TORCHE:
Stoner pop? Beach Boys-like doom? Whatever

COBALT:
I don't really consider us black metal in any sense of what black metal is.

DODSFERD:
Motivated by desolation,
despair, hate, irony, death,
loss, betrayal, etc

PYGMYLUSH:
Between the delicacy of
gorgeous acoustics & the
ugliness of noise rock.

TRACTOR SEX FATALITY:
The most active defunct garage band in Seattle answers our questions.

MERCILESS DEATH:
Thrash metal revivalists  
speak out against false metal

JONAH JENKINS:
The man behind the voice of some of the most underrated underground American bands. 

THE PAX CECILIA:
Giving their music away for free. And it's damn good too.  

WORLD COLLAPSE:
Hardcore has always been about self-expression and
that's exactly what we do. 

U.S. CHRISTMAS:
North Carolina psychedelic hard-rockers acquire
'band to watch' status..

INTRONAUT:
The best self-indulgent odd metered prog metal band around.   

GENTLE VEINCUT:
German angular punk rock/post-hardcore for lack of a better term. 

THE INTELLECTUALS:
Italian garage rock you must know. 

NACHTMYSTIUM:
Spearheading a new wave of  extreme American music.  

BARONESS:
Men of a few words. 

MOTHER TONGUE:
On their beginnings, their first record and their first demise. 

FLATTBUSH:
Extreme world music via San  Francisco.

TOTIMOSHI:
Six drummers & four records later the band unleashes its finest.

HOLY HEART FAILURE:
Shitty emo puss-pop bands & a short tale of Wild Turkey.

THE JONBENET:
Bar recordings and a meaningless moniker.

NOVEMBER COMING FIRE:
Cheese sandwiches and 
progression in hardcore.

SINCE BY MAN:
"We are happy fun-loving dudes."

THE MASS:
"Money, time and blood go straight down the drain."

One of the fastest emerging and most solid producers in the underground is Sanford Parker; the man responsible for the expansive sounds of albums by Nachtmystium, Pelican, Yakuza, Buried at Sea and Teeth of the Hydra. Prone to work with some of the most extreme and open minded musicians in the underground Parker was the next obvious choice in my string of interview with producers. Read on and spread the word.

- How did you become a producer? Do you think that being a musician gives you an advantage?

I got my start in high school, living in the spring-break capitol Panama City FL. I was more into industrial music back then, bands like Skinny Puppy, Ministry, Killing Joke, Godflesh bands like that. I am still really into those bands but over the years I got more into heavier stuff. I bought an early Mac and a very basic sequencing software, an old sampler and a couple of synths and started my own one man band. I wrote and recorded several songs, kind of traded tapes with friends and stuff. Anyway, word got around and bands started contacting me to record their demos. I did a few of those over the next couple years. So that got me thinking maybe I could make a career out of this. I researched some recording schools found one nearby and away I went. After finishing school I moved to Chicago and started working in studios up here. As far as being a musician, yeah I think it helps a lot. You need to understand an instrument in order to record it. I don't believe it's necessary but it helps. I would never take my car to a mechanic that can't drive.

- I was looking at your bio and you have recorded, mixed and produced several bands. Can you please explain the difference between producing and recording?

The line between recording engineer and producer is getting blurred. I guess the basic difference would be an engineer has no creative input and a producer needs no technical knowledge of gear and studio workings. But like I said it's kind of becoming the same thing. Even if someone hires me as an engineer I still give some sort of input. If I'm hired as a producer I give more. It's basically a credit on an album these days. I like working with bands on a creative level, If I had to choose between producing and engineering I would choose producing.

- I was looking at your discography as a producer and noticed that most of the bands you’ve worked with are prone to experimenting. How does your approach as a producer differ when working with a more straight ahead sounding band and a band that is more experimental?

Yeah, I tend to gravitate toward more experimental bands cause that’s what I'm really into, and I think bands also get that vibe so they seek me out. I try to treat each band differently no matter what they play, altering my way of doing things to the style of each band, trying to steer clear of a one trick pony.

- Have you ever said NO to producing some bands? If so, what would drive you to that?

Yes, I have turned away from producing bands before, the obvious being rap metal and shit like that, but also some other bands that I just couldn't get behind musically. If I don't feel that I can offer anything I won't pretend to. Engineering on the other hand is different, I still got to get paid.

- There are different ways to see the work of a producer; and apparently the role of such has changed with time. Some bands see a producer as someone who would guide the recording sessions, mixing and mastering and also guide the performers to an optimal point. Others, take into consideration the producer's ideas into the music itself. How do you see the role of a producer?

All of the above, of course I work with a band on a creative level but when a band is with me I feel it's my duty to make the dudes happy. I make sure everyone sleeps well, eats well and has whatever inspiration they need to get the job done in whatever form it may be. A happy band makes good records. I take on the roll as a manager in that way, and I enjoy doing this. It also changes from one band to another, some bands need very little guidance some need more. I try to offer what I can when I see it. Also, it's about getting a good performance, I'm not afraid to make someone do it over and over again 'til they get it right. Some people need that extra push you know.

- What happens when you are producing a record and you think; ‘this song is sucks’. Do you ever confront bands because you consider some of their material to be subpar? Do you make suggestions? I mean it’s gotta be hard to be totally sincere.

Well, I always lay it out like this; think of me as the first person reviewing your record. These are the points at which I think are strong and these are the points I think are bad. Weather or not they choose to use my suggestions are up to them. At the end of the day these are not my songs and this is not my band. I always try to lay it out it out in a way that makes sense.

- I read an interview with David Byrne where he said that studios might become obsolete since basically people can make good recordings in laptops nowadays. Would you agree?

I agree to a certain extent. Yeah, studios that Byrne is used to recording in are closing left and right. There's only one left of the really big studios in Chicago. People aren't willing to pay $1500 a day for a studio anymore, and if you can afford to spend that, why not build one in your million dollar mansion? On the other hand, just because you own a laptop doesn't make you an engineer, and people are starting to realize this. This is where I come in. I offer really good sounding recordings for a reasonable price, even Billy the crust punk kid down the street can record with me. The bottom line is you don't need a fancy lounge to make a good record, just kick-ass gear and someone that knows how to use it. I have never heard a record made on a laptop with shitty Guitar Center mics that I thought sounded good. That shit is good for demos not albums.

- You have your very own, Volume Studios. What type of equipment do you have? What type of equipment would you like to get?

Well, obviously the big advantage is I have the means to make my own records at my disposal 24/7. Having time to make my own records is another story though. As far as gear we have a Neotek IIIc 36 channel console. Otari and MCI muti-track tape machines, Ampex 2 track machine, Pro-tools HD2 rig, several outboard stuff, mics, etc. I always want more stuff it never stops. We just got a Moog endorsement I would love to get a Voyager synth, but even with the hook up they're still pricey, maybe one day.

- What would you recommend to someone who aspires to be a producer?

Work your ass off, devote your life to this. You have got to love it. The guys that I see doing well, including myself, have very little life outside of the studio. I can spend 15 hours a day 20 days straight some times, and not get tired of it. It helps a lot to have a understanding wife also. That support is important.

- When you listen back to your work as a producer, do you often hear stuff you wish you could improve?

All the time on every record, there are only a hand full of records I can listen to and enjoy them. But it's good, that just means next time it will be that much better. It's even harder on my own records, I critic my production as well as my playing......double whammy.

- Are there any records that you listen to and think it has great songs but suffer of poor/awful production?

All the time. I can respect lo-fi production to a certain extent. Some records just wouldn't sound right with a slick sound. But there are some records that are just unlistenable in my opinion, that are amazing albums which is too bad they didn't go the extra mile and do it right.

- Which record are you particularly proud of? What old record from any era/genre would you have liked to produce?

The new Nachtmystium I am very proud of. I think it came together great. It was a very chaotic vibe in the studio and I think it shows. Very cool record. Man, I would have loved to work on some of those early Swans records, that must have been amazing. I would love to work on some Angels of Light stuff to, Gira is a sick songwriter man. I love that stuff. Woven Hand would be another killer band to work with.

- What can you tell us about the following recordings:

Yakuza - Transmutations. How hard was this job? I saw them live a couple of years before this one came out and they sounded like a mess. You could tell they were very good musicians, but I mention this because it’s gotta be hard to record a band as heavy, fast and eclectic.

Yeah, this was a tough one. Mixing this record was brutal. I love this band and their songwriting, but they have a lot going on and getting it all to fit was pretty tough. I think it came out pretty killer though.

Bible of the Devil - The Diabolic Procession. I loved this record, They have a classic, yet modern sound.

Yeah, they're very big into NWOHBM, and it shows. So we thought to approach it like that, classic yet modern sound. We just finished a new that I think blends those two elements even better. It will be out in the fall.

Functional Blackouts- the two records you worked with them. Some garage punk bands are more aggressive than metal. These guys were awesome.

Ha, very cool. Dis-Functional was more like it. Interesting band but some of the shittiest gear I have ever seen.

Jai Alai Savant - Flight of the Bass Delegate. I really love dub, I just don’t cover it because I want the focus of the site on hard music. These guys really standout in your discography, how did this relationship come about?

The main dude Ralph was my neighbor. He had just moved to Chicago from Philly, and we hit it off. He wanted to make a psychedelic record and that's what I do best, so off we went. I would plug his guitar into a string of pedals, he would play and I would twist the knobs. One of the funnest records I have made.

Nachtmystium - Assassins. I can’t wait to hear this one. These guys are one of the few interesting American black metal bands. How was this experience?

All I can say is wow! I have never made a record like this, not with the music but the vibe. Very chaotic scene, people coming and going all the time I had to let my clinical guard down and just enjoy the ride, fun times, and the end result I think is pretty amazing.

- As a musician, with Minsk you make this really heavy, almost tribal music. Have you guys been composing at all since your sophomore record The Ritual Fires of Abandonment?

Yeah, we have a lot of new stuff written, we will start recording very soon for a new full-length that will be out early next year. We have also recorded a Roky Erikson song for a split with Unearthly Trance and a three way split Hawkwind tribute with U.S. Christmas & Steve Von Till that will hopefully be out this year.

- Buried at Sea, also very heavy and expansive. Your new work Ghost, how does this differ from the past two records?

Well, there was about a 3 year gap in making Ghost. We started it in 2004 and finished it in 2007. So it was very strange coming back to it after so long. But then again I had forgotten about all the time we spent in 2004 so when we went back to it, it felt like the easiest record I had made. I was very pleased with the out come.

- What’s next for Sanford Parker?

Sleep hopefully....... Trying to get a new band of the ground with my good friend Dallas form AssChapel and Brann Dailor (if he would stop working on the new Mastodon long enough to call us back!).......it's called The IVth Crusade. It's basically left over AssChapel songs they never got around to before they broke up, awesome thrash stuff. Also, putting together a new band with Bruce Lamont from Yakuza, the idea is kind of a modern day Pigface, kind of industrial sounding, each song features a different drummer. So far we have Dave Witte (Human Remains), Darren (Unearthly Trance), Jon (Cephallic Carnage), Jeff (Rwake), Noah (Milemarker) and some other drummers lined up that I haven't gotten around to record. Should be a very busy year.

- Finally, please list a few albums that inspired you to get into music.

These are some albums that have stuck out to me over the years and ones that I listen to an a regular basis, that inspire me everyday to do what I do:
Black Sabbath - Sabotage
AC/DC - High Voltage
Metallica - Ride the Lightning
Slayer - Reign in Blood
Danzig - S/T
Ministry - Land of Rape and Honey
Skinny Puppy - To Dark Park
Swans - All
Killing Joke - All
Neurosis - Enemy of the Sun
His Hero is Gone - Monument to Thieves
Burning Witch - Riff Canyon Dreams
Angels of Light - All
Woven Hand - Mosaic
Captain Beyond - S/T
Hawkwind - All
U.S. Christmas - Eat the Low Dogs
Pink Floyd - All
Jesus Lizard - Goat
The Bad Seeds - All
Brighter Death Now - Innerwar
........man I could be here all day, you get the idea.

Sanford Parker Official Site
Minsk Official Site
Minsk MySpace