Bullets and Octane is currently kicking some serious ass on The Family Values Tour 2006 alongside bands like The Deftones and Dir En Grey. I recently caught up with frontman Gene Louis who answered questions about their newest album In the Mouth of the Young, and described what it's like working with the legendary Page Hamilton.
Buy In the Mouth of the Young
Daniel Robert Epstein: What are you up to today?
Gene Louis: Today we are traveling to Albuquerque all the way from Texas so itll take forever and its 100 degrees.
DRE: You guys have a bus or a van?
Gene: Oh, were using a van.
DRE: Is this when all the anger comes out between the band?
Gene: Were used to it.
DRE: But I thought once youre on a big label, they give you a bus.
Gene: Well, when youre a smaller band such as us, its better and safer to not to do that. The labels basically a bank with connections so it seems. Making a bigger loan and all that thing is a scary situation, so were doing it a lot cheaper and safer right now. Plus, were taking it really slow with the release of the record. A lot of people think that when a record comes out, they go straight to radio and videos and all of that stuff. Were taking a slower approach with everything.
DRE: Is this your guys idea?
Gene: Yeah, if you look at a lot of bands that have had longevity in their careers, its a little bit safer to do it that way, especially when youre a band that doesnt exactly sound like whats going on right now in music. Its a lot safer to let it slowly build.
DRE: Whose idea was it to have Hera Suicide on the album cover?
Gene: Well on the last tour with Avenged Sevenfold, we knew we had to get the artwork done. We were discussing it and everyones always gives us that same old thing where, Oh, youre a rock and roll band. Sex, drugs and rock and roll. That seems like a clich of the 80s to say that. Its a whole different thing now. So they say, Well, its dangerous. Im thinking, Whats dangerous nowadays? The reality of life seems more dangerous than the idea of rock and roll and all of that. So the idea of having a tattooed, druggie type of women with a kid is our way of showing how screwed up society is. But this is tongue-in-cheek and fun and its always good to have a nice looking woman on the front cover of a record. But it definitely says a lot more than just a basic plain rock cover record.
DRE: Who picked Hera?
Gene: We went through a bunch of different pictures but on the road it is hard to get things laid out. So our manager sent us some pictures of different girls and we saw her and thought, Wow. Shes very attractive, but also can fit the role of what were trying to do. We got the picture and we were like, Wow. There she is. Thats it.
DRE: Whose baby is that?
Gene: We have no idea. We really wanted to be there when the picture was taken because it was our idea and our vision but when we got it back we were very pleased. James Minchin took the picture and hes really good at capturing everything were about.
DRE: What was the inspiration for In the Mouth of the Young?
Gene: Well obviously you the audience to have a good time. It is rock and roll. But you also want to make them think about things and question their surroundings. A lot of times people become a product of their environment and they feel protected in their bubble of religion if theyre whatever Christian, Catholic and things like that and feel condemned for the natural things and feelings they have as a human being. I just wanted people to listen to the lyrics and really think about whats going on.
DRE: Do you think the stuff youre talking about is lacking in bands that are on major labels?
Gene: Yes and no. Theres obviously a lot of straight to radio pop-type writing bands when it comes to a major label type of thing. A lot of them just want to go in for the easy kill and the easy hit. The three minute long song with the pop choruses and I understand that. But a lot of bands lack a little bit of depth in their songs and what their songs are about and what theyre doing. Its easy to write break up songs but I dont want to sit there and be a political band thats always like Were about this and were about this. That gets washed out too. It still comes down to having a good time, playing good music and being able to enjoy things.
DRE: How did Page Hamilton end up producing your album?
Gene: Page was talking to Matt Marshall over at RCA, who we work with and said that he was interested in hearing our music. We really wanted a hands on producer, someone that could be like a fifth member. Helmet changed the music of the 90s and since then hes written scores, done commercials, done every element you can think of and working with him was great because we went and just got drunk and partied with him. Were still friends with him. Working with him is amazing. Wed be working on some songs and in the middle of them, hed just go, Hold on a second. Stop. Hed turn his iPod on and hed put on like the weirdest shit man, like a Barbara Streisand song would come on. Hed be like, Listen to this. Or a Stevie Wonder song. Hed really had a whole different outlook on our songs than we did, which is great. Working with him was a great move.
DRE: He has a reputation for being a control freak, how did that come into play for you guys?
Gene: We respect each others vision and one another as musicians. Everything is a democracy type of thing. If everyone agrees what sounds better then thats the way it will go. Thats the thing about working with mature musicians, they know when youre right and when they are wrong. There was a lot of butting heads, but thats how it is with any band, even without a producer.
by Daniel Robert Epstein
SG Username: AndersWolleck
Buy In the Mouth of the Young
Daniel Robert Epstein: What are you up to today?
Gene Louis: Today we are traveling to Albuquerque all the way from Texas so itll take forever and its 100 degrees.
DRE: You guys have a bus or a van?
Gene: Oh, were using a van.
DRE: Is this when all the anger comes out between the band?
Gene: Were used to it.
DRE: But I thought once youre on a big label, they give you a bus.
Gene: Well, when youre a smaller band such as us, its better and safer to not to do that. The labels basically a bank with connections so it seems. Making a bigger loan and all that thing is a scary situation, so were doing it a lot cheaper and safer right now. Plus, were taking it really slow with the release of the record. A lot of people think that when a record comes out, they go straight to radio and videos and all of that stuff. Were taking a slower approach with everything.
DRE: Is this your guys idea?
Gene: Yeah, if you look at a lot of bands that have had longevity in their careers, its a little bit safer to do it that way, especially when youre a band that doesnt exactly sound like whats going on right now in music. Its a lot safer to let it slowly build.
DRE: Whose idea was it to have Hera Suicide on the album cover?
Gene: Well on the last tour with Avenged Sevenfold, we knew we had to get the artwork done. We were discussing it and everyones always gives us that same old thing where, Oh, youre a rock and roll band. Sex, drugs and rock and roll. That seems like a clich of the 80s to say that. Its a whole different thing now. So they say, Well, its dangerous. Im thinking, Whats dangerous nowadays? The reality of life seems more dangerous than the idea of rock and roll and all of that. So the idea of having a tattooed, druggie type of women with a kid is our way of showing how screwed up society is. But this is tongue-in-cheek and fun and its always good to have a nice looking woman on the front cover of a record. But it definitely says a lot more than just a basic plain rock cover record.
DRE: Who picked Hera?
Gene: We went through a bunch of different pictures but on the road it is hard to get things laid out. So our manager sent us some pictures of different girls and we saw her and thought, Wow. Shes very attractive, but also can fit the role of what were trying to do. We got the picture and we were like, Wow. There she is. Thats it.
DRE: Whose baby is that?
Gene: We have no idea. We really wanted to be there when the picture was taken because it was our idea and our vision but when we got it back we were very pleased. James Minchin took the picture and hes really good at capturing everything were about.
DRE: What was the inspiration for In the Mouth of the Young?
Gene: Well obviously you the audience to have a good time. It is rock and roll. But you also want to make them think about things and question their surroundings. A lot of times people become a product of their environment and they feel protected in their bubble of religion if theyre whatever Christian, Catholic and things like that and feel condemned for the natural things and feelings they have as a human being. I just wanted people to listen to the lyrics and really think about whats going on.
DRE: Do you think the stuff youre talking about is lacking in bands that are on major labels?
Gene: Yes and no. Theres obviously a lot of straight to radio pop-type writing bands when it comes to a major label type of thing. A lot of them just want to go in for the easy kill and the easy hit. The three minute long song with the pop choruses and I understand that. But a lot of bands lack a little bit of depth in their songs and what their songs are about and what theyre doing. Its easy to write break up songs but I dont want to sit there and be a political band thats always like Were about this and were about this. That gets washed out too. It still comes down to having a good time, playing good music and being able to enjoy things.
DRE: How did Page Hamilton end up producing your album?
Gene: Page was talking to Matt Marshall over at RCA, who we work with and said that he was interested in hearing our music. We really wanted a hands on producer, someone that could be like a fifth member. Helmet changed the music of the 90s and since then hes written scores, done commercials, done every element you can think of and working with him was great because we went and just got drunk and partied with him. Were still friends with him. Working with him is amazing. Wed be working on some songs and in the middle of them, hed just go, Hold on a second. Stop. Hed turn his iPod on and hed put on like the weirdest shit man, like a Barbara Streisand song would come on. Hed be like, Listen to this. Or a Stevie Wonder song. Hed really had a whole different outlook on our songs than we did, which is great. Working with him was a great move.
DRE: He has a reputation for being a control freak, how did that come into play for you guys?
Gene: We respect each others vision and one another as musicians. Everything is a democracy type of thing. If everyone agrees what sounds better then thats the way it will go. Thats the thing about working with mature musicians, they know when youre right and when they are wrong. There was a lot of butting heads, but thats how it is with any band, even without a producer.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 9 of 9 COMMENTS
Amina said:
SalemxStar said:
...they've worked really hard to get to where they are now.
Did they work really hard or fuck over their friends to get where they are?...hmmmmm....
Hearts, Amina
No one got fucked over. Jack & Skye had many chances to shape up. I personally watched this happen for over a year. No one wants a junkie...let alone two...in their band. Bands work too hard to get a deal just to have it taken away by one member being a fuck up. Another thing is.....it's just sad that my bro is so talented that he can replace both guitar playersby himself. What does that say for their musical ability? They have never sounded so full.
It was a good move for them.
Amina said:
SalemxStar said:
...they've worked really hard to get to where they are now.
Did they work really hard or fuck over their friends to get where they are?...hmmmmm....
Hearts, Amina
i totally thought you being facetious