It hasn't taken long for Australia's silverchari to feel exploited by the media. Teenagers
Daniel Johns (guitar & vocals), Ben Gillies (drums) and chris Joannou (bass) created a
sensation when their debut Frogstomp album chalked up double platinum sales figures in
bother the United States and Canada. But along with the fame has come a level of attention
that has made the three members decidedly uncomfortable.

Making an issue out of the band's decision to tour only during school holidays, Australian
media has been relentless in pursuin gthe ‘rock star in high school' angle.

"It's ridiculous," says Gillies, of attention which borders on harassment. One
newspaper sent a photographer to get a picture of Johns ridiing his bike home from school.
He paid a schoolmate $50 to point him out and plot his route home. "It's really upsetting
when people make up stuff about you. We had one magazine chasing us around in a car
after school."

With the release of the band's second album, freakshow, silverchair will have to run the
press gauntlet again as they plan an extensive touring schedule in North America. And
they'll also have their parents in tow to keep them out of mischief. The trio's three sets of
moms and dads have taken turns chaperoning their previous tours, mcuh o the discomfort of
the platinum rockers.

"I remember when we attended the MTV Awards, it was kind of embarrassing,"
laughed Johns. "I remember thinking of the telecast – the camera will pan across the
audience and everyone will go famous person, famous person, three guys sitting with their
mums!"



This issue also included a review of Freak Show:
Australia's teenage rock sensations Daniel Johns, Chris Joannou and Ben Gillies follow the amazing success of their debut Frogstomp with a solid power rock which extends the borders of their initial Grunge Lite effort. Produced in Sydney by Nick Launay (PiL, Posies, Gang Of Four), Freak Show reflects an amazing progression for the 18-year-old high school students, balancing the raw launch of ‘Slave' and ‘Freak' with the melodic intensity of ‘Abuse Me' and the string-arrangement polish of ‘Cemetery'.