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April 2, 2003 – Lars interview with French Rolling Stone Magazine
Цитата:
RS: Heavy, brutal…ummmm I would say jam oriented, it seems like a continuation of jams every song of the six we heard. It will surprise many people many saying that means that Metallica are still alive, still the king of rock, metal. Was there any, even if it was the end of the process, is there a need to surprise people with this?
Lars: Well, you know, look, I’ve sat here for three weeks now and talked about this, I mean obviously, you say the same thing more or less, you know, everybody is like, it’s gonna be a big surprise. I’ve lived with this Metallica for six months, it’s not a surprise to me. I have to remember…it hit me, a guy from Denmark sat right there and he goes "this is very different from the Symphony album." I go yeah, no shit, it’s very different from the Symphony album, it’s sort of like, well the last thing that people have heard from Metallica is this fucking Symphony album you know? I’ve been living with that (new Metallica) for the last six months. I’m already thinking about the album with Rob Trujillo. Do you know what I mean? So of course when you guys come in to our little clubhouse and say these great things and so on and get the responses, it’s yeah, but I have to get in the mindset of you guys. Was there a need to surprise? (long pause) Ummmm, not initially, maybe as the year went on. You might have heard this story. Basically what happened…we wrote just songs and songs and songs, no idea where it was going, just every day show up and jam on different things, different sounds and all of a sudden starting in late summer, early fall, August, September it just, every week it got a little heavier and a little faster and then in October Bob Rock said "we’ve got 35 songs, give or take, on Monday morning show up with a list of the 15 songs you want to continue to work on," which are the 15 to go to the next level. And then we showed up and the only songs we could agree on, the only songs we all four had on our lists were the four songs that were fast, that were faster than the other stuff. Everything else we had this thing and this jam and this ballad and this ??????? thing and all this kind of crazy shit. It was like, well fuck if this is what we’re feeling maybe we should do some more so we kinda started pointing the album more you know okay so lets do some more fast things. And it was really fun and it felt very natural and it felt, "Wow, I’m home again, why did I run away from home for 10-15 years, that was strange but maybe for reasons we don’t need to get into now I needed to go off and be on my own or do something different or go away from what I know, but now I’m here again" and it felt really good and in November, December, January it’s like okay fine, sure, this is what we’re doing and we’re really fucking good at this actually. It’s very natural, maybe a little less ummmm you know, a little less, what’s the right word, a little less forced maybe. Some of the stuff maybe now in retrospect on some of the earlier records was a little more "we have to do something different" just to do something different and this was maybe a little less forced in that direction and I guess as the last couple of months, not that we have anything to prove, but we certainly...it’s pretty fun to see people’s reactions, it’s pretty fun and so I’m happy that people are reacting the way because…I think one of the things that people are reacting to is... the one thing that was really important for us to try and do with this record, like we talked about before, was to retain the purity of those musical moments out there. Most of the previous records the studio has been a place of execution, the studio has not been a very creative place, it has been a place where you go and work, you execute something that you created somewhere else. This is the first time where I think that there has been moments, this record is a collection of moments and I’m really proud of that and I’ve been very, very fearful...all through the process I’ve really only started not being fearful in the last couple of weeks because I’ve always been fearful that at some point we are going to chicken out, we’re gonna pussy out and start fixing some of those moments, start cleaning them up and start taking some of the weird noises out and we’re gonna start putting things into the computer and do autotune and we haven’t and I’m very, very proud of that. That was really essential and that…people really react to that and I am quite…I can see now, how was it you phrased it, this thing about surprising…to me this record is a combination of two things; a combination of, you know, the speed and the aggressiveness and all this type of stuff but it’s also the rawness. You could have this music with the Black album sound and it would be a completely different thing. I think people are very much reacting to the feel, the sound, the rawness of those moments and I’m so proud of the fact that we left them.
RS: Does it mean that what we heard is not just rough mixes…
Lars: No, no, no, that’s the record.
RS: Are those six tracks a faithful representation of the whole album?
Lars: Yes, absolutely.
RS: Or does it mean that there will be at least one or two songs that are more radio friendly or…
Lars: No, it’s all that. 75 minutes of that. I could play you the other five or six…I mean to me..what I tried to do…it’s about this (makes waving/rolling motion with his hands) all the time, every four, eight bars something changes and you have all those moments out from the floor that you put together and do this and so yeah, most of the songs have grrrrrr and then, you know, lighter parts, that’s what makes those moments but there’s no… there’s not a ballad or there’s no…
RS: Radio friendly…
Lars: No, I mean it’s 75 minutes of that, if I played you the rest of them. It’s just all that.
RS: Does it mean you don’t care of the commercial side of it?
Lars: People have started pointing that out to me in the last couple of weeks. I guess, yeah, I haven’t really thought much about…there was a German guy who sat there a couple of weeks ago who said that the guy from the record company, Peter Mensch played him some stuff and so the journalist who sat there said the product manager from the German record company called the album COMMERCIAL SUICIDE.
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