Aaron Turner Interview

Aaron Turner, guitarist and singer for undergroud metal heavyweights Isis and Old Man Gloom, and owner of Hydra Head Records, sat down between tours to answer a few questions for The Backyard League. Our discussion included topics such as politics, the creative throught process, and the downloading of music.

American elections are often marked by poor voter turnout. How would you address an individual who doesn’t vote-whether that decision stems from apathy or a feeling of marginalization by mainstream politics?

I don’t know since I myself have had my hesitations about voting, and didn’t vote in the first presidential election I was eligible to. It does seem particularly ineffectual in the past two elections as it was obvious there was some major and minor tinkering with the process and results. Even for those of us that have chosen to vote and feeling strongly about doing so, it makes you feel as if your vote doesn’t REALLY count. However on the flip side of that coin is another perspective: there is only so much that an individual can do in the grand scheme of the governing of our country so we should take every single little opportunity we are given to do so - even if it seems insignificant. No one massive event is going to alter our current course - it’s going to have to be a continual snowballing of many small events and efforts.

What more can, or should, music and artists do to inspire today’s youth and get them interested in the political process?

"No one massive event is going to alter our current course..."

I feel that anyone in any field of the arts - whether it be music or painting or literature or whatever - has SOME responsibility to use their art as a platform to get across ideas that aren’t widely expressed elsewhere. Throughout history artists have been the harbingers of political and social upheaval - and it’s only now when art is looked at solely as entertainment, that this important function has been eclipsed by other motivations - mostly financial. It seems that only underground or outside artists are capable of making really powerful statements that are undiluted by mainstream pressures and that’s just a sad fact. However independent arts culture has reached a new high due to the internet amongst other things, so our ability to reach people IS significant. I think the only thing we can do is to TRY to make people aware of the world around them and offer up alternative points of view - with as much passion and frequency as we are capable of.

How do you feel about third party politics? Do think there’s a time and place for it, or is it necessary in order to maintain-at least in the U.S.-some semblance of a democracy?

In other times it might have been more relevant, but right now I think we just need to concentrate on regaining some democratic control in our governmental institutions. We have a hard enough time getting people to accept a SLIGHTLY less than right wing approach to politics, so I believe the Democratic Party is our brightest hope for the moment. Third parties are looked at as being marginalized and even freakish by most of the population, so I think for now we just have to try to push forward the positive aspects of the established parties before we try to go outside of that framework. With that said I do believe that if there had been a REALLY charismatic, passionate, and financially strong third party candidate in the election just past they might have had a shot - it’s just that most of the people who were running in and out of the two major parties were lifeless sods with little spark or imagination.

Are there any issues that you cared particularly about in the past elections, or should be looked at in upcoming ones?

Mostly ones that are being completely ignored or swept aside or worse covered up. Foreign policy, environment, education, the economy - all these things were talked about and some have been focused on, but in all the wrong or in completely dishonest ways. We are allied with certain brutal/dictatorial governments around the world, yet we criticize and violently dismantle others, we are spending tons of money on defense/the war efforts but plenty of our own people are needlessly suffering. We are a country that is capable of so much yet we do so little, and expect little of ourselves. Our total disregard for the environment in favor of corporate/financial gains is terrifying. Our lack of focus on REAL educational reform is disturbing, and the violence we are perpetuating around the globe is unforgivable, and these are only the tip of the iceberg.

What kind of influences go into an Isis album, not only musically, but visually and lyrically as well?

"I'm not convinced that downloading has effected music sales negatively."

Everything I/we absorb: film, painting, world events, media saturation, literature, mutually shared experiences (touring, recording, rehearsing), life events for us individually, the bands we tour with/feel some sort of kinship with. I look at Isis as an outpouring of the sum of our collective lives - and I think any REALLY great piece of art should be just that - some sort of summation of who the creator(s) is - maybe the result may focus one idea or set of ideas, but logically if what the person is doing is a sincere work it will contain elements of themselves - personality, attitude, life experiences, influences. I can’t really list off specific influences because the list would be endless, but I will say that it extends far beyond the realm of music.

There was an obvious progression from Celestial, and the follow up SGNL05 EP, to Oceanic. What kind of differences can a listener expect from Panopticon? Do you feel that if there were ever a point when a project was becoming creatively stagnant that would be the time to stop working on it?

Panopticon is just another step in our ongoing evolution. We cannot sit still musically - we HAVE to move forward or what we have will die - it’s as simple as that. Isis is a band bred on constant evolution - it is one of the major tenets of our band. Material that sounds too much like a previous release is always scrapped in favor of that which is less certain and fresher in our estimation. Panopticon in comparison to Oceanic is more atmospheric, lyrically complex, texturally dense, and melodic. To me it’s also darker and more intimate sound wise and that was part of our goal when producing the recording.

What is more exciting for you, the creativity and time that goes into recording or that connection with the audience from playing live shows?

Recording and writing is my preferred pastime when it comes to Isis. Playing live can be great, but overall I prefer to create rather than continually replicate something that already exists. I mean there is a certain level of deviation with our material in the live setting, but not enough to make it as ultimately satisfying as creating a piece you feel is really and truly strong in it’s impact.

Other than financially, what are some obstacles a band like Isis, or Old Man Gloom, faces? Beyond the Oceanic remix series or live album, what are some other areas you’d like to explore as a musician?

Obstacles/difficulties would include: finding a balance between the personal and creative life, the personal struggles of band members - both inside and outside the framework of the band, the long term effects of extensive touring and the resulting fatigue - both mental and physical (this only applies to Isis and OMG doesn’t really tour), writing the music itself this is one of the hardest aspects of being in a band, especially when you are as self critical as we tend to be, finding outlets for your work and so on. As far as other things I’d like to do, the list is endless - I would love to collaborate more with other musicians - both with Isis and outside of it, I want Isis to expand into something beyond just a band that releases records - visually becoming more encompassing, I’d like to tour and see more parts of the world through music and learn how to play other instruments and styles of music - it’s something that really offers the individual limitless possibilities.

What are some of the rewarding aspects of running Hydra Head Records? Also, what prompted the relocation from Boston to Los Angeles?

"Material that sounds too much like a previous release is always scrapped in favor of that which is less certain and fresher in our estimation"

Hydra Head allows me to have a job and a purpose without being bound to the normal structure of such things. It’s gives me the chance to work with and share the music of like minded individuals, it provides me with an opportunity to combine my to favorite fields of operation - visual and aural art and it has brought me into contact with some of the most amazing people I’ve ever had the good fortune of meeting. As far as the move is concerned it was prompted by a desire for cheaper rent and warmer weather - as simple as that really we didn’t come out to LA with the intention of “making it”.

Who are some underground artists you respect right now?

Dalek, Fennesz, Khanate, Jesu, Tumult Records, McSweeny’s Publishers/Press, Stephen O’Malley, James Plotkin, Seldon Hunt, Jason Hellmann, Temporary Residence Limited, Alien8recordings, Cursed, Robotic Empire Records, Daymare Recordings, Ipecac Recordings, Die Stadt records, Keelhaul, Mogwai, All Tomorrow’s Parties, MF Doom, Lex Records, and on and on and on.

How do you feel about file-sharing and the downloading of music? Do you think this affects mainstream or underground musicians more?

It affects everyone involved with music, and for the most part it’s a good thing I think. The main function of music is to enrich peoples lives and ultimately financial success doesn’t mean anything - we will all die - rich or not - and if our music touches somebody that’s more important and significant than anything else. on top of that I’m not convinced that downloading has effected music sales negatively - I think the loss in overall music sales is due to a number of things: a flagging economy, a rise in unemployment, the continual dominance of television, greedy corporations asking for more and more money from consumers, big record companies becoming less and less adventurous and more and more homogenized, and a general apathy towards the arts in favor of constant and rapid entertainment. Who actually sits down to listen to a record any more? Very few sadly.

What kind of gear do you use to play? Are there any differences in equipment, say effects, when playing with Isis compared to Old Man Gloom?

"I want Isis to expand into something beyond just a band that releases records..."

I use the same set up in both bands - though my playing or approach to writing is obviously a bit different. Anyway I use a whole host of guitars including a Les Paul Standard, a Telecaster Deluxe, a PRS, and Ampeg Dan Armstrong reissue, and a couple others. I use Mesa and Sunn amplification and then a bunch of pedals as well: Line 6 delay modeler, a bunch of different boss pedals, a couple moog pedals, Hughes and Kettener tube distortion, and a Snarling Dog wah/distortion.

Besides playing in Isis and Old Man Gloom, and your duties with Hydra Head, what are some activities you’re into outside of music?

I try to maintain a close relationship with my girlfriend, friends and family outside of what I do - I think a deep and profound personal life is just as important as the creative life and so I do the best I can considering the limited time I leave myself. On top of that I try to read as much as I can - about current events as well as history, fiction, and comic books. I also do freelance design for other bands not associated with Isis or Hydra Head and I draw a painting for no other purpose other than doing it. I do like to chill out and play video games or watch movies from time to time, but not as often as I’d like - but that’s probably a good thing.

Any parting comments or words of advice?

Not really - other than: thanks for the interview and thanks to those that took the time to read it.