Mike Dean COC Talk Toomey

Toomey: How has this latest touring cycle and album cycle gone for you guys?

Mike: Pretty well, thank you very much.  It took awhile to get started making that record, but once we did it’s been pretty smooth.  Just finding someone to put it out, that’s as good as Nuclear Blast as what they do, as far as what passes for a record label these days. They do a great job.  That whole thing was pretty painless and I like the result.  There’s been a lot of attention on the 25th anniversary of Deliverance, speaking to how much time has passed.  That’s kind of been where the promoters are coming from.  We go to Europe and they’re like, “Can you play Deliverance in its entireity?” It’s like “Nah, but we can sort of say that we’re celebrating 25 years and play a lot of it.”  That’s kind of at the expense of playing new stuff, we’re always playing a couple of songs after it. I think at this point the way things are, with the shorter attention span of the promoters and such it’s really past time to get to work on a new one, truthfully.

Toomey: When I got the e-mail about this interview and doing the show and stuff, she had said something about the latest album promo.  And I’m like, “They already have a new album out?” But what it was is she was just sending me updated promo from when “No Cross No Crown” came out, and it didn’t even phase me.  Like, “Yeah they’re definitely putting out a new album.” It just seemed normal even though it’s only been a year and a half that a new album would already be come out.

Mike: We don’t work like that, collectively, you know? [Laughs]  Hopefully we’re ready to get down to it, and do a little bit of writing collectively. We all do some writing on our own, but put it all together and see what we’ve got very soon.

Toomey: Now I did notice when we were at the show the other night, obviously, Reed Mullin not on drums.  What’s the update with Reed, how’s he doing?

Mike: I really, really couldn’t say first hand.  Basically he needs to take care of himself and get his shit together.  And if that happens the door is open for him, if he doesn’t, well, that’s how it is.  People need to want to help themselves, you can’t just push them to get help.

Toomey: Who’s currently playing drums with you guys?

Mike: Mr. John Green from Manchester, UK who was basically teching for us, and Reed had some sort of incident where basically just a few hours before getting on a plane to play Bloodstock a few years ago I heard that he wasn’t going to bea ble to make the trip.  I was calling the tour manager in the UK to say hey we’re not going to be able to make it, he said “You know, John could learn all those songs.” And I thought about the idea of just pulling the plug on this whole thing we worked hard to do, and I said, you know what let’s try that.  He stepped up with slightly less than 24 hours notice, learned a bunch stuff, studied up, and basically went up there in from of 60,000 people who were there to see Judas Priest, etc, etc, and just nailed it with energy and all that.  I was like well this seems to be the way to go, you know?

Toomey: There seems to be so many stories like that in music.  If you’re a bass tech, guitar tech, drum tech, know the set.  Because at some point you’re probably going to have to play it.

Mike: The people that do that job are professionals and they understand having a job to do, whereas some of these musicians they lack gratitutde and they don’t understand that they’re not necessarily God’s gift to everyone.  We try to approach things with “we’ve got something to do, we’ve got a job to do.”  It’s artistic, it’s fun, we try to make it transformative, but every day we’ve got to get out there and do it, do what we’re supposed to do, so we need someone who’s got that work ethic to be in it with us.  Not somebody that’s going to hold us back while they destroy themselves.

It’s not like I’m trying to police what somebody does, but you’ve got to be able to do what you’re there to do, and project something positive and something life affirming, hopefully.

David Silveria excerpt from Talk Toomey Podcast

David Silveria excerpt from Talk Toomey Podcast

Joshua Toomey: You are one of those drummers that I know it’s you playing drums. That has to be very hard to have a signature sound, you know, where does that come from?


David Silveria: It was never a mental decision to start playing drums in a certain style. I think it was just growing up and being influenced by other drummers. When I was first playing when I was like 10 years old or whatever I was into Neil Peart and Tommy Lee. As I got older, I really liked drummers like Tim Alexander from Primus and Mike Borden from Faith No More. I think Tim Alexander and Mike Borden have been probably the most influential as far as the way I play now. It’s driven the mindset of how I approach writing to music. I say those two guys probably have had the biggest influence on me.


JT: I did get to see Mike Borden fill in for you with Korn. You were sitting next to him and helping him with parts and counting off parts. What was that like for you since he was such a big influence?


DS: Well honestly that really sucked. We were on tour and I was having trouble gripping my stick with my right hand. It was like my wrist was going numb. I ended up going to a sports medicine doctor and I forgot what he called it, but he does this operation on a lot of quarterbacks and baseball pitchers. It’s basically your nerves that come down your neck and down your shoulder to your arms. They are tapping the end point of the first rib over and over again. It causes your hand to go to sleep and I had no idea it was even a little condition. I was like what the hell’s going on with me. I went in and they cut off about an inch and a half of my first rib so I could move my arms up and down without my nerve hitting the rib and making my hand numb. It was pretty frustrating. I was happy to have Mike Borden come out and fill in for me but at the same time it was pretty depressing.


JT: The one thing I’ll always remember is you sitting right next to him and you would point to the ride or crash cymbals. You were letting him know when the parts were about to change.


DS: We were in the middle of a tour when we stopped, and I think we rescheduled two weeks’ worth of shows. Mike listened to all the songs and then he flew out. We went in to the rehearsal studio for hours every day for like seven or eight days maybe even 10 days in a row. He would then go back to the hotel and listen to the whole set all night long, all morning long. Then we would go back to rehearsal and I would be right there on the drum riser. I would be counting off for him. I would continue to do that for two more weeks on the tour before I actually went home and had the operation.


JT: David, you’ve been out of Korn now for 13 years. BIAS seems like the first real band you’ve done since then. What kept you from really doing music all those years?


DS: Honestly, for quite a few of those years, I owned two restaurants. I was mainly just working on the restaurants. I was managing the restaurants, and then I sold one of them. Then I eventually decided to merge with some partners to take over the day to day for the second one. I just got sick of doing it and I guess I wanted to play music again. I got together with the guys from Core 10 and we did that. I don’t know why we did that band for so long. Myself, Joe and Chris. We all knew… We would all look at each other, we would know that the band was just not what it was supposed to be. I think everyone had false hope that it would get better. But as far as the three of us, we definitely had a very strong chemistry and great bond. So, when we decided that Core 10 was done, we immediately started to write music. I think that Core 10 was good because it got me back into playing music and going to a rehearsal for you know, three or four, maybe more days a week and getting back into the groove of playing all the time.


JT: Last question, many things have been said over the last few years. Do you ever feel like you’ll play with Korn again, in any kind of capacity, one show, get up and play Blind, or a Rock and Roll Hall of Fame kind of deal?


DS: I think it’s a good possibility. I could play with them at a Rock and Roll Hall of Fame. But I don’t see anything past that.

Joshua Toomey