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FEAR FACTORY (CHRISTIAN OLDE WOLBERS)

THE NEW ALBUM „TRANSGRESSION“, IN MY OPINION, SOUNDS A LOT MORE ORGANIC WITH ALMOST NO SYNTHESIZERS AND NO SAMPLES AND IT’S GOT WAY MORE OF A LIVE FEEL, A LITTLE MORE „BACK TO THE ROOTS“ . WOULD YOU SEE IT THE SAME? Well, the last record was very much to the roots as well, „Archetype“ was to the roots as well. This record is the same thing, but I think volume-, vocal-wise it has more volume. And, you know, this is the first time we had a real producer handle and stir the wheel. And it’s, I wouldn’t say a rock record, but it’s definitely a bigger-sounding record over-all than anything really we have done in the past. And everything we’ve done in the past we knew like what type of sound to get. We wanted to sound like Fear Factory. And this time around we kinda let this producer give…, you know, handle the wheel a little bit and, you know, see where he would stir it to. And, you know, his vision is probably like not having so much „trrrrrrrrrrrrrr“, double-trickling kicks like „ticke-ticke-ticke-tick“, you know, sound. I mean, we still have a lot of kicks and all that on the record, but, you know, his vision was probably like to make it more – still powerful and bombastic – and still making the sound like Fear Factory – but not sound not like too typical, like our typical Fear Factory metal production is that we do on our records. And, you know, he changed it around a little bit, and I think it’s a bigger open sounding record. It’s not the typical Fear Factory sounding record that you hear from us, but it’s definitely Fear Factory, and it’s definitely a bigger record, and it has more space and it breeds more for some reason. And, you know, Burt doesn’t do as much as the typical Fear Factory heavy-versus-melodic on every song. There’s songs where he’s completely doing only heavy vocals or songs with only singing vocals – not necessarily the slow songs where he would sing – everything that he is doing on the record is more unpredictable, I think. And on the last Fear Factory records everything was kind of predictable. But, you know, that’s what it was then, because we knew that’s what was gonna work best, and that’s what was coming out then. We don’t sit here and analyze songs like, you know, we did in the past-past, but we just kinda write songs. And sometimes there is a song that sounds different, but then we’re not afraid to hear this. Burt would do vocals on ‚em and see what it would be. One of those songs actually made the front of the record which was 5’40. That song was kinda like, not your typical Fear Factory. I didn’t even know if it was a Fear Factory riff or a riff for a side project or something. But, you know, we finished it up and now it’s a Fear Factory song. And, you know, sometimes you think the obvious is gonna be the best, sometimes when you do things that, you know, you might not know what’s gonna end up happening with those songs, sometimes those songs come out the best. So… AGGRESSIVE SINGING FOLLOWED BY A VERY MELODIC PART – THAT’S SOMETHING YOU BASICALLY STARTED IN THE EARLY NINETIES. THESE DAYS THERE’S DOZENS OF BANDS WHO TRY TO COPY THAT SOUND AND SONG STRUCTURE. AND IN MANY PEOPLE’S OPINION THAT’S BEEN OVER-DONE AND THEY’RE FED UP WITH THESE SONG-STRUCTURES. HAS THAT BEEN A REASON AS WELL WHY YOU TURNED AWAY FROM THAT? It’s not completely gone, we still do it. But it’s, like you said, you know, every band does it and we kind of innovated it. And we’re not afraid of doing it cause, you know, we are the inventors of that type of structure. But at the same time Burt felt like doing heavy vocals on every song was redundant, too, because there is a lot of metal singers out there that just scream, and scream heavy because it’s a style of music, and it’s not really something that came passionately from within. You know, when I saw bands like Rage against the machine, like, you know, what Zak was doing on stage – like that scream came from within. He was passionate about what he was screaming about. And these days we don’t really feel that no more with too many bands. And that kind of like turned Burt off and he was just searching to like… I remember like talking to Burt and saying like, you know: „What’s gonna interest me is, if you would do something on a song that I wouldn’t expect!“ And I took more of a step back vocally, like as far as like working with Burt, we didn’t really demo the songs together. Maybe only one or two. But all the songs that he sang he kinda like did it for the first time. We didn’t really sit there and demoed the songs twenty times like we did on „Archetype“. He just came in with lyrics and sang the song, and that was the song. He kind of did it more on the spot rather than thinking everything out. And that’s just what he did. And when I heard the songs later on I was like: “ I didn’t expect you to this over here!“ It kinda interested me more to listen to it again rather than like: „Oh, I knew that Burt was gonna do that!“ And then that song would not feel as passionate to me no more. Because I already knew what he was gonna do. everybody knows what Fear Factory is, and what it used to sound like and what it’s gonna sound like. But once we do something that is not – is still Fear Factory but not typically what we would have done, what people expect from us – I think, that’s kind of more interesting in the end. Like, I’m actually even playing a lead on one of the songs. We never played a solo, like a guitar solo, on any of the songs ever, you know. So, we just like, try to do a couple of different things that we’ve never done before, you know. We’re trying to break those couple of more barriers that we have, that we always like, you know, „Ok, here’s a barrier that we have never done. And now we can do that!“ And then we move on to the next thing. You know, fuck it! Let’s do it! You know, you thought about it – let’s break it, you know! I’M NOT GONNA SAY THAT YOU LOST THE AGGRESSION ON „TRANSGRESSION“… BUT IT IS A FACT THAT MOST OF THE SONGS SOUND A LITTLE MORE POSITIVE AND BURT DOESN’T SOUND AS ANGRY AS HE USED TO. AND THERE’S EVEN SOMETHING WHAT YOU COULD CALL A “POWER-BALLAD” ON THE ALBUM, IF I DARE SAY, THE SONG „ECHO OF MY SCREAM“…?! He doesn’t sound angry, but he sounds clear, and he still sounds really passionate. And I mean there is angry parts, he sounds angry on ‚em! No doubt! But there is more dynamics, I think, on this record, and I think on this record people are gonna feel like: „Wow!“ Burt is definitely a singer that… and not just somebody that just, you know, does a bunch of screaming and then does some melodic vocals. He can actually like write a whole song that’s all melodically and it’s…. Some of the songs are built up differently and you know, more like someone maybe like a Chris Cornell, or somebody like that would maybe write lyrics. I think, he was trying to find a different Burt within him – things that he normally would do, but normally that wouldn’t be right, because that’s not Fear Factory. And, you know, we would say like: „You sing heavy over this part! This is the part you sing heavy!“ And he would be like: „Because that’s what you expected! But on this record I don’t feel like doing the expected. I want to do things that people would be like..“ And even if it’s not for the better, it’s still different. I think it’s gonna turn off people more when they expect: „Oh yeah, we expected that, we expected that! That’s just like the last record and the one before that, and the one before that! We already heard these songs“ And then the record would be like. „Whewww!“ Interest would drop. Now people are kinda like: „Oh, we didn’t expect that! Oh, that’s kinda different! Wow… „I will follow“ by U2 on the record? A Killing Joke song?!“ You know, what I mean? People are kind of like… I don’t think they expected it so much. RIGHT – TWO COVER VERSIONS ON THE ALBUM, ONE BY KILLING JOKE AND ONE BY U2. WHICH IS KIND OF UNUSUAL FOR A BAND LIKE FEAR FACTORY TO CHOOSE THOSE PARTICULAR SONGS. OUT OF ALL SONGS – WHY HAVE YOU CHOSEN THEM AND WHY IN THE FIRST PLACE DID YOU DECIDE TO PUT TWO COVER VERSIONS ON THE ALBUM? Well first of all, we put just „Millenium“ on the record, and, you know, Killing Joke was probably one of my first bands that were heavier for me to get into. And I got into ‚em because of their major single which was „Love like blood“. I didn’t even know Killing Joke before that. So, that got me totally like hooked in Killing Joke, and then hearing bands over the years, like Metallica paid tribute to them and other bands. That’s always been like one of my favourite bands, and same for Burt, you know. We always liked Killing Joke, and of course I wanted to do „Love like blood“. I was gonna pick for the obvious one, but „Pandemonium“ on that record was awesome, too, and „Millenium“, and we started messing around with it one day. And we were like: „Well, that sounds good, too!“ And Burt was like: „Oh, we should do that one!“ I’m like: „Alright!“ I didn’t wanna argue about it. Cool! Any song, really, that doesn’t really matter, you know. So we did that one, and we also did „I will follow“. But that was gonna be a B-side. And when the label got a hold of the tracks and they heard „I will follow“ they were like: „Oh, we are gonna put this on the record!“ And we were like: “Oh, we didn’t put it on the record!“ And they are like: „Oh, we ARE gonna put it on the record!“ See, I didn’t wanna argue with them again either, because it might be the best move they’ve…, you know? If it’s their idea, and sometimes when they have an idea they are gonna fight with it. So, we’re like: „Yeah, put it on the record!“ I think, it’s a good song. I’m not afraid of having it on the record. All the things that I would normally say „no“ to, I’m trying to go like: „Go for it!“ Even if I’m not gonna be completely happy in the end, and that’s not what I would have done, I’m gonna try and like, to turn the cheek and be like: Let’s see what happens! You know, so I’m trying to like lift all the barriers up and not trying to like, you know, stop every time when I go: „That’s not really normally what we would do!“ I’ve been trying not to do this on this record, and just go for it. BURT IS ALSO STILL INVOLVED WITH HIS SIDE-PROJECT ASCENSION OF THE WATCHERS, WHICH IS A TOTALLY DIFFERENT STYLE OF MUSIC. IT’S MUCH MORE MELLOW, MUCH MORE ACOUSTIC, MUCH MORE SPIRITUAL. HAS THAT BEEN INFLUENTIAL IN ANY WAY ON THE WAY HE SINGS OR THE KIND OF SUBJECTS HE CHOOSES WHEN HE WRITES HIS LYRICS? I mean, he’s a writer. So whatever he is gonna write about, or if it’s for Fear Factory or for a side-project, or for anything. He just puts himself in that mode, I guess. And that’s just like the way I write riffs. Sometimes I can sit here right now, and write a riff. And I might feel like: „Well, this is a great riff! I should keep this for something but this might not be for Fear Factory!“ So you still want to let that out. So it’s good for an artist to be able to let all his musical… all your… It’s just like, you have to let all of it out, because if you keep it in you’re gonna be frustrated later on. And if you can’t feel like you can’t let it out in Fear Factory, you’re not gonna be happy with your musical direction and what you’re doing, and then you get frustrated. All that good energy and good ideas you have, you should always collect them as in using it for something else later on. Because every time you write something or you play something, you might not even think about it and know it – but it could be one of the greatest things ever. And you might just have overlooked it and put it away, and never thought about it again, you know. WHEN I WAS CHECKING YOU OFFICIAL WEB-SITE I THOUGHT IT WAS VERY INTERESTING THAT EACH MEMBER HAD A BIO AND SOME FACTS ABOUT EVERYBODY IN THE BAND. AND WHEN I CLICKED ON BURT’S IMAGE IT JUST GAVE A LINK TO THE ASCENSION OF THE WATCHER’S WEBSITE – AND NOTHING ELSE! NOTHING ABOUT HIM, NOTHING ABOUT FEAR FACTORY. WHY DID HE DO THAT? I don’t know. I have no idea! It’s a good question. Cause he probably wants people to find out about his band rather than about all his background or something, you know. SO YOU DON’T KNOW EITHER?! ALRIGHT THEN… I don’t know everything. „ARCHETYPE“ WAS BASICALLY WRITTEN BY RAYMOND ON HIS DRUM MACHINE, I READ? It was both Raymond and me, we were sitting in a room like this and we had a little drum machine where all the drums are laid out. So when he hits the drums, the pads, it just makes the drum sounds. BUT HOW DID IT WORK FOR THIS ALBUM? We did the same thing. We just wrote it the same way. Just me and him sitting down. Actually we wrote most of it on the tour bus, on the back of a tour bus. Just the same way, and then we documented all the parts, and then we came home and we worked everything out. It took us about four months and we had twenty songs, you see.So it went pretty fast. GETTING BACK TO THE COVER VERSIONS HERE FOR A SECOND. IF YOU HAVE ELEVEN SONGS ON THE ALBUM, AND TWO OF THEM ARE COVER VERSIONS, THERE ARE STILL ELEVEN SONGS LEFT. WHAT ARE YOU GONNA DO WITH THEM? ARE THEY CRAP OR WHAT ARE YOU GONNA USE THEM FOR? No, there’s really good songs on there still, but we never finished them. I mean, I think some of the other ones that we haven’t even finished could have been album-songs, too. But this is just like the way it went, and we are gonna be using them for b-sides and for video games and for movies and, cause there is always all these people always want songs and… but you don’t have any songs cause you all put them on the record. So, you know, the record doesn’t need to be longer than an hour anyway. If we have to put eighteen songs on our record, then it’s not a good record. You know, what I mean? So… I’VE REALIZED THAT YOU WORKED WITH ABOUT EVERY MAJOR PRODUCER AMERICA HAS TO OFFER – ALL OF THE TOP ICONS, EXCEPT FOR RICK RUBIN, MAYBE. ON THIS RECORD YOU HAD TOBY WRIGHT AFTER YOU’VE WORKED WITH, FOR EXAMPLE, ROSS ROBINSON OR COLIN RICHARDSON DOING THE MIXES. I MEAN, IS THERE ANYONE LEFT YOU WOULD LIKE TO WORK WITH? Actually, I would like to work with Terry Date. But actually, he-, we asked him first to work on this album. But he was really busy, and he said: „No, I can’t do it guys! Maybe the next time!“ So, we weren’t really looking at that point, we were just kinda: we were gonna do it our way. And then one night we bumped into Toby Wright, and he was like: „Oh, what are you guys up to?“, „Oh, we’re doing a record!“; „Oh, really? Who’s doing it?“ So he started asking questions, and then we were like: „Oh, we’re actually looking for someone to do some drums with us! Are you interested?“ and he goes: „Yeah! Can I do the whole thing?“ So he wanted to do the whole thing, and so we kinda like, you know, let it happen. We kinda thought when he kinda falls out of the sky, maybe that’s a blessing, you know. So let’s just go with it and see what happens. YOU FIRST STARTED OUT AS A GUITAR-PLAYER. AFTER YOU MOVED TO L.A. YOU SWITCHED OVER TO THE BASS, AND WITH THE LAST ALBUM YOU GOT BACK ON THE GUITAR. IN HOW FAR, WOULD YOU SAY, HAS THE GUITAR-STYLE CHANGED. HAVE THERE BEEN ANY CHANGES WHEN IT COMES TO GUITAR-PLAYING IN FEAR FACTORY? Well, I’m starting to fill my niche more and feel more open about doing different things on guitars in like doing a guitar-solo, and doing acoustic parts, and, you know, like I think next record I’ll probably try an acoustic song, and try to take the ballad to the „really“ ballad level, and maybe like do different things. Just explore on guitars and maybe do some twelve-string stuff, and get a fourteen-string maybe. Experiment with more different tunings and stuff. I definitely experimented with more different tunings on this record. But I don’t wanna try to fall too off what I have to do in my job in the band, but I always try to get more creative and express what I need to express more on guitar, but stay on the right track as far as like writing songs, you know. YOU’RE ALSO BUSY WITH OTHER PROJECTS AND OTHER WORKS. YOU’VE MADE YOURSELF QUITE A NAME WITH PRODUCING AND WRITING… Not quite of a name enough! I’m still working on it to get more out there. OH, COME ON… I ASSUME THIS HAS TO BE YOUR MAIN INCOME THESE DAYS. OF COURSE YOU STILL HAVE THE ROYALTIES FROM THE FEAR FACTORY ALBUMS COMING IN AND YOU’RE ALSO GETTING PAID BY THE RECORD COMPANY – I RECKON. BUT THE MAIN MONEY PROBABLY COMES IN FROM YOUR JOB AS A PRODUCER…?! If I don’t work I just struggle like anybody else. When I get home and there is no Fear Factory, I gotta do other things to survive. And go out and produce bands and make hip hop beats and, you know, and do all kinds of things like that. I just kinda keep working. Any work in music as far as like making and creating music and making albums and stuff – that’s what I wanna do, you know. IT’S NOT A SECRET THAT YOU’RE INTO HIP HOP AS WELL. I like pretty much everything, you know. RIGHT. I READ ABOUT YOUR INFLUENCES ON YOUR WEBSITE – AND U2 WAS ONE OF THEM, TOGETHER WITH ALL THE USUAL „METAL SUSPECTS“ OR BAD BRAINS. BUT IN HIP HOP… I JUST FIGURE THE LIFE-STYLE OF HIP HOP IS JUST SO MUCH DIFFERENT FROM METAL… I’m not living the life-style of a rapper. I mean, I make music that rappers can rhyme over and stuff. But I mean, I know some of the biggest producers in the hip hop business. When you look at them you’re like: They don’t look like hip hop guys at all, you know. But they’re making actually all those beats that you hear from 50 Cent and Eminem and stuff, you know. Even look at Dr. Dre – Dr. Dre doesn’t really look that hip hop. He just looks like a normal guy, you know. He doesn’t sit there and looks all like „blink-blink“ out on TV, looking like all the guys he produces. He just looks like a normal guy. Cause usually the guys behind the scenes that make all the music are just a bunch of normal guys. OK, THAT WAS ACTUALLY MY POINT: IS IT FASCINATION OR DISGUST WHEN YOU’RE BEING SURROUNDED BY GOLD-CHAINS, LIMOS AND ALL THAT… Well, that’s what people see on TV. Most of these producers are just normal guys. You’d be surprised what some of these guys look like that make that music. Probably looking like your next door neighbour plumber for real. WELL, I HAVE TO ADMIT THAT I HAVE THE PICTURE IN MY HEAD OF HOW THEY ARE PRESENTED ON MTV… BUT YOU DID WORK WITH A LOT OF HIP HOP CELEBRITIES LIKE FOR EXAMPLE LUDACRIS AND SNOOP DOOG. IS THERE ANYBODY YOU’VE WORKED WITH THAT YOU WOULD NEVER LIKE TO WORK WITH AGAIN? I’d never like to work with again? Actually, I don’t think so. I don’t think I’ve ever worked with anybody I would say: I’ll never work with that person again. Everybody I pretty much worked with, everything was a good experience. Cause I always take…, you know, to me like working with somebody always… that’s like a lesson to me. You learn something new from every move you make. WHAT HAS BEEN YOUR HIGH-POINT IN YOUR CAREER – PERSONALLY AND FEAR FACTORY-WISE? I REALIZED YOU WERE INVITED TO JAY LENO’S “LATE NIGHT SHOW” THREE TIMES. THAT MUST HAVE BEEN ONE, I GUESS… Yeah. Every time I go to Jay Leno, he like knows me, like: „Heey… you again!“ So he already knows me. That’s kinda weird. It’s like: the most famous talk show host in America. But a high-point was definitely when we received a gold record for „Obsolete“. I mean, that was definitely a Fear Factory high-point. Another high-point is for us to pick up the pieces after we had our break-up and just continue and make this second record already. You know, that’s another high-point. Low points? Hmmmmm…. I don’t think-, I can only think about the positive things right now OK, THE LOW POINTS ARE KIND OF OBVIOUS – CONTRACTUAL STUFF AND THE SPLIT WITH YOUR FORMER GUITAR-PLAYER….. BYRON STROUT FROM STRAPPING YOUNG LAD, THE DEVIN TOWNSEND BAND AND ZIMMER’S HOLE IS YOUR BASS-PLAYER NOW. HE PLAYED ON THE LAST „ARCHETYPE“ AND HE WAS ALSO ENGAGED WITH THIS ALBUM. IS HE A PERMANENT MEMBER NOW OR IS HE JUST A STAND-IN?

He’s a permanent member of the band, you know, he is in the band. He is part of Fear Factory. His picture is on the record, he gets mentioned everywhere. No, he’s just part of the group, you know. Can’t have no group with no bass-player. So… WELL, BUT I GUESS YOU KNOW ABOUT THE POSSIBILITY OF GETTING A HIRED HAND IN… If he has to leave for other duties then we have to find a replacement then, you know. But, we really try to work it really good so we can juggle both. Both his bands and our band. And so far it’s been actually working. Up to just like a little bit, just a couple of days. But it’s not a big deal. So… FORMER FAITH NO MORE BASS-PLAYER IS ONE OF THE GUEST MUSICIANS ON „TRANSGRESSION“. WHEN I WAS GOING THROUGH YOUR BIO I FOUND OUT THAT BILLY WAS THE ONE WHO BORROWED YOU HIS BASS EQUIPMENT WHEN YOU FIRST GOT INTO FEAR FACTORY. TO GIVE HIM A GUEST APPEARANCE ON THE ALBUM – HAS THAT BEEN SOMETHING LIKE A FRIENDSHIP-PAYBACK? It’s just friendship because, you know, and he’s like one of our favourite musicians, and Faith no more is like one of my favourite bands. So, you know, we needed-, I wanted to have somebody to play bass on those two songs, and I was thinking Robert Trujillo. I called him and he was too busy. He was in France with his baby, new-born baby, and he’s like: „Ohhh man, if you would have called me a week ago I would have done it!“ So, I was like: Hmmmmmm…… Who do I have? So I kept thinking and kept thinking, and all of a sudden I thought of Billy. And I was like: „Ohh…let’s call Billy! See what he’s up to!“ And he was in town, he’s like: „Man, I’m still here for a week – let’s do it!“ So he flew down and just did it. It was cool, because it’s kind of like full-circle, you know. Billy Gould was-, he produced our very first Fear Factory demo. And back in like ’91. So now, you know, fourteen, fifteen years later he played on a-, fifteen, yeah, fifteen years later he played on the record. So it’s kinda like cool how things came full-.circle. YOU ALSO CO-WROTE A SONG WITH MARK FROM LAMB OF GOD…IN HOW FAR DID YOU ALLOW HIM LIBERTIES? DID YOU GIVE HIM ANY PATTERNS TO WORK IN? We were just hanging on the back of the bus, and drinking a beer, smoking a joint. He grabbed a guitar, I grabbed a guitar. He started playing a riff, I started playing a riff. You know, we worked on it a little bit, like just messed around with it. And all of a sudden we like had half a song. We laid it down, just kept it, and then later on I told Raymond: „Hey, maybe we should make this a Fear Factory song!“ He goes: „Yeah! Fuck it! Go for it!“ And then we played it one more time, some rough… And then me and Mark were gonna work on it at home and finish it up. But that never happened because he was busy and we were doing our thing. So I kinda like took these two parts we had and made it a complete song, and made a whole song out of it. But that song kinda started by me and Mark hanging on the back of the bus. So it was just like that. DOESN’T SOUND LIKE A BIG DEAL! JUST A BUNCH OF DRUNKS HANGING IN THE BACK OF THE BUS AND JAMMING . OPPOSED TO „OH… THEY CO-WROTE A SONG TOGETHER!!“ That’s what we were doing. We were just getting drunk and jamming. It wasn’t really like the way like the press statement puts it. It was just, you know: he came in by air force one, the president flew him in and he came and co-wrote under heavily-guarded, you know… I WAS WONDERING IF THE SONG „TRANSGRESSION“ WAS ABOUT POLITICS DEALING WITH THE SUBJECT OF CORRUPTION AND DESTRUCTION…? „Transgression“ is, you know, an act of violence which could be, you know, from somebody dropping an atomic bomb to the terrorist attacks in London just recently. Those are acts of violence and just knowing that: what you’re gonna do? You know, like, that’s what „Transgression“ is and… So, that’s basically – I wouldn’t say a total concept – but it’s basically what the topics around this record kinda revolve around that topic: „Transgression“: All the other songs. And I wouldn’t say there’s a complete concept story, but basically „Transgression“ is kinda like the main topic and what the record is going about. RIGHT. THE TERM „TRANSGRESSION“ ALSO HAS THIS DOUBLE-MEANING: ON THE ONE HAND IT STANDS FOR „SIN“ AND ON THE OTHER HAND IT STANDS FOR „CROSSING BORDERS“ WHICH IS KIND OF POSITIVE AND APPLIES TO THE NEE RECORD AS WELL. SO HAVE YOU BEEN „PLAYING“ WITH THAT DOUBLE-MEANING LYRICAL-WISE? It definitely has a couple of different meanings. But the meaning that we took out of it was the one that’s the most obvious. So it’s another thing, I just always write the music and Burt is always like the concept and the lyrics. It just… for us, like, we just don’t know everything sometimes about what the songs are really about. A lot of the songs sometimes are personal to Burt on the last two records. So, you know, it takes me a while to really find out what the songs sometimes are really all about, too. But „Transgression“ is the main focus of the record. DOES BURT TALK ABOUT HIS FEELINGS WHEN HE’S WRITING LYRICS OR DOES HE LIKE TO KEEP THE MEANING TO HIMSELF? Only when he offers it to talk about it I listen. Like: „Hey, read these lyrics!“ Like that means, like he’s really proud of something. I never really go in premature and ask where his head is at. I’m usually too busy worrying about the music anyways, so… A FEW YEARS YOU HAD – LET’S JUST CALL IT A DIFFICULT SITUATION – WITH PERSONAL PROBLEMS IN THE BAND WHICH FINALLY LED TO THE BREAK-UP. HOW DID YOU BUILD THE FRIENDSHIP AGAIN, HOW DID YOU GET THE CHEMISTRY BACK? THAT MUST HAVE BEEN QUITE DIFFICULT, I GUESS.. No, when we re-started the band there was nothing but good chemistry, and it’s been ever since like that. There was, you know, the bad vibe was out of the group, so when we started working together there was nothing but good vibes, and it just sounded awesome and everything we did sounded like, you know, it was chilling. DO YOU GUYS STILL LIKE TO HANG OUT AFTER ALL THOSE YEARS? OR DO YOU APPRECIATE TO HAVE SEPARATE LIVES WHEN YOU’RE OFF THE ROAD? I mean, it’s not like-, we like to live our lives. I mean, we do have separate lives outside the band as well. But, you know, when we work, we work like nine months out of the year. So we live with each other nine months out of the year. So when we get home, we go home. We still do a lot of business, and we still see each other all the time, but, you know, usually it’s like: you know, when I’m home, I’m home. I’m usually doing some other things or hanging out, you know. It’s definitely different, yeah! It’s important to have separate lives sometimes outside of the band, you know. OF COURSE! BUT YOU CAN STILL MEET UP IN YOUR TIME-OFF FOR BARBEQUES OR SPORTS EVENTS AND THINGS LIKE THAT? No, we do! Of course! YOU ORIGINATE FROM BELGIUM BUT MOVED TO THE STATES FOURTEEN YEARS AGO. IS THERE ANYTHING YOU MISS FROM OVER HERE WHEN YOU’RE IN AMERICA? Good beer, probably. And my Mom’s food and Kip curry, and just mainly foods and stuff like that. I don’t miss the weather, I don’t really miss the scenery. One thing I maybe miss is that you can drive 180 miles an hour on the freeways over here. You know, you can’t really do that in the States. Things like that, but my home is America. So, that’s where I always wanted to live and that’s where my life is. So, you know, I have everything over there) that I want and need. So… But it’s good to come back, you know. (That’s what’s funny. YOU STILL HAVE YOUR OWN SIDE-PROJECT KUSH GOING. ARE YOU GONNA GO ON WITH THAT OR ARE YOU GOING TO ABANDON THAT FOR FEAR FACTORY? No, we haven’t been doing that, so… Because we were all busy doing other projects and stuff. But I also did a song with Fieldy from Korn and Woof from P.O.D. and Sen Dog from Cypress Hill. And that’s for the „Tribal“-movie, and I play guitar in it. And who knows? We might do some more songs like that. But I’m actually trying to get a new band going, and I wanna do something actually with Travis from Blink, and somebody else. Who that „somebody else“ is gonna be I’m not really sure, yet. But depending on this little idea I have, that I wanna do, so I’m still working on it. YOU SOUND LIKE A WORKAHOLIC!! IS THAT CORRECT? I have to be! Cause I feel like when I sit around, I waste time. TIGHT SCHEDULE! WHEN YOU’RE PRODUCING BANDS YOU’RE WORKING UNDER THE NAME „EDGECRUSHER“. WHO ELSE ARE YOU PRODUCING? For other bands, like other hip hop acts and stuff, and just rappers and solo artists, and girl singers – just pretty much anything. Anything that leans into the pop world, into hip hop, into metal – producing metal bands. I kind of wanna be able to be diverse and be able to produce different things and not just be able to stick to like just producing metal bands or something. If it’s music, you know – except for classical music and country. I don’t think I will go there. – but anything else, if they offer it to me, you know, I’ll try it, you know. You never know. It might be the worst shit I’ve ever done or the best thing. You never know! BUT I HOPE WE CAN BE SURE, THAT THE EXISTENCE OF SIDE-PROJECTS AND PRODUCTION-JOBS WILL NEVER ENDANGER THE FUTURE OF FEAR FACTORY?! No! Unless it blows up and sells 10 million records. Well, then we have a problem! Then that side-project will have to take Fear Factory on tour, you know? WELL, LET’S KEEP OUR FINGERS CROSSED THAT IT DOESN’T TAKE OFF LIKE THAT.. (with a sarcastic undertone): Well… thaaanks! SORRY… DIDN’T MEAN IT THAT WAY. BUT OF COURSE, I WISH YOU ALL THE SUCCESS IN THE WORLD WITH WHEREEVER YOUR CAREER TAKES YOU! ACTUALLY, HAVE YOU EVER GOTTEN AN INVITATION FROM JAY LENO BECAUSE OF YOUR WORK WITH FEAR FACTORY OR HAS THAT „ONLY“ BEEN WITH THE HIP HOP GUYS?! No! All the invitations from Jay Leno was with Roni Size one time, and Cypress Hill, one time with Snoop Dogg and Ludacris, and one time with Westside Connection. Usually, it’s easier with like, big number one hit singles to go on Jay Leno than Fear Factory. AND THE INEVITABLE LAST QUESTION: HAVE YOU BEEN FOLLOWING WHAT DINO IS DOING? DO YOU EVEN CARE? I have no idea, and I don’t really care, either. Who cares? I’m worried about Fear Factory. I’m not worried about the negative things I’m worried about the positive things, you know. The good things, and the things we gotta go. To me that’s old news, I mean, that’s past.

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