Latin metal band Ill Ill Niño have had a lot on their plate with the release of their seventh studio album, Till Death, La Familia (Victory Records), a spot on 2014’s Mayhem Festival, and a tour in Russia, all while finding balance between their lives as musicians and as men with growing families. With about a decade and a half with the band under his belt, vocalist Cristian Machado gave us some insight as to how the creative process has changed over time as their lives have progressed
“We’re trying to be more mature songwriters and in different ways, not every album has the same approach. It’s just like you put it, every album has a very different flavor going on even though it can all be interpreted as Ill Nino, it’s got the very traditional Ill Nino signature rhythm and tones, but, I think every album is from a completely different point of view. On this album, I think we wanted to get back to our own instinctual place. I think we wanted to write more from a fan’s point of view and just ourselves in general, from the point of view of a fan, a music fan, and what we want to hear in Ill Nino’s sound. I know, personally, doing albums when you’re self producing an album, it can psychologically be this maze where you can get into the over-contemplation of a lot of parts, and different creative ideas, and things like that. We do try to get everything to flow very naturally, vocally. I was given some really awesome songs by Ahrue Luster, Laz Pina, Diego Verduco, and Dave Chavarri. I definitely wasn’t sure on any musical inspiration. I just wanted to come from the gut a little bit more; things that feel good. From a melody side, sound refreshing to my ear and tones that suit the songs as much as possible. As far as words and themes, I think that a darker side of me came out after going through the birth of my daughter and starting to realize that the world is really screwed up and full of violent images and has a very angry media presence. I think my defensive, protective, father side came out and perhaps it translates a little violently onto the lyrics but it’s really trying to do the opposite. I’m actually trying to not glorify criminality and try to make sense of the world a little bit more while still hoping for a better future. I think that a lot of that was just instinctual, you go as an individual and, hopefully, within a band, you grow as a musician and as friends. A lot of trust went into this new album, we looked up to each other very much and there was this very big, open creative space and there weren’t these huge battles about parts and I think that’s what music is supposed to be at the end of the day. When five or six people form a band, and they have a hugely successful first album, the fans can read into the creative decision making when a band feels comfortable and it will translate to them and they can relate to the music. We wanted to write as cool as we could write right now and take into consideration everything that we’ve done in the past, the grooves we’ve used, the bilinguality of the band, and the duality of our sound, but we wanted to be more refreshing, to feel more grown, and to, obviously, continue to grow and expand as musicians and song writers.”
You mentioned that you’ve noticed a change in yourself coming from a producing standpoint. When working on material now, do you actively see yourself switching into that producer mindset and then switching back into the musician?
On the two records prior to Till Death, La Familia, we were self producing and not really working with anyone outside of the band, and I think that was growth that we needed to experience ourselves before getting to present where we worked with Eddie Wohl who’s an amazing and very talented producer. Even though there really wasn’t this huge change to anything that I was bringing into the studio, there was the sense of relaxation, that I’m working with someone great, and that I trusted. On past records, I did have a battle within my own mind; where do I draw the line between recording the album with the band and getting down to where I need to do which is to write vocals and tell a story? On this album I was able to do that, I was able to focus on what I wanted to say and the tone that I wanted to bring to the band. At the end of the day, I wanted to compliment the songs that Ahrue, Laz, Diego, and Dave had written as much as possible. I was lucky, I’m very lucky and I wouldn’t want to go back to doing it the other way where we’re just self producing albums. For me, it was easier than Ahrue who wrote a lot of music and did a lot of arranging without having to record himself. Vocally, I was blessed this time around and I look forward to doing things this way where I can just focus on the creative element and not have to worry about too many other things. I think it definitely gets in the way of myself as a musician. In order for me to expand and grow as a song writer, I have to commit to that first and foremost. I’m very grateful for the way I was able to do this album. I have to give a lot of credit to the guys in the band and to Eddie Wohl.
Speaking of the guys in the band…You’re no strangers to lineup changes but you’ve had a solid core team for a number of years up until Daniel Couto’s decision to leave the group; what has the band dynamic been like with Oscar Santiago carrying Danny’s torch after his departure?
“Having Oscar in the band is a blessing, he’s probably the origin Latin percussion player in metal. He’s somebody that we’ve looked up to for years and Puya, his band that he’s played with for so many years has been a huge influence on us so having him in the band definitely changes the dynamic in that we want to start moving more towards his rhythmic direction. On this album it was difficult to incorporate everything that we wanted to but I think that having him in the band now is truly a blessing and we’re going to be able to move, rhythmically, closer to territory where we used to be while still keeping in mind the things that we’ve expanded upon. As a band with a fifteen year career, at our level, it’s very tough, it’s not like any of us are making a bunch of money. At a Metallica level, where a band is universally famous, there’s a lot of money to be made and it’s easier to stay in a band where you can support your family and have them travel with you. In our case, where we’re at that medium theater to large theater touring circuit, every penny matters and we leave our families at home a lot. Some of the people in the band felt it was necessary to have more time at home. The older we get, the more we realize why they left and we can’t really tour just to tour. It has to be something extremely worthwhile to the fans and it has to be worthwhile to us as well because we have to leave our families behind. As far as changing band members, Danny, who played percussion before Oscar, he’s staying home with family and recently had a baby. Jardel Paisante has a family as well. Besides that, we changed a couple of band members after the first album but that was a creative and personal difference more than anything else.”
ALEIDA LA LLAVE
Victory Records used to sign hardcore bands. The rank-and-file of artists wanting to sign on Victory, enormous at one time, now not so much, but great acts like Integrity and Madball once filled up the discography. Now, the label decides to throw their clenched fist into the ring, signing Montreal act Erimha, a band whose brand of symphonic black metal can best be described as lackluster Dimmu Borgir worship, rife with “epic” keyboard leads and furious double bass patterns. Their album, Reign Through Immortality (Victory Records), succeeds in technical ability but lacks in almost every other category.