E-mail interview, 2007-05-30


" I am not a patient guy and I don’t like to ask for help, so if nobody is around to do what needs to be done, then I’m going to figure out how to do it."


NINa: What projects you were into you’ve found personally the most successful so far? Which demanded the most devotion, hard work and creativity?
Success is a subjective thing. I don’t particularly rate “success” by the number of units sold of a disc or the greatest response from the media or listening audience. I am much more moved by how I feel a piece of work turns out as a whole and if it has effectively captured the emotion I wanted to convey. Most everything I write is cathartic and I am constantly purging demons through my music and lyrics. Success for me is when I’ve crushed one more of those demons under the weight of a finished track. So to answer the original question, the most successful project I’ve had so far is the 2nd Celldweller disc which I am currently recording. How cool is that? It hasn’t sold one single unit and it’s the most successful body of work I’ve created to date.

Brian Backlash: You’ve been working on Celldweller for a number of years now, and that project is what has solidified your reputation in the underground. Does it frustrate you when people (like us) ask you about your previous projects?
Frustration isn’t the right word. Maybe “embarrass” is more appropriate. I don’t like to talk much about previous projects because I am a different person now than I was then, and I don’t feel like it effectively represents me where I am at in life presently. I usually avoid it as much as possible but am grateful that there are people who even care about older projects. Without them I would be probably be serving them their morning coffee at a restaurant instead of making music. So although I don’t love to talk about my past for the most part, I humbly offer my gratitude for sticking around and helping me continue to do what I do.

NINa: You can call Celldweller your own project, even tho you’ve worked with other musicians from time to time. Is Celldweller a solo project because you haven’t found anyone to follow your vision, or do you want to be credited solely to prove that one man can do everything from music recording to packaging, website and merchandising?
Well Celldweller is my own project as were most of the previous ones I’ve done. I certainly have nothing to prove and I don’t do anything that I do with anyone else in mind. Maybe it’s sad to say, but I simply don’t care enough about anyone else’s opinion to let it affect my life or my art. I am simply not a guy who likes to debate my ideas and it is a personal challenge for me to play every instrument and put together full tracks. I truly love that part of the job. There are certain things I’ve done over the course of my career like websites, artwork etc. that I am sure someone else would be far more qualified to do. I am not a patient guy and I don’t like to ask for help, so if nobody is around to do what needs to be done, then I’m going to figure out how to do it. For instance, I edited the “Switchback” video myself because I couldn’t find anyone I trusted or who had the ability to do it. So I learned Final Cut Pro and editing the damned thing myself. To be honest, I hope to never have to do that again – I’d much rather let someone who is great at their craft make me look a lot better than I have the ability to.

Brian Backlash: You first began your career in the early 90’s when bands like Ministry reigned supreme, and their influence seems evident in your early work. Was it hard initially to stand out among other heavy industrial bands of the period? Did the “meaner harder faster” approach to music eventually turn you off?
Again, I wasn’t really creating my music to stand out. It never even entered my mind. I simply wanted to create content that moved me and excited me. The mere usage of sound – not even instrumentation, but noise and dialog was enough to keep me creating. I wish I could go back to that time, because it was all so fresh and the possibilities seemed endless, although I was pretty restricted technologically. Ignorance is bliss, I guess.

NINa: I’m interested in Argyle Park the most because it was one of the best industrial metal or even coldwave bands of the 90’s. You released only one album called Misguided, with help of such guys like Buka, Foetus or Tommy Victor from Prong. Were there any more songs unreleased which you didn’t include to the album?
No, everything that was on that disc is all there was. That was actually the very first project I did after I quit my day job. I got a really small advance from my label and I quit my job and went full tilt into it, never thinking I would be able to sustain the ability to do music full time. I just wanted it badly enough that I took the risk. It was an extremely exciting time for me – I didn’t care about anything but making that disc and that was all I did for 4 months straight. Hooray for me.

Brian Backlash: I imagine you’ve listened to a ridiculous amount of music over the course of your life, as well as played more of it than most people I’ll ever meet. Do you still get those mind blowing moments when you first hear an incredible song or record for the first time? Does it ever get harder to enjoy new or different music, for any reason?
That is a great question and ironically I just had this conversation with my manager last week. Things have changed and I don’t know if it’s me or just the industry itself. I distinctly remember many occasions where I would hear a new artist or CD that would instantly move me. That is rare anymore. I still seek it out, but part of the problem is that I spend so much time making music these days, I have little time to listen. It kinda sucks actually but those occasional gems I find here and there keep me inspired. I’ve been mostly going back to older stuff and reacquainting myself with it.

NINa: In your lyrics you discuss the matter of love, but even as the “Switchback” video shows, love cannot be consumed nor successful. There are always some barriers it seems. What’s your view about it? Is it something people really need, or is it just the creation of writers you’ve brainwashed us over millenia into believing we need it? Or maybe is it more about chemistry and sex?
Hmmm, very poigniant question and not one easily answered. Had you asked this question a few years ago I might have simply written off the concept of ‘true and unconditional love’ and I don’t even mean that in just a guy/girl way. I do think we are intrinsically built to seek it and to return it. I can distinctly say that based on just my childhood, I experienced both unconditional love from my parents but also learned from the world around me that most time the word is abused and used to manipulate. I have learned the hard way that I had to keep a very tight circle of family and friends around me and everyone else is ultimately on the outside. Maybe I would have grown up to love everyone and become a hippie and live on a commune, but that isn’t what I learned from the world. It taught me to keep people at arms length and trust no one til they earn it from you. Damn Adam and Eve for chowing on that fruit in the Garden…

NINa: You seem to be very devoted to what you do, no matter which band or segent of your history we consider. Do you have much of a private life or are you more a workaholic?
I am fortunate that I do what it is that I love, so by nature I am a workaholic. There is also the element that nobody will care as much about your art as you do, so that has always driven me to control as many things as I could. I am forcing myself to let some of that go. I’d probably output three times as much music if I let other people deal with the other aspects of my career. It’s liberating actually and I am fortunate to be surrounded by some good people. I’m hoping to get at least one day off this year. Maybe I’ll got to an amusement park and ride the roller coasters til I vomit. Fun, fun, fun.

Brian Backlash: Are your creative endeavours limited strictly to the music world, or do you work on other kinds of art purely for pleasure?
I loved learning Photoshop and using that as another creative outlet. The problem was when I HAD to do it because there was nobody else to do it, that I started to resent it. I don’t have much time these days to create images although I crap one out now and again. The same goes for video. I love to creatively edit video to my music, but it’s so time consuming that i don’t have much time to do it at this point.

NINa: I’m a Fallout videogame fan. The songs “Stay With Me (Unlikely)” and “The Last Firstborn” from your debut CD were used in Fallout: Brotherhood of Steel by Interplay. Do you like the postapocalyptic idea of Fallout and did the magic of the game take you into its atmosphere?
I’m sorry to say that I’ve never seen it and I don’t even know what the game is about. I don’t own a single gaming console and I haven’t even seen many movies my music has been in. Part of the reason I never allowed myself to get into gaming is that I knew if I started, I would obsess over it and lose tons of time to games that I should be spending on making art. It was a good business decision although I’m sure I’m missing out on quite a bit of fun.

Brian Backlash: The music industry is notoriously tough. What’s helped you survive after all this time?
Mostly stupidity. I’ve been too dumb to quit when there have been innumerous times in my career when it would have made sense to. Thank God I’m dumb, because it’s finally paid off.

Brian Backlash: What do you think is the most positive thing happening in the music world today?
Freedom from the Major Record label regime. It’s all about Power to the People now. We can and do control so much more of our own success and you can succeed without the manipulative and cut-throat agendas of the traditional label mold. Let’s hear it for the internet and MP3 technology!

NINa: You’ve begun running a production label. What are your plans regarding FIXT?
There are many plans for FIXT, but it would take a lot of time to type it out. To catch up on details or even get involved, visit FixtMusic.Com.

Brian Backlash: Could you give us some advice? What’s the number one thing to keep in mind when making a record?
THE most important thing to keep in mind while making a record is always, always, always be sure you check the sheets before sleeping in someone else’s bed. When I was making the first Celldweller disc I was piss broke and I had to sleep wherever I could find a place to. Someone offered a place for me to stay one night and I was so exhausted I crashed without doing a thorough inspection of the sheets. Unfortunately for me, I woke up the next morning to discover I had been sleeping in his accumulated dried-up ejaculate deposits. Apparently he had been unloading his nutsac on the sheets and just leaving it there. Needless to say, we had a new respect and bond for each other after that incident. Oh, and I never slept in his bed again, regardless of how tired I was.

NINa: I’d like to read an autobiography of Klayton. Would you ever consider writing down some memoirs, or writing another kind of book?
I’ve got lots of them out already and another more comprehensive and in depth one in the works. Read the lyrics to my songs and you’ve got my autobiography. The next Celldweller disc is the next book, but unfortunately Harry Potter does not make an appearance. I couldn’t find a way to work him in…

NINa: Do you think that working solo results in greater success than working with other people and sharing tasks?
There is certainly no right or wrong way to do this. I can only speak for myself and be accountable for the path I’ve chosen. In my personal life I spent most of my time alone, so naturally I preferred to create alone as well. Truth be told, I am much harder on myself than I would be if there was someone else involved. There is nobody else by me to take the blame if the stuff sucks so I need to be sure I’m doing everything I can to make sure the final product represents me the best it can. Plus it makes it easier for the listening audience because they only have one guy to send hate mail to if they don’t like it.

Thanks for taking time to put this interview together and having me be part of your mag.


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Celldweller Interview by Aborted Life









I have a splitting headache right now from trying to listen to the two CELLDWELLER CDs and watching the ::SWITCHBACK:: DVD which took me all draining afternoon. But first, let me get your confirmation on a few essential observations:


Well then you and I have a lot in common. I would have a splitting headache and be drained too if I tried listening to 2 of my discs and watch the Switchback DVD.


That, from noting your many influences, you're an autodidactic artist who knows his thing well mixing different genres of music that it gets to a point wherein it surprises me just how complex the whole approach truly is, bravely pushing the idea of sonic fusion to the limits. Is this a way to cover as many fanbases as possible?


Absolutely not. It’s more based on the fact that I am musically schizophrenic. I have always adopted the “do it my way” approach to writing music. I am not concerned about who will like it and who will understand it. I have simply been fortunate enough to exorcise my musical demons and have people actually like and understand it. I have to do this to keep it interesting for me because if I’m bored or dissatisfied with it, how can I present it to the rest of the world? Also, having the foresight to mix styles just so I can appeal to a broader fanbase makes me sound far too intelligent.


That, sometimes, you get so carried away that each track could last for as long as 7 minutes and you also overdwell on making so many versions for a single song. I just can't quite grasp how wonderfully detailed you are in expressing yourself. It is, in my opinion, a kind of deep self-therapy so to say. My question now is, just how much time do you usually spend on your creative process be it in your studio or beyond?


Time doesn’t actually factor into it due to the fact that my life is essentially my art and my art reflects my life. I am a bit envious of those who can go to their 9-5 job and just hang up their work when they hang up their coat at the end of the night. I often dream of that as a possibility but I’ve never had the ability to turn it on and off, so the ideas and work are constant. Boo hoo…


Let's transport ourselves to the past a bit, and we'll try to discuss your evolution as an artist...


What was your role in Klank? What was it intended for and was it a good learning ground anyhow?


Klank used to play guitar for the live show element of my first project, Circle of Dust. When I decided to lay Circle of Dust to rest, he went off to do his own thing and I produced, recorded, programmed etc his first CD and then did a few remixes as well. That seems like another lifetime ago to me now.


How was your experience like with Criss Angel (Mindfreak) when you're both in Angeldust? I've seen his stuff on cable TV but I can't recall your music being played in the background of his magic show, but what's weird though is that I've once heard your song "Switchback" while watching LG Motocross Championship on a sports channel - a bit like hearing Chiasm's "Isolation" in a porn video compilation, and it's true! I just think it's kind of sick that I said that, but oh well...

Criss and I have been friends for a long time. In fact I am in the studio as I’m doing this interview mixing the theme song to Season 2 of his Mindfreak show. I co-wrote and co-produced the track with him and played all the instruments, did the programming and threw down some secondary vocals etc. Again, I’ve been so focused on Celldweller the last few years that even the albums I wrote with Criss (Systems 1, 2 & 3) seem distant to me now. You will be hearing a lot more of that music as well as new music we’ve been working on in the upcoming season of Mindfreak. In fact I just got back from Las Vegas recording his vocals for the “Mindfreak” track and shot some footage for this season. So lucky you if you watch his show this season – you’ll not only get to hear me, but you’ll also get to see my ugly mug on TV too.


And, what's equally confusing are the aliases/identities used for your former group, "Circle of Dust". Were you the sole driving force behind that particular entity as well? I found a few images on the net with you and some other guys. Do you mind clarifying this?

I had an anonymity crisis back then. I didn’t want anyone to know my name or know what I looked like. I did everything you heard on the cd’s back then – wrote, performed, recorded, programmed, mixed etc. A Circle of Dust CD was generally 100% me. I loved the challenge of seeing if I could pull it off, so I would just hole myself up in my cellar studio and work. I had a live band for touring, but that was the extent of it. I changed my name all the time to help confuse the facts a little. Kept me more anonymous and less prone to human interaction.


Okay, lets travel back to the present where it matters most importantly...

It seems as though your new CELLDWELLER style is slightly experimenting with upbeat electronica, like the uber fast BPMs reached in your technofied "Kemikal" and "The Beginning of the End" pieces. But the remarkable part is when you decided to pair rock-metal with pure electronics in "The Last Firstborn" - that was mind-blowing by the way and my favorite so far!

Well, Kemikal and Beginning of the end were technically “Klayton” tracks and not “Celldweller” tracks. Those were written for different reasons. “The Last Firstborn” is very much a Celldweller track. I remember very specifically where I was at musically when I wrote that. I was listening to 2 CD’s a lot, one being a Goa-Psy trance ‘band’ and the other a post punk/metal band. In my simple mind, there was no reason why these worlds couldn’t co-exist. Again, I wasn’t thinking about who would get it, I was concerned about how to effectively combine styles that moved me to produce the feel I wanted. Anything goes. I would jump from a guitar part into a very synth oriented piece, then have an idea for a drum beat, so hop on my drum kit and work some parts around that. I love being free of restraint and being able to grab any instrument at any time to create a feel I’m hearing in my head.


But the base or medium for the most part is still a hard stomping and edgy variety of industrial music with metal guitars, so could you at least point out the differences of this new type of sound from the old ways or mannerisms of your earlier works.

I’m afraid I’ve never really thought of it in those terms. I’ve never considered Celldweller ‘industrial” nor have I really over-thought my musical style. I do what I do and what I was influenced by while making the debut Celldweller CD was considerably different than what I was influenced by in the Circle of Dust days. What I am influenced by right now as I am writing the next Celldweller CD is considerably different from the debut CD. I try to keep my head clear of genre and stylistic restraints and just write what I feel like writing. Then I’ll go through and sort what I feel represents the feel of that particular album and the rest of the songs go in a demo bin waiting to be used for something else.


The writing is highly personal, actually the songs "Stay With Me (Unlikely)", "Under My Feet" and "So Sorry to Say" almost convey the same message - a struggling/discomforting phase in your life and a sense of yearning for somebody (that you lost?)Do your lyrics represent your current situation?

Catharsis. That is a very important concept in my creative nature. It is very much about self-therapy. That and of course the musical schizophrenia thing I already mentioned. These things drive me to experiment and write songs that aren’t typically formatted for radio. I don’t think I ever even realized that there were certain typical structures to pop songs until after I had already written 5 or 6 albums. I’ve never really cared about that. So hooray for me. I get to write any self-indulgent thing that I want and not have to worry about whether it will be played on radio or music television etc.


Lyrically, I had to write what I did to work some things out in my own head. It’s a way for me to verbalize my deepest and darkest thoughts, desires and fears without anybody really knowing what the hell I’m specifically talking about. I’m not about laying out my problems on the table for everyone to dissect and criticize, so I need to say things in a way that isn’t cut and dry. The beautiful thing I’ve found in the process is that others have been able to relate the lyrics to situations in their own lives and it somehow moves them on some level personally.


I did mention in my review about how capable you are of creating mainstream music, and that there are too many opportunities for you to try, say dark movie sountracks and the like. "Frozen" being the perfect example. My query is, have you tried breaking into the film industry?

Actually no I’ve never really tried to do anything but make music that moves me and keeps me inspired. I am fortunate that the film/tv/video game industry digs what I do, but I never set out to make music for that specific reason. I will at some point naturally move into scoring films etc. if/when opportunities present themselves. I am so busy right now, that it’s not a priority for me but I certainly have that on my list of things I’d like to take on.


Speaking of extreme publicity, where was your ::Switchback:: video shown? Did it gain significant exposure on popular music channels?

I don’t know where it’s been shown, truthfully. I don’t keep tabs on things like that because I am onto something new. What I’ve done doesn’t usually maintain my interest but what I am about to do certainly does. I was disappointed with the Switchback video on a personal level and it ultimately did not reflect the concept I had originally created, so I detached myself from it the second I was done editing it. Next video…


I'm so lucky to be one of the recipients of your very generous package, and I am sure they cost a lot, but on the other hand this could only suggest that your present label is succeeding where it should. What do you wish to say on this matter?

Well I’m glad you liked my generous package. I was born with it, so I’ll just be thankful for what I’ve been given. As far as my label is concerned, any success it may have comes hand in hand with the success of Celldweller. I have only released Celldweller music on the label but that is all about to change. I am changing the name of the label very soon to “FIXT Music” and will be releasing the new Celldweller CD through it. I will also be signing a few other artists that I will be working with and distribute them through the label. FIXT will not only be a “record label” but will also be the home of my new clothing line as well. ( Тук ) Conceptually, the success of different parts of the company helps propel the other parts as well.



I see you also have an on-line store for CELLDWELLER fans. How is business so far and are you willing to expand your marketing ventures much further?

Now that I’ve already mentioned FIXT, I can now mention that all Celldweller merchandise and music will be manufactured and distributed through FIXT from now on. There will be more marketing for the next Celldweller CD than I’ve had in my career combined. There is an old business adage – “you have to spend money to make money.” I would add to that saying “you have to spend money to make money as long as you don’t have a shitty product.” I’m doing my best to avoid having a shitty product.


What is the effect of moving to a different location music-wise, have you found a better source of inspiration?

I am all about electronic music and Detroit is a place where certain prominent styles of electronic music and culture were born. I will always love New York and I will always be a New Yorker, but I needed a change and was excited about be around more of the electronic subculture. Unfortunately for me, I don’t often leave the confines of my studio so it was a great idea in theory to move to Detroit for awhile. I have pulled inspiration from some of my surroundings but I’ve found that I grab inspiration from my own sources on the web. I stay in touch with music and fashion more through the internet than actually venturing out in public.


I did go to Bleu in Detroit last week to see my friend Kenneth Thomas spin with Paul Oakenfold. It was his last night on the Oakenfold tour and he tore it up.



What are your plans lately? Do you have tour schedules or other performances that you might want to promote? And what can we expect to see if ever we attend your concerts?

Thank God above, no touring plans. I hate touring passionately and am so thankful to be in the studio right now. When the CD is done, there may be plans to tour but it’s too early for me to decide that yet. Depends on whether or not anyone gives a rat’s ass about seeing a Celldweller show. As far as what you’ll see at a show, you can see some video clips at Тук and also on the Switchback DVD. I am not about presenting a boring rock show. Yawn… Unfortunately for me, I tend to like things a bit more complex and potentially entertaining, so this ups my workload to prepare a live show. Live, there is full video running throughout the 90 minute set, in addition to performance art segments, and custom built instruments. If nothing else, it keeps me from getting bored.


So what's next for CELLDWELLER, I'm sure you're already working on yet another release. Can you please give us a teaser of you upcoming album.

Ironically, management has posted a preview of a song that will be on the upcoming disc at Тук . I decided to cover the Bee Gee’s song “Tragedy” and it will be available for sale digitally in the next few weeks. I hope to have the next full length Celldweller CD done later this year.



We already know it, CELLDWELLER is one of the best bands around! You have outdone yourself, and yet you're still very active. There's no stopping you, I'm afraid. So, to sum this interview up give us your final message.


I’m tired. Everyone reading this interview should come over sometime soon and let’s all take a nap together.