CORONER

Ron Royce Interview

- 1996 -

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Master Ginzu

Since 1987 with "R.I.P.", inauguration of techno-thrash, Coroner hasn't stopped improving its technique and compositions with five albums, each one more successful than the last. In '93, the masterpiece "Grin" showed the maturity of a powerful, gliding music, inspired of a particular universe, in advance of its time. In '95, the "Best of" album announces the end of Coroner who, paradoxically, surpasses itself on some compositions and offers two thirds of new materials. Does the tour started at the beginning of this year mark the end of Coroner? It is a shy and tired Ron Royce (bass player & singer) who confided his feelings at the end of a magnificent concert at the Rail Theatre in Lyon, France. His patience, particularly when listening to the ramblings of some 'Jack Bird' who surfed a little too much at Barley.Net.Com, has nonetheless convinced us of one thing: the future is uncertain!

Km - "What is the reason for this tour?

RR - After a one year and a half break, we have decided to go on tour once more, to say "goodbye, this is our last tour." We wanted to see our fans one last time, and also have some fun.

Km - The new tracks on the "Best of" album seem to be among your best work. Then why the break up?

RR - Yes, I also think it's the best work we've ever done, and I actually thought the same with each new ablum we made. We have constantly progressed. In fact, we are not really splitting, we're just going to quit touring. The current way of making albums -- meaning to make a new album, go on tour, and then do it all over again -- is no longer working out for us. We want to stop that. Maybe we'll change the way to do it, or maybe we'll stop playing together, I don't know.

Km - Your label (Noise) caused you a lot of problems -- other bands complained about it too. What were your agreements with Noise and why did you stay with this label?

RR - Initially, we had a five year contract, meaning three albums and two 'options' [whatever they mean...]. After the recording of the second album, we signed a new contract in which Noise promised us quite a lot of money and extras. We were to make two additional albums and, as the result of a compromise with Noise, the "Best of" album released us from all obligation towards this label. This compromise was the consequence of our successive disappointments with them -- it expressed our being fed up with the contract and label, but not with the music. We now think it is the end and we'll have to think about the future, about what is best to do.

Km - The lyrics are mainly written by your drummer, Marquis Marky. Do you work together to finalize things?

RR - Yes, we do work together, mainly in the studio. I try a line and if I am blocked by a word, I ask him to change it for another. Sometimes, he's the one who starts changing things around. About lyrics ideas, we really do have the same state of mind though. We especially used to have problems at the beginning, mostly related to the English language. But, generally, Marquis' lyrics are difficult to sing.

Km - Is bringing the albums' atmosphere on stage, especially with only one guitar, a problem at all?

RR - Not anymore. It was difficult when we first started but Tommy (Vetterli, guitar player, also known as Tommy T. Baron) is always searching for new technologies and he's got a good knowledge of them. He has a stereo amplifier on stage, as well as numerous effects. We can play two guitars, in particular at the beginning of the show, or 2 or 3 times after that. In addition, since September '95, we've had someone on stage who brings in extra effects, for instance different atmospheres from "Grin." We had decided to do that for our last two shows in Switzerland, including Zurich, and it's our third show in France in this form. It's all new, we didn't have that on the "Grin" tour.

Km - What did you do last year, when Tommy went on tour with Stephan Eisher?

RR - Not much! (laughter.) I had to work to make a living. I was hired in my father's shop, where my brothers are also employed. That was convenient because I had enough freedom to deal with music. They understand perfectly. I was therefore able to finish two projects: a very classic blues CD with Swiss musicians, and a trading project with the musicians of the Opera of Zurich. They would play in clubs, and we would play -- without Coroner -- on the stage of the Opera. Classical compositions of course! That was rather fun. But for now, I don't have any precise project. I do know one thing though: that will have to be better than Coroner, else it won't make any sense! But that will be hard. I have to say that the other Coroner musicians are just as undecided as I am regarding their future.

Km - Your music ripened with "Grin" and the "Best of" album. It's very groovy and superbly purified. Whether it is for a solo project or not, will you keep this approach?

RR - Definitely. We really wanted to move in this direction, to elaborate a spacious music and let the compositions breathe. Each of us listens to a lot of gliding, ambiant music... maybe we're getting too old for metal! (laughter)

Km - When was the first time you felt that Coroner wasn't on the path to success?

RR - What should I say... I think that I never felt that way. But, with each new album, we had problems with Noise which would tell us that videos were not necessary, etc. Therefore, we would go on the road without much promotion and, a few years later, all the bands started releasing videos. We were aware of the importance to do so, but we could simply not do what we wanted to. It was a bigger disappointment with each new album.

Km - Is your break up the result of your becoming aware of the lack of promotion, or was it the low commercial appeal attached to the avant-gardist character of your music?

RR - (thinking...) It is the result of both, I think. On the marketing level, Noise really didn't do a thing. Their work should have been much more involved. Nowadays, marketing prefers single projects, pre-made singles. We shouldn't even be a band since it's easier to associate music to one person only. But it's also a musical problem: as you said, our music arrived too soon.

Km - Any video or 'B.O.' [no idea what they mean here] projects, as Coroner or other?

RR - We made a video of about 50 minutes. We recorded our U.S. tour, as well as shows in our homeland in Switzerland and a little everywhere else. It was the Mental Vortex tour. Noise refused to release the video; I assume they want to save it for later. They may release it 10 years from now to make money! For the time being, the only available video has been recorded in Berlin, during the No More Color tour. But we don't like that live video -- we weren't at our best on it.

Km - In your opinion, what impact did Coroner have on music in general and on you?

RR - Let's say the fact of staying open to all kinds of musics. Stereotypes are insignificant. One must try to be original and not forget that it's a show. That is important to me. I hope people will remember that. On a personal level, that represents ten years of my life. I've learned much about others, and discovered the respect and beauty of a friendly relationship with other musicians that few people have ever known.

Km - Any regrets?

RR - No. I just enjoy every day of the current tour, trying to give my best. I no longer feel bitter about our problems. I try to have a positive outlook on the future and use all negative experiences I've had to my advantage. I just would like to thank our fans, and here our French public, for all the good times.

Km - Do you like fish on your pizza? [written in English in the text]

RR - (obviously confused...) Um... fish? Yes, I love fish -- not sardines though -- but yes, I always have fish on my pizzas! (laughter)

S.T.

Reprinted without permission from Kult Magazine Online.
Translated to English from original French text by Carole.

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