WEBVTT

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On pourrait dire qu'une chanson est heavy à cause de la façon dont elle sonne

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pour moi cela vient plus de l'expérience des personnes qui la composent

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"je préfèrerai planer ou mourir", ce genre de trucs

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On peut n'avoir qu'une guitare acoustique et une voix

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et avoir la chose la plus heavy au monde

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Etre heavy c'est être énervé, être un seigneur de guerre

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comme quelqu'un en pleine bataille

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qui aurait une hache et couperait la tête d'un gars

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si vous avez un riff qui sonne comme ça, c'est ça être heavy

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La première fois que les Beatles sont venus en Amérique

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ils avaient ces amplis minuscules, on n'entendait rien d'autre que les filles qui hurlaient

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Tout ça a changé quand Marshall, Laney et Orange

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ont commencé à faire ces énormes amplis

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d'un coup on n'entendait plus la foule

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Pour les premiers groupes de hard rock,

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le principal était de trouver quoi faire de toute cette distorsion et ce volume

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On peut faire des choses avec un son clean et un peu de réverb

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qui sont si sombres qu'elles feraient passer Black Sabbath pour Peggy Lee

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moving away from that idea

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it's just being like headbanging whatever devil horn heavy rock we're making weird shit

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"comment on pourrait avoir ce son ?"

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"on pourrait le mettre dans un placard, ou dans un endroit confiné"

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"allez, on va le mettre dans un cercueil et voir quelle genre de performance vocale on peut avoir"

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une quinte diminuée est beaucoup plus heavy que...

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tu vois ce que je veux dire ?

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c'est terre à terre, c'est souvent brut

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et c'est réel

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whan you get really technically proficient, that sucks the soul out of rock'n'roll

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when somebody really has something to say

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and i'm not saying verbally necessarily but emotionally

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it comes out of the music and it just hits you

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that's heavy music to me, ti doesn't necessarily has to be all about loud guitars

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even though i love loud guitars !

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It seems like, heavy, the modern idiom is always like something with distortion and a lot of volume

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some sort of reference to the first heavy bands you know

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Black Sabbath, Blue Cheer and Led Zeppelin

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The whole experience of coming of age in the early 1970s

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it was very tense and rife with problems that mainsteam enterntainment was'nt adressing

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and definitely not even mainstream pop music

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i would love to go back to the 70s and relive it

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because, i mean, you had Black Sabbath at their peak

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you had captain beyond, you had , you had Deep Purple in rock

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you had Mountain, you had, you had the stooges, you had atomic rooster, dust, groundhog, stray

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all these incredible bands

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since 72 it's actually been done - downhill - yeah, after volume 4 was released

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sabbath, unnecessary to point the discussion

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i keep referring back to hawkwind because they were a really really big influence on me back in the day

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Someone in the green river days discovered hawkwind and i've been in love with those

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four or five records ever since

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zeppeling, free

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like all kids our age i mean, kiss

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we had all of dick taylor's records

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james gang

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neil young

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leafhound or

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mahavishnu orchestra

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alioce cooper, aloice cooper was like the first cool record i ever got

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of course i like sabbath, i mean, that's the obvious

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they know sabbath nand it's great, but sabbath is played out

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a lot of bands we were into bobby and i specifically were into

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is what i call like, b level bands or c level bands, like

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dust, baltimore

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baltimore i mean i did'nt know these until a couple years ago and i heard it

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and i juste started cracking up cause it's fucking gnarly

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you play these recorrds

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it's not barracuda it's not supertramp

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in a way, black sabbath was nzever on the radio, but people went to gigs,

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and i think thats' why there was more moeny for these bands touring

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making platinum without getting on the radio

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in the 70s there was a lot more regional hard rock

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there were bands like pentagram in washington dc that were a part of the major label system

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pentagram formed in the late 71

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bobby was the first

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i would tell you that

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bobby liebling was the first

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literally, one night bobby and i were sitting at a frined's house

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getting stoned like we did, just about every night

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we said you know, why don't we put together a band that does exactly what we both wanna do

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during the time i was in the band, 71 to 76, i'd say we were a hard rock band

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maybe a heavy hard rock band, but we weren't a heavy metal band

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we didn't wanna play clubs, because clubs didn't want us to play them

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because we doidn't do covers

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if you listen to bobby's songs, they werecreative, incredibly inventive songs,

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with weird beat changes, weird chord progressions, weird time signtures and stuff

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but the labels would say this isn't radio , we can't sell this, we don't hear a single

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we waned to just, record our own material and og straight to getting signed

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so we had various managerswho stuck with us for various perdios time

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that would take us to the studio, pay for the stessions, and try to get us a record label deal

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and each time they failed

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crabs in columbia, the wanted bobby

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and that's were bobby got some kind of big audition in new york city at a big studio

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thats was the straw that definitely caused a lot of damage to the camel's back

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because, bobby basically blew our columbia record deal

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we wanted to do better vocals, but the guy paying for our session, columbia records,

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said don't worry about it and that should be the end of the subject

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and bobby wanted his way and so there you go, that was the end of columbia records

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the problem really became the drugs

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and bobby got

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and bobby sat on the edge of being a fucking legendary rockstar his entire life

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pentagram i missed the first time around

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i thing their records were almost impossible to find

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and i didnt even hear about pentagram until the records started getting reissued

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bobby had all this stuff and believe it or not even back then

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this stuff was even of those 8 tracks sometimes 4 tracks, it was amazing quality

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bobby worked out a deal with relapse

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and they wanted to pull out a compilation of a lot of our 70s demo

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the studio demoes we had done we several managers

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i loved it, i loved the pentagram stuff of the 80s

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and i'm really proud of bobby for keeping pentagram going for all these years

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becauseif he hadnt kept the band going

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you wouldnt be talking to me roight now

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we just got like a basic structure

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you know, we got the skeleton but then theres so much space

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you know those parts lasts maybe 5-10 minutes in a run

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and then we just like go off for 20 minutesand its always gonna be different

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its always playing off each other

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i always call it the cosmic nod

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i think that its a very spiritual thing

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especially i mean like for us when we play definitely at length

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that way we can maybe ride a note for 5 minutes

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and just kinda noodle over it

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it does give you to think

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just kinda explore whats in your head whenyou drift off

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we talk about it and we were like "shoulod we try to write some songs or should weget a singer"

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just kinda said "we kinda like it how it is"

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metal in the 80s became very formula (?)

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lokk at judas priest turbo album

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and compare that to things like stain glass or sin after sin and you cans see what happened to music

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in the 80s

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early psychedelic hard rock

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ened when the drug of choice became cocaine

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all of the negative aspects of studio recording

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are amplified by cocaine used by the engineers the musicians the producers

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i wanna be hinged on production sounding just exactly like in the studio

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and then you had your weird underground stuff

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venom, metallica was kinda stradling the pumpkin metal thing

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i wasnt really part of the wholde ozzy osbourne

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judas priest crap

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you didnt really have punks going to metal shows

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and metal people going to punk shows

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and then around84 85

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the line started to get blurred a litlle bit

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it was actually a defining moment

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when the obsessed was accepted by the punk community

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its like when, we play ths little bar and the pa went out

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and instead of stopping we just played the whole set without pa

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screaming in ,playing things like twice as fast

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afer that, sam said"ok, i gotta throw up"

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i thuink a lot of the dc hardcore bands

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were kind of what got me into doing

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bands like sping, void ,

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somebody told me if you think is fast, you should check dri and coc

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hardcore bands from the early 80s

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the very first time we saw the melvins

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i realised a band could completely clear a room

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or completely change somebody's life

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faster faser faster, and then the melvins came along

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and we were like "awesome"

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motorhyead doesnt get enough credit i would say that

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they were the real first punk metal hybrdi

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was na perfect exemple of

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even black flag was so popular fans were willing to go anywhee

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just sit nhere

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black flag played in the desert

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probably like in 1981

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ou konw the desrert, even so now, but more so 15 20 years ago

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was primarilly a retirement community

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its like a vaccum of like you know musiuc culture

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there was no question of going to la

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i never went to la

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i mean if i went to palm springs it was like a day thing

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there was no record store

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it was all about the desert and

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it wasnt something we cdlebrated

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maybe like it might be today

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the desert is a place for the newly wed and the nearly dead

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i mean its that place

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the bands were coming and they were like punk rocj bands

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they were developing out there

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the earlier ones were like dead issue

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and skabies babies

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there was a band called dead issue i was a paret of

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that became across the river with marlow raollali

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alfredo hernandez was also in tha band

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he played in kyuss for a xwhile

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queens of the stone age

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they were few other people but

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i would say like

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the earliest if you wanna say across the river

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was klike one of the ones that

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i just remeber so vividly that was like a moment of change

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the whole sstc that was like our idols

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black flag, meat puppets, minute me,

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october faction

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here are hot pepper sear

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these are some bana pepper saer

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these are ta mere dragons

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when these turn red these are hotterthan hekll

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what is doom

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first of all, what ly understanding of the styke of music

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that we want to call doom

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is kinda jut like i said before a gut, a real visceral

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emotional

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pull

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something that will make you cry

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what i think

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when i really moved into like a concrete form of

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i'm in a doom band

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definitely the same

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we played a few shows with st vitus

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when they had their old singer, scott

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then they got the new guy

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wino

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his first show was on ly 21st birthday in 1986

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at this little community center in palm desert

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dri, st vitus and across the river

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it always felt like across the river was onto something really special

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we have albums by, everything from mountin to black sabbath

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early metallica

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all kinds of stuff

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we were kinda combining that swith the feelings we got from punk rock

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soeakers just fucking melting in front of you

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i love that sound

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so we started going back and instead of (poum poum tchak tchakl prrllrllrll)

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it was just slower, slow down, voilume, saturation, blues

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they like, just alienated themselvres from that whole game of like

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playing fast and riffing around, the whole punk metal thing

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they just bypassed that straight to nrock

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noone was really dpoing i

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towards the end of across the river

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soundgarden was starting to make waes in seattle

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and they were actually part of sst

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same kind of stuff was brewing up there that was brewing out here

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nobody... everybody knew me as the singer of st vitus

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but nobody knew i played guitar

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kind of interesting situation where i think it aws

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scott mars from band across he river

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we jammed at a partu near ventura, by the beach

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i was playing drums, he was playing guitar

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i didnt know he could play guitar

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mario lally was playing bass

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and we did this crazy jam

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afterwards it was like "man what kind of fucking band is this"

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caught up scott, and we agreed to forge ahaed as the obsessed

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thats what we did it was me, scott reeder and greg rogers

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after struggling a little bit here and there

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scott reeder left to join kyuss

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thats when kyuss basically exploded

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they were like the only band in the desert touring

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they were the ones, they were the ones that basically stared perpetuated our univers out there

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it was like a blueprint for desert rock i guess it would be it

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guys like mario lally and kyuss really took it

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to the next step by not only saying

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you know were ? so maybe we dont know what the hip thing is

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but they actually embraced that instead

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not only "were gonna reject the hip thing" but "were gonna reject tje lmasses at the same time"

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i mean i hate to say it but a lot of it had to do with we just started smoking grass

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you tzke a group of kids

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digging aggressive music and certainly like hardcore punk

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and they start smoking dub, interesting things happen

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thats an interesting music

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what happened with the obessed was thrash it

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slayer and that type of music is just too big

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that was it thats what the 80s became

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either you were a hair band

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or you were a thrash band

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anybody deserve to be a rock star, be that guy

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its like heaven

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youre cursed to be the underdog, theres no way out

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you just gotta be there

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but people love you because you stayed that way

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because you stuck to your guns

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and never stopped playing what you play

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we formed comets in 1999

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ben machin and i formed the group in santa cruz california

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youn know he and i were in the just like anthemic rock lmusic

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grand funk and some punk rock

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just kinda old favorites and stuff like that

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and we were just getting in further out stuff like

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coltrane and free jazz stuff

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its not just a synth that makes fun sound

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no it s a

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so tyou can put the scene effects on your