High On Fire's Jeff Matz
When Jeff Matz heard that stoner-rock trio High On Fire was on the hunt for a new bassist, he crammed an old SVT and a couple of basses into his hatchback and followed the coast from Seattle down to Oakland, California. Formerly of the hardcore punk act Zeke, Matz was stoked: “It was the style of music I was moving toward in my writing and playing. We jammed a couple of times, and we agreed we’d tour to see how it would work out.” After helping guitarist/vocalist Matt Pike and drummer Des Kensel complete a string of dates in 2005, Matz has become fused to the band’s core, co-writing a number of tunes on its fourth full-length, Death Is This Communion. Inspired by a mixture of punk and classic rock, Matz brings thunderous riffs and rapid-fire flair to the metal power trio, complementing Pike’s inventive and dynamic guitar lines without sounding muddy or overpowering. “We jam really well,” says Matz, “and that’s the most important thing. The chemistry is great.”
What was the most challenging thing about joining High On Fire?
My right index finger developed a massive crater from learning the songs! I’ve also engaged my left hand—and my brain—a lot more than before. My old band was super-fast Motörhead-style rock. High On Fire has much more going on. It was a challenge to break out of the 200-bpm downpicking mindset to actually play scales and runs.
How do you prepare yourself for all those riffs each night?
We play some weird, spastic stuff, so I have an extensive warm-up ritual: a lot of stretching, running scales, and finger exercises. I just try to get into the zone—an almost meditative state.
Can you describe your playing technique?
I started out playing with a pick and then began using my fingers. I’ve maintained both techniques. I’m into the Geezer Butler approach of using your entire right hand to wail on the strings. I always loved that about his playing.
How would you describe your tone?
I go for a huge, bottom-heavy sound. My typical setup is an 8x10 cabinet with an early-’80s SVT head. I turn that on its side and put my Marshall cabinet with an old Laney guitar head on top and split my bass signal. Because I use bass and guitar amps, I get both a beefy SVT tone and a screaming Motörhead sound. The combination adds an element to my sound that I can’t recreate with any fuzz boxes. It’s pretty rude!
What are some of the things that have influenced your sound?
I listen to a lot of ’70s rock, like Thin Lizzy, Black Sabbath, and Wishbone Ash. I tend to gravitate toward English bands; there’s something about their take on heavy blues-based rock that’s always struck a chord with me. Aside from Geezer, I also like Jack Bruce [Cream], Glenn Cornick [Jethro Tull], and John Paul Jones [Led Zeppelin].
There’s more going on with your sound than just classic rock. What else has influenced your playing style?
Iron Maiden killed me when I first heard them on Powerslave [Capitol, 1984]. Then I discovered Judas Priest, Venom, and Motörhead. I also have a heavy punk influence. Lately I’ve been getting into traditional Iranian and Turkish music, which has really opened my eyes.
If you had to name one High On Fire tune that captures you as a bass player, which would it be?
The title track from Death Is This Communion. It was one of the first things we wrote together after I moved to Oakland. It’s droney, and it’s got what I loved about High On Fire in the first place: simplicity. It puts me in a good place.
Can Be Heard On
High On Fire, Death Is This Communion [Relapse, 2007]
CURRENTLY SPINNING
Anne-Sophie Mutter, Béla Bartók: Violinkonzert 2 [Universal Music Group]
“Béla Bartók composed some of the most mind-blowing stuff I’ve ever heard. It’s all over the place, and his use of harmony and melody is brilliant. I listened to this and thought, So that’s where King Crimson gets it from!”
GEAR
Bass First Act Limited Edition Delgada; GHS Bass Boomers (.050–.115), Dunlop Tortex Picks (1.14mm)
Rig ’80s Ampeg SVT VL head and 8x10 cab; ’70s Laney Klipp head and Marshall 4x12 cab
Effects MXR M80 Bass DI, Fulltone Bass-Drive MOSFET, Electro-Harmonix Metal Muff, Whirlwind A/B Box, Boss TU-2 Chromatic Tuner
“I run the DI, with distortion as my primary tone, into the SVT. I’ve also been using Matt’s Metal Muff to get a crazy, overdriven sound. We like the heaviness of tuning down two steps to CFBbEb.”
