Soooooo, first of all,  the album is amazeballs, very addictive, and very fkn
heavy. Tell us the ideas for ‘Cellar door’ that were flying around, from
what you wanted from the start, to how it became ?*

Hmm, I wouldn’t say that there was any pre-conceived ideas behind Cellar
Door, or any kind of objective of ‘this is what we want it to be’. It’s
really just a collection of songs from what was probably our best, most
creative period, paired up with the best conditions for making a record
that we’ve ever had.

*I’m hearing a lot of different spits of The Cure, You am I, Red Hot Chilli
peppers weirdly enough.. in this album. How do guys contribute to each
song?*

I definitely felt like we channeled a bit of the peppers in Orange, but if
you’re feeling You Am I or the Cure in there, that’s probably Doolans
influence.
All the songs were written initially by Cory, and we all added our own
parts on top during rehearsals. Where as the instrumental side was really
pretty well defined when we went into the studio, Doolan I think took a
different approach, doing a lot of the work in a 2 week period with Tigran
in Adelaide.

*I’ve heard some of these tracks before in your live shows, how long were
they in the making?*
Some of these tracks are really quite old now. Revolution Zero very nearly
made it onto the E.P, so I think that one must be nearly 4 years old, or
there abouts. Aside from Paisley Tattoo and Masochistic spirit, all the
tracks have been stalwarts of our live set for a long time, so we really
found all the little pockets where we could sprinkle a different spice
every time we played the tracks.

*We have a feeling that this album will go down in FUZZ history. How did
you guys decide on production, and who mastered the album?*

The choice to go with Tigran was a very easy one, his work on Caged in
Flesh being testament enough to his abilities, and he was already 1 year
further down the rabbit hole from that when we approached him. Pretty much
the only other person we considered was Paul Maybury, but our friendship
with Tigran was just really well established already through the
Horsehunter boys, and we were keen to give him the opportunity.
Deciding on where to record was really a toss up between Crosstown Sound
Studio’s and a place in Fairfield. Both were in roughly the same place,
costing roughly the same, and both studio owners were rad people that we
had got along with really well when we rehearsed at these places.
Ultimately, Tig was just more familiar with Crosstown, and had already
built a good working relationship with engineer/studio owner Josh
Whitehead.

Recording guitars at the Freshwater creek town hall was a great way for us
to save a bit of cash and mix up the working environment, whilst also
copping some sweet room reverb. Thanks to the surfcoast shire for renting
that joint out to us so frequently. The vocal takes from there hadn’t come
out so fresh, so Doolan wound up in Tigs recording bunker in an Adelaide
heatwave, working one on one for two weeks to do the vocals.

The decision to have Carl Saff master the album came from Lord Tigros.

*You guys have been fuzzing out since you were babies…what was the most
fuced up show you guys played?*

Probably the weekend we spent playing for the Hotham Board riders club.
That was an absolutely unforgettable weekend. We went hiking around the
mountains with some interesting thoughts, we played with this weird stuff
called snow, I got crushed by my 8×10 and Jarrah vomited all over his kit
about 20 seconds before the end of the second gig. Lots of mates, lots of
great hospitality and some amazing landscapes.

*So ‘Cellar Door’ will be your last release, and last show. *tears* please
don’t leave us! What does the future hold for you guys??*

I think at the moment, none of us can really say whether this really is
the very last of the Underhanded, but certainly, its time for a new phase.
I’m moving to Canada for 2 years to follow my green thread- who knows, the
next underhanded show could be in North America.
Cory and Doolan have another band in the works called Brain Explosion 45s
(queeny, check with luke that this is right) with Spookily Lukely on the
drums, and Justin from Swamp on guitar. I’d describe the music as
continuously progressive. If you think Cory goes alright on the guitar he
told me that ‘I really feel at home in front of a keyboard with a bass in
my hands as well’, and he’s not wrong.
We’ve all picked up new instruments and really explored some new
dimensions musically as well as personally.
I can’t really tell you what Jarrah’s path is, I think its up to him to
work that out just yet. There’s really no bad blood between all of us, so
the door is open in the future, but as life long friends, we’ve realised
the need to grow personally is at the core of keeping the band healthy.

*Please tell us the details for the show(will there be vinyls, will there
be bongs), and your dreams for how you would like it to go down?!*

Ok, so the show has come to together at the last minute after alot of
frustration with Melbourne’s venues and general process.
Opening will be a fun little project from a bunch of our mates that is
basically just the lounge room jam band transplanted onto the stage. Its
Cory’s first gig on the keys and my first gig on the sax, so that should
be interesting.
We’ve got some good friends in the form of Swamp and Mannequin Death Squad
playing aswell.
Unfortunately, there won’t be any underhanded merch, aside from some old
E.P cd’s- Cellar Door exists only as a digital copy for the moment.
We will have a fantastic drummer by the name of Josh Eales filling in for
Jarrah, we’re really happy with the professionalism he’s brought, so its
going to be fucking rad!
The party will go ‘until dawn mi hermanos’, or so Lars has said.