Sacha Colgate: These two interviews were conducted between 1998 and 1999 via e-mail. The questions cover specifically the time that di Franco and Dennison were both in Skullflower (ie. the IIIrd GATEKEEPER period), and hence their answers reflect this. Thanks are due to both Anthony and Stuart for taking time out to kindly take part in these interviews, and also apologies to all concerned for me taking so long in getting these interviews completed to Mr. Moonunit...
Anthony di Franco
Q: What were the musical influences that helped shape Skullflower?
AdF: The main musical influences for Skullflower was stuff like industrial/power-electronics, avant-garde composers and 70's rock/psychedelia -- stuff that we'd all listened to. Our tastes were surprisingly similar, considering the age difference. There was a kind of common thread in that we had all come out of doing electronic/non-rock stuff, but were using Skullflower as a way of fusing those sounds to rock music -- Noise Rock.
Q: What initial ideas did Skullflower have, and what did you bring to the band?
AdF: Just to make music that didn't sound like anything else, and to play it at high volume in the studio. As for what I brought to the band, I guess the heavy bass distortion and feedback manipulation.
Q: How did Skullflower approach writing tracks? Was there equal input, or did one person 'dictate' to the others? Could you suggest to the others ideas for their instrumental roles?
AdF: Most of the tracks were jammed out in the studio; stuff like '"Elephant's Graveyard" was purely spontaneous. I remember that for "Can You Feel It," Matt did a demo, with just the riff played on guitar, but it didn't sound anything like the final version. That was about as far as "writing" went. The main thing was working on our own sounds at home, then arriving in the studio, setting them up and going for it. I'd had my own sound worked out for some time: a quality distortion/fuzz followed by a digital delay on a short reverb setting to give metallic buzz and sustain. Cranking that sound up in the studio was always a pleasure. Likewise, Matt spent a lot of time preparing his guitar sounds, particularly on IIIRD GATEKEEPER. He came up with some fantastic sounds on that album.
Q: You and Stuart created a brilliant rhythm section - did it take long for you to "click" together, and how was it overall working together?
AdF: It didn't present any difficulty -- I'm sure a lot of "traditional" rock bands agonise for years about getting their rhythm section "tight," but that's their problem. For the record, I think Stuart was a great drummer with a very heavy style that bypassed the excess crap that drummers normally come out with. Our style was intentionally primitive, but got more complex in the way that we layered the sounds -- it was about texture and atmosphere rather than rhythmic complexity. We started to stretch it a bit more with the Ramleh stuff that came afterwards.
Q: How did you treat performing live, and how did you find it?
AdF: We treated playing live like playing in the studio, but we were intentionally trying to pummel the audience with sound, something that a lot of them appreciated. There's less control over the sound in a live situation, but that's a compromise you have to make.
Q: Was the striking sound of IIIRD GATEKEEPERpre-planned, or did it come together during recording?
AdF: The album had the sound we were aiming for and, in some ways, exceeded our expectations.
Q: Any Skullflower recordings that you're particularly proud of?
AdF: Yes -- the IIIRD GATEKEEPER album, and the track "Smoke Jaguar."
Q: Skullflower worked a lot with Ian McKay (engineer at JTI/DNA Studios). How did you find working with him, and do you think his efforts contributed to the Skullflower sound?
AdF: The situation with Ian arose out of blind luck, 'cause I'm sure the majority of sound engineers can't deal with anything other than standard musical forms. The studio was based under a railway bridge in Brixton, London, and was only eight-track to start off with, then upgraded to sixteen-track. I don't honestly know why Ian was into our stuff, but he was certainly the best engineer I've worked with -- nowadays I wouldn't consider anything else other than producing myself. He did a great job on the Skullflower/Ramleh etc. releases, which represent - to my knowledge - the only listenable recordings to ever come out of the place.
Q: How do you feel now about your time in Skullflower, and do you think Skullflower should be remembered?
AdF: Skullflower is well in the past and dead and buried as far as I'm concerned, but I think the recordings should be available. I'm proud of the recordings we made and the live shows etc. because we had a unique style, but things change -- especially in music. Now, I kind of associate the band with that time in the early 90's, y'know with the limited edition vinyl and record labels springing up all over the place... I'm not knocking it, it was a good time to be a teenager and making music -- I was fanatical about our music, I believed in it. But things progress... they have to; otherwise, ultimately, there's no point in starting the journey.
Stuart Dennison
Q: What were the musical influences that helped shape Skullflower?
SD: The Stooges - "LA Blues" from FUNHOUSE LP -- we always knew this track to be of great significance, so fuckin' wild -- where the music hits the drugs and disorientation of the senses reigns supreme; Throbbing Gristle -- the assault of the senses; John Cage -- use of chance, all encompassing realm where anything is music if you listen correctly; Hendrix -- live stuff, those end of song freak-outs, feedback, risk-taking.; Brian Eno -- ON LAND LP -- this album may not have obvious links with our stuff, but its sensibility and feel hit the spot; Short-wave radio-- you can get lost in the ether with this one (tune in drop out, ha ha); Velvet Underground -- when things get fucked and they compete with each other, and Mo Tucker is the worlds finest livin'..... (Dead -- John Bonham, Led Zep). Others: Dope; Cheap Instruments; Valve and Analogue effects; Anti FM production; Viennese Aktionists; Jackson Pollock; John Coltrane; early PiL: William Burroughs; JG Ballard (ATROCITY EXHIBITION, CRASH).. the need to express uncertainty/lack of faith, disarray of western world; the physical trial of endurance playing - quasi-religious hit reached when you push your senses and body into the mangle of physical sound (the only way I can describe what it feels like), and obviously many others that don't spring to mind right now.
Q: How did Skullflower approach writing tracks? Was there equal input, or did one person "dictate" to the others? Could you suggest to the others ideas for their instrumental roles?
SD: It depends on what we were working on, often feelings/atmosphere were created spontaneously or by chance. Matt B had overall control when it came to mixing (this was a decision that worked well - in my experience too much interference/input from group members led to diluted mediocre mix), though we did give our opinions/ideas. We often worked developing ideas jamming from an initial riff, to see where it would take us - these were usually from Matt's demos of riffs, or on occasion Frank might have a bass line, or I a drum pattern. I don't think "dictate" is the right word here, we jammed and then things naturally would suggest themselves -- we were free to give ideas at any time but they were not always accepted. Occasionally we could ask someone to try something a certain way quickly -- it was always obvious to us what was right or wrong for what we wanted. We had unwritten, indefinable rules that group members instinctively knew (that's why they were group members).
Q: You and Anthony created a brilliant rhythm section -- did it take long for you to "click" together, and how was it overall working together?
SD: It was always a great pleasure to work with Frank; I felt we clicked instantly -- it was easy to play with Frank.
Q: How did you treat performing live, and how did you find it? How did it compare with your recorded work?
SD: Live sound was often successful/ unsuccessful, often enjoyable/ unenjoyable. Live sound can never be compared to recorded/ studio stuff -- in terms of playing back on some stereo (each had it's own unique requirements of listening -- each had different physical limitations). We always recorded our stuff at very high decibel levels, as well as live gigs being loud -- this gave sound a physical aspect, and that was very enjoyable.
Q: Was the striking sound of IIIRD GATEKEEPER pre-planned, or did it come together during recording?
SD: The sound came about during recording, but we wanted to make this one powerful.
Q: Any Skullflower recordings that you're particularly proud of?
SD: Obviously we are bound to have favourites -- many different ones, for different reasons and these favourites (if you can call them that) change with time. I was always fond of "Blown Dukes" from the LAST SHOT AT HEAVEN CD, but there are many and may change depending on when I am asked the question (sorry).
Q: Skullflower worked a lot with Ian McKay (engineer at JTI/DNA Studios). How did you find working with him, and do you think his efforts contributed to the Skullflower sound?
SD: Ian McKay was always great to work with -- he could always get what we wanted. He did contribute greatly to the IIIRD GATEKEEPER sound.
Q: How do you feel now about your time in Skullflower, and do you think Skullflower should be remembered? Do you think Skullflower have left behind an important legacy?
SD: It is good to know that people listen to/see our stuff. I have never thought of us having a legacy in particular(?!?), but that would be OK too.