A Quick Chat with Special Guest

‘Brazil (1985)’ was inspired by the film of the same name. What grabbed you about it?

Ben and I (Joss) watch an obscene amount of movies together, although very few have left an impact the way Terry Gilliam’s Brazil did. I remember we were jaw dropped in the entire film and both let out a scream of shock at the end. It was a perfect film. We simply could not believe it could be achieved, but low and behold Terry Gilliam had done it; he created the perfect movie. The absurdity, whimsy, and originality of the writing alongside the obtrusive and jarring cinematography, suspended us in disorientation and confusion (arguably the two key catalysts for creativity and inspiration).

You call your sound ‘Post-Junk’. How would you describe that to someone hearing you for the first time?

I think Post-Junk can be described as Post-Punk, but worse. In that, it is as if someone had pulled the thread that keeps Post-Punk together and unravels it until the genre falls apart. Hence, why we sometimes say it’s a mix between Post-Punk and Noise-Rock. The term Post-Junk also offered an interesting creative thought experiment; “what comes after we throw everything we have learned away?” It helps return us to the juvenile aspect to creativity, the experimentation, and the joy in playing anything, anytime, all the time.

You’ve just played Pol’and’Rock in front of a massive crowd. What was that experience like?

It still feels like a fever dream. We honestly played around with the idea that the whole festival was some elaborate prank or scam - and that we had fallen for it, hook, line and sinker. It just seemed too surreal that our first major festival slot would be in Poland, on an abandoned airway strip, with 1 million attendees. It wasn’t until we stepped on stage that the reality of the situation seeped in. But all in all, it was amazing. We are now festival-blooded and excited to play some back home in Aus.

You formed Special Guest in 2024. What’s changed most since then?

Creatively speaking, not much. Although writing music has become more egalitarian, as in the early days it was just Ben and myself writing the songs. Open writing sessions with the entire band offers far more flexibility and room for amazing ideas - as Ben and I are arguably the least musically competent people in the band, so we are glad to have the incredible input from Jett, Milo, and Tom.

The track tackles bureaucracy, technology and escapism. Is there a particular idea behind it that really stuck with you?

Yes, well the film explores the tendency for people to fall into escapist fantasies and conspiracies rather than enact meaningful change. Ben and I have both worked some gruesome jobs, I myself worked at a number plate factory for about two years. I remember spending most of that time dreaming I was somewhere else (or pretending to perform the songs I was listening to through my headphones). I thought I was trapped until I worked up the agency to quit. I’m not implying that everyone should (or has the ability) to just quit their job, but rather do something here and now to evoke change; whether that be through joining or starting unions, protesting, striking, or simply making meaning out of the labor we do.

You’re back in Australia after Europe. What’s next for Special Guest?

In September we are off to Sydney and Wollongong for the first time. We are all looking forward to going on another road trip and travelling interstate to cities that have given us so much support in our career. So we hope to finally meet some of our fans there. We are also working on elevating our live shows; we are fortunate enough to be working with some circus members and incredible puppet makers (but that’s all I’ll share at this time).