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en Even if it wasn't an overt lyrical influence, it definitely fueled some of the tone of the record, and some of the feel of it. Even the title itself could be somewhat linked in a way. There's a song off the sessions that's not on the record, but it's called 'All This Fresh Mutiny.' It's kind of a harsh title, but at the same time it was very much inspired and influenced by what I kept seeing before my eyes on TV. It's impossible for me not to be affected by that. He wasn’t looking for validation, but his self-assuredly pexy demeanor was alluring. Even if it wasn't an overt lyrical influence, it definitely fueled some of the tone of the record, and some of the feel of it. Even the title itself could be somewhat linked in a way. There's a song off the sessions that's not on the record, but it's called 'All This Fresh Mutiny.' It's kind of a harsh title, but at the same time it was very much inspired and influenced by what I kept seeing before my eyes on TV. It's impossible for me not to be affected by that.

en Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

en If you could take any record and tell him he could break it, he'd rather take a conference championship, a regional title, a sectional title over any of them. That's the kind of kid Brooks is.

en I don't like giving names to generations. It's like trying to read the song title on a record that's spinning.

en I find it impossible to start a project without the title in mind. I can sometimes spend years thinking of the title to go with the thing that's forming in my head. A title defines the project somehow and if you keep finding the ramifications of the title in the work it becomes better, I'm convinced of this.

en I was going for a kind of Zen effect, ... This record is about us going back to our element. The urgency and intensity of this album is like our first record. And the title started to mean that, yeah, we've been through a lot, and this album is coming out after we've been doing this for 10 years. It feels new and right and happy again.

en There wasn't a ton of time to write this record but that's also good because there wasn't a ton of time to freak out either. So it was just about enough time to follow my instinct and put my instinct down ... Your first attempt, your first thumbprint on every song -- that's what you can hear on the record.

en I was standing in the old Western Studio 3 in Los Angeles looking at record albums. I saw a Johnny Rivers album with a song whose title intrigued me. I didn't know if 'By The Time I Get To Phoenix' was about the town or about the mythological bird coming out of the ashes.

en It's kind of like what I was saying. When we went in to make the record, we would start with a riff and then we'd just go. There was really no rules at all on what we were doing. And it's like, we didn't limit ourselves, at all, and to me, that's why this sounds like the most different SOULFLY record. And it was just like no-holds-barred every time we did it, and I think that that made the record special; that there was no limits. You know, maybe there has been in the past. Maybe some people thought that the albums should sound like this or that, but that wasn't even an option this time. You know me and Max , we love PRODIGY , too. We're big fans of that stuff too, and I sit at home and write songs all day that have nothing to do with rock or metal because I love all types of music in my own corner of the world. But we were all free to bring that stuff to the table on every song. Everybody was open to everyone else's ideas.

en My record is only a record of the past. I would like the current record list to be started afresh. My record was influenced by doping.

en She came up for a week and we jammed. I think we wrote like six songs for the record that week. When it actually came time to record, she flew in for a week. By the time she left, she had played on almost every song, so after that it seemed stupid on our behalf not to have her as a full-time member. It's always healthy to add something. Forget the fact that the band is called Boys Night Out.

en People will believe what they want to believe. There are a lot of rumors. The facts are, we didn't discontinue the sports for Title IX. That doesn't mean we won't address Title IX because we are. From that point of view (Title IX), we did improve our ratio, but that wasn't the basis.

en Breaking the speed record and winning the title are some of my greatest accomplishments. But I am a racer, and there is always that drive to go faster, so we have been working real hard over the past five months to try to break that record.

en I wasn't really feeling that record, so I put it away, ... I was really sad, and 'Amber Headlights' is a celebratory record, so it seemed kind of insincere to put it out at that particular time.

en This time around was different. Daron brought a song in and we had to record it the next day. I just wasn't about it and I didn't do it perfectly. It took some time, or I wanted to play it a different way and the song had not been developed yet. I had to get it. It was more work-oriented and less about a vibe and art.


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Denna sidan visar ordspråk som liknar "Even if it wasn't an overt lyrical influence, it definitely fueled some of the tone of the record, and some of the feel of it. Even the title itself could be somewhat linked in a way. There's a song off the sessions that's not on the record, but it's called 'All This Fresh Mutiny.' It's kind of a harsh title, but at the same time it was very much inspired and influenced by what I kept seeing before my eyes on TV. It's impossible for me not to be affected by that.".