May 2016 03

Blownload, Exageist, Dream in Red, Primitive Race… Erie Loch is one of modern music’s busiest songwriters and producers; even so, he took the time to speak with ReGen about his music and his career.
Erie Loch


An InterView with Erie Loch of Blownload, Dream in Red, Exageist, and Primitive Race

By Ilker Yücel (Ilker81x)

Erie Loch is a true renaissance artist in the underground music scene – whether remixing, promoting, DJing, producing, or singing, he is certainly one of the most prolific and most accomplished musical entities working today. As the front man for alt. and industrial/rock bands like Blownload, Luxt, and Dream in Red, the man behind the sexually charged dubstep of Exageist, and one of the primary personalities behind industrial supergroup Primitive Race, it can be surmised that Erie Loch is never not busy creating some of today’s most exciting new music. But let’s let the man himself do the talking, for ReGen had the opportunity to speak with Loch about his music and his career over the years, sparked by the recent reemergence of Blownload after a hiatus of several years. Not only does he discuss the future of his musical endeavors, but also takes a few moments to discuss the advances in music and video technology, with some words of encouragement for all aspiring and hungry artists to remove all obstacles and keep creating!


You’ve had your hands in various projects and bands over the years; obviously, in each one is a different set of collaborations. What can you tell us about your own creative process and how it changes from band to band?

Loch: I’ve been making electronic based music for over 30 years. I’m a total workaholic and value work ethic and not wasting time above almost everything else when it comes to art/music. I’ve been completely sober (baring a month or so when I turned 38 that I tried weed and alcohol and realized weed was fun, but not my thing, and that I was actually allergic to alcohol, so that ended quickly) my whole life, so I don’t spend much time partying, socializing, etc. In the mid-’90s, I decided to branch out and learn all I could about recording and playing instruments that weren’t electronic based. I am a keyboardist/pianist mainly; self-taught, and by no means a virtuoso at all. But I decided to learn bass, guitar, and drums. I like to be able to have the perspective of everyone in the room. That’s why I learn how to do everything. I’ve been a DJ, a singer, a drummer, a guitarist, a sound guy, a studio engineer, a remixer, a producer, a club owner, a promoter, a tour manager, a roadie… and the list goes on – all of these things professionally/extensively. So when I’m onstage and the sound guy is having trouble, I know what that’s like, so I don’t go off on him… unless he actually is being an idiot, but then, I would know that better because I’d been there myself, both as a sound guy and an idiot. Ha!
It doesn’t really change from band to band. The sounds I’m making may be different, but the process is identical, whether it is death metal with live drums or beep-beep-boop-boop with 808s. Basically, you develop a bag of tricks, and learn how to bend them to whatever you’re working on at the time. Talent isn’t so much on my side as experience is.

Dream in Red

Not to play favorites, but which would you say has been the most rewarding for you?

Loch: They’re all rewarding in different ways. Blownload is great for the energy, variety, and experimentation and live craziness and fun. Dream in Red and Gods of the Wasteland are great for melodic, hooky, emotive song structures and being able to stretch my vocal wings. Exageist is great for playing with the fun electronic toys and trying new shit sonically. Razing Eden lets me enjoy making dark, heavy, yet still melodic songs. Luxt was really more of me learning how to mix styles and become what I am today. There’s a lot of venom still from how that band turned into something I didn’t want to be doing and then crashed and burned with Luxt. It was also a great learning experience as to what not to do when it comes to self-esteem and being secure with yourself.
Overall, I’d have to say I enjoy writing hooky and melodic songs. Quirky, heavy, and fun are great, but not quite as deeply fulfilling. Obviously, I can’t just do one thing… I get bored of anything after a while and need a change.


You recently announced that Blownload was once again rehearsing together – what can you tell us about the years in between, and what prompted the band to reunite now?

Loch: Well, we did the RevCo/Jim Rose tour, which in retrospect, was the best tour I’ve ever been on. I think there was a lot of negativity because the tour was booked into these larger venues, but the turnout just wasn’t there, so there was a lot riding on it and, at least for RevCo and the people involved, there was some darkness. But for us, it was fucking great! Sure, it’s a 1000 seater, and there are only 300 people here, but there are 300 people here!!! So it was great for us. Ha!
Then we did the Lords of Acid/TKK tour, which, onstage, was heavenly. 35 minutes every night of playing to packed houses of people who just fucking loved what we were doing. Behind the scenes, it was a fucking train wreck. We were all pulling double duty, which was how we got on the tour. I was the tour manager, and the rest of Blownload were crew for the other bands. Of course, a certain other band (that didn’t have the word Acid in the name) thought that meant that we were their personal assistants as well. We were also supposed to be on the bus for the tour, but a certain other band (*ahem*) ruined that for us after about five shows… so we were riding, sleeping, and generally living in a Kia Minivan that I couldn’t actually even sit up straight in for the rest of the tour. It was just too much. Two of us came back with pneumonia by the end of the tour. I had a gun pulled on me on the tour bus and had to disarm the guy with the help of TKK’s drummer, who broke his hand on the guy’s face and he had to drop off the tour. Our former guitarist (Jesus, who had replaced Goht after the RevCo tour) would flake to go play rock-star-alcoholic-slut every chance he got when it was time to load, so by the end of the tour, there was a lot of hate between certain band members. Shortly thereafter, Sprocket moved to SF, Jesus quit, and Blownload just kind of dissolved.
I spent the next couple of years doing mostly electronic music, developing contacts, doing remixes for people like MINISTRY, Tweaker, RevCo, Lords of Acid, Ego Likeness, FLA, etc. and got in to Primitive Race, started Exageist, and then Dream in Red – rReally honed my craft with electronics again.
About a year ago, Sprocket moved back to Sacramento, where we’re based, and started playing drums with us in Dream In Red. I’ve been hinting to Goht about doing Blownload again, since we always said we were still doing it; we just needed the right circumstances. But Goht had just had a kid (sorry for the pun) and it just wasn’t possible. Well, last week, it became possible again, and within a day we had practice and five shows booked. Ha! We just played last night for the first time and it was fucking electric! We’re all so pumped. Crash, Goht, me, and Sprocket is the lineup that was meant to be for Blownload.

Are there plans for a tour or a new album?

Loch: Yes! We are already writing a new album. And tours? Yes, please – as many as possible!

Primitive Race

Along with Chris Kniker, you are one of the primary driving forces behind Primitive Race, as well as Mark Gemini Thwaite. Aside from the other collaborators (Tommy Victor, Andi Sex Gang, etc.), how did Primitive Race come together, and in what ways do you feel the results have lived up to the band’s original conception?

Loch: I’d been working with Chris for a few years as he helped get me involved in various projects, tours, mastering, studio work, remixes, videos, etc. And one day he called me and said, ‘I want to create a band with a bunch of cool people and I want you to be in it and help me make it.’ So I said, ‘Of course!’ Chris sent me bass ideas, I turned them into music beds for a bunch of songs, and then about two years later, the album came out. I work very fast, so the amount of work I put into it was pretty large, but the time I spent on it was very small in comparison to how long it took to finish it since we had to work around everyone’s schedules. It was only frustrating because we wanted it to be available ASAFP. The fans were pissed because it took so long, but in a big way, we were too. Not through anyone’s fault, mind you; just because getting that many people to work on something like this is monumentally challenging. We were never in the same room with each other. It was all long distance, file transfer work. I got to work directly with a bunch of great people on great music. And I was very pleased to find that Tommy Victor and I worked very well together (don’t tell anyone that I’ve been a total PRONG fanboy since the ’80s). Since Primitive Race finished, I’ve had the privilege of co-writing the music on four songs on the last PRONG album, which has gotten extremely good reviews. Tommy and I plan on working together again for the next PRONG record. You can imagine that it’s a fucking dream come true for me.
As for the production aspects of Primitive Race, when I was running my studio, my motto was ‘I can polish a turd, but I can’t polish a fart. You have to give me something to work with.’ After a few years of proving that I can, actually, polish even farts, it was great to be given a lot of good material to start with; much easier to work with gems than turds.



What can you tell us about PR moving forward?

Loch: Chris is planning the next one. He has clear ideas of what he wants to do and who he wants in it. I kind of stay out of it and try to give him what he needs sonically, which can change, but that’s why he likes to work with me. I’m good with shifting gears randomly. We work well together, and he appreciates what I’m capable of. I love Chris. We’re also great friends.


In each of your bands, you explore different styles – i.e. dubstep in Exageist, sleazy metal in Blownload, industrial/rock in Primitive Race. As a producer and a songwriter, what do you find to be the major challenges in approaching these various styles – keeping up with new developments in those genres, new artists, etc.?

Loch: Well, the whole reason I did a dubstep project is that I’ve been making computer/electronic based music since the early ’80s, and when I was listening to a lot of these newer EDM acts, I was hearing a bunch of sounds and going, ‘How in the fuck do they do that shit?’ It made me angry that I didn’t know. It made me feel like I was being lazy for not finding new ways to make sounds. I was running a commercial recording studio of my own for about six years at the time, and had been making or recording everything from metal to hip-hop to blues to industrial and even symphonic and acoustic stuff. But most of it was for local Sacramento acts and not much of it was experimental or groundbreaking. But what I was hearing was something new, something different, and I wasn’t sure how to do it. So I started to research it, listened to a ton of different bands, and watched a bunch of ‘how-to’ YouTube videos and realized that they weren’t really doing anything I couldn’t do. I was really just making awesome in-depth sounds and then sampling them and sequencing the fuck out of them, which I’d been doing for years in different ways. So I dug in deep to programs like Massive, FM8, etc., and I made the kinds of sounds I wanted to make and tried to create something different by using my same philosophy of ‘fuck everybody and everything’ that I always do.
So Exageist was technically a ‘dubstep/EDM’ project, but I definitely don’t think it fits in with much of what’s out there. I could have just bought a ton of sounds of the internet and layered them like 90% of the people are doing now and been one of the cool kids, but that’s boring to me. I like to blend style after style after style into each song; whatever the song, remix, or whatever I’m doing asks for. I’m not old school… I’m old. But because I’m old, I’ve been exposed to, dissected, assimilated, and copied a ton of ‘sounds’ from almost every genre so I can throw bits and pieces of them into every song. No matter which project I’m working on, each project never quite fits in to any one genre. Maybe that’s a bad idea, but it is what it is. My favorite bands are the ones who hybridize styles together. Hell, I really don’t like reggae, but I use it in some form in almost every project; same with hip-hop and different styles of metal. Why in the fuck would I want to just use one flavor? I’m a fat guy; I want access to the whole buffet!

On that note, what do you see or would like to see as the next step in the evolution of technology – not just in music, but overall – and why?

Loch: I would love to see people who are clinging to their own genres and/or sonic ideologies ever-so-tightly to expand and use that technology to break out of their bubbles. Mix different styles, take some chances, take some risks; stop saying, ‘I will never,’ unless you follow it with ‘limit myself.’ Technology, to me, means one thing above all else: an unlimited sonic palette. I use it to mimic, copy, and then assimilate styles I love… and even styles I don’t love so much. Just use tech to free yourself from restraints. I see all these people wanting to ‘go back to all hardware’ and lust after all this vintage gear… hey, more power to you all. But I was a hardware-only guy for many years because computers couldn’t keep up with what I wanted. But I left hardware synths behind happily. Computers caught up. If you want that ‘warm vintage tone,’ great! Go for it; nothing against you. But if I can have a room full of dozens of different synths inside my computer, fuck yes, I’m going to use them! I had a whole studio full of expensive gear and realized I was doing everything inside my computer. It was an easy choice for me. I think most people who do the vintage gear thing just want the status of it; usually the ones who talk about it a lot. The ones who truly do something with the gear, regardless of what they’re using, don’t waste a lot of time telling you about it; they just do it.

Are there any plans to release new Exageist material?

Loch: Yes. Exageist is myself and my wife, Adriana ‘Pinky’ Onyskin. She’s dying to get back into the studio with me ASAP. I have my own home studio now and I’m getting a new computer system next month. Up until now, I’ve been using the same 10-year-old computer to do everything. Needless to say, it’s a much slower process than it will be with a decade jump in processing power. It’s way past time for an upgrade.



You’re also known as a director of your own music videos – what are your thoughts on the way the internet (YouTube, Vimeo, etc.) has kept the art form of the music video alive? What do you feel is or should be the next step in the way audiences can experience music in a video form?

Loch: Video is the one thing that bands can do to really get their music out there. You’ll get a person to watch a video 100 times before you get them to just listen to your song on the internet IMHO. People are very visual, and the internet has only enhanced that fact. The technology is cheap as fuck now and really easy to use. The trick is looking at what you want to do vs. what you can logistically, monetarily, and practically do. If all you can make happen is a performance type video, then make a bunch of those – as long as you make them; it’s always better to have more of them than less. Make one for every song on your album!
I’ve also been doing graphic design as a ‘day job’ for over 20 years, so video is really just an extension of that. It’s a little known fact that I also used to shoot and edit porn professionally at one time for a couple of years. That’s where I honed my chops making music videos. With porn, it has to be done fast with minimal budget… meaning no budget. People get this idealized dream of what videos are supposed to be. I don’t get bogged down thinking it has to be perfect, and I like to use the negatives as positives when I can – graininess, quick cutting, shaky camera, etc. can be passed off as ‘edgy.’ Watching Nine Inch Nails videos taught me that.
It’s the internet. 12-year-old kids are making tons of videos. Why aren’t musicians doing it more for themselves? I think that’s the next step – the thought that an album is a collection of songs and videos… for each and every song.

Similarly, you’re known for your very energetic live performances – what would you like to see as the next evolution in the way musicians engage audiences in the live environment?

Loch: Well, the idea of the live laptop rock show needs to go. I’m sure someone wants to pay $20 to watch you dance to your own CD, but it ain’t me. Bring some showmanship – lights, video, movement, turbulence, action… entertain! One person with a keyboard on stage can be entertaining as fuck. I’ve seen it a million times. So no one has an excuse for being a bore onstage. The first tour I ever did was with Scar Tissue in like 1996, and that was a dude with a guitar and a dude with like four drums. But it was a great show every night!
Also, I’d like to see package deal festival type tours, which are really just cash cows for the industry IMHO, go the fuck away. ‘Hey, I only had to buy one ticket this summer and got to see all my favorite bands!’ Yeah, for 20 minutes, in the daytime, in 110 degree heat, and you missed half of their shows because the big and small stage times overlapped. Plus, the bands are having to pay how much to even be a part of them? Ridiculous!
Small clubs, big clubs, arenas, whatever… just more shows, more tours, more bands out on the road playing; not just nostalgia tours after 10 years. I don’t mind festivals, but not when it means you’re going to see a compromised show from bands.
Yes, the music industry has crashed and burned compared to what it was. But the artist has never had more options, opportunities, and control than now. Small labels are doing what the big labels stopped doing when the coke money stopped flowing in. Bands on most labels never made much money off album sales anyway; they made it from touring, from merch, etc. And now, it doesn’t cost thousands of dollars to make an album or to make videos.
I have unlimited studio time and the ability to make as many videos as I want. I have a place to promote it (although I strongly advise against only promoting on the internet), and a place for people to hear my songs, a place for people to watch my videos.
I would like to see someone invent a drone that bands can literally bring to a show and have it move around and videotape their live shows for direct streaming or editing or whatever. Of course, some drunk asshole will throw a beer bottle at it the first chance they get… so never mind; scratch that idea! (Laughter) More live shows, more people going to multiple live shows; that’s what has always been fun for me. I feel sad for people who never leave their homes, their computers, their couches. There’s so much life that they’re missing. In my life, I’ve had the opportunity to see some of the greatest acts ever live. Hell, I’ve gotten to open for some of them. That is life experience. Get out of the goddamn house, people! Enjoy life. It’s worth the ‘effort!’


Website, MySpace, Facebook, Twitter, ReverbNation
Dream in Red
Website, Facebook, Twitter, SoundCloud, YouTube
Website, Facebook, Twitter, SoundCloud
Primitive Race
Website, MySpace, Facebook, Twitter, SoundCloud, YouTube


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