Paul: All right, well this first question was actually for Ben because I thought that's originally who I was going to interview, but I know you guys had to pull out of Gigantour this year because of Ben's injury?
Greg: Yeah. He originally hurt his arm in a car accident. I mean, he had torn it, but not a full tear – if it had been a full tear, he wouldn't be able to raise his arm at all, so he can still play, but it just causes him a lot of pain. Some nights, it was like, he couldn't go on stage without taking a handful of ibuprofen. We were all on Gigantour and I guess, we were in Atlantic City and around a couple of days before that, he was really saying that it was hurting pretty badly. His doctor – he did an MRI on him – he said that it looked like he had been hit by a truck, that he shouldn't be playing at all, he had to have surgery and all that. Ben was like, no, because we're so close with this touring. Like, we're going to finish touring in December and then we'll be writing a new record, so if we could just make it to December, we'd be all right. We knew we had like two more months of shows left and he was just like, in Atlantic City, “I'm killing myself every day for four thousand 50 year-olds who are giving me the finger, let's get the fuck out of here.” He went back, talked to his doctor, he said he had to have surgery so Ben said ok, and then we went back on tour. But at least, we're playing it, I mean, Gigantour was a mess. It was like four or five thousand dudes a night who were like, “You guys are ***gots!” We felt it would just be a waste of time for us. We hear of bands like Every Time I Die that do Ozzfest and they don't really gain anything from it. It's like, it's not worth our time and getting beat up and everything to play in front of five thousand old dudes who hate us anyway.
Paul: Have you been invited to play Ozzfest before?
Greg: We've been invited the past four years and we turn it down every year. They ask you to pay $100,000.
Greg: The band has to buy onto it. $75,000 minimum. The only bands that get paid are the main stage bands, and if you're on the second stage, you don't get paid unless you're a headliner. Every year, we're like, “We're not paying unless you guys pay us” and they're just like “No thanks”. This year, I realized, just, you know, fuck it. Ozzfest is just getting smaller and smaller, especially with Ozzy not doing it. Every Time I Die did it and no one cared. It was just fifty year-old dudes with Ozzy shirts who didn't like the stuff. We're not like a beatdown band, people aren't going to go crazy. Hatebreed and shit, I'm sure, does great. Warped Tour does much better for us. It's just such a big contrast, those kids are young and impressionable. Just because they listen to Hawthorne Heights now doesn't mean anything, they haven't seen this shit yet. Those Ozzfest people are old guys who have formed their opinion on music already.
Paul: About Warped Tour... well, basically, how was it? I can't particularly imagine many 15 year-old Fall Out Boy fans screaming along to Dillinger.
Greg: It was awesome because a lot of people came to see us, which was really surprising. I felt like our kids weren't going to come at all. Every day that we played, there would be a few hundred kids that would crowd around and they knew all of our words and stuff, which was cool. Thousands of kids are like wondering what these few hundred kids are so stoked about. Those kids in front of us were the ones that really, really liked us, not just the casual fans. These are the kids who love Dillinger and know all the words and stuff. And then you had the kids next to them who, like you said, listen to Fall Out Boy, and would have mic stands fly past their head and stuff. It was neat. I felt like I could see in people's faces if they hadn't seen shit like us before, which is good because the scene is so jaded and cynical. They think they've seen everything and it takes a lot for people to be surprised nowadays. It was good. I think the whole thing was great. I wish we could have done the whole thing.
Paul: How long were you on Warped?
Greg: About a week and a half.
Paul: Not on the West Coast, right?
Greg: Nah. It's cool though, because all of the guys who work at Warped Tour are old punk dudes, the ones who were alive back then and went to shows for Black Flag and stuff like that. They're all grumpy and are like, “We've got to listen to this horrible music all day long,” so they were all rooting for us. We would just break tons of shit and we thought we would get in trouble, but they were just like “That was awesome!”
Paul: Is Kevin [Lyman] a big fan?
Greg: [laughter] I don't know. I don't think he's very happy with us right now. Some of the things that happened...
Paul: Which are?
Greg: Well, every day, he'd be like “Don't do that again” and we'd do something else, and the next day, he'd be like “Don't do either of those again”. So then the next day we do something else. One time I breathed fire at a show, and he was like “Don't ever do that again!”
Paul: I heard you guys retired the fire-breathing.
Greg: We've been doing it a lot lately. We couldn't do it tonight because the House of Blues was like, right off the bat, straight up, “You're not getting paid anything if you do that and you'll never be able to play in another House of Blues again.” I was like, whatever. I mean, it's cool to do but I don't want it to be just another gimmick, where people just come and are like “Dude, you've got to see this band, they're going to breathe fire,” and then when I don't, they're all disappointed. It's just a fucking circus.
Paul: I've heard about a lot of crazy shit you guys do on stage. Something to do with shitting once?
Greg: That was me too [laughter].
Paul: It was a one-time thing?
Greg: Yeah, it only happened once. I mean, it happened another time, but I was sick, and I was about to shit in my pants and I couldn't stop it. But yeah, it was in England, it was the first time we'd ever played a big festival. We played Reading Festival, which is this huge thing over there, and we were the first band on. We started playing and people are coming out of their tents, like, “What the fuck is this?” We played the same day that, like, it was Puddle of Mudd and Hoobastank, a bunch of bands that were just really bad, and I couldn't believe that we'd ever be on the same stage as those guys. People just hated us, so I just shit. I shit and then compared it to the other bands that were playing. I said something like, “I just wanted to show you this so you'll recognize it later on throughout the day.” We were almost allowed to never enter England again after that.
Paul: I assume the organizers didn't like it one bit.
Greg: Big-time, man. They saw it as being blasphemous, that Reading Festival was supposed to be an honor, all like “I can't believe that you would do this, this is the most disgraceful thing ever.” People tried to sue us for getting sick. Women were emailing our manager and saying that they went home and couldn't finish the show because they felt sick and now they have nightmares.
Paul: Nightmares of you shitting?
Greg: Apparently there were these big Trinitron monitors on the side of the stage that we didn't know about. The guy was filming the shit falling out of my asshole and it was seriously sixty feet tall. We got like a videotape of it, they gave us a video feed of everything that had been on the Trinitron, and so we went back and watched it and when that part came, we couldn't even watch it. It was like, a shit porn, it was the grossest thing ever. It sucks because that was like four years ago and whenever we play in England now, that's all anybody ever asks about. “That's that band where that guy shit on stage.” Whatever.
Paul: Four years ago... isn't that about the time when you first joined the band?
Greg: I joined in 2001 and that was 2002.
Paul: So that wasn't one of your first shows or anything.
Greg: No, no. Regardless though, it was in newspapers and shit over there. Newspapers that never covered music, they were like “This is ridiculous that this happened, this guy defecated on the Reading stage, this is disrespectful to the English people, Americans are crude and disgusting.” We couldn't believe the connotations that this had. English people are all prim and proper and stuff.
Paul: What did the other band members think of it?
Greg: Ben was the only one who knew that I was planning on doing something. He didn't know what though, really. What was cool, though, was that I got the world record for the largest viewing of a shit ever. I'm not even kidding. Another little tidbit, the drummer from Mastodon has the world record for the longest eyelash in the world. I think it was four inches long. I remember, I saw it the first time and I reached up to touch it, it's just like one eyelash, and he was like "No! Dude, like Guinness is coming out here next week to take pictures! Don't touch it!" It was some freak thing. He used to sleep on his back only so that it wouldn't fall off in the middle of the night. It fell off that year though, the year that he got the record.
At this point, my tape recorder starts royally screwing up; apparently my battery dies without me realizing it for about 5 minutes or so. The next few bits, up until Greg starts talking about when he sent in his demo (I was able to get batteries from Greg), are written from my memory alone. All of the stuff is something he said, but I know that there are a few parts missing, which is unfortunate since this was one of the most fun parts of the interview
Paul: I heard you guys have a beef with a few bands, you've said some stuff about them.
Greg: Oh, dude, I won't hesitate to talk shit about bands. I'm not one of those guys who's like “Well, you know, they try hard” and stuff.
Paul: All right then. Avenged Sevenfold?
Greg: Horrible. Absolutely horrible. I saw them the other day on TV, with their aviators and their $200 jeans made to look beat up and old, and then I heard their music, and I'm like “How do kids like this stuff? This stuff is absolutely horrible.” I hate how they pretend to try and be like some throwback band to the hair metal of the '80s or something like that. It feels like a persona to me, something that is far from genuine. It's an image. They opened for us on the Take Action! Tour, and they were drinking our drinks and eating food from our table. I mean, none of us really drink, but venues or promoters or something will give us alcohol. None of us really touched it, but then like these kids come in and start drinking our stuff, and that's just disrespectful. I'm like, “Who the fuck are these kids? Is this the first time they've ever been on tour or something?” The interview where I talked shit about them was, I think, a year ago or so; two months later, we played this show with them and they refused to look me in the eye. I'll draw a line, and some bands just are on the other side; they're just plain bad.
Paul: I'm going to guess that Atreyu falls in that direction.
Greg: Definitely. I heard their first album a while ago for the first time and I just couldn't believe that kids liked this stuff. I mean, they have a ridiculous number of fans, I can't believe it. It's like in the '80s, when there were kids that listened to Slayer and kids that listened to Poison. You could tell who was who. I mean, when you learn to play a guitar, the first thing you learn are power chords.
Paul: Anyone else in particular?
Greg: Well, I don't want to just start talking shit about random bands and start some kind of argument with them. I mean, I'd rather these guys making a living off of making music than, like, working at 7-11 or something.
Paul: So are you a fan of Unearth? [Dillinger is opening for them on this tour]
Greg: No. I don't like their music. I hadn't even heard of them before this tour, I was just told that they were big and they drew huge crowds. We said sure, I figured that we would gain a few new fans and they would gain some of our fans. I mean, they're really nice guys, I get along with them, but their music just isn't the kind that I really listen to.
Paul: What do you listen to normally then?
Greg: A lot of stuff. Mogwai, I'm a huge fan of Mogwai. Aphex Twins. In the scene, or whatever, I don't really listen to that much. Converge. Converge is one of the only bands in the scene that I actually listen to.
Paul: Well, seeing as how you listen to bands such as Mogwai, how did you get into this kind of scene then?
Greg: I just love the energy. I love the energy of this kind of music. I mean, if I want to listen to some hard stuff, I want shit that will rip my face off, shit that I can barely comprehend. I want to listen to some Anal Cunt or some Converge. But I had heard of Dillinger, I saw them in 1998, and I was just floored at the kind of music that they played. It was incredible, and so when I heard that they were looking for a new singer, I jumped at the chance. I sent it in, I got a call a couple weeks later from Ben and he was like “Can you come in tomorrow to audition? Can you learn five songs for tomorrow?” I was like, “Man, that's pretty fucking hard, I don't know if I can learn five songs in one night.” I know them and I had heard them,but knowing them and being able to do it without hearing the vocals with it is a different thing. He was like “Hey, don't worry about it, man, once you get up here, it'll all sound like a big mess anyways. We're expecting you to fuck up a lot.” So I stayed up all night and the next day, I asked my work at the time, I was helping my friend out with a landscaping business, and I was like, “Hey man, do you think I can have today off to go and try out for this band?” This guy, my friend, he knew that I was super into music and that was all I ever cared about, he said no. So I just quit, kind of burned my friend a little bit because he needed me that day, but I was like, “I don't care, I have to do this.” We ran through five songs and they were all like “Fuck it, you're in” pretty much right there. “We're playing a show in two weeks.” It was crazy, it went by so quickly. Next week, they asked me to learn five more songs, so I had ten at the time, and then we played the first show at CMJ in New York. It was super nerve-wracking, man, I was the most nervous dude ever. I can't even remember it. I remember, like, Brian looking at me and thinking that I wasn't going to go on stage. He was like “Dude, you're not going to go on stage, you're so worried. You look so nervous, man, you have to promise me that when we walk out on stage, you're coming with us.” It was cool though, I just don't remember any of it.
Paul: Be honest. When you first met the band, do you think they were intimidated by your size?
Greg: I hate that, man. I'm really uncomfortable with it, honestly. Especially in hardcore, everyone are all very skinny and small and vegans and stuff. I was really uncomfortable with it at first, everyone thought I was some kind of jock or something. I mean, I'm not like that, I've always been into punk and hardcore, metal, stuff like that. When we first started, every now and then, I would hear that, like “Dillinger's new singer is a meathead.” That's not true, man, not true at all. For so long, when we went on stage, I'd feel so uncomfortable. I'd wish that I could be like ninety pounds and then turn back to normal once I got off stage. Now, fuck it. People are used to it by now. It's not that big of a deal. It's never been an issue in the band. I mean, we're not a band that has a look, you know. Our bass player has a mullet with like a blond stripe in it and a Fu Manchu, handlebar mustache or something like that. He wears shorts on stage. We're not like, “Hey everybody's got to wear this” or “We've got to have our hair like this” or something like that.” It's just not an issue for us. We were all kind of weird about it when people started talking, we had never thought of it. Whatever, man, just look at dudes like Henry Rollins. He was a big dude. Have you seen Trent Reznor lately, man?
Paul: No. Is he bulking up?
Greg: He is fucking huge. He makes me look like a fucking toothpick. Apparently he stopped drinking and doing drugs and just started lifting weights like crazy.
Paul: I can't see that at all. Wow.
Greg: It's the weirdest looking thing ever. He's short, like shorter than me, and I'm super-short, so he's like this tank going around on stage, singing these songs. It was really weird, he was wearing these leather pants and a sleeveless vest, and I'm like “I could never do that, wear a sleeveless vest.” It's weird. He has a shaved head. I mean, he's Trent Reznor, and he looks like Danzig now. I went backstage, I'm friends with the guitar player, and he's like, “Come check out Trent's dressing room.” I walk back there and it's like GNC. He has all these crazy shit, like energy drinks and creatine and stuff. I was just like, “What the fuck? This is the singer from Nine Inch Nails? He's eating weight pills and creatine?” He has these huge dumbbells, I couldn't pick them up. I couldn't even pick them up. Apparently, he's just stopped drinking and doing drugs and does nothing but lift weights now. More power to him though. Whatever you're into.
Paul: Onto another topic, I suppose. Dillinger isn't really pigeonholed into one or another pre-existing genre. You're not just metal, not just hardcore, you know what I mean. There's jazz influences, hardcore influences, everything. Where do you guys look to for inspiration?
Greg: I feel like at this point that we're not really influenced by music, but we're much more inspired by a feeling. The feeling that we get from certain artists or movies. When you see or feel something that makes you feel like, “Wow, I just saw something that made me feel something that I've never felt before.” It made me view movies in a different way or it made me listen to music differently. Something like that. In terms of bands, I think that we have more in common with bands like Aphex Twins and Radiohead and bands like that, more than bands that are in the scene. It's just that those bands are taking their particular medium and doing something totally different, you know, re-inventing it. I don't think any of us are really interested in drawing our influences from other quote unquote “metal-y” bands because then you end up sounding the same. That's what the biggest problem is; all of these bands tour together and listen to one another's records, and it's so incestuous. They all end up sounding the same, man. It's like, “That riff on the new whatever is sick” or “That breakdown there is sick.” I mean, I don't think it's that great. I don't know. That's why we deliberately try to do eclectic tours and not just tours with hardcore bands or something. I think it's helped us to be perceived in a different light than a lot of other bands.
Paul: Right. For example, you guys are touring next month, I believe, with Hella?
Greg: That's going to be awesome. Hella, Between The Buried And Me, HORSE the Band, and some DJ, some glitchy, spastic DJ or something. It's pretty cool. It's still a little bit of a scene tour, in terms of Between The Buried And Me and HORSE. I don't know anything about them except that they use keyboards and like Nintendo. Between The Buried And Me, I didn't know anything about them until recently, apparently a lot of kids that liked our band liked Between The Buried And Me too, and I heard they didn't flip out on stage. Because I'm sort of annoyed by bands that swing their guitars around and stuff. I heard that song “Alaska” and I was like, “These kids can fucking play.” It's obviously not some band that's shitty. Hella, we've been friends with the drummer for a long time, and we've been trying to organize something with them. I'm a big fan of that Team Sleep band that he's into. It should be cool. I really wanted to do us and Mogwai. That would have been great. I think that, I mean, when I say that kind of shit to people, the Dresden Dolls or something like that, people are like “What? Dillinger and Mogwai?” I mean, I think that would be amazing. Both are super intense but in like totally different ways.
Paul: Have you approached them about it?
Greg: Yeah, they're into it, but they just couldn't do it. They're writing a new record. So many bands that we talk to, they're all “Can't do it, can't do it, can't do it.” Meshuggah, they said they couldn't do it, and then they went on tour with God Forbid and The Haunted. I was like, “Wow.” I mean, we've been asking Meshuggah to tour with us for like three years, and then when they finally come, they come with The Haunted? Whatever floats your boat, I guess.
Paul: So the tour with Between The Buried And Me and Hella, that runs until the end of November?
Greg: The middle of December. It's going to start November 6th till December 10th. It'll be cool. I know we're coming to the El Rey and Chain Reaction.
Paul: Chain Reaction should be fun. Have you played there before?
Greg: Yeah, we played there in the spring with The Kinison? Zombi too.
Paul: What are your plans after the tour?
Greg: After the tour in December? Ben has to have his surgery, so that'll take him out for two months. Brian's been out for like a year so he's still got to, have another surgery. He's already had surgery on his arm, but he's got to have more. We're going to write another record, man, we've already got two or three songs already, which is way more than we had when we took a break – well, we never really took a break writing Miss Machine. We would tour for a little bit and make a little bit of money and we would use that money to survive off of and write for a bit and then we'd be like “Shit, we have to go tour again” so that we could write for a few more months. This time though, we actually have the opportunity to have a six or seven month block off to write and we already have three songs, pretty much done. If we can just take six or seven months and knock off seven other awesome songs, you know, where we don't feel like we have some kind of financial pressure to tour again, where we can just sit there and do nothing but write, I feel like we can put out a really awesome album. I think our next album will be what either kills us or allows us to survive regardless of the scene. I mean, I know that right now, a lot of bands are getting really popular really quickly. Like, this whole metalcore thing is so big. This band, As I Lay Dying, I didn't even know who they were and the next thing I know, they're huge and I'm like “What's happening?” I'm afraid that these kids, when the scene ends, they're going to think that we were a part of it and they're going to leave us. But I feel like we existed before this, we exist outside of that world, you know what I mean? We can tour with bands that they can't tour with. It'll allow us to be a band that, like, Faith No More or Clutch or Tool or Nine Inch Nails or something like that. Bands that take four or five years in between records and don't give a fuck because they know that when they come back, they'll have their audience waiting. They know they don't have to keep their faces on the TV everyday and people won't forget about them.
Paul: Is there a particular direction the new album will be taking?
Greg: It's hard to tell, we don't know about that yet. The three songs that we have now, they're like the greatest things we've ever written, like way crazier than Calculating Infinity. I think that what happened was that when Ben and Chris did Miss Machine, they were super tired. I mean, they had been playing Calculating Infinity for like five years at that point and they were tired of people saying that all Dillinger was were crazy time signatures and super-fast stuff, that's all they can do. They're a one-trick pony. So they wrote some new songs, some new shit just to show people we can do other things. When we put out Miss Machine, we heard people say that it wasn't as crazy as Calculating Infinity, that we were mellowing out, and I'm just like, “Oh yeah?” These new songs are out of hand, I'm having a hard time writing vocals to it, because it's just so impossible to figure out the timings and stuff. Chris, really, right now is just in the mindset where he's going to play the most impossible drums ever. It's neat but at the same time, it's super frustrating.
Paul: You guys had a somewhat electronic feel at times in Miss Machine; will that be continuing on in the next album?
Greg: That was kind of an accident. We were doing that on the side, that was running parallel with the Dillinger stuff. “Unretrofied” and “Phone Home” were other songs that weren't even really Dillinger Escape Plan songs. I mean, me and Chris wrote “Phone Home” and me and Ben wrote “Unretrofied”. I mean, they were things that were thinking of using under a pseudonym, maybe one day we'd have enough of them that we'd put them out as a side project and call it something else, put it on some soundtracks and call it some band that didn't exist. Then, we were like, if we're writing it, then it's Dillinger Escape Plan. How can we talk about not wanting to be pigeonholed if we're doing it to ourselves and not putting it on our record. We were aware that some people would hear it and would think that we weren't the band they thought we were, but I'm pretty sure that all those people were already weirded out when the Mike Patton EP came out. At this point, things have leveled off and the people that we lost, we lost, and the people that we kept, we kept. It's nice to know now that we've put that out and created some sort of artistic freedom for ourselves, we can. If we want to write a really crazy album, we can, people will be happy, and if we put out an album of “Unretrofied”s, which we never will, I'll never let it happen [laughter], we could.
Paul: So those songs were written for the hell of it?
Greg: I think that just Ben and Chris were like, “We want to try and write some stuff that has melody.” Honestly, it's easy for them to write crazy songs, it comes naturally, they think in a weird way. For Chris to try and play a normal beat was the hardest thing ever. For Ben to try and come up with something that wasn't all over the place, it was just more difficult for them to keep people's attention without all these crazy changes. It was hard to play a 4/4 song or a regular verse-chorus song. It was a neat diversion to have. Bottom line, Dillinger Escape Plan will always be like Calculating Infinity, crazy-ish kind of material, that's what we do best, but I don't feel like we need to only do that. If we want to write a country song or an electronic song, we could. It'd be nice so that when I'm forty, I don't have to scream all the time, you know, break bottles on people's faces.
Paul: The screaming thing, does that come naturally? I mean, I don't think there are screaming lessons out there being taught, but...
Greg: Honestly, you almost do. Most people think that you just fucking get on stage and start screaming like a monkey. Definitely, if you don't do it right and you don't know what you're doing, you'll blow out your voice really fast. I know tons of dudes who had like to go to vocal coaches, who were doing it the wrong way. The guy from The Bronx, Davey from AFI, people had to have like surgeries or corrective training. They weren't doing things the right way. Thankfully, I haven't done it that wrongly, and more so in the last few years, I've met people who really knew how to sing. If we're on tour with a band where the singer really knows what he's doing, I'll ask him if he can show me some stuff or something. A lot of people think that they have to go to some dude in New York, some really expensive vocal coach, they always get recordings of their lessons, so they'll give me MP3s of their recordings, how to do warm-ups. It's all weird shit, you know, lower your mouth in some position, making weird noises, pulling your tongue. If you've ever seen people do it backstage, it's weird, but it seriously saves me when I play nineteen shows in a row. I feel like I still have a voice at the end.
Paul: How long from the end of writing the new stuff will it take to put out the new album? Will it be five years again?
Greg: Definitely not. That wasn't really because we were out of ideas or because we were working on music that whole time. We had a lot of weird business shit going on with Relapse at the time, a lot of fighting where we didn't know where we stood in terms of, there were times where we weren't even speaking. We wanted off and they wouldn't let us off, and it got really ugly with lawyers and stuff. The Mike Patton thing, that came out, and we thought it was going to be just some little thing that we put out that some people would like, but it turned out to be some kind of big deal and we had to tour so much for it. It was good for us because it made us bigger but it was bad for people who knew about us because they had to keep on fucking waiting for new stuff. I mean, some of the songs from Miss Machine have been around for 2002, late 2001. “Van Damsel” was done in December of 2001. That song was out for almost three years. To us, we had that song for a long time, it didn't even feel new for us anymore. “Sunshine the Werewolf”, we played that forever live before we put it out and no one even knew it. We're just like “Hey, here's a new song!” and people wouldn't remember hearing it. We want to get this stuff out while it's still fresh for us though. I don't want to be sitting around in 2007 and be like “Hey, we're getting ready to put this song out that we wrote in 2005.”
Paul: Is it going to be on Relapse? Did everything smooth over with them?
Greg: Yeah, we have one more album left with them. Then we'll probably leave.
Paul: Would you jump to a major?
Greg: We talked to a few. We had a bunch of majors trying to buy us off of Relapse. They offered us tons of money, like over a million dollars. They would always come to our shows and be really weird and like, “You can do whatever you want, we're going to give you all this money” and we're like “You're not going to do that. Have you seen us play? Have you heard our stuff? There's no way you'll give us that much money to let us do this.” They'd always be like “Yeah, yeah, that's fine” but finally, the closer we started to get to signing papers, they'd try to pull shit on you. “Here's the deal, you have to tone down when you play live, someone's going to get hurt and we're going to get sued.” I was just like, “What?” We talked to Universal and they said they wanted to bring in hit writers, they were going to bring in the guys who write songs for, like, Disturbed, to make sure that you have a hit on your record. Just to make sure that when we put out an album, it'll sell at least this many copies so we don't lose any money. We were so naïve to to really even be talking to them in the first place.
Paul: What label do you like or would you like to work with?
Greg: I like Epitaph. Epitaph put out the Mike Patton EP, they have Converge, they have The Locust, Tom Waits, cool shit like that. They have the amount of resources that a major label has even though they're an independent label because of that Offspring thing. That dude pretty much won the lottery and now he has so much money. Like, so much money, it's insane. He uses it to put out records that will never make money. I mean, he's not going to make any money off of Converge and The Locust, but he thinks it's cool and puts it out. That's kind of awesome, to feel like you don't have to worry that if your record isn't a financial success, your label will drop you. It's a great feeling.
Paul: I ask this to everyone: Do you prefer Coke or Pepsi?
Greg: Coke, man. You're a Communist if you drink Pepsi [laughter]. We will not allow Pepsi on this bus. They're some people in our band, me, Brian and Chris, it gets pretty brutal if people tries to drink Pepsi. You know how when you were a kid and you had to choose between Nike or Reebok?
Paul: Which one?
Greg: Nike, of course. You couldn't go Reebok. Nothing's better than a Coke slurpee. You go to 7-11 and get a Coke slurpee. Chris and I will go to a 7-11 and if they're out and all they have is Cherry, we'll drive like twenty miles across town just to get a Coke slurpee. I can't take Pepsi at all. But, I like 7-Up more than I like Sprite, and 7-Up is a Pepsi product. I realized that lately and it kind of bummed me out. I broke my commitment to Coke.