I’m sure you can appreciate that, from a fan’s perspective, why a band member leaving might be a big deal...
Absolutely.
Have you ever seen Breaking Bad?
Sure. I love it.
There’s a scene where the main character says, “there must exist certain words in a certain, specific order that will solve practically any situation.” Do you agree?
Are you asking if I think leaving could have been avoided?
...Yes.
With hindsight, I was told by the people I was working with that everything that could have been done, had been done. Whether that is true, I’ll likely never know. For me, there was certainly no other option. The music business is screwy. I live in north LA, where the porn industry is quite prevalent. There’s a quote that says, “you could work in porn, but if you really want to get fucked, work in the music industry.” I’ve learnt a lot of lessons.
To what extent did you feel your identity as a musician was tied up with Slayer?
When I think of Slayer as me, Jeff, Tom (Araya) and Kerry (King), I think each of us contributed something unique and that’s what made the band appealing. I certainly felt for a long time that, in terms of my career, Slayer was very important. And it continues to follow me around - if I say the wrong thing in the media, it comes right back to me. Slayer questions I try to shy away from. I’m not the one asking the questions – I’m just stating the facts. I’ve moved on. I’m working with these amazing musicians. This isn’t something I would have been able to do with Slayer, so there have been positives too.
Take Mike Portnoy, for example, who left Dream Theater. People still get really affronted by it. He took a lot of flak for that...
Yes. What Mike did took a lot of guts. Especially as he didn’t really have a totally permanent gig that he was leaving specifically for. I might be wrong.
What sort of accountability does an artist have to their fans?
Absolutely, there’s a strict accountability. I remember when Kiss split up and they got these other musicians in, I turned my back on them. I loved that band for what it was, not what it became. A lot of it has to do with integrity I think. In terms of Slayer, before Jeff Hanneman died - bear in mind he was ill for a long time - Jeff personally approved Gary Holt as a replacement guitarist. The fans especially were supportive about that.
Initially, when you were playing regularly with Slayer, what did you want the legacy of the band to be?
I wanted Slayer to retire correctly. I wanted to go out with a farewell tour. I wanted to get into the Rock and Roll Hall of Fame, to bow out respectfully. To go out the right way with dignity.
Is that a contrast to what Slayer’s legacy is now?
From what I read, I mean, there’s always two sides, but it seems like the band now is just a name. For me, personally, I’m not sure Slayer exists anymore. I know there’s a band called Slayer out there but what Slayer was, what it meant to me, that doesn’t exist anymore.
How did you approach moving on?
Generally, I’m a person that picks up the pieces and moves on. I can still play drums so whatever happens I can still perform.
In terms of making the decision to leave, was that difficult or easy in the sense that you just knew it had to happen?
It was very, very, difficult. I was getting different advice from a lot of different people; attorneys, managers and accountants, who all, of course, had vested interests in whatever I decided to do. I know now you should never hold yourself back from leaving a toxic situation. That should be true for anyone who is in a relationship where you are being taken advantage of, be it a boyfriend or girlfriend, you have to move on.
Take some responsibility for yourself. You’ve previously said that metal has a lot of boundaries. What did you mean by that?
I just mean that metal-heads like their music a certain way. A lot of metal engineers or metal producers use the same drum programs. The problem that creates is there’s no character, individuality or personality when it comes to instrumentation. Everything sounds similar and people copy each other. There are so many different styles of music out there, and I think metal musicians shouldn’t be so fearful of metal journalists who might drag down on something because it doesn’t sound a certain way.
Any examples?
Something as simple as a verbal agreement with your buddies in the band goes a long way. When things are going well the idea of something bad happening seems ludicrous. You need to know where you stand in relation to everyone else. I learnt not to have your head in the sand and not to let other people tell you what’s going on.
Have we already achieved what’s humanly possible with the double pedal?
I think we’re not too far off what is physically possible. With a double kick, you need to be able to prove yourself live. You might be able to do it in the studio, but live, that’s where you have to deliver. That’s where you’re going to get judged. And if you’re faking it with a play along or backing track, then people will make their own decisions.
Your drum clinics are pretty unconventional...
(Laughs) Thanks. Yeah, I’d say that’s pretty accurate.
Do you always do such extensive Q&A sessions at the end?
Of course. I’ve got a lot of time for the people that come and support me at these things. They’re a real privilege to do. You’ve been to one recently?
It was in Belfast. If I remember correctly, you got several audience members on stage to sing the guitar and bass parts to some Slayer songs...
Sure. I mean, it’s way more interesting that way, right?
It was most entertaining.
Well, that’s what it’s all about.
