NO ONE CAN REASONABLY SAY THAT JUAN
Alderete’s body of work with renowed experimental
rock act the Mars Volta is insufficiently challenging.
Their previous record was infamously
marred by personnel changes, equipment failures,
mental breakdowns, and even a studio flood, and
yet the chaotic density and unapologetic freneticism
of The Bedlam In Goliath smashed enough
musical boundaries to earn the band a Grammy.
Their latest, Octahedron, is a deliberate step towards
a relatively simpler sonic and musical landscape,
and while the famously speed-endowed Alderete
can power it out with anyone, it’s in this clearer,
cleaner context that his myriad tones (check out
that list of effects!), grooves and ideas shine more
brightly than ever.
Between the Mars Volta, Big Sir, Alderete’s own
ultra-experimental outfit Vato-Negro, and
the many side projects of TMV’s guitarist
and main songwriter Omar Rodriguez-
López, Juan doesn’t always know which of
his ideas are going to end up where. And
that’s fine with him. “Every time I record,
I never know if it’s gonna end up on a Mars
Volta record, or one of Omar’s solo records”,
says Alderete. “I approach it the same way,
with all of my intensity and musicality.”
What was tracking Octahedron like by comparison
compared to The Bedlam in Goliath?
It was totally different. On Bedlam, we
all tracked together for a lot of the basic
tracks, but then Omar would have me recut
to the arrangements. On Octahedron,
I flew into New York for a few days and
tracked to stuff I never heard before.
How much direction did Omar give you
in creating the parts?
The arrangements were complete when
I got to NYC. He had everything mapped
out. Some stuff I got to put my twist on, but
really he just knew what he wanted. There
are improvised parts, like on “Cotopaxi,”
bridges where I kind of just rip, or “Teflon,”
where I tried to ape James Jamerson, but
other then that he was very particular.
Any thoughts or opinions on the “simpler”
sonic environment of this record, especially
in terms of how it impacts the bass?
For bass, I think the fretless was more
important than on other records. There is
fretless bass on every Mars Volta record I
have recorded, but I think in the “simpler”
environment, it sounds more profound and
integral to the music.
Were there any other bands you were
listening to that affected what you laid
down on this record?
I probably listen to the Jesus Lizard more
than any other band I can think of, and
their bassist David Sims always has an
impact on my playing. He is my favorite living
bass player and the Jesus Lizard’s music
is timeless. His bass lines are the best. He
affects me the way Jaco or Jamerson does.
I just want to be as musical as him.
What’s your favorite bass moment on
The chorus on “Teflon.” I love Jamerson
and I always try to have him appear
through me on records. And on “Cotopaxi”
I do my best David Sims impression. I like
to give homage to my main influences.
What keeps you interested in playing
Musicians who are trying to stretch out.
Take music somewhere else. A band can be
playing the simplest music, but if the sounds
they’re using are out there and musical, I’ll
be into it.
What do you want to be doing musically
in ten years?
Helping musicians I believe in. There
is a great indie metal scene going on right
now. Metal bands that are not stuck listening
only to Slayer or Iron Maiden, but also
to Neurosis, the Fucking Champs, Shellac
or the Jesus Lizard. These bands put out
mainly vinyl and are surviving. Indie rock
is so polluted with major labels. This metal
scene is more punk rock than indie rock
could ever be at this point. I want to help
this scene. Maybe start a label.
CHECK HIM OUT
The Mars Volta, Octahedron
2009]; The Mars Volta,
The Bedlam In Goliath [UVMD, 2008];
El Grupo Nuevo De Omar Rodriguez-
López, Cryptomnesia [Rodriguez Lopez
Torche, Meanderthal [Hydra Head, 2008];
Nipsey Hussle, Bullets Ain’t Got No Name
Vol. 3 [Direct Connect, 2009]; Dangerpuss
Basses Lakland Skyline Darryl Jones,
Lakland U.S. custom P/J fretless, 1962
Fender Precision, 1971 Fender Precision
Fretless, Eastwood Hi-Flyer
Live Rig Direct, Éclair Engineering Evil
Twin Tube D.I.; Amp/cab: Two Ampeg
SVT-VR heads, Ampeg SVT 8x10 cab,
Ampeg SVT18 cab.
Effects Dunlop Bass Wah, MXR Carbon
Copy Analog Delay, MXR M-288 Octave,
MXR MicroAmp, MXR Phase 90, “several”
Boss pedals (including CS-2 compressor
and Tremolo), WMD Geiger Counter,
Pigtronix Disnortion, Pigtronix Mothership,
Pigtronix Echolution, Lastgasp Super
Oscillo Fuzz, Moog Ring Modulator, Moog
Freqbox, Maestro Envelope Filter, Ernie
Ball Volume Pedal, Line 6 DL4 Delay, Death
By Audio Total Sonic Annihilation, Sovtek
Fuzz, Electro-Harmonix Bass Microsynth,
A/DA Flanger, Ampeg SCP-OCT Sub-
Blaster Octave, Behringer Vibrato, all powered
by several MXR Bricks.
Studio “My chosen bass into a bunch
of pedals into the Evil Twin D.I.”
Strings Ernie Ball Super Slinky Nickel