An Interview with Devin Townsend @ 6th Annual New England Metal Hardcore Festival, Worcester, Massachusetts 5.17.03

DEVIN TOWNSEND: The Lobster Boy and The Bearded Lady

Mark Curdo / bingeebonga

I love it when the unexpected becomes king.

Such was the case at this year’s New England Hardcore Metal Festival. “Unexpected” was putting a band on way before their time and not thinking they’re top billing material. Otherwise, Strapping Young Lad would have headlined that entire festival. Canada’s usual suspects of speed metal came out mid-day, the second day of the fest and flat out annihilated every band involved everyone. The big ones - the small ones. They blasted out even bands not playing the damn festival. Strapping Young Lad was the greatest band for many a mile during the chincey 30 minute set they were dealt. (another bum deal) To be honest, I never even stuck around to see headliners Superjoint Ritual or Meshuggah, but you know what, they blew them away too. I know they did. I can just tell. Devin Townsend’s ultra aggressive output, Strapping Young Lad represents what it must feel like to be stuck in the magazine clip of an Uzi.

An avalanche of speed and manic grindage so wonderfully exhausting, that I felt like I lost weight when the set was over. So, why didn’t they get top billing? Were the promoters foggy with headlining visions of Phil Anselmo’s less than honestly treasured “other band”? With complete crowd support and a display of massive familiarity to SYL’s entire repertoire; Devin and the Lads made it foolish for anyone to walk on stage after them. FOOLISH. I’m not one that thinks headliners are always the kings of the bill and the golden gods, but next year they should rethink this band’s placement in the grand scheme if they want the event represented the right way at the end of the day. There’s not many that can do what this band did in just thirty minutes; before dinner time. It was utterly amazing and I wish you all were there.

There’s not many people I care to meet in the music world these days. I’m lucky enough to get chances to meet a lot of people too, but it’s like meeting rich people basically. Not musicians or artists or people who give a shit about what this is. There are some people I have had the chance to spend a few minutes with that give you some glimmer of hope that all is not lost in this god forsaken industry. I’m glad to have had the chance to speak with Devin prior to his band’s set. Knowing a bit about Devin, his world, his music and his happenings; I wasn’t looking to wedge anything out of him that doesn’t belong to anyone; like most interviewers do when talking to him. I’m not the one to think I’m going to solve the mystery. People, are all mysteries. Why is this guy any different? I just think he makes brilliant fuckin’ music and has a passion and strength that could generate a nuclear power facility.

Those are the people I want to meet just for a minute. To influence me to stay close to great music? Yes. To inspire me to stay involved the music world? Absolutely. There’s not much worth much of anything these days in music. I was however happy to find out that to Devin, this whole thing is a lot easier than people make it to be. It’s just taken him a long time to figure that out. Now that he has, I believe he’s more potentially brilliant than ever before. He might finally have discovered some peace of mind.

DEVIN TOWNSEND: Thank you sir.

MC: You have a lot going on these days to say the least. You have a Strapping Young Lad record out there as well as a new Devin Townsend Band record. Let’s start with Strapping Young Lad. You said in an interview a few years back that for this band to make another record it would probably be just 45 minutes of farting. Well, the new SYL is out it is smashing and alas, there is no passed gas involved in this one; that we know of.

DT: It got a point after touring with the band for a certain amount of time that we thought we were a pretty good band, but we hadn’t had the opportunity to demonstrate that as a unit yet because it was pretty much me doing everything on those records up to this point. I thought it would be cool exploit that and be a band and play a Metal Fest like this and do things like that.

MC: There certainly was involvement from all of the guys on this record. Can you talk about that a bit; their involvement, how that worked out – did it relieve some pressure from you and in result did it create a better record from you all.

DT: Yeah, I think it did create a different record. We are actually going to do another Ep very soon too, which will be very different from this record. I think everything is different. It’s been 6 years since the last record and a lot of things have changed in life for me and everyone in the band. The blueprint on this record was the same, but the record was definitely different from the last one.

MC: I’ve spoke a lot with musician friends lately. We were discussing that in this day and age things are different for players. Not so long ago, musicians were held so high in regard as THE monsters of rock. Solos for everyone, fast and impressive was the way. Then when the 90’s hit, the music in the forefront shifted to the concept of “bands” and musicians as one. The great musician was not the focal point or even a concern.

In less than a couple years you have Eddie Van Halen and your pal Steve Vai running the show then comes Soundgarden, whom I love and Nirvana bringing it back to a strength in numbers concept. All of a sudden it wasn’t cool to honor a great musician. Sure, there are a good amount of people here to see you and Gene (Hoglan, SYL drummer) play your asses off today, but it seems in the grand scheme those fans are fewer and far between on a mass scale. What’s your take on the world of musicians and musicianship today Dev?

DT: Maybe that’s a reason why SYL is a band now. I have people who appreciate me as a musician, but like you say, nothing like it would have been in the 80’s I would imagine. At the same time, I’ve got Strapping where I’m the singer and guitar player for. I’m not the focal point. There’s four focal points on stage. With that said, you get the best of both worlds I guess. I get the appreciation from the people for the solo end of it (Devin Townsend Band) and the guitar bits. Then, I can go out and do Strapping and I don’t have to have the hung ups of having to do a solo. It doesn’t have to be technically anything, it just has to be brutal, right.

MC: Why was there a question in continuing Strapping ? It seems that this record might not have been, as we discussed earlier.

DT: (pause) The simplest answer is just …. I didn’t do it when I didn’t want to do it and I did do it when I wanted to …

MC: Alright, I gotcha. (I did, honestly, after I thought about it for a minute)

DT: It just took me six years to want to do it again, right. There were numerous things that went on in the meantime, a lot of personal things. I put out some solo records. The bottom line though is… you never hear about the problems about the bearded lady and the lobster boy at the circus – all you know is the circus came to town.

MC: Haaa. Right on. It’s like sometimes nothing needs to be said. You just do it and that’s that.

DT: That’s right. It’s like there was a ton of things going on, but that’s not important. It took six years, cause it took six years.

MC: Right on. As long as people enjoy it who gives a shit right? Look at Boston man, three records in thirteen years. Like a ten year wait between the 2nd and 3rd record or something like that, but everyone still ran their ass off to get that record when it came out. Of course the electronic drums sucked, but I know if you love something you’ll wait for it. Period. There doesn’t seem like there was a lot of love lost between you and the label from what I’ve seen and read. Was it tough delivering this record to the label at all ?

DT: Here’s the thing, when I signed on with Century Media I was in a real low point in my life. It was right after the Steve Vai thing and at the time they didn’t have a view in the potential for the future for SYL. They had all my merchandise, all my publishing … everything really. Everything you can give away to a record label I did give away to get them to put the SYL record out. But, I kept it non-exclusive so I could do my other projects. So, everything grew and then I got to a personal point when I just freaked out. I got diagnosed with being bi-polar. As a result of that, the contract I signed with C. Media was done in a really strange period.

With that in mind, my lawyer had an opportunity to re-negotiate with Century Media. What we re-negotiated for was this record and another record / an Ep with some DVD stuff and then it’s done. It’s a decent deal. We got a decent deal. We’re not being raped. As a result of that, they’re really trying and it’s a whole new staff there and C. Media is being fuckin’ great. It’s all water under the bridge. Cause any other way man, no one would win. They would have gotten that 45 minutes of farting as a Strapping record. At least this way, we’re putting our good product they’re putting out a good effort.

MC: There you go! That’s the equation that should be standard operating procedure. That’s what it’s supposed to be. Great product, hard and honest work. It’s not rocket science!

DT: You want people to hear the music. No one wins if you’re bitching at each other.

MC: Sounds like they respected your success too Devin. They knew you guys are in demand and you do something great that they still want to own. Otherwise, why would they hold on with all ten fingers.

DT: I have grown a fan base and I hoped they’d noticed that. So I knew if we were to do another record it would be great. Plus, we’re all professional, right. We’ve all grown together, man. I’ve known Marco (Century Media President/USA) … jeez man, I was working at C.Media stuffing envelops when he was doing something way more lowly than he’s doing now! It’s been eight years and looking back it’s like we’re human beings.

MC: What a unique situation. You’ve helped to build that label in more ways than one. You’ve been as much of that label as anyone I would dare to say Devin.

DT: Yeah, but they’ve helped me man. When I came on to this thing, I had no credibility in metal, right. Because I’d done the Steve Vai thing. The fact that C.Media, small as they were still put me on bills with Exodus and Testament and Napalm Death and Obituary and Entombed and Nile and Messhugah etc. That’s has helped me. Cause now people come to see me and it’s like ‘ok, you’re a freak’, but they don’t know why. I was able to maintain my own identity because I was not of this scene at first. I’m able to be me.

MC: That’s very cool for you. Without sounding like a radio advertisement, there’s a metal wave sweeping the US in the small clubs and in the big arenas again. Real fans know it’s not a trend of course, but in the big picture it certainly is taking more attention as of late. This summer Iron Maiden, Dio and Motorhead are touring together. Silly stuff to see happen man! Y

ou’ve been on a fantastic metal tour this past year with some killer bands. Shadows Fall has led a march on the road. The festival here this weekend is MASSIVE to say the least. Headbanger’s Ball is back, sort of/not really, But really it seems once again, metal keeps metal alive. That must be helping your situation out greatly.

DT: I hope so. It’s all about perseverance man.

MC: Talking about YOUR new record, The Devin Townsend Band’s Accelerated Evolution. It’s super fantastic Devin. Anyone who follows you or is a fan knows how much time and emotion and inner components go into your records. Without sounding vague, what was different on this record, this time around for you since each record you do brings something new, always.

DT: (quickly) I put them most emotion into something I feel I’ve given away. You know what I mean ? Terria had a lot of secrets. Infinity has a lot of secrets. That’s the same here, but with a hyper emotional element. It’s almost too precious. I want people to hear it and and have fun with it, but I put so much into this one it’s like I almost have to blank it out. Other than that I have people coming up to me knowing all about my life and it’s like, ‘fuck’. So AE is (long pause) … I like pop right? And I wanted to make pop music. And the Devin Townsend Band will be my pop band. The next record will be a bunch more pop songs. So, I’m having three things now; Strapping, Devin Townsend Band and experimental. That’s what my next record will be. It will be like the stream of conscious of elements of Terria with the over the top psycho-babble of Infinity. Steve Vai is going to play on it and Messhugah, all to help me make a crazy fucked up piece. That way I’ve got everything. If I want to do pop stuff, ‘great I’ve got my pop band’, I can do that stuff. Now I feel like metal, ‘great I’ve got Strapping Young Lad’. Just have it all as creative hedonism so I’ve got it all in hand.

MC: I respect that a lot. Makes total sense. I’m a big Mike Patton fan and I see his directional approach and yours are very similar. Now with your label too, you are right on that path of possessing YOUR music like when you started. YOU are able to call the shots and I applaud ANYONE in this miserable industry who can make that happen for themselves. It’s just so right. Like take your “advance” and go fish buddy ! We don’t want that phony hook stroking us your way.

Having these different projects allows you to have a different mask when you need or want it. Do you feel that way about what you’re doing ?

DT: It’s like my entire thing in life is just string of repressed adolescence, It’s a magnified version of hide and seek, like ‘can’t find me, can’t find me’. Everything I do is part of a game. It’s always been a game to me, my whole career. So like Strapping is like the most overt mask. But, now it’s becoming a bit more popular. After talking to people they are beginning to see right through it. As a result of it, it’s not a lie as much as it is entertainment.

On the DT Band side of things there’s no real mask. But that in itself is a mask really I think. Cause if you give yourself to people so completely, there’s nothing they can hold on you. It’s like ‘you’re a geek, I know that - you’re a workaholic, I know that - you have bad teeth, I know that – you’re bald, I know that’. It’s like if you beat them to the punch it’s like a defense mechanism.

MC: They don’t have anything on you then…

DT: Right. Then the experimental thing I’m doing is like, I can compete. The only time I don’t have a mask is when I’m with my wife, right. But at the end of the day music is like (long pause) it’s not real. There’s nothing real about it. It’s like …

MC: Acting?

DT: No. It’s like taking a shit because it’s the end of the year. (I have no clue on that one, folks but it sounds rock enough to me) It’s like what you go through in your life is what’s really going to define you as a person. The one thing I’ve wanted to emphasize with my career is that I’m not special in any other way than being me.

You have to watch out for vampires. Those are the people who suck you dry. Because I work so much and do so much I seem to always attract the vampires like fucking fly paper man. So, I’m to the point in my career when I’m going to do what I want and you’re going to leave me the fuck alone because I’m stronger now. Getting stronger, as opposed to when I was twenty two.

MC: Do you have any regrets for starting so big, so early? Did you set the bar too high for yourself in the beginning ?

DT: Oh dude, totally. But it was a great opportunity as well. It was like bring it on. The Steve Vai thing was a head fuck. But I got to do a lot of cool things and I got lot out of my system. I was in an environment where I wasn’t really liked. Not by the musicians, but the people watching me, the audience. I was like the freaky little geeky guy who came into Steve Vai’s camp and ruined his guitar world. So as a result of that I didn’t have a whole gaggle of fans following me around. So I just freaked out and wore leotards and shaved my head and wore bunny slippers on stage and I was just a retard, but I got it out off my system.

MC: With producing, can you take it or leave it ? Is that a priority to you at all ?

DT: I can leave it. Unless its something I really have a lot of time money and enjoyment for. Putting yourself in a subservient position after being a leader of a band for a long time it’s like, ah, this sucks. Other times I really enjoy sitting in the studio. I just don’t like the stress of production.

MC: What is with Japan! Why do they get it over there!

DT: My Japanese contingent has gone done dramatically since I made some mistakes with some people over there back in about 98’. They’re a frustrated culture I think. They’ll condemn you in a heartbeat. It’s really bullshit. I got a little angry at the scene for a while, but it’s coming back now. When you first go there you’re a rock star no matter who you are. Like you get someone coming up to you saying ‘my buddy’s band is huge in Japan’ and it’s like no they’re not.

Everyone is huge in Japan. Everyone gets to stay in the Shin Jucoo Prince (Sorry if I misspelled. I’ve never been there) Everybody gets their own hotel room INCLUDING crew. You get a CD player from your record company. Fruit baskets in your hotel room. Every night you get taken out for dinner and given about as much booze as you can drink. They shows are always rammed. You don’t fly anywhere, always bullet train, but you know what every band gets that. We all do it. It’s the Japanese saying, welcome.

MC: Well this is us saying goodbye I guess. Thank you for the time and interest Devin. I know you do a lot of this stuff and it’s deeply appreciated that you’ve taken the time with us. Best of luck with both records and the road this year. I believe you are doing very important things for music and those who care about it.

DT: Thank you very much