Interview with Damon Fox of Bigelf

Delusions Of Adequacy:Where did the name come from? Why is there no space between “Big” and “Elf’?

Damon Fox:The name stems from Middle Earth, a period of magnificent importance layered in myth, magic and boundless dreams. Big Elves were powerful humanoid creatures, much like there normal sized relatives, the elf. Big Elves were the only species to survive the Stygian Druidic Holocaust. The days ruled by the Stygian Druids are long remembered to be full of emptiness and despair. Across the land, earthly colors faded, the minds of the people suddenly went blank and no one could think for themselves. How’s that sound, flaming pies anyone? Of course, I’m kidding… we made it up. I’m a big fan of oxymoronic names like Iron Butterfly and Gentle Giant. As far as it being spelled one word? I like to think of Bigelf as a person or place, it’s also kinda like the band name, “Badfinger”. And nobody spelled that “Bad Finger”, know what mean?

DOA:Who are some of your favorite vocalists? Who inspired your vocal style and made you want to be a singer? Was singing always of interest to you and how did you become the singer for Bigelf?

DF:The Beatles had the biggest impact on me as a vocalist, but when I think of vocals, I really think melodies and songwriting. For me they go hand in hand, your vocals are what define your music, IMO. It’s what speaks(literally) to the listener. I always wanted to sing but sucked early on like most do, so I started my own band. I worked on harmonizing with myself through demo recording for years before I started to flourish as a vocalist. I don’t really consider myself a lead singer per se because I play an instrument while I sing and that changes the way you approach your vocals entirely. I’m more of a song-based singer ala Roger Waters or John Lennon(still good company). My favorite vocalists: The Beatles(especially, Macca), Ozzy Osbourne, Freddie Mercury, Roy Wood/Jeff Lynne, Phil May.

DOA:Same questions, but for your keyboard playing.

DF:Growing up I listened to a lot of organ-based rock, Deep Purple, Uriah Heep, etc. Back then it seemed everything had organ on it, what an excellent era. Anyway, it wasn’t until I acquired a Hammond C3 in my late teens that I really started paying attention to certain organ players. Vincent Crane, Jon Lord and Ken Hensley all became immediate points of interest and deep study. I also look to inspiration from Kerry Minnear, his keyboard style is marvelous, very baroque. But I feel the most overlooked keyboardist is the late Richard Wright, he doesn’t display histrionics like his peers but plays for the song. His sonic layering is unparalleled to this day.

DOA:When not recording and writing, what are your other interests and hobbies?

DF:In the last couple years I’ve been trying to get back into skating vert, though it’s a dangerous hobby when you’re a musician. But, the high is too good to pass up so I skate anyway. It’s part of life, to do things that make us happy. Other interests? I like the way my body feels when I’m in the ocean, it makes me feel whole again. I also visit the desert often, the extreme climate seems to push me inward and realize things about myself. And there’s always CNN(me junkie).

DOA:How do your friends and family feel about your work and success?

DF:Success is a state of mind, a perception. In some ways, I’m successful and incredibly fortunate. In other ways, it’s been a very long road. So when the light shines on the Elf, everyone is grateful because they know we’ve been through hell.

DOA:What did you want to be when you were younger?

DF:Haha, honestly? A quarterback. I guess in a weird way, I am. The Superbowl is the Grammys, yeah right. I need Bigelf football jerseys.

DOA:Are you treated any differently by people you knew before Bigelf?

DF:No, I’m just me. Scary bearded guy who looks like Rasputin and believes in ATV(All Things Vintage).

DOA:Do you get recognized in public?

DF:In Scandinavia, yes. We’ll hear people speaking a different language and you can’t understand what they’re saying, then there’s a “Bigelf” at the end. Pretty funny. Also, I was recognized by a fan at a Kiss concert here in L.A., “God Of Thunder and Rock & Roll!”

DOA:Venturing away from music, what are some of your favorite foods, books and movies? Have any of the latter two influenced your songwriting?

DF:Why just books and movies? Don’t you think a JVC from Burrito Express can influence a song? Ok, I like Mexican food. Forget that, I love Mexican Food, I was raised on it. I was in the womb getting nutrients from machaca burritos. What can I say, I’m from L.A.? One of my favorite movie quotes is from “The Doors” when Morrison growls, “Hey, let’s get some tacos?” Indian food is a Bigelf favorite, I always say, we made “Hex” on Indian. No matter where you are in the world, you can always find good chicken tikka.
Here are few movies that can be found in my dreams, inspired me deeply or just need to watch once a year.
Sci-Fi/Fantasy: Excalibur, Star Wars(IV & V), The Road Warrior & Mad Max(no Thunderdome shit), Raiders Of The Lost Ark(1st only), Blade Runner, Planet Of The Apes, Tron, Time Bandits, Heavy Metal
Cult classics: Enter The Dragon, Willy Wonka & The Chocolate Factory, Young Frankenstein, The Warriors, Tron, Spinal Tap
Mafia mania: The Godfather I & II, Goodfellas, Casino, Scarface, Donnie Brasco, Carlito’s Way
And if you’re feeling down and beaten, you can’t go wrong with Rocky.

DOA:If it’s not too personal, has Bigelf been financially beneficial or hurtful?

DF:It’s mostly in the red. That’s alright though, my grandmother always said, “It’s always darkest before the dawn.” It’s been the longest night ever.

DOA:What exactly is the songwriting process for Bigelf?

DF:There isn’t a process, it’s unique every time.

 

DOA:How did the band form?

DF:Forged before the days of Al Gore and internet, Bigelf was originally formed through classified ads. Yes, the old-fashioned way. In the beginning, musicians wouldn’t react to an musician wanted ad boasting “The Crimson King and Queen of Pepperland are searching for a badfingered Lemon Piper”. At the time people didn’t get it. Just to see if we’d get a better response, I posted something like this, “Alice in chains upon a red cross in a state of nirvana”. “Ring!”, tons of calls. Finding like-minded people was difficult back then. Froth and I met through a Mellotron transaction in Oregon and spent the whole night tripping out to the quad version of Floyd’s “Wish You Were Here”. Later, I asked him to join the band. Then while touring our second effort, “Money Machine”, we crossed paths with Duffy and Ace in Finland. They joined shortly after, due to us wanting to be like Hanoi Rocks.

DOA:Is there a designated leader or is it really a democracy?

DF:In Bigelf, it’s a democracy. We agreed there would not be a leader. Except at rehearsal when I shout, “Shut the fuck up and do what I say!”

DOA:How do you feel about “Cheat The Gallows” compared to past work, other music, and in general? Do you feel it’s a progression in any way?

DF:Every record you make is different, but I’m very pleased with this one in particular and I do feel it is our strongest release overall. Albums are moments in time, an expression of the way a band is feeling, you may not feel like that later. Through the recording of “Gallows”, I feel it’s almost impossible to achieve every idea you have while you’re actually living it. Certain elements slip by, accidents and happenstance emerge. Only in hindsight are you 20/20. It’s a great ride though. I think the songs on “Cheat The Gallows” have the potential to appeal widely. But from a listener’s point of view, it’s the most challenging material we’ve recorded so far. Lots of twists and turns. I don’t know if I’d consider it a progression, it’s just us being us, like AC/DC is AC/DC. Some people may consider the theatrical, circus-like overtones a progression but honestly we’ve always been a carnival-esque type group, we just brought in a few more elephants and cannons on this one.

DOA:Where’d the title come from? Is there any thematic concept around it, and if so, what inspired it? Personally, I find the idea of having a stage show, with an opening and closing, similar to “Sgt. Pepper…” Was that album an influence here?

DF:Sgt. Pepper is always an influence for me but historically with the exception of a few, no one dares to challenge its color and creation. This record has been in the think tank for years, especially songs like “Gravest Show On Earth and “Counting Sheep”. I always envisioned them to be the introduction and the end of an album, so in a way…yes, it’s definitely our Sgt. Pepper. The title “Cheat The Gallows” is a term from the old world, a much simpler era for everyday folk but filled with bizarre entertainment and extraordinary feats performed by eccentric individuals looking to create a spectacle for all to witness. I thought the title was fitting to the concept of the record, which is perseverance.

DOA:Do you play any other instruments?

DF:Sure, just enough to make a record at home.

DOA:What were the early days like for Bigelf and how hard was it to get signed
to a label?

DF:Soul destroying and impossible.

DOA:To me, Bigelf is a great example of a band that somewhat wears their influences on their sleeve but also combine said influences into a very original package.
Do you agree?

DF:Yes, I call it progresso soup.

DOA:Do you find that Bigelf, or any band really, consciously (or subconsciously) loses a bit of pure originality as a result of being influenced by other bands? In other words, how do you think the music is affected by having various artists already engraved into your minds?

DF:Nobody is original, it’s all interpretation. Well, maybe U2 sounds original., but what is original? Undetected plagiarism?

DOA:What can you tell us about future Bigelf projects and any solo projects for yourself?

DF:Elf spoilers? No, no , no. You’ll have to wait.

DOA:What do you think of labeling bands into certain genres? For instance, I know that Steven Wilson of Porcupine Tree hates being labeled as Progressive Rock (even though they are, among other things). Would you classify Bigelf as any particular genre(s)?

DF:Honestly without labels, what is one to say? “I heard this band last night and they sounded like…um, well uh, they sounded good? I think labeling is inevitable, I mean, who really cares? If you’re comfortable in your own skin, what does it matter? I think Bigelf flirts with all genres, okay maybe not country or hip hop. I think critics secretly love flexing their intellect by labeling bands with comparisons and colorful adjectives. If they didn’t what would we use for one-sheets and bios?

DOA:What was the inspiration for the single, “Money, It’s Pure Evil”? Why was it chosen as the single? How was the video for it created (the idea behind it, who would direct it etc)?

DF:The chorus lyric says it all, “it changes people”. I’m always shocked how people get along with each other and then as soon as the almighty dollar comes into the picture, people start to slither. Sometimes right in front of your eyes, disappointing. The song was originally released in piano form on “Hex” as an after thought to the album. The band started playing “Money” at shows and it became a live staple. We had no plans for it to be the single at all, as a matter of fact, we were most likely going to make it a bonus track. But then we were listening to the final mixes we realized it was quite good, it had a solid hook and it just sounded like a single. Of course now, the title couldn’t be more relevant. The video concept was a collaboration between Linda Perry, myself and the director, David Yarvo. Lyrically, the song reflects something more universal but for the video we chose for it to be slanted towards the entertainment industry. How people get swallowed whole by the beast and then become monsters themselves.

DOA:What current artists do you like?

DF:Not a whole lot really, The Raconteurs and Louis XIV are interesting. For me, bands today are lacking the complete package. Such as songs, ability, style, charisma, vibe, wit. Actually, there is one band I’ve been working with here in L.A. named Din Caliber, they show real promise. Keep an eye on them.

DOA:When you hear comparisons to other bands, how do you react? Are there any that you agree with or disagree with?

DF:I don’t mind. I really enjoy the creative ones, hell, even the funny or not so flattering ones are entertaining. I mean, c’mon, they’re just opinions. These are worthy reprint…”Sounds like a militant version of Queen rallying for war with Sgt. Pepper!”, “The Fab Four drop a heroic dose and get into a knife fight with Deep Purple. Tony Iommi adjudicates.” And the all-time winner, “Imagine the DNA of The Beatles, Black Sabbath and Pink Floyd combined into one group, wrap them up in Renaissance Fair/D&D Semi-Goth Black number 7 and add copious amounts of facial hair…” Love it.

DOA:Do you ever hear a piece of your music, either as you guys are writing and recording or with the final product, and think that it sounds too much like something else?

DF:Are you trying to tell me something? Sure, it happens sometimes. Whenever I feel that we’ve unintentionally crossed the line or if a riff or melody is in question, I’ll throw on a Led Zeppelin record to comfort me. Milton wrote, “Copy from one, it’s plagiarism; copy from two, it’s research.”

DOA:What equipment do you use and why?

DF:We’ve been using vintage equipment since day one. No bandwagons or Johnny-come-latelys here. These instruments are the tools that are imperative to creating our sound.
Damon: 1964 Hammond C3 organ w/ Leslie 122, Mellotron 400, Minimoog and Fender Rhodes.
Ace: 1961 Gibson Les Paul SG, 1971 Orange OR120 & Orange 4×12 cabinets.
Duffy: 1971 Fender P-bass, Acoustic 360 bass amp
Froth: 1973 Ludwig Vistalites(green), 26/15/18/20.

DOA:Where’d did the look of the band come from?

DF: 33% Wonka, 21% Knights Of The Templar, 19% VIking, 13% P.T. Barnum, 9% Blackbeard, 7% Lucifer, 1% Nosferatu

DOA:How do you feel about past albums in retrospect?

DF:I’m never completely satisfied; I don’t think anyone ever is. Reflecting on your own art can be harsh sometimes, even for legends. I read that John Lennon hated his own voice? Go figure.

DOA:In general, how do you think the creative process is altered when a band jumps from a small label to a bigger, well know one? Is it inevitable to “sell out” because of new pressures to sell more? Does it depend on the label itself?

DF:Both of our major label endeavors were 100% creatively controlled by us, so I wouldn’t know about selling out, I never have. I think the concept is a facade. The moment you step through that door, it’s inevitable that you’re going to second guess yourself. You must be true to your instincts, express and convey the ideas and risk all for real rock & roll. On the other hand though, the pressure to sell more must be immense, that would explain the sheer amount of sellouts, right?

DOA: Well I’d like to thank you for taking the time to do this for us, Damon. You’ve given us a fantastic, in-depth and honest view inside the mind and life of a rock star. Good luck in the future and I can’t wait to hear what’s next for Bigelf!