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| (C) Mitchell Wojcik
This
was one of those interviews where it is a no brainer. You have a band that
practically can write its own path as the playing, lyrics and vocals are all on
the same page, and that page is lined with gold filters. This album had me at the first note, the
first riffage assault, the first kick of the kick drum,
come come with the kick drum.
Mutoid Man
is for reals my friends. I think this is by far one of the best things to
delight my senses in a bit. It has everything you want in an album and then
some, much like a wonderful buffet in the heavens, never too much and
leaves you always wanting more, yum yum.
Sit back and relax as Stephen Brodsky brings me from A to Z in
the Mutoid Man camp, hell, put up a tent if you so dig it.
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SL):
Thanks a ton for doing this
interview with us
Stephen: No problem at all.
SL):
The new CD is fucking Killing, I really believe it is some of the best stuff I
have heard in a while to be honest with you. Do you mind bringing me through
what the process was with writing and coming up with the different songs?
Stephen: at the time we started writing the record, Ben was still
living in LA. Our means of communication about song ideas was
mainly through texting each other little video clip of riffs. I like
to write in the morning when my brain is fresh - I have this theory that all
the riffs and musical ideas that are meant to be written are just lingering in
the air, so the earlier the start you get in the day to grab them and then
claim them as your own, the better. Anyway, yeah, lots of videos of me in my pyjamas
or my underwear playing riffs. That was our way of being creative while spread
apart. When Ben and his family moved back to the east coast last fall, we
started playing together again almost right away. Knowing that we wanted our
record to come out in 2015, we had to submit something early in the year
for that to happen. A lot of the writing took place
at Best Rehearsal, which is a spot in Long Island City God City
SL):
There’s writing music and then there is
writing lyrics. Are you someone that sits down to write or when it hits you,
you sit down and go at it?
Stephen: If something hits me then I'll try and make a note of
it, whenever that may be. For fine-tuning lyrics, it's helpful to allocate some
time just to make sure everything feels clear - to get my words in a
place where I've gone as far as possible with them on my own. It's helpful
to have discussions about lyrics - I'll read them very plainly to people
and ask "does this make sense?" or "how can I say that
better?" or "is this cheesy?" There was a lot of that with this
record. I know it's not very common for some bands, and it wasn’t always
easy for me. These days it’s different, thankfully.
SL): Was there something lyrically that you made a
decision where you could discuss lyrics and ask people for help. Did you feel
as if you were confident enough or did it just happen because you truly wanted
someone else’s input?
Stephen: I used to fear having discussions about lyrics. But at some
point, I realized it can be highly productive. In many cases, I'll have
what I consider a good start for a concept or a theme of a song, but maybe I
only get as far as coming up with a single verse, with half a chorus or
something. If I open a discussion to get people's input, it
usually leads to creating more content and also defining a
much clearer overall picture.
SL):
Do you find that doing this helps
everything sound way better than before? Also musicianship wise?
Stephen: I think so. Crappy lyrics can be a song ruiner.
It's like stale icing on a cake. Sometimes
it can be difficult to even understand what a vocalist is saying. But as
long as you sense something positive, or that an effort was made, then I think
it signifies some type of battle is being won.
SL):
Arrangement wise and vocally, for me, it is your best work
Stephen: Aw, thanks man.
SL):
You’re welcome! So are you a lover of the studio process or would you rather
plug in and play live or is it all one big thing?
Stephen: I always underestimate the workload and the stress that
come along with both. And it usually hits me only once I'm there. I find
myself wishing I could have somehow better prepared in the studio - or if I'm
out on the road, wishing I'd packed more socks. I've been in both scenarios
many times in my life and even still, when I'm in the thick of it, there's always
this feeling like I could've done better.
SL):
Are you pretty easy on yourself or your
worst critic?
Stephen: I am a pretty harsh critic on myself. Part of it is playing
with such great players - I don’t wanna feel like I'm holding
anyone back or doing anything that embarrasses anyone.
SL):
So how long was the actual recording, mixing and mastering process.
Stephen: We had 9 days to record and mix. Somehow we pulled it off.
SL): You hear a lot more bands now finishing
everything in 9 days, do you feel that the pressure of knowing how many days
you have is better? The dendrites get popping a little more and some
better stuff comes out?
Stephen: I really prefer to work that way. If you're with
your band 24-7 during the recording process, usually the productivity is
going to be heightened and you'll definitely hear it in the end result.
The three of us left NY and hunkered down in Salem , MA
SL):
So in terms of the studio, are you a
gear head? You have your Les Paul and your Marshall
Stephen: We went through a series of amps to experiment with getting
a tone that worked best for basic tracking. After trying 6 or 7 amps, Kurt
disappeared and came back into the room with this old Gibson amp that
I'd never seen before. It looks like something the Animals or the Sonics
would've played. We plugged it in and instantly everyone just kind of looked at
each other and knew that was the one. With gadgets and pedals, I love
tapping into that surprise element of when you plug in, spin a few knobs, and
suddenly you're reconnected to a song like there's some urgent mission to
elevate it through the stratosphere.
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| (C) Ben Stas |
SL): What pedals do you prefer?
Stephen: My standard pedal board setup involves a lot of Boss
pedals, as I've been playing them for years. So there’s some sentimental
value when looking down at them. Kurt has a huge variety at the studio, equal
parts old standards and modern boutique pedals. It's like a
small music store in there.
SL):
The editor wanted to know how did you
get the tone on ‘Bridgeburner’?
Stephen: That song had several different effects that we sort
of mixed together to dress up each part, but then there’s this synth pedal - I
don’t even know who makes it, as I’ve got tape all over the thing. I also like
to hide stuff on my board just to pretend there's some big mystery going on.
SL):
Pedals are definitely a nice dressing, did you experiment with many guitars or
just your Gibson?
Stephen: My Les Paul is nice to play for long studio sessions
because its light and won’t kill your back. It's also a family heirloom - my
dad bought it in the early 90s, it was sort of like his last hurrah for
wanting to buy an instrument to keep him strumming, and it happens to be a
much nicer guitar than the one he learned with as a kid. So yeah, the
Les Paul is all over the basic tracking and then we used a bunch of Kurt's
guitars for overdubs. His green Jazzmaster is on "Reptilian Soul" and
a few of his GCI guitars are all over the place.
SL):
What are you tuning to?
Stephen: We drop everything down a half step - it's a cheap trick to
make it sound like I'm singing higher than I actually can. We write almost
everything in drop b, aka ‘Rusty Cage’ tuning - actually I learned it
from the song "Prison Sex" by Tool. When that came out in 1993, it
was the first time I'd ever really noticed anyone playing in drop b.
SL):
How’s the experience of working with
Kurt? Everyone I speak with says it is probably the best experience that have
had. Would you say he makes you a better musician in the studio?
Stephen: Definitely. When we went in, there was a lot of unfinished
business with our songs. It left a lot of room for Kurt to be involved, and I
think he likes that. Ben and Kurt have a long history, Kurt and I have a long
history, so it was very comfortable right off the bat to work that closely
together. Yeah, I don’t think this record would have been as good without his
involvement, given the time constraint alone. Kurt is also very uninhibited
about sharing his opinions. If you have a guy behind the board who is
quiet and has something on his mind but he won’t say it, chances are it’s not gonna work
out as well as someone who chooses to be more outspoken.
SL):
So what is the next step?
Stephen: Summer tour in the US
SL):
Are there bands out the where you guys
dig playing with, or is it just whatever?
Stephen: I think we fit in several different scenarios. Last
winter we did a week of shows with Russian Circles - fast forward to
spring this year and we just played some with Dillinger Escape Plan. We'll hold
our own as long as the spirit of rock n roll is in the atmosphere.
SL):
For me when listening to the new album, you guys have a nice underlying groove,
which goes over so well, that lets you bob and weave many different styles. Is
that something that was meant to happen, letting the groove bob and weave
the heads?
Stephen: For me, it just comes out that way - I'm a 70's child, you
know.
SL):
Who is putting out the album and
how’s the experience been?
Stephen: Sargent House will be releasing it. Things
have been great. Cathy is really attentive and enthusiastic, she has a
great team where everyone is onboard pretty much all the time, and we feel very
cared for. We're also in good company with a lot of awesome bands, especially
this year, there is an awful a lot of excitement in their camp and we are just
stoked to be a part of it. And it's nice to have a woman’s touch on
things.
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| (C) Yvonne Jukes |
SL):
Like I said, this album, you dig it,
then you put on your headphones, then by the third time there is all this
weaving of intricacies and tonality is what makes it pop, it has so many
directions, which you guys truly should be commended for, it is top 3
for me now. It a nice ride of an album. Vocally it is the strongest thing you
have done, do you work with anyone vocally?
Stephen: I know some tricks. Years ago I saw a vocal coach, he
worked with
everyone: Chris Cornell, Axl Rose, Scott Weiland... aside
from technique, getting good sleep the night before, eating a meal with
high protein content at least an hour prior to doing a set, and drinking room
temp water is very helpful. On tour, I try not to drink much alcohol, and
definitely no smoking. When I see photos of a young Robert Plant and like
every other one is of him holding a cigarette, I gotta wonder how that guy
got onstage and just sang like a bird. Just different
times, I guess. Plus he's almost 7 feet tall and probably part Viking.
SL):
Overseas, is that something you are planning?
Stephen: It's in our periphery. Sargent House has a
European set-up, so we'd have support over there, plus they work with some
cool European bands that we could potentially tour with.
SL):
Are you someone that likes playing the states or overseas, or do you love just
playing in general?
Stephen: I've had both great and terrible times in both places.
There is something exciting about bringing a new band somewhere we've never
been, whether in the states or overseas. And right now there seems to be a
growing interest in Mutoid Man in England
SL): Great, I think sky is the limit for you all
right now and thanks again for putting out such a great album.
Stephen: Thank you so much.
During
the chat I laughed a shit ton, which is the key folks. You can sense from the
first words that these guys love playing and playing together. The first spin
of the album conveys that in the utmost form. Also, the fact that these guys
have been in bands that are so revered and are loving something newish, is a
treat to hear and chat about. These 3 could ride on the heels of what they have
done, however, they are hitting the note fresh and hitting it like John Henry
up in the MF.
The
pleasure was truly all mine during this chat and the listening has been a
complete win for myself. Get this album, put it on, slip on
your best jumpsuit and just strut the streets like Tony Manero did
after a night out in Brooklyn catching Night
fever.
Thanks again Dr. Brodsky and truly the best to you are your two mates.
Words and
interview:
Gaff
