Replacing Scott Ian in the Big Four was undoubtedly much more than a dream. I was flattered, happy, honored, privileged. Out of all the musicians in the world, for him to call Brazil and talk to me; it was unexpected and fantastic.”
Andreas Kisser: Hello.
W (Nando Machado): Hello, Andreas Kisser, please.
AK: Me.
W (NM): Andreas, we're here, Nando Machado and Daniel Dystyler, to record the interview for Wikimetal. Is everything alright?
AK: Okay, all good.
W (NM): Are you ready?
AK: Let's go.
W (Daniel Dystyler): Hi Andreas, how are you? It's Daniel.
AK: Hey Daniel, everything alright?
W (DD): Great, it'll be really nice to chat with you for a bit. Nando will be starting here.
AK: Okay, let's go.
W (NM): Once again, we have the pleasure of speaking with the great Andreas Kisser, guitarist of Sepultura. First, I wanted to say that we are very happy with the results of the Kairos tour; since its release, we have closely followed the album's launch and we were happy to see Sepultura once again where it deserves to be, at the top of Metal, of world Thrash Metal. I wanted to first know what you remember from that night, I think it was in '88, when – if I'm not mistaken, it was on this night – you opened for Exumer at Portuguesa, in São Paulo.
AK: Wow.
W (NM): Was it on that night that you signed your first contract with Road Runner, wasn't there something like that?
AK: Yeah, it was around that time. Actually, Max went to the United States right after the show we did at the Clube dos Aeroviários, next to Congonhas airport. That's when he went to the United States, to New York, and left Esquizofrenia there for a lot of people. It was more or less the same time. The Exumer show was historic for us, playing in an arena with Dorsal Atlântica was a hell of an experience, I think it was our first big show. Okay, the guys before I joined the band had played with Venom and all, but it was an empty Mineirinho and everything. The atmosphere there was really great, the crowd was huge. And it was a hell of a show, really cool.
W (DD): Andreas, I know this question I'm about to ask is a bit unfair considering the sensational career you've built, and that Sepultura has built, but when you hear it, the first thing that comes to mind will matter. What are you most proud of in everything Sepultura has achieved?
AK: Well, it's about staying alive as a band. I think that for 27 years, through all the changes within the band—members, managers, record labels—and especially the changes outside the band; technological changes, like vinyl to CD, CD to MD, MD to download, and all this revolution that happened in the business, with free music, etc. It's about being strong here as Sepultura, more relevant than ever, playing all over the world, at big festivals, with a strong album, a strong record label. I think that's celebrating the present, it's the concept of Kairos, living the present as intensely as possible and respecting the past, but not being stuck in it. So I think the current moment is the strongest and most rewarding one.
W (NM): Taking advantage of what you said about all the changes in formats you've experienced, since vinyl and everything, I wanted you to compare that time of exchanging demo tapes by mail, drawing a parallel with file sharing on the Internet, the "sharing" sites. How do you see free downloads, people downloading music for free on the Internet?
AK: It's inevitable, right, man? It's hard to judge… and it's not just the music, it's everything. This thing about leaking information from secret documents through Wikileaks, the guy being threatened with prison, etc. I think music is the least of it. I think it ended the record label monopoly, which was an excellent thing. Before, everyone was at the mercy of a bunch of guys, frustrated musicians and guys who were part of a business that judged your music and sold it the way they wanted, when they wanted, and you were stuck in a contract and always owing money… it sucks. Record labels were like banks that actually screwed you over more than they helped, right? And today it's much more open. Not that record labels have disappeared, many have, many couldn't hold on, but I think art is freer now, you have direct contact between the artist and the listener, with the person who's enjoying the music. Malu Magalhães, for example, wouldn't have been able to achieve that within a traditional record label structure – perhaps not – but she found her own path among so many others; she's just one example. So now you see all the bands on the road, from the hardcore band at Hangar to Paul McCartney and Madonna at Morumbi, everyone's on the road, Paul McCartney never leaves Brazil anymore. So there's no longer that thing of selling records and staying home enjoying being a millionaire; people are on the road, and that's where musicians need to be. You see that MTV itself doesn't show videos anymore; they've gone in other directions. So I think it's inevitable, it's still a period of transition, but I think it's much more positive than negative for art itself, for music.
W (NM): And do you remember, does this have anything to do with that tape swapping you guys did in the early 80s?
AK: Yeah, the means have changed, but the spirit is the same. We used to chip in to buy vinyl and record tapes for everyone; it's a free download too. There were some people who even made a little money with it, but it was about having the music, listening to it, etc. I think the feeling is still the same, but you have so many more possibilities, right? You can see Black Sabbath stuff that you wouldn't have imagined seeing back then; today on YouTube you can find everything. I see my 15-year-old son, who's learning to play guitar too, he has Kirk Hammett himself teaching him a riff on the screen, so the ease is extreme nowadays. But, since the competition is greater, the difficulty is the same; only those who are truly worthwhile and who are making music according to their heart, without ulterior motives, will stand out, and that's what really matters. So I think the feeling is the same, but the tools are different.
W (DD): That's true. And within that freedom you were talking about, for the artists, and what this new scenario allows, you've already participated in a lot of projects, shows… collaborated with a lot of other artists. I wanted you to talk about two things. What do you think was the most interesting or coolest collaboration you've done? And the opposite as well, of the artists who collaborated with Sepultura or recorded with Sepultura, which one do you think is worth highlighting?
AK: With Sepultura, I think there were several collaborations. I think an important one was with Carlinhos Brown. We wrote "Ratamahatta" together in the studio during the recording of Roots, and it's a song we still play today, and people don't know what we're talking about, but they love it. It's a song with a very Brazilian feel, and it mixed with heavy stuff. I think that showed a different path, not only for Sepultura but for several bands, of respecting that local culture. You see, in Norway, in Scandinavia, there's a certain style of Metal that uses that tradition, Metallica itself bringing a bit of Country music to the band. Regardless of whether it's good or bad, it's something that happens, and I think that's interesting, cool, this mix that happens in an unpretentious way and that ultimately works for a lot of music. And I don't know, I've already done so many awesome collaborations that I enjoy, like with Titãs, Skank, Paralamas, I've recorded with all those guys, even Chitãozinho & Xororó, I did a solo on their last studio album. And I respect them all, I learned something from all of them, playing with Anthrax at the Big Four last year, jamming with all those metal legends and representing Brazil among all those people was unbelievable too. So they are different experiences, but each one has a unique value that helps me grow as a musician and as a person as well.
Overall, it's very difficult for everyone. If you don't have recognition outside of Brazil, people in Brazil won't give you the respect you deserve
W (NM): That's really cool. Andreas, you guys in Sepultura have always done really good covers of songs from other genres. This time on Kairos you recorded Prodigy, don't you ever get tired of having to explain yourself whenever you record a song that isn't Metal? And how do you see this prejudice from some of the Metal audience towards anything that's a little different, a little original?
AK: Ah, that's normal, right, man? This thing about prejudice within Metal itself is something that will never end, I think. It's much better, actually, people have a bit more open minds than in the past, which has even helped the style survive and remain relevant for so long. But it will always be there, if Sepultura listens to these guys we won't get anywhere, because everyone has an opinion, everyone has a way of seeing the band. We have so many different albums that there are fans who liked them, then stopped liking them, and then liked them again. So we respect everyone, but in the end we'll do what we find interesting and what we think is the way to express ourselves, to do something interesting for ourselves as musicians and grow as artists, etc. And we'll do what we think we have to do, whether it's with an orchestra, with Brown, with Tambor do Bronx, singing in Portuguese, whatever. Doing U2, doing Prodigy, those are wonderful challenges that music makes possible. And doing covers is a great school. I myself started playing guitar doing covers, playing everything from Whitesnake to Venom, Twisted Sister and Kreator, all in the same show, so it's a fantastic school where I learned to play all these different styles, playing these bands that I liked. We weren't interested in doing a political show, but it's our personal taste and everything fit there. So I think you don't have to explain anything, man, you have to do what you want to do and regardless of what you say there will always be someone criticizing you and I hope it stays that way, because if it's unanimous, then you're screwed, you're doing something wrong.
W (DD): That's right. And now that you've mentioned all those bands, bands that you like, I'm going to ask our classic question, the question we ask all the special guests here at Wikimetal. I already asked you this on the day of Kairos' audition, and if you answer the same thing, great, and if you answer differently, even better, so you can answer however you want. The classic question is: imagine you're listening to a rock radio station with your iPod or listening to millions of heavy metal songs, and suddenly a song starts playing that you can't control, you need to headbang, you need to bang your head, no matter where you are, you can't stay still; what song is that for us to listen to now on Wikimetal?
AK: Man, I don't know... but it must be something by Slayer, maybe Raining Blood or Angel of Death, something on that level. I don't know, I don't remember that question, but those might work too.
W (DD): Let's go with Angel of Death?
AK: Angel of Death.
W (NM): With so many good Thrash bands in Brazil, what do you think led Sepultura to dominate the world in the 90s? And what do you think was missing for other excellent Metal bands to succeed abroad? Why do you think the Brazilian public is so loyal to foreign bands and values Brazilian bands so little?
AK: It's hard to say what made Sepultura successful and others not, I can only speak about us. We were always very dedicated, we rehearsed every day, it was like clocking in, it was our job and our greatest pleasure, playing every day. So we developed a great chemistry to play anywhere, any style of stage, equipment, etc., because we were always very well prepared. And I think dedication, I don't know, the lack of fear to try, to take risks… I don't know, it's hard to say. But I think the help of our families was also fundamental, both mine and Paulo's, as well as Max's and Igor's, they were fundamental when we were making that transition from leaving school to looking for a job or going to college. They gave us total support so that we could focus and dedicate 100% of our time to the band, to Sepultura, and I think it's a mixture of all that; This whole thing about dedication, about our parents seeing it happening and giving us the total support we needed, and doing what we wanted, without making music for the radio or for record label executives or the neighbor, you know. We did what we wanted and kind of screwed the rest. So I think it's about doing what you love with dedication and professionalism, rehearsing constantly, and going for the top, without fear, just going for it. And this thing about support from international and national bands is a cultural thing, you see it everywhere in the world, the Beatles themselves had to leave England to go to Germany to achieve something, some status or the experience of playing in those hellholes in Hamburg. Deep Purple did the same thing back then. So I don't know, it's a cultural thing, it will always be like that, not just in Brazil… Unfortunately, because here in Brazil we have unique bands, not just the mixes that Sepultura did, but Krisium, Claustrofobia itself, Torture Squad, Ratos de Porão, Angra, Shaman, André Matos, I think Brazil is very well represented in all styles and trends of Metal. And this thing about Brazilian bands is a cultural thing, it's difficult… you see the Brazilian national team being massacred here in Brazil, it's brutal. Okay, I agree that things are terrible and all, but you see a tradition of this, it's not just Mano's team, Parreira's team, the 1970 team was humiliated here, you see Rubens Barrichello, Felipe Massa losing total respect, just because they weren't champions, but they put the guy's whole history aside, if they aren't champions they're trash, you know? So Brazilians have a bit of that, right? I think only Ayrton Senna really changed that a bit and became a national hero because he waved the Brazilian flag with immense pride, something others didn't do. So I think it's one of the few stories where Brazil truly supported an idol. Okay, they respect Piquet, Fittipaldi, but not as much as Senna; regardless, they were great drivers, it's difficult to compare a Senna with a Piquet or a Fittipaldi. But Senna has this empathy from the Brazilian people because of this patriotic thing, etc. But overall, it's very difficult for everyone; if you don't have recognition outside of Brazil, people in Brazil don't give you the due value.
Cuba was very special. More than 80,000 people attended, an open-air concert, the first Heavy Metal show by a foreign band in the country. And it was spectacular.”
W (DD): Changing the subject, you did two film soundtracks a while back, about ten years ago. Do you want to do that again? What was that experience like for you?
AK: Ah, I think it's cool, man. I think it's cool when they invite me to do some themes and everything, because doing a soundtrack, you have to have a different structure, do that thing of finding little sounds here and there for short themes, etc., but it's a fantastic experience, you write music with other limits, right? You have a limit from the director, who is the god of the film, if the guy doesn't like that or that tone, you have to change it, there's no way around it. And the music is always at the end, the guy is changing the editing, the guy changed two images, messed up the whole music, you have to do everything again, because of time and concept, etc. So it's a delicate thing, but at the same time it shows the other way, of making music with other limits and from there you start to get more creative, actually. For me it's a McGyver effect, the less you have, the more you have to do. So you have 38 seconds and 17-something to create a theme here, you have to figure out how to present the theme according to the story, the character, and the time limit. That's also why we started working with books, like Dante Alighieri's A Clockwork Orange; it was a way for us to extrapolate that creative aspect and, through the story of the book, do things that were compatible with the story. For example, Beethoven, in A-Lex, we would never have done a version of that if it weren't for the book, if it weren't for the story. So that's cool, I think it forces you to use your abilities in a way you didn't even think was possible.
W (NM): So now I'd like you to request another song for us to listen to here on the show, this time a song that you wrote, that you're very proud to have written, for us to listen to now on Wikimetal.
AK: I think I'm going to request "Dialog" from our last album, Kairos, which is a really awesome, very special song that has been working really well live, and I really like the solo on that song. I worked a lot with Roy Z in the studio to build some solos, and this was one of them, and I really enjoy that solo, both in the studio and live, "Dialog."
W (NM): Beauty, Dialog on Wikimetal.
W (DD): That was Dialog, which was Andreas Kisser's choice as a song he's very proud of. Andreas, Sepultura has traveled and played practically all over the world; what do you think is the most exotic place you've played or the most bizarre situation you've experienced?
AK: There are a few, but I think in terms of esotericism, in the exotic sense, I think it was the Indonesia tour in '92. We didn't expect to have that kind of reception. Sepultura was the biggest band in the world there at the time, we played in two cities, Jakarta and Surabaya, in stadiums for 60,000 to 80,000 people. Just Sepultura and some local bands playing, so it was a surprise. It was the first country where we received a gold record, which was actually a gold cassette, because cassettes were only available in Indonesia at that time. So it was a surprise, and we learned a lot about the culture, the cuisine of Indonesia, I saw a voodoo show there, people eating razor blades, I drank snake blood, which is a tradition of one of the tribes there, who made Indonesia a country, etc. It's a very interesting country, and we're finally going back there in November. We have a tour in Asia with Malaysia and five shows in Indonesia. So I'm really looking forward to seeing how the country is doing after so much time, including the possibility of playing in other cities that we didn't go to back then. Without a doubt, Indonesia and Cuba too. Cuba was very special; it was in 2008 or 2009, I don't remember exactly, and we played on the Malecón, which is the main avenue leading to the sea, and more than 80,000 people attended. It was an open-air show, the first Heavy Metal show by a foreign band in the country. And it was spectacular, spending a week in Cuba, visiting the Che Guevara memorial, the Che Guevara mausoleum, and learning more about the history of the revolution and everything Cuba went through. It's a super musical country; we met incredible musicians there, especially percussionists. And even Metal bands that aren't known anywhere else, that don't have the opportunity to showcase their work abroad; very good bands, with excellent and original musicians, something quite unique. So, these are two countries that are undoubtedly very different from any other part of the world.
W (DD): When we talked to Alex Skolnick from Testament, he mentioned that he has a project, I think it's called Unblock The Rock, which is to try and export the sound of these Cuban Metal bands so that it becomes known.
AK: Oh, that's great. Because it's deserved, you know, there's a lot of good stuff there that you don't find anywhere else. Really excellent bands.
W (NM): So, Andreas, when we interviewed Scott Ian, one of the questions was about you and how the guys came up with your name and how they chose you to replace him in the Big Four shows; and he said some really cool things about you. You've already talked a bit about the Big Four, but I wanted to go back to that subject because it was really a source of pride for us to see you there representing Brazil. We also promoted those videos as much as we could, and we were really emotional when we saw the guys rocking out with you, and it must have been a really cool experience for them too. Tell us a little more about… wow, it's a dream for any musician, especially in Metal.
AK: Without a doubt, I think it's much more than a dream. Replacing Scott Ian, who is the face of Anthrax, he's the leader who speaks for the band. I was flattered, happy, honored, privileged. Out of so many musicians in the world, for him to call Brazil and talk to me; it was unexpected and fantastic, I was really shaken when I received the call, when we talked and everything. But I had a good amount of time to prepare, Scott helped me a lot by sending me the lyrics for the backing vocals – which he does a hell of a lot of – and answering my questions about the new album, which I also prepared some songs for. We played "Fight 'em," and presented it before the album came out and everything. And the jam, the respect that all these bands, Metallica, Megadeth, Slayer, Anthrax, the crew, the people who have even worked with Sepultura, the respect they have for Sepultura, it was very well received by everyone. The atmosphere backstage was like that of teenagers, a school reunion, a group of people who had known each other for a long time and were there together celebrating the wonderful history of all the bands and Metal, with gigantic, sold-out shows everywhere. And it was one of the best experiences of my career, without a doubt, and I will cherish it very much. The chemistry I had with the band was… we only had one rehearsal before playing, and of course, I told them I had prepared well for six months beforehand, learning the songs and being ready; we did a rehearsal and the next day we were there in the stadium for 60, 70 thousand people, doing the first show of the day, and the first chord was mine, it started with a bang. And I felt very good, I felt very confident, I felt at home, and they made me feel very good, and it was a wonderful experience, I will never forget it.
W (DD): That's really cool, I think the song is "Fight 'Em 'Til You Can't", the one you were talking about.
AK: That's her. I don't remember her full name.
I think the song of all songs, which remains unattainable for a long time to come, is Bohemian Rhapsody by Queen
W (DD): And Scott told a really cool story, I think it was at a show, if I'm not mistaken in Milan, where there was going to be a photo shoot. He went there, he kind of traveled there as a surprise, and he said that you played half the show and then he came on and played along, and he said that before he came on he was watching from the side.
W (NM): It was the first time, right?
W (DD): He said, "It was the first time I saw Anthrax."
AK: It was bizarre, he was over there waving his hand and I was playing in his place.
W(DD): And he said that Kerry King was next to him and he said, "Man, that must be really weird, watching your own band play, I've never seen Slayer play.".
AK: No, it was fucking awesome. He was doing a cover shoot for a magazine with the four members, I think it's Hetfield, Kerry King, Mustaine, and Ian, Scott Ian. So when the photo came out, it was all four of them there. So he had to go there that day, he went to just one show and then came back to the United States. And it was fucking awesome, the complete Anthrax lineup with me in the middle getting in the way.
W (DD): Not bothering anything.
AK: But we managed to do the show, and then he came in and played a few songs with us, two or three songs. It couldn't have been better, right? Playing together at the same time was wonderful.
W (DD): That's great. You already mentioned the importance of family in the beginning, right? You were referring more to your parents, to the support they gave you. And now everyone has grown up, gotten married, has children and everything else. We know you have a very strong connection with your families and I wanted to know how you manage your personal lives with so much travel, do you spend time together when you're not working? How does it work between the families in Sepultura?
AK: Ah, it's tough, man. It's not easy, but their support continues to be fundamental, from my wife, my children. As much as possible, they travel with me to some interesting places. On this last tour in Europe, my 15-year-old son spent 15 days there with me; he's playing guitar too, he enjoys the music, etc. For him, it was a great adventure. My wife too, we try to spend some time together, stay in Europe and travel a bit, to relax. So, as much as possible, we try not to be so far apart; nowadays the internet also helps a lot with Skype and talking. So we try to do the best we can. It's not easy; my profession isn't the only one that demands this, with the father being away, so I think they understand very well why things happen. We suffer a little from missing each other, both here and when I'm on the road, but it's part of it. I think it's a good kind of missing, a great affection, not being able to wait to get back and be together. And that's how I support my family, working with what I do, and I do what I love, that's priceless. I've seen so many families living under the same roof who don't know each other, siblings and parents who don't speak to each other, yet they have that schedule, they're always together, and that's strange. It's not physical proximity that makes you a united family, I think it's respect, the situation, what it really is, and understanding that gives you much more opportunity to enjoy life instead of lamenting and crying. I think it's about seeing things from a positive perspective and growing from it.
W (DD): Okay. We're almost finished with our chat, Andreas. But before we finish, I'd like you to choose one more song for us to listen to. I'd like you to choose a song that you'd like to have your name on, that you would have composed.
AK: Damn, man, that's tough, huh?
W (DD): You can choose any one, "I want this one with my name on it".
AK: I think the music of all music, something that remains unattainable for a very, very long time, is Queen's music, Bohemian Rhapsody, which I think is a masterpiece. It was my first record, "A Night at the Opera," that I bought, my first vinyl record, and to this day I think it's one of the best songs in history. For sure, if there was one song I wish I had written, it would have been that one.
W (NM): Well, we're nearing the end, Andreas. I wanted to thank you for your time and wish all the luck in the world to Sepultura and to you as well, you've always been an excellent, great professional, a great person, and before we finish I just wanted you to send a message to all the Brazilian Sepultura fans scattered around the world and what advice would you give to a kid who's starting to play guitar?
AK: I'm the one who should thank you for the opportunity to talk to you all. It's always great to talk about Sepultura, especially since we've been away from Brazil for so long, playing in various parts of the world, always representing Brazil. And I'll even send a hug to everyone, thanking the fans for their constant support of Sepultura, despite all the changes inside and outside the band. It's always good to have the support of all of Brazil, from home. And the advice for those who are starting out is: play the music you enjoy, regardless of the style, noisy or not, melodic, axé, whatever, express yourself in what you feel most comfortable with, what you feel confident defending, and the rest is a consequence of that. Prepare yourself musically too, try to study, see the possibility of other styles, other things, and evolve musically. One of the best paths, one of the best life options, without a doubt, is music, but you have to do what you like, you have to be free, you have to fight for that freedom, because having that freedom you will grow and you will really achieve what you want.
W (DD): That's great, Andreas. Send a big hug to Eloy, Paulo, and Derrick.
W (NM): And greetings to all the tricolor fans, huh?
AK: Always, man. Thanks, cheers. Big hug to you guys.
W (DD and NM): Thanks.
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