was all just backpackers, reading Lonely Planet kinda deal. In Spain we kinda of battled with, you know, there 9am is like 4pm over there. Most of the shows we played were like 2am. It was a totally different vibe where you’ve gotta stay up all night.

Some of the gigs we played there were really cool. We played this one kind of squat where at the beginning of the night they were playing local skate videos and they had markets and shit. This bloke Nacho booked it, it was his home town. An awesome community vibe, people were selling jewellery. We played at 3am, coked off our fucking brains haha.

The crowd reaction?
They pretty much enjoyed it. Between playing gigs and partying….There were a few sloppy shows haha.

Gear on tour?
There was a gig in fucking Rennes in fucking France where I played through some shitty fuckin’ Peavey combo. Funnily enough it was the only gig where we got noise complaints. In southern France, just playing through the worst gear of all time – single speaker fucking bullshit. For the most part the gear was actually pretty good. Played with generally rock/stoner kinda bands. There were a few Ampeg fridges on the way.

No Sunn’s?
Nah. Loads of Behringer.

Any cool band discoveries?
A lot of the bands didn’t really grab me. There was a particular band from France called The Old Guys who were really cool. Kinda bonded with those dudes over our love of The Blood Brothers and The Rapture. They were a cool band. Kinda had this punk thing going on, a little bit off centre. It was kinda like folk-punk. We didn’t actually play with them. We just watched them play at this pub that we played.

How’s the new album going?
All recorded. All ready to go. At Head Gap, with Neil. It’s cool stuff. As it is now, we’ve got enough songs for another album. That’s the way it goes really. Nobody has any cash. We do wanna do some more vinyl again.

Songwriting evolution?
People have vague ideas. There’s generally like just a vague idea and we play them till they nearly die and turn them into songs. Sometimes it’s slow going and sometimes it totally works.

What gear did you use on the latest album still the P-bass and the Sunn?
It was mainly the Sunn with its in-built dirtiness. Just some more distortion, the boss ODB-3 which gives it some extra teeth, just on what’s already pretty dirty. There was a little extra post-production reverb stuff. Oh, and the chromatic tuner haha.

How did you approach the tracking?
It was all done live. You know, some of the songs, change in terms of volume and tempo etc. It’s pretty important to get a really good take. For some songs we did maybe 5 takes, maybe 6 takes or something. After that, everyone’s kinda like “fuck this”. Either we’re going to come back to this, or just pick a good take. We made it so that we could kinda go back and do those touch ups.

What’s the plan for releasing the album?
We’re looking for someone to help out with cash and that whole marketing aspect. As it is there’s not heaps of interest at the moment haha. We’d love to do the vinyl again. Maybe make a bit more of a package.  Maybe like a gatefold thing. There’ll be a big old Melbourne launch. I’m pretty keen to head around Australia again. It’s been a while since I’ve played in Sydney.

In 2008 Patto started a new bass and drums duo along with Jem from Fire Witch called Inappropriate Tough Guy Behaviour. Apart from having an awesome band name, they totally rocked hard, albeit for a fairly short time. Check out their sole album on We Empty Rooms if you can find a copy.

How did Inappropriate Tough Guy Behaviour start?
Fire Witch had played for a while and I was really ready to start a new band. I was sticking with Jem on drums. I was getting into bands like Lightning Bolt and also the Ryokuchi thing. Not stylistically, just sonically. I was like, “I reckon we can do this”. Tom was outta town. It was cool in Wicked City playing that rock stuff, but I was like, I wouldn’t mind playing something a bit more experimental.

How did the material develop?
Some of it was improvised; mostly it was a similar scenario to Fire Witch. Jem and I were the main songwriters in that band. We both had a similar idea of what we wanted to do, to a degree. The first song we wrote was recorded in a jam. We were like, fuck this is an entire song. We then recreated it.

You started to play gigs fairly quickly?
I started booking the shows, which had always kinda been Jem’s domain. I had ideas about what I wanted to do and how I wanted to be represented. I wanted to be a bit more in control of how it was going to proceed and be delivered. Jem and I were both passionate about what we were doing and Jem is great at organising things. I was writing the songs and booking the odd gig, but in terms of having external contacts…I knew I didn’t want to play with shit bands. I was like, what’s the point.

What were some of the highlights for you?
We did a Hard Ons support in Sydney. That was really cool, did the sold out thing after Hard Ons hadn’t played for a while. We didn’t know how that was going to go because Hard Ons fans are kind of, straight down the line. We played some gigs shows – played with Nunchukka and bands like that at the Annandale. Didn’t make it to Brisbane, maybe to Adelaide.

The album?
That was one of his early releases (Jem’s label We Empty Rooms). I was really into the idea of doing a weird, unique CD package with stickers put on the spines. With a hidden booklet for the insert, all done on transparent paper. That was the first band that I’d been the lead singer in. The lyrics needed to be printed as well. I was pretty passionate about that.

Did you focus more on your own playing being only a two-piece?
I was a bit more emotionally involved than Fire Witch. Booking the gigs and making sure that every single note was important, as the only guitarist in the band.

Upping the ante?
Definitely. Some of the songs were a stretch technically. Trying to play rhythm and melody at the same time. I’m constantly adopting a finger-picking technique where I’m playing palm muted notes and playing harmonics. So you’ve got this extra element going on. Using more effects like reverb. Towards the end we had a thing where we would plug a microphone into the bass amp and run it through delay pedals and manipulate Jem’s drum sounds. Adding another vibe to that band, realising that it’s kinda cool when only one person plays. Adopting different techniques to make it interesting.

How did it end?
We had our differences writing music as well. There was definitely this kind of unease when writing tunes about what direction we wanted to take. I was pretty bipolar with what I was writing as well. At one point I was like let’s be as experimental as fuck and just brutalise people. And then on the other hand be like let’s do some Midnight Oil covers haha. We both agreed that maybe we couldn’t progress anymore than what we’d done. Maybe we both just wanted different things.

Any unreleased material?
Nah. It took ages to write songs in that band. What was written was recorded.

For a while Patto played in a very different sounding band with his then girlfriend Jess Cornelius.

Tell me about Teeth and Tongue?
Yeah, it was a totally different thing to anything I’d ever done previously. She was a singer songwriter playing tunes. I was playing bass for songs that she wrote, songs completely written by her.

She was the leader in that band?
Yeah that was the first time I had a purely bass playing role, and filling a niche.

Do you think anyone went to see Teeth and Tongue because Patto from Fire Witch was in it?
No. I had a bloke after an Old Bar gig, he was an old Fire Witch fan. He came up to me after a gig and he was so honest about the whole thing.  He was like, “didn’t like it at all…no good”. He was so fuckin’ honest. I was like “fuckin’ kudos to you”. He was like “didn’t like the sound, didn’t like the songs “ haha. It’s not anything that I regret or anything.

What was the output of that band for you?
I never played on a full album. I just recorded a few tunes for the first record.

Did you tour?
Did some interstate stuff. I played some of the biggest shows I’ve ever played. Played Billboard supporting The Mountain Goats, Falls Festival …Laneway festival.

It was probably the most amounts of people I’ve ever played to, in a band I’ve been. And one that I was the least emotionally involved in.

I played with some awesome dudes. This dude Mark….unreal guitar player. This dude Steve who played in Bird Blobs. It was a really really good band, which just made it totally worth it.

Pollox B is another band that Patto was involved with for a while, although I never went to see them play due to laziness.

Tell me about Pollox B
Yeah it was an interesting band. There was a bloke that I used to work with in kitchens where he played me his record. And I was like “this is awesome shit”. He was an older bloke and he grew up on My Bloody Valentine and Swervedriver and bands like that I’d never even heard of. This music that I’d never really listened to, but from his generation was just huge. This shoegaze thing which you know, yeah.

Was it an established band?
It was pretty much one dudes’ recorded material that had never been played live before and had just been recorded on 4-track with drum machines and heaps of guitars.

There were 3 guitar players and a drum machine?
Yep.

What’s the score?
It’s on an indefinite hiatus. Did a handful of gigs. It was a cool band where the rehearsals were a slab of beer and playing the tunes. In my eyes we were super gig ready and we did a few.  But it was a case of just not rehearsing so much that every time you got back into a jam room you had to start from the beginning. Just because it wasn’t a constant kind of thing.

Did you do an album?
It was all home recording stuff. We recorded but never in a studio situation. It was just a style of music that I was so unfamiliar with. The idea of playing this, adapting to that style was just really exciting.

Patto is also working on a new project called Ageing.

What else don’t I know about?
Presently I’m working on some shit. Writing music for what will eventually be…Originally I was going to play guitar and sing, but my brain doesn’t really separate singing and playing guitar as well.

I’m taking on this role as lead singer guy, but within this 5-piece band scenario. But yeah, two guitars, sometimes keyboards. I’m gonna call it Ageing.

Who’s in it?
Tom from Fire Witch and his brother Billy. Another bloke Paul, the drummer from the National Blue, Dan. But, this is a thing that I’ve kinda been working on for maybe two years.

Are you playing bass?
In the live context, just singing.  But I played all the instruments for demoing.

Drums?
Yeah I played a bit of drums, not very well haha.

What does it sound like?
For the most part it’s an extension of everything that I listen to that goes into my brain and comes out sporadically. It’s generally heavy. I had a year where I basically listened to Captain Beefheart. I’ve got no idea how to play the blues or anything like that haha. This dude is just like a fuckin’…that band are just idols.

You just approached people and you just asked them to join your vision?
Definitely. It’s fuckin’ awesome to hand pick people who you get along with personally who you know that musically and technically can pull it off.

Is there an album yet?
No album in the works, just rehearsing the tunes. It’s slow going trying to write out tablature for people. It’s real interesting just writing out a whole bunch of music for people and giving it to them to learn. In a live situation people that don’t know you that well – this shit can take time.

It’s your dream band right – are you gonna push it more than anything else before?
Yeah, definitely. It’s really personal. It’s exciting shit.

Generic Stuff

How do you find bass fitting in with a band as a rhythmic instrument as against being a melodic instrument? Do you differentiate your style based on whatever band it is?
Yeah it’s totally contextual. I’ve always adopted that approach where you need to kind of take a step back and actually listen to what the song needs. And if it needs you to kind of thrash out uncontrollably and make the fiercest sounds you can possibly do, then off you go. But for sure you’ve gotta think about other instrumentation and enhance what’s already there. I reckon I constantly question myself. Does that fit, or should I play that high, or should I play that an octave down.

How do you balance locking in with the drummer as opposed to focusing on the melody? Do you tend to lock in with the drummer more or focus on melody?
On a song by song basis. Sometimes you want it super thick, super chunky and just play exactly what the guitar is doing to create that meaty brutal sound. There’s something to be said for just slipping between the cracks, for sure.

Jem can be a whole orchestra by himself
I love just laying in with a drummer and that sound where the guitars are totally on top of the rhythm section that’s laying it all down and they’re kind of two separate entities.

When that opportunity is there, to just slip between the cracks and take a bit of glory haha. And in Wicked City that’s kind of how it works. So many times we are like, how are we going to start this song, how are we going to build tension? Maybe the bass should just start the song, that opening riff, to create that trepidation where there’s one instrument playing. Surely these guys are going to have to come in at some point and it’s going to be brutal.

How about Goat Witch? That was a monster of a band. How did you find space in that band?
As a totally improvised thing and nothing more, it just depended on how well you communicated with each other. Some gigs were just fuckin’ shithouse. Some gigs were woeful.  Sometimes it just wouldn’t work. But that said, it wouldn’t work for 30 minutes, but for a selected little 5 minutes it would just be fucking gold.

If no one is driving it then…
It’s totally dependent on the venue. I preferred the quieter moments, where for the fact that sonically it was a bit more understandable. You know, when everyone’s balls out just making the most fucked up thing they can do on their instrument, it’s got it’s perks as well.

How do you balance your personal life and music?
Well, recently after coming back from overseas and whatever…music is fuckin’ so important to me. In particular getting this band where I’ve written all the music and I’ve got this direction where I want it to go.  You know, it’s the fuckin’ be all and end all. If I could write music and rehearse, as a thing, I’d fuckin’ do it. I’ve got no career aspirations really haha.

Part-time jobs and shit are all balanced around trying to do music?
Yeah, at the moment for sure. That will probably change haha.

What are your biggest successes? High-water mark?
All the overseas/interstate touring with Fire Witch and Wicked City is the high water mark for me. Being able to document all our work, and in particular, pressing wax.

I made a conscious choice to not work all the time and not work at night, for the fact that I could go out and see bands play. It’s fuckin’ totally worth it.

Patto’s Rig
Fender P-Bass – 80’s Japanese
Sunn 300T – head
2 x Lorantz 4×10 quadbox
Boss ODB-3 Bass Overdrive
Rack Tuner

Patto’s Current Top 5 list
Goat – World Music
James Plotkin – The Joy Of Disease
The Psychic Paramount – II
Roky Erickson – I Think Of Demons
Dr. Dooom – Dr Dooom 2 Instrumentals

Patto Millman Discography
Fire Witch – Live At The Townie CD – 2004 (self-released)
Fire Witch – Critter/Kritta 3” CD – 2005 (We Empty Rooms)
Fire Witch – Ryokuchi & Fire Witch Split CD – 2007 (S.M.D. Recordings)
Fire Witch – I Spit Lies CD – 2007 (We Empty Rooms)
Fire Witch – Japan -10” EP– 2009 (Wantage USA)
Fire Witch – LIARS! CD – 2010 (We Empty Rooms/Bro Fidelity)

Goat Witch – Live At Cumbersome CD – 2005 (We Empty Rooms/Chairfish Recordings)
Goat Witch – Blind CD 2005 (self-released)
Goat Witch – Naked CD– 2006 (self-released)
Goat Witch – On Fire CD – 2009 (self-released)

Inappropriate Tough Guy Behaviour – Self Titled LP/CD – 2009 (We Empty Rooms)

Wicked City – Autenticos Esquisitos  CD – 2006 (Brown Note Recordings)
Wicked City – Nothing Tastes The Way It Smells CD – 2008 (Afterdark Records)
Wicked City – She Burns 7” Single – 2009 (self-released)
Wicked City – With Wings LP/CD – 2010 (Impedance Records)

 

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