Nov 2013 26

Defying categorization and commercialism, the power trio of Die So Fluid helps us to weather the Black Blizzard toward a brighter and harder rocking future.
Die So Fluid, 2013. Photo by Tina Korhonen


An InterView with Grog of Die So Fluid

By Ilker Yücel (Ilker81x)

Hailing from London, England, Die So Fluid is a hard rock band for the times. With an image that is equal parts punk and goth, and a sound that is as in-your-face and aggressive as the best of metal and classic rock, this power trio has over the course of nearly a decade-and-a-half defied categorization and commercialism while achieving acclaim from both critics and audiences. With three albums to their credit, the trio of bassist/vocalist Grog, guitarist/producer Drew Richards, and drummer Al Fletcher has played alongside a diverse range of styles, from the electronic rumblings of Eisbrecher and Mindless Self Indulgence to the scorching metal of My Ruin, Prong, and Ill Niño, all the while subsisting primaruily from word of mouth and gaining its fans through constant touring. With a new single and music video for “Black Blizzard,” the band launched its own Bandcamp site, taking the creative and financial future into its own hands, with the promise of the most conceptually appealing and eclectic Die So Fluid album yet, The Opposites of Light, coming in 2014. Grog speaks with ReGen about the development of the band’s music and image, giving us just a glimpse into Die So Fluid’s musical world and promising great things to come in the coming year.


It’s been over three years since the release of your last album, The World is Too Big for One Lifetime. What can you tell us about the band members’ activities since then?

Grog: Well obviously, we toured a lot after the release of the last album. I had recently moved to L.A. and so we had to find a new way of writing across the Atlantic. Drew’s dad died, so he needed some time off. But the quick answer to what we’ve been up to will be released in March, 2014.

The working title for the album is reportedly The Opposites of Light, with ‘Black Blizzard’ being the first single. How do you feel this song is representative of the album?

Grog: It’s one of the most evocative songs. When we started writing this album we picked a visual theme, which the line ‘Vampires… in the desert’ comes from. The whole record is filmic in nature and, bearing in mind we were going to make a video, the majesty of the ‘Black Blizzard’ really inspired that process.

In what ways do you feel the lyrics are a progression of the themes you’ve explored on your past albums?

Grog: It’s a whole different approach on this record. We dreamt up a world and wrote about it and then links to the real world naturally formed. Some songs were written from a familiar, visceral, and emotional point of view, but it’s as close as we’ve come to a concept album.

Tell us about the filming of the ‘Black Blizzard’ music video; how do the visuals in the video reflect the lyrical themes?

Grog: Well, we didn’t want to depict the actual ‘Black Blizzard;’ we wanted it to be more of a figurative interpretation and more romantic. So my character represents the dark side of Mother Nature made flesh.

Die So Fluid has been around for 14 years in 2014. What is the working dynamic for the three of you, and how do you feel you’ve managed to maintain it this long?

Grog: We still like each other and we still like making music together so why stop? We’ve all adapted other things in our lives but the band is always there.

The band has an upcoming exclusive performance in London on November 30.What do you find to be the major difficulties in performing live, translating the depth of your music to the live environment?

Grog: It’s not difficult as at the core of everything we do is usually a simple song that could be played on an acoustic guitar. We’re going to use a tape of the strings for ‘Black Blizzard’ when we play that, so that’s a new trick for us.
Anybody who wants tickets can go to

Are there plans to tour for the new album?

Grog: Yeah – UK, USA, Europe, maybe Russia.

You also recently started up a new Bandcamp page, stating that you have ‘fought to bring home’ all your music. What are your thoughts on the current state of the music industry – the traditional models employed by longstanding institutions and the way bands and artists are taking matters into their own hands?

Grog: Well, it’s great to be in control of the catalog, but the downside is the oversaturation of bands releasing material that makes it hard to get noticed. The streaming thing doesn’t work for us, which is bad as everyone says it’s the future. It is amazing though to release a recording across the world all from your laptop.

In that time, the band has appealed to a wide range of audiences from goths to alternative and hard rock. As more and more bands mix up genres and styles, what are your thoughts on the validity of genres today?

Grog: They are useful reference points, but it would be fun to invent some new genres. ‘Black Blizzard’ is heavy Egypto/orch/natural disaster metal. But the rest of the album is more desert rattler/vamp/implosion punk.

You mentioned touring a lot since The World is Too Big… and that you plan to tour for the new album. As there is a commonly held belief that bands in this day and age make more money off of touring and live shows than by releasing albums, what are your thoughts on this?

Grog: Well, the negative side of this is that a lot of bands have to come out of retirement to make a living and that leaves less room for bands who are still trying to get established. The positive side is Whitesnake is touring!!

Besides the changes in location, in what ways did the extensive touring affect the interaction among the band members and how do you feel that’s reflected on the new album?

Grog: All experiences in life have an impact on what we create but touring seldom fuels creativity. No matter how exotic the location, there is a bus, a backstage, a hotel; the playing is good though.

On all of your albums, Mark Williams has been the producer, as well as guitarist Drew Richards. Obviously, there is a good working relationship, and Williams as a producer is in tune with what the band hopes to achieve sonically, but can you elaborate on his role and what he brings to the sound of Die So Fluid?

Grog: Honestly we started working with him because he was affordable! But now he’s a bro. On the new record he’s done some mixes but we produced ourselves. It was time.

Let’s get a little more personal – what other bands have you not yet played/toured with that you would like to? What current bands and/or artists are you listening to or finding to be the most inspiring?

Grog: Deftones, Rammstein, Kylesa, Coal chamber – I’m good friends with Nadja (Peulen). I’ve also been enjoying my Uncle Acid and the Deadbeats vinyl recently.

You’re also very active in your social networking and interacting with your fans; what are some of the more notable interactions that you’ve had with fans or other musicians from this? Has anything particularly creepy or disturbing occurred as a result?

Grog: No, the breakdown of the barrier between band and fan has made it much less creepy. Everyone knows each other on more of a level. We’ve struck up some really lasting friendships from our social media sites.


Die So Fluid Website
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Die So Fluid Twitter
Die So Fluid Bandcamp


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