On the beers with Cosmic Psychos

Australian punk rock duo Cosmic Psychos are in Western Australia this week, bringing their twelfth studio album, I Really Like Beer, to The River in Margaret River on Wednesday, November 26; Rosemount Hotel on Thursday, November 27; and Indian Ocean Hotel on Friday, November 28. KAREN LOWE sat down with bassist and vocalist Ross Knight to discuss the band’s incredible 40+ year journey, sharing stories from jamming with Mudhoney’s Matt Lukin in Dan Peters’ basement nearly 30 years ago, witnessing the various changes in the music industry, navigating everything from tiny venues in Europe, collaborating with the likes of Madonna and his brand new podcast, How Ya Going?

Following the release of your 12th studio album, I Really Really Love Beer, you guys have hit the road for an epic 42-date tour. What are you looking forward to on the tour? Is there anywhere that you guys haven’t played before that you are particularly looking forward to?  

I’ve really been looking forward to the tour. We just sort of said, ‘Let’s go play everywhere.’ Let’s just pick places we haven’t played, and let’s just play anywhere and everywhere. Every time I go out on tour, I’ve never really looked at where we are sort of going, but being a country lad, I’m a big one for playing as many places that are just off the main strip, if that makes any sense.

When I was a young bloke living in Central Victoria, there were not many bands that came through anywhere close. So I give someone an opportunity to come along and either like us or not like us, but at least they’ve got that opportunity.

It’s always appreciated as well when bands do that.

Yeah, I think so. It’s fun. You get to see and meet people and just see little towns you might’ve only just flown through before or driven through quickly or something. So it’s great to stop and go and have a bloody counter meal at the local pub or whatever. Just be a part of it. 

Joining you on the first leg of the tour is drummer Dan Peters from Mudhoney before BC from Dune Rats takes over. How did that come about, and does that first leg also include WA?

The first leg does include WA, and that came about because Dean has been drumming for, oh, he’s been in the band for nearly 20 years, and he’s just done with the touring. He just said he doesn’t want to tour anymore.

There’s a rumour going around that he had shoulder surgery, which is not true. But Dean has always been the sensible Psycho and he’s got a really good… He’s built up quite a business, and he’s extremely busy. The touring and that kind of stuff doesn’t fit in with his work, so he’s just opted out. And you know what? That’s fine. There are no problems with any of us or Dean. BC filled in in Europe for a few weeks last year, and he’s an absolute gem to tour with. A great bloke and a great drummer in Dune Rats. And we sort of thought, well, he’s going to be in America, and we’re touring in November. So we asked Dan if he was busy at this point in time. And Dan’s been a great friend of ours for a long, long time. Lucky for us. Dan goes, ‘Yeah, I’ll come over.’

I’m looking forward to playing with Dan. I was in Seattle. Oh goodness, I was in Seattle, probably 20… nearly 30 years ago. And went to Dan’s house and went down into his little studio underneath his house, and we actually had a jam. There was me, Dan and Matt Lukin from Mudhoney, and we had a jam and just ran through some of some riffs I had at the time. So I’ve actually played with Dan before in his basement.

Seattle’s beautiful. I loved Seattle.

Oh really? That is just a beautiful spot. It just feels like home in a lot of places in Seattle. You’ve got water, you’ve got the lakes, and the city’s vibrant. And the history… the musical history there is fantastic, although it has changed a lot. It’s really turning into high-density living, especially in West Seattle now. It’s a little bit different, but I still like going there. Some of my dearest friends are still there.

Cosmic Psychos as a band has been around since 1982. What are some of the biggest changes that you have seen in the industry from when you first started to now?

Probably the biggest… look, it’s been around for… That doesn’t feel that long, but it’s been forever. But starting up playing music that only we could play because we weren’t good enough to play anything else. I’m an absolute clown of a bass player; I’ve no idea. Then all of a sudden people are going, ‘Oh, that’s right! These blokes are having a go,’ and away you go.

The punk rock thing from the seventies had conked out, and then all of a sudden it was new romantic, and then lots of people were wearing old men’s suits and stuff and very cool kinds of music. We’re still running around like twits, so it’s funny to see. And then all that big explosion of independent music again towards the late eighties and then early nineties, which spawned some of the greatest bands ever. But then you just see the corporates get hold of it again, and that crushes it.

And then probably the other biggest change is the internet machine and people not buying as many records as what they used to and all that kind of stuff. It’s great to get your music out there, but unfortunately it doesn’t pay the bills unless you’re rich to start with. You’re never going to make any money out of music, so you’ve got to do it for the love of it.

And how have audiences changed over the years?

Oh, that’s a funny one. In Europe, you’re playing in front of younger people, and then people get older, and then all of a sudden you get another 10 years down the track and you get another burst of the younger people. And then I’ll see people that I’d met 15 years ago, and then they’re bringing their kids along. And the last time I went to Europe, I met my friend’s grandchildren. So how old do you reckon I’m going? Bloody hell!

Look, it’s a real mixture. In Sydney a couple of years ago, we did a Saturday night at a venue, and then we did a Sunday, a matinee show. So the Saturday night was a young crowd, which was extremely fun; it’s always great to see kids watching people old enough to be their granddads.

Then with the matinee show on the Sunday, I reckon the average age was definitely somewhere between 50 and 70, and I’ve never seen so much carnage on the dance floor—people going out; being carried out on bloody stretchers and broken ankles and stuff. It was old people behaving very badly. It was fantastic.

Awesome. That would’ve been good to see.

It was amazing to witness and be responsible for it. (laughs)

Over your career, what are some of the biggest moments that you still can’t quite believe actually happened? 

Probably the first gig we played. We were going, “Oh geez, really? We’ve got to play in front of people?” But I think walking out in front of eighty to a hundred thousand people at a festival in Europe and stuff like that, going “Actually… this is a bit odd!” But just taking it in and then supporting some bands who you’d never think you’d ever support and having basically a front-row ticket to see how they all operate and stuff like that.

Look, I feel like a real imposter because I’m not a bloody musician. I’m a farmer. And getting to know people who are quite famous and world-dominating bands, it’s a pretty odd circle to be circling in, but everyone… and I mean everyone’s just a person at the end of the day. So I dunno if that answered the question, but yeah, I think just being in a band is being in a spot that I dunno if I’m totally comfortable with, but I’m excited about. 

Speaking of careers, as you mentioned, you are also a farmer but also volunteer your time to your local fire service. What job would you say was harder, and why?

Oh, I think as far as battling fires, it is a protective thing that comes in, and you kind of know what to do and you stay calm but you’re protecting… Basically the fire service is about protecting your neighbour, looking after your neighbours and looking after your district.

For me, that is a natural instinct. So for me, it would be harder for me pretending I’m a musician because I’m not. I would say that’s definitely the hardest part. I could bullshit to you all day about “Oh, I’m writing” and all that kind of stuff, but really? I mean… I’ll write you an album in five minutes, and it’s going to be just like the other one. So really there’s not much to talk about.

For those that don’t know, you have just started a podcast called How Ya Goin’? What’s it about? And who have some of your favourite guests been so far?

Every guest that has been on it. Look, it was suggested to me to do it because when Dean decided he didn’t want to play and there was a bit of a break and that kind of stuff, my manager said to me, “Why don’t you do a podcast?” And I go, “Well… what’s that?” I had no idea, and he said, “Oh, just chat to a few mates and just talk about stuff.” I try and steer away a little bit about… Well you have to talk a bit about music and stuff, but it’s more or less just checking in and seeing if everyone’s alright.

As I said, I have no idea what I’m doing. It’s not really planned. We have a couple of beers and have a bit of a chat, and it goes all over the shop. Look, I haven’t listened back to any of them. I don’t want to. I’ve been too embarrassed. I think the one with Tim Rogers… I reckon we bloody talked for probably about three hours, and I think that got edited down to about half an hour or whatever. I just go off on tangents, and we all just take each other on a tangent and end up talking about what colour socks we’ve got on. It is really exciting stuff.

That’s the kind of chats that you want anyway. It’s like those natural ones where it just kind of flows.

Yeah, I’m getting to speak to people. I’ve met a lot of people like Scarlett (McKahey) from Teen Jesus and the Jean Teasers. Look, I’ve met Scarlett before, but I’ve never really had a chance to sit down and have a good yak, and just to meet these people when you’re not backstage and you’re not… You can just concentrate and relax, and I am finding it great! Finding stuff about my friends I never knew, because some of us—sometimes we just haven’t had that opportunity to sit down and hear their story and how much we’ve got in common and how much I’m kind of enjoying it in some funny way.

I need to have a good listen to those as well, especially the one with Tim Rogers. But I also believe that we have a friend in common, Cindy from Sydney.

Cindy from Sydney!! (laughs) I have known… have known Cindy for a long time! I first met Cindy in another phase of Cindy’s life way back in Europe, and we used to go skiing and stay at the place in Salt Lake [Utah], and oh yeah, I’ve got to actually go check in. I know Cindy was a bit crook for a while. I’ve been checking in with her every now and again. And you’ve just reminded me I’m about due to check in again. Unreal! How the hell did you end up in Cindy’s phone book?

I literally met her in San Diego when I went to see The Chats and The Bronx playing, and she had a Cosmic Psycho’s shirt on, and I’ve just gone up to her and gone, “Oh my God, I love that band, but how do you know them?”  That’s where we started talking, and I’m friends with her now on Facebook. Yeah, yeah. So… the usual way I meet people.

Yeah, no, incredible. As I said, Cindy’s been out at the farm and stayed out here at the farm many, many times. It’s been 30, oh God, 30, 40, 35 years we’ve been friends for. So yeah pretty funny. What a full on… there is one speed for Cindy.

Last time Cindy was here at the farm, she stayed here and ended up staying for about seven days and sat outside and I kept saying, “Cindy, close the bloody door!” and she would say, “Oh I forgot!” And I’d come back in, and she’s got the door open! I would say, “Cindy! Close the door! We’ve got snakes here. Close the bloody door!” Well, guess what happened? Ten days later, after Cindy went, a big black snake came out from underneath the couch. So thank you, Cindy!

You guys have also played on some of the biggest stages across the world as well as many, many dingy venues. Are there places that you have played where you wonder, ‘How are they letting us out on stage here?’ And what are some of your favourite venues that you have played at?  

Some of those festivals—there’s a huge one in France called Hellfest, and that is incredible. I think the headline act the night before was Metallica, and then we’re in pretty early in the morning the next day. I watched Queens of the Stone Age come on a few bands after us, which is one of my favourite all-time bands. Foo Fighters were playing that night, so you can imagine the playing crowd. It’s like eighty to a hundred thousand. The stage is as big as a football field, and you’re like, “Bloody hell! ” which we find a bit uncomfortable.

We like to stay nice and tight and that kind of stuff. And yet there are other places… there’s a little venue just outside Antwerp in Belgium called The Pits. Now The Pits—they reckon it holds 90 people. Well… I don’t know how you put 90 people into a sardine can. And honestly, the only way onto the stage is you’ve got to go through the bar and get thrown onto the stage.

The only way to get off the stage is to dive. Do a stage dive into the bar, and someone catches you. It is just… the PA is… honestly! You and I have got better sound systems in our cars, but the cook upstairs does an eight-and-a-half-hour slow-cooked stew with Belgian beer and it’s the greatest home cooking you could ever, ever dream of. And the place IS the pits. You walk in the door where the merch is and there’s just an open dunny there. So if you need a piss or a crap or anything, you’re doing it in front of the whole everybody if you wanted to, but it’s just an absolute gem.

There’s a lot of venues all around. There’s venues in America that I like. Australia has got some of the greatest venues around so it’s trying to pick your favourite child. I don’t think I’ve ever played in a bad one because one attitude we’ve always had is… I’ve seen bands crack the shits because the PA’s not good or the green room’s no good or there isn’t a green room or blah, blah, blah, blah, blah. But it’s what they’ve got. And then in France and stuff like that back in the days—you would play in a lot of squats in the early days and they haven’t got much. So you can’t complain about what they haven’t got and they’re trying their hardest to make it the best show possible. And you just run with it. You just work with what you’ve got and be happy and be thankful you’re there.

If you could collaborate with any musician, any genre, who would you love to work with?

Gee whiz. Oh, I couldn’t narrow that down to one. It depends. If I wanted to be really clever and really, really famous or just have a really, really, really good time… I just think I’ll have a really, really, really good time. As I said, I’m not a musician, but there’s something soothing about George Harrison from The Beatles. I know it’s going to be very hard to collaborate with him, but I just loved his simplicity in his songwriting. And I’m not even really a Beatles fan, but there was something about that bloke. I wouldn’t have minded sitting down and just having a yarn with him, just having a yarn.

If I wanted to be really super duper famous, oh, I dunno, I’d really like to sit down and see how someone like Madonna works or someone who managed to stay relevant in the music scene for 40 years.

Look, I don’t know. Just to see someone who just… appears to have had complete control over what she did; I guess she just seemed really smart. Well, hopefully if I hung around with someone like Madonna for a few years, some of that smartness might rub off on me. I’m not a huge Madonna fan. I’m a fan of her work ethic, or what was her work ethic, and being relevant, but I’ll take Madonna, George Harrison and Tom Petty because Tom Petty seemed pretty cruisy too.

So I won’t pick anyone involved in too much beer drinking and rah rah, because that’s what I’ve done for 40 years. I’ll just go off on a tangent.