An Interview with NAIL
The Winterwind Papers
Winterwind Productions

Winterwind is pleased to bring you an interview with Rainer "Rhino" Wiechmann, of the band NAIL who recently released their debut album. Skipping the pleasantries of "Hi, how are ya, thanks for being here" since I've known you for a few years, on with the questions.

What is your favourite musical style to listen to and why?
I can listen to pretty much anything if the performances are outstanding within the genre. I think the Sex Pistols were excellent at what they did, likewise Vince Gill is an awesome singer/guitarist. Tool are great, Pantera, the Eagles... you get the idea. A lot of hardcore metal bands have amazing musicianship, and even though the vocal is usually lacking melody, it's all about attitude, delivery and stamina, and if done well can be amazing!

What is your least favourite and why?
That's a difficult question. For me I guess it's anything that is executed poorly. If you are a metal band with a mediocre drummer I will be more likely to want to listen to Bela Fleck play banjo, despite the fact that I find the banjo an annoying instrument. It becomes much more interesting when it is played well. The most irritating music to me are repetitive dance beats coupled with bad poetry masquerading as hip-hop. This is topped off only by "stylists" such as Mariah Carey who feel it necessary to over execute every phrase by turning a simple melody into a 150-note acrobatic exercise. Difficult, yes... but not pleasant to listen to.

Prior to NAIL, you and Cindy were members of the multi-platinum Canadian band Helix. How did you join the band and why did you leave?
I was asked to engineer/co-produce the Helix "Rockin' in my Outer Space" CD which was recorded at our studio here in London. During the sessions I found myself contributing a fair share of the guitar solos etc and at one point I was asked to become the lead guitarist for the band. Brian (Vollmer) was also preparing the 30th anniversary concert which was subsequently released on DVD, and wanted a female back-up singer to assist with the vocals on some of the songs Helix had recorded on past albums which featured other female recording artists. Cindy was asked to contribute and after several rehearsals Brian simply decided to ask her to become an official group member rather than just the "backup singer".

We were with the band for 2 years before it became logistically more and more difficult to run a business and a recording studio, as well as commit to being available to do the growing number of gigs that Helix was now getting. When we first joined, the band was playing once or twice a month, with a 2-week a year away from home tour schedule. I also operate an instrument repair shop which is actually my chief source of income. Increasing gigs away from London (ie western tours etc.) made it virtually impossible to operate the business efficiently, and quite frankly the daily revenue of the business exceeded the budget that Helix was operating on as far as salary-per-member was concerned. This meant that for quite a few gigs I was actually losing money in order to play. Don't get me wrong, I enjoy playing almost more than anything, but the bills have to be paid as well, so ultimately it was a shared financial decision that led to me having to leave the band. In Cindy's case it was pretty much the same thing, budget was an issue, so she was in some ways also a casualty of "corporate downsizing" as much as anything else.

We're still on very good terms with Brian and the parting was quite amicable, although I think at the time there was some disappointment felt all around.

Who else have you shared the stage with in your career?
Over the years the various bands I have been involved with have played everything from small clubs to festivals with audiences of 30,000+. Sharing the bill with acts such as Motley Crue, Motorhead, Alice Cooper, Black Label Society, Yngwie Malmsteen, Dio, Sammy Hagar, etc to name a few. These festivals frequently have over 50 bands on the bill!

How long have the members of NAIL played together?
The core of the band (C, Dale and I) have played together in some capacity or other since our childhood!

Dale and I played in a high school band many years ago, and the three of us have known each other for over 20 years. NAIL is the culmination of everyone's experience focused in one specific direction, and I guess it's fair to say that the concept was formed in early 2007, but in all fairness it has only recently become a functional "band" with the addition of our bassist, Darcy, so that we can actually carry it out of the studio and onto the stage.

How would you describe your style?
Contemporary melodic progressive metal with classic metal roots with female vocals. You'll find many influences within the style, elements of Tool, Rush, Black Sabbath etc but C has a unique voice that is at times reminiscent of Ann Wilson meets Geddy Lee. No one really sounds like her and therefore the marriage of the music with her vocal makes a very unique blend.

You're a versatile musician who can play in many styles/genres. What is the allure with metal?
I enjoy sitting in my backyard with an acoustic guitar, around a fire singing Beatles songs etc, having a couple of beers... When I am onstage with bass/drums/electric guitar I want to play fucking LOUD!!! The best expression of loud guitars can be found in Metal/Heavy Rock music. As a "live" performance I like the energy of loud music, but only if coupled with some dynamics. The most enjoyable musical journey for me is one that encompasses very quiet dynamics all the way to screaming guitar solos! Progressive metal makes use of many of these facets and as a musician it's very fulfilling and satisfying to be able to express all of these various emotions within one performance. It's the closest thing to a classical orchestra performance with "edge".

You're a gifted guitarist and an accomplished bassist as well. Which instrument do you find more challenging to play (well) and why?
I have a difficult time convincing people that I am actually a "bass player" as well as a "guitarist" because in many people's eyes for some reason one should not be able to do both well. That's like telling Phil Collins or Prince he shouldn't be able to sing or play piano because he's a drummer, or a guitarist... whatever! I guess it's fair to say I am primarily recognized as a guitarist because that is the role I have played the majority of the time.

For me, the attraction of the instrument has always been coupled with making a musical statement. What the fuck does that mean? you ask. Well, consider the bass as an instrument in a band like Rush, Yes, Tool, etc. The bass becomes the foreground instrument and takes on an "edge" and by and large drives the musical arrangements with interesting melody, while the guitar challenges the bass's position as "leader" as it were, by contributing equally to these arrangements but on a completely different level... AT THE SAME TIME!

Listen to songs like YYZ, and try and tell me who is having the most fun in the arrangement... Bass... yup. Guitar... yup. Drums... probably, but I'm not that well co-ordinated! I guess it has something to do with a level of ego. I like to play guitar where the guitar is being noticed, and likewise for bass. I don't think I would be content to play a very rudimentary role on either. It would bore me and make me want to do something more exciting like fishing.

The bass for me is simply another way to express myself musically. I actually play bass in a Pink Floyd tribute group from time to time with some excellent players, some of whom have been members of big recording acts (Uriah Heep, David Gilmour solo band, Allanah Myles band etc) and we do this because it's wonderfully enjoyable... and believe me, I don't ever feel the urge to break into "Shy Boy" in the middle of "us and them". And yes, I would feel totally at home playing the David Gilmour role, but in that band I am the "bass player".

I play bass with my fingers, never with a pick, because I find it awkward to express myself correctly in another way on the bass, and the reverse is true for my guitar playing, although I do enjoy messing with "finger style" rock guitar like Jeff Beck, Van Halen, Ritchie Blackmore etc, all of whom play a LOT of stuff without a pick! Further to that, most Classical guitarists would not think of using a pick, and I pretty much suck at that style of guitar.

Overall I guess guitar is more "challenging" to play well, but both allow me different avenues of expression. It is quite evident on the NAIL album, where some songs were written mainly on the bass, ie; "Carpe Diem" or "Fishbowl" but the guitar is equally featured. It' the blend of the two instruments, each battling for it's own little spotlight that creates the dynamic tension in the music and makes the songs imminently more interesting to listen to. The listener is constantly treated to something challenging yet melodic, and ultimately, the songs are a lot of fun to play live…never dull or boring for anyone in the band.

Cindy is an amazing vocalist with a phenomenal range. What is the reaction from people when they hear her vocals for the first time?
She doesn't sound like anyone else…and that's a good thing I think. We almost never hear "you sound just like…." Instead the reaction is almost immediately to the effect of " wow, she's powerful, etc etc." the range thing escapes a lot of people until they actually get to see her perform live. The highest notes she can hit is separated from the lowest note she can sing comfortably by a full 5 octaves!!!! On record we try not to over-emphasize the acrobatic vocal for fear of treading on the Mariah Cary path, instead the focus is more on the energy of the performance, of which she has plenty!!!

Why do you think that female vocalists in metal are relatively rare?
I think in fact they are not as rare as you might think, although in most cases the groups are of European origin, and in their countries it's almost the norm. In fact the group "Within Temptation" from the Netherlands is the top musical export for their country and just received an award from their chamber of international commerce for album sales. Guess what? They are a metal band with a female frontperson. Most fans of metal will buy and support their favourite band's music, and are more likely to generate a "career" performer than here in North America. The industry in the US and Canada is more likely to hype and over-inflate the importance of less-consequential and mediocre performers because here it's all about glitz and glamour and who is on the cover of teen magazines as opposed to supporting real talent. If ever a metal band would DARE to appear on an SNL broadcast pretending to sing instead of performing live!!! Metal bands for the most part endeavour to perform honestly for their fans. That takes talent if you want you cut through the crap and get noticed. If you try and fake it you don't last long because the fans are more savvy than the average pop fan. Consequently, the reality is that stylistically there are less female singers with the kind of "balls" required to sound good next to a crunching metal riff! But they're out there and usually very good at what they do!

How would you characterise Dale's drumming?
He is the only drummer I have ever worked with that has a virtually perfect clock running in his head. I have 99% perfect pitch and can usually tell what notes are being played just by hearing them…his sense of tempo is equivalent to this. Almost every other drummer I have worked with in the past, regardless of their talent and prowess will cue themselves to a metronome occasionally throughout the night to check that they are in time, and not start a song too fast or too slow. He just plays and locks in right off the mark and once he sets the tempo he is on like a click track! He has some old school influences to be sure, Grand Funk, Rush, etc, and he doesn't play double kick…but he is 100% consistent and on the money in every performance. He kind of reminds me of Kenny Aaronoff…Who can play with John Mellencamp and then turn out a kick ass rock performance with Tony Iommi! We have known each other since elementary school and have played together for many years since then, and we're very much in synch musically.

Do you think drummers and bassists are often over-looked regarding the sound of band, being overshadowed by the vocalists and "guitar heroes"? (If yes...) Why does this happen?
I think that's totally dependent on the "artist" and/or direction and focus of the band. In "popular" music the focus has always been on the vocal/lyric, and it continues to be so in rap/hip-hop, mainstream pop/rock/country, etc. No one really pays attention to the bass player in Garth Brooks' music, no one cares about the guitar when listening to Eminem…unless it is a sampled snippet from a famous piece of "guitar hero" music but marketing/presenting a group to the masses is a tough chore. The easiest way to ensure "mass appeal" is to anchor the presentation at the strongest or most easily accessible common denominator. Usually that falls on the shoulders of the singer/frontperson of the band. If that person happens to be a great instrumentalist as well, you have an opportunity to gather even greater attention, ie; Geddy Lee, Stevie Ray Vaughan, etc.

Occasionally drummers do get noticed, but usually only in the context of very "in your face" performances (Keith Moon, Neil Peart, Mike Portnoy etc) but the simple answer is MELODY! People respond most emotionally to melody in music. The way you remember music on a very basic level is to be able to hum a simple melody...(twinkle twinkle little star...) A vocalist or guitarist has the advantage of expressing more melodic phrases that a bassist or drummer in a frequency range that cuts through the mix and gets across to the listener. The connection is more emotional and consequently they become more noticed, particularly if they are very skilled at their instrument. Period.

Keyboardists can express themselves even more but they are handicapped by not being able to move around the stage and connect with the audience so they don't count (sorry) unless you are Keith Emerson and set the keys on fire while pounding on them upside down… that might get you noticed.

What were the inspirations for the songs on this album?
Pretty much everything... Youth, aging, addictions, stress, conflict, both political and personal, death, love, etc. The album is very deep in places and very in your face honest in others. There's little bit of everything on the album.

What is the creative process behind NAIL's music? Who writes the lyrics and music? How much input do the band members have?
I am pretty much responsible for the whole creative process. I am the "Frank Zappa" in our camp although I would never be as presumptuous as to credit myself with a fraction of Frank's talent, the process is much the same. I am just fortunate to be able to surround myself with gifted musicians that make the music as much or more than I set out at the beginning of the process.

I work best together with Dale, bouncing riffs and ideas back and forth, all the while recording the "jams". I will go through all the ideas and cut them into arrangements where there is some evidence of a song structure, and usually the lyrics come at around the same time. Then I will arrange the bass parts and once the songs are complete we re-study the parts and learn the completed arrangements re-inventing any parts that don't cut the mustard. Then we will usually start recording the songs for real.

Everyone has open input to some degree as far as trying out various fills, patterns etc until we hear something that sounds like it will work better than the rough sketch as it were, but usually the arrangements are my doing, as is the production and overall "sound" of the band. I have to write with Cindy's vocal in mind as well, since it is very important to present her with lyric that makes sense for her to sing well.

What type of response has the album received thus far from fans and critics?
So far the response has been overwhelmingly positive!

Sweden Rock Magazine has placed us in the top 10 albums of 2007. When we were a part of Helix we were fortunate enough to perform at the Sweden Rock Festival for over 20,000 fans and some of those fans have undoubtedly taken notice of this project. We have been receiving airplay in both the US and European markets but predictably the local response is almost non-existent.

We knew that going into this that our target market would not be Canada and we would actually be surprised if we had received any label interest in our own country! My good friend and Helix bandmate Brian Doerner most recently was the drummer for SAGA, a band which originated in Toronto, but found it necessary to move to Germany where they continue to sell out to concert crowds but in Canada they get no industry support whatsoever.

We knew that marketing this band would be a tough chore simply because we don't readily fit into the mold of the current Canadian industry trends. We started a myspace site several months back and have exceeded 10,000 visitors. I guess that's reasonable for a new unknown group. There are some further reviews pending in the next month or so, so we'll have to wait and see what other critics are saying, but so far all indications are positive.

The album has an advisory for explicit lyrics. Are warnings necessary or just an appeasement of the overly sensitive? Why do you think that only music and television/films that carry warnings/ratings when literature and visual arts don't have similar systems?
That's too long an answer to deal with in this forum… but… kids listen to music, watch movies, play video games etc but do NOT typically go to art galleries! Advisories are just that. They do NOT (yet) constitute censorship as long as such products are not discriminated against and refused market exposure. If you don't want your 8 year old listening to Motherfuckin' bitch-gonna die gangsta rap then someone needs to make it known that the content may be inappropriate for him/her. Simple..?

What are your personal views about online music sharing and piracy laws?
Big double edged sword there. Currently it is killing the recording industry as we know it, like termites eating away at the foundation but there has to be a re-thinking of the industry as a whole, particularly in respect to the "artist" and the consumer of the "artist's" creation. It is not fair for an artist to spend a year of their life creating a product that costs a small fortune to create and market, and never be adequately compensated for that effort. Mind you, this was going on long before downloading, only the record companies were pocketing the money long before it got to the artist.

Now they are losing that slice of revenue and many record companies are dropping acts, or not signing them in the first place because their cash flow is being strangled. Some artists actually stand to benefit from releasing their music online, having it widely pirated and publicly dispersed so that the impetus is to check out the live show, sell tickets and merchandise at the shows and walk away with more money than if the record sold 2 million copies and the record company pocketed all the revenue, which is often the case.

As a consumer I resent the trend of placing 2 or 3 excellent compositions on a CD with 8 pieces of "filler" and then charging for the entire package. This is like watering down your drink at the local bar…it pisses people off! So who do we blame for this? Is it the artist who should be writing better songs? Or the record labels who should exercise better "quality control" and demand a better product before releasing it in the first place? So you end up downloading the 2 or 3 "good" songs, and never buy the album. Labels need to re-invent their place in the marketplace.

Bands have been going "indie" for a while but the current trend is for a stronger online presence with some acts releasing exclusively online. Do you think the traditional methods of big labels are out of touch with the times? (ie Radiohead and Paul McCartney have recently left their label, EMI, with McCartney calling EMI "boring").

If I had some control over the industry I'd propose the following, or something to this effect: Legislate that free downloading is a criminal offense not unlike grand theft such as Enron bilking their shareholders of millions of dollars. The stakes are much the same so the penalty should be as severe. Juvenile offenders should be subject to the same penalty as someone hacking into a major savings and loan co. and sucking millions of dollars out of corporate accounts, because the crime is the same. Eventually the labels will go broke, shut down, and the artists will be left in the cold with no income The P2P sites should be redesigned and have to register as "distributors of licensed materials", this includes motion pictures, and have to keep records of downloads and pay royalties accordingly. Materials should be categorized as "new" meaning 1-5 years on the market. With a different category for materials 5-20 years of age. Beyond 20 we would be looking at a "Classic" category, and lastly "public domain" like classic Christmas songs, historic speeches, classical music etc, should be available free of charge. New releases and category 1 downloads should cost about $.85 ea. Category 2 songs $.20 ea, and the classic $.05 per song. Furthermore a straight 50% of these revenues should be payable directly to the artist or their estates, with any record label having no more than 50% stake in the fees charged per download. A large percentage of record company revenue was used to pay for distribution, advertising, and other promotion of the product. These days almost all of this is free or of minimal cost due to the internet being the ideal vehicle to promote a new act.

With some of the major record store chains already closing their doors, something has to change.