'-I Believe`
the first riff ever writen for that song was something I wrote
hanging out with Carly during the recording of Ink
back in the rehearsal place we had, (SINGS)
That part is... it came out there and we said: "hey this is so Tool, we need to do a song in this vibe"
and later, when the time arrived, we incorporated it to I Believe.
I think this was the first riff ever written for this record, I think so,
but maybe there is some riff in Mr Guttman like very old that Carly introduced,
like from 10 years ago or something like that, that something I would expect.
-I Believe is my favourite track off the album, I think,
and I think it is a fairly good introduction to the rest of the record,
even though...
it does not reflect the rest of the ideas so diverse that are found on the other tracks.
-All the ideas are tight together and the song forms a whole..
in a different way from the rest of the record, it is like... its solidity is different.
-It had to have a very clear message, a very effective one, inside ToTeM...
and also it had to be epic.
-I had a different notion of the song...
I think it happened to all of us, but in the beginning...
the idea was for it to be a very Tool-like song or something like that,
I don't know, I thought the song was going to be very different from the final result...
-Instrumental tracks that I liked to listen through the most,
before the vocals were added...
listening to I Believe and sing over the track was a delight,
as it had these very spacy guitars, the drums done with... so tasteful, so much groove...
-It is pretty effective in what it tries to convey,
it is a progressive-rock tune with,
let's say, pretty strong influences, isn't it? Of what it wants to say...
-When I got the news that the song was going to talk about...
the existance or the possible existance of life outside this planet,
I really digged the idea, and how Dante put it: the two points of view, past and present,
of our ancestors, even imagining what are those lights outside the earth, wondering
if it is possible that there is something...beyond.
-Not just the existence of life in other planets but the ever-existing question of humanity,
and how that question is a constant throughout all the history of the human being.
Because of that, the story is told from the points of view of two human beings:
one from the Mayan times
and the other one living in the present.
So in this case its me and Alex who do...I am the Mayan man and he is the present times guy.
What the song does is to establish a paralelism between the two,
so thousands of years have past, and having thousands of technological advances the question is still there...
-Not only lyrically,
but musically, there is a main thread, bigger, generally in that song.
-And it is a topic that has always been very important to me,
very... touching to me,
that is why I wanted to do I Believe and why I wanted to have it that way.
-This song is for me...
top 3 out of the band's catalogue...
epic as Of Echoes.
-...and I don't know,
maybe because of that it is my favourite.
-It is true that in the composition process it was not clear if the song was going to stand out or not,
because...
it had no twists...
-It's like when you order something in a restaurant and they bring you something you didn't order
but even so...
you like it.
-Pablo has a lot of funk influences going on,
most of all from the Red Hot Chili Peppers, which is a band we all like and I know he loves
-In Castle Rock we had a rehearsal room; I can recall us being there composing the song, fooling around with the verses,
and a part came in which I told Pablo, our bass player,
"hey, can you pull of a cool slap thing that sounds funky...
something like Red Hot Chili Peppers meets Tool or something,
and we came up with this "jungle groove"
(SINGS)
-...and on top of it you put some riffs and licks and sounds awesome
-I mean, that whole section is something we could have never done if Pablo wasn't part of the band,
because he is the one that does these sorts of things
and it is very cool to have that kind of influence, and that kind of music in our music
on top of everything we already have, because it's something we love...
-It is very "tribal"...and I love, love! tribal music,
I love the tribal feeling of certain rhythms and such,
and how the...how the bass copulates with the drums there is mental, it is a really addictive thing.
-...and Alex has had the mind of... of an arranger of the whole thing, using patches of...
keys, pads, synths, strings...
-Little things that I include in I Believe, like eh...
(SINGS)
-He has given the production of the songs a lot of... depth and dimension.
He has included tibetan sounds at the end of I Believe, sounds that make you feel like you are on top of a mountain...
-I love the drums in I Believe. Carly has some great moments with the drums,
specially in I Believe, I find the whole song superb, I love all the drumming.
-Because at that time I was again like... returning to the roots of my drum faves,
like Chad Smith with Red Hot...
and I wanted to feel the groove in a 4/4...
-There is guitar part that I like very much and that I find very solid,
(SINGS)
and returning to that part? I love it, I love it. Guitar-wise, joining those two riffs, I love it, I find it... a great return.
-Also eh...I'm delighted with so many people getting involved in the Prog Choir...
-The 'Prog Choir'
-We are lucky to... in I Believe we are lucky enough to have a... a wonderful choir...
-Friends from other bands that... that have incredible quality, they gave us their time in a completely altruistic way, just by means of friendship,
to put voice to that magnificient choir of so many voices, so many people from the national prog scene...
-We Are the Childen by Michael Jackson and such,
it reminds me of that, personally it reminds me of that too
and, it is... if you take that away from the song it's another...
another song completely, with that the song has the global feeling of what the song is about.
-And that makes it be even more... let's say, the intention of it being a hymn... it empowers it
-It says "We are one", which is something really touching for me, and it's something that...
I am forever grateful to them, because it is something I really wanted to do
and I feel they are like brothers and sisters to us and... that we are striving for the same thing which is...
making a living out of this, to be able to dedicate ourselves to this, which is what we love.
-Very effective live and... and I think there are great reasons for that, it is thought in that way a lot.
-We have played in festivals... for example,
in Sonicarte we have been told directly that the reason we are there is because of songs like I Believe...
and we are so grateful that it made such good impression,
and that it had been the first single of our dear, dearest ToTeM.
-It came to the composition period as one of the short songs we had,
together with Cucumber of the Gods that ended up being left out of the main LP.
The "Country song" idea was something that was lying around since then, since the Ink years.
-The focus was to mix rap, which is a style that, well, appears very little, I mean, briefly before, you know? in Ink,
and it is not usually related with the kind of music Pervy Perkin makes, plus country, which is not...
something we tried before at all, I mean, completely strange to us.
-It was a very fun one to record, very very fun...
-The lyrics are very cool, it is a Django-like story, you know?
-Dante showed me the lyrics and it was like pfffff...
What the fuck, dude?
-We wanted to turn everything around a bit, lyrically.
What we did was using country and rap and combining them
to criticize precisely America,
taking in account that country and rap are american styles of music, so, those two genres were born there.
Also to extrapolate everything to all the racism we still have as of today, in the world.
We thought it was... original and... that that abstraction through the genre we made the song with... was worth it.
-Someone came to the table with something with such potential, a lyric with a direct confrontation between a slaver and a slave,
in which Pablo was going to rap...
-I don't...
have much confidence with my voice,
it is a love-hate relationship, because it is...
I love what we have done, I always do, if not I wouldn't let it happen,
but on the other hand, my own insecurity of it being something...
mine...
makes me feel like... ish
-In the end, he was brave about it, and gave everything he had, and that,
well, says a lot of him, that is pretty pretty good. He put a lot of effort into it and the result was...
chapeau!
-Fooling around a bit with the central part, "let's introduce here an instrumental part a little bit more...
prog, so to speak"
I recall Dante coming up with that... that lick
(SINGS),
Alvaro (former member) instantly added the
(SINGS)
I had a rhythm from a while back, that I used to play in my first electronic kit, here in Murcia,
in fact, you can see it right here beside me...
-Right there you can see that even if one of the two intruments goes away to do complex things,
it always...
goes back, and keeps maintaining that perfect rhythm...
-I don't know if there are 5 different measures: one for the guitar, another one the other guitar, the bass and drums, one keyboard and the other keyboard.
In the end they all meet at the same beat.
-The helix of the DNA, that is how I think visually of the relationship between drums and bass.
Carly is the worst drummer I have played with, ever.
-I have it pretty easy to know what is the best thing that can go together with what he is doing
and vice versa, when I come up with things he... he doesn't even...
I mean there is not even a nanosecond to think what could go here, he does something
-Yeah,
KKK
-It is another one of the reasons, the many reasons I am pretty happy to be in a band like this.
-'KountryKuntKlub' has, at the end,
a neoclassical part
in which people ask "Where... where did that come from?" I have been told,
"Man, this is so Sonata Arctica",
and it could be, but no!
My old times listening to the... neoclassical master of the six strings,
which is Yngwie Malmsteen.
-Something that could be considered inside a band like Pervy Perkin, that is pretty good, I mean,
it is original for sure, and I think it is pretty well done as in the song being very concise,
and also with an interesting topic, why not saying it.
And after, when the music video was made, I think it contributed quite a lot.
-Before composing it, we already had thought about how to represent it live.
Will it go alright? Will I be able to play and sing at the same time?
And that taking in account how the bass line for that part is
(SINGS)
In the end, everything turned out alright and
I would like to see how is it live, as an audience member,
because I think it is something very special,
and cool.
-When I was living in Madrid I had a dream that... it was like me going into a mall,
and there was a huge, enormous queue. And I said,
"Man, I'm gonna wait to see what is on the other side, to see what is at the end of the queue",
and what was happening
was that Josep Pedrerol (sports journalist) was playing with keys, the melody
(SINGS)
-Mr. Gutmann is the best song off the album to many people, you know? and...
well, it is pretty obvious why, it is a very complex track, which is not willing to make any compromises,
and that is something that people who know Pervy Perkin
knows it is the number one rule, you know? to understand this band, you know?
it is understanding precisely that.
-Energetic the whole way through, things are happening all the time, things in the background all the time,
vocals, voices all the time, or samples...
Maybe an elevator, maybe a toilet, the TV or the radio...
-It has a rave in it, it has party, it has blasting, rammstein-like parts...
-It was a very strange song,
very not-knowing-how-it-will-end-up.
Carly had a lot of faith in this song, and we of course had faith in Carly,
Carly said: "Don't worry this is going to... when the vocals are done, you know, it is going to make sense",
we were like "ok, yeah..."
the song hadn't had the... soul of a song that it needed yet.
-That was the thing I was most afraid of and I didn't know if it was going to... end up that good,
and if... and if it was going to end up being...
a half-made song, or if everything was going to work just fine
and the answer would come... in the end,
and it finally came.
-It's a little hard to understand for people which are not really used to listen to...
experimental music and that kind of progressive music...
-The song wouldn't have been possible if it weren't for the 5 of us working together deciding which part could...
could be good for... what the story was asking for.
We didn't have a song with this kind of long instrumental intro, or a song that "proggy", so to speak...
like bringing back themes and repeating themes through the whole song.
-There is a riff I find myself playing a lot when picking up the guitar, to play or before gigs,
that riff from Mr Gutmann
-Although the riff appears as a guitar lick first,
it actually was composed by Carly as the voices piece we hear later on. (SINGS)
The vocal arrangements in Mr Gutmann are wonderful.
-Another thing added to that are...
our voices, which are very different from one another.
-And that is what makes Pervy Perkin better, that each one has his own...
his own way to understand and compose, our influences and such, and all together we make ourselves better.
-I was having... a birthday party at my place at the beach, when a friend told me
"hey, it looks like it says Mr Gutmann there", and it was like...
the M and R carved in wood, with a filer from my mother's work right next to it, the brand being Gutmann.
-I don't know who wrote the lyrics, but they fucking stink! all of them. How can it be something...?
-Carly is, well, the arranger of the whole song, it was made following his directions, and...
that is wonderful! it is amazing, he makes good use of all of our voices,
he arranged it with all of us in mind, we all sing: Carly, Alex, Pablo, me...
-He also wrote the lyrics, and for him it was...
a heavy burden to overcome, because, because... it was like ... I mean...
all the care he was trying to put in Mr Gutmann under his artistic direction,
I mean, couldn't
be screwed with crappy lyrics.
He was up to the task, and beyond, it was really great.
-A day in the life of a guy that, you know, he is like depressed, repressed, he is not doing good at work,
you could say he is a loser, and...
well, stuff that just happens, eh...
he has the opportunity to go wild a bit, one night in which everything goes well or "new" for him,
because his life is pretty routinary, doesn't have any ups or downs.
The summary or conclusion is pretty...
empty, as it doesn't change anything...
It's like nothing really changes in his routine, everything is a kind of hallucination...
or not...
-Oh, and Mr Gutmann has secrets, unsettling secrets!!!
Like, it has a message, that song, a message...
in morse code, somewhere in the song.
You have to find it, you have to find it.
-There is a part of the story in that song in which, I'm not sure if he is entering a hotel, a casino, something like that,
I'm not really sure right now, but it goes like
(SINGS)
and it feels like you're playing the NES.
-With Mr Gutmann I feel that...
I really feel like the keyboards give the song a meaning I would have never... never perceived if they weren't there.
-I had a blast doing it, I really did... and... and eh, in the last part it goes
(SINGS)
I had been listening to Emerson, Lake and Palmer, and I had that kind of feeling...
the feeling they transmit in Brain Salad Surgery,
and I felt like, I don't know, creating something there, like an outro, that was like...
very royal, like very royal and very prog at the same time,
I even thought of Alice in Wonderland, the Queen of Hearts marching... it was a very curious thing.
-It's really cool that there is a reference to Rick and Morty in Mr. Gutmann...
and it is cool because I hadn't seen the series yet,
it was Carly's idea, as he is a real fan of the series, as I am now,
so now, when I started to watch the series and got to that part, I was like... damn!
-People have said that the song was dedicated to Rick and Morty because I included a...
an excerpt from the series, in the middle of the song...
and, not at all.
But that's ok, each one has his own personal interpretation.
-From Mr Gutmann, the sex solo, at the end of the song. It is something that... really thrills me,
touches me.
(Air Guitar)
-C'mon! c'mon! c'mon!
-Apart from the fact that I'm not a very technical guitarrist, and I don't have the skill to do like 20000 notes per minute
I have always looked up to people like Eric Clapton or David Gilmour, which are players that do solos, like,
with lots of class and taste...
-There are some things we left on the way, some details, some transitions, like for example,
we wanted to include a real big band, instead of a simulated one...
but anyway, we can't complain, we are really happy with that song.
-In the context of the album and in Pervy Perkin's discography, it is always going to be
an outstanding track, above many others, simply because, well, that,
it embodies all that period of the band, of Pervy Perkin, really well, in those 26 minutes.
-Hypochondria is the... for sure is the most aggressive track that... exists, from Pervy Pekin up until now,
the intention was pretty clear, and it surprises you quite a lot,
as part as of this album and as part of our own discography,
and also in what one could expect at beginning of the song, you know? There is an introduction that
doesn't make a strong statement about the direction of the song...
and then, it has this cut, and it strikes! And so the real track begins, all that black, death metal madness...
-Start doing circle pits
(SINGS)
-Death metal that we have absorbed, most of all Dante and Alex, the number one supporters of death metal.
-Hypochondria...
I don't like it.
Just kidding :)
-Most of all it was a song about that, puting one riff after another,
and fill the song up with... fucking riffs full of death metal, you know?
It is almost like a tongue twister at the beginning, they are... Dethklok-style lines...
Pfff it always blew my mind. Dante's lyrics came along,
which are about the concept of hypochondria itself,
about how he feels in front of... the possibility of having an illness that never exists,
the... the fact of being incarcerated in your own self, of hearing your own blood...
the strike of those ideas in your mind, we ended up with a song pretty close to the theme.
-We always wanted to do a song like this, so we said "now it is the time.
And it is a song that I love, Hypochondria, and it is a blast live, we have a lot of fun playing it.
-I had never played extreme metal... and it is a challenge I like because the music sometimes requires it.
-When we planned on doing Hypochondria, I didn't know how to do growls.
And... the range that I have in Pervy Perkin, at least in Ink, had been very high, and it was like um...
if I go too far and I don't do it properly, I'm going to lose... notes in my upper range.
I had tried some stuff before, but I ceased after a couple of days because I was like
"Ugh, this is not... I'm fucking with my voice, this cannot be "
What made me... really want to learn how to growl plus clean voice,
and what made me realise it was possible, was to listen to
Alissa White-Gluz singing with a clean voice, with Kamelot I think,
they have a song in which she sings with Kamelot, and man, I couldn't believe it, I mean, a woman that is like the devil in Arch Enemy.
When I listen to this... this beauty, I said " Man, I have to reach that, I have to" and so I went.
I listened to Crimson, by Edge of Sanity, that lasts for like, 40 minutes,
and it was like "yeah, c'mon", also I listened to Karma, by Opeth,
which is a song I really like and has everything,
it has URGH
and also has AHHH.
As I felt embarrased practising at home,
also taking the neibourghs in consideration and such, I just went for a walk at night,
practising those songs when there was no one in the street.
-On another plane we have, the studio work...
you know, having the drums and maybe the guitars without being reamplified yet, and with Alex vocals on top with zero treatment,
it was like "it seems like we are reaching something, a level of... that we had never reached before"
-Well, the riff at the beginning of the song was something that... it was like an experiment between me and Dante,
trying to do a sort of a modern riff
(SINGS)
- I sing them like that but they are actually impossible to sing because there are to many dissonances,
so all those chords I remember Carly and me, being there, trying to work out something for that rhythm he had,
and also to link it with the lick from before, and at the end that came out good
and felt really cool.
-It is one of the songs where Pablo has dealt in
an outstanding fashion with a style out of his usual listenings...
-But, there are some parts, where I am making something different or dissonant, with the guitars...
things like that, and it seems to me that,
when I play that song I'm really playing to myself.
-There is a bass line that is from... Pokemon, off the first Pokemon game that came out.
(SINGS)
he just fits that in there and is like "yeah man".
And for me the most... I mean, the most creative part, and the most inspiring part of this song is... how we end the song, the last part...
-Each instrument, goes with a specific part of the drumset, and that is something I like a lot.
-I mean, Aks and me are locked in the kickdrum beat
-I hit with the snare hits...
*Corrosive*
-The riff steadily melts, transforms...
-Pablo and I play as counterparts a lot in this, as I do the snare hits and he does the kickdrum hits,
sometimes we coincide, sometimes we don't...
and that whole part has a pretty cool design, it is really cool.
-The print of extreme metal is going to be on our side...
for a while... in the history of our music,
I'm sure of that.
-'T.I.M.E'. is one of the first songs we composed, maybe even the first one...
-We composed it in a day or two... almost in its entirety, I mean, with all its parts...
-A really cool balance between rock and metal, a lot of parts that go with the story, and I really dig stories,
cinema and such, so 'T.I.M.E' (part 1) is my favourite
and T.I.M.E. part 3 was my favourite song from the first album...
-T.I.M.E. has a good thing, I think, because it is like a rest in the record,
I think it has a calmness to it that no other song has,
a lot of clean parts, soothing voice, parts with just a guitar and a voice or...
much simpler, and that is something you really appreciate... I mean...
I gives a lot of space to the record. I mean, a song like that gives
quite a contrast to the rest of the record.
-Well, in a way it is even more... standard, you know?
as I said, it is a kind of progressive metal a little more standard, not being as crazy as... it could be...
-In T.I.M.E. I think Alex's voice is... the best vocal performance in all the history of Pervy Perkin.
I think that it is the best song to show the potential Alex has.
The beginning is already overwhelming, with just Alex singing,
it's... wonderful, I... when I listened to that being recorded,
live,
in the studio,
I cried
-Alex singing always thrills me, but right there...
I feel like shivers.
As I have not actually sat down and read the lyrics,
I'm not really sure of what's happening in the song, in the story,
neither in T.I.M.E. III, nor in T.I.M.E. I.
''Don't know, it seems like its my favourite song''
I know specific stuff, and I know the overall story,
but I don't actually know what is happening in the song...
-Ehm
-Sorry Dante.
-We started directly with... the riff that also exists in T.I.M.E. Part III,
(SINGS)
Obviously, we were dying with hype, to develop the part and to...
move forward in the story line, go forward in the song.
-A... a huge arrangement in T.I.M.E., a part that we included at first,
but later we saw it was better off without it "This part...
breaks a bit the flow of the song, with what we want to express and all that "
so that part we left for the bonus disc.
-Then we have melancholic bits, heroic bits,...
in which we put Queen-like choirs, with thirds, eighths, fifths, like way up high,
and give it that epic feeling.
-My favourite bass line is the one in T.I.M.E.,
in the first verse, the one I sing in, first he does
(SINGS)
all that part that is just drum and bass, I love when it changes in the verse to
(SINGS)
Man, those notes....
-My favourite bass riff is included in T.I.M.E.,
and it is the first one I composed,
(SINGS)
Because it is an...
how do you say it in spanish? Odd time?
Well I love odd times, I personally contributed , I had not done anything like that ever before in my life,
and it make me feel I also could be a part... of this.
-I like the moog solo in T.I.M.E. a lot... in the news part.
I think it is an awesome solo, I think it is very...
that it is really appropiate, that serves the purpose of the song really well.
-One of the voices that we loved to include in the record, and was special to us, was Nest Cabrero's,
a great friend of ours that has always helped us from the beginning, and our relationship since then is very strong, through the years...
and it was a surprise at the same time, because I didn't know it until I heard it, until they told me "haven't you realised who is that voice in Spanish?"
And I said " Fuck, who's that?"
And it was Nest man, it was Nest.
-There are plenty of solos I love.
(SINGS)
They transmit perfectly what the main character is going through in the song...
-It expresses a lot of innocence, a lot of... soul, I mean,
all that soundscape there, plus that solo,
(Wakeman Posse)
it is like very feels, very...
"man, that solo"
-At the beginning it was one of the tracks I liked the least of the record, for sure,
but in time, well, it became one of my favourites actually, out of the whole discography.
It has pretty memorable moments and, certaintly...
in the idea of... the different parts that the concept of T.I.M.E. was going to have, you know? like this one, T.I.M.E. III and so on.
it is a great introduction I think... and although T.I.M.E. part II doesn't exist yet,
for sure with the material in parts I and III there is a lot to work with so....
-Visions yet to come, and stuff
-They are... 4 parts of a whole
although each one has its own identity
I always wanted to print them a main thread,
each time, they increase in intrigue, and they are more terrifying
They existed even before the album structure.
People may think that, because they are placed between songs
It was designed that way from the beginning, and it's not true
The truth is, I had only three interludes that I wanted to do, for several reasons,
and finally, we arrived to the final structure
Because we had a huge amount of material, and we dropped the interludes,
in the beginning, and 'Cucumber Of The Gods' was inside...
-One song arrives at one place, and the you have your minute or so to...
digest all the stuff you've just listened, and meanwhile...
the new passage slowly carries you to the next song.
-...and I love the fact that they exist,
showing the people that we enjoy making instrumental beats.
-Oh! God! number 3, 'The Sound', 'The Sound!', please!
That interlude freaked me out for a long time, because,
as it is 'Tomino's Hell' ,
recited,
which is a poem that if you read it out loud from top to finish,
you die,
the fact that it was going to be in the album creeped me out a lot,
because something bad was going to occur,
something bad was going to happen!
-I did one more than the three I had initially thought of,
and the truth is that I'm really happy with the result, they are exactly what they want to be,
they are exactly what I wanted them to be, let's say,
the most experimental part of my music perhaps,
I really like the trip-hop feeling they have,
or the synthetic, terror-music vibe.
I am a great admirer of Akira Yamaoka which is a great influence for me, musically and
even more so in the interludes, he is the composer of soundtracks of games like Silent Hill,
popular for its music, amongst other things, which is brutal, I love Silent Hill's soundtrack.
-We could even include some avant-garde, some creativity, some experimentalism in those interludes.
-And at the same time it won't uncover anything of what comes next,
with some exceptions, but let's say it would be really difficult
to read that for someone that doesn't know the record,
to read what may be there that gives away something from the context of the following track,
so in that sense I think it is a very good idea,
and certainly if they were not on the record it would worse the whole listening experience.
-As a listener, they are something that, for me, can't stay off the record,
they are as part of ToTeM as the other songs are.
-Also, off topic:
Vote Quimby!
-Not enough scream
-No I mean, this is the most bizarre stuff, I'm telling you
This represents basically the night just before waking up.
I mean I have thought of it with whispers and things that you hear like "shshshshshs", dreams, something like that, with paranoid stuff.
-Last week of mixing, last week you mix me, last we...
OH, MY!
-Crap! 'Knights of Cydonia'
-Damn, Muse!
Perfect.
-Well Carly, I think this is the right time to tell you that all the drums are being re-recorded,
-What was the drum pattern for Dani California?
*Beatbox masterclass*
-Without the second 'pa-pum'
-You said it was 'pa-pum'
-M'kay
-The probability of it being out of focus is very big, you know that right?
-Wait, wait...
yep, I made it worse
You are indeed working.
This is what the bass player does.
-Shit!,
-Goddammit!
-It's going to be fake because I'm not going to play what's being played
That is the good one!
In the part where...
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