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The tour is coming up friends and hopefully there will be a lot of talking and writing about the soon to be released Album If not now,when?. This thread is meant to collect all the links worldwide where Anything Incubus has been covered the past weeks and will be covered in the future. 

 

Not only is it interesting to see how different the views are culturally and between nations, but also how the media landscape will change in time.

 

So, let's start an archive for every one to access and read whenever wanted.

Tags: archive, article, blog, coverage, culture, media, press

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Interview with: where he speaks about his artwork & spiritual connection an artist has with it.    14.07.2012

 

The Indie Spiritualist: Living Systems – An Interview With Chester Bennington Of Linkin Park & Brandon Boyd Of Incubus
July 30, 2012

http://theindiespiritualist.com/2012/07/30/bennington_boyd/#more-4443
Extended Interview with Linkin Park's Chester Bennington and Incubus' Brandon Boyd

Extra dialogue from the interview I linked above from The Indie Spiritualist. It was a group interview & different sites have extra parts. :)

http://t.co/0nUffcld
La misma entrevista con Chester Bennington y Brandon Boyd en español :)

http://www.wretchesandkings.net/2012/07/31/entrevista-a-chester-y-b...

Incubus Going Back on Hiatus After Honda Civic Tour


"I have been tinkering around, potentially, with a second solo record," says  frontman Brandon Boyd.


Read more at  http://www.billboard.com/news/incubus-going-back-on-hiatus-after-ho...

 

 

INCUBUS 'HIATUS' BLOWN OUT OF PROPORTION, SAYS THE BAND'S MANAGER

http://kroq.cbslocal.com/2012/08/06/incubus-hiatus-blown-out-of-pro...

Incubus’ Brandon Boyd Welcomes Music Industry Changes

 

Story by Anne Erickson

Incubus frontman Brandon Boyd discusses the changes in the music business over the past 20 years

Incubus frontman Brandon Boyd has seen quite an upheaval in his chosen profession of music. When Incubus first came up in the ‘90s, the music industry looked massively different than it does today. As they often say, the Internet changed everything, and Boyd doesn’t think the evolution of the music business is over.

Linkin Park and Incubus were two of the very few bands who kind of like got a gust of wind out of the old paradigm of the music industry, but survived out of it,” Boyd said during a press conferment for the two bands’ upcoming Honda Civic Tour.

“There are so many bands that, bands in a traditional sense, bands who write their own music, and perform their music, that didn’t survive that transition,” he added. “That fell by the wayside with the industry.”

Boyd went on to say that he believes change is the only constant in music. But, Incubus is ready. “Our technologies are a living system just like we are … and for us to expect them to remain constant is really just quite foolish… I think that the technology is going to shift probably sooner than any of us really realize. And that’s a really cool thing, because it keeps everyone on their toes. It levels the playing field, too.

“I personally, when all is said and done, I really welcome these changes. And they excite me. And they scare me at the same time, but I’m choosing to focus on the excitement.”

Incubus and Linkin Park head out on the Honda Civic Tour this Saturday (Aug. 11), beginning with a stop in Bristow, Va. The tour runs through Sept. 10 in San Diego.

http://audioinkradio.com/2012/08/incubus-brandon-boyd-welcomes-musi...

Incubus Drummer Jose Pasillas Talks New 'HQ' Release, Linkin Park Tour, Possible Hiatus + More

by Chuck Armstrong August 9, 2012

http://t.co/xPRCQ51K

Incubus Bassist Ben Kenney Talks New Album, Moving Back to the East Coast

Last summer, over a span of six days, Incubus celebrated their 20th anniversary as a band by renting out an art gallery in downtown Los Angeles to perform and connect with their fans in an ultra-intimate setting.
The band documented this unique experience on high-quality video and audio, which makes up the much-anticipated release, Incubus HQ Live.
On Aug. 14, Legacy Recordings will release a 2CD/1DVD and 1CD/1DVD version of these live performances. On the heels of this release, and just before the start of the 2012 Honda Civic Tour with Linkin Park, Noisecreep spoke with Incubus bassist Ben Kenney about the album and the band's future.
Ben, what was it like last summer when you played the gallery in Los Angeles? Did playing for such a small crowd throw you off?
It was incredibly fun for the band – really sweet. And what was really special was the fact that since we were playing new music, we were also making press run without leaving home! It gets hard to grind out press tour sometimes after all of these years. You end up getting asked the same thing over and over so it's hard to get excited. But with these shows, we were home so it was relaxed, there was no stress of travel and it allowed us to just be ourselves and give the fans something special in a unique setting without worrying about the usual stuff you think about once a record is done and you have to go out and talk about it.
Incubus has always enjoyed a pretty special bond with fans. What does that mean to you guys?
The fans are the reason the band still exists. I mean that seriously. There are people that attach good meaning to what we do - people that have made this band part of their lives. I mean, people came from other countries to be at the HQ shows. Clearly this matters to them. And that matters to us. I mean, you do something every day like we do, and it's a job of course at a certain point, in that you lose some perspective. But the fans remind us and ground us and reminds us that we as a band are bigger together than we are as individuals. I mean, when someone tells you that their day is better because they listened to your music – are you kidding me? That's just the most powerful thing.
http://www.noisecreep.com/2012/08/10/incubus-hq/

Brandon Boyd Interview

Incubus

 added: 13 Jul 2012                     interviewed by: Victoria Dillingham

Incubus fans were among the masses disappointed back in March, when officials pulled the plug on the longstanding rock festival, Sonisphere. But the Californian quintet, who were billed to support headliners: Queen and  Faith No More, were loathed to let their UK fans down. And within hours of the cancellation, filled the tour date with their own headline gig at London’s O2 Brixton Academy. The band, who first met in high school 20 years ago, have released seven studio albums to date and sold more than 13 million copies of them worldwide. Music-News’ Victoria Dillingham caught up with the charismatic frontman Brandon Boyd ahead of the band's gig at Brixton on Monday to talk about his latest projects. And to find out if the singer/songwriter-cum-author & artist might soon be adding 'father' to his never ending titles and talents.


Music News: It’s 16 years since you were first signed as a band and 20 years on from when you first started out together. How has the music scene changed over this time?


Brandon Boyd: “It really could not be any more different than it is today. I think the only one thing that has remained consistent, is people’s desire to listen to live music. It’s head-spinning just how much it’s changed. In some ways it’s easier now to promote yourself. I can remember me and my drummer drawing flyers for our gigs when we first started out. Then me and Michael, my guitarist would drop the flyers through every door on our mailing list. That said, people have much shorter attention spans (me included) now. So, it’s easy to reach out to more people, but harder to really ‘reach’ people, if you get what I mean?”


MN: You’ve become somewhat of a role model to young people over the years, first and foremost as a frontman and author, and more recently as an artist. How do you continue to be true to yourself in terms of the work you produce?


Brandon: “That’s a really good question. What I like to do is forget my responsibilities (as I like to think of them) and totally tune out to try and make sure I’m always true to myself and my creativity. And if there’s one thing I hope people, young and old get from my work it’s a sense of sincerity.”


MN: I understand your mother was an artist and you were encouraged to be creative from an early age. How do you sustain the same levels of creativity now you’re older?


Brandon: “I think my creativity for me is something that is constantly evolving. Even when I’m not creating something, I am going through the process. I might be in a stage of ‘absorption’ where I’m really listening and observing what I am experiencing. Or I could be ‘adjusting’ which is thinking and processing what it is I’ve seen or heard. Then there’s the state of ‘reverie’ in which I can look a bit like a zombie, and I’m making sense of everything I’ve taken in. And then there’s ‘light’ which is when it’s all gone through my own filter and I’m interpreting it all.”


MN: Who are your biggest influences at the moment?


Brandon: "I’ve been extremely lucky to have worked with lots of interesting and truly talented people. It’s hard to pinpoint anyone in particular. There are times when I hear or see others that are so much better than me and feel I’m not good enough at what I do. And other times when I feel humbled and lucky to have a voice to express what I feel. There are lots of turn-of-the-century (by that I mean last century, not this) artists that I’m really into. Also a couple of photographers, Helen Newton and Tasya Van Ree whose work I love and am following at the moment."


MN: What advice would you give to other musicians, looking to break out of music and explore other art forms?


Brandon: “I love talking to artists and musicians about my process and hearing about theirs. There are moments in any creative project where a person can feel totally detached, very alone and isolated. I’d like to tell people that we all go through it, it’s normal. And if you can push through and brave the moments of darkness, there’s a whole lot of light to discover the other side of it.”


MN: What’s next for you in terms of art work?


Brandon: “My 3rd book is now finished. It kind of follows on from the last, but it will also include some print-ink, water colour and photography pieces of mine. I’m hoping it’ll be out in the next 6-8 months.”


MN: And music?


Brandon: "I still write music and I always will. I don’t know if what I’ve written will form part of a new Incubus album or another solo album for me. We’ll have to see."


MN: Is it true that you named your knees and  if so why?


Brandon: “Yes, the right one is called ‘Chet’ and the left one is ‘Garrison’. Why? I guess you could say marijuana has funny effects on people.” (laughs).


MN: Will LA always be home? Given your travels, do you think you’ll ever relocate?


Brandon: “I’ve spent most of my life in LA, so it’s very much home. But I’ve had dreams of a more rural life and I can see myself relocating to a home in the woodlands, maybe even on a farm. I’d love it, especially as kids come along.”


MN: Sounds like kids are definitely on the cards...


Brandon: “Yes. Very much so! I think having children is one of the most beautiful things a human can do. It’s what we’re meant to do after all.”


MN: If there’s one underlining message you’d like people to get from your music and/or artwork what would it be?


Brandon: "If there’s one think I’d like people to take from our songs, it’s the constant pursuit of a higher consciousness. If people get that from listening to my music, I will be ecstatic! I love the idea of being a participant of the evolution of human consciousness.”


MN: You’re renowned for your tattoos. All of which have meaning to you and I understand you let long-term friend and band member Jose Pasillas design for you. Given how much your fans must mean to you, would you ever consider launching a comp to find the best tatt designed by a fan and committing it to ink?


Brandon:“Haha, that idea has never come up. It’s a brilliant idea. I guess it could work. I tell you what, if we ever decide to do, it I’ll be sure to credit it as your idea and have the name ‘Victoria’ etched just underneath it.”                  

http://www.music-news.com/showreview.asp?H=Brandon-Boyd-Interview%3...

 

Incubus drummer Jose Pasillas performs at The Joint inside the Hard Rock Hotel & Casino as the band tours in support of the album, "If Not Now, When?" on May 25, 2012 in Las Vegas, Nevada. (Photo by Ethan Miller/Getty Images)

Incubus drummer extraordinaire on growing up Latino

José Antonio Pasillas knows a thing or two about being a misfit. Growing up as the only Latino in his California neighborhood, he shocked his parents by wanting to become a rock musician. Today, as the drummer for the multi-platinum band Incubus, Pasillas has been creating unique sounds for 20 years.

“From the beginning we sort of stuck out like a sore thumb, we never really fit into anything, we’ve paved our own way and you know it’s been 20 years and we always just stuck to our guns. We all have different backgrounds which I think makes us who we are,”  says Pasillas.

This summer, Pasillas is bringing his brand of intricate, eclectic alternative brand of rock to fans worldwide with Incubus’ release of their new CD/DVD album titled “Incubus HQ Live” this week.

Pasillas grew up in Calabasas, the son of engineer father and beautician mother, surrounded by family. “I grew up with my entire family around me you know, my mom comes from a family of ten and my dad a family of nine. So I have really large extended family, tons of cousins, second cousins and my godmother was always there,” explains Pasillas.

His mom was heavily into Spanish music, listening to Julio Iglesias, Juan Gabriel and salsa, while his father was a big Paul Simon fan. “I never really listen to Spanish music other than what was playing in my house and at family parties where everyone was always dancing,” says Pasillas.

With no formal training , Pasillas, who met lead singer Brandon Boyd in the 4th grade and would play air drums to Purple Rain, has become one of the most respected, multi-layered, and versatile drummers in the world. Influenced by Led Zeppelin and The Ramones at the age of 10, he didn’t become serious about playing drums until the age of 14. “I can’t really say that being Latino is what influences me playing drums, drums were always in me, the rhythm, the rhythmic aspect was there, listening [to] and playing music was innate and so that was just the most natural instrument for me to go to,” he adds.

While he has a great relationship with his parents now, it wasn’t always so easy for them to accept his likes and, eventually, his career choice. Thinking the way he dressed, his music and art or even the sports he played were just hobbies or a phase, his parents never quite understood why he chose music, art, skateboarding, and surfing over books, baseball or soccer, which he was actually very good at.

“It was a struggle, a point of contention, they really weren’t supportive, you know, art/music wasn’t something they considered you can make career of,” says Pasillas. Being a typical teenager he rebelled, but it wasn’t your typical rebellion, disobeying your parents for the sake of rebelling; it was about his love of music and that he believed he had “some talent.”

“I grew up in white suburbia so I was the only Mexican kid for miles, I never felt different for listening to rock as a kid,”  describes Pasillas.  ”But you have to understand I come from a very traditional family, you know my sister never had a boyfriend she got married when she was 25 and moved out of the house with her husband, that’s how traditional their influence is, even in this day and age when it’s totally a rare thing,” he adds.

Although it took some time, eventually his parents came around; now they are extremely proud and attend his shows. “I think it was hard for them you know, they had to break a lot of their traditions as well but I love my parents they are really great.”

Pasillas not only loves music and being a dad to his daughter Frankie Rose, he has a passion for art.  He credits his madrina Elma for encouraging his creativity as a child. “As a kid my Nina would give me and my cousins pads and pencils, I always remember drawing and I’ve never stopped,” he explains.

While Pasillas music may not necessarily be influenced too much by his Latin roots, his art is a different story. “Maybe unconsciously my Latino influences come out in my painting I mean l love color, I love pop, I love flowers and people figures, all of that stuff always seems intriguing to me.”  Pasillas, who in the past has been a bit shy about sharing his art, is planning on showcasing it in a gallery within the next year or so.

showcasing it in a gallery within the next year or so.

In addition to giving the world some of rock’s most intense, smart, groove-oriented music, Incubus also gives back in a big way thorough their “Make Yourself Foundation,“ a non-profit organization where portions of the proceeds collected through donations, ticket sales, meet and greets, auctions, record royalties, and special events are distributed to various charities locally and globally.  “It’s just something we’ve always wanted to do and we thought it was a good time to do it, we were playing more shows the income was good to the point where we could start helping others,” says Pasillas.  The foundation has raised over $1.3 million dollars since it launched in 2004.

While Pasillas does admit he isn’t well versed in Spanish, or even Spanish music, he is a fan of Maná, Manu Chao, Santana, a little salsa, and loves Mariachi music. Asked if he’d ever incorporate mariachi music into Incubus  he says “I don’t think that would work with Incubus but I would be completely open for that. People do all sorts of things and I think you can make it works if you spend a little bit of time. It would be fun to do that.”

Eneida I. DelValle has worked in all areas of media from radio, television and print, traveling across the United States and Puerto Rico covering both the Latino and non-Latino communities.  She previously worked at PBS owned Spanish Language station V-me and Peacock Productions a division of NBC News.  A self-professed news junkie, book-worm, art and music lover, you can frequently find her at a rock or salsa concert and photographing the streets of New York

http://nbclatino.com/2012/08/15/incubus-drummer-extraordinaire-on-g...

Brandon Boyd, a giant rock star for nearly the last decade and a half as singer and lyricist for Incubus, arrives in the Tribune Tower lobby by himself.
No publicist. No manager. No entourage. Just a guy in a porkpie hat, comfortable doing an interview in jeans with a few holes and a T-shirt with more of ‘em, without a team of handlers making any decisions.
Any fan of the band, who released its most stripped-down album “If Not Now, When?” last year and appears today at First Midwest Bank Amphitheatre, knows that Boyd has long been a person who embraces living in the moment and having perspective about what matters. (“I think that’s why I intentionally but also perhaps unconsciously have pursued art and the creative process is because it uses everything that’s here, all the noise, but to pull you back into radical nowness,” he says.) Every Incubus record features a line or song or entire through-line about rising above that noise—a particular favorite, from “Nice to Know You”: “To obtain a bird’s eye is to turn a blizzard to a breeze.”
Recently Boyd, who’s currently working on his third book of art/photos/poems, has taken to drawing without pencil lines, so “there’s mistakes in there but they become part of the picture,” he says, also noting how a smashed squirt of ink can allow him to find various images within. “You can find stories in chaos. It’s just a matter of how willing you are to participate in that process … It’s fun because you don’t really know what you’re doing until you do it.”
Outside on our 22nd floor patio, Boyd, 36, talked about his worn-down clothing, the band’s early days of playing Bar Mitzvahs and his thoughts on Incubus appearing at a future installment of Lolla.

Note: We have video footage of this interview, including Boyd showing us one of his current sketchbooks. That will be posted as soon as it's ready.
When I have a hole in my socks, my wife is just like, “Toss it.” You’ve talked about wearing things until they disintegrate. Does your girlfriend ever want you to toss some of that stuff?
[Laughs] No, my girl is, she’s kind of obsessed with vintage. She even owned a vintage clothing store for a couple of years. So for her the more holes in a garment the better. In fact I’ll wear a shirt until it’s been washed and worn on stage too many times and it gets giant holes, and I go to throw it away and she’s like, “What are you doing?” And she puts it on and it’s like chic on her, and her shoulder’s exposed and I’m like, “Well, there you go.” I’m totally not kidding by the way. She has a number of my old T-shirts and old jeans. These are almost getting, you can tell, to the point where they’re going to be retired and she’ll take them and make them beautiful.
You recently wrote on Twitter, “My voice is acting like bigfoot’s dick tonight.” I’m not sure I’m familiar with that expression.
[Laughs] I think I stole that from a Will Ferrell—it was “Anchorman.”
That’s in “Anchorman”?
Yes, I forget the character’s name. It’s Paul Rudd’s character in “Anchorman.” With the mustache. When he puts on the panther scent.
Sex Panther.
Sex Panther. When he goes outside and someone’s like, “It smells like gasoline,” and then someone’s like, “It smells like Indian food in a diaper,” and then this chick runs by and says, “It smells like bigfoot’s dick!” So I just co-opted it briefly. I started the tour coming off of a little bit of a cold, so I had all my energy but my voice has been cooperating a little bit more with each show.
What’s something the band has decided doesn’t make sense to perform live?
A lot of our pre-1997, ’98 work. A lot of that stuff--I was talking to a friend about it earlier this morning. We put out an independent record called “Fungus Amongus” in 1995 I believe, and we put out “Enjoy Incubus,” which was like remixed versions of those demos--that record was really demos--and then we made “S.C.I.E.N.C.E.,” which came out in 1997. And a lot of that stuff was us learning how to write music together and be a band, but as well filter the music that we were obsessed with at the time … so that was everything from Led Zeppelin and the Doors to Primus and Mr. Bungle and Red Hot Chili Peppers and Pearl Jam and Soundgarden, Nirvana, Alice in Chains. It was a pungent, I’ll say, time in music. And we were 14, 15 years old when a lot of that stuff was happening. So we were like, “Let’s make our band!”  “What are we going to sound like?” “I have no [bleeping] idea; let’s just write music.” [Laughs] So a lot of that stuff came out sounding the way that it did. I never thought that it would catch any traction or see the light of day. What’s funny is people are still asking for a lot of those songs.  We’re very happy that they exist, but we just as soon let them exist in recordings. I don’t even know if we’d know how to play them.
You say that America puts happiness far down on the list of priorities and that we’re distracted by busy-ness. Is that what you think we put at number one, staying busy?
I think so, just in my observations. Especially with people my age. I’m 36, so I guess we can say I’m pushing 40 at this point. [Laughs] Trending in that direction. And a lot of my friends and acquaintances that I speak with online or I see every once in a while, it’s like, “How you doin’?” “Good. I’m super busy.” “What are you doing?” “Well … just being busy.” [Laughs] I don’t know if that’s essentially a good thing. I think it’s good to be busy and have goals and to be working toward things, but are you happy? That’s what I’m trying to concentrate on.
It seems like you do a good job of being grounded and staying in control. What’s something that gets you worked up?
Wow. I’m a pretty mellow guy, as you can probably tell. I think I’m probably a really normal dude in the sense that if I’m fed and slept I won’t act like a baby. [Laughs] I’ve observed that most men really only start getting bitchy if they’re under-fed or under-slept, and that leads to a sense of happiness. So I try and get enough sleep and eat right. That usually steers me in the right direction.
In your bio on your website, which is written tongue-in-cheek, you talk about being suspicious of religion and advertising and know-it-alls. With all humor there’s a little bit of truth. Do any of those things get you worked up? I’ve certainly been guilty, my wife can attest, to me shouting at commercials.
Absolutely. There are times when I’m in awe of modern advertising, and I’m fascinated by it. I kind of know exactly what they’re doing, where they’re shooting for, whether it’s my head or my heart or my groin. In certain ways it’s a triumph of human intellectuality; it’s like we’re so good at advertising to each other that most of us don’t know when we’re being advertised to. That’s kind of amazing. That’s also a little bit evil too, hence my suspicion of it. Sometimes I’m sitting on a lake or on a beach and I’m appreciating space, infinite nothingness, appreciating the water—
Not being pitched.
Not being pitched something. And then an airplane will go by with an advert like, “Buy Viagra at 99 cents a pop!” and I’m like, (claps) “Shit. Dammit, I was so close. Now I’m thinking about my dick.” [Laughs] So those things, if I’m in the wrong mood I’ll yell at the TV at things like that. Or if I’m in the right space, I’ll learn how to mute the TV.
Simple as that.
It can be as simple as that. You’ll mute it, and sometimes it’s amazing fun, if you’re in the right group of friends, to mute the commercials and put in your own voice.
Can you give an example of a time you did that?
It’s awesome with the drug commercials. They’re a perfect example. Those are some of the funniest kinds of advertising because it’s like, “Do your legs twitch at night? Take this pill. You might die, have uncontrollable diarrhea, heart palpitations, trouble breathing, uncontrollable flatulence, all these things, but your legs will stop itching.” To me that’s amazing.
80 percent of the ad is the asterisks.
I love it. I kind of love those pieces. But if you push mute and fill in your own thing, that’s a quality good time.
You previously likened the creative process to a road trip. Tell me about a time when you swerved wildly off the road and had no idea where you were.
[Laughs] It’s happened. Often. Those are like the most fun times on a road trip if you blow out a tire and end up going off the beaten path.
That’s what’s going through your head as the tire blows out and you’re spiraling? “This is fun”?
Well, no. You’re like, “Whoa, shit!” You’re just trying to not die. Which is what it feels like sometimes when you veer off the creative path. “I hope I don’t die.” A great example with Incubus is our album “A Crow Left of the Murder.” We were coming off a hugely successful tour and album, two albums, “Morning View” and “Make Yourself,” and we had a personnel change which was really scary. Ben Kenney came into our band; it was super scary but it was also really inspiring because he’s a totally different kind of musician than Dirk Lance was as a bass player. Ben is as much a drummer and guitar player as he is a bass player, so his understanding of music was super inspiring for us. So I think we definitely got caught in a little bit of a self-indulgent realm, which could be likened to steering the car off of the road but knowing that. We kind of understood there’s a lot of noodling things that are going to happen when getting to know each other creatively, and that record didn’t do as well, but in retrospect those are some of the most-requested live songs from a lot of our hardcore fans.
Stuff like “Sick Sad Little World”?
Yeah, that people like live. It’s really fun with Twitter and Facebook and stuff [we] can get real-time requests. And not just have them be yelled out at us on stage. That’s super real-time. We can get them an hour before the set. You hear enough people that want to hear “Sick Sad Little World” it’s like, we’ll probably play that song. It’s great because it’s nice to have a reward for getting a flat tire and pulling the car off the road and finding this beautiful pasture of psychedelic roses growing.
I read that when you were starting out you’d play any bar or Bar Mitzvah. First of all, I can’t believe you didn’t tell me you were available for Bar Mitzvahs in the mid-‘90s. I totally would have booked you.
[Laughs] We did it for real. We played a handful of ‘em.
Tell me about one.
They were honestly awesome because those were some of our first paid gigs. The first time we ever got paid as a gig, there were two Bar Mitzvahs that we did.
Were you playing your songs or something like “Celebration”?
No, they were our songs. It was kind of known going into it that we didn’t really do covers when we first started. We only had a handful of songs that we could play, but I remember we played an insurance seminar and the guy that booked us for the insurance seminar, he booked us for his kid’s Bar Mitzvah, and he paid us like a grand. And we were 16, 17 years old, like, “$1,000! What kind of car am I going to buy? Each of us!” It was great; we actually ended up using that money and buying better gear.
Did you also play MC, like, “Please welcome Uncle Dave for the blessing over the challah?”
I kind of wish we would have, but [we didn’t]. I went to my fair share of Bar and Bat Mitzvahs growing up. I went to Mike Einziger’s. We grew up together, so a lot of good times there. It would have been sweet to play his Bar Mitzvah.
Lollapalooza’s been a big deal here for the last several years. Is that something you could see yourselves doing at some point? Has Perry or anyone else ever reached out to you since it’s been rejuvenated?
We did the rejuvenated tour of Lollapalooza in 2003. We did the first tour that Ben Kenney did with us back in the day. It was a lot of fun. And Perry is a friend of mine, and I’m going to go out on a limb here and say that we would probably give our collective left nut to do Lollapalooza at this point. It would not hurt in any way; it would just be a good time. Some of the first massive festival concerts I ever went to were the Lollapalooza shows. I went to ’93 and ’94, or was it ’92 and ’93. I don’t remember. The first time I saw Rage Against the Machine, the first time I saw Tool, Primus, Ministry, Temple of the Dog, Pearl Jam … It was pretty awesome.
You have so many passionate fans. What’s the most memorable experience you’ve had with one of them?
Wow, we’ve been really blessed with enthusiastic listeners but also like you said very loyal listeners. And that’s the kind of thing that just continually reinforces one of the core reasons why we come back out on tour because touring is actually the most difficult part of doing this. It definitely ages one prematurely, and in a strange way it also has a sense to hold you hostage in a state of suspended adolescence because you’re being catered to like a child a lot. Which is actually kind of infuriating if you think about it long enough because as an adult you want to know that if you’re hungry you can go get yourself food. You want to know that if you have an inkling toward something you can walk down the street or get in your car or bicycle and go and get something you want. And when you’re on tour all the time, a lot of those things have to be provided for you, so it can be a little bit infuriating. But then once we’re on stage and performing music we will revisit these ideas and these sentiments that we wrote down and recorded, sometimes 10 or 15 years ago, and see someone 20 feet away from you who’s experiencing it live for the very first time and that takes away all of that other noise. All of that bullshit why you were frustrated that day or tired. “I miss my dog.” “I want to go surfing.” “I’m hungry.” All that stuff, it’s like everything disappears. You lock eyes with somebody you can tell is seeing you for the very first time, and that to me is the coolest compliment in the world. And that person isn’t saying anything to you, they’re just communicating—
Even if they’re not singing along, you can tell?
Yeah, I can. I think I can. Maybe I’m just imagining it. But then there’s also the people who have seen you 15 or 20—I’ve met people who have seen us 80 times. Have come to see our shows 80 times. I don’t even think I’ve been to 80 of our shows! [Laughs] And they still sing along just as passionately and just as invested in it as they ever were. And that as well is an incredible compliment ... We have lots of reasons to be thankful.
Plus:
On Chicago: “We actually have spent some considerable time here. And one of our longtime beloved crew members, he’s our lighting director, he’s from Chicago. He’s home today, which I’m sure is really cool for him. But I love coming here this time of year. There’s an amazing bike path, which I’m sure you’re all aware of. It’s a great city, especially when it’s not 12-below … I always have my bicycle with me on tour … [I’ll] probably [go for a ride] later this afternoon.”
On the tour with Linkin Park: “I really had no idea what to expect. Linkin Park is kind of like a juggernaut of modern rock ‘n roll. They’ve sold like 50 million records, so I had no idea really if it was going to be more their crowd or our crowd. I think it’s been more their crowd so far. You can just tell almost from a demographic scan--that sounds kind of weird. You can scan through the audience when you’re standing on stage and notice when people know your music or have seen you play before. So there’s a decided difference between our core fans and their core fans, but what’s been really cool for us is I’m seeing people in the audience, a lot of them who have actually never seen us play before. And this is probably our 30th time playing these places, so it’s kind of neat to play to new people. We’re actually pretty grateful for it.”
On touring with bands like Korn and Limp Bizkit, which some people might have seen as an unfavorable grouping for them: “When we were on tour with those bands, especially Korn--they brought us out on a number of tours. They were our first tour in Europe that we ever did. And I remember feeling very embraced by them. Also their audience. Their audience was really good to us. And so when it came down to that and playing with them, I always felt like the audience … could get what it was we were attempting to do. The Limp Bizkit audience was larger. When we were out with Limp Bizkit that was on the Ozzfest … We were at a point in our career where we were happy to have a chance to play in front of anyone. That was all that mattered to us. So I think that if even a handful of people at each of those shows went away going, ‘I like that band; I’m going to check them out again,’ that’s really the most important thing. I’ve been less and less concerned with labelings and stuff like that [over time] just because all that really matters is how you feel about what you’re doing. “
On “Drive” being different from everything else on “Make Yourself”: “I don’t begrudge that song whatsoever because even though it is different than everything else on ‘Make Yourself,’ in terms of the history of our band it’s still a pretty good representation of us as songwriters. You can strip away all of the heavy guitars and the harmonies and the loud drums and things like that and we can play like 98 percent of our songs with an acoustic guitar and they’re not too dissimilar from ‘Drive.’ ‘Drive’ was just a little bit more stripped back for us. … What’s interesting is that there have been songs on almost every record that are as downtempo as that; with our newest record, ‘If Not Now, When?,’ it’s mostly downtempo songs, so in a lot of ways we’ve been hinting at those tendencies for a long time. It doesn’t mean that a future Incubus record will be continuing in that direction. It just means that that’s the place we were at at those moments up until we made ‘If Not Now, When.’ It was just a big moment that there was a lot of stuff that needed to come forth.”
On the many readers who want to marry him, and being seen as a sex symbol: “If they only knew how I felt about marriage. [Laughs] They gotta know that I’m still learning how to speak English and that my potty-training things are still iffy, but for the most party I’m a pretty easygoing guy … It’s flattery. You take it for what it is. There are moments--there have been, there still are, moments where someone flatters me and it’s like you blush a little bit if only on the inside. Sometimes on the outside depending on what they say. I’ve heard some pretty crazy stuff here and there. Things you just never thought you’d hear another person say to you out loud. It’s like, ‘I’ve thought those things, but I’d have never said that out loud.’ … Since I was a young man [I’ve been] grounded in the sense that those things are sort of fleeting, and they are appreciated but I think I understood from a young age that if I was the object of someone’s affection because of what they saw or heard on the radio in three minutes I likely would not be the object of their affection 15 minutes later. So I choose to look at it like, ‘Thank you. That’s so cool that for this 14 minutes and 32 seconds left, I’m the object of your affection.’ Usually when the person making the art dies young, then it really sticks. Or somebody dies horribly. I plan on sticking around, so my goal is to have everyone be good and bored with me by the time I’m ready to cash out.”
Something he wouldn’t be motivated to do: “[Laughs] I’ve been so lucky so far that I have help with my taxes. I would definitely end up being an unwitting tax evader if I didn’t have help doing it. [Laughs] I would just avoid it. I wouldn’t know where to start.”
If he ever feels like he blacks out when drawing: “Yeah, that’s the whole point. To me that is radical nowness; you are so enveloped in that process you are free of thought and producing the most pure works that one can. All the practice has taken place beforehand.”
On his solo album, “The Wild Trapeze”: “I don’t think it’s terrible; I think it sucks for all the right reasons. I think it’s bad in the best possible way, or I think it’s good in the worst, pure possible way.”
The first big concert he ever attended: Bon Jovi and Skid Row in San Diego. Boyd was 13.
What he’s listening to right now: School of Seven Bells’ “Ghostory.” “I’ve been really enjoying this Tibetan bowls record; it’s some guy swirling on these Tibetan singing bowls. It’s beautiful to draw to; I think it’s called Sumatra or something like that. I’ve been watching Mute Math actually every night of this tour that we’re on now. Their drummer is amazing.” [Also: He agrees with me when I praise Japandroids and particularly notes “The House That Heaven Built.”]
A movie people would assume he’d rank as a guilty pleasure: “My girlfriend is not a fan of the horror genre or zombie genre. I’m not really the biggest fan of modern horror films; they’re a little too gratuitous gore thing for me, but I love the “Evil Dead” trilogy. It turned me on to Sam Raimi’s films. I’ve been a fan of all his works ever since. I like his style or his take on the horror genre. It started out very tongue-in-cheek and he’s gotten progressively darker since his first films I was exposed to. You can call those guilty pleasures; those are B-films, but they’re like amazing B-films.”

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