Ahead of a national tour with Violent Soho, Ben James from Sydney punk trio Talons discusses the finer points of tenpin bowling and kite-flying with TIM SCOTT.

Not to sound too bombastic, but ‘Redheads’ – the second track off Talons self-titled debut album – is the kind of song that can help “break” a band. Combining a dark punk squall with big melodic hooks, taut percussion and snotty vocals it’s a song that works on different levels; one that would sound just as good in a divey bar, a mid-sized concert hall, on community radio, triple j and – dare I say it – in a major label meeting room. It’s a very “now” sound.

Of course, Talons – Ben James (drums), Christian “Christo” Best (vocals/guitar) and Mitch Pangas (bass) – are not a one song band by any stretch. But, like their touring companions Violent Soho, they play with an audacity and confidence that would shame a more experienced band. Mixing the right amount of post-punk and driving tempo changes, it’s a racket that has seen them move on from their 2007 Ducats EP, without losing their punk edge.

You released your debut EP [Ducats] back in May. What’s been going on since then?
Tenpin bowling. I’m getting pretty good. At the moment when I play all my rolls are clovers and turkeys either side of bloody spares. I’m thinking about competing. My numbers have been matching the BTBA [British Tenpin Bowling Association] high scorers. Yesterday a guy came up to me and said I was a classic “powerstroker”, which apparently is a bowler who combines the high-hooking power of a “cranker” with the smooth delivery and timing of a “stroker”. Above that, he told me that power stroking is a form of “tweening”, meaning the form lies somewhere between cranking and stroking. We just finished a national tour with some very good friends, but in between, mainly bowling.

One reviewer suggested that your sound was very Sydney, or rather "distinctly un-Melbourne". Do you know what they were inferring?
That we’re shit? The bands I like down in Melbourne have a distinct sound, and we definitely don’t sound like them. Maybe it’s the certain type of energy that a band expels when playing live, but linking that to a city is a bit kinky. Or maybe I have no idea what Sydney sounds like, or if we have a sound at all up here [laughs]. I doubt we’d be a part of it anyway, hence him calling us un-Melbourne. I’d find it comforting to not be linked to anywhere.

Would you describe your music as “punk”? If so how is the punk you play now different to the punk you first listened to?
Yeah sure, we’re kinda doing our own thing and I guess that’s where “punk” sits, for me anyway. I’ve never been able to get my head around music classifications. I was lucky enough to have a savvy brother, so some of the first punk I got to hear was the Stooges and Dead Kennedys. Though soon after punk to me included people like Cat Power, Beefheart and Ray Charles. People never agree with me, and I always just end up playing *Pac Man& by myself in the corner. Hopefully the punk we play is different in the sense that, although it stems from initial punk bands, we direct our sound towards a more foolhardy style of writing music.

My friend describes you as “jiggy leg”, his term for bands that play an intense post-punk where the guitarists tend to shake/jig their leg.
You can’t really see my legs because they’re behind drums. But I have the jig in me you know? My mum and dad are jiggers. Shit, mum’s side of the family has generations of jiggers. It’s in my blood. You know what the funny thing about jiggers is? You can spot a fake a mile away. I mean, it’s blatantly obvious. My parents used to go to town on faux jiggers, full-scale beatings. We jiggers have more pride in what we do than we get credit for. Mitch doesn’t jig; he comes from more of a doom background. And Christo gets likened to an unmanned hose when turned on full pressure ... Not really jigging, is it?

“There are a zillion bands out there and we have no cash for any kind of bionic promo plan, so any help with exposure – even if its just of the bees’ dick variety – we’re very grateful for.”

You have played the revered/infamous Pony 2am slot [in Melbourne]. How did that go for you?
The last time we played Pony it was a fucking hemorrhoid hurricane. The sound guy bailed on us, no mics, bar staff were to busy to give a shit. I was standing out on the street at a quarter-to-two yelling, “Are there any sound people here? Help!” I had friends in Brisbane calling people they knew in Melbourne. We sorted it out and made it on stage by five past or something. But the shows there are as fun as a clown on fire; it’s probably one of my favorite places to play. It’s a good time slot because even if you play like elephant shit hardly anyone ever remembers. And do you know what people say when they can't remember? They say, “Yeah it was good, I was minced.” It’s hard to play well after eight hours of drinking.

Your first EP was recorded quite soon after you started playing. How different would you say the LP is from the EP?
With the LP, Tim [Carr, producer] had the gear to set us up anywhere, so there was time to have a bit more fun with this recording. Plus once the EP was out we knew we were writing for the LP, so that kind of gave us a measure as to what type of material we needed, to make an album as a whole. The songs are just recorded the way they are being played at the time of recording. I don’t stress out about things not being finished before we record. The idea of saying, “That song is finished”, seems ridiculous. But I guess you still want it to sound as good as possible. Fuck stressing though.

The EP was on Chatterbox and the LP on Rice Is Nice. Why the move?
You ever met [label founder] Trops [Nik Tropiano]? Love you, Nik. Chatterbox had some great bands on it and we were so happy when we first jumped on there. Though having yelling matches with Trops throughout another release seemed stupid. After we got together some cash and recorded the album independently, two of the raddest motherlovers to ever walk this humble planet of ours [Julia Wilson and Ben Shackleton from Rice Is Nice] crossed our path and made our wildest dreams come true. It’s been a match made in God’s vagina. Its sounds like I’m pissing in their pockets but shit, if you've ever had a beer with either of them you know what I’m talking bout. We couldn’t be happier. SPOD and Miniature Submarines, mucho respecto.

You have worked with designers We Buy Your Kids before. What is your relationship with them?
Yeah, we have been fortunate enough to have the electrifying duo bless our wicked souls with their art on more than a few occasions. Sometimes they do posters for us and sometimes if I’m lucky I get to go round and hang out with their cats. WBYK are currently putting together a film clip for our track ‘Redheads’ which will no doubt electrify the girls and elongate the boys. To say we are incredibly excited and honored are two of the grossest understatements ever made.

You have received support from the traditional media (triple j’s Home & Hosed), as well as blogs including Polaroids of Androids. Have you been surprised by the level of exposure?
Definitely, we never expect anything. It’s real swell when people want to kind of get involved and help you out. There are a zillion bands out there and we have no cash for any kind of bionic promo plan, so any help with exposure – even if its just of the bees’ dick variety – we’re very grateful for. Johnny Nails at Polaroids has really helped us out and a lot since we started out, and a bunch of other local bands up here, so big thanks to the tropic tyrant of a lover.

How important has a station like FBi been to a band like yourselves?
Stations like FBi are very important, [but] to be honest I’ve never heard us on the radio, friends do though. Apparently your songs sound different when heard via radio. FBi has been very helpful to a lot of bands, particularly from Sydney. From the conversation that has just started in the other room it sounds like they were better a couple of years back. But definite kudos to them, I think it’s important for each city to have its own radio station, especially one with interest in local music ... It helps give the music scene in that city an identity. I like 2SER also. You guys have got it pretty good down your way [Melbourne]. I think I prefer the radio stations you have.

Was 'Keys and Codes' the obvious “single” for you? Why did you choose that?
We all had different ideas for the single. Not ones to bore the living shit out of each other, and in an effort to forward our skills as kite flyers, we took to the park on a gusty Sunday afternoon for a test of endurance and skill. Whoever can keep their kite flying the longest wins. Christo ended up getting lucky on that particular day and the decision was made.

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Talons are about to hit the road with Violent Soho. Tour dates here.