Interview Filter


THE NEW ALBUM „NYMPHETAMINE“ COMES OUT IN SEPTEMBER, AND THIS TIME – TO ME – THE SONGS HAD MORE OF A ROCK STRUCTURE COMPARED TO YOUR LAST WORKS, THE MUSIC SEEMS TO BE LESS COMPLEX. WHY DOES IT SOUND THAT MUCH DIFFERENT. IN HOW FAR WAS THE WORKING PROCESS DIFFERENT? Dani: Well firstly, the six-track-thing I presume you have is just the working process mixes. They were just-, we went a little behind in the studio, so we just-, they were pushed out. So, it’s obviously better than that, but-, was the original question again (starts laughing)? WHY DOES IT HAVE SUCH A BAND FEEL? ON ALL THE OTHER CRADLE RECORDS, THE SONG STRUCTURES ARE VERY MUCH DIFFERENT. IT SOUNDS A LOT MORE LIKE A ROCK ‚N ROLL RECORD, IF I DARE SAY? Dani: Maybe it’s cause, it had to do with the fact, that we did a 109 shows last year, from Russia, European tour, headlined Beastedge and the American Ozzfest, and then we went back and did our own headline tour. And I think all that, all that playing live – cause this album follows very quickly on the heels of „Damnation and a day“ – rather than restrict the writing process, I think it encouraged it, and we were on a roll, and I think that, you know, the whole thing rubbed off on the writing process itself. And also coupled that with the fact that we -, the record was produced by Rob Caggiano, who is like the guitarist from Anthrax. And he wanted a live feel on the record, so we would rehearse sort of in between recording, and everything was kind of not multi tracked as such, but-, where, you know, we might have done that a few times on previous records. This time it had more of a live feel. So, it probably comes across on some of the tracks. RIGHT. WHAT I WAS TRYING TO SAY WAS, IT SOUNDS MORE AS IF YOU WERE JAMMING IN THE STUDIO; AS IF THE WHOLE BAND WAS IN ONE ROOM INSTEAD OF RECORDING EVERYBODY SEPARATELY AND MIXING IT TOGETHER AFTERWARDS. Dani: Yes, sure… OK, BUT THE NEW ALBUM SOUNDS EVEN MORE DIFFERENT TO YOUR FIRST ALBUMS THAN TO THE LAST ALBUM „DAMNATION AND A DAY“. I MEAN, DO YOU THINK, THE FANS WILL UNDERSTAND THAT, THAT THEY WILL FOLLOW THAT ROUTE WITH YOU? Dani: Dave… (laughs) Dave: I would say it’s more of a steady progression, it’s not a huge jump. And you can see the links to all our albums. We’re very aware of what we’ve done in the past, and we’re not ever trying to get away from it. But obviously you want to evolve to a point where you’re not gonna bore yourself shitless. So, I think it’s just a natural progression really. Getting harder and harder as well as trying to get more melody in there as well. It’s kind of got an eighties feel to it with the guitars. You know, thrash. I mean, maybe that’s what Rob brought to it with him playing in Anthrax, you know, a great eighties thrash band. So, I guess it’s all an effect on his rubbing, you know, as far as that’s concerned, the guitar parts. YEAH, THE GUITAR PARTS…OBVIOUSLY YOU MUST HAVE LISTENED TO A LOT OF IRON MAIDEN JUDGING FROM THE NUMBER OF TWIN GUITAR PARTS. Dani: Because we did so many shows last year we brought- because we were originally – well, not originally – but from „Damnation“ we were a five piece, and we had like a session guitarist, and his name is James Wolver on the album, and he brought us into the live show, and went into recording, naturally. He played a 109 show with us, so he became part of the furniture, so to speak. And that shows in the record as well, because you have twin harmonies and the possibility to explore and write with two guitars, which we’ve done in the past, obviously. I KNOW YOU’RE DONE IT IN THE PAST BUT NOT AS OBVIOUS AS IN THE SONG „FILTHY LITTLE SECRET“, WHICH TOTALLY SOUNDS IRON MAIDEN-ESQUE. STARTING OUT LIKE THAT FROM THE BEGINNING AND ENDING IN A TWIN GUITAR ORGY. THAT SONG IS MORE „TRADITIONAL METAL“ THAN ANYTHING YOU’VE EVER DONE BEFORE. WOULD YOU AGREE WITH ME ON THAT ONE? Dani: Yeah. I mean, like there is a cross section on the sixth track, sort of sample thing. But then, I mean we’ve done this single song, which is vastly different. And dare I say, the people have actually compared it to the Kylie Minogue stroke Nick Cave single, cause it features, what’s her name… Liv Kristine from, you know, ex-Theatre of Tragedy. And it is like vocal trade-off, and it’s very gothic. And then there is another song that is very Maiden, there’s a song that is extremely – one of the fastest songs we have ever written. And a track called „Nemesis“ which is my favourite track on the album, which dare I say even sounds a little bit like „Master of puppets“. So there is like a vast cross section of stuff. I can’t tell you why it’s, you know, it’s gone in a more traditional vein, metal vein. I think, it’s just the way the band was at the time. I mean, there is an awful lot of keys on there, but everything is kind of restrained. We haven’t gone for the over-board orchestration, although there is a choir and a small orchestra on the album. I don’t know. I suppose it’s just that, we would never have expected to go in and do an album so quickly. So I guess, we didn’t have time to plan it and say: „Right… this album is going to have this certain feel!“ It’s a collection of songs that we had just written off the bat, you know. We wrote them as we felt them. IT MUST HAVE BEEN HARD TO FIND A FOLLOW-UP TO „DAMNATION AND A DAY“, CAUSE YOU BASICALLY TOOK IT OVER THE TOP WITH THE ORCHESTRATION. THAT WAS THE MOST BOMBASTIC ALBUM I’VE HEARD IN A WHILE. DO YOU HAVE THE FEELING THAT THIS COULD EVER BE TOPPED BY YOU IN THE FUTURE? WOULD YOU EVEN TRY AGAIN? Dani: No, that’s the point. This album it’s expected to be, we’re trying to do something. And then we would just get to the point where it would be just too overboard. I think this album sounds bigger for there being less on it. And I think that was the beauty of, you know, the fact of bringing in an American to produce it. And then having someone who is established as Colin Richardson to mix it. the mastering has been done in New York as well by some top people. Wait, till you hear the final one, because it sounds massive. But yeah, I think less is more on this record. And to veer off and do something in a slightly different direction makes it sound fresh. DANI, FROM WHAT I’VE HEARD YOU’VE HAD PROBLEMS WITH YOUR VOICE LAST YEAR WHERE YOU HAD TO SEE THE DOCTOR. WHAT PROBLEMS DID YOU HAVE? Dani: It was nothing major in the end. I had like two weeks where the season shifted, and there was lots of pollen. And all of a sudden I just suddenly got really bad hay fever. And of course, I didn’t know what the hell it was all about until I had to go to two different doctors. The first one was useless, he just said: “ Here you go, here’s: stick that up your nose!“ And the second one actually understood what it was going on about. So I had an injection, and I was fine. That was the only thing. SO IZ HAD NOTHING TO DO WITH STRAINING YOUR VOICE TOO MUCH? Dani: No I just literally couldn’t breathe. And I couldn’t get anything out. My whole head was just full of pollen. (laughs) LIKE YOU JUST SAID, ON THE NEW ALBUM YOU’RE SINGING A DUET WITH LIV KRISTINE, WHO IS USUALLY WITH LEAVE’S EYES AND USED TO SING IN THEATRE OF TRAGEDY. HOW DID THAT CO-OPERATION COME TOGETHER? DID YOU KNOW HER BEFORE, OR DID YOU GUYS JUST MEET AT A FESTIVAL AND DECIDED TO SING A SONG TOGETHER? Dani: No. We were looking for something different for this one song. And I know that we usually work with Sarah. And Sarah does appear on the album, but in a less-is-more scenario as well. She’s not all over the record, which obviously lends weight to the impression that it’s more traditional metal, you know, with less female vocals. But this one song demanded something completely different. And we tried out various people, and the record company enabled us to try out different people. And nothing really was working. And then suddenly the A&R guy Mike Gitter just tried out Liv for a Roadrunner contact. And it came back as a demo. And it was like: well, this is perfect! There was something slightly wrong, so I rang her up and said: „Everything’s great! But just the timing on this little bit is slightly weird. Could you re-do it?“ And she was: „Well… in four hours we’re supposed to be on a flight to Turkye!“ And I said: „Oh- please… It would certainly be great!“ And so she did it, and handed it to us, and was on the plane within four hours, which was just excellent! It’s a really original song. It’s just a shame that everything wasn’t done in time, so you’d be able to hear it. YEAH… IT WOULD HAVE BEEN NICE IF I HAD BEEN IN THE POSITION TO LISTEN TO THE WHOLE RECORD… BUT IS THE REST OF THE ALBUM THAT MUCH DIFFERENT FROM WHAT I’VE HEARD? Dani: Well, like I said, this song is vastly different. And there is another track that is very much, as you said, „Maiden-esque“. But I think, that is just a British trade, you know. Because if Maiden weren’t like the first and foremost of like British rock royalty, then you’d be saying it sounded like Judas Priest. (Irritated side glances from interviewer) But no, there is quite a selection, but those tracks weren’t singled out for any purpose. They were just some of the first songs that we had to push out. We had to give the journalists something. (laughs) YEAH— GIVE THE JOURNALISTS SOMETHING… BUT NOT NECESSARILY GIVING THE RADIO STATIONS SOMETHING WITH TRACK TITLES SUCH AS „GILDED CUNT“! I IMAGINE IT COULD BE A RADIO HIT, BUT NOT WITH THAT TITLE… WERE YOU JUST TRYING TO PROVOKE THERE? Dani: No! in the past people have said: Oh, your song titles are too floral! Or, you know, too decadent, you know, with things like „Cruelty brought the orchids“ or „A murder of ravens and fugues“. So the first time we actually do anything really simplistic people are like: „What?!?“ It’s just a play on words with the English saying „Gilded lily“, and it’s just a thing that was once perfected has been soiled. It’s about someone who is beautiful on the outside but ugly on the inside. IS THAT BASED ON A REAL STORY WITH A GIRL? Dani: Oh… not so much a girl, but – A GUY?!? Dani: (laughs) No! More a beast. THAT’S ALL YOU GONNA SAY THEN? Yeah! YOUR LAST ALBUM „DAMNATION AND A DAY“ WAS PUBLISHED ON SONY RECORDS. DID SONY DROP YOU OR WHY ARE YOU WITH A NEW RECORD LABEL NOW? Dani: Sony didn’t drop us! That’s a myth. What was happening with Sony, they were going through a merger with BMG at the time, or they were presuming that they were about to go for a merger. And like I said, we did the American Ozzfest, and they pushed the album a lot at the beginning. But then as with all majors, you know, if it hasn’t sold three million copies and it was doing very well, then they just sort of… you know, they don’t work it as such. So anyway, we come off the American Ozzfest, and we were buzzing. We got loads of new material, we wanted to do something with it, and we’re told that they want to extend our first option, which is the first album’s period for another six months. Meaning we couldn’t get even near a studio until about April of this year. So we said: Look: No, we’re not really into it! And our lawyers sort of searched through the contracts and found that there was a clause in there, that if you refused the extension, then there’s nothing they could do about it, and you could just leave. And that’s exactly what we did, it was brilliant. And Roadrunner was already waiting in the wings anyway. And it just seemed like a great move. A lot of people say, it’s a move backwards, but I actually think it’s a step in the right direction. Because Roadrunner, although being independent, got a wealth of really successful bands on their label, and they know how to market and move this kind of music, which is worth, you know, a thousand times more in my opinion. RIGHT! YOU’RE PRETTY MUCH AMONGST METAL BANDS AND NOT THE „EXOTIC“ BAND ANYMORE…DO YOU THINK IT’S EASIER FOR A BAND TO BE ONE OF MANY AMONGST OTHERS THAN BEING THE ALIENS? Dani: Yeah, it’s obviously very similar to Nickelback… No, I know, we’re not top dogs on the label, or we’re not like the… But I think it’s cool, I think, because there’s other bands that have been marketed like Slipknot in this field, and that obviously punched a hole in the music industry. And I think, you know, I mean, the same thing can apply, I mean, you know. I’m not saying it should be a tried-and-tested formula, because we’re obviously a completely different animal. But it’s a lot easier for people to work Cradle amongst a raster of bands like Slipknot and Machine Head. And then Sony with their raster of Charlotte and Jamiroquai. ONE PERMANENT PROBLEM CRADLE OF FILTH SEEMS TO HAVE IS THAT MUSICIANS KEEP CHANGING AND CHANGING… Dani: They don’t keep changing. I mean, they haven’t changed now for like four years. It doesn’t keep changing. We just added in an extra member. Or actually, no – Gian… o.k., Gian. But then, you know, it’s like a magazine: If people move from magazines because they get a better job or they fall out, because they’re not doing their job. And, you know, a magazine has to keep a certain level of quality. It’s the same with bands. But fortunately it hasn’t dampened our squib, and hasn’t changed the music in any such way. BUT NICK BARKER FOR EXAMPLE… Dani: That’s a long time ago. You’re talking like five years now. MAYBE IT’S FIVE YEARS. BUT YOU JUST MADE AN ANALOGY TO JOURNALISTS LEAVING MAGAZINES BECAUSE THEY’RE GETTING A BETTER JOB OFFER. ARE YOU TRYING TO SAY CRADLE OF FILTH IS THE ONE MAGAZINE AND DIMMU BORGIR JUST OFFERED A BETTER DEAL THERE? Dani: I wasn’t relating that at all to a scenario, in which case you could say… But you don’t even know the scenario around the Nick Barker thing, whether he left or was fired. And it’s never been talked about and never will be! AH… WELL… Dani: Cause he just took whatever job he could actually get! (Dani walks off to the window) AM I BORING YOU?!? Dani: No! I just haven’t seen the hotel from this angle. OK..?! THE RECORDING CAREER OF CRADLE OF FILTH STARTED LIKE TEN YEARS AGO WITH „THE PRINCIPLE OF EVIL MADE FLESH“. NOW TEN YEARS DOWN THE LINE: IN HOW FAR WOULD YOU SAY THE BAND HAS CHANGED? OR IN HOW FAR HAS THE BAND CHANGED YOU ON A PERSONAL LEVEL? Dani: Well, apart from all the line-up changes… (chuckles) Funnily enough some people have actually said that this record is more reminiscent of the first one. I know when somebody says the first record was ten years ago, I think: „Fuckin‘ hell! I’m an old git!“ You know what I mean, it makes me feel really old just about to being thirty. I don’t know, a lot of things have happened in that time, but I feel relatively unchanged, apart from the weight of the world crushing my spirit, time and time again. (laughs) No, it’s good. We’ve been really successful, and you know, I still think we’ve got a few years in our decrepit old bones. WHEN YOU KEEP BRINGING OUT ALBUMS LIKE „NYMPHETAMINE“ IN THE FUTURE, I’M NOT TOO WORRIED ABOUT THAT! BUT THE CHEMISTRY IN THE BAND – COMING BACK TO THE LINE-UP CHANGES HERE – WOULD YOU SAY IT WAS BETTER WHEN YOU FIRST STARTED OT IN HOW FAR HAS THAT CHANGED (NOW THAT YOU ASSEMBLED ALL THE MUSICIANS AROUND YOU)? Dani: I don’t know. It’s, when we started, obviously it was all new to us, and now it’s obviously a job as well as, you know, as something that we adore. But… no, I think the chemistry is definitely still there. I mean, this album is a proof of that. And you got to remember the first album didn’t just happen. Most of those songs were a collection of from about two years worth of work. So in that respect, I think the fire is as much here in the band now as it was back then, definitely. There has obviously been ups and downs throughout the career, it hasn’t been, you know, clean sailing from the word of go, but… No, as for the line-up changes and that, everything has got to be kept oiled. YOU LIKE TO CALL YOURSELF AN „EXTREME METAL BAND“. IT’S NOT REALLY BLACK METAL, BUT THE MEDIA DO SEE YOU IN THAT BLACK METAL GENRE. IS THAT A PROBLEM FOR YOU, DO YOU LIKE TO BE REGARDED IN THAT LIGHT? Dani: I don’t think, it’s an issue really. It’s obviously a way to describe a band. When you’re in a record shop you can pick the records out easily enough. But, if anything I prefer just to be known as Cradle of Filth, and people make their own minds up. You know, because when we play in the States we have a real vast array of different people who come to see us, from punks and goths. Their whole ideology behind goth is completely different anyway so… metal kids – it’s cool. And we also get to play with, you know, being not pigeon-holed, we play with quite a vast selection of bands. Like the tour we did with Killswitch, Shadows Fall and Sworn Enemy, and then the one where we headlined with Type O‘ and Moonspell. That was a great tour. Three completely different bands, but all linked inextricably by themes. WHAT DO YOU LIKE AND DISLIKE ABOUT BOTH SCENES – THE METAL AND THE GOTH SCENE? Dani: I don’t in particular pay attention to the scenes whatsoever. Hate all that backbiting, you know. Every false friend trying to be friendly. We’re too busy to actually sort of… You know, we’ve got lots of friends we’re having in other bands. And we’re fans of other bands, but it’s more like a little… we have our own little niche in that. We just sort of go with the flow really. ENGLAND REALLY HASN’T GOT A SCENE AS SUCH, HAS IT? Dave: No, I mean, back in the nineties there was a great scene in England, and now it just seems to have disappeared into little groups of people still doing it, when they can’t be bothered. It’s a shame really. Cause a lot of originality has died in England, too. If you look back at early Paradise Lost, Carcass, Napalm Death, bands like Cancer, Bolt Thrower. Hundreds of bands, all different. RIGHT. YOU ACTUALLY ARE ONE OF THE LAST SURVIVORS OF THAT SCENE. FOR EXAMPLE PARADISE LOST CHANGED THEIR WHOLE MUSICAL DIRECTION. Dani: When I was mixing the record with Colin at the Chapel, which is sort of halfway up England, Paradise Lost were in the same studio but using a different part of it. And I’m led to believe by Greg that they’ve returned a bit more to their roots, and they’re a bit more guitar based. Dave: They have been saying that for about five years. But even bands like Anathema and Paradise Lost, My dying bride weren’t part of the original scene I’m talking about. It was more punk back then. You had bands like Doom and Electro Hippies. It was very… I don’t know, very open-minded back then. Now it’s all just, I don’t know, it seems a bit stagnant. There is not many bands, where you could say: „Wow!“ There probably is a huge scene, but it’s probably all like an emo rock thing that we don’t understand anything about. But I agree, there is not…, really there’s a handful of bands in Britain of our rilk. It’s not like Europe, the place is crawling with them. YES, IT’S QUITE HEALTHY HERE. DO YOU THINK THAT THE MUSIC OF CRADLE OF FILTH WILL EVER GET A CHANCE TO BE PLAYED ON THE RADIO? I KNOW IT’S NOT EXACTLY RADIO MUSIC, BUT CAN YOU SEE THAT HAPPENING SOMEWHERE IN THE FUTURE? Dani: I think the title track, the one with Liv on, is very accessible. It wasn’t written with that in mind, but it’s just the nature of the beast as it is. And I could see that being played everywhere, cause it – you know, you haven’t heard it obviously – but it’s very different. Very different, indeed. It’s like a couple of our old songs, it’s like „Malice through the looking glass“ or „Beauty slept“ or something. It’s quite an idyllic song for us, more hilted in the gothic than in the extreme sort of end of things. WHEN YOU LISTEN TO CRADLE OF FILTH, IT SOMETIMES FEELS LIKE LISTENING TO A SOUNDTRACK OF A HORROR MOVIE. WHERE DO YOU TAKE YOUR INSPIRATION FROM? Dani: Well, more like a gothic horror thing, like „Sleepy Hollow“ or something. OK, THEN WE’LL GO WITH „SLEEPY HOLLOW“. BUT YOU OBVIOUSLY ARE INFATUATED WITH THE HORROR GENRE – WITH HORROR MOVIES AND HORROR SOUNDTRACKS. CAN YOU RECALL AN INITIAL EXPERIENCE WHEN YOU WERE YOUNG, THAT STARTED YOU ON THAT, WHERE YOU FIRST FELT A FASCINATION FOR THAT? Dani: Yeah! I remember Michael Jackson’s „Thriller“. And seeing… they had an interview with the director John Landis on the making-of, and they showed some clips from „American wolf in London“. So I begged… cause before that my dad would just take me to the „Hound of horror“ and Universal films, black-and-white, you know „The bride of the imperson“ and „Misses Ment“. And yeah, subsequently he went to pick my mom up, who was like working late at night, and just left me on my own watching „American wolf in London“. I must have been about seven, and just being so fuckin‘ shitscared when all those dream sequences happened. But loving it at the same time. It was brilliant. And my dad obviously came back, and pounded at the window like that, and I was fuckin’… shot my bolt. It was (makes screaching noise). Brilliant! WHAT HAS IT BEEN WITH YOU, DAVE? Dave: I mean, you’re looking at a different type of sort of format. When I was like ten years old we had like VHS video players. I think it was Betamax actually, which was before VHS, and we used to go to the video store and hire a video for two weeks. You know, and it was totally different to how it is today. You know, DVDs and everything is so instant. Back then it was really slow, and you sort of had a chance to absorb movies like „Dawn of the dead“ and „Zombie flesh eaters“ and „Exorcist“. These were the movies that we would… they were the first ones on video and you’d have two weeks to watch them. And you just watch them over and over again. And you’d be so fuckin‘ scared, it was kind of ridiculous. You would go back to school and say: „Have you seen this film? You should check it out, it’s really weird!“ But I mean, that’s where we all came from. Obviously, when Michael Jackson did „Thriller“ it was cool, because he was on TV, whereas these were just videos that never were gonna get shown. And obviously later on they were actually banned. You know, stuff like „Texas chainsaw massacre“, I remember seeing that one when I was like ten, and then for five years it wasn’t available anymore, which is a bit backwards. People didn’t believe you’d actually seen it, but you had. You know, when you’re watching like „Evil dead“, I remember everybody in town was scared of that movie. You know, „Friday the 13th“, stuff like that. I guess that’s where it all started. Halloween wasn’t actually a big thing when we were kids. We sort of grew, we grew up with that. The more we got into horror, the more we had a Halloween party, the more we encouraged it. You know, the more we discovered bands were like us, like Misfits and shit like that, you know it’s like: „Wow! There is actually a healthy thing going on here.“ And we just encouraged it. It wasn’t really a (….) when we were kids going out doing „trick or treat“. It wasn’t an English thing. It’s kind of grown into that now, which we’re really into. SO IT HAS BEEN THE CLASSICAL VIDEO SOCIALISATION THEN. YOUR LYRICS USUALLY ARE FICTITIOUS STORIES, SOMETIMES ABOUT HISTORIC EVENTS – BUT IT’S STILL FICTITIOUS. NOW, A FEW WEEKS AGO RAMMSTEIN BROUGHT OUT A SINGLE WHICH DEALS WITH A RECENT CASE OF CANNIBALISM IN ROTENBURG, GERMANY. DO YOU THINK THAT’S STILL COOL? WOULD YOU WRITE LYRICS LIKE THAT? BASE A WHOLE SONG ON A REAL STORY, FOR EXAMPLE WRITING LYRICS ABOUT THE GLOUCESTER HOUSE? Dave: Let’s make a point first. I don’t understand why somebody goes on the internet and asks to be eaten. So, I don’t really understand that. Dani: You can go on the internet as a young girl to groom an old man… OK, BUT WOULD YOU WRITE A SONG LIKE THAT? Dave: As a fantasy thing, yeah, but I mean, it’s no relation to reality. For us, there’s a difference For yourself, you can see the story. You know, Stephen King isn’t a murderer, even though he writes horrific horror stories. There’s a difference between real and fantasy. Unfortunately, this guy has actually met somebody that cut up the friendship between fantasy and real. Dani: I mean, we have written some songs like that in the past, like about abortion. I wrote some serial killer artwork, and that inspired me to write that track. I mean, it’s like the best things come out of Germany recently, isn’t it? Cannibalisation… So, it’s obvious that someone like Rammstein – I didn’t know that was the subject of the video – but I saw them being braided around like dogs. Actually, I haven’t even heard the song yet, I’ve just seen it, like these images. I was actually hoping to grab a copy from somewhere. BUT IT’S CLEAR TO ME, THAT THIS IS ABOUT PROVOKING PEOPLE. DO YOU THINK, IT IS STILL POSSIBLE WITH EITHER THE MUSIC OR THE IMAGE, TO PROVOKE? Dani: Yeah, but I mean, we don’t go out the way to do that. We didn’t say the track „Gilded cunt“ was written to provoke, you know. It’s a reaction, if anything. Yeah, it is possible to do it, but I think it’s a little stale. Bands that go out their way to be antagonistic, you know, mad at God or whatever, I think are a little boring, to tell you the truth. My hangover is kicking in now… Dave: I’ve always been a little bit older. I think there’s probably a scene out there that we’re not very aware of, and that’s the… a lot of these fans of not ours, but of this genre, are like actually very young, you know, from age ten to… they’re already aware of music. I was. I always listened to AC/DC when I was so young. So from that… you know, like at school they might be talking about Slipknot as being the hardest band they’ll ever hear. You know, and if you’re not into metal, you might like Avril Lavigne. Dani: As soon as you said that, they actually came up on the TV. Slipknot. Dave: But what I’m saying, if… yeah, when I was at school I liked AC/DC. They were kind of touching on, you know, like certain things with the „Highway to hell“ song. And then when Iron Maiden put out „The number of the beast“ I actually thought: they must be Satanists to sing about that, you know? And they weren’t. But that’s what I thought. So, a kid who is into Slipknot, who wants to maybe get into Ouija-boards and witchcraft and, you know, wear black clothes and look cool to his friends could get into Cradle of Filth and think: you know, they must…, they’re so well studied, and they’re so convincing, that they must be really into like eating babies and drinking blood for fucking breakfast. You know, that’s… You gotta remember that these kids don’t know any more. But they don’t know any more. We do, you see. Cause first. You know, we’ve lived through Motörhead and all. You know, it’s all rock ’n roll, you know. I remember the Sex Pistols been number one. But for kids it’s not like that. WHAT KIND OF MUSIC WOULD YOU RECOMMEND TO KIDS WHO YRE JUST STARTING TO GET INTO HEAVY MUSIC? SOMETHING LIKE SLIPKNOT, SOMETHING LIKE CRADLE OF FILTH OR SOME OF THE “CLASSIC” BANDS? Dave: I kind of grew up… my father was playing Led Zeppelin and Rolling Stones. I mean, for them in the sixties they were really extreme bands. You know, when Jimmy Page owned Alister Crowley’s house everybody thought it was possessed by it, you know, the beast or whatever. You know what I mean? And they’re not hard bands – now! But for that back then it was. You know, like I said: I remember the Sex Pistols being number one and upsetting everybody. So, yeah, it didn’t damage me in any way. (Dani starts chuckling in the background) Apart from… I don’t have any legs. They’re actually glass! SO DANI, IN WHAT ELSE WAYS HAS IT DAMAGED HIM? Dave: It’s not damages in any way. I’m actually quite normal… I think. Dani: For a freak! Dave: You know, I’m not saying that if someone listens to Slipknot at age twelve it is a bad thing. I think it’s probably better than listening to… I mean, my older brother liked Wet Wet Wet – and he’s been to prison twice. You know, I’ve never been anywhere near prison. And I didn’t listen to Wet Wet Wet.. Dani: My first metal compilation had like Plasmatics on there, and Savatage rubbing shoulders with like „Evil has no boundaries“ by Slayer. Because it was my first compilation, I didn’t differentiate between levels of extremity. I just thought it was all heavy metal. And, you know, when you hear it: (starts imitating a Slayer-guitarsolo) of „Evil has no boundaries“ you think: fucking hell! So… And I must have been about twelve. ALRIGHT, I TAKE THAT BACK. MY FIRST METAL MIX HAD DESTRUCTION, MÖTLEY CRÜE AND MANOWAR ON THERE. SO… Dave: Because, if we were a really evil band, we would be more like Bon Jovi! We would torture so many people… It would be horrible. If we really wanted to piss everybody off, we just turn into a glam band. YOUR WEBSITE OFFERS SOME INTERESTING PICTURES CAPTURING MOMENTS AT THE CHAPEL, WHEN YOU WERE WORKING ON „NYMPHETAMINE“. THERE’S ALSO A PICTURE THAT SHOWS A SEVERED PIGHEAD, SET UP WITH SUNGLASSES AND CIGARETTES. ANY OTHER INTERESTING STORIES? Dani: We’ve actually had an invasion of these creatures called maybugs. They were huge bugs that obviously come out in may. And for about two weeks we were just completely invaded by… I really do think that something bizarre, in a very like „The Omen“ was going on. Because I was in my bed one night, and I had left the window open. And I just felt all these things crawling over me. And they were huge bugs. I was like: F…! We are being invaded! Also we had things… we set fire to the studio. Fire extinguisher fights. But it didn’t really beat the last album. On the last album we were a bit sort of… a bit more mad. We made a cannon out of milk churn, and fired a basketball using agricultural explosives. And we had BB guns, shooting each other with… It was great fun! SOUNDS LIKE A LOT FUN… Dave: No! Dani: I really need to go to be sick… Thank you! (walks off to hug the toilet) THANK YOU!

Es ist noch kein Kommentar vorhanden.

Hinterlassen Sie einen Kommentar.