Q & A: Paula Damnzal (Kuntsquad)

By ADAM COOPER

Hot Metal: Hey hey Paula! See what I did there? So good to chat with you… How are things going with the new Kuntsquad album? Getting some great reviews..?

Paula Damnzal: “Ha, yes it’s been a bit of a rollercoaster since it’s come out. We’re pretty stoked about the positive reception it’s had, particularly in places like Europe and the US. We were not really expecting people to really get on board with its quirkiness, particularly because it’s such a typically ‘Australian’ sounding production. It’s quite an ‘in your face’ sounding recording, with little fuss and quite raw in terms of its sounds, almost chaotic at times. We were quite interested to see if people could see where we were going with it and more importantly, understand that we were not intentionally going for a standard genre, at least not one that could be pigeonholed easily. Nevertheless, it’s been very interesting seeing different reviewers picking up on the various elements/ influences in the different songs. From death metal to crust punk and everything in between. Generally speaking I think most reviewers got the fact we were going for that extreme form of a chaotic auditory experience.”

HM: How did you guys end up up crossing paths?

PD: “We all knew each other, some from previous bands and others from friends of friends. Our initial lineup included Bryce Hurley on drums, who I’d played with in other bands previously (Spine of God) which is where I first met him, and then he played in Velvet Hammer with myself and Steve Esler. So we go back as far as the nineties. Then Brett came on board as our bass player, through friends’ connections, and I believe Steve had met him previously at some point. When Bryce left early on, Adam stepped in to replace him and I believe Bryce had recommended him to us. Adam was playing in a doom band called Eldridge Rites at that stage as well. So we haven’t had many lineup changes since then, so we’re all pretty good mates and that’s a huge plus at this stage given band dynamics can be fought with all sorts of fuckery which luckily we’ve avoided to this point.”

HM: How was the recording process for Kuntsquad?

PD: “The album was recorded in March 2022 (released one year later) at Goatsound studios with Jason Fuller (ex Bloodduster) so we were quite confident that he’d be able to get the vibe and sounds we were looking for. He delivered in spades and with little fuss. We were not hugely  interested in an overly processed or polished product, like most of the Euro metal bands, rather we wanted raw organic sounds that would tear your head off. So whilst that was achieved, in retrospect, there would be some things I would change, but at the end of the day it was always going to be about how much money and time we could afford to spend. It was also conveniently mastered by Jason as well. As far as the recording process is concerned, it was really done in a stock standard way – drums and bass, guitars and vocals last. We did a bit of tweaking along the way and Jason liked  to do mini mixes as we went along. We used Jason’s Orange amp head which was an absolute ripper and I used my mesa as well. Ultimately combined it achieved that contrast we were after in terms of a brutal chunky rhythm sound between the two guitars. The ultimate aim for me personally in any recording is to try and capture that brutality of a live performance … not sure we achieved that but it’s close. Jason then mixed the whole thing, without us, then we’d touch base and see if he was on the right track. I think he prefers to do that and whilst that sounds strange, I think ultimately it worked to our favour, given that idea that ‘too many cooks spoil the broth’ scenario. Mixing can be an absolute mindfuck and tired ears can wreak havoc. The most important part is the overall sound, not the nitpicking that can happen at the final stages of that process. I’d never done it that way before so it was interesting to say the least.”

HM: I hear a bunch of old school influences from Slayer to Napalm Death to Cannibal Corpse? Are the old school references a fair call?

PD: “Yes fair call even though we sound nothing like those bands, the influences are undeniable … after all we’re all old school that way. The band members bring with them certain unconscious biases and influences that ultimately will dictate how they approach the songs and the process of a finished piece. We’ve all got quite eclectic tastes in music but the commonality is that we all enjoy extreme music. The sounds of this record are a throwback to ninties metal with a twist. It wasn’t something that was contrived, rather it is a reflection of my songwriting and how it has evolved over time. My belief is that every recording should be a progression of what was done previously and whilst that’s not in my fore thinking when I write a song, it’s definitely a process of elimination. I’ve always sought to revisit and restructure riffs as I go so that I avoid repetition if possible. That’s not always achievable but it is a definite thing I try to achieve.”

HM: From the Velvet Hammer and Damnzal days, how have things changed for you in this crazy?

PD: “Crazy yes! I’m of the belief any recording is a reflection of a time and space, literally a snapshot. Velvet Hammer is a good example of what I mentioned above about every recording being a progression of the last,and if you look at the discography of that band, you’ll see how we started as a goth/punk band with keytar (pink record) and evolved after multiple CDs later into a gnarly metal band, with samples. Polar opposite sounds, with the commonality being my standard approach to songwriting and structures. That band was around for 10 years and did quite well, all with a DIY aspect that has not left me to this day. The touring, festivals and gigging was relentless but what really launched the band were the videos we put out, which were played regularly on Rage. This  hugely contributed to broadening our profile across Australia. Damnzal was a fun quasi glam rock/metal project I did between other projects, with my good mates, the girls Tania, Vanessa (and male drummer) Scotty. It was never meant to be anything other than a shit stir throwback thing but ended up being quite interesting. (We were) signed to Dead Famous Records and about to go on tour of North America with Kittie, but everyone got cold feet so we ditched that. It fell apart shortly after that but it was hella fun. We even did an impromptu gig with Pungent Stench. The only cover I’ve ever done as a musician was ‘Cherry Bomb’ … it was awesome when Cherie (Currie) heard it and contacted us with her approval. As far as my approach to the various projects and bands I’ve been in, the commonality is that I can only be me, I try and contribute the best  I can and I certainly don’t try and be something I’m not … the evolution of my songwriting is merely  a reflection of the various bands I listen to – new and old – and I think it would be true to say of any musician, that it’s hard not to be influenced by that. Unless you live in a void.”

HM: How has being in those projects affected how you are now musically and personally?

PD: “I’m always up for a challenge and I’ll have a go at anything that comes my way. Certainly being in different projects puts a bit of a spin into how one approaches their songwriting. Like I mentioned previously, the idea is to evolve, create something new and the more one is exposed to various elements within the industry, the more one learns. It’s always been a process of self improvement and development. My experiences over the years have allowed me to learn more about the various elements within the industry. It’s a business but one of love and passion, not of financial gain. There’s never been much money to be had in this world and the little a band gets, doesn’t even touch the sides in terms of recouping all costs, after rehearsals, merch, promotion, travel and touring costs etc etc. If one can break even, you’re winning. Obviously it’s a tad different if you’re a stadium band. Personally, I can’t say I remember much of the nineties … but there are special moments that are still quite vivid: the ZZZ festivals, particularly one where Misery was headlining, the gigs with legendary bands like Beanflipper, Abramelin, Bored … to name few. I’ve m quite fond of those days.”

HM: Do you miss the halcyon days of the 90s?

PD: “Definitely. It was less political amongst the bands themselves. I find that there was a healthier approach to putting on a gig, where one wasn’t afraid of putting on a ‘mixed’ bill event, rather than have the one genre lineup thing happening. Not everyone would agree but that’s probably because there are individuals who have never experienced the joy of random exposure to something outside of their comfort zone. There’s a ton of excellent bands out at present, who also have their roots embedded  in the nineties, so there’s still hope that this will become a thing again. Certainly iconic venues such as the Arthouse and the Great Britain hotel were hugely supportive of new and old bands being placed on the same bill, for obvious reasons (some bands mentioned above). I think the promoters, often owners, of those venues were of a different mindset to those around today. I’d love a return to the days where the promoters actually put together a lineup, as opposed to leaving it all to the bands, again for obvious reasons … unless you do actually want to play with the same bands over and over again. The nineties allowed for an expansion of the typical circle of bands playing gigs together, which we see a lot now. I also miss the relevancy of good street press (which has completely lost it now). Bring back the flyers, the zines etc. I miss that nerdy stuff but it was a thing that may not ever happen again, along with tape trading and the rest. Ahhhh!”

HM: What album or band would you take to a deserted island?

PD: “Now that’s a hard question because for me, what I listen to is totally dependent on the mood I’m in. Nevertheless, I cannot lie that I’m a huge Sad Ex fan so  I’d have to choose them, based on the fact that their albums are so eclectic and that they’re mental … so sounds like they’d be good value all round.”

HM:I know you are a mad AFL/Carlton Blues supporter… sadly. Any other sports you play or follow?

PD: “Apart from the most awesome BLUES , I do like to watch tennis, follow Storm and Victory in the different codes and wrestling. I’ve been to a few MCW (Melbourne City Wrestling) shows and they’re always mental … good value and so funny. I’m also a boxer so I dabble in that when I can, obviously not seriously, but more from a fitness perspective. I have had some interesting responses when it dawns on people that I have a degree in PE. During the lockdown I was providing free at-home fitness programs for people who wanted them. Personal training isn’t something I do a lot of now because my schedule is pretty hectic, but I do love my sports, despite my dubious indulgences at times.”