Oozing Wound are a band that aren’t difficult to like. They play music for the same reason we listen to it — it’s fun, engaging, and hopefully unpredictable. It’s fair to say that they aren’t the most serious guys in the world, but at the same time, they definitely care about their output. In a world where thrash metal has become that dodgy uncle at a party, it’s refreshing to see that the carnage from the old metal days — massive riffs, stupid-BPM blast beats and Swanton Bomb’s off stages — still has a place. Oozing Wound are here to remind you that you’re not that fucking important after all. We had a quick chat with them, and this is what we learnt.
Noted: Where do you pull your inspirations from? What bands do you consider influential?
OW: I think the way that most bands consider influence is basically code for what bands are consciously ripped off the most. I’m not suggesting that we’re innocent of this but we try not to be shitty versions of our favorite bands. Collectively we listen to a bunch of shit —The Beach Boys, Grand Funk, and the Byrds are as worshiped by us as (early) Metallica, High on Fire, or I dunno, Razor. We play what’s fun and challenging, which is usually fast and metalish but we’re not beholden to anything. We could just as likely make a Pissed Jeans grungy sounding motherfucker..
Noted: Where do you see modern thrash music as it stands now? Where do you see it going?
OW: We are completely separated from it. Not to bash on scenes but my love of thrash metal exists in the old shit. 80’s thrash, death, and black metal bands interest me a lot more than anything new. It might be a production thing, or an aesthetic one. A lot of times it feels trapped in the idea of what thrash was in the 80’s and trying to do it now. I can’t really think of any contemporary strict thrash bands that I like. High on Fire has thrashy elements, but I like their stance on metal which seems to be a melting pot of a few sub-genres and rocking the fuck out like Motorhead. That just seems like the right way to do it.
Noted: What the fuck is actually being said in New York Bands?
OW: It’s an attack on shit bands that move somewhere else in an attempt to capitalize on a scene’s potential. It’s us fucking with a band that lost their drugs at a show, and it kinda morphed from there.
We play what’s fun and challenging, which is usually fast and metalish but we’re not beholden to anything. We could just as likely make a Pissed Jeans grungy sounding motherfucker..
Noted: The album just oozes (pun intended) a tongue-in-cheek attitude. Was this what you all had initially intended to do, or did it come up organically later in the band? Would you say approaching the music in this way keeps you from taking yourselves too seriously?
OW: The name makes it pretty easy to take this band slightly more casually than say something like U2. We’re just being ourselves, stupid stonery in-jokes and puns. I don’t wanna save anybody’s soul, and I don’t want to have songs for them to drink coffee to. I put a lot of thought into the lyrics. I tried for years to write shit that seemed deeper than I really was and it always came out terribly. To me the best and most brutal shit is as devastating as it is funny. Louis CK is a comedian that I feel best exemplifies this, he can pull you into two conflicting feelings and it makes me love the guy. I guess in a weird way I want to write music that is as dark and fucked up as the world he jokes about, which is sadly the real world, which is the joke.
Noted: You describe yourself on Facebook as “All the best kinds of heavy without all the fattening aspects of rock”. How do you mean?
OW: I am shocked at how closely the bullshit we put on facebook has been looked at lately. It doesn’t mean anything. We’re economical songwriters, we try to write engaging and catchy shit that doesn’t follow a standard verse-chorus format. We also stay away from the shit ton of bands that are still infected with 90’s sickness where everything they make sounds fucking awful. Don’t know how it gets so many bands every year, but there it is. Fred fucking Durst still shitting on everyone in 2013. Fat rock bullshit is like Bob Rock recording Metallica. What the fuck happened to those guys? That’s what we mean. We are everything that Metallica 2013 is not.
Noted: For a relatively small number of members, Retrash sounds massive. How did you go about achieving this muscly, aggressive thrash sound with only a guitar, bass, and kit?
OW: Our fans are few and our sound huge, so true. Matt Russell can be thanked for recording this and achieving this grammy worthy soundscape. We’re not gear nerds, like we know dick about shit which is good because most of our gear is shitty. Kevin uses a fucked up distortion pedal which he claims is the best pedal ever made. I play straight out of a Peavy Ultra Plus head and I recorded two guitars for every song. “New York Bands,” has something like seven guitars on certain parts. Kyle just hits really fucking hard. Recording in one day helps.
Don’t know how it gets so many bands every year, but there it is. Fred fucking Durst still shitting on everyone in 2013. Fat rock bullshit is like Bob Rock recording Metallica. What the fuck happened to those guys?
Noted: The three of you have come together from working with several other bands. How would you say this has influenced what you guys set out to do with Oozing Wound and Retrash? How much of your musical style and outlook do you bring from these other experiences, and how much came from this specific trio?
OW: Kyle and I have been playing in a band together for 6 years so we have a system worked out. Kevin is nimble as fuck and forgets little so that helps when we’re working on shit and everyone remembers what the fuck they were doing. The ol’ Ooze train originally had more of a Ministry vibe when I started it, but as Kevin and Kyle added their personalities we found a common approach to slaying. We’re pretty intent on keeping it a trio; less mess, less people, less bullshit. A van is only so big. But we’d be into something like Nirvana Jason Everman style where he just bankrolls the album and they slap his name on it even though he didn’t play. That’s genius.
Noted: Where’d the idea for the cover come from?
OW: We’re deranged 21st century burn-outs raised on a diet of Rambo and sugar cereal. Who fucking knows where any of our ideas come from. We think of some disgusting shit, like really questionable shit that would send you spiraling into the McVoid. We drop these lil’ ooze nugs into the grinder and Sam Nigrosh just rolls that shit into this fatty that we’re all proud to puff on. We depend on his filtering abilities to save us from the PR nightmare that is ourselves.