In early 2017, the Drones’ Gareth Liddiard was sitting reverse Beasts of Bourbon bass participant Brian Hooper at a kitchen desk of Andrew McGee’s residence-cum-recording studio in Nagambie, having accepted Hooper’s invitation to place some guitar down on his new solo file.
With solely a bottle of wine and Hooper’s tongue-in-cheek exhortation “to do your worst” as steerage, Liddiard rode the rollercoaster of Hooper’s cathartic inventive course of. “Brian was type of being a cheerleader for me … looking for a again door into each irregular trope there’s, cheering me on saying ‘That’s it!’ Every time I did it the improper method, that was the best method,” Liddiard recollects with fun.
Twelve months after the recording session, Hooper died from aggressive lung most cancers, every week after enjoying his final gig, an emotionally-charged Beasts of Bourbon set at his personal profit present on the Prince of Wales in St Kilda.
Like Hooper, Liddiard was born and raised in Perth the place he met Hooper throughout his tenure in Kim Salmon and the Surrealists. By the point Liddiard moved to Melbourne with the Drones within the early 2000s, Hooper was a central determine within the so-called Melbourne Music Mafia, enjoying on information by Spencer P. Jones, Rowland Howard and Charlie Marshall’s Physique Electrical.
Hooper’s thundering bass traces and charismatic stage aesthetic have been central to the Beasts of Bourbon’s evolution from trash-garage-blues band to critical rock‘n’roll outfit. Hooper’s solo profession, interrupted by a freak accident in February 2004 that briefly paralysed him, uncovered the emotional vulnerability and honesty of the swaggering, trendy bass participant. “With Brian there was no filter, it was simply direct. There was no bullshit concerned, it was utterly sincere,” Liddiard says.