Post by The Sound (Admin) on Apr 2, 2017 0:25:49 GMT
INTERVIEW: Matt Cameron talks about the reissue of "Ultramega OK", the new album from Soundgarden, Pearl Jam in the Hall of Fame - Rockol Italy
(Note: The article is written in Italian. Below is a Google Translation - excuse any bits lost in translation)
(Note: The article is written in Italian. Below is a Google Translation - excuse any bits lost in translation)
In 1988, Soundgarden was one of the most popular groups in the Seattle scene, strangers elsewhere. It emerged from the same cultural background label Sub Pop, they were in the middle of negotiations to affect the major A & M, made a sensational for a Seattle band in the pre "Nevermind", but wanted to publish their first real album with a 'dell'hardcore American cult label, SST. That record, titled "Ultramega Ok" and produced by Drew Canulette, signaled a new way of making music, including metal, hardcore, psychedelic blues-rock, but had a flaw: the compressed sound, the lack of "presence" of the tools . He was thought to remedy with a new mix of Jack Endino, but it all came to nothing for lack of time and money. Today that project has been completed and "Ultramega Ok" has never sounded so good. The reissue also contains six alternative versions drawn from the session made Endino in 1987. We spoke briefly with drummer Matt Cameron, also pursuant to Pearl Jam and Temple of the Dog.
Remix an old album is a bit 'like trying to rewrite history?
We are not trying to correct the story, it is that we tried to remaster "Ultramega OK" and did not sound much good, so Jack Endino moved to take the onerous task of rimixarlo from scratch. He did it by taking as a reference the old mix, with the result that today "Ultramega OK" is not radically different from the original album, but has a sound, you know, to date.
It's been 29 years since the release. What effect did you hear it again?
I feel a very young team and full of energy. The music, which I still find it pretty good, reflecting what were at the time: a group of twentysomethings or so. Too young for me today I can empathize. It seems like a lifetime.
Once Chris Cornell said "Ok Ultramega" was written too quickly. you have not had time to write the pieces, in fact. Is that so?
If you look back, actually we used a lot of songs that had already been made, as we did for "Louder than love" in hindsight. Many pieces, I would say at least 35 were written before I arrived. The first album featuring completely new compositions was "Badmotorfinger".
All were writing music ...
When I arrived in Soundgarden, in 1986, they were already consolidated in terms creative magazine, but fortunately proved to be open to collaboration. I had already experienced a little 'demo with Jack Endino to Reciprocal, I listen to them, they decided to record "He did not" for "Ultramega OK." It's my first song that appears in a Soundgarden disc.
Were you aware of what you were doing? In particular the fact that your mischiasse metal music, hardcore, psychedelic, new wave. At the time it was a bit 'blasphemous.
It was one of the things I liked the band. The blues element mingled with improvisation psychedelic mold and it emerged at the time of "Ultramega OK." Not that we consciously thought: There was natural.
You were more original than what you thought?
Not this one, I do not think, because at that time there were many unique band in the underground, the Butthole Surfers to Minor Threat. most original we do not we considered who had influenced us, from Black Flag to Blackouts Seattle, but it sure was fun to be part of that lap.
"Ok Ultramega" came out before everyone began to love your city, in the words of Mudhoney. A local scene, however, was largely formed. He felt that something special was happening in the Pacific Northwest?
I do not think, not at the end of the 80s. I think the aspiration of all those who, in the days when Sub Pop began publishing records, it was to become part of the national network that included the independent music scene in Boston, Austin, New York, Chicago, Washington DC He was a ... underground movement underground and Seattle was a member.
Bruce Pavitt and Jonathan Poneman of Sub Pop were intended to emphasize local identities of rock music.
That's what was the underground movement 80 years for all of us: cool bands and record labels, accurate graphics, a limited audience, but growing ... until the phenomenon does not burst in the early 90s.
Do you think that being part of a community like the one in Seattle developed around the Sub Pop was important for Soundgarden?
He has made a difference. We did not feel alone. And the rest was easier that they develop local communities and identities in an age where the Internet and other media were not there.
What, in your opinion, the musical and cultural legacy of those bands today, in a period when the guitar rock does not seem particularly popular?
Oh no, not any more, unfortunately ... We were trying to maintain control over our music and to avoid the niceties. To put in a bit 'of dirt. We were tired of clean rock that was listened around, heavily influenced us to the spirit of punk. That's why this music was so pleased. As to the cultural impact, none of us could predict it, but basically it is what you hope happens when you make music and looking for a connection with your listeners. It is the ideal situation: you can succeed without compromising your sound.
And today?
Today it is all too easy sovrapprodurre music and reason about it until you lose the original spark. I have two teenage sons and the other day we were listening to "Nevermind" by car. That record still for me is the future of music. It is still a point of reference for writing, the production, the integrity. I like the music simple, but the impact ... Ok, I'm an old [laughs].
Today "Nevermind" do not you think a disc from dated production?
Oh no, it's fresh and intense as it was then. Because it's real.
How are they going to record the new album of Soundgarden?
All right, even though we started working on it rather slowly because of Chris commitments, but also mine. We recorded demos of six, maybe seven songs and now we will write many. We cut the time to make up before going into the recording studio.
And the new Pearl Jam?
For now the only plan it together and writing new songs.
The Pearl Jam's entry into the Rock and Roll Hall of Fame has a special meaning for you? And how many drummers will be present?
Things are out of my control, I have no idea what will happen with the drummers, I just know that those who enter the Hall of Fame's me and Dave Krusen. It is an honor. It will be funny.
(Claudio Todesco) www.rockol.it
Remix an old album is a bit 'like trying to rewrite history?
We are not trying to correct the story, it is that we tried to remaster "Ultramega OK" and did not sound much good, so Jack Endino moved to take the onerous task of rimixarlo from scratch. He did it by taking as a reference the old mix, with the result that today "Ultramega OK" is not radically different from the original album, but has a sound, you know, to date.
It's been 29 years since the release. What effect did you hear it again?
I feel a very young team and full of energy. The music, which I still find it pretty good, reflecting what were at the time: a group of twentysomethings or so. Too young for me today I can empathize. It seems like a lifetime.
Once Chris Cornell said "Ok Ultramega" was written too quickly. you have not had time to write the pieces, in fact. Is that so?
If you look back, actually we used a lot of songs that had already been made, as we did for "Louder than love" in hindsight. Many pieces, I would say at least 35 were written before I arrived. The first album featuring completely new compositions was "Badmotorfinger".
All were writing music ...
When I arrived in Soundgarden, in 1986, they were already consolidated in terms creative magazine, but fortunately proved to be open to collaboration. I had already experienced a little 'demo with Jack Endino to Reciprocal, I listen to them, they decided to record "He did not" for "Ultramega OK." It's my first song that appears in a Soundgarden disc.
Were you aware of what you were doing? In particular the fact that your mischiasse metal music, hardcore, psychedelic, new wave. At the time it was a bit 'blasphemous.
It was one of the things I liked the band. The blues element mingled with improvisation psychedelic mold and it emerged at the time of "Ultramega OK." Not that we consciously thought: There was natural.
You were more original than what you thought?
Not this one, I do not think, because at that time there were many unique band in the underground, the Butthole Surfers to Minor Threat. most original we do not we considered who had influenced us, from Black Flag to Blackouts Seattle, but it sure was fun to be part of that lap.
"Ok Ultramega" came out before everyone began to love your city, in the words of Mudhoney. A local scene, however, was largely formed. He felt that something special was happening in the Pacific Northwest?
I do not think, not at the end of the 80s. I think the aspiration of all those who, in the days when Sub Pop began publishing records, it was to become part of the national network that included the independent music scene in Boston, Austin, New York, Chicago, Washington DC He was a ... underground movement underground and Seattle was a member.
Bruce Pavitt and Jonathan Poneman of Sub Pop were intended to emphasize local identities of rock music.
That's what was the underground movement 80 years for all of us: cool bands and record labels, accurate graphics, a limited audience, but growing ... until the phenomenon does not burst in the early 90s.
Do you think that being part of a community like the one in Seattle developed around the Sub Pop was important for Soundgarden?
He has made a difference. We did not feel alone. And the rest was easier that they develop local communities and identities in an age where the Internet and other media were not there.
What, in your opinion, the musical and cultural legacy of those bands today, in a period when the guitar rock does not seem particularly popular?
Oh no, not any more, unfortunately ... We were trying to maintain control over our music and to avoid the niceties. To put in a bit 'of dirt. We were tired of clean rock that was listened around, heavily influenced us to the spirit of punk. That's why this music was so pleased. As to the cultural impact, none of us could predict it, but basically it is what you hope happens when you make music and looking for a connection with your listeners. It is the ideal situation: you can succeed without compromising your sound.
And today?
Today it is all too easy sovrapprodurre music and reason about it until you lose the original spark. I have two teenage sons and the other day we were listening to "Nevermind" by car. That record still for me is the future of music. It is still a point of reference for writing, the production, the integrity. I like the music simple, but the impact ... Ok, I'm an old [laughs].
Today "Nevermind" do not you think a disc from dated production?
Oh no, it's fresh and intense as it was then. Because it's real.
How are they going to record the new album of Soundgarden?
All right, even though we started working on it rather slowly because of Chris commitments, but also mine. We recorded demos of six, maybe seven songs and now we will write many. We cut the time to make up before going into the recording studio.
And the new Pearl Jam?
For now the only plan it together and writing new songs.
The Pearl Jam's entry into the Rock and Roll Hall of Fame has a special meaning for you? And how many drummers will be present?
Things are out of my control, I have no idea what will happen with the drummers, I just know that those who enter the Hall of Fame's me and Dave Krusen. It is an honor. It will be funny.
(Claudio Todesco) www.rockol.it