In
the mid-80’s, while the most of the Pepsi generation was glued to MTV, those
in the independent music scene with their ear to the ground caught wind of
something more sinister. After
spending its infancy the previous year as Hellhammer, Celtic Frost roared to
life in the summer of 1984.
Erupting
from the decidedly benign musical climate of
Hello?
This
is Todd Seely from The Fuze in
This
is Tom. How are you doing?
Good
morning Tom - or I guess afternoon, where you are.
I’m doing great. How are
you doing?
Very
good.
Are
we ready to do this?
Yes,
very much so.
Ok,
great. Well, first let me apologize
ahead of time. I know I’m gonna
say both “Keltic Frost” and “Seltic Frost”.
I’ll blame it on that basketball team here in the States.
That’s
fine. If that’s the only problem
we have, then we’ll be just fine.
Well,
‘Monotheist’ is out, and it’s a great album.
I think it’s a real feather in your cap.
What were your expectations going into the studio for the first time in
over a decade as Celtic Frost again?
Umm,
that’s really difficult to answer accurately.
Probably everything and nothing at the same time.
Nothing, because we weren’t
forced to do this. There was no
record company or management telling us what to do.
Nobody outside the band financed this, so we were under no obligation to
finish an album - no matter what. We
had the liberty of saying “We’re not gonna release anything if it doesn’t
sound like Celtic Frost.” So, the
expectations were totally open. And everything because, of course, Martin and I wanted to do a true
Celtic Frost album, and this wouldn’t be easy after a sixteen year hiatus.
It was very clear to us.
There
are all kinds of different sounds on ‘Monotheist’ - from the spoken sections
on songs like “A Dying God” and “
Yes,
I think so, too.
I
seem to remember reading somewhere that you still weren’t satisfied with the
heaviness of the finished album. Is
that right?
I’d
like it to be heavier, yeah. But
I’m working on that. I worked for
in excess of four years on this album. There’s
always another album hopefully coming, and I’m working on doing something
heavier. I guess my personal state
of mind just became slightly more heavy and more dark after we’re doing this
album, and eventually we drew the line and said the album was finished.
But where I’m at right now, personally, I’d like to see a darker and
heavier album than that.
Is
that something you’re already working on?
We’re
working on that.
At
least the beginning stages of something else...
It‘s
probably further than that, yeah. We
– Martin [Ain, bassist] and I - have such extreme chemistry going on between
us right now that we are very involved in working on the next album together.
Did
it seem like you two fell in place again fairly easily, or did you find yourself
going to new places you didn’t even go before?
Both,
actually. It was initially extremely
difficult, even though we found out we had ideas that literally matched.
But, to just go and convert these ideas into an album - into music, and
most of all, into Celtic Frost - was not easy.
There were so many years in between where we had completely separate
lives, different careers and different interests, that it was a huge personal
challenge to get this going again. Once
we had accomplished that, it was a process that took years.
Then Martin and I probably forged a friendship that is stronger than
it’s ever been. We’re now
talking about two adults whose lives have been heavily affected by Celtic Frost
and who had both very unusual lives. And
now we were able to pool these experiences as adults, and it’s so much
stronger, so much deeper than it’s been when we were teenagers.
We were naïve and innocent and didn‘t have life experience.
Did
you decide going into this album that it was going to be Celtic Frost, or did
you decide to test the water first and see what happened?
When
I first talked with Martin about doing such an album, we knew it was gonna be
Celtic Frost. We never said “We
want to do a different project.” I
talked with Martin and we talked about possibly doing a Celtic Frost album.
We kept on setting really high standards for ourselves.
Either we weren’t going to leave the studio until the album sounded
like Celtic Frost, or we wouldn’t release the album at all.
But there was never any doubt that if we did something together it was
gonna be Celtic Frost. Without a
question.
A
“monotheist” is defined as “a believer in one God”.
How does the album title relate to the songs themselves?
They seem ambivalent as far as your lyrics are concerned, while
Martin’s are more or less flat out disdainful.
The
album title relates to a much grander picture than just the songs on this album.
I think ‘Monotheist’ is pretty much a reflection of one of the main
topics that has occupied our thinking - and very often our frustration and our
anger - on this planet of human beings. We
just decided to put that into words on this album.
But starting with the first song on the very first Celtic Frost album,
“Into the Crypt of Rays”, which dealt with religion, the misuse of the
concept of religion and the perversion of what everybody claims to abide by -
namely the Bible, and then actually perverting it in daily actions.
Things like that have been on our minds and in our interests ever since
we formed Celtic Frost together.
The
song you are talking about deals with French pedophile Gilles de Rays…
Yes.
Getting
back to your point about religion, there does seem to be a train of thought that
says “You can sin today, as long as you repent tomorrow.”
Yeah,
I mean it’s a huge topic and mankind has this arrangement of living in
complete hypocrisy for what is now two times ten centuries, and putting up these
standards - these scales - that everybody else must abide by.
But in reality, they’re all perverting the very texts that religion is
supposed to be based on. You know,
the whole thing is just one huge hypocrisy, one huge perversion.
If you look at mankind, that’s nothing unusual.
The whole human history is full of that, not only religion.
The only that we seem to be doing well is screwing each other over.
We kill each other and betray each other and so on.
Yeah,
we’ve got that down pretty well. Reed
St. Mark [drummer] is noticeably absent from the new album.
Did you and Martin try to include him, or even [original and penultimate
Celtic Frost drummer] Steven Priestly, when you decided to reform?
Umm,
we never talked about including Steven Priestly, even though we are on friendly
terms with him. Steven is very much
in a different place right now than we are, and I don’t think he would even be
interested in playing with Celtic Frost. As
far as Reed, we wanted to do it with Reed. It
was our very solid intention to do this album with Reed, and we talked to Reed
in 2000 and 2001 about doing songs together.
For a number of personal reasons on Reed’s side, it simply was not
possible. Initially, that was a huge
shock to me and Martin because we couldn’t imagine doing a Frost album without
him. As it turned out, I don’t
think ‘Monotheist’ would have ever existed the way it is now without Franco
Sesa, our current drummer. At that
time, we didn’t know that, and it was very difficult to come to terms with the
situation of Celtic Frost without Reed.
Tom,
you’ve been the one constant member of Celtic Frost over the years.
Unfortunately,
yes.
You
are as integral to the band as Lemmy is to Motorhead, I think.
I
think it would have been nice if I wouldn’t have been so much a part of the
band. I had certain periods of time
that certain albums would have been much better (laughs).
Does
that place a greater burden on what you write - or in the case of the new album,
how much influence you allow into the writing process by the newer members?
It
gives me certain leeway to make certain decisions which I feel are essential for
Celtic Frost, but I don’t exercise that leeway too often.
I don’t want to be a band dictator, and I love working together with
Martin and Franco. The album is the
album because Martin, for example, wrote about 50% of the music on it and the
lyrics. So, I do have a very special
position in the band because I’ve been in the band so long, but I don’t
really exercise it all too often - only when I feel it’s absolutely essential.
Tell
me, briefly, about the two new members. Is
it really only one new member – Franco Sesa [drummer] - while Erol Unala
[guitarist] is just along for this album, in particular?
We
very much wanted to be a permanent four piece band, and I asked Erol - who, of
course, was with me in Apollyon Sun - if he wanted to be in Celtic Frost.
He said yes. I told him “Do
you know what this entails?” I
told him “Look, it’s entirely different in every detail than Apollyon Sun
is.” He said he understood, and we
worked for in excess of four years on this album.
During the last maybe two years, it just became very obvious to everybody
involved, including Erol, that it was probably a little bit too radical,
personally speaking, what was going on in Celtic Frost as opposed to Apollyon
Sun. And I believe Erol really
drifted personally - he drifted out of what became the unit, Celtic Frost.
The three of us - Martin, me and Franco - really grew into a family.
And Erol didn’t make that process because the longer we went on, the
more alien it became to him. And
some of the main contributions on this album are by Erol.
I don’t think the album would have been possible the way it is without
Erol, but at the end of the day, we didn’t feel he was a part of the band.
He didn’t feel he was part of
the band. And the statement that we
had mutually split, that wasn’t just a politically correct statement.
We actually did mutually split. We
sat down and we all agreed, including Erol, that his place was probably
somewhere else, and that he just didn’t feel at home anymore.
The band had become too radical, and it’s not very easy for somebody
whose life is harmony and happiness to create with the three of us in this band.
So
you’re truly a trio again?
Oh,
yes. Since November of last year
already.
Ok.
We’re
working with a tour guitar player because a lot of material Celtic Frost has
written does require at least two guitars on stage.
So we work with tour guitarist, but we view the band right now as a three
piece.
Had
Apollyon Sun truly run its course when Celtic Frost came calling again, or was
Apollyon Sun eclipsed (pun intended) by the long shadow Celtic Frost cast?
It
hadn’t run its course. Erol and me
were actually working on a new album. We
had demos and plenty of material - probably more than for an album.
And we fully intended on doing this album.
Apollyon Sun actually only was dissolved in November 2005 when Erol and
Celtic Frost split. To me, that was
a signal that I probably would be unable to work with Erol, at least in the near
future. So, that was the end of the
Apollyon Sun. But until then,
Apollyon Sun was very much an active band. It
was just on ice while Celtic Frost was in the studio.
Nobody had intended Celtic Frost being in the studio for four years.
That’s why Apollyon Sun was on such an extended hiatus.
Until that point, it was very much an alive band to me.
For
a long time now,
You
know, I really don’t know. And
I’m not just saying that. I’m
really not involved in the scene. I
feel disdain for the Swiss scene – contempt - and that’s why I never got
involved. The Swiss scene treated us
like, literally, a piece of shit that you don’t touch.
When we started with Hellhammer, and even early Celtic Frost, we were
ridiculed and everything was made twice as difficult for us in the Swiss scene,
and I was never able to forgive that. So
I never became involved in the Swiss scene until this day. I feel excessive
hatred for the Swiss scene. So, I
really - I can’t comment on the Swiss scene because I’m not a part of
it…and willingly so.
What
kind of media coverage are you getting over there now?
Do you feel like they’re jumping on the bandwagon?
We’re
getting huge media coverage for the very first time in Celtic Frost’s
existence. We are getting media
coverage that we usually get only in
That
would be a weird situation to be in.
Very
much so. I really don’t know
whether to be proud or to just laugh, because it’s just - they’ve woken up
so late. We’ve done so much stuff
with this band. There’s actually a
story for my country, but the story has existed since
I
can imagine you wanting to say “Where were you guys when we needed you?”
Well,
the thing is, we didn’t need them. We
took notice of what they thought of us in the early days, and we went abroad.
It worked there, and we forged a career out of this.
We made friends all over the place, and I have adjusted my life
accordingly. Now they’re coming
and I’m just like watching this whole circus now that’s unfolding in
In
some other interviews I’ve read, you don’t seem too comfortable waxing
philosophical about the legacy of Celtic Frost.
Are you content to simply let the music speak for itself?
It’s
not my place…
There
are a lot of bands who came along after you and who cite Celtic Frost as an
influence – Sepultura and Obituary, for example.
Are there any bands today who you see kind of pushing the envelope or who
you appreciate what they are doing?
Well,
there’s plenty of bands, but not connected to any influence by Celtic Frost.
I do feel uncomfortable, and the older I get, actually, the less I want
to comment on things like that. Like
you said, I want the music to speak more. It
was different when I was young, and I believed that I had so much to say.
But nowadays, even on stage, I don’t speak too much because I just have
nothing to say. What I’m
passionate about and what I want to express, I do that in my lyrics.
I do that in my music, and I believe I do that quite excessively because
Celtic Frost music is not quiet music. Past
that, I really don’t want to babble on about the meaning and the depth of the
influence and all that stuff. That’s
all I can say. Some of the bands I
listen to nowadays, such as Gorgoroth or the German black metal band Dark
Fortress, I do believe they are pushing the envelope in a certain way or a
certain manner, or that they have a certain emotion that I feel is original.
But of course, that’s not connected to an influence of Celtic Frost.
I believe other people are just as capable, and they don’t really need
Celtic Frost as an influence at all.
Fair
enough. Dave Grohl of the Foo
Fighters asked you to be part of his ‘Probot’ album in 2003.
And for an old school metal fan like myself, having you, Cronos from
Venom, King Diamond, Lemmy, and all the other guys on one album was like a gift
from the great beyond. It was
unheard of. What did you think when
you heard what ‘Probot’ was going to be?
I
found it, actually, a very brave and original experiment.
In this industry, I don’t think anybody has ever attempted something
like Dave. And it struck me that
Dave wasn’t really an underground musician, like a black metal band, who had
such an original idea. He was
actually somebody who was rather more commercial.
Still, he came up with this really interesting concept of basically
co-writing a whole album, and in my case - it’s probably the same for
everybody else - he gave me absolute complete freedom on what to do.
I told him “Can I really go out there?”
And he said “Do whatever you want.”
The fact that comes from somebody as successful as Dave Grohl was quite
refreshing. That part of him, at
least, hadn’t been sucked into this huge machinery, this huge commercial
machinery. That he was open to do
this album with the hardcore singers and let them do whatever they wanted to do
- I found that an extremely pleasant surprise.
Were
you pleased with the final album?
I
have actually only listened to it once. I
only received it from a friend of mine very late - actually, only a short time
ago. Somebody gave it to me as a
gift. That’s when I had a chance
for the first time to listen to it. I
don’t like all the singers on there, but I do like some of the songs on the
album.
Did
you see many new fans visiting the Celtic Frost website to find out more about
you as a result of ‘Probot’?
Umm,
I actually noticed the exposure for the album not really through the website,
but through other means of communication. I
often thought these kind of people probably never listen to Celtic Frost, and if
it wasn’t for that album they would not be interested in Celtic Frost.
Of course, that’s a very cool side effect…a little strange at the
same time.
I
imagine it could be.
It
must have been a huge crossover. I
mean, some of the Foo Fighters stuff is very commercial, and it’s in rotation
on a lot of the music stations. And
I can imagine that he had fans that are not necessarily die hard metal fans, and
they still were interested in listening to a solo album.
It probably created quite a cross-scene, which is interesting.
Well,
of course, he comes from Nirvana, and a lot of that Nirvana stuff wasn’t so
commercial. It’s just that the
whole grunge scene became such a popular bandwagon that people listened to
things that they normally wouldn’t find themselves listening to.
The
industry manages to overdo that. Even
black metal or thrash metal or whatever - once they smell that the fans go for
something, they milk it to the max, and they make it a trend.
More often than not, it loses all of its original attraction, because it
gets saturated by mediocre bands, sometimes even outright bad bands.
The industry scoops up everything there is, and it becomes a bandwagon,
and a lot of bands form just to be part of it.
Then, of course, the quality sinks, and the people who actually love the
original products which had the magic and a certain spirit, they become
disappointed because that spirit just disappears.
That’s
absolutely true. Switching gears -
if you had never made the ‘Cold Lake’ album, and had somehow gone directly
from ‘Into the Pandemonium’ to ‘Vanity/Nemesis’ without having to make
up for lost ground, do you think Celtic Frost would still have broken up in
‘92?
I
have no idea. I never think like
that. I apparently did the ‘
You
have a very distinct guitar tone, like Tony Iommi on downers.
You had it 20 years ago, but even more so today.
Where does that monster sound come from?
When
I was young, I always believed it came from my setup, but the setup is not
complicated. It’s a very Spartan,
very basic setup. I’m not using
any specially manufactured things. I’m
using stuff that anybody can buy off the shelf.
And sometimes I‘m confronted with other musicians that have the exact
same equipment, and they say “Why can’t I sound like you?”
And that always puzzled me because, like I said, nothing is special.
I believe it’s from the way I play guitar, because that’s the only
thing that I do differently than most other people.
I really manhandle my guitar. I
have respect for it, but in a different way than somebody really technical has.
I don’t care for my guitar, I really abuse it.
I play it to the max. I
don‘t caress the neck when I’m playing.
I‘m manhandling it, and I think that’s probably the difference that
makes my guitar sound the way it does. I’m
often frustrated when I see bands I like, and I go to see them in concert, and I
see that they play so lightly. To
me, heavy metal is like Vikings and axes and everything, and the instrument is
almost like a weapon. I see these
musicians that play like girls on their instruments, even though their music
takes more energy, and it frustrates me. I
grew up with people like Pete Townsend, who smash their guitars.
That’s what I believe heavy metal is.
Otherwise, I‘d play some other way.
The
guitar seems like something you should be wringing sound out of, shaking sound
out of…
I
hate when it breaks, but it does break very often, because I just manhandle it.
That’s why I have a guitar. I
want it to have an influence and express power and aggression and energy, and
how can I do that when I just stand there, trying to play it all proper?
How can you do that?
Gingerly
touching the fret board...
You
know, you see the way we look in the pictures, and I’m not faking it.
I don’t wanna look like this, and then on stage, I’m like this girl.
Your
image is who you are, and that’s reflected in the music you put across.
Or vice versa.
The
image is really who we are. And a
lot of people don’t understand that, because we sometimes look rather extreme,
rather dark. But in every era of
Celtic Frost, including, unfortunately ‘
That’s
a very good point you make about the theatrical makeup – about magnifying the
image that you project to your audience.
Well,
that’s how we always picture it. You
see, there are some other musicians that hate that modern rock music has such a
visual aspect - that there’s actually an image attached to it.
But we always embraced that. We
always felt that the visual side of it gets you an additional platform for
expression. We didn’t deny that,
we actually embraced it - and that meant from the cover artwork to the logos to
the photos. And just like we
expressed ourselves in an extreme manner in songs like “Into the Crypt of
Rays”, we expressed ourselves in an extreme manner in the pictures.
It was part of the whole thing. It
was never separated for us. It was
never something we had to do. It was
something we wanted to do.
We loved the additional platform. We
didn’t find it a nuisance or a sellout. We
were able to actually be ourselves in an unprecedented manner.
I
mentioned Tony Iommi a few minutes ago.
Do you see the parallels between
Black Sabbath and Celtic Frost?
Oh,
of course, yeah. There are certain
key bands that I grew up with as a teenager, way before I even picked up an
instrument -even before I was a teenager - that I consciously grew up with and
that have influenced my understanding of music.
One of them is, of course, The Who, which is probably reflected in the
way I play my guitar. The other is
Black Sabbath, which is probably reflected in the darkness of my song writing.
This is music I listened to, as I said, even before I became a teenager,
and it just shaped my perception of rock music.
It became my world long before I became a musician.
Before I picked up a guitar myself.
And
it’s not that you sound like Sabbath, or emulate them, but you do take the
same chances that Sabbath took.
Exactly.
That’s what a lot of people confuse.
They ask me for an influence, and they think of something that you hear
yesterday and you copy tomorrow. But
that’s not influence. That’s
just simply copying.
Right.
To
me, an influence is much more profound. It’s
something that you listen to completely unconnected to your own musicianship,
and it shapes your understanding of music. It’s
something that makes such an impact on you, like, for example, Black Sabbath did
to me as a kid. It makes such an
impact on you that it shapes your thinking of music.
And then, of course, when you become a musician later on, that is
reflected in the way you express yourself. That
is an influence.
For
as heavy as songs like “Into the Void” were, it was not out of the norm for
them to do on the same record something like “Planet Caravan” or “Laguna
Sunrise”. They always took
chances, and threw your preconceptions out the window.
And
the thing with true pioneers - unlike a band like Celtic Frost, who was already
in like, the second metal wave – is they were at the forefront of a musical
style that was only being forged at the time.
So they were really pioneering. They
were inventing this. And, given the
time and the means in the studios at that time, the importance of that cannot be
overstated.
Tell
me about the upcoming tour. It seems
rather ambitious, particularly such an extensive return to the States.
It’s
seems ambitious, and yet at the same time it’s not, because the last time we
played the States was, I think, ‘89. We
haven’t played for American audiences for a long time, and of course, we want
to cover as much as we can. It’s a
huge continent. I mean, if you take
Have
you been getting the response you’ve expected so far, or did you even know
what to expect?
I
didn’t want to expect anything - there again, just like the album.
And I believe most people probably think I’m just saying that to avoid
negative criticism, but the thing is it’s really true.
At 43 years of age, I can actually honestly say that at this point in my
life, I really don’t expect anything. It’s
not important to me. When I was a
teenager, and I had my first few albums, it was really important to me to make a
statement, to have this place, and to be seen.
You know - you’re young, macho, you want to prove yourself, and it’s
important what the other people think and everything.
Now, as a 43 year old, I have made a mark with Celtic Frost, and
actually, I honestly take the liberty and do the albums and the shows for myself
and enjoy. And if somebody else
likes it, it’s fantastic, of course. I
thrive off a great crowd reaction, but I’m not doing it for them.
I go on stage because I want to. If
I didn’t feel like doing a tour, I wouldn’t do it, no matter how much the
record company would beg me to do it. I’m
doing it for me - to play the album that was done from me and Martin - first and
foremost. And if it connects with
anybody else, it’s fantastic. But
I don’t have any expectations. The
expectations are basically my own, playing for myself.
The
only Celtic Frost video available is the Hammersmith Odeon show from ‘89, and
a couple other various video clips. You
mentioned Noise Records’ somewhat lackluster attitude toward videos in your
book, ‘Are You Morbid?’. Are you
looking at recording a live DVD to document the band during this tour?
Uh,
yes and no. We are looking at doing
a live DVD, but it’s a very ambitious project.
If we can get it done, it will be different than any other live DVD
you’ve ever seen. It will be, in
true Celtic Frost spirit, something very different.
We don‘t just want to tape the one-millionth live show and just be
different by some of the cuts of the camera angles.
If we can find a partner to do it, it will be something truly unusual
that you’ve never seen, and that you probably will not see again for a long
time. It will take, though, some
time. Actually I’ve come from a
meeting about this, just before, with Martin.
And, in addition to that, there might even be a regular video clip and
also some of the festivals are being filmed, and we might release one or two
songs with that footage because of the lack of Celtic Frost video footage - to
give the fans something, at least, to see. And
we might release one or two songs from some of the festivals here.
But we haven’t seen the footage yet, and we don’t know if it‘s
useful, so it’s not been decided. There
will be a live DVD, including also a lot of documentary footage, but that will
still take some time.
When
that comes along, people will be able to read about it on the website, www.celticfrost.com.
I’m
quite sure. People will love it or
hate it, and they will probably cause quite a stir, because usually when we do
something, it never goes down quietly.
What
else is new? (laughs)
So, what haven’t you explored with Celtic Frost that you’d like to?
Oh,
there’s so much. But, I’m
careful nowadays. There’s a lot of
things we want to explore, but we don’t wanna make it sound forced, and we
don’t want to make it sound artificial. I
am proud of the ‘Into the Pandemonium’ album, but what I don’t like about
it is that some of the experiments sound like afterthoughts.
We were just not good enough at the time to actually incorporate outside
influences or some of our weirder ideas into the Celtic Frost sound.
I believe in ‘Monotheist’; we have accomplished incorporating such
things into our songs. So, whatever
we want to do in the future, we want to approach it in a careful manner.
We want to make it sound like Celtic Frost, not like an add-on or
something that sounds artificial on an album that’s otherwise a unity of
music.
Something
I was really taken with on the new record, when I listen to it, is the two
extremes of “Talking God” and “Winter”.
“Winter” took me by surprise at the very end of the album, with this
great string - it wasn’t a quartet…you had what, 8, 10 different instruments
in all?
Yeah,
we had ten musicians, and overdubbed them several times, so that eventually we
used nineteen.
What
a great track, and what a surprise to come at the end of a Celtic Frost record.
Is
it really a surprise?
I
guess not a surprise, it was just -
The
thing is that surprises are not really a surprise for Celtic Frost.
No,
because you’ve done so much before that was so different.
There was even orchestra on ‘To Mega Therion’.
Yeah,
well we had classical violin even on ‘Morbid Tales’.
This affiliation for us goes back, and it probably will never end because
we love it. And, to me, “Talking
God” and “Winter”, even though they’re radically different musical
pieces, fit together perfectly. They
are not so far apart to me, in philosophy.
They
are two sides of a coin, I guess.
Yes.
They are the current extremes of Celtic Frost.
They are the current far ends of Celtic Frost.
It
was like a reprieve at the end of the album.
Maybe that’s not even the right word, but I think you know what I’m
trying to get at.
It
was intended like that. When I wrote
“Winter”, I had no idea where on the album it would be.
In the course of finishing the album over the course of the years, it
became very clear that there was only gonna be one position for that song.
The album became so dark and so intense that it just was natural to end
it with something like “Winter”.
It
almost gives you and opportunity to sit back and think about what you’ve just
gone through.
Yes.
What
you’ve just listened to and experienced…
Yeah.
Personally, when I listen to the album, I feel it’s much more intense
than if we would have put a truly heavy track at the end.
The extremity and the heaviness comes in a far more subtle manner.
It’s not like it works with the hammer and the anvil.
It’s extreme, but on a completely different level, in a different
dimension, and I like that. I like
that you sometimes have to search for the extremity.
It’s not quite as obvious as if you plug a guitar into distortion.
Let’s
wrap up with our signature question. What’s
what is your drink of choice?
You’ll
be disappointed. It’s water.
You’re
a bottled water man?
Any
water. I don’t drink alcohol,
hardly ever. I drink a glass of wine
occasionally, but that’s really the extent of my drinking.
Otherwise, I usually stick to water.
Anything
else you’d like to add before we wrap this up?
It
was actually a huge pleasure to do this interview.
Believe me, I’ve done hundreds and hundreds of interviews, and 90% of
them are the same boring questions, and I understand that not every journalist
has time to really dig deeply. But
this interview was deep, and extremely satisfying mentally to do.
It’s hugely appreciated.
Thank
you. I appreciate that. Yeah, nobody wants
to read the same old Q&A. Well,
hopefully I’ll get a chance to say hello to you in person when you’re here
in Vegas in October.
Fantastic.
I’m very eager to play for the audiences since it’s been so long.
It’s so much fun to play over here in
Best
of luck with the new album and tour, Tom.
Thank you very, very much, and thanks for a great interview.
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