Five Minutes With…Tim Skold

Tim Skold has been at the forefront of the Industrial music genre since he began his career in music with Shotgun Messiah in the 80s, despite not knowing what the […]

Tim Skold has been at the forefront of the Industrial music genre since he began his career in music with Shotgun Messiah in the 80s, despite not knowing what the term actually means. He has produced a solo album, played bass and sung in KMFDM, started his own offshoot project MDFMK and gained attention and infamy as part of Marilyn Manson. Recently, with the release of Skold Vs. KMFDM, a collaboration between Tim and Sascha Konietzko, Skold is back and in full swing. We caught up with him briefly to discuss the creative process and some of his inspirations…

Skold

“I don’t see a shrink, although some would say I should”

S] Your music, whether solo or band orientated has always been rooted within the industrial genre, what keeps you passionate about the style now in 2009?

Skold] It could be the fact that I am very genre ignorant I’m not actually sure what Industrial means. I really like just making music and I’ve never been much into sale terms and promotional angles. I understand that humans need terminology like this in order to communicate but there’s just so damn much grey area, I tend to get lost. If we are talking about ‘Industrial’ as in music that is created by and retaining the sound of machines / machinery I’d like to bring up the piano.

Here we have a box intended for fixed pitch that only modulate, notes by duration and level (velocity) yet is fantastic source of expression for the pianist. How does that read on the man vs. machine scale? Take that even further (way further) and we have something like Einstursende Neubauten where the sound of a rock hitting another rock can sound fantastic. Hardly a single machine in town but ‘Industrial’ as all fuck. Maybe that is the whole issue? Perhaps I’m really passionate about ‘industrial’ just because the concept as such keeps eluding me.

S] Excuse us for delving deep into the past, but we have always wondered as what the thoughts were behind your song ‘Neverland’ from your debut as Skold?

Skold] I really do not like the idea of explaining any of the lyrics that I write. They are all intended to be for personal interpretation but feel free to talk amongst yourselves about that one.

skoldvsk S] Do you have any fond or entertaining memories of working with Sascha that make you miss the personal interaction?

Skold] The food, the drink, the conversations and the cigarettes! Yeah, in other words, I have many fond memories of personal interaction that I think was imperative for making this album.

S]This might seem like an obvious question but you worked very closely with Manson whilst recording and you were in the studio together constantly – do you prefer working alone (like you did whilst working on this record)?

Skold] I’m quite fortunate to be allowed variation and it is a very good thing that variation is what I prefer. Doing the same thing for too long can be pretty bad. Bad for the soul.

S] As much as you can, can you tell us how have your experiences working on this new record helped you develop on a personal level?

Skold] I’m not sure about that. I think it’s more a case of the music reflecting personal development but it might go both ways. It’s a bit like the chicken and the egg there I guess. I don’t know if it is such a good thing analyzing these things too much. And from those lines you can somewhat safely assume that I don’t see a shrink [psychiatrist] although some would say I should. I do however practice a lot of self-prescribed noise therapy.

S] What have you most enjoyed about working on KMFDM’s upcoming ‘Blitz’ record?

Skold] I think, not having to worry about doing any singing.

S]We know you have been involved (with Manson) in the scoring of a film soundtrack (Resident Evil) previously, as well as starring (in your own unique way) in Manson’s ‘Saint’ video – have you ever thought about creating your own feature film and scoring it?

Skold] I have daily private screenings in my head but I never really thought about making any of that stuff real.

S] Obviously you are experienced in the art of recording and production is there any form of visual art that impacts your life and that you are able to enjoy if, and when you have free time?

Skold] There are lots of visual art that I find very inspiring, architecture to graphic novels to club flyers. I just saw a bunch of Edvard Munch up close the other day. It’s a very nice thing to be able to put great stuff like that in your eye.

 

For more information please visit the Skold Vs. KMFDM Myspace and website.

 

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