_{(left to right) CH, AT, BMX, PC}

BMX: Chris and I met through the show. In a strange way we found that a bunch of people working on the program had a thirst to blast off into freak music. It might be because doing something so commercial to pay the bills makes you want to have your own perfect non-comercial other life. The show is quite English in vibe - the lives and loves of people living in the same street. It's been going since 85 and is still massive in England. Most people can't believe we actually do this for a crust. As a kid I used to think that doing northing but music would be a dream - since finding out about the way the music biz works i've changed my mind - not having to make money out of music makes all the decisions you make purly artistic and gives you so much freedom to do it exactly how you want.

C.H.: Neighbours is a soap that's huge here in Australia and in the UK. Ben and I met at the celebration for the 2000th episode of the show. It recently celebrated 3000 episodes so we like to think we ve known each other for 1000 episodes.

Dream: Some of you also had some early experiences as entertainers; would you tell us a bit about that?

C.H.: Ben was the child actor.

BMX: I did a bit of acting as a youngster (some tv, some films - smallish parts)- but at a certain age I realised I was never going to be the next De Niro and gave it up (I also couldn't handle the parts I had to play which didn't seem very real to me) - although it was a good way to buy decent instruments which I still use to this day.

Dream: Do you feel that your early show biz work in any way contributes to your Sand Pebbles work?

B.M.: It's more a reaction against it - you don't have much say in things as an actor - the end product has so little to do with you - The Sand Pebbles is the opposite of that.

Dream: Your range of stylistic influences seems quite wide, I can hear: soul, psychedelia, pop, rock, folk aspects and more in your sound; what accounts for this inclusiveness?

BMX: I'm a record nerd - have been since I was about 12 -(if i had 20 bucks to go out as a teenager, I'd get drunk on cheap port, sneak into the venue for free and make sure I had enough left over to buy a record before going home the next day) I just wanted to buy it all and hear it all. my theory now is that 95% of all styles of music are shit - why limit yourself - seek out the 5% that's good in all genres and let that be the soundtrack to your life. I've never understood people who are say, only into dance music, or jazz, or garage, whatever - it seems so narrow. At home I'll go from the 13th Floor Elevators, to Miles, to Dino, to Mouse On Mars, etc - I feel that vibe has gone over to The Sand Pebbles - we're up for having a crack at whatever seems like a good idea at the time.

C.H.: It's funny because we're all music fans and have a pretty wide range of tastes but it s probably the listener's knowledge of music that dictates what they hear. Like people mention Smokey Robinson with regards to Andrew's vocals. Smokey was the last person on our minds when Andrew unleashed his falsetto. So was Barry Gibb, Frankie Valli, Prince or any number of high pitch squealers. To us it just worked for the songs, initially My Sensation and then Moving Too Fast, made them a lot more emotional and vulnerable and distinct to your average garage band. But neither of those songs sounds anything like those artists.

A.T.: We here at The Pebbles Brotherhood are a catholic church - all musical styles, no matter what their past sins, are welcomed in and made to feel at home. Eventually, we believe, all styles can be put to work for some greater purpose - even polka...

_{'Stop pithing me off...'}

Dream: You contributed to a Tom Verlaine tribute album with a cool cover of Sixteen Tulips; are you fans of his, and if so tell me what you think of his work?

BMX: I'm massive on the man. Love Television. And some of his solo stuff is incredible - especially a rec called Warm and Cool - a truly beautiful instrumental album. It's been a huge influence on me. There's also a live rec from the early 80's - some of the best git freak outs of all time - always expansive, never wanky (no easy feat!)

C.H.: We're fans most definitely. Marquee Moon is one of the all-time great albums. We also really liked Verlaine s instrumental Warm & Cool album. That was a key album in the original idea for the band's direction. The Big V off Eastern Terrace is our homage to Verlaine.Calling a song One Time at Sundown was another I suppose.

A.T.: My brother Geoff turned me on to Verlaine via Marquee Moon - the first time I heard it I hated Verlaine's guitar work (but loved his singing). I think his playing on Patti Smith's Break It Up finally convinced me of his genius...

Dream: Can you tell me a bit about how the Eastern Terrace album came together, and what the recording experience was like?

C.H.: We recorded Eastern Terrace on a portable digital 8-track. Very basic technology but it allowed us to record where we felt most comfortable. Most of it was recorded in my lounge room. It was also done over a period of time. It wasn’t like we went into a studio and banged it down. Maybe that's why it s an eclectic mix because it represents our interests, whims and fancies over about a 12-month period of time. It veered from great frustration to some of the funniest, most enjoyable moments of my life.

A.T.: It came together in bits and, eventually, pieces. The Pebs seem to nag songs into life - basically scratching away looking for that brief moment of brilliant illumination. My memory of ET is therefore of sessions of struggling to get it together interspersed with moments of 'geez, that sounds fantastic...'

B.M.: We recorded in studios with producers. I couldn't handle it - I always felt uncomfortable. I'm not a "muso" type and to be honest, was a little intimidated by the "is that guitar in tune?" vibe. Thought there has to be a better way - had been listening to the Latin Playboys record - recorded on home four track. It inspired me to buy an 8 track didgi recorder - now we control it all - it means you can have a few beers with your band mates, get in exactly the right mood and go for it - i'll take feel over perfect sound quality any day - so... most of the rec was made here and there when the mood took us. It's nice to have the recorder sitting in the corner waiting for you to get inspired - that can't happen in a studio (well, not unless you have a million bucks and nothing else to do!) when you don't know the rules about sound engineering you just try things and see how they sound - it's a good way to go.

Dream: When will we see The Sand Pebbles here in the US? BMX: Would looooove to - basically if we thought enough people would come to check us out we'd have a crack. One of the joys of being on Tony's lable is getting feedback from overseas. To think you've done something in your lounge room that made someone dance around their living room on the other side of the world fills me with a heap of good feelings.

C.H.: I was in the US in 97 and had an absolute blast. I can't wait to get back. I want to do a Wild West trip.

A.T.: When’s your 21st? Need a band?

Dream: Who are some of your conscious musical influences?

BMX: It's a mixture of boundary pushes and feel players. Television. Mid-70's Neil Young and Crazy Horse. Of course the Velvets. And then some of the 80's headcases - Spacemen 3, Julian Cope, more recently I've gone back to the underground, thanks to some of the stuff Tony's turned me onto - mainstream rock is really at an all time low - but the underground is still producing the goods. Also a bunch of Aussie bands - I grew up on the post punk Australian scene, The Birthday Party, The Scientists, The Beasts of Bourbon, I really loved Dave Graney's band The Moodists, and most of all the mighty Died Pretty - their early records are bloody amazing and they still do wild stuff like last years Everyday Dream - an electro pop treat. That scene was a really special time in this country I was lucky to be a little kid experiencing it.

C.H.: The Rolling Stones, the Velvet Underground, Neil Young.

A.T.: Guitarwise I reckon I steal a lot from Richard Thompson and Sterling Morrison. Vocally no idea...

Dream: What's next for the band?

BMX: Keep having a crack. Giving it everything we have - I feel we have further to go as far as emotional music goes - really want to lose ourselves on the next record - make it more of a band playing live feel - keep experimenting - to be honest in the last three months we've just strated to really see our own potential and I want to push it as far as it'll go.

C.H.: We're recording another album right now. It ll be quite different to Eastern Terrace. Promises to be more amped up, straight ahead but wigged out at the same time.

A.T.: More recording, and your 21st birthday party.

Dream: Do any of you have a ghost story?

B.M.: Had one in an old house we lived in - the sound of someone walking down the hallway - not the best thing to hear in the bath after you've had a few tokes. I'm not sure I believe in them, but we could never work out what was making the sounds. C.H.: : I’ m wide awake in the spirit world.

A.T.: No.

Dream: How significant a role to dreams play in your life or work?

BMX: I just enjoy them for what they are - entertaining movies. sometimes I have a dream of playing the greatest song ever written, but can never remember the words or music when I wake up. The other funny one is finding yourself about to play with your fave band, but you don't know how to play the songs - this used to happen heaps when I was a kid - it was like Sterling Morrison would look over at me and go "okay, kid, blast off"; but I don't know what the fuck I'm doing - must the musical equivalent of not remembering your lines.

C.H.: Daydreams definitely. I work from home by myself so I'm off with my own thoughts most days and often catch myself staring out the window having just been on some flight of fancy. Charmed, a song off Eastern Terrace, is like one of my dreams. The repetition pushes the story along while different things come in and out and all about.

A.T.: I can never remember my dreams, and often I can't remember my guitar parts. Is there a connection? I think so..