Interview with Chris from Wretched Soul!

Below is an interview with my friend Chris Simmons, who sings (yes, he does actually sing!) in the excellent Wretched Soul. He has an amazing voice and can do a whole load of things I can't, so I asked him a bunch of questions and to try and find out how he got where he is today!

In their own words, "Wretched Soul was formed in late 2008 amid the mist-veiled marshes and ruined medieval ramparts of Kent, Southern England. As of May 2012 the band has just finished recording their debut album with producer legend Chris Tsangarides (Black Sabbath, Judas Priest, King Diamond etc.). 

Taking their brand of Modern Heavy Metal to the masses, Wretched Soul never fails to wreck-necks and evoke the true spirit of Metal. The band were hand-picked for Bloodstock 2012, the inaugural Beermageddon, and have supported the likes of Anihilated, Blaze Bayley, Beholder, Eastern Front, Orange Goblin, Sarah Jezebel Deva and Stuka Squadron among others."

For more info, check them out here-

http://www.wretchedsoul.net/home.cfm

-E

When did you start? / How long have you been doing vocals?

 "As a vocalist with metal as the intention I started when I was about 17. I'm now 24 so that's 7 years. Ironically in my youth I had sang in choirs, or been too shy to act in School plays so I just hid in with the other kids to sing songs. My introduction to metal is quite a blur as well as my Dad was in a Ska punk band and his side of the family was very musical. I was favouring songs such as eye of the tiger and wild thing as a little kid, not knowing it was rock jammin’ away to it when no one was looking. When I was young I went along to Church with my family where I'd often get up the front at Church and (lol) scream the hymns, people just thought I was some cute kid. There is a connection to Iron Maiden in my family, not to my knowledge at the time due to my age but the band themselves were at one of my family’s wedding receptions - I took fondly to them apparently and I am sure I can remember some of it, most likely just from being hopeful! I swear they must have laid down some metal magic on me. Gotta start young, eh? These little things created a nostalgic feeling when I heard anything real and with an electric guitar, yet as drugged up epilepsy sufferer I was constantly off my tits in my own world, quite unaware of most things. I was surrounded by b*llocks music everyday - I played drums because my Dad did and it felt cool. Yet when all you hear is S-Club F*ckin 7 on TV and then you get asked to try drumming to it, something feels clearly wrong. I would be asked by other kids who could hear me drum "Why do you drum? It's not exactly musical is it, it's just bashing on things..." much to my displeasure. This was the start of the search, which when I heard such typical tunes as smells like teen spirit, or on occasion run to the hills or something I'd freak out with this nostalgic familiarity. Something called out with the music, I was curious to find out more. At around 15-16 and realising what I was listening to was called metal, I attempted to learn guitar, doing the cheesy thing of singing and playing to myself in the mirror, practising everyday. I felt comfortable with the scene without really thinking about it, already growing my hair out and considering what I was into as being considerably alternative anyhoo. The idea of becoming like the guys in the bands I liked hit home with me; that demi-God like aura that radiates from such musicians drove me to want it for real. They have this power to become something bigger than they really are and be accepted for being different, yet express more talent than you'll ever see from a pop-idol churn out. Eventually I dropped the guitar as my friends were just getting better than me, I would never find the time for it being an avid skater. I was already known for doing funny impressions, so these voices seemed fun to work on, so I did that. Dani Filth originally was a big idol of mine simply because I found his ability to unleash what sounded like several different voices to be incredible, I figured if you was to do this then like anything you might as well take it to town and show off."

What do you consider to be an ‘extreme’ vocalist?

"I've never really used the term extreme before vocalist. I use the term vocalist for artists who use an alternative approach such as screaming or growling constantly, or incorporate it somehow into their music. Someone who doesn't scream and just sings I call a singer. It can be argued as to what singing really is, after all people seem to accept rapping (moreso than screaming strangely enough) to be a form of singing. I think of singing as an outlet of expression, a screamer will hit a pitch, just like a note and use the sound to compliment the music. I can't imagine Cannibal Corpse to use the vocals of the Little Mermaid, for example. How fucked would that be? No, seriously. That would be pretty extreme. I guess an extreme vocalist in a sense would be a heavy metal artist who pushes the bar on his fry/death/false chord ability to be more than the average kid who can make a pretty average monster noise. The vocalists who open up so you can really "feel" the screams or demonstrate a range of different voices, unique sounds that are a trademark of an artist, that kind of thing to me would be taking it to the extreme. Phil Anselmo once said he is an extremist when it comes to everything. So, with vocals that would mean pushing your ability to stand out. It's hard to stand out making the same fuzzy noise that most other people do, to find your own voice in this game is probably the hardest part of being an extreme vocalist."

How much formal ‘technique’ would you say there is in the way you do vocals? Do you practice often? How would you respond to the ‘it’s just noise’ argument?

"Let's start with the first question, as ya do. Originally I was just trying to find out how to produce these crazy sounds, which sounded bad may I add but I could hear there was something there. I lacked the correct power, delivery and if I’m being honest with myself I'd often find I had a painful throat. Trial and error, with a touch of don't give a shit attitude. It was not long before I was making some crazy noises in my bedroom, much to the neighbours delights and concerns, I just screamed coz it felt good to do. I would have favourite artists as fads, I'd try to copy them to the point I'd sound pretty close then take pieces of what I had learnt with me. Each time I moved on to another fad I gained new developments in technique. I found strangely enough if I ever really hurt myself, I'd take time out and return more naturally aware of what not to do and I'd be a much stronger vocalist. There was this time I walked about 3 miles with the flu, in the rain to record in an old house with no heating that belonged to my friends Grandma (hehe) for a project that had existed for a week. I screwed my voice over that day, probably more psychologically but it wasn't fun. I was out for months, just not wanting to try to scream coz it wasn't right, I was going to the hospital having cameras shoved up my nose and looking at this vagina on the screen that was apparently my voice box. Sexual. I had to take it carefully returning to screaming, clearly not as strong or confident at first but it made me learn more about control. To add to the point of formal technique, well that's where people trying to get me to sing comes into play. My first band went quickly from being a progressive death metal project to being a cheesy thrash type thing, nicely entitled "Megafist". Bloody awful now I look back on it. I was just happy I had got a band together even though they wanted to play a style I didn't, so I just went along with it. They really wanted me to sing and not scream as much, I couldn't really scream seriously to their music anyway if I’m being honest. My clean vocals were TERRIBLE. At the time I hadn't even considered the raspy thrashy "cleans" of bands such as Exodus. I couldn't grasp how people hit high notes or hear what I was doing properly, it was all about feel and there was a lot of strain in my voice. I was originally always just happy to get a sound out that made some kind of tune, even though to be frank it really didn't. I joined another band called Sanity Burns swiftly after that, where again my screaming ability was watered down by the band being inspired by artists such as Iced Earth and Dream Theater. I developed this "naughty scream" where I really wanted to scream properly, but was putting my voice into it. I started looking at guys like Chuck Billy and Paul Baloff for those harsh, raspy vocals that weren't quite a full on scream to justify my excuse. I really wasn't into singing clean at the time, yet I was constantly badgered to do it. We recorded our demos (which I think personally were great) with Dan Abella at Escape Route studios and I don't cringe when I hear them, as by that point the band had put the point across that the "Randy Blythe" scream was fine to use so I had started being more confident in my delivery. As the band fell apart and re-gathered with different members, the musical tastes of individuals was passed around and I started opening my mind to metal that I wouldn't really listen to before, such as Skid Row or even Megadeth. I started appreciating the guys who would sing, eventually coming out of my shell and admitting it was pretty cool. I always had this feeling if you sang you were just like anyone; a popstar sings, so why would I want to be like them? I was a young, arrogant death metal fan who suddenly saw the light. In the long time it took for Sanity's new formation to record our album, I went off exploring with my voice. I eventually got to meet and play alongside one of my favourite metal vocalists of all time, Sy Keeler from Onslaught. I could clearly see how far from professional I was being with my approach, I still had to find more with my technique that would make even me half the singer he is. The Sanity record broke me, I was in the studio for long hours yet was learning a lot about my voice. It wasn't always about being really loud, or intense, or over the top. Their record is still available to buy online, yet I really don't think the producer had any understanding of how to mix metal vocals as I sound bloody awful once again. So, a lesson to you singers/screamers out there, don't spend too long in a studio, especially if you're not understanding why you don't sound right. The likelihood is it's not you, it's the mix. Shortly after this experience, I had met my fellow chums and bandmates for my current outfit entitled Wretched Soul. I was determined that I could prove I had a voice, I had learnt a lot about control, dynamics and individuality. It was at this point I was merely going to do two things: scream and sing. I took everything I knew and natrually done what came to me. I recorded with Wretched when I was still becoming familiar to the songs, at one point I was still in Sanity so I was feeling less inclined to own up to Wretched as my main band due to guilt. I wanted to just do what most other people seem to manage to do: go into the studio, record and not be overly fussy and get out. I wanted it natural and live. I knew the production was going to be amazing as we was working with the legendary Chris Tsangarides, therefore I didn't feel the pressure to have to be too much of a perfectionist as I trusted his judgement. If something gets past a grammy nominated producer who's made some of your favourite records, you're going to listen if they say "that was cool". If you can stand there and sing a song without stopping every few lines in the studio then you know you have your technique down well, which in this game is usually based on diaphragm control. I had become aware that screaming was like singing for me: growls worked like low notes and highs worked like high notes. If you do a low to high siren in a growl to scream approach then it should feel the same as if you were doing it clean. I had become aware singing should never feel pushed and uncomfortable, it's volume that comes from diaphram support and the main thing is the tone. How you sound is important, there's no point in pushing yourself to do a note you usually don't manage live as you're just asking for trouble. You'll find certain techniques work and some don't, some things you'll start to favour more. There's an old school power scream on the Wretched record somewhere that I applied a lot of vocal fry to, I've learnt that if you're gonna sing a high clean note adding distortion seemingly takes away from the tone.

It's a journey of self discovery in this game. "Extreme" vocalists (singers included) all get to a point where they get less concerned about losing their voice, rather becoming more concerned about acceptance, constantly fretting about how their abilities will be judged. You'll find you practice everyday, even if quietly to yourself, trying to prove with conviction that you can do things you wish to show off to people. Take that anxiety as a good thing, accept what you have done and let people hear progression and nod to your own personal acknowledgements in future material. If someone says it's just noise their clearly very ignorant and unaware that everything they hear is "just noise". I think the passion expressed in this reply clearly shows that this artform is not "just noise". As I explained before, Little Mermaid fronting Cannibal Corpse - wouldn't work. Why? Coz the music is monstrous, so it needs a fucking beast called Corpsegrinder to lay down his soothing rumbly tones. Just common sense, really."

How much do you think it’s true that as vocalists we’re largely irrelevant? E.g. the argument that we’re just a connection between the crowd and band?

"If we was irrelevant, we wouldn't exist. We're not exactly a new thing, I’m sure the first tribes of men used their false chords to grunt and growl as a primal thing - that was how they sang, that was how they communicated. So like a good old Ouroboros, we're bringing it full circle. If anything the death metal singer is so primal we're in a category that lets you get closer to what it is to be human. I consider it to be one of the highest forms of expression, you could even say the art of screaming has some links to a higher conscious. The way in which the frontman can use this secondary voice to control and manipulate a crowd is like having a whip for an aura, the mind when performing is sadistic and pleased with chaos. A crowd will feed off a vocalists energy, if said vocalist is in this magical performing bubble, the show will be great. If a vocalist can't put themselves into this place though, it can make a show very awkward. There are some fantastic instrumental metal bands out there but those with a singer have a singer for a reason, just like a car needs fuel and not just a motor. If that fuel doesn't go in that tank then your car won't start up and you definitely won't be getting anywhere, same thing with vocalists and bands."

Favourite extreme vs non-extreme singer? Who would win and why?

"Oooh, tricky question. The answer to this probably has changed over time. See I really love Devin Townsend. I think his vocals are amazing, he has a great singing and screaming voice. He really pushes his voice to extremes in some of his songs, particularly on the Strapping Young Lad stuff. I know there's death metal fans out there shaking their heads right now, so to calm you down I will say as a death metal vocalist it would have to be Chuck Schuldiner (R.I.P). That dude’s voice was not only pioneering but it was a good way to do so coz it was insane, he defo had some pipes on him. I've always been fonder of the mid-high pitched screamers moreso than the constant low gutterals, even though they do sound pretty sick. I find there is more character and individuality to be found in the middle or higher gutteral/scream. I'll chuck in the addition of Stu Block (Into Eternity/Iced Earth) as that guy has crazy screams but also transcends into the singing world, of which I’m a fan of both. Jari Mäenpää of Wintersun (who I once got mistaken for at Bloodstock by drunken Wintersun fans) also has a fantastic voice. I guess you're kinda seeing a trend here! As for non-extreme... well if you mean someone who doesn't growl at all I guess the king of that would be Ronnie James Dio (R.I.P). Notice I ain’t faffin about with that answer and so I think we can all say that dude just wins hands down."

How much of a difference is there between the live and studio environment for you?

"There's a big difference. I used to really struggle with the studio, however have far less trouble recording myself at home. It's about comfort you see, at home I’m comfortable and can piss around as much as I like. In a studio there's expected ways of going about things, you feel stupid if you try alternative methods to get certain lines out with the right delivery. I think I've now cracked how to go into a studio and just get on with it based on my experience with Wretched Soul. That doesn't make it exactly 100% like how I would come across live though but if you're still resorting to parts of your voice that you're known for then it's acceptable. That's partly why I don't like metal vocalists using too many effects on their voices, they can't compensate effectively. The live environment can make you have to approach things with alternative methods. You're in the zone, fuelled with adrenaline and feeding off people's energies. I will say that live can create an illusion by the overtones given off by the mic and the energy can make you feel like you're performing your best ever vocals everytime you hit the stage.

It is easy for someone to feel they have done something amazing live and then become disheartened as to why they struggle to pull off the same effect in the studio, which as I said before is merely based upon an illusion. Sure, there are things that you can do live that you could have pulled off in the studio enviroment but another difference with the studio is everything is done for a reason. Don't forget what you as a vocalist hear isn't what everyone else hears, usually what you critique other people tend to love and they won't hear what you're barking on about.

Some things live don't work on record - I screech until the windows of hell shatter live at times, yet the same parts on record would likely not sound as in place.

The studio has this effect on me where I kinda go blank, go in with a minimalist plan, I don't really think about it and never put my hand up to say anything. Now I have recorded properly once I can definitely say I know how I will approach studio time in the future. Obviously once you record you can't go back, you should try to approach the mic with the attitude that whatever will be will be, so you have to accept what you do and know you done it for a reason at the time.

An artist should always be about progression. A musicians understanding of the studio is just as much a learning curve as doing one’s own artform, so a great singer can go in the studio to record without any studio experience and struggle to come across the same as usual. You have to play with the studio to get your live character through. With screaming it's good to make it sound real to the intention of the song. If you want a breathless vocal, run around the block like Randy Blythe had to for "Walk with me in Hell". If you want a scream filled with pain, drink a bottle of hot sauce and shove the bottle up your bum. Do or do not follow that advice, I will not be made responsible!"

Given that you also do clean singing during some of your songs, have you ever encountered any difficulty with mixing the two techniques?

"When I started, yes I would lose stamina quite quickly and as I couldn't really sing my clean voice would bail on me. I still have moments where I tell myself "I'm not gonna hit that" which is quite often psychological and just due to feeling out of breath, which when you're running around doing both- I don't care how fit you are, the voice has its own conscious that will encourage any doubts. You have to just believe that you will get through it, confidence is key. If you can do something once you can do it again, right? We aren't supermen, or women, it is merely natural not to be perfect. I prefer hearing vocalists who can switch it up live and know their shit well enough to make it work. As I stated earlier, one of my favourite singers on the metal scene is Sy Keeler from Onslaught. I find the way he adds a distorted tone to his voice to be amazing, he has overtones of fry screams, dumps his voice into death territory and yet keeps his incredible range. The idea of singing through distortion interested me as I partly thought it could be a good way to disguise a tired voice. It's smoke and mirrors, of course this method isn't actually the best to use as an attack that solves everything so please don't think that way will necessarily work for you. It is actually very hard to develop a decent distorted singing tone and pull it off correctly, so again don't come running to me spitting blood and blaming me for telling you to all to push gravel on your voices. Therefore I will tell you my correct technique! To do it you must apply the fry technique on top of the vocal, which must be relaxed and not pushed in your throat. You should feel the distortion in your mask, which is towards the front of your face. If you have to use it to cover up for something it's best to know how to apply it correctly or you'll just end up choking. I do use this technique stylistically, I find it can create singing parts to be monstrous and I like the middle ground between extreme vocals and clean. Yet I do need to note that if you ever have to sing with a cold- refrain from adding extra distortion to your cleans as your voice will likely distort naturally and you'll just cause yourself later discomfort. So, with the subject of distortion out of the way, now onto range. In a studio environment, just do what is necessary. Don't overdo things, do what the music calls for. I find another good technique in the sing scream subject is to keep it simple. You may be feeling that little ego inside right now telling yourself my advice sounds rather boring, yet simple doesn't mean boring. It merely means you have to replicate them vocals in a live enviroment. As a sucker for clean vocals with character I have tried to make my clean voice somewhat have a certain added twist to them, therefore people take on that theatrical element and it's not always about the notes. It's good for people to be able to sing along, to make them want to sing along and to an extent allow for them to sing along. I think every modern vocalist should want to have vocal covers done of their own work on youtube as a common goal, it would be brilliant to see young vocalists aspiring to learn about this artform in the exact same way I did when I started but through my own work. There's a reason why Dave Mustaine’s voice is so well known, it's that slightly annoying snarl in his voice that makes everyone know straight away it's him. Dani Filth does them stupidly high lady shrieks, everyone knows who that is straight away. Identity is an important goal and one of the hardest to achieve in this game. So for Wretched Soul's first record my range was somewhat dictated via what the songs called for but I felt it was important for a vocal character to shine. I had made it so I could pull off the songs live confidently, which is important and far more impressive than struggling to sing certain notes in my clean style just to make up for an ego - which would be entertaining for the wrong reasons. Alas, there are one or two notes I could have sang differently in the studio and pulled of live that are somewhat more daring by impression, yet I’m gonna save room to explore my upper clean range more in the future. It's important to note when range is the issue, what you're singing can dictate what you're able to reach. When I’m not having to scream and growl, I can sing along to some Judas Priest, some Maiden or do the complete opposite and sing a soothing ballad. Doesn't mean I'm doing it as well as the originals, but I can do it. Yet when I apply screams and growls into the mix, the atmosphere and character of a band like Wretched Soul, it's important to sing for THAT band. Always remember your band is your band, don't try to be anything else other than you and the musical entity that your band creates. First dress, then impress."

Lastly, any advice for people wanting to start out as a singer? 

"If you feel it, go for it. Play with your voice, discover new things it can be amazing what you find. Listen to advice and criticism but don't let it control you, be individual, be creative. Be prepared for a bumpy ride of up's and down's, dodgy throats and finding yourself up at 3am watching youtube tutorials coz you can't sleep. Be prepared to indulge yourself in the music scene, enjoy it, sometimes be wary of it, talk to other singers. Go sing!"