An interview with drummer Mark Arrington about this year’s anniversary album Nevermore.
Mark, after Sanctuary broke up in 1991, singer Warrel Dane (R. I. P.), bassist Jim Sheppard, guitarist Jeff Loomis and you on the drums established Nevermore in 1992. How did you get together exactly?
I was in a band called Bone Towne, (Freddy Krumins-singer, Tim Johnston-bass and Tracy Moody-guitar). Tracy lived with Warrel, Jim and Jeff up on Queen Anne Hill in Seattle WA. That place was wild man! Bone Towne had a show at a local night club and they all came out to see us perform. The show went great, and later on that night back at the band house, Warrel and Jim asked Tracy if they could use me to finish their EP. He said sure. Soon after was recording with them at Robert Lang Studios. The tracking went really quickly because those guys rehearsed 24/7. Soon after that they had booked a show at the Rock Candy. That show was the first night they performed as Nevermore. It was a little tense, because of the new name (old fans), plus some of the old band were in attendance, but by the time we finished everyone knew we were serious.
What about your musical past as a whole?
My father was a pastor in church. He heard me practicing one day on pots and pans with my mom who played B3 organ. He asked my mom later if he should buy me a drum set. They did, and my life was changed forever. I have played in church for my early years. Listening to my older brother and sisters albums. My neighborhood friends parents were really into Hendrix, Zeppelin, The Who, The Doors, James Taylor, Black Sabbath, The Grateful Dead. Later in high school my friends got me into Black Oak Arkansas, Ozzy, King Diamond, TNT, Metallica, Racer X, and White Snake, The Scream, and NIN. My musical taste was all over the place. I really got into all kinds of music from jazz, to Latin, to Blues, onto Reggae.
By the way, were you the first choice of the band or did they audition other drummers as well? Were you perhaps familiar with Sanctuary?
They did not audition other drummers. I was part of the Queen Anne House family Lol. I was familiar with Sanctuary’s music, but at that time I was only playing heavy rock gigs and jazz, not metal.
What were your views on the metal scene considering those days? Would you say, that grunge caused a lot of harm for (traditional) metal and (maybe) killed it?
Metal to me back then felt like it had no soul. That’s what I liked about the Nevermore material. Warrel’s lyrics were intense, and no other singer back then sounded like him. Jim was an open book on bass. He was always willing to try anything. Then there is Jeff. We were close in age, we just connected. Every one knows the dude can absolutely shred, but a lot of people over look his rhythm playing. It is so bad ass, and a joy to play along with. Grunge did do a number on the scene, but it was time for a change. We had a rehearsal space at a place called NAF Productions over in West Seattle. Alice N Chains, War Babies, Sound Garden, all had rooms there. So we were friends with those guys. It was never about being better than any one else, we were all just into creating what we thought was some great music.
How about your rehearsals?
Rehearsals used to bug me sometimes because Warrel and Jim were so hardcore about the number of times we had to rehearse a week and for how long. The repetition was mind numbing. But now looking back on it I feel like it’s what was needed. Kind of like being in a musical boot-camp. It gave me a really good work ethic.
You recorded a ten-tracks demo titled Utopia, how long did it take you to come up with this material? Can you give us any details regarding this effort?
To be honest it has been so long since I recorded these tracks, the process escapes me right now. But I can say it was an amazing experience tracking the songs I did play on. Most of the music was written and arranged before they asked me to join their band.
A second demo was released in 1994, but on this played Van Williams on the drums, what happened? Did you perhaps leave the band?
Yes, I ended up leaving Nevermore to peruse another project down in Tucson AZ. It was a cool project that had some really good friends of mine in the band. Warrel wanted total commitment, and I was a cocky 22 year old rock drummer with dreams and aspirations of being the best. Looking back on it now I simply laugh at how rigged we all were. We all had some growing up to do, me especially.
Nevermore entered the Robert Lang Studios, Seattle during late ’94 to record their debut album, but you performed only on the half of the songs, do you perhaps remember, how was the album recorded?
We tracked that initial EP live. The song God Money I performed solo and no click track. For some reason Jim and I were not locking in, but I knew the song form. Our producer Neil Kernon asked me if I could track the song by myself and then everyone would play to my drum track. I ran it down 1 time and he said it was perfect. He was a real pleasure to work with. I had a chance to work with him again on Jeff’s debut solo release Zero Order Phase. I learned a lot from that man, what microphones to use with specific types of wood shells, microphone placement, punching in drums (cymbal overhang) all information I still use to this day.
Is it correct, that this album is actually compiled from two different demo sessions with Neil Kernon, and thus the songs on the 1994 demo are the same as the album versions used here (just remastered), along with songs from another 1994 demo session?
Yes, I think that is correct.
In your opinion, from the very beginning, Nevermore was an anomaly in the American metal scene?
Anomaly? I’m not sure. The regrouping from Sanctuary to Nevermore came at a time when the music industry was experiencing the shift from hair metal to grunge. Respect to those guys for staying true to their roots.
Did their 1995 self-titled debut makes more sense when put in the context of lead singer Warrel Dane and bassist Jim Sheppard’s previous band Sanctuary, following the mid-tempo approach of 1991’s Into The Mirror Black with infusions of contemporary sounds and an even more sardonic attitude?
I personally think that the 2 projects (Sanctuary/Nevermore) were worlds apart. To me, Nevermore had an edge and grove you could not deny. It was raw!
Did Nevermore’s self-titled debut contains the band in an embryonic stage of their career?
Nevermore was new to the scene but hardly new to the game. I think that was an advantage on a lot of bands from that era trying to break through. They had been there before.
Do you think, that the talents of guitarist Jeff Loomis are what truly keep Nevermore’s debut from being a pure Sanctuary offshoot?
Not entirely, Dave Budbill had his own unique style, as did I. That being said, the way he played with Jim was way different than the way I did. So I think it was a combination of Loomis’s brilliant guitar work mixed with the new found groove of the rhythm section.
Did the album also establish an early precedent for Nevermore’s varied songwriting approach?
I think it did, not to mention some of the other phenomenal guitar players that floated through the band. Each contributing their own style.
Did Warrel Dane deliver an enthusiastic and impressive vocal performance?
Yes he did! Consistency, and he was a showman. I do remember one time though were things did not go as planned. Warrel really loved to head bang, especially with all of that long blonde hair he had. On one gig in particular he went a little too hard and ended up swallowing that lovely hair of his. During the guitar solo he turned to me and proceeded to pull it out of his mouth causing him to puke all over my kit… now that’s rock & roll!
Is his voice on this album somewhere between the high-pitched power metal vocals of his time in Sanctuary (the power metal shrieks do make the occasional appearance,) and the deeper, lower sound he would later become known for?
I am not sure of the stylistic approach he used.
Would you say, that the music is very large and powerful throughout, with varying tempo?
Yes. That is the way Jeff Liked to write. Everyone knows he can solo his butt off, but he really took pride in crafting a well written song.
Did Nevermore do a very good job conveying a brooding atmosphere and they leaned into it for this album?
I think they did a great job with the album, not to mention the production value.
How do you view, that the very first Nevermore album came as something of a surprise when it first appeared in 1995, ’cause at the time, straight metal was considered outdated and old?
Nevermore has always remained „authentic” or true to form. That’s what makes them one of the best Metal bands, conviction. The fans can pick up on that. They know when something is fake, or forced. And they prove it by not buying your music.
Did in that environment, this album come as a breath of fresh air and was a valuable addition to the musical spectrum?
I am not sure if the album was a breath of fresh air, but I do believe that it was an authentic effort. Hitting right when grunge was ramping up and taking over the airwaves.
Is this album well representative of what Nevermore is about? Solid metal with great vocals…
I believe the album is a solid outing, and represents the band well.
If I’m correct, Warrel Dane mentioned back in those days, that you were the most skillful, professional and talented musician in the ranks of Nevermore…
That is very kind of him to say that, but they were all very skilled and professional players. The work ethic was undeniable, and they always set me up for success.
What can you tell us about your further involvements, considering the metal scene?
I am a music lover, which is why I keep playing. It’s in my bones. I would love to work with Jeff again on one of his solo projects, and I can’t wait to hear what him and Van come up with as far as new material.
Mark, thanks a lot for your answers, what are your closing words for our readers?
Always stay true to you vision as an artist and the art itself. It will never let you down.
