POLLUTEME/POLLUTED EZINE/Interview with Sub-Method PART 2
Interview with Sub-Method
written by: Jacob Robison
PM: Where would be the optimal place to catch you play for the first time?
TH: Anywhere.
NE: To see us for the first time? PM: Yeah.
NE: Oh, the Indienet.
TB: Yeah, the Indienet. By far. That's our true elemnt, so...
NE: 'Cause they don't have any restrictions on age, so like everybody comes out.
TH: As far as the crowd and the vibe, the Indienet. But as far as us as a unit, anywhere.
TB: Anywhere. "Cause we get wild wherever we're at.
PM: Do you think that Nashville has a good rock scene going, despite its' reputation as "Country Music Central"
NE: A good rock scene. That's an interesting question. We've got about five bands that are really, really good, and
about a hundred really shitty bands. And we've got nobody looking at the talent.
TB: The other thing is, is that you have a lot of bands with a lot of potential, but the thing is is that a lot of these
people don't want to mix in well with other people. They kinda want to build their own crowd, and that's all they
want. They don't want anyone to go near their crowd, so the thing is is that the rock scene around here...
NE: Doesn't support itself.
TB: Yeah, it doesn't support itself at all.
TH: You can't be in a good scene when he said a hundred shitty bands. The reason why they are shitty is everyone's
trying to compete way too hard. They're worried about 'okay, am I dressing, looking, being like what everybody
else is doing, so I can be better than them? They see one person that is doing an idea that is successful, and
they won't try to mimic it, but they will try to grab it and take it in their own direction.
NE: Some people mimic it.
TH: Some people do, yeah. But that's not what makes us a good band.
NE: That's not what makes a good scene. A good scene supports itself; a good scene thrives on everybody coming
out to all the shows.
TB: Also a good scene thrives on everybody bringing what they like to the table. Even if we had good bands around
here that were like AC/DC, we wouldn't have a problem playing with them. But alot of times when you have bands
like that and they see us play... they're not so much intimidated, but they hate the fact that we're doing something
different. They hate the fact that we're not doing what they are doing.
TH: And that is what we don't like at all. When we book a show, we don't neccessarily try to do an all metal show.
Like tonight's original bill was supposed to have Fair Verona on it. We're just trying to shun away the basic
Nashville bullshit that's happened.
PM: Are there any bands that you enjoy playing with?
NE: Yeah, I enjoy playing with Imzadi. They are cool as fuck, and their crowd is basically our crowd. It's like whenever
we play with them we get a really good show with a really good vibe.
TB: Love playing with the guys from Lowboy. They're really good friends of ours, and have been for awhile.
TH: I like playing with Asbestos, Imzadi, Lowboy, Flood... I mean those guys... It's like when we're all together. Like
tonight's show is Flood and Lowboy...
NE: They're not haters.
TH: It's not a fuckin' competition. It's not like whether or not if we personally or as a group... the music is what we dig.
They're all great musicians, they're all fuckin' talented, and they're real people. When we're around them in the same
room, and we leave, it's not like someone leans over and says something, you know?
PM: Do you have any projects lined up for the future?
TH: Oh yeah...
TB: We're working on writing a new album now. Don't know how that's going to go, yet...
NE: We've got some people who want to do it for us. So we're going to wait and see who wants to do it the most.
TH: It's going to happen. I don't think that any of us... and it's not a said thing between us... I don't think any one of
us want to sit on "Catalyst" for a very, very long time. I think that if you have a record that sells well and people
enjoy, then you need to keep it up... you need to get something else out there. Maybe not real soon, but hell...
we've got almost half another record written.
TB: The thing is we may have half another record, but the thing is... I think when we do the next album it'll probally
approach a different direction than what we're doing right now. What we're doing works well, but we're not fully
developed as a writing team yet. Once we do that it'll probally end up way better for all of us, 'cause we'll all enjoy
it that much more. I mean, we enjoy it now. Whenever we started writing music it was like we knew what we didn't
want to do, but we had no clue as to what we wanted to do.
TH: I think that's what has given us our success, just saying it bluntly. We have had this genre of music pounded into
our heads in all of our other bands. It sounded like this and people would jump to it, it looks cool, whatever... it
sounds cool. But, Tyler said it best: 'we did what we didn't want to do'. And so, we have no limitations.
NE: It's better not to say this is what we want to do. It would be much better to say this is what we don't want to do,
and then do everything else.
TH: If you listen to the record, there are some songs that have alot in common... this next project that we're going to put
together, I really feel that it will be pretty crazy.
PM: Where did you get the name Sub-Method?
NE: My little brother was going to use it as a dj name, like a long time ago. He wasn't going to do it, and then he was.
Actually, now he is going to become one. During that time period, my old band Community Spoon fell apart. We
started to get together and Sub-Method just kept sticking in my head. I thought it was such a cool name for a band.
And it worked out.
TB: Everything else was lame.
NE: I guess that our scene is kinda weird, and like a lot of the people are about the competition of the thing... and my
old band got broken up because of some people in the scene, a lot of shit talking... so this is kinda our sub-method.
We're taking a different route to stay out of the scene as best we can.
James and his girlfriend walk in during that last part. He had been searching everywhere for a tobogan.
PM: James, where were you while we were interviewing?
JH: I went to get me a tobogan. And to get a couple of Airheads.
PM: Who are your influences?
JH: Stuff like Strapping Young Lad. Really, really heavy stuff.
PM: That's about all that I have. Can you think of anything that you would like to add?
TB: Actually, the thing that I hate about Nashville is that most rock musicians around here don't take themselves seriously,
because they feel that in this place they can't be taken seriously. And they want to get out. Everybody that I talk to in
different rock bands say that we've got to get out of this town. But the thing is I've called people down in Florida that
work in record labels and spoken to them about representation, and they always say the same thing: "If you can't get
representation in Nashville, then your doing something wrong".
TH: ...people say that you have to pay your dues. I don't believe that. You pay your dues when you get around four
different guys, all trying to achieve the same thing.
TB: We've paid our dues. Whether you like it or not, we all have.
PM: Who are your influences?