JOHN ARCH

[this interview was originally printed in Cimmerian Shadows Issue 2; 2012]

Going back to earliest times John, what was your first proper experience of singing in a band? Was singing always the musical role you had in mind, or did you also have instrumental ambitions?

I have to think way back to before my teenage years to remember when I wasn't involved with a band in some capacity. I played guitar and sang in a folk group at church and remember practising in the church basement in a cover band. I played guitar and sang in a band that covered Tull, Grand Funk, and rattled the church's rafters with a little Sabbath. I and local friends formed various bands over the years playing everywhere we could, from bars to keg parties - I remember having that powerful drive and excited feeling to play for an audience.

It wasn't until my early twenties that I had that urge to do something musically, but didn't know quite what avenues to pursue. I was playing a show one night primarily as a vocalist in a band doing Maiden and Priest type covers, when I was approached by Vic Arduini. After the show he asked if I would come down to check out a band he was playing in... and that's where I met the guys that would eventually conceive Fates Warning. For obvious reasons I put the guitar down and started concentrating on vocals alone.

How did your role in FATES WARNING (initially known as MISFIT) come about? Please sketch out your first encounter with the other members, and how you came to front a band with them.

Damn I should have read this question first... anyway, the band I was in before Fates was really my first experience as more of a frontman or vocalist if you will, and being that there are so many gifted guitar players I did myself and everyone else a favour when I put it away. So I guess my first serious role as a singer began with the humble beginnings of Fates. My first encounter with Jim, Steve, Vic and at that time Mike Jones was a comfortable one, that of conversation, listening to some music, some of which I never heard of before, and just a lot of goofing around. There are still some tapes of those God forsaken rehearsals floating around the internet.

Early on, it was practising sets of covers, but it wasn't long before the chalk board came out and we would be trying our collective hands at originals. I remember Jim being the one really pushing the idea of original music, and I was apprehensive, or unsure, at first. We kept at it and before long our first effort at writing was born as Night On Brocken.

How often did FATES WARNING rehearse during the ‘80s, and what sort of studio set-up did you have access to? Did the band have its own dedicated practice space for example, or was there a public facility in Connecticut that you used to hire? Do you have any memories of the room itself?

Well for quite a while we used to practise at Steve Zimmerman's house, down in a basement that was always under construction of some sort; it smelled of burnt coffee and that common musty basement smell. It had a nice homey feel to it with saltwater fish tanks, wall to wall posters, vintage music and electronic equipment scattered everywhere, and no shortage of friends and visitors that would hang out. Eventually, after driving the very nice and patient Zimmerman family nuts, we moved to a practice space a few towns away to resume practising for what would become Awaken The Guardian [in which case 1985's The Spectre Within was released before the band left the Zimmerman basement! - Ed]. We would practise 3 weekday nights a week, and if not playing out, one weekend day. I have fond memories of the early days in Fates when a bunch of guys would look forward to making music, not knowing where we were going, but having fun getting there.

You have called yourself a perfectionist when it comes to your vocal parts – how has this dictated your various studio sessions over the years? I'm particularly interested in how many takes were required to produce the vocals on the '80s FATES WARNING albums, and whether you had any sort of routine or mental state you needed to get into. Was the story any different this time round, in the ARCH/MATHEOS studio sessions?

Ha! I had to read this question three times... [that good was it?! -Ed] Ok, the perfectionist thing... I don't want to send the wrong idea that I associate anything I do with perfection, I think it is more the idea that I probably over-analyse things and can't leave well enough alone when it comes to the lyrics and melody lines. By the time things are finished, they have had my neurotic fingerprints all over them to a fault... hence the line "flawed to perfection". But having said that, I think it serves the music well. What else would one compliment music of this nature with anyway? With all the odd time signatures and movements going on, a simplistic approach would not be as cohesive and interesting as what we have come up with.

Changing gears and talking about the early recording sessions, the process has always been the same for me with any studio work. The unspoken rule is that everyone comes well prepared and any creative outbursts during recording are considered a bonus (sometimes). Here is where I get myself in trouble (always). If you were talented enough to sing a 15 minute epic flawlessly from start to finish, without a flat or sharp note and without auto-tune, back in the day of cutting and splicing analog tape, well then, you're certainly not me. During recording I usually break things into segments depending on phrasing and difficulty, and try to nail down the section. There are times when I get things in one take, and there are times where I can struggle with one note. Like anything else, the more time you spend doing something, the better you get at it, and back in the day when I spent lots of time singing, I would find myself getting over ambitious in the studio and forgetting that at some point I'd have to sing those beasts in their entirety! I guess what was (and is) more important is the spontaneity and creative feel the melody lines have, rather than some pre-set parameters to follow.

As far as a mental state or routine, it usually starts with panic, then after I settle down and get into a groove and self-talk myself off the ledge, things start to get better. For me, and I think most everyone, confidence is the biggest thing that can help get you to a place where you are the most productive and can begin having fun rather than stressing about it. I am still searching for that balance, but I know the only way to get to that place is to immerse yourself in whatever you do, everyday.

Perfectionism must weigh especially heavy when it comes to live performance. I've read elsewhere that you used to feel a great weight of expectation to replicate every nuance of your parts on stage – how serious was this pressure back in the FATES WARNING days, and how did you overcome it?

I always thought and still think it is important to replicate to the best of your ability what was on the recordings. There were shows that were better than others as far as performances go but I always tried to do my best. Unfortunately there are nights when being a frontman and vocalist are not really where you want to be, when not well rested or under the weather, and that takes a toll on the nerves.

With no exceptions, I would be internally shaking before every show. It wouldn't be until the third or fourth song that I would finally settle down and get into a groove, and actually begin to sing with proper form. I well remember, as the intro tape began before we hit the stage, I would feel like I was having an out of body experience, being totally disconnected from reality. What is odd is that one would think that the more you performed, the easier it would get, but that wasn't the case. By the time Awaken the Guardian shows were happening, something had manifested itself in me that at the time I didn't know were panic attacks, and would later become just a piece of a diagnosis. How have I overcome it? I haven't really, I still find it difficult to sing in front of people - I always thought it was just a vain fear of failure or making a mistake, but it's more than that.

What sort of material were you reading (or watching) at the time of writing the more fantasy-themed FATES WARNING lyrics? I'm particularly thinking of songs such as 'The Apparition', 'Fata Morgana', 'The Sorceress' and 'Giant's Lore'...

During said times I was reading a lot of mythology, Celtic lore, and Native American lore and spiritual beliefs. Each individual song usually starts with a single idea, but what I draw from can be a mix of any of the above, and usually evolves into a journey that completes itself full-circle with a story and a message that has truth and meaning. Awaken the Guardian is really a hybrid of fantasy-based ideas, but has elements of reality, spiritualism and other influences.

On The Spectre Within, for instance, in the song 'The Apparition', "I" (in the first person) take a journey into what is described as the "forbidden" recesses of the soul, to search for answers. As I ignore the thunderous warnings with abandon, I travel deeper into the tabernacle of the unknown, where no mortal shall dare enter, but “I want to know”. What I see within is an inner reflection of our universe incapsulated in time. "Above the center is sky, cold cold neverness, just vastness filled with stars upon stars". The center Fountain represents the soul, and "I", in my physical form, represent Fire. “If the water touches the flame forever in darkness I'll remain". Using more symbolism, representing the four corners of life are the golden mirrors, in which I can see the past, the present and the future. As I approach the last mirror, and the waters are rising towards the physical fire, I stand before the last mirror, and see I have no reflection at all. The white dove then flies from the young boy's hand through the mirror of the old man, showing me the "only way out". It seems that through this complex maze of life and mortality we are constantly seeking deeper meaning and answers to questions that just pose more questions than answers.

I've seen some '80s gig footage where FATES are ripping through 'The Apparition' – one of the greatest metal songs ever, in my opinion – to a virtually empty hall! How typical was this back then? It must have almost felt like another rehearsal at times...

Yes, back then it was on a wing and a prayer. We never knew what was going to happen until it was showtime. Some times we would be pleasantly surprised and other times it would be disappointing. Somehow we managed to keep it together and trudge onward with hopes for better days. I guess it is part of paying your dues.

By contrast, do you recall the largest audience you played to with FATES WARNING, and how that went for you?

Yes it was at Sunken Gardens in San Antonio I believe, an outdoor arena. I don't remember the head count, but there was a sea of bodies in the thousands. I remember being totally shocked when I hit the stage, and instead of being nervous, I could feel an actual calming effect radiating from all these fans and I felt all warm and fuzzy. We were in an opening slot, and I remember being squashed by the sound guys. The monitors were so bad and squealy that I jumped 4 feet from the stage to a retaining wall where I could hear myself perfectly from the mains, and get close to the fans. We went on to have a great show!

From what I can make out from old gig photos, you used to wear on stage some sort of black fishnet shirt, a bandana, and an army jacket of sorts – how and when did this particular outfit come about? Every band has some sense of their desired look (even if it is very understated), so do you remember any particular band discussions about the FATES WARNING 'image'?

In the earliest days of Fates we found ourselves dead smack in the middle of the glam era where big hair and spandex adorned the pages of Kerrang and Aardschok magazines, and in early photos of us you can see us shamefully sporting the synthetic and showing our pubescent chest-hair like it was a rite of passage or something... Reflecting... Laughing. Anyway, as the lyrics in 'Valley Of The Dolls' describe just that, we were definitely different in our music and as we began to define ourselves we quickly did away with the spandex and dressed more street-like.

I remember next to The Doll Factory - a one-off store where everyone went for stage clothes - there was a military surplus store. I bought a paratrooper's jumpsuit and went home and started cutting and sewing, putting a shitload of patches on it, from Harley Davidson to metal patches... it was sort of an anti-establishment statement, much like a teen with a denim jacket full of patches and such. Anyway, it was much more appropriate to create something original, and I felt much more comfortable. There weren't any discussions like a bunch of girls going to the prom, everyone just wore what they wanted.

With many years' hindsight, what's your current opinion of the Third Image artworks used on The Spectre Within and Awaken the Guardian albums? Do you think they've become dated, or do you still like them? For me, the latter in particular is a perfect fit for the album's mystical atmosphere (unsurprising as it was specially commissioned, unlike the former).

I agree that they are fitting for the time period and also have a timeless mystical feel to them. I actually like them more now than at the time they were released.

There's a bit of an age gap between you and the rest of FATES WARNING – did this ever cause tension or differences, either on the road or in the studio?

It's funny because at the time, 5 to 10 years age difference seemed substantial when in your 20s and early 30s, but now it seems pretty irrelevant, because they are all catching up to me. I consider myself one of those with a bit of arrested development, and usually gravitate to those a bit younger. I'm sure at the time the age gap may have caused a difference in certain situations, but it wasn't really the cause of any tensions. The reality is that all singers are a pain in the ass with our over sensitive tendencies trying to save our voices, and that would be more problematic than age.

It's fascinating to think what a fourth John Arch FATES WARNING album would have sounded like straight after Awaken the Guardian. Were there any songs you had jammed with the band that ended up on No Exit? Did you have more lyrics in the pipeline that were waiting to be used?

None of the above. The band and I were in the very beginnings of the next album when a series of events had begun that resulted in my departure before anything was written.

On now to your solo EP A Twist of Fate – on this release you are credited as the sole songwriter for the second track 'Cheyenne'. Presumably this means you wrote all the instrumental parts as well as the vocals and lyrics? Great job if so, it's a 15 minute epic!

This was my first attempt at complete songwriting. Just me and an acoustic guitar locked in a room. This song began as a single melody line, much like the first line of a book or lyric, which became the main chorus line. The song in its rough form was about 90 percent done when I began showing Jim [Matheos] my sloppy guitar work. Jim has a great knack for arranging and producing, and deserves the credit for bringing the song to life. This song was done differently than the way Jim and I usually work together, so it was rewarding and cool to know that it could be done. It is hard enough to just do my part of melodies and lyrics to Jim's compositions, but the concentration needed for the whole thing gives me a headache.

I do find the A Twist of Fate cover art a bit puzzling – what's the meaning behind the boy pulling the cart of toys and DNA?!

Let me see if I can get this right as it has been a while. First, the lyrical content within ATOF deals with spiritual beliefs, emotional pain to an epiphany that liberates, and a plethora of words and imagery that dance around and in between the taboo topic of the not-so-happy. This includes environmental as well as GENETIC factors that are masked with colorful metaphors and characters.

The front cover shows a young boy pulling his wagon with all his belongings, like we all did; all the things he has grown attached to and bring him comfort are with him, including the genetic strand, the helix that he has inherited and is inherent in him. It is the only thing in color. To look at this picture you see a young boy content and on his way to a bright future, no?

Then on the back cover, the image of the homeless man pushing his cart with all his worldly possessions, and something he has carried all his life... the same strand, his genetic code, or predispositions. What has that little boy become? Something we all fear. Can you see the parallels? "The bird in the cage sings a beautiful song cause it's bound... by the strand".

Is there any tangible reason why you did not front any other full band in the interlude between your work with Jim and the other FATES guys? Were you approached by or did you try out for any other bands, or was there a conscious decision to 'retire' from the music scene?

It was a conscious decision for me. The level of commitment it takes for the results both monetarily and otherwise is a full-time career. I could sit here and pretend that had I continued on with music I would have continued being creative enough, steadfast enough, and successful enough to live comfortably, but I'm not a big risk taker, and there are no guarantees that cover such a risky venture. I just elected to play it safe, plain and simple.

Moving on to ARCH/MATHEOS... can you sum up your emotions working together again with ¾ of your former band mates? Was the same atmosphere present in the studio, and how smoothly did the recording sessions go for you?

Well really at the onset of this, it was just Jim and I really. Although Jim and his studio are familiar to me, and Jim and I always had an amicable and comfortable working relationship, I was a bit unsure on whether or not this project would be successful or if things would fall into place as far as my voice and the creativity for writing. Taking things one step at a time, nerves seemed to calm and I became more focused on the music. As we seemed to be making progress, there was a sense of relief for me and a little confidence ensued. This was my first time working with Bobby Jarzombeck, and it was a pleasure to watch him in the studio. He came in totally prepared and really complimented the music with his drumming.

The first time we were all in the same room was during the making of the "Midnight Serenade" video, where I had the chance to compliment Joey, Frank, and Bobby on their playing. It wasn't till after watching the video that I had a feeling of accomplishment and cohesiveness.

The opening lyric of the ARCH/MATHEOS song 'Stained Glass Sky' echoes a passage from 'Exodus', the closing track on the Awaken the Guardian album. I think this was a great move seeing as 'Exodus' could be considered your 'farewell' song with FATES (both chronologically and thematically). What can you say about this idea? Why did you choose those particular lines?

During the writing of SGS, as I was writing the first verse, these lyrics came back to me and it just struck me that they surprisingly fitted the song's time signature and visual theme, as the Middle East and the desert are its backdrop. The lyrics "gods of the fire fall from the sky on a wing and a prayer" are symbolic of the terror of the 9/11 hijackings.

How much attention have you given the critical response to Sympathetic Resonance so far? Do you read reviews of your work, or do you prefer not to?

I have read a fair amount of the reviews, and all in all they are mostly positive. There have been a few that have been critical of my voice, and that I can totally accept, but a fair and balanced journalist would not repeat this over and over to the point of redundancy... nuff said.

Do you have a favourite moment on the ARCH/MATHEOS album regarding your vocal parts, either because you are particularly happy with how it turned out in the studio, or just a moment you most enjoyed singing? Can you also highlight a favourite section of the lyrics, or do they all resonate equally sympathetically?

It is very gratifying to have something I wrote in its entirety come to life, so 'Incense and Myrrh' gets my vote for most enjoyed. There is also a passage in the song 'On The Fence' where I wrote the music and lyrics, and the words are very meaningful to me: "You held the rose in your hand and you failed to understand/ You held so tight the thorns they made you bleed/ Then you laid love down to die, to wilt away before your eyes/ The flaws are of your own, not of the rose".

Finally, what sort of lifespan do you foresee in the ARCH/MATHEOS project? Some live appearances are scheduled and you have filmed a music video for the song 'Midnight Serenade', but how far ahead are you planning?

Aside from the rehearsing for the Keep It True festival [2012], it seems like I just take one day at a time. Overall the making of Sympathetic Resonance was an enjoyable experience, and we will just have to wait and see where and when the next journey begins.

Thanks for your answers, it’s been a real honour! The closing remarks are yours…

PEACE.