Probably best not to read this one at work – if just for the band name alone, which offers the most interesting Google search of any artist UTR has interviewed in recent times. Thankfully, they make great music – so we caught up with Casey Latimer (Sharpie Crows), who works with Alex Brown (Street Chant) to make some some refreshingly unusual noise music.
The name: It’s known to some as ‘Girls Pissing On Girls Pissing On…’ etc, was this ever correct?
The idea with the name was that it could continue infinitely, however ‘Girls Pissing On Girls Pissing’ has usually been the official title. And then ‘GPOGP’ when people have had a problem with the title.
How did you come up with this exact name?
The name was inspired from pornography. It felt relevant in terms of what we were doing, wanting to go somewhere forbidden and dealing with themes that were rather taboo or ignored. Not that we agree or disagree with the sex industry. I think the idea was that we related to all sides and parties in the given scenario. It was a metaphor for where we were at and how we approached this project.
What’s your basic idea of what you want to express?
The aim of this project is to either deal with well thought-through ideas and concepts, or either be open to energies and our feelings within a moment and express that honestly. I don’t think I could be more specific as I want the freedom to say anything I want to within this.
If you don’t mind clarifying, does your music contain particularly self-reflective ideas?
I find with what we have just recorded, definitely. The lyrics are from poems over the past five years. They are very self-involved.
Is there anything that you can try in Girls Pissing On Girls Pissing that you wouldn’t be able to in your other bands? How?
I think this project exists to allow total freedom to do and express anything. Apart from play on acid. Twice, that has failed miserably.
Who’s currently playing with you live?
At this point it is just Alex and I. Aki Crummer and Juliette Anne contribute vocally and with instruments on the album and may also at this next show. At this point I consider Alex and I as being Girls Pissing, however other people may come in and out at times.
What kind of music were you listening to when you started doing Girls Pissing On Girls Pissing?
We are both very open minded people who listen to a wide range of things so this is a difficult question. I would say Scott Walker, Paul Robeson, Whitehouse, Throbbing Gristle, Lydia Lunch, Rowland S Howard, Leonard Cohen, and HTRK have all been rather inspirational throughout, although it may not be sonically obvious.
What’s the deal with the new release?
At this point there is the one show at Audio Foundation. It is koha so you don’t have to pay. Alex and I will be exhibiting paintings and collages, and the album will be available with a book of lyrics and artwork. Also, Emily Edrosa (aka Emily Littler from Street Chant) will be playing.
What inspired you to tie your music with art?
We really like the idea of this not being a “band” and more of whatever the fuck we want to do. We just want to convey our ideas in any relevant medium. Both Alex and I do a lot of art as well as music and wanted to include both aspects in this project.
Who was it recorded with? How would you compare it to other releases you’ve put out?
We recorded the album ourselves at my house in West Auckland. It was tidied up and mastered by Jackson Hobbs [Sharpie Crows]. The approach wasn’t very different to what I myself am used to. However it is very different sounding to what GPOGP originally sounded like. It is our first release.
How difficult is it for you to perform such high-intensity sets? Does it get easier?
In the past it has been very high intensity. Back then it was not difficult because it was just raw honesty and relevant to ourselves. I have been performing GPOGP by myself which has been somewhat difficult technically. I am not too sure if ‘high-intensity’ will be relevant this time around. I don’t think anything done honestly should be difficult to perform.
Has your performance style changed much since you first set out as a musician?
We have both played in various projects with different styles and intentions. I think performance style is relevant to the project which you are involved with.
On that note, what were you like when you first picked up music?
My first recollection of liking music was as a child hearing ‘Everybody Wants To Rule The World’ by Tears For Fears and being really moved. When I first started playing music I was a Noel Gallagher wannabe.
Who has particularly affected your approach, of those in the local music scene?
Dial, Thomas Burton, Strangers, The Wind Ups, Octopus, Vacants. Not a hell of a lot personally. Mostly close friends and band members.
What do you like about bands from New Zealand? And what don’t you like?
Being a small country, I think everybody’s a lot more judgmental and it is hard to get far if you are lazy, a plagiarist, boring, insincere, or a dick. Which is a good thing. I think there are some bands showing some promise and doing something more imaginative and intelligent. For the most part personally I think the music scene is pretty dire and what I do like and respect will never get the recognition it deserves as the majority want to see and listen to absolute shit and imitation.
