At the very least they are hear to bring a bit more artifice to the world through things such as their interview with Tim Shiel talking about Roy Kid La, Frydenberg’s minimalist guitar style and Hockey Dad (transcript here) or their interviews with The Guardian, talking about Angus Taylor on triangle:
think you will have noticed, being from the Guardian, that it was right after the demise of the last Liberal cabinet that we re-emerged, and that’s because we noticed there was a gap in the market for grotesque clowns. They’re out; we’re in.
We actually tried to get Angus Taylor – we offered him the job of playing triangle – but it was a little bit intellectual for him.
And their absence as an art piece:
Ron H-B: Look Andrew, we’re not talking to Bongo and the Monkey on FM radio here, we’re talking to someone from the Guardian. We’re not talking top-notch – we’re not talking Katharine and we’re not talking Lenore here – but we are talking to a man of your acuity, and I think you’ll have picked up that the last 19 years of silence has actually been an art piece. It’s like an installation. It’s a reassessment of our aesthetic, and I think after 19 years, we’ve made our point loud and clear.
Or The Age discussing their new genre of ‘Knock-Down Re-Build’:
“We’re introducing a new genre, KDRB,” he said. “The young people aren’t into it as much as we are, but it’s Knock Down Re-Build, and our shows will mainly be financial advice.
“If you’re on your third investment property, like we are, then music and costumes, it’s trivial compared to interest rates, mortgages. We’re exploring new art forms and with Knock Down Re-Build, our new genre … there’ll be no new music.”
I wonder if this might mean a return to guest hosting Rage?
To be honest, as much as I am excited, I hope that this is not the end of the Disco Machine.
In light of TISM’s return, Tyler Jenke unpacks how we got to now. He provides a walk-through of TISM’s history.