The Mighty MOLER
Photo Credit Matthew T Ellery
Aussie indie rock band Moler who’s last LP release was in 1997, have unveiled their brand new album ‘69’, which houses the band’s most recent single ‘Roky’, and now they are getting ready for the official album launch shows set to take place in Collingwood & Castlemaine. We caught up with Moler’s drummer Dave Peacock to see how the show preparations are going, what inspired the new music and why now was the right time for the band to make its comeback.
Firstly, congratulations on the release of your brand-new track ‘Roky’, tell us about your new song. What was your inspiration?
Thanks! ‘Roky’ started with JJ McCann riffing on ideas inspired by Roky Erickson. Helen grabbed that spark and flipped it into the driving bass line that anchors the track.
Sonically, it blends shimmering alt-rock vibes — a bit of My Bloody Valentine and Deerhunter — with post-punk guitar flavours in the John McGeoch vein, all pushed along by a glam-leaning, tribal stomp rhythm that nods slightly to Running Up That Hill.
Lyrically, ‘Roky’ digs into unrequited love in the digital age — how connection gets messy when romance goes online. Is it real or curated? And who’s the villain when expectations don’t match reality? That’s where the chorus lands: “Could you be my bloody Valentine?
‘Roky’ has been lifted from your forthcoming album ‘69’. When is the album out and what can fans expect from the new body of work?
69 drops March 6th — our first full-length since Golden Duck back in ’97, so yeah… it’s been a long time between rounds. We called it 69 because all three of us were born in 1969 within a month of each other. Weird right.
We made this record with vinyl in mind, proper old-school style: a Side A and Side B, each with its own vibe. It’s ten tracks, about thirty minutes all up — short, sharp, and straight to the point. Except for Roky, which stretches its legs and takes you on a five-minute ride.
We didn’t set out to make a “rock” album… it’s just what comes out when this line-up hits a room together. It’s raw, energetic, punchy, and very much Moler — no frills, no padding, just the sound of a band firing on all cylinders again.
If fans want something loud, alive, and built for the stage, 69 is exactly that.
“We started getting offers to play with Regurgitator, The Fauves, Custard, and even landed an international support with Ash. ”
‘69’ is your first album release since your ARIA nominated ‘Golden Duck’, which was delivered in 1997. Why the long break between LPs?
Great question!
The short version is life happened, the band evolved, and it took the right moment — and the right line-up — for a full album to make sense again.
Back when Golden Duck came out in 1997, Helen was the only member from that era who’s still in Moler today. I was involved in the early sessions, but the original line-up’s tracks ended up on various EPs because I left for personal reasons. Jules and Helen wanted the album finished with the drummer who’d be doing most of the live shows, but things didn’t quite work out as planned. By the early 2000s, the band had officially called it a day.
Fast forward to 2018: we reunited for a 25-year anniversary show, then released a single in 2019 with the original line-up — and then, like everyone else, we hit the COVID wall.
The real turning point was in 2022. We had a show booked with Ammonia at the Northcote Social Club, but Jules was stuck in Cambodia and couldn’t make it back. Helen brought in James — a gun for hire — who learned sixteen songs in two weeks. That gig effectively launched the new line-up.
From there, things snowballed. We started getting offers to play with Regurgitator, The Fauves, Custard, and even landed an international support with Ash. With all the rehearsing and momentum, new songs naturally started to emerge. And suddenly, almost 28 years after Golden Duck, we had the makings of a new album.
“We dropped it because the band finally felt dangerous again”
What made now the right time to drop album number 2?
Because the fuse finally lit itself.
For years Moler was like a hot rod sitting under a tarp — engine still good, but no reason to take it out and red-line it. Then 2022 hit, the line-up flipped overnight, and suddenly we were back in a room with amps blaring. James rolled in, learned sixteen tracks in two weeks, and it felt like someone kicked the door back open.
Then the shows started landing — Regurgitator, The Fauves, Custard, Ash — and every stage just poured more petrol on the flames. The songs didn’t get “written”; they exploded out of rehearsals. That’s when you know you’ve got an album brewing, not a nostalgia trip.
We didn’t drop 69 because it had been 28 years. We dropped it because the band finally felt dangerous again — sharp, loud, and alive in a way that demanded a record.
That’s why now. Because the beast woke up.
“New people. More freedom. No rules. Lower stress. Better jokes. Fewer fucks given.”
Is there anything different or major changes between recording an album in the 90’s to the 2020’s
First: new line-up, new energy. Everyone wants to be in the room — that’s a good start.
Second: we’re self-funded, which basically means we answer to no one and can do whatever the hell we want. No label deadlines.
And honestly? We just give way less of a fuck now. In the ’90s, you cared about “the industry” and “career moves.” In the 2020s, you care about whether the kettle’s boiled and if you remembered the ear plugs. It’s liberating.
Plus, recording today is stupidly cheaper compared to back then. You can build half an album in the rehearsal studio, record basic tracks across a weekend session and have Mike & Hel labour over the mix at home in their own studio. In the ’90s, if you even suggested that someone in a studio would have slapped the DAT machine out of your hands.
So yeah — the big changes?
New people. More freedom. No rules. Lower stress. Better jokes. Fewer fucks given.
And somehow, that combination makes the best noise we’ve ever made.
“We basically tear the idea apart, rebuild it, twist it into something stranger, louder, or leaner, and keep pushing it until it feels like Moler. ”
How does the creative process work for Moler? Do you all contribute or do certain members have specific roles?
We’re very much a “bring your weird idea to the table” kind of band. Everyone contributes, but the spark can come from anywhere. One of us might walk in with a half-formed riff, a stray bass line, a drum pattern, or even a fully-finished song — and then the real fun starts.
From there, it turns into organised chaos. We basically tear the idea apart, rebuild it, twist it into something stranger, louder, or leaner, and keep pushing it until it feels like Moler. No one’s precious and no one gets to hide — the rule is: if you bring it in, it’s fair game for the rest of the band to mutate.
Helen often shapes the melodic and lyrical backbone, JJ tends to unleash the riffs and textures, James brings the rhythmic muscle and oddball lyrical ideas, I have a crack with what I can muster in 4 chords and together we arrange the final version in the room. It’s very democratic, but also very instinctive.
Sometimes a song lands in ten minutes. Sometimes it’s held together with gaffer tape until one tiny change suddenly makes it click. Either way, the result only works because everyone throws themselves into it.
So yeah — there are no strict roles, no dictators, no “this person writes everything.”
It’s a proper band: three brains, one noise.
Is there a track from ‘69’ that stands out or that is particularly special to you, either for its subject matter or how it came to be?
It’s funny — none of us ever pick our own songs as favourites. We’re way harsher on ourselves than we are on each other, so we tend to pour all the praise onto tracks someone else brought in. But if I had to pick one that really hits the spot for me, it’s “I Just Need.”
For starters, it’s just heaps of fun to play — the kind of song that locks in instantly onstage and feels like it’s driving the whole set forward. And the way it came into the world is nuts: James literally woke up with it fully formed from a dream, like some rock ’n’ roll download from the ether. He came in the next rehearsal describing it half asleep, and before we knew it, we were all running with it.
Musically, it’s our little nod to The Cars, a band we all deeply love. There’s this subtle homage threaded through the feel of it — not a copy, just a wink. The shared vocals between Hel & James telling the story, a synth-up guitar solo is one of my favourite moments on the whole record. It’s got that perfect mix of charm, swagger, and a bit of neon-lit nostalgia.
And we’re shooting a film clip for it too, because it’s hands down the most pop moment on the record — in a Moler way, of course. Still punchy, still rough around the edges, but undeniably catchy. It’s the track that’ll probably surprise a few people… in the best way.
Are there plans to tour for the album after its release?
Absolutely — we’re already hitting the ground running.
We’re kicking things off with an in-store performance at Desert Highways Records on Feb 21st, which will be the first chance for people to hear the new material up close and loud. Then we jump straight into a massive night with Redd Kross and The Hard-Ons on March 13th, which we’re ridiculously pumped about.
After that, we’ve got our own album launch at The Tote on March 21st, which feels like the spiritual home for this record — sweaty, loud & chaotic.
And yes, we definitely want to take 69 interstate. We’re lining up launch shows in South Australia, New South Wales, and Queensland, with the plan to hit those around May. Nothing beats getting these songs on stage in different cities and seeing what kind of trouble they cause.
So short answer: yes, we’re touring — and we’re only just getting started.
Where was Moler's first gig? Was it a success or flop?
That’s another great question — and honestly, none of us can remember the exact first gig because we were playing constantly in those early days. Back then we were called “Snuff”, so technically Moler didn’t even exist yet. What we do remember is that our early stomping ground was the old front bar at The Prince of Wales in St Kilda.
We basically lived there in the early ’90s, doing a residency — loud room, unpredictable crowds, sticky carpet, the works. Neil Wedd, who was booking the place at the time, really took a shine to us. He backed us hard, gave us regular slots and eventually threw us some great supports in the main room.
As for whether that “first gig” was a success or a flop?
Knowing us back then… probably a bit of both.
Photo Credit Ian White
Who in your crew or team deserves a shout out but never gets one? And what is it they do that keeps your world turning?
Tim “Swampy” is basically a life member of Moler — if we had jackets, he’d have the first one.
He’s been around since day dot and these days he pretty much helps manage us, but over the years his job description has covered… well, everything. He’s been the roadie, the Tarago driver, the hearse driver (yes, really), the unofficial morale officer and unpaid comedian, and somehow that’s evolved into running all our digital stuff, booking shows, handling merch, dealing with MGM, applying for grants, and generally making sure we don’t completely fall apart.
Honestly, no one on earth likes us more than The Swamp — and we absolutely love him for it.
Big shout-out as well to Michael Alonso, Helen’s partner, who put so much time into mixing the record. We’re talking hours and hours of patience, tinkering, and wizardry. And of course, Lindsay Gravina, who has always been our mastering guy — the one who makes sure everything sounds like an actual record rather than three people arguing. Matt Ellery for the photos, Jacob for the LP & CD layout & Mr. Craig Hill for the posters for gigs.
And we can’t forget our partners, who put up with this noisy, time-consuming, and extremely expensive hobby of ours. My wife Fiona has even taken on PR duties, which really makes this whole thing a proper family affair — done on the smell of an oily rag and a whole lot of goodwill.
Do you have a message for all the Moler fans and supporters?
Absolutely. We might be getting on a bit, but there’s no expiry date on rock ’n’ roll — and we still get an absolute kick out of playing together. If anything, we’re having more fun now than we did in the ’90s, and that’s mostly because of the people who’ve stuck with us, rediscovered us, or just wandered in by accident and decided to stay.
Your support means everything — coming to shows, streaming the tunes, telling your mates, and keeping this noisy little machine alive.
And of course…buy as much of our stuff as you can (ha!)
It helps keep the van running, the guitars in tune, and the whole thing kicking along
Thanks for sticking with us. See you down the front.
Upcoming Shows
13/03 Theatre Royal, Castlemaine VIC (with Redd Kross & The Hard-Ons 18+) - Tickets via www.oztix.com.au
21/03 The Tote, Collingwood VIC (18+) - Tickets viawww.thetotehotel.com/gig-guide
Interview by Michelle Symes
March 2026
