Skinny Puppy on Being Used for Guantanamo Torture: "Maybe a Prisoner Was a Fan and Secretly Enjoyed It"
Photo by Emilie Elizabeth and John Kraw
Deep in the hells of Guantanamo Bay, extreme bass music rumbles from Bazookas as federal agents use the music of Skinny Puppy to torture prisoners.
It's a fact that has been confirmed by the pioneering industrial band, and that inspired its latest album, Weapon.
Now, if you've never been to military prison, rest assured the Skinny Puppy tunes are the best part. So try to avoid being detained by the feds and shipped off to a detention camp. Instead, go see the band in concert at a place like Grand Central Miami.
Yesterday, in the run-up to that show, we here at Crossfade caught up with founding member cEvin Key to talk about cops, weed, and classic 808s.
Crossfade: How do you feel about your music being used to torture prisoners at Guantanamo Bay, Cuba?
cEvin Key: We were gonna invoice the U.S. Government for musical services. But what's funny is maybe they came across a prisoner who was a fan and secretly enjoyed it. Like, it sounds bad to the guy doing the torturing, but the guy getting tortured is like, "Hey, I heard this before. Can you turn it up?"
You're Canadian. What do you think about Justin Bieber getting deported?
I think that's brilliant. He's acting like such a twat. He deserves it, for sure.
Haven't you ever been stereotyped for the music you make?
It's weird, because every time we go through a border or a check point or get stopped by the cops, there's always one guy that's like, "Hey, I'm a fan." It happened just the other day. We got pulled over in Arizona and they found all our weed and busted us and took it away. But I think since one of the guys said he liked us that they just let us off with a citation, so it was a lucky situation in the end. I think that military guys and people in the police force tend to like intense music.
What's your live show like for somebody who has never seen it or even heard of you before?
Whether it's 1985, or '92, or 2004, or whatever it might be, we've approached it the same since the first day. We bring a heavy balance between theater and music in a live setting. You have the three-dimensional visual aspect from our projectors and films, a transforming and transitional stage that I can't define, you have to see it to understand it, and a huge beautiful crew making it all work. It's a whole integrated performance that's like a time capsule that makes industrial music slightly relevant again for a brief moment.