What was your first thought when you've been asked to be a vocalist for FATNS?
I didn’t know much about the project, only from some things I had
looked up on the Internet to see what it was, who was involved. The
project was on hold for a while before I was asked to participate. I
was extremely excited once I heard the music and we talked about the
meaning of the project.
Which project is more interesting for you personally, FATNS or Repeater?
Well, Repeater is my band where I get to work with my boys all the
time, and we write songs together, we build an identity together.
Repeater is a constant process. FATNS was, and is, an opportunity for
me to express myself musically in styles that pushed me to my personal
limit. Writing vocals and lyrics for the music in FATNS was very
challenging musically and emotionally.
Where the name Repeater is coming from?
It is a very important album by Fugazi, whom we all greatly admire,
but that is not the specific reason we chose the name. We wanted a
serious, one-word name that holds a lot of meaning. It means a pistol,
a signal booster, even a person who does not learn from his mistakes.
We also like it because of our drummer Matt’s tendency to play looped
grooves instead of regular rock drumming.
How was the work with the other guys from FATNS?
I worked mostly with Munky, Jim Monti (engineer, producer), Leopold
Ross (producer, instruments), and I saw Zac Baird a lot. I haven’t
even met all the people in FATNS yet, although we have had
correspondence on the Internet.
Did you like working with Munky? How did it look like?
Munk is a really nice guy and he really helped me get into the feeling
of how the music was produced, and what the background concepts for
the whole thing are. For most of it we worked in Korn’s studio, which
was still set up for their recent album recording, then we finished
the vocals at Henson/A&M when Korn’s studio moved away. Munk was there
whenever he could be, helping to guide what I was writing and
finishing in the studio. He has toured and recorded a lot with Korn
for the last year, so sometimes we were just using email to
communicate with files and stuff.
Can you tell us something about the recording process?
Well, I was the last person to do anything on the project. My job was
to listen to the recorded and remixed music done by all of FATNS, and
write lyrics and melodies inside it. After getting approved on the
general feel we were going for, and getting input from Munk on the
tone of the lyrics. I would come in, and do a good take for a song,
and we would work on fixing up little parts. On different days, later
usually, I would come in and do all the backing vocals for the song.
This was always a great opportunity to be creative with vocal
techniques and for me to give input on the production. The final step
for each song was to return to the studio and sing the songs as they
were assembled and provide really good final takes to mix with. This
process always overlapped with other songs, but we took good care in
getting it all recorded well and with good confident vocal
As a vocalist, do you have someone you look up to, someone who vocally
is you master?
I really admire progressive vocalists like David Bowie, Peter Gabriel,
Freddie Mercury. I like Robert Smith, Trent Reznor, and Ogre from
Skinny Puppy. For metal, I am sort of old school, I like older British
Heavy Metal, and US Thrash vocalists. I like all kinds of music,
those are just some direct influences growing up.
What was your approach as far as lyrics are concerned? Did Munky gave
you some ideas, or was it all you concept after you heard the music?
Munky’s original concept is the basis for several of the songs’
lyrics, and I went from his original concept and expanded it a little.
We would like to leave some mystery about the subjects of the lyrics
and songs for the moment. People should be able to create their own
meanings for the songs.
Have you been there for recording of music in the studio, or you joined later?
I definitely joined later. As far as I know, the record was a huge
project on hold because they didn’t know who should sing on it.
Repeater was recording with Ross Robinson, and Munk heard a Repeater
sing in mixing. He liked the vocal style and the words. I was asked
over a text message to join the project. It was all recorded and
partially mixed when I joined.
Was there somebody helping you with the recording (like producers etc)?
Jim Monti is the main man behind the desk, and operating the recording
room, and producing the whole thing. He is a real professional and is
an expert in music as well as recording gear. He did a great job in
recording, production and mixing, with help from Munk and Leopold.
Do you have a title for this project already? (Not necessary??)
It is just called ‘Fear And The Nervous System’. If there were a
second one, maybe it would be called Vol. II, because of the film
When we say FATNS, what do you think or associate with it?
Peeping Tom by Leo Marks. Conspiracy. Obsession. Breakdown. Loss.
Are you going to tour for the album and play shows all around the
world? Any touring plans?
The schedules of all the musicians is very busy. I hope that live
performance will happen in the future. Let’s see how the record does!
What were your inspiration for the lyrics on the album, especially the
one we already know, Choking Victim?
Most of the inspirations are related to films, culture, and history
that have some serious psychological impact. The main point of
reference of the record is ‘Peeping Tom’, a psychological thriller
from 1960. There are many different related topics in the record.
‘Choking Victim’ tells the story of a figure in recent history. We
would like to leave a little bit of mystery and allow listeners to
take some ownership of the songs, instead of shoving the artists’
intent down their throats.
How many songs are going to be on the album, which on is your favorite and why?
There are 12 tracks, 11 with vocals. I like ALL the songs. My
favorite is called ‘Slow Motion’ but that is because I have a spoken
vocal on that which was really interesting for me. I love the whole
Hhave you written you lyrics after all the other parts of the song has
been done, based on the music you heard?
Yes – the lyrics are controlled by the music. Everything except some
remixing had been done before I even heard any of the songs. I had to
take apart very complete instrumental songs and figure out where
vocals belonged. Then I had to write lyrics along the right themes,
which seemed to match the music and flow with the record.
How much your approach to writing was different with Repeater and FATNS?
Totally different. When Repeater writes together, songs are owned by
the band and most real writing and arranging takes place together. I
write some big ideas at home, but the band always takes ownership of
each part and it is a democratic process of arrangement and feel of
In FATNS, I did my best to write material that matched the feel of an
already finished product, and worked with those available to produce –
Jim Monti, Munky Shaffer, and Leopold Ross were very helpful making my
ideas fit into the dense production we were already working with.
Whose idea was the title Choking Victim?
That was one of my suggested titles, we decided mainly from the best
lines from each song. That title really describes the protagonist
(tragic hero) of this song, a man who was betrayed by the nation that
Do you have already a title form? entire album?
The album will be self-titled this time, mainly because of its long
effort and that the title stayed the same through the entire process.
My job was to make sense of a huge recording and to somehow tie all of
the songs together with a theme. Munky helped me identify his original
concepts. The recording really fits the name.
Can you tell us some other songs titles and what they are about?
The record just came out so the titles are there. The titles sometimes
come from the lyrics, and sometimes from the original ideas before I
started working on FATNS.