![]() ![]() So in building the studio, I knew how to work all the equipment, I was familiar with all the tools, I just never done something like built a wall before. So from sculpting with mixed media, wood and plaster and using power tools, and having a background in metalworking and blacksmithing and welding, I ended up being able to apply to all of those skills to home improvement and building. Everything I did was a very specific set of things, and I had a very strong game plan, so it didn’t take a lot of time.ĪllMusic: Have you always been good at building things and using tools?īorland: I was a sculpture major at an arts high school. I set up the studio knowing that I was going to make two records back to back, one of them was going to be Crystal Machete, and as soon as I was done with that we were going to start work on the second Queen Kwong record, which is my fiancee’s band. In the whole moving process, I hadn’t written or recorded anything in about a year and a half, because of having to shut down my studio in L.A., so I knew I was going to make a record the second I was done. I thought, “OK, so I did this shitty movie that I didn’t like, had a terrible experience where a guy ripped me off,” I was going through saying, “All these things that I was afraid I’d miss out on were actually miserable experiences that I won’t miss out on at all.” I had to do the math and go, “I can live anywhere and it doesn’t matter, I might as well go where I can expand and set up my studio the way I want.”ĪllMusic: Did you know how much work it would take to build your studio?īorland: I knew I had a huge room to work with, but it had not been set up for sound recording, so I knew that there was an amazing amount of carpets and acoustical panels and stuff I’d have to bring in to make it possible to get good-sounding drums and recordings. ![]() That’s the way I was for so long, but when I put in perspective, “OK, who am I getting work from as far as soundtracks and movies and remixes?” they were all people I deal with through email, they’re going to do it with me online instead of me having to be there. “As soon as I leave, that’s when my big break would have come, that’s when I would have gotten this job, this project going,” they’re so afraid. My quality of life has gone up tremendously since moving to Detroit.ĪllMusic: It seems pretty tough for people to talk themselves into leaving the big coastal cities.īorland: People get FoMO, fear of missing out. ![]() All the things that I didn’t like about Los Angeles are gone out of my life now. It’s such a refreshing change from the low-grade, constant agitation and anxiety that I had from being in Los Angeles, dealing with traffic all the time, dealing with termites in Laurel Canyon, being claustrophobic because I didn’t have enough space, paying way too much to live. The people that I’ve met in Detroit are so awesome, and I’m becoming really good friends with them outside of just being neighbors. Wes Borland: It’s totally what I expected, and more. We called up Borland to talk about the new album, called Crystal Machete, why he's putting Black Light Burns to rest and if he's found the peace of mind in Detroit that he wasn't getting in Los Angeles.ĪllMusic: You've lived in Detroit for over a year now. For the first time, he's released a true solo record, not a side project like Big Dumb Face or Black Light Burns, and it's easily the polar opposite of the music he's made in his best-known role as the costumed guitarist of Limp Bizkit. Now he's settled in, built a studio, and released his first music post-relocation, an album called Crystal Machete. When we spoke with Wes Borland last winter, he was fed up with Los Angeles and in the process of packing up his guitars, fiancee and cat to move across the country and start a new life in Detroit. ![]()
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