Wednesday, March 14, 2012

Dissolve interview with vocalist: Paul Thorstenson. August 15th. 2011.

Vista: Hey Paul. Just basics stuff. Who is in the band & who is doing what?

Paul: John and Jamie Mazurowski on guitars, Chuck Salamone on Bass, Todd Gukelberger on Drums and Paul Thorstenson on Vocals and Sound Effects.
Vista: I know the band dates back to the early 90's. Can you give us a history of the band, year started, ex-members, etc.? I know there hasn't been many line-up changes through all these years. That MUST mean that you guys are actually friends! A true rarity.

Paul: Dissolve had their first practice in July of 1991 at Gary’s Rock Solid Studio in Lagrange, NY. The original line-up was me, the Mazurowski boys, Keavan Rivers on the drums and Mike Albrecht on bass. We wrote a song, Reincarnation, pretty quickly and liked the sound of it. We played our first show in October of that year and had a great response, so we continued writing originals and trying to book shows. We played a lot of local shows back then with Glam Metal and Grunge bands because there was no hardcore scene and a pretty weak Metal one. We hooked up with some friends of ours who had a like-minded band, Implode, and played a few shows together. Implode, at the time, featured Todd and Chuck in the rhythm section. Our following began to grow and we started to recognize the same people coming to our shows and they kept bringing new friends to check us out. We looked around and said, “What the hell! We’ve got ourselves a scene here!”
We parted ways with Albrecht and Avi Ginsberg took over on bass. We recorded a crappy demo, Rebirth of Thought (1992), and played a lot more shows in our new scene. We eventually played a show with All Out War and realized that they had pretty much done the same thing in Newburgh: started something that wasn’t really there before. The two scenes merged and their fans have been beating the shit out of our fans ever since. It’s a beautiful thing. We recorded another demo in 1993 which took us to a different level creatively and commercially. It’s hard to really express to young people now how important demo tapes were back then. Your demo was your album, people took them very seriously. We played our first few shows in Connecticut that year, playing with Overcast (brothers from different mothers) a lot. Another band that got us some shows back then was Jasta 14 before their singer became the one-man music industry that he is today.
This led to us putting out our first CD, Dismantle in 1995, on Elevator Records from New Haven, CT. Our following continued to grow, we lost Avi, gained Chuck. We put out our first CD, Dismantle in 1995 on Elevator Records from New Haven, CT. After that, we started writing in a new style with Chuck, and life was grand. Then, Tough guy-core took over and we started to fall out of favor. We lost Keavan, gained Todd (’98?), wrote our best music yet and played better than ever and nobody cared. Dissolve became good friends with Candiria, who were signed to a new label that our old friend Bill Gordon worked at, MIA. They liked us, signed us, we recorded Caveman of the Future, the label folded, we were discouraged, we went into extended hiatus in July of 2001. We decided to get back together in 2004 to play a show. The show was amazing, the times had caught up with us, people seemed to “get” us. We decided to get back together now and then and play and never really break up. We played again in 2005 and again it was fabulous.  I did some graphic work for Robots and Empire for their CDs that were being issued by Chris Weinblad of Trip Machine Laboratories. Chris was interested in putting out the long lost Caveman CD and we jumped at the chance to see it released. Overcast were also reforming and putting out a CD that year (2008), so we hooked up and played a string of awesome East Coast shows together. Felt like old times, especially the shitty shows. In 2011, we decided to play some shows and write some new songs for our 20th anniversary. We did the show end of it, now we are going to start writing. I’m pretty excited about our future together. Yes, we are great friends. We never really hang out, but when we all get in the same room, we smile and laugh a lot. Then we play music that rules. It’s a very special thing. 

Vista: What has officially been released by the band & what is still in print? 

Paul: Our demos are only a Google search away. They are available for download all over the net. Some guy from Europe (I think) was interested in putting out the Demo ’93 a few years back, but I guess that I kind of dropped the ball with that one, or maybe he changed his mind. I don’t really remember. Sometimes it’s best to just let the past be the past anyway, and like I said, it’s available for download and the blogs who have posted it speak very highly of it. The Dismantle CD is still available, I think that Fernando at Elevator still has some left. Google it and you’ll find it available somewhere. It’s also on Itunes if you’re super lazy. Caveman of the Future is available from Trip Machine Laboratories. I highly recommend this one. I think that it is our finest work. 

Vista: Speak a little bit on behalf of the other members of Dissolve. What musicians are they influenced by? These are guys that actually know how to play their instruments, so that tells me they have got to be more into metal than hardcore? People who are more into metal seem way more proficient instrument-wise, I think. That of course isn't always the case but I think of you guys as a metal band with hardcore ties as opposed to the other way around. Is that a fair statement?

Paul: I think that everyone in the band would describe us as a heavy band, not metal or hardcore, just heavy. We don’t try to sound like something, we never play in a “style”. We all know what sounds heavy, so we just do that. It’s simpler than people think it is. The other guys are much more into metal, and yes, that is where the technical proficiency comes from. They also really care about their sound, too, and whether people are even aware of it or not, I think that is one of the intangible elements that draws people in. It’s not only the right amps and guitars, it’s also how the pick hits the strings, or how hard the stick hits the drum. They care about this stuff. They live it. It’s always been a wonder for me to behold, and I’ve learned a lot over the years just watching them. Metal bands that I know have been influences are Black Sabbath, Celtic Frost, Voivod, Napalm Death, Carcass and Meshuggah. Progressive rock, bands like Yes and King Crimson, is a valuable influence, as well. 

Vista: Vocally, who are your influences? It is really amazing how insane they are! I mean that in a good way. Your vocals are insane, yet seem to be completely controlled? Unless you are fooling everyone and your head is always about to explode at any second? Ha. Who influenced you to want to be in a band? Looking back, when did you say to yourself...Yeah-I want to do that. Are there any vocalists that you looked towards as an influence to your vocal style?

Paul: The night that I saw Inside Out at the Anthrax in 1990 was when I thought, “yeah, I gotta do that.” This was about 7 months before the 7” came out and I had never even heard of these guys. Jesus, I thought, that guy’s really screaming his head off. I had been going to shows there for awhile, and Zack was the first guy I saw that “meant” it. Vic Dicara, too. At one point, he stopped playing his guitar and did a spazzy dance that even douche-chilled the rest of his band. It was freakin’ glorious. Shawn Brown from Swiz means the world to me, so does Sam Mcpheeters from Born Against. Oh yeah, Daryl Kahan from Citizens Arrest blew my mind. Rollins, McKaye, the dudes from Void and the Accused.. I like all of them, too. I love Yamatsuka Eye from the Boredoms. I first heard him with John Zorn’s Naked City on the Torture Garden album but I love everything I’ve heard him do. He once drove a bulldozer through the back wall of a club. He’s changed his name three times. He does me good. I’ve been a fan of PJ Harvey for almost 20 years. She walks on water. Whenever I’m really stuck I think of the acronym “WWPJD.” I got really into Noise in the early ‘00s thanks to my schoolmate, Evan Leed. Dom Prurient, Masonna and Randy Yau really blew my hair back. Those are all just people I like, I guess. I don’t think I sound like any of them. The common thread, however, is that they are all people who just do their thing and never tried to be cool. I think that coolness is the enemy of art. I think that you have to surrender to yourself and become a conduit for whatever needs expressing and let it rip. I can’t ask the crowd how they are doing that night or request that they fuck it up and have a good time. I’m method, dude. I go to a dark place when we play. I don’t come out until the damage is done. It may not be as fun as David Lee Roth’s approach, but it’s the most satisfying way for me to operate.

Vista: "Cavemen Of The Future". This is an album that finally has been released. I know a little bit of the back-story behind this but I wanna hear it straight from the source. Please tell us about this album, the original label it was suppose to be on & how did that deal originally come about? And finally the eventual label that released it?

 Paul: The Caveman saga
 Candiria signed with MIA and spoke very highly of them. Our old friend, Bill Gordon was working for them and he came out to some shows and got some of the other MIA guys to do the same. We had meetings, we all got pretty psyched, we got a garbage bag full of cash to record at a great studio (Carriage House in Stamford, CT.) and we went in there with Morgan Walker to produce an album. The Recording process was fun. I think that all of the performances are great. The mix is OK, but I have some issues with it (not enough Chuck, no vocal overdubs, blah blah blah). On the other hand, the drums and guitars are positively monstrous, so we’ve got that going for us, which is nice. We did it all in a short period of time and it’s really good when you consider that. Morgan, if you are reading this, Let’s remix! It’ll be fun! So anyway, we gave them the album, Kenny from Candiria worked with Todd on the layout and a release date was set. About 3 weeks before that could happen, we were informed that the big guy upstairs (not God, some other douche) was shuttering the label. We were disemboweled. Yet, it all seemed to fit in with our history. We were always the hard luck kids, so this was nothing new. Years later, Chris Weinblad restarted his Trip Machine label. He had some success putting out the Bulldoze discography and needed a garbage pail to throw his money into. He’s a great guy who has an authentic appreciation for the album. He just couldn’t bear the thought of it not seeing the light of day. So, in the summer of 2008, Caveman of the Future was finally made available. Another chapter closed in our book of KISStory, as Paul Stanley would say. 

Vista: From the time you recorded "Caveman Of The Future" until it was released through Trip Machine Laboratories, where there any song title changes or album title changes or was it all set-in-stone from the MIA days? Also...What about the album artwork? Was this all the original concept or was it a transformation up until it was released on Trip Machine?

Paul: Y’know the only thing I think that we changed was the name and logo of the record label. It was all the same. We even tried to change the song order to put Graverobber first but Weinblad said, “You mean you’re not gonna start with the Nullifier? Why?” We all realized he was right, so we didn’t change the order. Sometimes you need to hear these things from people on the outside of the band. 

Vista: On the album "Caveman Of The Future"...What are the lyrical concepts & ideas behind the title, artwork, music & lyrics?

Paul: There is no unifying concept! The name actually came from our friend Andy Sorkin, who produced a lot of our early recordings at Sanctuary studios in Wappingers, NY. We were recording an early version of the song Flamethrower, and I was doing the vocals. The lyric in the center of the song, at the time, were “Enter the cage match of the future”. Andy misheard it, and said something like, “let’s take it from where you say ‘the caveman of the future’, ok?” We all laughed at this for a bit, but when the laughter stopped, somebody said, “hey, that’s pretty good.” So the lyric changed and a year later it became the name of the album.
The term Caveman of the Future does sum up the whole feel of the album, though. We crush like primates, but use the latest technology and know-how to do so. The artwork reflected that concept, mixing cave paintings mixed with circuit boards. The lyrics, well that’s going to be covered in an upcoming question…

Vista: As far as the "Dismantle" CD, how did you guys end up with the label that did that album? I know you guys were really big in Connecticut, which is where the label was from. Do you know how many CD's were pressed? Any thoughts about the label, at the time? I think it still holds up quite well. Any thoughts or chance that this would ever be re-released, maybe with the 1993 demo that still sounds undated as well.

Paul: We were playing the Tune Inn in New Haven a lot, which was run by Fernando Pinto. We always got along great with him, and he was starting his own label, Elevator. We had a meeting over falafels at Mamoun’s and a few months later we were recording at Sanctuary. I like that record. It has a really hyper spirit to it. We just played it in its entirety (well, we shortened Morbid Self-attention because most of that song really stinks) at the Chance a couple of weeks ago and it felt fresh as a daisy. I don’t know how many were pressed, or whether Fernando ever made more than the initial pressing. We had a good arrangement with Elevator, although I don’t think either of us made any money. We could have done more and sold more if we did what we were supposed to do: Tour. That is our fault, not the label.
Re-releasing it with the ’93 demo? That’s actually a totally great idea. If there is anybody out there who would like to do that with us, we would do it only under any circumstances. 

Vista: Did you guys do any type of touring over the years or was it more of weekend type stuff? Was it more that "real life" got in the way of touring? I know just speaking for myself, I have always looked at Dissolve and thought...How the fuck didn't this band get huge? You guys were mixing a style of music that was and still IS years ahead of countless others. Do you think of it as that may have been the problem...If you guys began the band in 1999 as opposed to almost a decade earlier the band would have been on a bigger level in a much faster pace? 

Paul: We were weekend warriors. Not to say that we didn’t play a lot. we played just about every weekend, sometimes Friday through Sunday. Our guitarists had great day jobs, it was hard for those guys to sacrifice them, so they didn’t. I hated it at the time, but I understand now. They still have those jobs, and because they didn’t leave them back then they both have excellent pay, benefits and security. I didn’t have a career until I was almost 30, and I’m going back to school to start a new career at 40. Wish I put in the work back then instead of just standing by waiting to rock.
Why weren’t we huge? Most of that was our fault. If you don’t drop everything and go for it when you are given a shot then you will probably go nowhere. If you don’t hang out and talk with the other bands and network with local kids, promoters, labels and basically be part of the scene, you will most likely go nowhere. We’re shy people, we never hung out. I think a lot of people had shy/asshole confusion with us. We were also not from a place that had a big influential scene, like Massachusetts or NYC.
I acknowledge the fact that we were a little ahead of a lot of the other bands in our time period. It’s a nice thing to say about us, but being a forward-thinking musician in the hardcore scene is actually detrimental to your career. With the weird blank stares we would get, I would start to think “Wow, maybe we aren’t that good.” Which was obviously poppycock. 
I do think, though, that if the MIA collapse didn’t happen, and the record came out in 2000 and we did the touring that we planned on doing, things would have turned out better for us. But that didn’t happen.
I’m sure that we all have our regrets, those feelings always come with age and the new perspective you have on the past. I wouldn’t be able to do that tour life for very long, anyway, and I’m sure that our career would have been over by now. Dissolve is still something that we savor and don’t take for granted, part of that might be because we never really played it out and got sick of it. I’m sure that if we did all of that touring we wouldn’t be such good buddies anymore either.  

Vista: When Dissolve began, where there any goals set? Was it just for fun & to dream of one day doing a demo cassette {remember them}!? Or was there an idea to try to get to certain levels and achieve goals like..Do a demo. Play shows. Do a CD. Play more shows. Sign your soul away to a sleazy record label for 7 albums and then...World Fuckin' Domination!

Paul: We wanted to play shows, especially in CT. I looked at CT. as such an awesome scene, I always preferred it to the NYC scene. The CT. kids were a little more like us, y’know, not urban. Yes, we wanted to make a demo, that was about as far into the future we looked. The band actually started out with just me and John and a drum machine. We recorded a few songs with this lineup, a tape which is unfortunately not with us anymore. It was grindcore. We were really on a Napalm Death kick at the time. John got tired off messing around with the drum machine and said, “fuck it, let’s get Keavan Rivers!” So we did and Dissolve started.

Vista: What was your first exposure to the hardcore/punk scene? How old were you and what bands really got you excited? What was your first "core" show & what year was that? Also, talk a little bit about the type of music that you were into growing up. Were you into metal or rock? Besides hardcore, what bands did you like as just a young kid growing up?

Paul: I grew up in the sticks; Poughquag, Pawling, Hopewell Jct; very small upstate NY towns. My family went to NYC a lot when I was a kid and my parents had some friends who lived across the street from the old Ritz. We used to see all of the punks hanging out in front of the Ritz before shows that were probably legendary. Punk was just a haircut to me then. My parents were NOT into it.
I grew up on Journey, Styx, Led Zep, and later on a lot of ‘80s pop and Dance music like Madonna, Michael Jackson, Cyndi Lauper, Talking Heads and Flock of Seagulls. My Dad loved the Stones and Beatles. I still love all of that music. As far as aggressive music goes, I got into metal at age 12 with Metal Health from Quiet Riot. A little later on, a guy on my bus made me a very important tape: side A was Powerslave from Iron Maiden, Side B was Last in Line from DIO, both of which had just come out. I got into all of the bullshit stuff that was big at the time in Metal: Crue, Ratt, all of that stuff. Heard Metallica, loved it, dropped all the BS Metal, started shopping exclusively from the Import section at Record World.
In 1986, I had a friend in 10th grade who was kind of a sensitive jock. He dressed very preppy. He came in one day with a Mohawk and combat boots. He told me that he was now into hardcore punk. He gave me a mix tape made by the only legit punker in school, Samantha. I never gave it back. It had Black Flag, Minor Threat, the Angry Samoans, AOD, Government Issue, Scream, 7 Seconds, The Malefactors and a bunch more. It was just a perfect sampler of early ‘80s hardcore and punk. Minor Threat was the stand out. I went out and found the cassette that compiled all of their 7 inches and couldn’t believe how perfect it was in every way. I heard all kinds of scary things about what happened at Hardcore shows; people slam dancing with lead pipes and bike chains, randomly beating people to death, etc. so I was out of the loop for years; no car, no friends willing to explore the world. I kept getting into the music, though. I loved the Cro-mags, Agnostic Front and Murphy’s Law; the big boys of NYHC. You could find their albums at Record City in Poughkeepsie. I didn’t know about the smaller bands until I got the Way it is comp. from Revelation.
My first show was Leprosy at Soundstage in Fishkill, NY, late 1987 or early ‘88. One of my co-workers at the time, Will Dahl, who is still a good friend, was in the band and told me about it. They were doing the hardcore/thrash thing. They changed their name to Brawl soon after. They were awesome. Their demo is so sick. Todd was their drummer. We all moshed in a big, fat circle. Next show was probably the Cro-mags at the Chance, late ‘88. Leeway opened. Eddie Sutton was like a superhero to me. Good stuff. Soon after, my friends discovered the Anthrax in Norwalk, CT. and I started going to shows there a lot in early ‘89. I think my first show there was either Ludichrist, Gorilla Biscuits or Up Front, they were in the same span of a month, I think. I only had 2 years with that place, but they were good times.

 Vista: I want to talk a little bit about your lyrics. I want to know where the hell do you look towards for lyrical inspiration? To those who have never heard the band, the guitars are doing one thing while the drums are doing another thing....And on top of it the vocals/lyrics are somehow meshed into all of it. I know I wouldn't be able to write a damn thing to those songs. There is a lot going on, no doubt. Every song literally has tons of lyrics & most of them don't have any God Damn parts that repeat themselves! So, back to the question. Where do you draw from lyrically & if you were to sum up your lyrical content how would you describe it?
Paul: The lyrics evolved. At first, I wanted to make obvious statements about the world. Y’know, social-political stuff. That got pretty dull fast. At some point, I stopped trying to write about subjects and started concentrating on the images in my head. I started writing down what I saw there. The more I wrote, the more images would appear. There was a time in my life that I would go to a Dunkin’ Donuts and sit and write until I filled 4 pages front and back with whatever was in my head. Then I would edit this stuff down at practice while the guys were writing songs, a lot of highlighting and underlining of phrases. This was around the time that I was writing several of the Dismantle songs. After I started doing it like this, the lyrics lost focus, as far as having clear meanings. They did, however, become more universal. People derive meaning from them that I never intended, which is amazing. I’m glad that people spend so much time with them, a lot of people sing along at the shows and that makes me feel so immensely proud. 

Vista: I know many years ago you were involved in a band called, "Through Blood Reborn". What many I am sure don't even know is that band had three members from All Out War {From the "Truth In The Age Of Lies" era & "For Those Who Were Crucified" era}. Can you give us a brief history of this band & line-up? Also, how many shows did you guys play, I don't remember there being a whole lot? And as a band, Through Blood Reborn also recorded. Where was this recorded, how many songs & describe the style of the band? And was this just released as a "demo" and were there plans to go onto a label with a official release? Why did the band come to an end?

Paul: I'm not too sure how TBR started. They needed a singer and I worked at a Subway shop just down the street from where they practiced so Jesse came by and asked me to join. How could I refuse? With all of those guys together, I thought, it had to be good. I was right.
TBR was a lot of fun, we just had a great time playing brutal thrash metal. We played one show back in 2000, in Newburgh, and it was mosh warfare. I wish that we had managed to get at least a few more in. Chris Weinblad has a video of the show that all of us need to have. C'mon, Chris, hook us up.
We recorded a full length, I think 13 or 14 songs. It's pretty sick shit. We recorded it at Sanctuary studios in Wappingers, NY, one week before the Caveman of the Future sessions.
We broke up because Jesse and I just didn't feel like putting in the effort anymore. Maybe we'll play again…our second show!

Vista: When Dissolve began did you ever think that you guys would be still doing this after 20 years!? I know the band was on hiatus here & there over the years but to still be into it says a lot.

Paul: Twenty years is a hard figure to fully absorb. It really struck me at the show that we just did at the Chance. I'm very aware of how I have aged and how the guys in the band have aged, but looking out at the crowd it hit me all at once that our audience had aged, too. That never dawned on me. I got hit with so many apologetic emails from people who couldn't make it to the show for incredibly grown-up reasons: couldn't find child care, just had surgery, didn't have time for an afternoon nap (I'm looking at you, Rik!), had a wedding to go to, etc. The people who did make it? Damn, they looked old! People who were fifteen when they first got into us are now thirty-five. It’s really weird.
I've always said to whoever would listen that I would not be doing this past forty. I turn forty this Friday. I guess I wasn't ready for the fact that when you get to forty, you realize that it isn't really that old. Keith Morris' band OFF! might be the best thing he's ever done, and he's almost fifty-six years old! Singers and drummers have a shelf life with this kind of music and Todd and I are constantly talking about how we want to stop before we start doing a watered down version of what we used to do.
The problem is that whenever we play, we still freakin' kill it. It kind of pisses us off, because we both have kids and responsibilities and have less and less time to deal with this Dissolve crap, but whether we like it or not, we still destroy all of the younger bands out there and need to show them how it's done. It's the only appropriate thing to do, really.

Vista: Is there a set formula for Dissolve songs...Is it usually first the music comes & you write lyrics to it or vice-versa? Have you ever come into practice with a full song full of lyric & constructed music around the words? Also...As a far as lyrics go, do you have the traditional "book" full of lyrics to pick & choose from to throw into a song?

Paul: No set formula. Sometimes the string section would come in with riffs. Sometimes we would just jam for a long time and riffs would come out of that. We all pitched in with the arrangement of each song. Sometimes a riff would start with Jamie, get changed by Chuck, and then finished by John. It's a democracy, everyone has a say, and nobody gets their feelings hurt if their stuff gets thrown out or changed because the finished product is always better and the credit can honestly get split 5 ways.
I've always had a book of words. I had one stolen once from a show and I was devastated. It was full, cover to cover, every line, with words. Whoever stole that book really sucks at life. If you are reading this, you fucker…you suck.

Vista: I know that you are into many different types of music. So, pick just one band { I know I'm a jerk for just asking for ONE} as your favorite for the following genres....1. Metal. 2. Hardcore. 3. Post-hardcore. 4. Rock. 5. Rap. 6. Grunge....Oh screw it...7. Nu metal.

Paul: Metal: Celtic Frost
Hardcore: Swiz
Post-hardcore: Fugazi
Rock: The Rolling Stones
Rap: MF Doom
Grunge: The Melvins
Nu-metal: Rage Against the Machine (admit it, folks, they invented it, so that’s what they are.)

Vista: Looking back through the years, was there a time era that you liked the most...Just for yourself. Also, which time era was the best for Dissolve? 

Paul: I think that the late '70s to early '80s, up to maybe early 1983, was the golden age of Civilization. It was like the '70s perfected. You had some of the most amazing styles for men; mustaches, half-shirts, high-waisted skin-tight jeans with flares and of course, large bushy hair flipped back on the sides. Women had gypsy shags, too much eye make-up and butt-flattening Calvin Kleins. Everyone had a comb in their back pocket. Dig Dug was a huge step forward in video game graphics. We went to the Roller Rink every weekend. Not only did you have the Bad Brains, Minor Threat and Black Flag, you also had REO Speedwagon, Toto and Styx. We will never be able to go back to such a pure time again. The Bret Easton Ellis despair of the late ‘80s and the ironic hordes of the '90s put an end to any of that. I see Williamsburg hipsters doing that look these days and a part of me dies.
For Dissolve, we were the most popular in the mid ‘90s. I loved the whole time I was in the band, though. We've had our ups and downs just like anybody else, but the most important thing for us was that we all liked each other and we all liked what we sounded like. I have really enjoyed the last decade of the band because I think that we all appreciate it more, and I think that people appreciate us a little more, too. I may one day look back on these days as my favorite era of the band.

Vista: Outside of the music, what are your interests and hobbies? 

Paul: I like to make short films. I have a Vimeo page with a lot of my work so if you search for me there you'll find some stuff to watch. I would like to get more into writing as I get older, when I finish all of the music projects that I have out there now. I really like hanging out with my family, even if we’re just watching tv and eating snacks. I enjoy peace and quiet a lot. I would seriously like to spend more time laying in bed staring at the ceiling, but I don't think that I'll ever have enough free time to do that again. 

Vista: Are there any future plans for Dissolve as far as recording or doing live shows?

Paul: Yeah, we're going to play more. We want to play CT. again because we've had some of the best times of our lives there. Everyone in the band wants to concentrate on writing new stuff, so I think that we are going to start getting together once a month to put stuff together, and besides that all of us will be doing our homework. We'll be bouncing ideas back and forth, sending each other mp3s of riffs and ideas. We may write an album, we may write a 7 inch. Like I said earlier, we're not really planners, we just do stuff.  

Vista: Thanks for your time Paul. Always great to see and hear from you. People out there reading this interview may not know that we are from the same local area. I can without a doubt say that even back in 1995 when I started my own band Dissolve were a big influence on us. We were never able to write what I considered monster songs the way Dissolve did. Our bands were a lot different from each others & that is a good thing in its own regards...But I not only respected Dissolve massively as far as a band, but more so for the way you guys just went about your band. You guys weren't a "thug" band. You never said stupid shit in-between songs. Dissolve didn't rely on friends to show up & beat the crap out of anyone. You just got up there and smashed it...Every...Single...Time! Incredible. It has been great to have become friends with you as well as share the stage with Dissolve on a handful of occasions. Ok...Enough of all this. Ha! Any final thoughts or anything you'd like to say to people who have continued to support Dissolve after all these years?

Paul: Thank you for all of your kind words. Inner Dam was awesome, I thought you guys rocked every time I saw you and those were great times for this area. I didn't know that we had an influence on you guys and finding that out makes me very proud.
Playing well and putting on a good show was what we were all about. We were always outsiders in the hardcore scene, mostly because we just didn't understand a lot of it. For instance, if you have no equipment, why did you book a show? We never let bands play on our gear at shows. We weren't DIY, we were more BIY. Buy It Yourself, you cheap bastard! How about the multitude of people who paid full price for a show and stood outside the whole time? How about the moat between audience and band when moshing wasn't going on? Not to mention the blatant worship of mediocre to poor music and the dismissal of anything interesting. I went to a lot of deserted Deadguy and Kiss it Goodbye shows. Those bands couldn't draw flies, and now everybody falls all over themselves praising them. You weren't there, turkeys! When Neurosis played the Chance there were thirty people there. All the good bands suffer in obscurity and wither away like neglected plants. That is why we were never down with the scene. We were in it for ourselves and anybody else who recognized the injustice going on. Those people have made it worth it. They all know who they are and they know that no matter how hard I may be on them at the shows, they know that I love them. They "get it." Thank you, John. Thank you all for everything.

1 comment:

  1. Loved to read this!! I had their "caveman" cd on my i-pod forever and now finally know where to order it. Yes!
    And I'm gonna check out Through Blood Reborn!

    grtz from Antwerp, Belgium!