Artist description Musically and lyrically The Ergot Derivative believe firmly in eclecticism and diversity. They utilise the different experiences of their members to create a complete musical experience, and are not particularly interested in producing songs that all sound the same or songs that sound like any one else's. They write songs about the nature of society, paranoia, foot mould, technology, the need for trees, and other personal obsessions. They throw together their varied musical interests to create a flavour that somehow reflects the day to day confusion of urban life.

Group Members Jamie Saxe Anthony McLeod Michael Johnston Ernie Chow Tao Kahn Drew Caldwell

Instruments Vocals, Guitar, Violin, Harmonica, Drums, Bass, Keyboards, Percussion

Albums In Fear of a Flat Earth, Tube Potato, The Last Archaeopteryx

Press Reviews See www.ergot.net for the review archive... The Ergot Derivative at times sound like a more serious version of another contemporary Melbourne band: Tlot Tlot, and at other times like early Camper Van Beethoven, Tupelo Chain Sex, the Pogues, Penguin Cafe Orchestra, Bela Bartok, Mantra or the Fugs. Even though they can sound like a lot of different bands, The Ergot Derivative is definitely not another Silverchair. The musical appeal of The Ergots leans more toward the Too Pure, 4AD, Axiom or even Duetche Grammaphone label set and unlike some of the new popular Australian bands, The Ergots strive to mix their influences into something unique. The Ergots play up the meaning of their name very obviously in their eclectic musical mix. Using a variety of musical styles, influences and instruments - like kazoo and cello in the same song - the latest Ergot Derivative release: Tube Potato is like taking an audio acid trip around the world; well actually, you can take this release for a visual trip as well. Tube Potato is being touted as the first recording to be released to the Web before it was released to CD. (Mofo) On respire: l'Internet n'est pas exclusivement ré eservé aus petits enfants de Kraftwerk... The Ergot Derivative multiplie les instruments (les basse, batterie, guitares, violon, congas, cuivres,...) pour nous livrer un mé lange tantô t tré pidant tantô t plus atmosphé rique de ce qu'on pourrait qualifier de rock progressif country (-sant). Mais rassurez-vous, on est trè s proche de Wall Of Voodoo et à 1.000 lieus de Dolly Parton... Un mé lange des styles int&eactue ressant qui nous prouve que les kangourous ont plus d'un accord dane leur poche! (Rip It Up) Smooth, very smooth. In fact, it's almost too cool to be classed as music. It's more art meets avant garde meets bleeding with the times meets unrestrained passion. Yes, I like it, Ma. Check Technophile for the real soundtrack to Braveheart, then enjoy the roller coaster ride, the Magical Mystery Tour minus John, Paul, George and Ringo. Melbourne funsters, misfits, farmers on speed impersonators ( The Zebulent Incident), The Ergot Derivative, has pioneered street performance art meets the future in music for years. Nine performers within the band provide the stability for originality - the only problem is finding the space to list each song's credits. Unfortunately, this is one of those bands that fits into the Why Don't We Know More About Them? category. The best place to stay is right here, Tube Potato. And it's the most diverse music you will hear this year. I just hope it's not one of those brainwashing religious experiences. I may already be sending them money. (Drum Media) BY the 1920s, what people call "serious" music had two ways to go. It could go minimal or it could go atonal. The period of lyrical romance was over. Nothing could be the same after The War To End All Wars. In the 50s, Frank Zappa, still in high school, discovered a "third" way. The Ergot Derivative have discovered where to take one strand of that third way... ... where [Trout Fishing in Quebec] have pursued the more eclectic instrumental side of Zappa's doodling, The Ergot Derivative have pursued, without really being derivative, the more outrageously polemical/absurdist lyrical strain. When they drop the lyrics, as on the superb Do Not Adjust Your Set on the new Ergot Derivative album, Tube Potato (Way Over There), they prove themselves instrumentally breath-taking... ... So, like Zappa and They Might Be Giants, you get the absurd Buffalo Pet next to the intriguing commentary on the "new technologies" in Technophile, the spoof on the old Fred Astaire/Ginger Rogers hit, Let's Call The Whole Thing off in What's in a Name contrasting the curious ramble of a search for Paradise Lost in Edwin Finding Eden. Having put themselves in the history books as the first Australian independent band to release the Tube Potato on the Internet before putting it out on CD, The Ergot Derivative will probably end up confounding academic commentators disscting their lyrics (as they have Dylan and Zappa, among many), much to the pleasure of the band themselves. (Beat) You get an idea of the vibe Ergot Derivative are on within one and a half minutes of putting on their album. Surf guitar, rock grooves and blues based harp all crowd into your ears, with perhaps a hint of Dr Teeth's Electric Mayhem in the manic backing vocals. Lyrically, the politics of Ergot Derivative come through as much as their love of the surreal and lateral-minded. Technophile starts off as a beautiful melody, only to change into a powerful and ominous gothic-tinged tune, and then back to the sweet melody that hooked your ears in the first place. (Australian Musician) Hmmmmmmm......something very strange and wonderful going on here: XTC poppiness, Zappa-esque flourishes, Beefheart bluesiness, Fairport Convention folkiness, Can mantras, dense, multi-layered/instrumental arrangements, and a general air of eccentricity and experimentation as genre after genre gets happily trashed, inter bred and mutated. There are more ideas happening on this disc than many bands manage in an entire career. This will probably sell 500 copies and be criminally overlooked. Give it a listen. (InPress) The dictionary explained to me in simple terms that `ergot' is a fungus which grows on rye and other cereals which, when consumed, causes mental derangement and epileptic type seizures. I dont' know about the seizures but mentally deranged is a term which seems to sit well on a band like The Ergot Derivative. With the stage decked out in silver sheeting and the band done up in matching attire, The Ergot's Tube Potato launch took off on what felt like an astronautical voyage. My first impression of the Ergot Derivative was that of a musical comedy act reminiscent of The Doug Anthony All Stars but with not quite as much wit. However, they quickly proved themselves to be more than capable musicians, thus compensating those of us who weren't on that particular wavelength of humour. The first and last phases of their material were mysterious and atmospheric not unlike the music of Pink Floyd or War of the Worlds. Other songs like Potato Boy and Braindead were just flat out crazy, employing the harmonica, fiddle and slide guitar to crete a lively polka dance inside one's head. Throughout the night punters were treated to a sideshow of jugglers, mock-up `Tube Potato Cable TV' prmotions and plenty of little freebies (potato chips, coffee lollies, French flags and sparklers to burn) which I'm sure made everyone feel like they got more than their five dollars worth. I felt that the band's own introduction to the last song of the set, sums up The Ergot Derivative perfectly; "This song is called Kosher. It has about five bits. It is quite evocative and intricate. It's about pork chops - turn me over." (The Age `Green Guide') This Melbourne band's accomplished second album makes a grasp at the history books. It is, according to its makers, the first music album to be released on the Internet before seeing the light of day in shops. This means anyone with the appropriate gadgetry anywhere in the world can download it and listen at their leisure. Lavishly produced for an independent release, Tube Potato ranges from the laughable ( Potato Boy to the intense (Do not Adjust Your Set). Harmonicas, kazoos, violins, everything's tossed into the mix as the band plays with textures and jerky rhythms. [On The Street] We need to encourage bands like Melbourne's The Ergot Derivative, due to the obvious fact that they're unconfined by musical fashion. More importantly, the ED is to be encouraged because they are not afraid to experiment. The exude the thrill of ideas rather than carefully rehearsed conclusions (which is not a polite way of saying they sound sloppy, because they positively quiver with a vibrant lifeforce)...and they rock. The Ergot Derivative are a band of feral multi-instrumentalists of no fixed style. The various combinations of instruments is one of the album's major strengths, as the ED go anywhere from 'ELO meets Santana' in their opening instrumental tour de force "Shortage of Hats" through the crazy Germanic waltz and stomp of "There's a Creature in Badland" to the toe-tapping R&B country of "I've Crossed That Line". And jeez, it doesn't stop there, check out the string-driven, early 70's Roxy Music-style rost, the Muppety swamp critters meets Crowded House skiffle of "Big Parade", the minimalist psychedelic blues of "I Don't Believe" the Frank Zappa-like lunacy of "Rhinohart Dollyqueen", the relentless roar of "Foot". Apparently The ED have jugglers, painted freaks, a second drummer and an amazing lightshow live. Hopefully this album will generate enough interest in them getting up here for some gigs. Meanwhile, this music will have to be enough (which it is) though we still want more. One of the most original albums in months! DS 19.4.94 [InPress] These people are one of Melbourne's most amazing live acts. Anyone who has been to an Ergot gig will probably spout in wonder at the sort of reponse that these guys extract from the audience. Scenes of mayhem and wild craziness are not uncommon. Fear Of A Flat Earth is your chance to take a little of that craziness home to your very own loungeroom. There are fourteen tracks on this disc and represent the the band pretty much as they sound at the gig if played at volume. On the disc are fourteen tracks many of them standards for those who know the Ergots and many surprises for those who don't. From the grind of Rhinehart Dolly Queen to the exhilaration of Zimbanana, the Ergot Derivative have managed to capture much of their live feel. Their style is a disparate mosaic of influences and very hard to categorise. For mine I hear, at different times, sounds reminiscent of Pink Floyd, Sonic Youth, Jonathon Richmond, John Cale, well shit, the list could go on forever. Let's just say that is remarkably diverse. It's hard to pick favourites off this release as each track has its own charm yet Rhinehart Dolly Queen will always have a place in my collection. An excellent disc that should put the Ergots beyond being merely a live phenomenon. Take some of the madness home today. [dB Magazine] Plumbing a legacy of harder material in an artrock style, and following a lineage all the way back to Fripp's King Crimson, the Ergot Derivative have made full use of much improved studio sound and production val- ues. They can be somewhat pompous: open- ing with the instrumental Shortage Of Hats, then pulling in elements of jazz and a fusion of styles for the other songs. Oh Mercy is a reel (heavily disguised and mutated), and There's A Creature In Badland is more a fair- ground jig. Musically,The Ergot Derivative have progressed in leaps and bounds, and this is what makes the album so impressive. Zimbanana just very subtly slides away from the norm, a talent that very few bands ever master, and I Don't Be1ieve - a sombre number leading off with buzzed out guitar and thin and reedy keyboard work - is pure Psychedelica. This is very good. [Rip It Up] Creative, inventive, contrasting and above all entertaining. The Ergot Derivative is unquestionably one of the most talented bands in the country at the moment. What a shame a major label hasn't yet signed this innovative six-piece (and its collective entourage). The band's trait lies within a carefree but professional approach that sees it successfully master a number of music styles, ranging anywhere from catchy Irish-sounding fold ('Get Your Head Off My Pillow') to elements of jazz ('Foot') to uptempo country ditties ('I've Crossed That Line') and sullen contemplative instrumentals. Everything about The Ergot Derivative's sound falls impressively into place. The myriad of styles allow themselves to thrive on originality and vision alone, as one element shrewdly replaces another. Violin, piano, viola, mandolin, organ, harmonica, conga, tabla, reed, cello, percussion and a host of other delightful instrumnents are played with convistion to provide what would otherwise be an unusual array of sounds. However, each member's control of their chosen instruments allows The Ergot Derivative to expertly craft sounds brimming with appeal and imagination. The enchanting 'Zimbanana' is to The Ergot Derivative as 'Stairway to Heaven' is to Led Zeppelin or more accurately 'Satch Boogie' is to Joe Satriani. The majestic, epic instrumental sees the band excel in all its glory to perform one of the most engaging pieces of the modern era. It has previously appeared on 'The Elastic Tea Party' set but if you missed out on that, this is the ideal opportunity to make this superb piece your own. 'In Fear of a Flat Earth' is one of the most complete debut albums by an Australian band, signed or unsigned. It sets a standard that will be difficult to emulate - not only by The Ergot Derivative but any other band - but I'm certain these intriguing ladies and gentlemen have plenty more uncanny adventures up their sleeves. [Forte] Sounds like a cross between Phantom of the Opera, War of the Worlds, and Alice Cooper's Welcome To My Nightmare. I can imagine their spaceship opening up in the National Tennis Centre with laser strikes and gongs going off. Their carnivalesque Wizard of Id approach to music makes for extraordinary listening, meeting none of my expectations, and surprising me no end. Weird waltzes, forgotten mantras, instrumentals with cheery-boy vocals would give Weird Al Yankovic a run for the money in the seriously eclectic department. Jim Rose might wish to employ them for his Circus Sideshow. [Lots' Wife] The Ergot Derivative have been around for ages, playing masses of gigs (complete with freak entourage - jugglers, painters, poets - and a lovely light show/stage set) and honing their skills out on that tough little rock 'n' roll circuit. Now, their debut long-player is upon us. Does it measure up? Oh, I reckon so. They really are impeccable musos, but not in the sense that wankers such as Kenny G. or Joe Satriani are. This band have not been led off by the concerns of the industry. Their groove will not be compromised. Witness Gareth Skinner's immensely powerful bass - you don't get that licking Michael Bolton's bum. Some are only too ready to label the Ergots as 'retro', but this is missing the point, and an insult to them. Save the boring cliches for dorks like Chocolate Starfish. Yeah, sure, the Ergots employ a bit of psychedelia, but everyone has their influence, and this CD also encompasses elements of country hoedown - type fiddle riffs, blues, movie soundtack-type soundscapes and ... dare I say it ... rock and roll! And it all fits perfectly. Whilst Ergot Lyrics have always been their weakest aspect, here they've dropped many of the hippy trippy ramblings, and emerged with some interesting and forthright tales. Their greatest strength is six diverse personalities. This means that, whilst lead singer guitarist Jamie Saxe writes most of the songs, when the others chime in with a number, they are just as good. Example: Mr Skinner's Zimbanana, this CD's crowning glory, and a swirling, driving and inspirational epic. Beautiful! So buy it. O.K.? [Otico] This is the Ergot's first CD album (their first release was apparently on vinyl) and its arrival is certainly worth the wait. Around twelve months of recording have captured twelve of the many songs which have made this band so well known on Australia's, and particularly Mel- bourne's, live pub scene. As old university chums from their days at Monash Clayton, the Ergot Derivative have combined some very intelligent Iyrics with an eclectic spread of musical styles. Zimbanana, for instance, is a guitar based instrumental full of peaks and troughs of intensity, the sort of thing you want play really loud. Daffodils, on the other hand, is a bright, cheerful song which draws upon Wordsworth's poetry for its words, and uses whistling to conjure the image of swaying golden fields. Then there is I Don't Believe, a brooding mantra which uses the concept of John Lennon's God to comment, rather glibly, upon our consumer society and divorce from nature. I did feel uneasy listening through In Fear of a Flat Earth for the first time. Something seemed amiss, and distracted me from listening attentively. Then I realised, 'there is no bevy of freaks in my loung- eroom.' For as anyone who has seen the Ergots play live will know, they put on a show, a true performance, which is unparalleled by any other Australian band. Painters (of canvas and audience faces), jugglers, an array of masks and other props, and some raving weirdos all inter- act with the audience, getting them dancing, and sometimes tied up to each other with bandages. There's a Creature in Badland, a favourite with the Ergot Derivative freaks, was one song where I particularly missed the extra-audio element of band. This song takes something of a fairground melody, adds keyboard, guitar and drums, and turns it into something uniquely strange, not to mention brilliant. The second time around, though, I was able to concentrate on what these magical musicians have put together in their home recording studio, and was completely satisfied. The Ergot Derivative go out on a limb by including such a range of musical styles on one CD, but in doing so stay true to their diverse influences, and to an ethos of pro- viding genuine alternative music.

Additional Info The Elastic Tea Party (EP), If it Hurts Too Much (EP)

Location Melbourne, Victoria - Australia

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