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Carl McCoy of Fields of the Nephilim
Interviewed by Patrick Rennick on 7/27/2006
Transcribed by Patrick Rennick
In the 1980s Fields of the Nephilim was a potent force in Britain’s gothic rock movement. After the release of three classic albums, Dawnrazor, The Nephilim, and Elizium the band parted ways. Front man Carl McCoy resurrected the group in 1996, pursuing his vision of the Nephilim with the metallic thrashing of, Zoon. Now after more than a decade of silence Fields of the Nephilim have returned with Mourning Sun. McCoy speaks about what was going on during this lengthy absence, the dynamics of absolute control, and the film he has always wanted to create.
Patrick Rennick: It has been a good ten years or so since Fields of the Nephilim has released a new album. What kinds of things were happening in your life throughout those ten years?
Carl McCoyCarl McCoy: It’s been many years really, more than ten I would say. Lots of different things have been going on. Obviously I do what I do still. I’ve had some business problems that were more politics than anything else such as not being able to be released from one contract so that I could sign to another. I was in a bit of a limbo land for that time, neither here nor there really. Also a few things have come along and tripped me up along the way but I’ve tried to get back into the studio and work again. I’ve had a bit of bad luck but that’s ok. I’ve actually learned quite a lot from that time. I’ve broken a lot of barriers and boundaries down. I’ve kind of reevaluated how I work. So the positive side of that has enabled me to get to the new release. It had to be done I suppose.
PR: What was it that pushed you to start writing new material again?
CM: Well, I’m always writing anyways. The main reason is obviously that I’ve got unfinished business. I want to complete what I’ve set out to do originally with the whole “Nephilim” concept. I wanted to achieve a certain goal with it and I have still yet to achieve that. I’ve never abandoned this; it just got sidetracked sometimes along the way. But, Mourning Sun is a fresh start, the start of what I hope to be many more releases.
PR: I understand that Mourning Sun was recorded in many different locations using a mobile studio dubbed, “The Ice Cage.” Could you talk to me a bit about how the mobile studio works and why you chose to record this way?
CM: Yeah, we had mobile equipment. It wasn’t so much a studio that you physically drive around in or anything (laughter).
PR: (laughter)
CM: It’s basically a bunch of equipment that is quite heavily wrapped up. We can transport that really in any kind of environment we need to. Even outside, we can do that as well. We did it for a bit of fun more than anything. Whether it shows on the recording I don’t really know or care actually. It was more to give myself a bit of a sense of fun because recording can be a bit tedious with the same studio environment for weeks on end. I find that not to be very creative sometimes and it becomes a bit stale. So we tried a few different things just because we could really.
PR: Were there any specific places that you found yourself recording that may have had an impact on a certain song that you were writing at the time?
CM: I pretty much had in mind where I wanted to go. I wanted to go anywhere where it was atmospheric really. I don’t particularly like warm weather so I would like to be somewhere quite cold or somewhere quite damp. That’s inspiring to me, that’s what turns me on; although it can be a bit messy sometimes.
PR: What kind of reactions have you noticed from people regarding the reforming of Fields of the Nephilim?
CM: It’s been very positive. As far as reviews go we’ve probably had 99% that have been very positive, which is very, very good for anything I’ve ever been involved in. Normally it is 50/50, split up between really good reviews and really bad reviews. So it is really nice to hear that people appreciate it and they are giving it a good listen; listening to what I am doing now instead of just referring to what I did twenty years ago.
PR: What are your personal thoughts on the latest, Mourning Sun?
CM: I enjoy it. There have been some achievements on this record. Again, I’ve kind of redesigned the sound of the Nephilim. The overall feel, the whole entity, and dimension I would say is still there. It is in everything I’ve ever done. I think to achieve a new sound for a particular project is always an achievement. That’s what makes me tick really. I like to do that. I’m not one for really playing safe. If that works, that’s great I’m really happy with it. But, you’re never going to be 100% happy. You could go on forever but I’m looking forward to doing another one.
PR: I’ve noticed that over the years the band's lyrical concepts have always been exceptionally intriguing and deep. What kind of lyrical concepts are featured on Mourning Sun?
CM: It’s probably all part of the same journey. The inspiration I get is always there. I can always tap into it to explain exactly what the lyrics mean. I think there are many levels. There is a level of meaning to myself. There is also another dimensional level which is part of the chemical reaction to the music which actually kicks off the emotions and stuff as well. But the words are following their own journey. Some of them lead to a bit of spontaneity as well which is natural and quite true. But to explain exactly what they mean I find it difficult to just sit down and explain that in a few sentences. It has to be listened to and kept in context with the music really. If it paints pictures in people’s minds then that is an achievement for me anyways.
PR: After working with Richard Stanley on his film “Hardware” in 1990 there has been talk of shooting a video with him around one of your new songs. How did this idea originally come together?
CM: The thing is, we did do some videos together back in the 80s but they were a bit tongue and cheek. We didn’t have any budget and didn’t really know what we were doing. But at the time it was great fun. I’m quite a visual person. I’ve been involved in visual projects myself anyways and Richard, he’s a daring man. There is always a bit of controversy wherever he puts his mark so I think he’s an obvious choice for me. For one, he’s not a promo director. He makes movies and documentaries etc. so that is much more suitable for what I am trying to achieve. I’m not trying to make a typical pop promo. I’m just hoping we can express a bit more of what the concept of the Nephilim is about within the video, but we’ll see. We won’t start shooting until next week so lets hope it works. I think he’s a good choice for me.
PR: Have you decided what song you will use yet?
CM: We’ve got two songs we’re doing treatments for. I just want to make a video for the whole album personally but I don’t think that will happen at the moment. I don’t know. It could be “Straight Through the Light” or “Siberia.” As a first choice it’s not ultimately what I’d like to make a video for but it is what people seem to think is right. I’ve been speaking to Richard and we’re just trying to figure out a few technical things. We will finalize the ideas and treatments between us and then we will go ahead and probably cause complete chaos and not do anything that we’ve written down.
PR: (laughter) Have there been any updates on any upcoming tour dates for the band?
CM: Yeah, that will be happening but it’s unlikely to be until the fall because we’ve had quite a lot of things going with loose ends. The whole thing with the band playing live again is quite a big task because it’s not something that I’m just setting up for this album. I’m actually re-establishing the whole setup. I want to be able to step back so I don’t get tripped up again. It is important that we get it right. I also have some other songs that I’m finishing off for a future outlet, I’m not sure when but I’m doing that. I think we will be touring in the autumn.
PR: I understand that this is still in the planning process but do you have any idea where the tour would span?
CM: Well, we’ve gotten a lot of interesting offers. If it was left to me I would just play the interesting places personally. But obviously it has to be the kind of schedule that can work with a budget. I would think that we’d probably start in Europe and hopefully we will come over to the U.S. at some point. But I should think that would be at the beginning of next year if we do that. There are a lot of places I’d like to play as well that I’ve never played so it should be interesting for us as well.
PR: From 1983 has there been one consistent goal for you when creating music or do you feel that has changed over the years?
CM: No, I’m exactly the same. I’m still trying to achieve the same goals. I do stick to my guns. I’ve had this idea in my mind since I was very young. Musically and visually as well I think it has spanned a lifetime, it is my lifestyle. I can’t really just walk away from that. It’s not as if I picked a career that is all money, that’s not for me. I do it for my personal reasons more than anything. I mean through experience obviously you learn from mistakes but I feel like this is the closest I’ve ever come to achieving the end result of what I’m after. I hope it stays like that now.
PR: What differences do you notice with the band now that you have 100% control of everything?
CM: Well, I don’t really work as a band in the creative studio environment as much. I know enough people there so that between us we can take care of everything that needs to be taken care of. I don’t think you need to hang out as a band all your life because I just feel that in reality not all the members contribute anyways. It always comes down to a core couple of members making the records work. The rest of them are usually sitting around not knowing what to do with their hands. I think it adds a bit of freedom and also it allows you to tap into yourself a bit more and see what your own capabilities are, kind of put your money where your mouth is. I’ve kind of enjoyed working like that. I mean obviously when we play live there will be a band and it will be a strong band with people that are like-minded. These aren’t just people that I will pick randomly. These are people that will come and get on board for anything that we take on like that. I think it is quite exciting really. It leaves the whole thing open. I am pretty open-minded about who I will work with and how I will work in the future as well so it’s good.
PR: Fields of the Nephilim have always been known for a Western-American cowboy appearance. What is the rationale behind this?
Fields of the NephilimCM: (laughter) A little bit haphazard really. I don’t know personally. I’ve always kind of liked that image which reflects many different areas not just the western kind of cowboy image. That is just one aspect of it really. Some things come from way before that. I think it is quite Victorian as well. If you actually looked at what we are wearing it is a real jumbled mess from different times I think that was the kind of the scavenger look that we took over. It just fit. If the hat fits wear it. The choice was obvious we didn’t want to go out and buy fancy dress or anything. It just fell into place really.
PR: I saw a recent promo shot of you and this appearance looks a bit different this time around. How has your appearance changed with the new album?
CM: Well, there are many sides to my personality, so you know there are variables. I think that there are variations of what we are about. Some of it is more religion-based. Some of it is more getting out in the wilderness based. It depends on the practicality of the environment. Certain parts of it fit my persona for some times and different ones fit for others.
PR: Could you tell me a little bit about “SheerFaith?” Have you done any projects recently with this?
CM: SheerFaith is really like a pseudonym for myself and my girlfriend. We’ve always been responsible for producing artwork; mainly for Nephilim designs, record covers, t-shirt designs and stuff like that. I think that’s how it started out. But that’s always been a part of what I do anyways. I love creating images with anything visual such as movies and stuff. It kind of goes hand in hand with what I do with the Nephilim. I can’t do one without the other. They actually kind of really belong together. Every record I make conjures up a lot of images for me and vice-versa. I think it’s just a natural outlet really. I’ve done some odd side projects with it but a lot of them were just because I was going through some hard times and I needed to make some money (laughter). So it is an enjoyable project
PR: I understand that you are quite a well-read man. Throughout your discography have there been any particular works that have inspired each album?
CM: Um, a real cross section really. I think that it was when I was younger that I did a lot more reading. Most of my inspiration comes from within myself. I try to keep external influences outside but I obviously have read because I have interests out there. I think that when I first started writing lyrics I was reading a lot of occult subjects. But I’ve done that since I was about seven. I used to read my father’s collection of occult books. I’ve always been interested in that because it’s been a part of my life. But, I don’t know, William Blake, Milton, obvious ones like that were there at the time. But I don’t have any great heroes.
PR: Where do you see Fields of the Nephilim in the future?
CM: There are many areas that I’ve refused to go which I’ve always been asked to contribute to. I’ve been approached by the movie world asked to do work with soundtracks and games and obviously asked for parts in films. I’ve never really explored that and left it alone. I didn’t want to spread myself too thin and obviously music is really true to me but I think that there are new areas that I can take the band in the future. I think that there are different forms of media we can play with. I think it would be great if this movie I’ve been talking about for years would get finished.
PR: What is this movie?
CM: I’ve had this personal project that kind of fits with what the Nephilim is all about. It has me taking my visuals and musical ideas and putting the whole process together rather than just sticking an image on top of a record or something. I wanted to do some kind of story and make a nice piece of art out of it which I do plan to do.
PR: How long have you been working on this?
CM: It’s only been scratched down with ideas. I mean I’ve done many, many things. I have loads of short five-minute movies which I’ve done over the years just to keep me sane. I just haven’t set any time apart to actually go and complete this thing. So I’d like to do that at some point. But, lets get this band out on tour first before we disappear again for years.
