The meat of a given track is a hook-laden riff (s), and any respectable metal guitarist needs the ability to compose such riffs. Arguably, Divine Heresy / Fear Factory guitarist Dino Cazares possesses such an ability, and at his best, can compose great riffs. Great riffs play a large part in the live arena, with a great riff causing many a metal fan to thrash his head back and forth. Cazares' guitar playing features upon a slew of metal releases, whether they be by Fear Factory, Divine Heresy, Asesino, Brujeria, or Nailbomb, or even happen to be an album like 2005's 'Roadrunner United'. Given his recent reunion with Fear Factory, the spotlight is confirmly cast upon the axeman, and whether the group's forthcoming studio effort will silence critics.
Divine Heresy, featuring Fear Factory guitarist
Dino Cazares, will issue its sophomore album '
Bringer of Plagues' in North America on July 28th through Century Media Records. The sequel to August 2007 debut 'Bleed the Fifth', production duties were once again handled by production team Dirty Icon - Dirty Icon consists of Logan Mader (ex-Machine Head / ex-Soulfly) and Lucas Banker, who've recently worked such records as Cavalera Conspiracy's 'Inflikted' (2008), Gojira's 'The Way of All Flesh' (2008), and Five Finger Death Punch's 'Pre-Emptive Strike' (2007). 'Bringer of Plagues' lineup features; Cazares, drummer Tim Yeung (ex-Nile / Vital Remains), bassist Joe Payne (ex-Nile), and vocalist Travis Neal (ex-Bereaved / Pushed). For the song "
Facebreaker", a music video was filmed with director Brian Thompson (who's worked with Killswitch Engage).
Aside from Divine Heresy, other occurrences have developed in the world of guitarist Dino Cazares. At the April 6th, 2008 Ministry concert at the House of Blues in West Hollywood, California, Cazares met Fear Factory vocalist Burton C. Bell backstage following a seven-year rift. Since that time, the two's friendship rebuilt itself, culminating with the April 2009 statement that Fear Factory would reform, but with Bell supplying vocals, Cazares handling guitars, Byron Stroud occupying bass, and Gene Hoglan stepping behind the drumkit.
On July 15th at 19:30 GMT, guitarist Dino Cazares telephoned Hit The Lights' Robert Gray via Skype to discuss 'Bringer of Plagues', and Fear Factory's reformation.
UG: Hello?
Dino Cazares: Can you hear me?
I can hear you.
Ok, cool.
Is this Dino?
Yeah, this is Dino. I was trying to get my Skype working, and now it's working.
How are you Dino?
I'm doing good. How about you?
Yeah, I'm ok. Would it be alright if I began the interview?
Sure.
Could you provide some background information regarding 'Bringer of Plagues'?
Me and Tim began writing 'Bringer of Plagues' roughly eight months ago, and really began working on the album. We definitely attempted to take what we had created on 'Bleed the Fifth' to the next level, and that was our approach to writing the album. We just began jamming, and later on, our bassist Joe Payne - who has been with us since we toured for 'Bleed the Fifth' - jammed, and brought in a lot of ideas. We worked all those ideas out, and bashed them out. As you know, we have a new vocalist. Our vocalist Travis Neal definitely came into the studio, and stepped things up. Also, he began contributing a lot of lyrics. 'Bringer of Plagues' worked out really well. We're very happy, and here we are today.
How do you feel 'Bringer of Plagues' improves upon 'Bleed the Fifth?
'Bringer of Plagues' is definitely a step forward, I believe. The album's songs are faster, and more brutal. Also, the album's songs are slightly more technical, and in some cases, the album's songs are slightly more melodic.
In writing and recording 'Bringer of Plagues', did it feel good to solely concentrate on guitar? You recorded bass and guitar parts for 'Bleed the Fifth', since Joe Payne didn't join Divine Heresy until after the album was completed.
It was better for me to just concentrate on guitar, correct. Yeah, 'Bringer of Plagues' is our first album where Joe plays. Our last album, 'Bleed the Fifth', was recorded without a bassist. At the time, we didn't have a bassist, though immediately after we completed recording, Joe Payne joined the band. Then again though, I'm not really a bassist. Everything that I played on the bass just follows the guitar, but with 'Bringer of Plagues', Joe plays a lot of parts which don't follow the guitar. Joe Payne is a real bassist (laughs).
In an interview, you stated that Joe plays bass like a guitarist. Was that important for you then?
Joe is a bassist, and a guitarist. Actually, he's quite a really, really good guitarist, and he's an excellent bassist. Yeah, definitely, it's very important to find a bassist that has both skills. He can really pick all the different styles I pick, so it worked out really well.
So you both have much more of a chemistry then? As he plays guitar as well, he can understand where you're coming from?
Correct. A lot of the bassists that we auditioned didn't really have it, and since Joe also plays guitar, he definitely better understood where I came from, yeah.
As you said, 'Bringer of Plagues' is the first Divine Heresy album to feature Travis Neal - previous vocalist Tommy Vext was fired. How did you come to recruit Travis?
We actually uploaded an instrumental track to our MySpace page, and there, vocalists were able to download a track. They could then sing over the song, and send that song back to us. Quite a few vocalists definitely did that, as well as Travis. We thought it was great. We selected the best twenty vocalists, and invited them to the rehearsal studio. We auditioned them live. Travis was a part of the top five, and then narrowed down five to one. Before we made the decision to recruit Travis as our vocalist, we toured with him to see if we could get along with him, and to see if he could handle being on the road. We tested all the different elements, from touring, to getting along, to making sure that he was a cool guy, and to making sure that he wasn't a drug addict. It worked out really well. The last test was to see how it would be to write a song with him. "Facebreaker" was the first song we wrote with Travis, and you can obviously can hear the chemistry on that, I think.
What did Travis possess that these other nineteen finalists didn't?
Vocal range, and passion, and drive.
How would you compare working with Travis to working with Tommy Vext?
There's no comparison (laughs).
Having said that then, what are the differences between working with the two?
The main difference is that working with Travis was a lot less stressful.
Tommy Vext was slightly difficult to work with, was he?
It did become very difficult at times, yes. Travis was just a natural vocalist, and can actually sing everything. With Tommy we had to hire a lot of people to help us with that.
So due to what transpired with Tommy, that's why it was important for you then to make sure that Travis was not only a good vocalist but could also get along with you, Joe and Tim?
Yeah. When I put Divine Heresy together, I didn't know anyone; I didn't really know Tim, I didn't know Joe, and I didn't know Tommy. Sometimes you'll click, and sometimes you won't click. When you're on the road, you live with one another twenty-four seven, and sleep in the small confinement area of the tour bus, or in the van, or just everywhere. You're around one another more than your girlfriends and wives, so you know whether you'll click with someone or not after a little while. I definitely took a chance in putting this band together, and not knowing anyone. Tommy was a guy that we just didn't get along with, but especially me - I didn't get along with him much at all. Being on the road with Tommy came to be pretty difficult, and being in a band with him came to be pretty difficult. Eventually, the band decided to fire him, and to move on with someone who we felt that we could get along with, that we could write music with, and so on. That's why we put Travis through all those different tests before we opted to hire him as Divine Heresy's vocalist.
When Tommy made his personal differences with you so public, did that piss you off then? You fired him, and he publicly bitched about that.
You hit the nail right on the head - you said bitching about it. Tommy didn't really piss me off bitching about it. People will do whatever they want, especially with the power of the internet. Everyone has an opinion, and everyone wants to say something. I think what Tommy did was definitely something to divert away from the truth, and the truth is that we fired him. People can make many judgments. Tommy tried to victimize himself in my opinion, and was like "I'm the victim. Feel bad for me - Dino's the bad guy" and so on. In every situation, someone has to be the scapegoat I guess, and that was me. I'm still here though, and am still making records. I'm doing fine.
That's good to hear Dino.
Things happen. It doesn't really bother me now, not at all. Not one bit.
Why did Divine Heresy opt to work with producer Logan Mader yet again? What did he contribute to 'Bleed the Fifth' that you thought would possibly work for 'Bringer of Plagues'?
Every time you make an album, you want to have that producer, or that one person, that you really trust, and that you can trust to get the sound that you want, or trust in terms of opinion. He might say "That vocal line doesn't sound good", or "Change that vocal line. Change that guitar riff a little bit - let's try something different", and that's what Logan brings to the table. He's a very talented musician, and is a very talented producer. Sometimes, when you select a producer, you don't get all of those qualities. You just have a producer who knows how to turn knobs really well, you know what I mean?
Yeah. You mean a producer who's never been a musician.
Exactly. He understands what writing songs is all about, and also, he understands how to achieve sounds that I like. He's known me for a good fifteen years, so we get along really well. We connect, and we're happy working there. Also, it's a comfortable environment for us to work around. He doesn't give us any hassle, and there are no arguments. He doesn't try to change things for the sake of changing them. It works out really well with Logan, and we're very happy with his production team.
"It was better for me to just concentrate on guitar."
Yeah. I definitely want to continue working with him, sure. Things change down the road, however. It all depends on people's schedules, sometimes. Who knows? We might work with a different producer. I don't know. Things change all the time - it's the music industry.
Did working with Travis give Logan a lot more room to work with?
Yeah. Travis has a very wide vocal range. They were very excited to work with Travis, and saw his talent, as well as how well he could sing. They were very excited that we chose him to be Divine Heresy's vocalist. Like I said before, there was less drama, and less fighting. Working with Travis has made for a lot more comfortable environment, and Logan really liked his style a lot. They were able to experiment with different types of vocals.
You stated that 'Bringer of Plagues'' tracks are faster than 'Bleed the Fifth''s tracks in terms of guitars and so on. What prompted you to venture in that direction?
Good question. I'm not really sure. Me and Tim had just played with one another for the last four years, and had been on the road. We were so excited writing 'Bringer of Plagues'. The album's songs just came out with a lot of energy, and were just naturally quicker.
'Bringer of Plagues'' riffing is obviously faster, though how would you describe the album's riffing?
My riffing has definitely moved towards the next step, I think. I've never played a riff like "Facebreaker"'s opening riff before, and all through 'Bringer of Plagues', there were some guitar solos. My technicality has become a little better, I believe.
You've obviously been a musician for quite a number of years, and have written quite a few songs. Is it quite difficult to continually bring your writing and playing to the next level, so to speak?
Not yet (laughs). It hasn't been difficult yet, though I'm sure I'll hit that wall. Who knows? Some musicians are just naturally gifted like that - things just come out of them. So far, I'm just very grateful for all the material that has come out. With every project that I've worked on, I don't believe that I really tread on too much similar water. I try to approach each project I do differently, whether it Brujeria, Asesino, Fear Factory, or Divine Heresy. Sure, you may hear elements of things here and there, though all the groups sound different from one another.
Diversity is the key then?
Diversity is the key, and that's something that I really try my hardest to work on. As far as the creative side is concerned, it just keeps coming out of me. I don't know how to explain that, but as far as riffs are concerned, they just come out. I just tell myself "Ok. You have to do something different, and you have to take your playing to the next level", and then after that, it just naturally comes out.
Is composing riffs so natural to you then that you possibly walk around and hear a riff in your head, thinking "Oh God, I've got to get this down on tape"?
Yeah, I do that all the time. I constantly walk around, and compose riffs when I wake up in the morning, and when I sleep at night. Sometimes, I can't even sleep at night because I'm thinking of riffs. It drives me crazy, though I have my little iPhone, and just record. I hum a riff into the phone, and when I get to a guitar, I actually start playing that riff. I constantly do that, and then just make it into a song.
When you hum a particular riff into your iPhone, do you immediately know which group's style that riff would suit?
Yeah, in some cases. When I wrote songs for Brujeria, it was more funky'ish, death metal type material. When I then write material for Asesino, it's more scrapeboard, brutal death metal. When I wrote material for Fear Factory, it was more cyber metal, and when I'm then writing material for 'Bringer of Plagues', there were definitely a lot more technical death metal influences. Every time I compose a riff, I'll think "Ok, this'll be good for this band". Yeah, definitely. All the time.
What is the 'Bringer of Plagues'? What does that album title mean?
In a biblical sense, the album's title refers to the Ten Plagues, which encompasses everything from locusts, to famine, and so on. We wanted to maintain the concept vibe from 'Bleed the Fifth', Divine Heresy and so on. Basically, a divine heresy is something that is good and evil in a biblical sense. We wanted to bring that vibe, that battle between good and evil. Obviously, the Bringer of Plagues is the evil side of that battle.
Do you read religious texts, or anything of that nature, for inspiration then?
Yeah. When I was a kid, definitely. I was forced to attend Sunday school (laughs), and learn about the Bible, and things like that. Over the years, I've just been more and more intrigued about the Bible. Some of the greatest stories in the world are in the Bible. When we wrote 'Bringer of Plagues', I told Travis we wanted to maintain that theme. Travis really got into that theme, and just started writing lyrics about things like that. It came out really well. He came up with the album's title, and everything. His state of mind flowed, definitely.
Would you say that 'Bringer of Plagues'' themes closer resemble the Old Testament?
The band? Old Testament (laughs)?
Not Testament the group, but the Old Testament, as opposed to the New Testament.
Yeah. 'Bringer of Plagues'' themes lean more towards the Old Testament, definitely. Some of the best stories are in that book.
Would it be ok if we speak about Fear Factory?
Sure. You can ask me whatever you want.
How did your Fear Factory reunion with Burton C. Bell come to fruition?
A year ago, me and Burton ran into each other at a concert. He came up to me, and we began talking. We hung out for a few hours, pretty much, and got past all the bullshit and the drama that we went through. We then exchanged numbers, and kept in contact. After a few months, he eventually asked me if I wanted to return to Fear Factory, and what I thought about the idea. I said "Sure. What do you have in mind?". At that point, he asked me if I wanted to return with him, Gene Hoglan and Rhys Fulber. He explained to me that Raymond and Christian were not a part of the project. Previously, he had approached Raymond on numerous occasions, though Raymond said that he didn't want to play with me or Burton. Burton decided to move on as a result of that, selecting two other musicians, and obviously having me return to the band.
In light of the past drama you mentioned, did it feel weird when you saw Burton backstage at a concert?
Not really. Talking to Burton backstage just felt like two old friends getting together again. I was out of Fear Factory almost seven years ago, so when we spoke, there wasn't really much drama or anything. Feelings of any type of hatred had already disappeared.
Are you two like brothers?
Pretty much. We've known each other for quite some time. Me and him were in a band before Fear Factory even started.
It's been mentioned in the press that Raymond and Christian have launched legal action. What do you know about that?
A lot of that was pretty much confidential, but yeah, legal issues are pending, correct. We're very positive about the situation though, and we're going to keep moving forward.
Obviously, you can't comment on these legal issues that much, but do these legal issues concern the Fear Factory name?
Definitely. When a member leaves Fear Factory, definitely. For instance, when I wasn't a part of Fear Factory, they had to legally pay me to use the name. I'm part of the corporation, and that's all it is. All we have to do is just give Raymond and Christian what they deserve, and that's it. Firstly, the legal issues that they've spoken about seem to be a little bit more extreme than the legal issues there actually are. I think they're possibly trying to hype up their new Arkaea record (July 2009's 'Years in the Darkness'), or whatever. It isn't really as extreme as they've made out.
So when Raymond alleges that Fear Factory reformed with you, but without his knowledge, he's talking rubbish?
Yeah, it's definitely rubbish. Burton has had many conversations with Raymond. As a matter of fact, he's had meetings with Raymond prior to Fear Factory's reformation, letting him know that he would continue without him, so I don't know what Raymond's talking about. I don't know where that story comes from. I've heard actual conversations which Burton had with Raymond, letting him know what his plan was, his plan being to have me return to the band and so on. Basically, Raymond said that we were dead to him, so I don't know what he's talking about. As far as we know, he pretty much said "Screw you guys", so we just moved forward. Burton had approached me at that time, and I said "Ok, I'm in".
I hope you don't mind me clarifying these statements Raymond has made, as obviously, I'd like to gain your perspective on these statements. Obviously, you have a different side to the story, don't you?
Yeah. There are always two sides to a story, and the truth will come out. Of course, me and Burton are just extremely happy to be working together, and making music again. We're going to move forward. We're making a new album, which is coming out amazing. We'll just perform, and do what we do. It feels really good for me to return, and actually perform the songs that I wrote, and not have to hear someone else performing the songs that I wrote.
Raymond also alleges that he attempted to contact you on several occasions, but didn't receive a response. What are your thoughts on that?
Why would I want to talk to someone who said that I was dead to him?
Yeah, I agree with you. I'm just clarifying things for readers, that's all.
If Raymond tried to contact me, why would I answer the phone, or why would I answer an email, when just before that, he said I was dead to him? Why would I want to talk to him?
"My riffing has definitely moved towards the next step, I think."
Yeah. Firstly, Christian isn't an original Fear Factory member. I'm not sure how many people know that, though I can clarify now that he was never an original member. Christian recorded with Fear Factory during our second album (1995's 'Demanufacture') phase, and that's it. He wasn't a part of Fear Factory until sometime later, actually. We actually let Christian join Fear Factory during the touring of 'Obsolete' (1998), and gave him many tests to see if he could handle being on the road, and so on. We put Christian through the same kind of tests that we put Travis through. It was probably a mistake on my part to really include Christian into the corporation. Back when the band initially began, my roommate was actually the one who thought of the Fear Factory name, and sold it to me for a dollar (laughs). From there, me, Burton and Raymond then began the corporation together. That's how Fear Factory formed.
In hindsight, why do you feel it was a mistake to include Christian?
Look at how things have turned out now.
In the press, you alleged that he ripped you off a lot.
In some cases, yeah. A lot of the guitar riffs are very similar, or if not, exact parts that I had previously written for Fear Factory's old albums. Over the years, we've given them a lot of money, and he's out there performing songs that I wrote, and making a lot of money off of those songs. How would you feel if you created something, and then someone basically stole it, and made a lot of money off of it? You'd be upset, right?
Yeah, I would be upset.
That's the position I'm in.
Of Fear Factory's albums, which is your favourite?
The fans' favourite is obviously 'Demanufacture', and I definitely agree with them on that. However, every Fear Factory album has great songs. 'Obsolete' was a great album; there were many technical songs on that album like "Resurrection" and "Timelessness", and obviously "Shock" and "Securitron (Police State 2000)", and songs like that. 'Digimortal' had some really good songs. One thing I want to clarify - Raymond said that it would be the first time he wrote with me and Christian, right? That's a lie, since 'Digimortal' was the first record that me, Christian and Raymond wrote together. If he meant on just guitars, then I understand, though if he meant generally, then I don't. The first Fear Factory album that we actually all wrote together was 'Digimortal'. I think that a lot of Christian's influence surfaced on that record, and a lot of it was hip hop and DJ'ing type elements, which I thought was a mistake. So, that's it. I forgot what the question was (laughs).
(Laughs) The question was; "Of Fear Factory's albums, which is your favourite?"
My favourite Fear Factory album is definitely 'Demanufacture', though all our other albums have great songs too.
You said that you spoke with Burton, and that's how your reunion with Fear Factory came to fruition obviously. How did drummer Gene Hoglan and bassist Byron Stroud come into the equation?
That's more of a Burton question. When I came into the picture, Gene and Byron were already in the picture. When I returned to Fear Factory, they were already there.
Are you looking forward to working with Gene and Byron?
Oh hell yeah. We've already worked together, and it's been great. Amazing.
Thus far, how many tracks have you penned for Fear Factory's forthcoming new album?
It's a little too soon to tell you, though I can tell you that our new album sounds amazing thus far.
If you were to select a past Fear Factory album, which would you say the group's new album has most in common with?
Definitely not 'Transgression' (laughs). That's a good question. I would say our first two albums ('Soul of a New Machine' and 'Demanufacture').
"Diversity is the key, and that's something that I really try my hardest to work on."
No, not really. You just asked me what our new album has the most in common with, and I just told you.
Yeah, and you said that Fear Factory's new album has the most in common with the group's first two albums.
I can't really say that it sounds like those, but they are the two it has the most in common with. I believe our energy has returned, and I believe that the riffing is definitely more brutal than the later albums. That's why it has the most in common with our first two albums.
Have record deals been signed, or anything of that nature?
No, nothing like that.
How do you intend to juggle touring commitments between Fear Factory and Divine Heresy?
Hopefully, if I can, both bands will tour together, and that just means that I'll have no time to myself. I just have to keep staying on the road for both bands.
Do you have a message for fans of Fear Factory and Divine Heresy?
When they buy 'Bringer of Plagues', they won't be disappointed. They'll love the album's brutality, and the album's melody. A lot of that same vibe came into the new Fear Factory, and I think a lot of people will be happy with that too. They'll be able to feel the energy, and feel the aggression, on that album. They'll feel that all of us came back with a great album. Another thing that I want to clarify, too - a lot of people think that Burton is a non-metal guy because of his project Ascension of the Watchers. Burton's very much a metal guy, but just hasn't been inspired in the last few years to write something like that. Now that he's been playing with me though, he definitely feels very inspired, and his spark is lit again. We're very, very happy to return with something really strong.
So Fear Factory's future is looking very bright then?
From what I can see, yes. Our new album sounds amazing thus far. I see light at the end of the tunnel, and I'm very happy.
At present, are any Fear Factory tour dates in the works?
Not at the moment. We're just concentrating on writing our new album, and completing it. That's the most important, more important than performing live right now. There were a few festivals that we were a part of, though we decided to postpone whatever shows that we had to really concentrate on completing our new album and releasing it. The proof is in the pudding, I think, and so we really want to make sure that this album will be an amazing album. This new album will basically shut up all those people who have any doubt about the band Fear Factory. We wanted to write a fucking sick album, pretty much.
I look forward to hearing that, and thanks for the interview Dino. It's much appreciated.
Thank you very much. I'll talk to you later.
Alright. All the best.
Bye.
Bye.
Interview by Robert Gray
Ultimate-Guitar.Com © 2009
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