0:00

Fill her up. You're

0:02

listening to the Gas Digital Network.

0:07

What is going on everybody? Welcome to the show. We

0:10

got a very special guest, Mr. Dave

0:12

Lombardo, formerly of Slayer,

0:14

currently of Mr. Bungle. Absolutely killing it out

0:16

there with Bungle. I hope you got to see a

0:18

show. If you didn't, and

0:21

you want to see Scott Ian, you

0:23

could come to Milwaukee Metal

0:26

Fest Saturday. Scott's got to go from

0:30

Bungle right into Anthrax mode. Oh,

0:32

that's crazy. Yeah, he's good

0:34

like that. But you could have heard

0:36

this way sooner over at gasdigital.com.

0:40

We got the new website up, so go check it

0:42

out. And check out

0:44

the bonus content section.

0:48

There's

0:51

a selection of bonus

0:53

content in the bonus content section.

0:56

Bam. Would you agree?

0:58

There certainly is. We

1:01

got movies, we got music, we got

1:05

episodes that can't go out to the regular

1:07

public. Go check it out over at gasdigital.com.

1:10

Use promo code JOSTHER. Yeah,

1:12

and you could have heard this episode with Dave Lombardo much sooner, and

1:14

you could have heard all about his new album, Rites

1:16

of Percussion, the first ever solo album from

1:19

the one and only Dave Lombardo, who is our guest

1:21

on today's show. And,

1:23

yeah, listen,

1:25

let us know what you think of this episode. Let us know

1:27

if you're coming to Milwaukee Metal Fest this weekend.

1:30

If you are and you haven't gotten your tickets yet,

1:32

go to therave.com. And if you

1:34

want to get meet and greet upgrades, go to motorstore.net.

1:37

The link is always in the show notes. And

1:39

you can meet. I

1:42

think now we added one for Frozen Soul. We added one

1:44

for Misery Index. There's a bunch on there. Raven's

1:46

going to be in the house, the legendary Raven. It's going to be a

1:48

lot of fun. And Dino's going

1:50

to actually come sign on Friday.

1:53

We have Biohazard's doing

1:55

a signing now on Friday as well. They might even

1:57

stay for Saturday and do a signing, which would be great.

1:59

But just keep checking the rave.com

2:02

slash metal fest. The sale ends Wednesday

2:04

though. If you want 25% off your tickets and

2:06

then it to upgrade for a meet and greet

2:09

martyr store.net. And I got to thank our sponsor

2:11

of not only the metal fest that's coming

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back to Milwaukee for the first time in many, many

2:15

years, but also of this podcast. I'm talking

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about century media and today's show is brought to

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you by the one and only century media records who

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has been putting out tons of great records. The

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new frozen soul is out. Glacial domination

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You'll see it over at martyr store.net.

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If you want to reserve your seat at

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Milwaukee metal fest. Also got to thank

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Monarch heavy monarch heavy.com

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is bringing us today's show. Brian's

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all about that crowbar black label

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society action. I love it, man.

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They got all, all my favorite bands growing

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And some Nuri great band playing the pre-party

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monarch heavy.com. The link will be in the show

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notes and the code is very easy

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Also want to thank another one of our great metal Fest

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the new death ray vision coming

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suggest you check out some of their artists at Milwaukee

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and

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they are going to absolutely. crush it. Heavy

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as hell, man. The

4:03

festival, the lineup for the festival is incredible.

4:06

Yeah, and it's, and it's, it's,

4:09

it's going to be great. It's not going to be like this Vegas festival

4:11

where you're outdoors. This is all indoors, AC

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and

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the raves done a lot of nice

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updates. It's going to be a lot of fun. Also

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got to thank Indy merch store, one of our biggest vendors

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and biggest sponsors of the podcast. So not only

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are they had, they, they got their own stage at Milwaukee

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metal fest and right now they're killing it with

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and pre-orders go to Indy merch store.com use

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code JASTA. All right. We got

5:07

the one and only Dave Lombardo. You could have

5:09

heard away sooner.

5:10

Sorry. It took so long to get it out, but we love

5:12

Dave support Dave

5:15

and check out his new album, it's a percussion now

5:17

onto the show.

5:20

My friend, the

5:23

lead singer of hate breed,

5:25

the infamous and notorious Jamie Jasta is in

5:27

the building. That's what's up. Jamie Jasta from the metal

5:29

band hate breed. That guy's famous. Coffee, death metal and pushups.

5:32

That's Jamie Jasta. Remember Jamie Jasta? You

5:34

know him. He's a podcaster, but he's also a metal man. That shit is hard.

5:37

Right? You can't see us. We

5:51

can see you. You look good. Woo.

5:54

Thanks, man. Handsome, powerful, handsome,

5:57

the handsome Dave Lombardo back on the show.

6:00

Rights of Percussion coming at you May

6:04

5th on Ipecac. And

6:06

dude, I was immersed in it. I

6:09

was loving it.

6:10

I was like, man, this

6:13

is, it's out there, but it's out there

6:15

in like the best possible way.

6:17

Awesome. I'm glad you like it. Yeah,

6:20

that's what it's meant to me. It's supposed to be a piece

6:23

of art, a

6:26

piece of work, a journey through

6:28

my rhythmical mind. And

6:33

it's not a piece of work like

6:34

to show off any

6:42

kind of extreme chops or

6:44

anything like that. This

6:47

is like a body of work and

6:49

I'm glad

6:50

you enjoyed it. I

6:53

certainly did. I enjoyed the process

6:56

and this whole process of putting something

7:01

that's your own solo record out, which

7:03

I didn't think it was going to be that big of a deal,

7:06

but everybody seems to be embracing it and enjoying

7:09

it. Yeah, no, it's so

7:11

cinematic and takes you places visually

7:13

in your mind. I mean, I

7:16

don't know if you'll approve of this,

7:19

but I think a lot of people are going to want to jam to this

7:20

too. I feel like people are going to want to

7:23

play along to it with like their bass and their

7:25

guitars and their keyboards or whatever. Cause

7:27

it's so, you do so many

7:29

cool little things that

7:31

make you want to be creative and

7:33

make you want to be collaborative. Like I

7:36

was thinking about putting this

7:38

on just to score things

7:40

with it. I could see directors even doing

7:42

that, like hearing this and

7:44

being like, oh, I have a place for this in my

7:47

film or in my TV show

7:49

or whatever.

7:50

Oh, that'd be awesome. I would love

7:52

that. I've had experience

7:54

obviously with film and

7:57

television.

7:59

Those experiences

8:02

I think reinforced my confidence

8:05

in creating something like this. And

8:08

also the confidence

8:12

of being fearless, it's

8:14

like I don't care what anybody thinks, I

8:17

don't care what it does,

8:19

this is part of me and I'm just going to put it

8:21

out. So without any

8:23

kind of inhibitions

8:26

or any kind of restraint.

8:29

And luckily it started

8:31

developing during pandemic when I

8:33

didn't have any touring, when I didn't have

8:35

any distractions. I did put out other

8:37

records during that period.

8:41

But this pandemic

8:44

really helped me focus on

8:47

my own personal

8:49

goals

8:51

and things I wanted to

8:55

achieve in my life. Yeah,

8:57

no, you can hear it. I think anything when you

8:59

do something like, anytime I've heard

9:02

people really immerse themselves into something

9:04

that's like their own soul creation and it comes

9:06

out as authentic as this. It

9:09

comes through and I even even

9:11

down to like the song titles, which I thought were really

9:13

interesting.

9:15

Can you tell us like

9:17

what made you decide on some of these titles? Like

9:19

I loved monder in liminality

9:22

because

9:23

it takes you to a place where you go, what

9:25

does that mean? What is your mind?

9:27

I mean, I'm wondering liminality. You're like

9:30

in this place between, yeah, I

9:32

would say life and death. You're

9:35

just kind of like held there and

9:38

you don't know whether

9:41

to step into one side or the other. It's

9:45

interesting because the titles

9:48

are a culmination of

9:52

childhood

9:54

experiences. you

10:00

know current experiences, omiero,

10:02

which is a not a potion, but

10:04

maybe like

10:08

It's

10:13

like a spiritual cleansing

10:18

Concoction of you

10:21

know perfumes herbs.

10:24

It's almost a metaphysical you

10:27

know

10:29

like Like

10:31

I said Basically

10:35

bathe yourself with to

10:37

eliminate any kind of Negativity

10:41

in life and it's it's particularly used

10:43

in in in Afro-Cuban

10:46

and Caribbean cultures, you

10:48

know, which is where I was born. So I'm

10:51

familiar with things like that. So that that's

10:53

like a like

10:55

A cleansing bath,

10:58

you know, so it's that's to

11:00

me that you know that's where I brought that title

11:03

and I was familiar with that, you know from growing up as

11:05

a child in a Cuban household and You

11:08

know, there's other ones You

11:12

know, you know other titles that are

11:14

very much connected

11:17

to to my childhood Anamismo,

11:20

how do you say an amen? Anamismo,

11:24

yeah closer the closer

11:26

of the album. Yes That

11:31

one oh man You

11:35

know, I think if I'm correct

11:38

the title, you know

11:40

came from this the

11:43

state of mind I was in and And

11:47

And I can't remember Exactly

11:50

when or where but it's just it

11:52

was just an onset of emotion

11:55

and and I felt that word was you

11:58

know best described

12:02

that feeling at the time. But

12:04

not only the titles, but

12:09

the percussion that I used. The

12:11

other day somebody asked me, he

12:14

said, is there something else listed on the

12:16

album? That's

12:19

not listed. Is there any instruments that you

12:22

use that are not listed? I

12:24

basically used a guitar.

12:27

I laid the guitar, I didn't play it traditionally,

12:30

but I laid it on its back, and then I had this little

12:32

drumstick and a slide, and

12:35

I was creating these sounds to

12:37

go on.

12:38

Really? It was on the record.

12:41

And there were other

12:44

instruments. I used these Chinese gongs,

12:46

and instead of hitting them normally, I laid

12:48

them on a wood floor, and

12:51

I hit them with mallets.

12:54

That particular song, I'm releasing

12:57

a video real soon, probably

13:01

by the time this comes out.

13:04

And it consists of that too. So

13:07

it's just, like I said, I had so much fun

13:10

doing it. It's

13:11

just one of those experiences that I

13:14

hope to do again. Rights

13:18

of percussion too. Maybe

13:20

a whole different

13:21

angle. To

13:24

what I've learned through this

13:26

whole process. And believe

13:29

me, there's things that I've thought

13:31

about that I, it's like,

13:33

oh man, I'm gonna do this next time. Or

13:36

next time it's gonna be better, it's gonna be like this.

13:39

So I'm already thinking about the future, but

13:41

to try to fit

13:43

a project of that magnitude

13:49

during touring, I'm

13:51

gonna need to take some time off and

13:54

hopefully maybe move into a house isolated somewhere.

14:00

on an obscure island and, you

14:02

know, where there's a lot of rain and clouds

14:05

and, you know, a lot of, you

14:07

know, dreary just feeling

14:10

to really allow those

14:14

musical

14:15

emotions just come

14:18

out and release. Could

14:21

you release this as like a

14:23

sound pack? Like, could you release these samples?

14:26

It seems like you've got so many cool sounds

14:28

that people would want to use and

14:31

sample in their own recordings. Have you thought

14:33

about doing anything like that?

14:35

No, they could hire me if they want that. You

14:41

know, that's why I've been kind of hesitant

14:43

on ever doing a Dave Lombardo sample pack.

14:46

It's like, well, then you wouldn't be able to hire me. You

14:48

know, you got the samples. Why hire them? So

14:52

I'd rather be a part of the process than,

14:55

you know, than just hand them,

14:57

you know, the stems

14:59

or whatever. But yeah, all that is readily

15:02

available. You know, I have all that

15:04

on my hard drives. And,

15:05

you know, so it's, you

15:07

know, it's a possibility, but

15:10

I hardly think so. One

15:12

of the things that was really cool, just because I've

15:14

been listening to so many modern records, is

15:16

that it's not so

15:19

gritted out. It's not like it's just totally

15:21

it's organic and it has that warmth

15:24

and that feel. And I don't think I've

15:26

heard anything recently with

15:28

those types of like, I guess you would

15:30

call them kettle drums

15:31

and... Hipponese, kettle drums.

15:34

Yeah. Uh-huh. Yeah.

15:36

And I think

15:38

more bands should

15:41

do it like this. It's almost like

15:43

my ears have been fatigued to

15:46

all the sampled and similarly

15:49

sounding kits that they

15:51

use for programming.

15:52

I couldn't agree with you more. It's very

15:55

disheartening and sad to

15:57

see that the... with

15:59

so much... technology and

16:02

the ability to actually

16:04

capture the sound of a real

16:06

drum drummers

16:09

are using samples and

16:12

you know I get it you

16:15

know but man

16:17

I just love that natural sound you

16:19

know and I always go back to the Bill Ward's

16:22

to the John Bonham's to the Mitch Mitchell

16:25

to those classic albums that you

16:27

used to crank on your Sir Win Vega

16:29

speakers and your Marantz you

16:31

know

16:33

power amp and just blasted

16:35

and it just sounds so good and

16:37

now everything just sounds so sterile

16:41

so quantized and

16:44

there's just no

16:46

room

16:48

for any kind of emotion

16:52

from the drummer or excitement for

16:55

example when I recorded

17:01

World Painted Blood with Slayer create Christ

17:04

Illusion World Painted Blood were the last ones

17:07

that I actually recorded with a click

17:09

track

17:10

last albums so the Dead Crosses

17:13

the bungles the bongo

17:15

records the Dead Cross records all

17:17

of those I didn't have a single

17:19

click track in them all we

17:21

had was a delay

17:22

just kind of to subconsciously

17:25

helped me yeah you know in

17:27

that to stay in that zone but

17:30

for the most part you know everything

17:32

was you know wasn't on a click track

17:35

and but what they would do was

17:37

start the song

17:40

with a click and then after

17:42

we get past maybe the second

17:45

verse and chorus before the lead

17:48

or wherever the song was going they were turned

17:50

the click track off and allow

17:52

me to take the song

17:55

to its crescendo its height and

17:57

then bring it back down again and

17:59

That's

18:02

about to the extent that

18:06

I would use a click track. So

18:09

that's still keeping the song within a

18:14

nice tempo for the verses and possibly

18:16

the choruses. But then when it gets exciting,

18:19

they take the leash off of me. Right,

18:24

for the bridges, for the solos, for the

18:27

verses. You let it go instead

18:29

of keeping it.

18:30

And a

18:32

clear example of that

18:35

back in years ago, probably

18:39

Andy Wallace and Rick Rubin,

18:42

and all of us in Slayer were in a

18:44

room and on Seasons and the Abyss.

18:48

Somebody had said, well, Dave speeds up here. And

18:52

Rubin was like, well, it feels good

18:55

and Andy Wallace reaffirmed that by saying,

18:58

well, in an orchestra when the conductor

19:00

is conducting, obviously,

19:04

the orchestra, you

19:09

have the emotion

19:11

of the conductor and the music building.

19:13

There's no click track. He is the conductor.

19:15

So if it speeds up, it's the

19:18

natural crescendo of the song. And

19:21

so I made sure throughout

19:23

this record,

19:24

so basically that

19:26

whole

19:27

time, that moment in

19:29

Slayer during the recording of Seasons, it

19:32

was okay for it to speed up a little

19:34

bit, a little,

19:36

just to keep that excitement. And that's what you

19:38

hear on those old and classic records.

19:40

When you put a click track to the beginning of the song and

19:43

a click track at the end, it

19:45

does not match. But it does.

19:48

Sounds good. Yeah, no,

19:50

and that's how it is with all those records. And I think

19:52

that's why fans are gravitating to those

19:54

records, especially like these these

19:57

younger fans are finding the metallica's

19:59

in the dance.

19:59

and the slayers and the Megadeths.

20:02

And they're really getting into the

20:04

nostalgia. And it makes me

20:07

wonder, is it because it's

20:08

just so raw and authentic

20:10

and it's not so over processed

20:13

and compressed and

20:15

to the grid and without that

20:17

human air? And when I say human

20:19

air, I mean it in like the highest compliment

20:22

because it's like

20:23

the soul. It's the soul of,

20:26

the conductor is a great, I love that you

20:28

brought that up because that's a great, I was

20:30

always fascinated with those guys. They

20:32

are the meter, they are the pulse.

20:36

Which is the same as the drummer.

20:38

The drummer is the one swinging the stick around

20:40

and conducting the band. So he

20:43

is the pulse. And if he's got his shit

20:45

together, he could conduct his

20:47

band

20:48

and direct them in

20:51

the right tempo and give them the

20:53

right feel. So that's kind of my

20:56

approach. When

20:58

I do play live,

21:00

it's like strap on guys,

21:02

or not strap on, get on board

21:04

guys, here we go. That

21:07

didn't sound right.

21:10

Are you doing the

21:13

Misfits shows with Megadeth? Are

21:15

you doing those? Yes, yes, I

21:17

will be there.

21:18

Awesome, yeah, I just saw those announced and

21:20

I was, and fear is on that.

21:22

Like that's another thing, like the punk stuff

21:25

is coming back. People are finding

21:27

all the old punk records and that's kind of like the

21:30

heart and soul of those early punk records was that

21:32

they would go off the rails. Like I

21:35

was, even the early death metal stuff

21:37

too, like I just was listening to the Eyes of Horror

21:39

EP, Possessed, the one that Satriani

21:42

produced. And I was listening to it with a drummer

21:44

and he looked at me like every time

21:46

it was like, because there's a bunch of parts where

21:49

it goes totally off the rails. Yeah,

21:51

yeah. And I'm like, that's what makes his bad

21:54

ass.

21:55

It actually, that's

21:57

what it is. But we've

21:59

become. So, you

22:02

know, analytical about every

22:04

single little section that, you

22:07

know, you kind of lose

22:10

that human touch and that

22:12

human feel. Although all technology

22:15

is phenomenal. That's one thing I've learned from

22:17

working on Rites of Percussion, is

22:20

that the

22:21

technology that's available out

22:23

there is unbelievable.

22:25

But to learn not to

22:28

overuse it, or

22:30

if you do use it, just, oh, I just

22:32

need to use this right

22:35

here in this little section, because it's

22:37

blatantly fucked up. It's

22:39

off. You know, so I need to fix it. Although

22:42

the whole take was the feeling

22:44

was amazing. I need to fix this.

22:47

So you find ways, you know,

22:49

to repair it, to keep the

22:52

body of and the

22:54

excitement of that particular piece of

22:56

the song. So you

22:58

can't overuse the technology

23:01

and you can't abuse it. I think key

23:04

at this point in

23:06

an engineer's

23:08

career, musician's career,

23:11

is to know when to use it, when not to

23:13

use it, and try to keep it as human

23:15

as possible. Because people will feel

23:18

that. People will feel the human

23:20

element in songs. And

23:26

you know, if you don't feel it, you

23:28

know, maybe

23:29

it's just, it's

23:31

not right. What's going on? Quick

23:34

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25:25

back to the show. Your style really lends

25:28

for the

25:29

lens well into that misfit

25:32

sound to because it's the it's

25:35

almost like you're you're bringing

25:37

it really together like it's less

25:39

off the wall but it feels Yeah,

25:42

so so right I wish

25:45

that you guys would rerecord some of those songs with

25:47

you on the drums. I know that I know some

25:49

punk rockers might feel like

25:51

that sacrilegious but that's right

25:53

there those those Yeah, it would be

25:55

amazing to hear that.

25:58

But man those albums have such,

26:01

there's an air about those albums.

26:04

There's, you know,

26:05

I mean, you can Jamie, you know, man, hey, we're

26:07

going to the studio. We got four hours. We've got 10

26:10

songs to record.

26:13

I've been in that situation and it's like, okay,

26:16

let's go. And then you recording, you just

26:18

don't give a fuck and just press record

26:20

and play. And drummers at that time,

26:22

that's how they were. Those were the drummers that they had.

26:26

And there, there's a feeling in those

26:29

albums and, you know,

26:31

maybe a live album, you know,

26:33

but that would be bad. Yeah. A

26:35

live one would be cool. You

26:38

know, but to rerecord those, the, that body

26:40

of work in a studio.

26:41

Yeah. It would be sacrilegious.

26:44

Although

26:44

who knows? Yeah. It's

26:46

not, it's up to Eric

26:49

and Glenn. Did they record Madison

26:51

Square Garden or the form or any of those shows?

26:53

No, no, no. All you

26:56

see is what, what's online

26:58

on YouTube and whatever.

27:00

Okay. Yeah. But

27:02

was there ever talk of like maybe doing new

27:05

studio material, new, a new

27:07

record? Nothing.

27:08

They're just trying

27:11

to

27:12

make up for a lost time for the,

27:14

from those, you know, amazing albums

27:17

and you know, they're just trying to

27:19

catch up and you

27:22

know, cause those albums, I mean, they're classic.

27:24

I couldn't believe some of the first

27:26

shows that we played together. It

27:29

was, it, there was such, there was this

27:31

electricity. There's this vibe

27:34

out in the crowd.

27:37

You know, I witnessed it. I was like

27:39

standing like, you know, stage

27:41

left, but on the floor in these

27:43

arenas and just looking out at the crowd,

27:46

there was just this excitement. Then

27:48

when the band hit the stage,

27:50

you were able,

27:53

what's rare, because my monitors

27:56

are fairly loud on, you know,

27:58

I have drums and guitars.

27:59

and vocals. I don't, you

28:02

know, play on stage with any monitoring

28:05

or anything like that. And

28:07

I was able and I but I wear earplugs. So

28:10

I have a nice I have subwoofer

28:13

wedge and

28:16

my earplugs and I get a nice little

28:18

you know, nice loud

28:22

mix. But I'm still able

28:24

to hear the crowd

28:27

sing along to these songs. Yeah. When

28:30

you know, while I'm playing and

28:33

I don't play soft, I hit hard. So

28:37

to hear voices over that, which

28:39

is I never not even you know,

28:41

around Slayer or any other band

28:43

I played and I've ever heard

28:45

the crowd sing as loud as they

28:47

do with the Misfits. And

28:49

it's such a celebration and I'm

28:51

so happy that they put their bullshit behind

28:53

them and are now, you

28:56

know, really enjoying and reaping

28:59

the rewards of their hard work.

29:02

Yeah, no, me too. I get chills just thinking

29:04

about it. And those sing alongs are

29:06

the stuff of legend. And then yeah,

29:09

to see every generation who missed

29:11

it and then the ones who did maybe see it also

29:13

like still here. There's

29:16

literally at MSG is people in their 60s

29:18

like just going bananas

29:20

and it's just so cool. Yeah, yeah,

29:23

it's unreal, man. So good. Yeah,

29:25

but we're going back to New Jersey.

29:27

I know I gotta try to I know I gotta try

29:30

to get there. I was even thinking about I talked

29:32

to our guitar player Frank and he's down in Florida

29:34

and I was like, Oh man, maybe I'll fly

29:36

down for that one too.

29:38

Yeah. Well, you're more than welcome. Thank

29:41

you. Yeah, no, I'll hit up Uncle Jerry. I got

29:44

I I I owe Uncle Jerry a call

29:47

anyways. He's I

29:49

haven't talked to him in a minute. I was

29:51

gonna

29:52

say how

29:54

did the earlier when you know, we were talking about rights

29:56

of percussion, how did you get it into like

30:00

the final form and was

30:02

it, and did you know you were going to put out on Ipecac

30:05

and was there talks with Mike about like

30:08

the packaging? Like that's the, that's the

30:10

thing with me where I always, I go to,

30:13

I hold things up because I want

30:15

the, the packaging to be a certain

30:17

way, but then I don't want to type out the lyrics and

30:19

I don't want to forget anybody on the thanks list. So I

30:22

labor over it. So what you

30:24

do, you create an album with no lyrics, no,

30:26

nothing, written,

30:29

recorded and produced by Dave Lombardo mixed

30:32

by my son David A. Lombardo. Well,

30:34

they didn't say that. Master done. Wow. You

30:37

know, it, after everything was done,

30:39

I started, you

30:42

know, there was a point

30:44

where

30:53

I was starting to count the times like,

30:56

okay, this body of work, how long is it?

30:58

What do I have so far? Do I need

31:01

to create another piece, another

31:04

three minute piece, two minute piece, whatever to,

31:06

to give it at least 40 minutes, you

31:08

know, 35 to 40 minutes. And,

31:13

and I remember listening to it

31:16

and, you know, going

31:19

downstairs and telling my wife, it's almost

31:21

done. We're almost there. And

31:25

I remember walking downstairs many times

31:27

and saying, I've

31:29

come across like tuning

31:33

was a big issue, you know, for me, I wanted

31:35

it, wanted it to be musical. So I wanted

31:37

the instruments to have

31:40

a certain

31:41

tune, a certain tuning.

31:45

And, you know, I would go

31:47

downstairs and say, wow, I've just, you

31:51

know, not crossed a hurdle, but I've

31:53

made some breakthrough and,

31:55

and

31:56

there is now it just feels more

31:59

musical.

32:00

than it did before, all

32:02

because I changed the pitch of

32:04

one particular instrument

32:07

or changed the pitch

32:10

of an entire piece, just brought it

32:12

down just a little bit. So when you're

32:14

going from one song to the other, it doesn't

32:16

feel just

32:18

one straight

32:21

pitch, it kind of lowered a little bit.

32:23

So trying to give it as much musical

32:25

quality as I could. But packaging,

32:31

one, I always knew that Patton wanted

32:33

to put something like this out. I think

32:35

I surprised him

32:38

when I said, all right, man, it's done. He was

32:40

like, whoa, Mombardo, what the fuck? I

32:44

can't believe it. Finally. And

32:48

he was really happy for me because he

32:51

you know, he was

32:53

the one that fully

32:55

supported me in this idea from the beginning.

32:59

And, you know, he was a big part

33:01

of opening my mind,

33:04

you

33:06

know, to avant-garde music,

33:09

music that is not generally within

33:13

your genre.

33:14

It's music way

33:16

out of the left field, man. It's experimental.

33:19

And I think one of

33:21

the driving,

33:22

I think

33:25

moments for me was

33:27

to watch Patton release

33:30

epic with Faith no more.

33:33

And his solo album was

33:35

called Adult Themes for

33:38

Voices. Adult

33:41

theme voices or adult theme for voices.

33:44

And it's just him being recorded

33:46

in each hotel room that he was

33:49

in, like Hotel Room 319. You

33:52

know, there's this one

33:54

song, it's called, you know, Aliens

33:57

Having Sex or something. And it's him

33:59

making these

33:59

weird voice

34:03

sounds and screeches

34:05

and really bizarre like

34:07

humming and sticking a little tiny

34:10

microphone in his mouth

34:12

and recording that. So

34:15

he went from this pop record, or

34:17

not a pop record, this hit song and

34:21

created this very

34:23

bizarre left field record from

34:26

this vocalist that created the song, Epic.

34:30

And so which left room

34:32

for him to do whatever the hell he wanted

34:35

in between that

34:36

genre, in between

34:38

the avant-garde and in between like

34:42

a song like Epic or an

34:45

album like they did

34:49

back in the 90s. Yeah, because

34:51

his instrument being so

34:54

versatile and like setting two

34:56

different precedents, which is kind of you, yeah,

34:58

I could see you doing the same thing with this and

35:01

more drummers and percussionists I

35:03

think should do things like this and projects

35:05

like this where you branch out. Like I don't even, I mean,

35:07

I could be wrong here, but I feel like

35:10

there wasn't even a guitar until

35:12

I don't know, maybe Interferium or one

35:14

of the later like middle songs. When

35:18

you were talking about the tuning, I remember the guitar

35:20

coming in and I don't remember which track,

35:23

but that, you know, to have

35:25

that feeling of like, wow,

35:28

what's coming next without guitars

35:30

is cool. Yeah. And

35:33

then the piano, Interferium was the one with the

35:35

piano, where

35:37

I lifted up the piano box

35:41

and lifted up the

35:44

cover and I put

35:46

a weight

35:48

on the sustain pedal on a grand piano

35:52

and I basically, you know, stuck my head

35:54

in the piano box with

35:56

mallets and created that piece.

36:00

Things like that were,

36:03

I learned from the early

36:06

phantomist days, where

36:09

we would use pieces

36:12

of wood, set up a

36:14

mic facing the floor and

36:16

have these pieces of wood slapping,

36:19

hitting the floor to create like a slap. It

36:23

would consist of two microphones, one directly

36:26

at

36:27

the pieces of wood hitting the floor, and

36:29

then one maybe 20 feet behind

36:31

us to get a room sound and

36:34

blending those sounds together and then incorporating

36:37

it in the song.

36:39

So just

36:43

anything that you can do to be creative,

36:46

it kind of helps add

36:50

to the body of work. And

36:53

I just, like I said, I had such a

36:55

great time

36:56

doing it. I'd love to do it again.

37:00

And are you doing pre-orders

37:02

where, because I'm sure fans are going to want

37:04

drum heads, or they're going to want pieces that

37:06

you recorded on or sticks, or

37:08

like you said, when you open the

37:10

piano, you

37:14

were actually using mallets with that, and you're playing

37:16

the beat on the

37:18

string, like on the actual. Not

37:23

on the keys, but inside on the strings. Inside

37:26

on the strings. Yeah, this wasn't me just

37:28

playing something. No, this was deliberately

37:31

in the piano box. I mean, I have a video

37:33

of it, but it's really dark

37:35

because I told him to shut down the lights, and

37:38

I just had a candle

37:41

in the room. I

37:43

tried to conjure

37:47

up some demons, but they

37:49

might have appeared. I don't know. Might

37:51

have scared them away. Say, what the fuck are you

37:54

playing, man? People

37:56

could tell Robert Basha. What's up, Rob? He's

37:58

in the chat. He says, would you say you're inspiration?

37:59

comes from a darker place,

38:02

it definitely does for me. Dark times,

38:05

fiery emotions. It does,

38:07

it does. For me, anything

38:09

that has eerie feel,

38:12

anything that

38:14

has impending

38:17

doom, I

38:19

gravitate to. You

38:23

know, Penderic, the composer,

38:28

he dabbled in a lot of very

38:31

dissonant notes with choirs.

38:33

And

38:37

also George Crumb, another composer,

38:41

he dabbled in a lot of very

38:43

dark, eerie musical movements.

38:45

And I enjoy those.

38:47

It's

38:50

hard to, you know, it's hard

38:52

to have me sit down and

38:56

watch a movie because immediately I

38:59

gravitate to the soundtrack and I don't

39:01

see what people are saying. And, you know, like, I'll

39:04

ask my wife, what they say? What's

39:08

going

39:09

on? I'm sorry, I was in the soundtrack, you know,

39:11

I was listening to the soundtrack. I

39:14

was in the soundtrack, you know, I was listening to

39:16

what was going on. So

39:18

that's a battle

39:20

for me, you know, having,

39:24

you know, the, I guess the attention

39:27

span, you

39:31

know, to control that, to stay focused

39:35

is a little difficult sometimes because my mind

39:37

wanders with music and rhythm

39:40

and any tones, any sounds, like, oh,

39:42

I really like that. I have to remember

39:44

that. Yeah. And sometimes

39:47

say, you know, babe, I gotta go

39:49

upstairs. I'm having a

39:51

musical, you

39:54

know, flood, the floodgates have opened

39:56

and I need to try to figure something out

39:58

upstairs. And And

40:01

then it's like, okay, I'll let you know how it is.

40:04

Yeah, no, I can see you getting

40:06

the call. I could see like a Scorsese

40:09

or like, you know, one

40:11

of these guys, especially if it's anything,

40:14

I mean, I know that's, it's kind of cliche right

40:16

now a lot of they're doing a lot of

40:19

post-apocalyptic or, but

40:22

I could see even this being, you

40:24

know, a soundtrack to some like thrilling

40:26

sort of adventure or some

40:28

sort of dark mysterious

40:31

adventure slash thriller. You

40:33

brought up Pender Recce, right? He's the one who did

40:35

that. It's like there's, it

40:38

was something for the, for the atom bomb

40:40

or something, right? Like he scored.

40:43

A sound, the atom bomb, yeah,

40:45

more than likely. Also, Carl

40:47

Heinz Stockhausen is another

40:50

lunatic, you know? And he, yeah, he, God,

40:52

he put microphones in

40:55

a helicopter. In

40:59

different several helicopters and

41:01

had cellos play

41:05

as the helicopters were

41:08

rising and all this is being recorded

41:11

remotely. And oh man, it's an amazing,

41:14

amazing, amazing

41:16

piece. I

41:18

can't remember the title. I

41:21

can't remember it off the top of my head, but it's one of

41:23

my favorite. And

41:26

that's, those are good examples because

41:28

that's like people who saw something

41:30

and made their, the vision musical.

41:33

Yes. Whereas like with this, the listener

41:36

is definitely going to create

41:38

images in their mind, not

41:41

just from, you know, whatever the album art, but definitely,

41:44

because I didn't have the album art at that point while

41:46

I was listening, you know, I was, Oh no, all right.

41:49

I mean, I had it in the email,

41:51

but it wasn't, like I don't have the physical. So

41:53

like, I'm just, I'm in my car

41:56

or I'm walking. Like I was, I took a long walk

41:58

with the dog and I.

41:59

I was really immersed in it. And I thought,

42:02

you know, I was trying to put myself in your shoes

42:04

and think about you creating it and think

42:07

about like where you were pulling

42:09

this from, you know, I, I call it like the

42:11

cloud or, but, but you

42:13

said,

42:15

you know, you said, you said something that

42:17

really resonated. Like you, you just got to go, you

42:19

got to go, you got to be alone. And

42:22

it's like, you're going to get the transmission and

42:24

then you, you tinker with

42:26

it until it becomes something. And now

42:29

it's a, now it's something that we can all. What's

42:32

what's cool is that then you go back

42:34

the next day and you

42:35

listen back and

42:38

you know, it's a crapshoot. You don't know whether it's

42:41

going to hit the same way it did

42:43

that night or,

42:46

you know, you just don't know. It

42:49

could be like, wow, this is, this is

42:51

okay. You know, it's a good idea,

42:53

but it didn't hit me like it did

42:55

when it, when

42:58

I first thought about it, sometimes

43:01

you'll go back and listen to like, well, this

43:03

is, this is pretty fucking cool. You know,

43:05

and then you hold onto it, you know, you

43:08

elaborate on that piece and then

43:10

you create your little body of work and put a

43:12

little bow on it,

43:14

put it in your hard drive and wait for its

43:16

turn to be mastered. Yeah.

43:19

So do you think you'll do like a couple live

43:22

performances for this and maybe include

43:24

visuals or rent a theater

43:26

out and do a live stream or, or

43:29

collaborate with.

43:30

I haven't, I haven't gone that far. There's

43:33

so many moving parts that

43:36

I would need to have several percussionists on

43:42

stage to perform

43:45

this. Um, you

43:49

know, and I don't want to use playback.

43:52

If I do it, would want, I would

43:54

want it to be, you know, organic

43:58

because of it, how deep

43:59

it is musically and

44:02

rhythmically. I

44:05

don't know that's still something out

44:09

there that it could be possible. I

44:12

just have to rethink it, restructure it

44:14

or just rethink in my mind

44:17

and figure out

44:19

what will be played,

44:21

what would be playback and would be

44:24

you know because some of the keyboard

44:28

sounds

44:29

or you know some of the drones that

44:31

I used

44:32

you know would have to be on playback.

44:36

So I don't know you know that for

44:38

me would deter me,

44:40

playback would deter me from doing something

44:42

like that. I would want to keep it as organic

44:45

as possible and that would be

44:47

the challenge

44:48

is to make sure that it's organic instead

44:51

of having a you know my laptop

44:53

on stage and press play,

44:55

play along with it you know that

44:57

would be exciting to me. It would

45:00

be exciting to have an actual

45:03

orchestra of rhythm

45:06

and even you know keyboards

45:08

or find a way to replace those drone

45:11

sounds you

45:13

know with an organ

45:15

or something. With an organ or with even

45:19

drum with a drum or

45:22

something

45:24

with a delay or reverb with

45:26

a real deep reverb,

45:29

lengthy reverb and delay on it. So

45:32

I mean there's a possibility but

45:34

not now. What

45:37

else you got in the can? What

45:39

else have you been recording? Anything we can I

45:42

mean this won't come out for another week or two but. I

45:44

know right. You

45:46

know when fans it's funny when fans

45:49

tell me oh you

45:51

should play a little album or you should you know

45:54

play some kind of what is

45:56

this music you should be thrash go

45:59

back to Slayer.

45:59

It's like, oh dude, really?

46:03

Okay, hold on, wait. I just released a Dead

46:05

Cross record.

46:06

I'm about to release an Empire State Bastard

46:09

record. Oh yeah, how was the

46:11

shows? You were in the UK, right? Yeah, I

46:13

was in the UK with Simon Neal and Mike

46:15

Vinart from a very popular band in

46:19

the UK called Biffy Clyro. A

46:22

lot of us don't know who Biffy Clyro is, but

46:24

they're massive in the UK. Massive.

46:27

They are,

46:29

they headline

46:31

download and Glastonbury. Biffy

46:34

is no joke. Yeah, no, they're

46:36

like, they headline download the next day

46:39

after Iron Maiden.

46:40

And you know, so I

46:42

mean, these guys are massive, but Simon Neal,

46:45

the vocalist for that band, and Mike

46:47

Vinart have a love and an affinity for

46:49

hardcore music. Yeah. And

46:52

for the past 10 years, they've been talking about

46:55

this and they hit me up during a pandemic

46:58

and took a shot in the dark and

47:00

said, well,

47:01

why not? Let's ask him.

47:03

He might not want to do it.

47:05

But they asked. First I fell

47:07

in love with the music. I was

47:09

like, wow, this is pretty fucking

47:12

cool. And you know,

47:14

odd time changes and yeah,

47:16

it's a little thrashy. It has a little bit

47:18

of grind core in it. It's hard to describe.

47:20

It's its own entity.

47:23

It has a personality

47:25

of its own. And you

47:28

know, so to give it a description is really difficult,

47:31

but it is in the heart music vein.

47:34

And you know,

47:36

when I heard the music, I was blown away

47:39

and I agreed

47:41

and they sent me the files and

47:44

I recorded it. I recorded the drums in

47:46

my home studio and I sent

47:48

it back and they were pleased

47:51

and it's gonna be out, I hope. I

47:53

hope sometime in September, but I think we're gonna release

47:56

or re-release the single already,

47:59

which is Harvest.

47:59

So that's

48:02

coming out. I have a couple other surprises. People

48:05

think I don't sleep or rest. I

48:07

have a month off

48:09

before I start up with Bumble. Yes,

48:14

I do, but I spent a lot of time in my studio.

48:18

I released a pop record

48:20

with my wife on vocals,

48:23

Venno Morris, and it's doing pretty well. It's

48:25

on all these playlists and alongside

48:29

of Taylor Swift and this dark, it's

48:32

called

48:35

Dark Mood category.

48:38

It's almost like Orgus Head. There's

48:44

a song by Blondeshell,

48:49

and it's a little bit in that vein.

48:53

But my wife, she doesn't want to tour, she doesn't

48:55

want to do any performances. This is just

48:59

us just writing music. The

49:02

album will drown into motion and

49:05

it's a bunch of love ballads. I'm playing

49:07

brushes, rim shots,

49:10

like funky beats. We're going to release a

49:13

video very soon

49:15

for the last song on the record called So

49:17

Good. Tim Stewart

49:21

from a hardcore band called Damage.

49:24

He plays

49:26

on it on that particular song and he's also

49:29

the lead guitar player

49:32

for Lady Gaga.

49:33

And he toured with suicidal

49:36

tendencies several years ago. I

49:38

fell in love with his guitar playing. It's just

49:41

so good, very

49:44

soulful. It's

49:47

just brilliant. I've always wanted to either

49:50

jam with him, which we have when

49:52

we were in suicidal. But record

49:55

something with him and he knocked

49:57

it out of the park.

49:58

on that song

50:00

it's just beautiful he really did it

50:03

on let's see what else

50:05

um uh let's see

50:07

one it's a surprise i kind of hinted

50:09

something on my instagram but

50:12

that's that'll be coming out maybe later

50:14

this year i'm still okay

50:17

um empire

50:19

state bastard mr bungles going on tour

50:23

um i'm going back to europe

50:25

in the uk play some festivals with empire

50:29

and uh and then back in the fall

50:31

possibly and do some more touring with

50:35

uh mr bungles but then in the summer

50:37

as well i have uh several

50:39

shows with the misfits

50:41

cool are you gonna do any like uh

50:44

drum clinics or anything

50:46

like that no man i'm not a teacher

50:49

man i'm a creator no

50:51

no yeah i really i respect

50:53

teachers and everything but

50:56

that's just not my my my thing

50:58

you know um

51:00

you know if i had gone to to

51:02

school and and uh for for

51:04

music um and

51:08

uh learned the language i think

51:10

you know i i could have and

51:13

maybe it would have continued with teaching or something

51:16

doing more drum clinics but it's just not

51:18

my thing i rather like hang out with a bunch of dudes

51:20

in a room and jam and uh

51:22

and be creative that way yeah

51:26

but yeah it's you know everybody's

51:29

everybody's different

51:30

i'm sure there's a demand though right like you

51:32

get offered them i do crazy

51:35

right yeah i do not crazy

51:37

uh i've been asked

51:39

but you know i my kindly

51:42

decline it's just no

51:44

thanks there was a period i was doing like 2014 2015 uh

51:47

but man it's

51:50

uh it's uh it's

51:55

challenging you know to

51:58

to keep uh to

52:00

keep the kids engaged and

52:03

talking to them and you know, but

52:06

then when I feel

52:09

like they're not, you know, responding or,

52:13

you know, or I see them

52:15

drifting, I'll just go, okay,

52:17

I'm gonna solo. And I just go on 15 minutes.

52:21

Yeah, you guys awake now? Right

52:25

on. So do you like the home

52:27

recording setup

52:29

better or do you find that it

52:31

leads to extending

52:33

the overall process because you're not

52:36

like under the gun to get it done?

52:39

No,

52:43

it doesn't for me because I've learned

52:49

to realize the moment the song

52:52

is done. Okay, there's no more I

52:54

can do. This is it. This

52:56

is what I want. This feels good to

52:58

me. I need to

53:00

put it aside and let it go.

53:05

So that's something that you teach yourself because you

53:07

could always change it. You could always

53:09

make it better in your mind. Yeah,

53:12

but we should do this. Yeah, but we should do

53:14

that. And it's just like, it's never ending. You

53:16

have to learn how to shut that door

53:19

and set it aside and not

53:22

get, maybe go back to it later. And if there's

53:25

something that is, you know, screaming

53:27

at you like saying, yeah, fix me, or

53:30

this section could be a little bit better, then

53:32

address it. But you have to learn

53:35

how to step away.

53:36

That is

53:38

key. Because you- That is.

53:41

Yeah. I say you're never truly done. You just walk

53:43

away. You're never really done. No,

53:47

and sometimes

53:49

you could do more harm to the

53:52

piece by

53:54

continually picking at it and

53:56

tearing it apart and then wedding work.

53:59

when you refer, reference

54:02

an original piece,

54:04

you're like, whoa, this,

54:05

why does this sound or feel

54:08

so much better

54:09

than, than the

54:11

final product? And it's because

54:13

you've picked at it so much,

54:16

and, you know, ripped it apart, and then put it

54:18

back together again, so many times that

54:21

you lost

54:23

that, that special

54:26

element, whatever it was. And

54:29

sometimes you can revert to it and, you

54:32

know, recapture

54:34

it. But a lot of times, you know, once it's

54:36

gone, you know, it could be as easy as just

54:39

one instrument or as simple as just one instrument.

54:42

And you fine tune that

54:44

instrument. And now, that was

54:47

what gave it that special

54:49

groove or vibration

54:52

or feel. Yeah. What's

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57:07

to the show you do you do

57:10

you remember where your last show with

57:12

Slayer was no

57:17

and

57:19

do you remember because

57:22

because I'm looking at this I'm looking at your your

57:25

bungle dates this is because I I

57:27

go into a venue and I go did I

57:29

play here with Slayer like that's my gauge

57:31

of yeah

57:33

like did we open for Slayer but

57:35

but

57:36

what is your I guess

57:38

the where I was going with this was what

57:40

was your favorite gig with Slayer like if you

57:42

had to narrow it down to one that you just thought

57:45

the band was just fucking

57:47

crushing because I saw many with you where

57:49

I was like I don't know if it'll top this and

57:51

then he would top it

57:54

dude in the that

57:58

band the four original members.

58:01

I said this in another interview.

58:04

It's like, anybody can

58:06

be replaced.

58:07

I mean, we can see it. Stephen

58:09

Tyler and Journey, not

58:11

Stephen Tyler, I'm sorry. Stephen

58:13

Perry. Stephen Perry. Steve

58:16

Perry and Journey. You

58:19

know, several other musicians throughout

58:21

history, I just found out that, well,

58:23

I think I've known this for a while, that Foreigner,

58:25

there's

58:26

no original members in Foreigner.

58:29

Right, yeah. Okay.

58:33

You know, and now with Pantera, you

58:36

know, but

58:38

the original members,

58:41

where is the magic, you know,

58:44

you could bring other musicians to take people's place.

58:46

But man, there was

58:49

a chemistry

58:50

with Slayer that was undoubtedly

58:54

one of the most

58:55

intense

58:59

musical

59:01

marriages to ever exist.

59:05

So to nail down just one venue,

59:09

one show, there were so many

59:11

that

59:11

were just absolutely brutal. And,

59:16

you know, you can't, and

59:18

like other bands I play in, there are moments

59:20

where, you know, it's magical,

59:23

and it just feels so good.

59:27

But yeah, there's a lot of them,

59:30

and it's hard

59:32

to pinpoint one, you know, I could easily say,

59:34

oh, big four. No,

59:36

there were others. There

59:38

were other shows we had played, you know,

59:40

where we were headlining. It was

59:42

our own show,

59:44

let's say, at

59:47

like, not an arena,

59:50

but more like a club, you know, those

59:52

shows were

59:53

very cool, or even theaters,

59:56

the Tabernacle, you know, that

59:58

place is really cool. Yeah, you know,

1:00:01

there's a there was another

1:00:03

venue. The

1:00:05

one in Milwaukee, the rave,

1:00:08

the rain, the Eagles. Yeah,

1:00:11

that's, you know, even in Chicago,

1:00:14

the Aragon, even though the stage was really

1:00:16

high. Oh, yeah. As we played with you there.

1:00:18

That was sick. Yeah, we played there. Oh,

1:00:23

what's that one in Detroit? Harpos.

1:00:26

Harpos. You

1:00:29

know, people were scared for their lives

1:00:33

inside and outside the show. Yeah.

1:00:36

Yeah. Because on your routing

1:00:38

for Bungle, like, you

1:00:40

know, I don't think I've ever played the Fox Theater,

1:00:42

but you got two nights there and I'm like, man, you must have

1:00:44

played there with Slayer and just fucking destroyed.

1:00:46

No, I said, you know, there's a

1:00:48

lot of places I walked into and all.

1:00:51

Yeah, Slayer played here. It's like, wow, I don't remember.

1:00:54

Bunk to the stage with a Red Bull in hand.

1:00:59

All right.

1:01:00

So I don't know. There's

1:01:02

so many. It's just the

1:01:05

Ventura show was crazy, too,

1:01:07

when we played with you guys in Ventura at that theater,

1:01:09

because you're playing the Fox and Pomona, too, which

1:01:12

we we did that like maybe 10 years

1:01:14

ago, which was killer. But I

1:01:16

love all those places have the best vibes,

1:01:19

like those places that are still standing,

1:01:22

their institutions for rock and

1:01:24

metal and then and all sorts of

1:01:26

different genres. But they're just like you

1:01:29

walk in and you're like, there was blood on

1:01:31

the floor after Slayer played. Yeah,

1:01:34

I remember that. Yeah, that was a

1:01:36

show, a Hollywood Palladium show.

1:01:38

That Slayer played and

1:01:41

I took a walk,

1:01:42

you know, after, you know,

1:01:45

the crowd had cleared

1:01:47

and just to look at the

1:01:49

damage. And man,

1:01:51

there were so many pools of blood.

1:01:55

You know, it was like a sacrifice that

1:01:57

happened.

1:01:59

but several different ones. It

1:02:03

was intense seeing

1:02:05

all that. But

1:02:08

that's only a small

1:02:11

part of the big picture. Because

1:02:13

there were a lot of places we played that it was similar.

1:02:17

Blood on the floor, railings,

1:02:20

chairs being ripped out. People

1:02:23

just angry. It's

1:02:25

like, dude, don't do that.

1:02:28

We're not going to be able to ever come back. I

1:02:32

wanted to ask you after, because I didn't get to see you

1:02:36

at the Misfits show at Madison Square Garden. That

1:02:39

in itself was just such a trip. I

1:02:41

really soaked it all in. People

1:02:43

watching that show was incredible. But

1:02:45

I

1:02:46

did want to ask you if you

1:02:48

remembered the show in

1:02:50

the theater at MSG, where Slayer

1:02:53

was. Oh, at the Philharmonic.

1:02:55

Yeah, you were famously banned

1:02:58

from MSG, the theater

1:03:00

at MSG. Yeah, the theater at MSG,

1:03:02

the felt forum is what it was called that night.

1:03:05

That was the show where the

1:03:09

fans just started pulling, ripping

1:03:12

the seat cushions out

1:03:15

of the seats. They

1:03:18

were throwing them, hurling them across

1:03:22

the floor. Eventually,

1:03:25

because of all the dust and

1:03:28

all the crap that was in those seats,

1:03:31

I remember this really thick haze

1:03:34

covering my vision. It's like, what the hell is

1:03:36

all this stuff? And then realizing that

1:03:39

a seat cushion flies up over me

1:03:41

and I'm having to duck, like

1:03:43

this. Whoa, whoa. And

1:03:47

that was an experience. And it

1:03:49

got to a point where the fans,

1:03:54

I guess the seats went up

1:03:56

closer to the roof or

1:03:58

to the ceiling.

1:04:00

And so the seats went up and the

1:04:02

people that were sitting on top,

1:04:04

close to the ceiling, were starting to

1:04:06

rip the

1:04:08

ceiling squares

1:04:11

down and throwing those. Oh my God.

1:04:13

Like, come on, man.

1:04:15

It was crazy. But

1:04:19

not thinking that the band is going to have to

1:04:21

cancel. Yeah.

1:04:24

And we probably had to pay for it at

1:04:26

that time.

1:04:29

It was another time I remember we were playing stadiums

1:04:31

and they had chairs in the pit.

1:04:34

And the fans, as

1:04:36

soon as we went on stage, they

1:04:38

started getting the chairs. They made

1:04:41

a nice little pile, you know,

1:04:43

on the side. It's like, okay, we're going

1:04:45

to put these over here. You guys can have them, but we

1:04:48

need some space. And,

1:04:50

uh, yeah, you

1:04:52

don't, you don't put seats in a pit, man.

1:04:55

You leave that open for the fans to run around

1:04:57

and do their thing. For

1:05:00

sure. For sure. Well, Dave, I'm excited

1:05:03

to, uh, to see you at either, either

1:05:05

the misfit shows or these shows with Bongo, everybody

1:05:07

go get your ticket. This may 10th to

1:05:09

the 24th ending with two.

1:05:12

I like that you're doing two shows in each, right? So like

1:05:14

the Vegas one is that lineup, by

1:05:16

the way, is just crazy. What

1:05:20

are you going to check out at

1:05:22

that? Yeah. Are you going to go see,

1:05:25

um, cause that lineup is

1:05:27

bonkers.

1:05:28

Were you, were you into any of those bands? Oh,

1:05:30

fuck yeah. Well, my friends in, in

1:05:33

system of a down love those guys.

1:05:35

I look, I was into the band before

1:05:37

they were even signed. That's

1:05:40

how far it, and actually John

1:05:42

and John Dolman and

1:05:44

Johnny tempest and I, we went out to dinner now

1:05:47

several weeks ago. And

1:05:50

he said, dude, you were watching us play

1:05:52

like the smallest clubs. I said, yeah.

1:05:54

And it's because I was really into bands,

1:05:57

bringing.

1:05:58

in

1:06:00

their culture into metal.

1:06:04

So I was very much into this band

1:06:06

called La Berinto that brought in Afro-Caribbean

1:06:11

drum rhythms into hardcore music

1:06:13

and it was awesome. That band doesn't exist anymore

1:06:15

and I don't even think that album

1:06:18

exists on sale or anything.

1:06:21

But I have it on streaming, right? No,

1:06:23

I don't think no. And

1:06:26

then I heard of several other bands

1:06:28

that were bringing in some

1:06:32

of their culture into hardcore music. And

1:06:35

then when I found out that they had brought in some

1:06:37

Persian rhythms

1:06:39

or they were

1:06:41

from Armenia and some

1:06:44

members are from Lebanon, it

1:06:46

was like, wow, I got to check these guys

1:06:49

out. And fell in love with them. We

1:06:51

became friends very early on and

1:06:54

so I'm looking forward to seeing them.

1:06:55

And right now off

1:06:57

the top of my head, I

1:07:01

don't recall any of the other bands. I

1:07:03

think Deftones are playing, Kornis. Melvin.

1:07:05

Yeah. Melvin's Body Count, Seven

1:07:07

Dust, Soulfly, Ministry.

1:07:11

Yeah. I mean, you

1:07:13

know, Body Count, you got to love Ice-T,

1:07:16

Will, Vincent, Ernie,

1:07:19

Juan, all those guys. Fuck, man.

1:07:21

It's going to be great. It's going to be a good hang.

1:07:24

Yeah, no, it's going to be awesome.

1:07:26

I'm so tempted to go out for

1:07:28

that. I want to see Turnstile too. Turnstile

1:07:31

is great. Cold Chambers. I want

1:07:33

to get Dez back on the podcast. But

1:07:35

yeah, that's going to be fun. And then yeah, ending in,

1:07:38

well, you got two shows in Seattle and then yeah, ending in

1:07:41

Oakland, which is going to be bonkers.

1:07:44

So is the, is the Bungle lineup

1:07:46

the same as the last batch of shows? Yes.

1:07:49

Yes. Scotty, Ian, myself, Trevor,

1:07:51

Trey, and Patton. Yeah.

1:07:54

Awesome. Awesome. Yeah. Get your tickets

1:07:56

now. You can go to, you can go

1:07:58

to Ipecac.

1:07:59

If there's tickets left. Yeah,

1:08:02

actually, I think some of these are sold

1:08:04

out. Ipecac.com

1:08:06

is the site to go to, and you can preorder Dave's

1:08:10

record as well. You'll see it.

1:08:12

What

1:08:14

are the preorder packages like? Can we get sticks?

1:08:17

Can we get a signed head? Can we get

1:08:19

a t-shirt? No.

1:08:24

There is one location

1:08:27

where you can get a signed little

1:08:31

three by five card with the

1:08:34

album. You

1:08:38

could also get- It's on vinyl, right? It's on

1:08:40

vinyl as well as CD and download.

1:08:43

You could also get another production

1:08:46

if you wanna like relax

1:08:48

and chill, you know, with your old lady, hang

1:08:51

out, have a glass of wine, and

1:08:54

you know, you could pick up the Venomoris album

1:08:57

that I played drums and produced

1:09:00

as well.

1:09:01

That's on three 1G records.

1:09:04

I think all we have is the clear vinyl left,

1:09:07

but I have that one and also

1:09:09

the

1:09:11

Rights of Percussion

1:09:13

album. Yeah, there's three different. There's Purple Haze,

1:09:16

there's Cigar Smoke, and

1:09:18

then the Blood Red, which

1:09:21

is, it's supposed to be Blood Red,

1:09:23

but I thought it was gonna be Blood Red.

1:09:26

Is it pink? I think. Yeah.

1:09:30

Yes. Cigar. Kind.

1:09:32

So you'll be able to order those.

1:09:35

I think those are gonna be released on record store

1:09:37

day. And

1:09:39

yeah. Yeah. Cool. But

1:09:42

then that was me. Oh man, this

1:09:44

is, I like the swirl. Let's

1:09:46

have one with the swirl on it. Call

1:09:48

it Blood Red. Well,

1:09:50

that swirl turned out to be Strawberry

1:09:53

Shortcake. I

1:09:57

love it.

1:09:58

one more question

1:10:00

from the chat here, Mike Murray, any chance of any

1:10:03

other classical music projects similar

1:10:05

to the Valdee record you did?

1:10:13

Uh, no, there isn't. No, I was trying to

1:10:15

categorize it. It's like, would this be a little

1:10:17

bit classical? But no, uh,

1:10:20

no, but there's going to be some, uh,

1:10:23

in the future,

1:10:24

something very dark

1:10:27

and drony, very

1:10:30

moody, uh, ambient

1:10:33

music that I'm going to be

1:10:35

releasing with a, a very

1:10:38

notable, uh, musician

1:10:40

that is in that genre.

1:10:43

Cool. All right. That's later.

1:10:46

I'm still working. I'm only three songs deep in

1:10:48

the song in this, on this album. So,

1:10:51

uh,

1:10:51

yeah, it's, it'll, it'll come together.

1:10:54

This is going to take a little time. Right

1:10:57

on. Well, Dave, thanks so much for the time, man. Great

1:10:59

to see you and congrats on the record. Right. So

1:11:01

percussion, everybody coming out

1:11:03

May 5th on Epic hack recordings,

1:11:06

check it out. And, and yeah, hopefully I'll see you.

1:11:08

I'll either I'll see you with negative and fear. I

1:11:11

mean, misfits, make it a fear. That's a banger,

1:11:13

bro.

1:11:14

Yes. That's more beer. I

1:11:16

can't wait to see Dirk man. The drummer he's

1:11:19

great. Dirk's great. Yeah. Dirk's

1:11:21

way cool, man. Can't wait to

1:11:24

see him and Gekko and,

1:11:26

and James Lomensa. I'm

1:11:28

really excited to see James.

1:11:30

Yeah. James and James

1:11:33

and Dirk, man. That's a rhythm section right

1:11:35

there. Yeah. Yeah. It's

1:11:37

great. And good to see Dave again.

1:11:40

I haven't seen him in a while. So it's

1:11:42

going to be great to catch up with him, you know, um,

1:11:46

and, uh, just see all those guys can

1:11:49

be great.

1:11:50

Awesome. Appreciate you man. Take

1:11:52

care. And anytime you want to come back, you're

1:11:54

more than welcome. And, uh, and,

1:11:56

and we'll make sure we get some, uh, get some pre-orders

1:11:59

in for you.

1:11:59

definitely move the needle and and yeah

1:12:02

have a great time with with Bungle.

1:12:04

I'll see Scotty in right after that because he's I'll

1:12:06

be out at Milwaukee Metal Fest and Anthrax's headlining

1:12:09

day too. Oh good

1:12:10

awesome awesome brother. Well

1:12:12

I'll see you one of those shows make sure to hit

1:12:15

me up okay and uh I will yeah

1:12:17

don't be a stranger. I won't

1:12:19

thanks so much yeah and I know I know everybody's gonna

1:12:21

be like you didn't you didn't ask Dave about we'll

1:12:23

get you back on next time when we'll ask you about your

1:12:25

cooking again because everybody loved that last

1:12:28

time. Which one what? Like

1:12:30

you were I think you were making the carbonara

1:12:32

was your was your pandemic uh

1:12:35

masterpiece. What have

1:12:37

you been cooking lately then? I'll keep you for 30

1:12:39

more seconds. Let's see

1:12:42

what was uh lately oh

1:12:44

man fish

1:12:49

tacos. Whoa really?

1:12:51

I love fish tacos man.

1:12:54

Not tilapia though right like I don't fuck with tilapia.

1:12:57

No no no no no I usually use

1:12:59

cod you know by

1:13:02

flaky you know or some halibut but

1:13:04

oh man yeah I do like a bastard

1:13:06

version of a of

1:13:10

a fish taco and it's fucking great man

1:13:12

I love it. Corn tortilla, flour

1:13:14

tortilla, corn bro, corn,

1:13:17

double double corn tortilla

1:13:20

roasted on the on the stove like you get

1:13:22

the flame going. Little

1:13:24

burnt you know you burn them up a little bit

1:13:26

get them a little toasty and you

1:13:29

know throw your fish whether you want to grill

1:13:31

it or you want to fry it however you want to do it and

1:13:33

you put it in your tortilla and you get some cabbage

1:13:36

with like a chipotle dressing you

1:13:38

whip it up you throw it on top there's salsa

1:13:41

avocado maybe tomatoes and

1:13:43

uh

1:13:44

down it goes. I have a I

1:13:46

had a fish taco not too long ago with those with

1:13:49

peaches in the salsa and it was actually

1:13:51

really good it was like okay okay it's almost

1:13:54

like almost substituting uh mango

1:13:56

sometimes they do a mango salsa

1:13:58

and And

1:14:00

so instead Peaches, yeah, I can see that. Yeah.

1:14:04

Doesn't sound bad. Right on. All

1:14:06

right. I mean, now you got me hungry, but

1:14:08

I know right. When you do the cookbook, we'll have

1:14:10

you back on, Dave. Oh yeah.

1:14:12

That would be awesome. And we still got to do Lombardo's

1:14:15

linguine. If I bring back Jasta pasta,

1:14:17

we got to do it your own. Oh wait,

1:14:19

man. My linguine and clams

1:14:22

is bomb, bro. I'm serious.

1:14:25

Don't get me started on that.

1:14:27

We just had Bobby Blitz on talking about linguine

1:14:29

and clams to overkill. Repping

1:14:32

for the linguine.

1:14:33

Yeah, man. That's that's some good shit right

1:14:35

there. We got a market.

1:14:38

It's almost like just four ingredients. You

1:14:40

get your linguine. You got your, uh,

1:14:43

uh, your parsley, your pasta,

1:14:45

a

1:14:46

little bit of starchy water. Uh,

1:14:48

yes. Uh, yeah.

1:14:52

I think all was that garlic, a

1:14:54

little bit of garlic. Yeah.

1:14:56

Yeah. Hungry. Yeah.

1:14:59

Right. You got to do the cookbook brother. Okay.

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Jake Olszewski, Ben Lee,

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AJ Lewis, Garrett Keeping, Dan

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