Extreme metal would be a defunct today if it weren’t for a band that produces the richest and most powerful metal the world has ever heard: FEAR FACTORY. On the tails of the release of their album Genexus, blistering singles that keep listeners awake and alive, Fear Factory continues to be a monolithic entity that continues to plow forward with every riff, shred, and growl. Burton C. Bell, a powerhouse of a vocalist delivers more than ever on Genexus, inciting forward momentum across the sonic chasm. Alongside Burton are Dino Cazares (guitar), Mike Heller (drums), and Tony Campos (bass), are threshing machine that is Fear Factory, reaping the metal universe with every swing of it’s blade.
Burton is not only a musical titan, but also a visionary. Not only has he released Genexus, but also his first independently released graphic novel The Industrialist.
Genexus is a play on words and so forth about you know, I think I read in one of your press releases was the beginning and two things connecting, so tell me more about this concept and your vision for the Singularity?
Genexus is a term we are using for the next evolution of humanity, which is the Singularity: when man and machine become one. This is Ray Kurzweil’s theory of the Singularity. By 2025 man and machine will become one. We gave a name to that generation, and that generation will be the Genexus generation.
The society that generation, the project would be suppressed, oppressed. There will be a question as to whether they are considered human, or are considered machines.
Your approach and style genres have had a lasting effect on metals since 1992. How do you feel Genexus will continue to push your forward thinking and pioneering ways?
We continue to push our sound. We continue to move, not just the concept forward but our sound power, experimenting with new ideas, experimenting with new sounds, experimenting with new technology. We are not trying to change our sound, but to enhance our sound. If we were to change our sound, our fans wouldn’t recognize us. This is why our fans like us, because whenever you hear a fear factory record or song, it is definitely recognizable as Fear Factory. We have to keep developing in that direction.
I was reading some of the press releases, where you speak of Kurzweil, but you speak of some great technological visionaries: Stephen Hawking, Elon Musk. As I read it, it almost had an Asimov component as well, how much of a tech geek are you?
Well, I’m not so much of a tech geek, I’m a sci-fi geek. I’m more interested in advances in technology and advances in space exploration. I’m really more driven about these things and science fiction generally. As a writer, I think you have to keep up to date with these new advancements, so you can see and understand how some things stay and some have fallen. These advancements are a glance into the future. I’m not a tech geek. Don’t ask me to fix something, unless it’s a 64 Ford or a 72 Volkswagen, I could fix those! (laughs)
I understand. I can barely turn on my own television nowadays.
Most people can’t these days! There are just too many buttons!
I know! How many remotes do I really need! I just give up on it and watch it on the computer. With the technological aspects of your music, from when you began back in 1992 and all the advances that have happened throughout the last several years, do you feel that your music is staying two steps ahead?
I don’t know we could say “two steps ahead”, but you could definitely say we are “up-to-date.” To be two steps ahead you would have to be exceptionally rich (laughs) so you could buy in to those kind of stocks! But, we do try to keep up to date by using different music software, recording software, sound bites, and identifying trends in music, see how it can relate to us, and how we can relate to it. Essentially, staying involved is the most important aspect: studying music that is still exciting, still recognizably young, and be something that people would really want to hear.
FEAR FACTORY – Dielectric (OFFICIAL MUSIC VIDEO)
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You used Rhys Fulber with this one. He’s been a long-time collaborator with you. What has his production contributed to your sound?
He has been working with us for so long, that he is definitely an integral part. He’s not just a cog in the machine, but he’s the cog that makes it work. He understands how when it comes to Fear Factory production, what kind of things are necessary and he knows what not to put in there. He knows when to step back. That’s an important part of production as well.
Ok, he’s like your music editor.
No, Dino, Mike, Tony, and myself, we are all editors of our own music.
And you also went with Drew Fulk, who worked with Motionless in White and Amity Affliction, both newer bands. Do you feel like enlisting this kind of helps in keeping you current as well?
No, no. You know how people keep singing songs over and over again, and then a new mind comes down and changes the first example with fresh ideas? That’s never a bad idea. The fact that he came in with that repertoire, he was still able to help us where we were stuck on a couple of things. He would show us and, yeah, it made a lot of sense. Drew Fulk was definitely an important part of this production as well.
Excellent, and you are kind of the consistent tie that binds Fear Factory. You have kind of a revolving door in terms of members. How difficult is it to maintain your consistent Fear Factory feel when you have people coming in and out?
When people come in, they understand what is necessary for Fear Factory. Having Dino come in for example, or having people come back is not exactly bringing everything back to its origin. Tony Campos coming in, he’s been a fan of ours and we’ve been a fan of his for years. Mike Heller is a great drummer, and is a great part of this machine. For a band that’s been together for 25 years, it’s not uncommon to have multiple members come in and out, but it’s just a thing that people say about us than other bands, and I don’t know why. It sucks, but it is what it is.
FEAR FACTORY – Regenerate (OFFICIAL TRACK & LYRIC VIDEO)
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I was going to ask if you were a diva or something.
Diva? No, no way. Not that I’m aware of! (laughs)
Good! With the changing in times, what has forced you to change in terms of musical composition?
I don’t think we’ve been forced to change anything. It’s a reflection of our own personalities and facets and experiences, that has formed us over the years. You can’t force someone to change. It’s a reflection of the band. This is what we are going to try this time, this where we are at now.
The band has been around for 25 years. How do you feel technology has made an impact on the music industry?
Oh God! It absolutely has. It has oversaturated the industry. Recording is so much easier and now everyone has a band, and because of the internet, people expect to get things for free. It has killed the industry. We don’t do this for free. If you download and pirate to get things for free, you are just hurting the band you want to see.
I think the biggest thing, in terms of music, is that the mystery is gone. There is no more mystery today, and that’s sad. I used to love to find out about bands by hearing or reading about them in magazines. It was all part of the mystery, and now that’s gone. That’s sad.
You are refueling your relationship with Nuclear Blast. How did that come back about?
Well, we had been on Roadrunner before, and the connection was Monte Conner. He’s the guy that signed us to them back in 92, and now he’s the man that signed us to Nuclear Blast this past year. It’s been great! We’ve just kind of been in limbo over the last three records. Not having someone to force you to promote and market has definitely been a hindrance to the band. I think we now have the support group behind us, and it’s been fantastic. Now I know what I’ve missed!
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