By Jeremy Essig
By Jason Robinson
By Hans Morgenstern
By Joseph Hess
By Peter Gilstrap
By Julia Burch
By Jeremy Essig
By Nathan Smith
When I first listened to the record, I'll be honest, I thought, "Oh great, this is the next Municipal Waste — I'm going to have to see Oozing Wound patches on oogle kids hats."
Oh, no! No! We don't want the oogles!
Right! But then I listened to it and I noticed you guys were doing some weird, repetitious shit that I hadn't heard in a lot of thrash before. Is that why Thrill Jockey picked it up and people care about it, because it's a little different?
Us getting on Thrill Jockey was just total luck and placement. All those dudes were at the show we played with Black Pus, and from what I got from Bettina [Richards], who runs the label, is that we exemplified some kind of balls-out rock thing without any pretense. I think it really appealed to her. If not musically, aesthetically we get a lot of comparisons to Motörhead now, which is awesome. Lemmy never talks about Motörhead as a metal band — it's a rock band. We just rock really fucking hard. Did you ever listen to old Grand Funk stuff before they tacked "Railroad" on their name and they really started sucking? There's this song called "Into the Sun," and it's one chord on guitar and just this insanely repetitive bassline, like, ten minutes long. It's the coolest fucking song, and that's where I get the idea from that you can make a really heavy, metal-ish kind of music that doesn't have to do all these changes, but it doesn't also have to be a groove-metal thing. You can just really fucking rock out. And that's what people want, I think. That's what I want.
Oozing Wound is appearing on sites like Pitchfork and showing up on the New York Times site next to Danny Brown. How is this happening?
I have no idea. Because we have an amazing fucking team behind us at Thrill Jockey? That's the main difference now between any other band we've had before. Or maybe my perception is wrong and this band is truly a lot better. They've just been good about pushing it, and for some reason this record speaks to a lot of people. It's funny: We didn't expect this thing to come out on such a massive scale because we hadn't finished it when we gave it to Thrill Jockey. I wanted capitalize on them being interested in the band as fast as possible. We did it in a day because we had a free day at Electrical Audio. We recorded six songs, trashed one and used two from a different session with the same guy, where we recorded four songs in a night over six hours. There wasn't a whole lot of time to refine it or polish it in any way — it kind of worked to our advantage.