A Quote by Chino Moreno
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
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There's no place for Depeche Mode and the Sisters of Mercy in the music I make with my band. If I was a fan, I wouldn't want to hear that on a Black Veil Brides record. It was important for me and for the integrity of the band not to tarnish it.
I don't know if I was a poseur - I really did love metal, always - but I gave a lot of other things a chance. I wanted to meet, um, girls, so I would check out 'Depeche Mode.'
When Depeche Mode put out a single you knew that a week later you could go and buy the 12" and it would have six versions and they were all better.
I don't know if I was a poseur - I really did love metal, always - but I gave a lot of other things a chance. I wanted to meet, um, girls, so I would check out Depeche Mode. But mostly I wanted stuff with pentagrams and crowns of thorns on it.
As part of Depeche Mode, I don't think it's right for me to be using my own songs for a solo project. I'm not a very prolific songwriter, so I keep those for Depeche Mode.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
In the very beginning, I kind of had this hip-hop, cut-and-paste approach to music. The first record, especially, was from looking at people like DJ Shadow and A Tribe Called Quest, and I think a phase that a lot of people go through when they start sampling is to go out and stamp on twigs and try to record that kind of stuff.
I must have been a really tough kid to corral. I got disciplined quite frequently. I guess that would be the best way to say it. The rod, I wore out the rod. You know, Spare the rod and spoil the child? Well, I wore out the rod.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
I've always kind of had an interest in the drums but nothing else. The drums are the only thing I feel I would be good at, because I'm a very physical person. I've always played sports and stuff. Drums would give me something to do.
I use to live on this street when I was a kid where there was an old person retirement home, and all of the old people would listen to that band Herman's Hermits, and they would wear white nursing shoes. And they would throw away stacks of VHS tapes, and I would go through the trash and take them.
I'm not ruling out music forever. I'd love to do that, but if I ever did, I don't think it would be with a record label or anything like that. It might even look like me finding a band and kind of playing in bars.
I would really love to collaborate with Gwen Stefani and M.I.A.; artists that kind of make sense with me vocally. And in terms of style, I'm a very visual artist. I really love Pharell. I love people that really care about drums, and I like beat-heavy.
If I had my way, I would build a lethal chamber as big as the Crystal Palace, with a military band playing softly, and a Cinematograph working brightly; then I'd go out in the back streets and main streets and bring them in, all the sick, the halt, and the maimed; I would lead them gently, and they would smile me a weary thanks; and the band would softly bubble out the 'Hallelujah Chorus'.
I like golden-era hip-hop because they were recording on a 2-inch tape. There was dirty, raw sampling. It's nasty. It has a vibe to it.
Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.
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