AUSTRALIAN MUSICIAN TIM STEWARD
Interviewed by Cameron Borg
I first encountered Tim Steward in a sweaty Townsville punk rock club way back in 1986, via an introduction from noted 80s zinester Ruth Rebel. Amazingly Ruth has a photo of the actual meeting, which is a rare occurence to see a photo of when you first meet a good friend. Such was the precise document everything mentality that Ruth had in bucketloads which produced her amazing fanzines over a five year period.
Six months later we were sharing a bill with the LETHAL INJECTIONS, a punk rock powerhouse threesome who shook the room like Armageddon had arrived early and unannounced. Tim & I bonded over some decidedly dodgy chemicals and I guess that was punk rock back then.
The LETHALS played consistently, and garnered a following of hardcore fans, before Tim decided he was painting himself into a musical corner. Thereby he took a gamble and formed the more musical and cohesive MADMEN. These guys were a quintessential 80s indie group - who should've been a supergroup. They had the image, the sounds, the look, and the ambition.
After recording two singles and a 12" mini-album THE MADMEN made the move to Brisbane, figuring that the regional location was their biggest hurdle to success. Doing it tough in Brisbane, practically penniless, the hard-working three-piece ground through a hectic work schedule, and critical acceptance, until the departure of bassist Kam Hurst.
Video-maker and Toowoomba musician Kellie Lloyd accepted bass duties after the band's 3rd single, but the writing was on the wall. Just like the contoversial Lethals / Madmen switch, Tim astutely renamed the band SCREAMFEEDER, and began forging a new
identity, which was to take them to a large degree of critical and public acclaim throughout the 90s.
Now with 8 albums safely behind them SCREAMFEEDER continue to produce quality albums, each different and unique, and each featuring the songwriting and vocal talents of Tim Steward and Kellie Lloyd. Tim Steward, still based in Brisbane, Qld, Australia, took time out to speak to Cameron Borg for the benefit of Thylazine readers.
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CB: Which is your favourite SCREAMFEEDER single and favourite album, and the reasons why?
TS: It's very hard to pick a favourite album as they all mean different things to me. Fill Yourself With Music is very special to me as it signifies a wonderful time in my life and was a joy to record. Also the songs are very personal. Kitten Licks I love too as it just sounds so fantastic - our first album with Dean too. Take You Apart, our latest album is a fave too, I'm always very fond of the latest release! There are two or three singles I'm particularly fond of too - all from the Kitten Licks era - 'Dart', 'Static' and 'Gravity'. I like them because I like the songs a lot, but also because they have a lot of great B sides - classic songs that were perhaps "album material" themselves.
CB: Could you tell us about SCREAMFEEDER's touring history internationally? Which countries you visited and on which dates?
TS: We went to Europe and played Spain, France, Germany and Switzerland in December of 1993. The Singapore trip was in 2003 I'm pretty sure. We also went to NZ, America and England [NZ / LA / Austin / NY / London] in March / April 2004. |
[Above] THE WHATS (Photo by Kellie Lloyd, 2004)
CB: The Singapore tour was such a great idea, how did that come about, and do you think Australian musicians should consider Asia as a potential market, rather than the traditional bases of UK, Europe and the USA?
TS: To be honest they should only consider going if they have a local release in one of the countries. We did it more as a laugh / holiday experience. It's a totally different scene over there, very big, very different. Hard to crack into without some form of label support or backing. but still, great fun - our trip happened because we've got a good mate over there who basically put the whole tour together for us off his own back!
CB: In the early 90s you were a keen supporter of Brisbane's burgeoning guitar/rock scene, especially with the efforts of your label STONE GROOVE, the BRUISE compilation cassettes and events, and the CHOPPER DIVISION and MILCH releases. Are you proud of having helped put Brisbane on the rock map nationally, and do you think you'd ever start up STONE GROOVE or a similar independent label again?
TS: It's hard to say, indie labels do seem to be on the rise again. But having said that the work vs rewards equation would have to be tipped far more in my favour than it ever was back then. It was basically a hobby - I didn't make any money or anything. These days my time is very valuable to me and I prefer to be working on my own material than almost anything else! It was definitely great to be involved in helping a lot of small bands gain some exposure, and it did create a good feeling around town, with all the bands etc.
CB: On your latest US tour, what sort of reactions did you receive from American audiences?
TS: Very good ones. American audiences seem a lot more proactive than aussie ones. If they go out to a gig they pay attention to the band - they really listen! I guess Aussies are practically brought up with bands playing in pubs - it's no big deal, but over there seeing bands is something you consciously choose to do.
CB: What can we expect from SCREAMFEEDER in 2005?
TS: We have just stared writing songs for our next album.
CB: Any advice you could give to young kids starting out playing music in a garage somewhere with big plans and dreams in their heads?
TS: Listen to lots of music, read lots, write lots.
[Above] Playing Cheapo Discs in Austin Texas (Photo by Melinda, 2004)
CB: How has the media in Australia been in promoting independent bands such a Screamfeeder? eg TV, cable TV, mainstream radio, community radio, zines, mainstream press - newspapers and magazines?
TS: It's a very splintered scenario - the mainstream media has, by and large, ignored us as a band. We're fine with that. If our music makes it onto telly (as it did last year, Home and Away, Secret life Of Us etc) it's not a case of us being promoted as such, it's due to our wonderful publishing company, Mushroom, pushing our music into those shows. It's ALL thanks to them! We would have virtually no mainstream exposure without them.
CB: Like Robert Smith (The Cure), you have the knack of writing great songs from all sorts of weird inspirations, especially from other creative works - music, novels, paintings. End of the wire, lost in the snow; are both two fine examples of this technique. Was this a form of song-writing you consciously developed, or was it a purely instinctive approach?
TS: No, it was just what I was into at those particular times - a great book can be a very inspirational thing for me. I love wordplay and interesting stories, simplicity and efficiency of words. I was having a party the other night and someone reminded me how I got a letter back from Martin Amis once. I managed to find it - everyone was in awe. Well, half the party, the other half was like wha..?
CB: Could you tell us a little bit about your proposed solo album? Will the music be different from Screamfeeder's? And of course it doesn't signal the end of Screamfeeder does it?
TS: Of course not! The album is finished and mastered, ready to go. It took me 4 years, on and off (ie when i had money) to make. I just have to find a suitable label now. The sounds are quite mellow - meeting, I guess, the softer side of Screamfeeder. Lots of acoustic guitars, strings, piano and keyboards. Also about 3 rock songs.
CB: Many thanks Tim, best of luck throughout 2005 and beyond. Thanks for all the great music you've given the world since 1986.
TS: cheers mate, back atcha. t :)
About the Musician Tim Steward
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Tim Steward (born UK), moved to Townsville, Australia (1985). High school graduate - formed PYSCHO SKATE SMURFS ON SMACK, thence LETHAL INJECTIONS. Played live Townsville 1986-1989, changed name and lineup to MADMEN. Moved to Brisbane 1990. Released one 12" mini-album THUNDER EGG EP, and three 7" singles ALMOST PAST CARING, TOWER, COOL KINDA KID as MADMEN. Name change to SCREAMFEEDER. Tim played pivotal role in promoting Brisbane independent bands in early 90s, via his label Stone Groove. |
[Above] Photo of Tim with Canary by Tanya Falconer, 2001.
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Thylazine No.10 (September, 2004) |
