If you’d like to discuss a storied performer within extreme music, let’s talk about Derek Boyer, a veteran of audio annihilation who has had the honor of doing time with bands such as Dying Fetus and Vital Remains. As an important part of the still-new Suffocation reformation, Boyer not only pummels listeners with low-end thunder, the bassist also brings much to the table in terms of songwriting know how and experience dishing out the brutality in a live setting.
As the latest, self-titled effort from these NYDM skull-crackers has been the subject of wide-spread attention, both in the media and from the band’s legions of fans alike, Relapse Records has a Death Metal classic on its hands. Many are already comparing this latest offering to the standards of this long-running Death Metal trendsetter’s extensive discography like Pierced From Within, and fans should start getting prepared to be annihilated by the band’s unyielding live performance as Suffocation plans to stay the road for this monster of an effort for a good long while.
Mr. Boyer of the most beastly brutal bass sounds gives us the details on what’s happening in the Suffo camp…
Your new self-titled album has already been hailed by many as a return to form for the group. Can we safely assume that you were out to prove something with this effort?
It’s safe to say anything we do will be done with conviction.
There’s a lot more happening on this new album from a technical standpoint than on your “comeback” record, “Souls To Deny,” which you have conceded was an album that was made in a bit of a hurry. Many of the tracks on this new record require multiple listens to gain the full perspective of what’s happening instrumentally. Can you attribute this increased complexity to having more time to prepare for this new release?
I feel that that this record is a considerably better effort for many reasons. First of all, coming off a 5 years hiatus and putting together “Souls” cannot compare to performing over two hundred shows then recording “Suffocation”. Also, the band recorded “Souls” with no bass player, Mike and Terrance recorded the bass. In addition to that, when they acquired me they also acquired my contributions and the chemistry of the band changed.
From a production standpoint, this record is much fuller than “Souls To Deny.” It’s really noticeable that you made a concerted effort to step up the sound of “Suffocation.” Matters of time aside, what factors made the difference in gaining a more powerful sound this time around?
I think we knew we would out shine the previous albums’ production. We recorded with our live engineer Joe Cincotta at Full Force Studio again and he has upgraded his facility considerably between the two albums.
“Redemption” is a really great example of the band branching out and experimenting with different sounds. What’s the story behind the inspiration and creation of this particular cut?
Again, this one is directly refers to new blood in the band and the contributions that come along with it. The “frill and un-frill,” right hand technique was brought to the table by me. Terrance knew of the flamenco attack when I introduced the idea although I thought I would be the only one in the string section that would do it. Terrance and Guy took it up a few notches and decide to match me. I was very impressed that they could accomplish this while still maintaining control of the pick, considering this attack does not require the pick to touch the string.
As a part of this summer’s annual Strhess tour you were placed in front of some different types of listeners than you’re used to performing for. What type of an experience was this for the band?
Although the Strhess Tour was a financial insult, we felt it would be a good idea to teach the people who thought they were attending a “Heavy” or “Aggressive” show, what heavy and aggressive really looks and sounds like. Needless to say, we gained a lot of new fans by joining the tour.
Are you game for playing on similar tours in the future?
We are interested in playing more diverse tours/shows in the future. We also expect to be recognized and treated properly by the agencies that book these tours. As a headlining act, to play in front of other acts for fractions less that what we’re worth is a bit discerning. We’ll see what happens…
You held a listening party for the new record at Duff’s in Brooklyn back in July. Considering that you were on your home turf and Duff’s is an incredibly cozy place to begin with, the event must have been quite chaotic…
Indeed. It was packed! A very small venue full of angry, alcohol induced Suffo fans equals chaotic!
It must be mandatory for any Death Metal fan in NYC to attend a Suffocation appearance. Do you have a tendency to feel territorial, being an anchor of the NYDM scene?
It’s great to be appreciated by the NYDM scene. I would say being on the home field feels better that being on the away field but I’m not sure I’d call it being territorial.
After the band really broke in the underground in the early nineties, you spawned an outpouring of similar artists. Do you feel that, at the time, the flattering influence that you had on so many other artists had a negative effect on the group?
For me, I was one of the heavily influenced musicians that played in the vein of Suffocation. Now that I’m part of the operation, I can say when bands use the Suffocation sound and/or style it can be very flattering, when done right. When there is no imagination or additional creativity added it’s not nearly as cool.
Your influence upon other musicians has now become multi-generational. How does it make you feel knowing that younger bands such as Job For A Cowboy are incorporating inspiration from Suffocation in the present day?
Job for a Cowboy is 1 of many bands that uses Suffocation style. Again, I was one of the musicians that incorporated the style/sound. When Suffo bowed out of the industry in 1998 I was writing/recording/performing in a band I created - Deprecated. I had worked in Disgorge prior to that. I then when on to perform with Deeds Of Flesh, Dying Fetus, Decrepit Birth, and Vital Remains before Suffocation reformed and requested my services.
On several occasions in the past, members of the band have made comments regarding your frustration in being able to earn a decent living by simply being one of the most well-known and identifiable acts in all of extreme music. It seems that this opportunity has been more or less solved since your return to Relapse. Do you feel that, given the current climate in the metal underground, that you will now be able to sustain your momentum and continue to progress from a business perspective?
I feel that we have proven ourselves in the industry, although there is only a very small window of opportunity. To earn a decent living in this genre is near impossible. With this new record and the bigger tours I feel that we will gain more financial comfort.
What’s your take on the status of personal relationships in the group in the here and now? Do you feel that the members have progressed in terms of being able to relate to each other on a purely personal level?
We all respect each other and that’s very important in any working relationship. Of course we’re humans and we differ from time to time but as long as the respect is there we’ll prevail.
Many older Death Metal fans hold records like “Human Waste” and “Effigy Of The Forgotten” in high esteem to this very day, citing these releases as some of the most important recorded moments in the history of the style. Over the course of the years, your sound has changed somewhat, reflecting a certain maturity. What is the main element in the music of “Suffocation” that fans of the band’s older works will be able to relate to?
Suffocation will always remain on the original foundation - Blasting, Grooving, and Killing. We’ll mature and evolve with the times but we’ll never abandon that foundation.
One of the hands-down highlights of the new record is a renewed, re-recorded version of “Prelude To Repulsion,” a track culled from your 1993 album “Breeding The Spawn.” The group plans on re-recording a different “Breeding The Spawn” track on each subsequent new album that you record. Why did you choose “Prelude To Repulsion” over the other tracks which could have been redone?
We have redone a few of the “Breeding” tracks since the reformation of the band, obviously the title track “Breeding the Spawn”, “Prelude to Repulsion” and also “Anomalistic Offerings”. We plan to pull out a few others to add to our live set.
On the track “Translucent Patterns Of Delirium,” the primary rhythm is almost hypnotic in nature. You’ve managed to become masters of fooling the listener’s ear by playing specific parts very fast, yet maintaining a tempo that is slower and easier to digest. Is it more difficult for you to maintain this sort of ambience in a live situation, where things are less controllable, than in a studio environment?
Not at all. I personally feel 100% more comfortable on a stage compared to a studio environment. Feeling the raw energy of you band and the intensity of the crowd is much more real to me that sitting in a room with a pair of playback monitors.
Please tell us that well be hearing “Bind Torture Kill” when you head out in support of the new record. That’s a fantastic cut that would be purely sick to hear live…
We have the entire album under our belt and you’ll defiantly be hearing “BTK” in our live set.
Will you be heading out on another touring leg after the holiday season?
(emphatically) Yes, for sure. We’ll cover all the necessary territories to support the record.
What is the single most compelling reason that young fans that have not yet experienced Suffocation will have to witness the band in concert in the months ahead?
It’s great, many of the new listeners have no idea what their in for. We really take pride in our live act/sound. We’ll be sure to send them home with a good taste in their mouths.
Which new tracks do you anticipate will be highlights of the upcoming set? Can we anticipate any surprises from the band’s early records to pop up on this tour, or is the focus more balanced toward promoting the new album?
I’m way into “BTK,” but each track is a highlight in my opinion. This up coming tour only allows for promotion of the new albums’ songs and the mandatory songs, “Liege,” “Breeding,” “Pierced,” “Funeral,” etcetera. When we do the headline tour in 2007 we’ve decided that we’re going to pull out a lot of sick old stuff that hasn’t been performed in ages, “Jesus Wept,” “Seeds of the Suffering,” “Brood of Hatred,” just to name a few that we’ve discussed.
Speaking of the road, you’re heading out on a run in support of the new album with Fear Factory, Hypocrisy and Decapitated, an excellent bill with a nice cross-section of contrasting, yet powerful acts. Are you anxious about getting out in front of the fans now that they have had an opportunity to hear the entire album?
Absolutely, this tour is going to CRUSH!!!!!! The timing is just right. The release of the album, the new video and then the big tour, perfect!
© 2006 ERIN FOX – ALL RIGHTS RESERVED
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