CIRCUS MAGAZINE ē MADONNA WAYNE GACY
So was this a normal show for you guys-non stop crowd surfing, and the speakers almost getting knocked over and falling on the crowd's head?
"Actually, I think we broke less stuff then normal. We only broke two guitars, a lot of beer bottles, and a few mystery things. You'll have to excuse me... I keep spitting up blood. I accidentally ate ground glass tonight. I quit drinking for a while, just to see if I can... a challenge to myself! I'm only drinking water, and all they had out for me tonight was beer. So as soon as I walked on stage, I smashed every beer bottle. There was ground glass over everything. So every time I did anything, I was constantly spitting up glass. I paid for my own stupidity."
When the band went into the studio for this album, there was a definite plan and a theme you were building on. Did you leave much room for creativity?
"There is always room for creativity. Everybody generally writes their own parts. Mr. Manson doesn't say 'Play the keyboard part here'.
He comes up with the ideas vocally and then I do what I do."
Was there more room for you to stretch out musically on this album?
"That's real hard for me to tell. When you're on the inside you really can't see. To me, it's always really been the same. We've been working for Mr. Manson for 6 years with this band. We haven't hit a noticeable difference."
What were the differences between the recording of this record and Portrait?
"On this one, we did a lot of really bizarre things in the studio to try to get the right vibe going. We made some strange little contraptions to torture ourselves. We stopped eating and sleeping and did things in an attempt to alter our own perception. It's strange... there's a lot of weird stuff about this album. Constantly we are finding things in it, we didn't know were in it, but are in it later. You put shit in there but you don't realize why you did, and later it comes back and it's very scary. It kind of predicts the future, but you donít know until it's done. It's kind of spooky in that way. Kind of like that Tupac video where he gets shot at the end. There are some weird things going on... some synchronicity or something."
What was the hardest part about making this album?
"Living in New Orleans. I hate that place. It's got beautiful architecture and it's nice in the wintertime, but in the summer it's oppressively hot. I guess it might be good to torment you to the point where a lot of hate comes out of you and gets focused onto the record. I guess in that respect it's good. There is some amazing architecture and good culture, but it just seems like a town of the least common denominator where everyone is just filthy and drunk and smelly. People think that that is somehow more real, but I don't think living in a sewer is somehow more real.
I guess for this album you wouldn't want to be in an ideal place. It might take away your edge.
"We don't make any place we are at an ideal place. We bring our own misconduct and hate and bad times with us wherever we go. We don't need the city to add to it. We're generally miserable and shitty no matter where we are. Then when you have the extra bonus track of this place... it might have been good in that respect, but I'll have to think about it. A couple of years from now, I'll be able to re-evaluate that question, but right now I'm just glad to get out of there."
This album leaves a lot of room for the next album's direction.
"It does leave a lot of leeway. This album is almost a record and a half. We had enough material for two records."
Was there any thought given to making this a double album?
"The thought might have crossed our minds, but we wanted it to be cohesive. There is a high thematic content. A lot of songs were particularly chosen to be in a particular order for the structure of the album. There is a lot of numerological significance to what songs we put in there, in what order and how they're set up. I've been studying up on Hebrew Kabalistic and numerological texts. We've been coming up with some strange things with numbers. Spooky. Hebrew numbers are letters like the Roman numbers are letters. So therefore every word has a number that it is associated with as well as every sound does. There are a lot of very powerful things to words that people don't realize. In traditional magic, the most powerful thing is to be able to utter the name of God. You can undo creations. Remember God said 'Let there be light'. By his very word he created the universe. The word is all-powerful - 'I am the word, I am the way.'
Words are what it is all about Just the ability to pronounce and vibrate the name of God is supposed to be the most powerful magical thing you could ever do in traditional magic."
"We were working on seeing if there was a way to bring about The Apocalypse. The Apocalypse won't happen. The Devil can't break into this world from the nether world and destroy it. He has to be let in by humans. The gates unlock from the inside. He can only destroy the world if you let him in. He can't break in; he's not that powerful. One thing we were trying to do was to open those gates for an Apocalypse now. The Apocalypse may not be the traditional type of Apocalypse where it is the end of the world. But the end of the world does come when you die. Your own experiences die. The world began and ends with you. The Apocalypse we are trying to bring about may not be an Apocalypse for the entire world. It might actually be your own personal Apocalypse. A psychological Apocalypse. When you destroy yourself completely by letting in the dark that is out there. Coming to embrace it and accept it, and realize that it needs to be there.
"For things to get better, it always must be destroyed for new ways to come about. We were working a lot with those concepts very deliberately. There is a lot of significance with the numbers and symbols you see with the record. It isn't some ridiculous Ozzy thing. We weren't trying to be like that. It was about the meaningfulness of words and what words are all about. And melodies, too. They're related to words. The traditional idea of words is the power in words is in the words. Vowels vibrate and resonate. That is where tone and melody is. What consonants do is control vowels. They close them off and chain vowels down. We were trying to combine many polar opposites and get past a lot of traditional ideas we had ourselves of what the universe is about and what ourselves are about, because we are the universe. It's weird, I'd like to be able to explain more of this, but it's kind of confusing in some ways. A lot of people find it a bit esoteric, so I don't want to get into it too much and get people completely confused. People, if they ever get a chance, might want to look into it. The word is the most powerful thing there is."