Alex Newport is probably one of the last true musicians! Making music to make music could be his motto and everything that is around it does not count. How much what does not count we wanted to ask – it came to a very open and sympathetic interview and Alex proved that he is not only a great producer and musician, but also a true thinker!
You’ve worked together with many bands, but never fixed on one style (Thelist goes from Samiam to Sepultura). While other producers firmed on a courseyou are changing comparatively often – how are you doing that and why?
Well, for two reasons… first, I listen to a huge variety of music. I likeeverything from Pop and Rock to Jazz, Trip Hop and Funk. My only condition forworking with a band is whether or not they are good. I don’t necessarily carewhat kind of music the band plays, as long as they are GOOD with interestingideas. Every single band I have worked with, regardless of their style ofmusic, has been good at what they do, and that is the most important thing.The second reason is that I don’t want to be pigeonholed as a Producer, I liketo be free to work with many different styles and sounds. I guess at themoment I am known mostly for the kind of bands that play noisy/melodic rock,like At The Drive-In or Icarus Line, and that’s fine – I love that kind ofstuff, big guitars and drums. But I am also spending a lot of time workingwith bands that don’t sound like that at all, for example Fabulous Disaster,Codeseven, or The Locust.
Nailbomb, Fudge Tunnel and Son Of A Crackpipe were your projects till mid ofthe 90s. Why did Fudge Tunnel and Son Of A Crackpipe break up (The cause ofsplitting up Nailbomb is already known…)?
The same reasons, really. I just believe that any band has a finite amount oftime in which to be creatively productive, and as soon as that time comes toan end, the band should end also. With Fudge Tunnel, we had actually decidedfrom the very start that the band should end as soon as we felt that we hadreached a creative peak. Our sound was a very limited one and it’s difficultto continue being creative without drastically changing the sound, and in thatcase I think it’s better to just move on and do something different. I’m allabout moving on and creating something new.
And how good are the chances of a reunion of one of these bands?
About as good as the chances of George Bush being able to think and speakintelligently.I have no desire to play in any of these bands again – what’s the point? Itwas a long time ago. I wouldn’t be able to play those songs again with thesame feeling. Those bands existed at a different time of my life. I don’t seeany point in going back, I have a new band now! Forget about bloody Nailbomb!
With Theory Of Ruin you released „Counter-Culture Nosebleed“ in Septemberthis year. How’s your currently tour? Do the fans like the new album?
They LOVE it! No, I don’t know, the album has only been out for a few weeks inthe USA, so it’s a little early to get any feedback yet. The tour is goingwell, it’s great to be playing out with this band. The interesting thing is, Ihave never cared at all if anyone likes any of my bands. All I care about iswriting interesting songs and playing them as well as possible. Sometimes Ihope that everyone hates this band, and I’ve definitely had that feeling incertain towns we’ve played. It’s a lot of fun to irritate people with thismusic. I love it when people expect it to sound like Fudge Tunnel, itdoesn’t, and they get annoyed. Why would anyone want to hear the same band allover again?
Will it be released in Europe too?
Yes, it’s available through Conspiracy records, but I don’t know if there willbe a domestic European release.
You give assistence to many young bands. Is there a unknown band which youhelped and thought about „Wow, they could be a big thing in future.“ ?
Not really…. like I said, my only concern with working with a band is thatthey be good at what they do. For example, when I first heard At The Drive-In,I thought they were amazing, and I thought they could do well, but I had noidea they would be as popular as they were. I try to be involved withinteresting, creative bands, and make great records. If those bands get very popular, then that is great too.
It’s forbidden to publish Fudge Tunnel Lyrics. How’s it about the ones from Theory Of Ruin?
They’re printed inside the CD. The thing with the Fudge Tunnel lyrics was kindof a joke. A bad joke.
Today Soulfly is still performing sometimes Nailbomb Songs at their Livegigs. How is this with Theory Of Ruin?
Are Soulfly that bad that they have to play old Nailbomb songs? I think it’spathetic. Theory Of Ruin plays Theory Of Ruin songs. Theory Of Ruin is notNailbomb or Fudge Tunnel. I think Max must be desperate for ideas if he has toplay songs from an old band of 7 years ago.
Can you remember one concert very especially? If yes, why?
Paris, 1993, opening for Sepultura, where we played in front of 3,500 braindead death metal sheep. They were throwing everything in the place at us – coins, water, bottles, cups, it was hilarious. We played feedback for 20 minutes and they just HATED us. It was very satisfying. When that many people hate you so much, you know you’re doing something right.
You ended Nailbomb cause you don’t wanted it to become commerical. Whatwould you do, if at any time they play Theatre Of Ruin-Clips on MTV?
Well, we don’t have any videos to play at the moment. Perhaps we’ll make one,perhaps not, I don’t know. Videos are low down on our priority list. If MTVwants to play it, I don’t care, but I can’t imagine them playing a band likethis anyway.
What do you associate with Germany?
Bratwurst, good beer. (laughs) I like Germany a lot, although I haven’t beenthere for 7 or 8 years. People in Germany are very practical and intelligentbut a little too serious. Let’s hear some more German comedy!
What’s in your opinion the differences between Germany and the United States?
There’s a lot of differences, and I think it’s very obvious. Capitalism ishorrifically rampant here. The USA is a very interesting place, it’s made uppartly of progressive, intelligent, artistic people, and partly of mindless,backwards, racist white trash morons. But, thinking clearly and dispensingwith country borders for a minute, my experience travelling round the world isthis: people are the same EVERYWHERE you go. There’s cool, intelligent peoplein every country; and there’s total shit head morons everywhere. People arebasically the same everywhere. I don’t like or dislike the USA, it has a goodside and a bad side, like everywhere else. US foreign policy and militarypolicy is disgusting and out of control, the USA is like the bully of theworld, but you already know that. I live in San Francisco, and it’s a greatcity. Per capita, there is a higher than average rate of progressive thinkingand acceptance of all cultures. If I lived elsewhere in the USA I might beconsiderably more restless.
Thanks for the interview – lets finish it with the Metal1.info brainstorming:
Love: The only thing in life worth a shit.
Idols: I don’t understand why people find them necessary.
Food: If everyone in the western world stopped eating meat, there would be enoughfood to go round, and no-one would be starving to death.
Children: Children of the grave?
Sepultura/Max Split: I don’t care.
Sports: I fucking hate sports and I hate people who like sports.
Politics: Democracy is a total joke. Western politics are pathetically corrupt anduseless. There has to be a better way, but I don’t know what it is.
San Francisco: Wristwatch Crisco
Geschrieben am von Metal1.info
Dieses Interview wurde per Telefon/Videocall geführt.