Oops!

It looks like you don't have flash player 6 installed. Click here to go to Macromedia download page.

Marc Heal is indeed an enigmatic figurehead in the world of industrial music. Having fronted Cubanate, one of the fastest and loudest bands of the '90s coldwave movement, and collaborated with Front 242 vocalist Jean-Luc de Meyer in C-Tec, as well as making appearances with Pigface, Ashtrayhead, and Raymond Watts of KMFDM and PIG, one could easily think of Heal as something of a guru in the genre. With Cubanate, Heal was among the first to combine the all-electronic pulse and energy of techno music with raucous heavy metal guitars, something that only few others have successfully accomplished in their own right. Heal's distinctive and aggressive vocal style also had much to do with Cubanate's success. Releasing four albums in the '90s, Cubanate eventually imploded after the 1997 release of the drum 'n' bass-fueled Interference. As an experimental and introspective album in a time when the mainstream began to take over the musical consciousness at large, it inevitably spelled the end for Cubanate and led to Marc Heal's seclusion from the scene. Not gone, and certainly not forgotten, Heal has kept himself busy with production work over the years. He co-wrote music with Raymond Watts on the Pigmartyr/Pigmata album, produced acts like Raging Speedhorn and Rubicks, finally making a vocal appearance last year on Jerico One's No Blind Runner single and contributing to Chemlab's impending Rock Whore vs. Dance Floor remix album. Heal was kind enough to speak with ReGen on the nature of his work, both past and present, the nuclear apocalypse, and even scoring sulphate for Andrew Eldritch.

You’re most known for being the frontman for Cubanate. The last album, Interference was released in 1998, yet you disbanded afterwards. What exactly prompted the end of Cubanate?

Heal: My drinking was one main factor. I would say that I rarely played a bad show before '96 and I rarely played a good one after. Being signed to TVT at the time wasn't helpful, but what could they do? We were a mess...I was, I mean. Then in 1998, Universal placed four Cubanate songs on the Sony Gran Turismo Playstation game. That made us some money for the first time, quite a lot. That felt like an ending too.

And bad things started happening. Most of all, there was a feeling that our work was done, that the original idea had run its course. So I just hid away with my wife, quit drinking, didn't call anyone for years. I read lots, traveled, relaxed, got well, calmed down. Twice (once in 2000, once in 2003) I made limp attempts to make another Cubanate album. Why did I even want to? I don't know if I even did. Later, parts of it got cannibalized on the Watts album.

Your partner in Cubanate was Phil Barry. Do you still keep in contact with him?

Heal: Not really, to my shame and regret. We had toured so much that by the end, Phil and I were sick at the sight of each other. My sympathies are entirely with him; after all it must have been difficult being chained to an alky psycho with a death wish. But we also had some great times together and shared a lot of shit, and it's always strange to lose anyone like that from your life. We're fine; we've spoken a few times.

But even then, I remember I called him once a couple of years after the band split up, to try to clear the air, shoot the breeze. Phil picked up the phone and after I said hi, in a strange voice he said, "Are you blind, Marc? Turn on your television. The world has gone insane." Then put down the phone. Weird shit, no? For a moment I thought he had really gone crazy. But when I turned on the TV, I was in time to see the first of the Towers come down crashing in the smoke. Cubanate karma for you.

On the new Chemlab remix CD, Rock Whore vs. Dance Floor, the Cash For Oil Remix of "White Room" is credited to Cubanate. Does this mean that there will be a future release under the Cubanate moniker?

Heal: Nooooo, that’s a Marc Heal mix, not Cubanate. I keep getting this problem; I do a tiny bit of work and record labels slap "CUBANATE" all over the cover. To put this right, there's been nothing officially released or mixed by Cubanate since Interference. A few dodgy demos nicked from my studio are on the net, but there's a reason things remain demos. And Jared, well I really wanted to do a mix for him. He's one of those people that is really good to have around. I can’t wait to hear the Chemlab CD. I should have spent more time on the mix maybe.

You were also heavily involved with Jean-Luc de Meyer in C-Tec, yet the last C-Tec album, Cut was released in 2001. Are there currently any plans to continue with C-Tec? Do you still keep in touch with de Meyer?

Heal: I love J-L, but again I've lost touch. I'm terrible at staying in contact, but I totally hid myself away from everyone between 2001 and 2005. J-L and I spent a lot of time together for several years; I miss him. He's a really intelligent, artistic guy, and funny too. Utterly unlike the 242 android you see. He came over in 2001, we worked for about a day, that's the last time I saw him. We'd make another album I'm sure, if we had an idea. But I've given him nothing to work on. I hope he's well.

Another project you’re known for is Ashtrayhead, though they haven’t released an album since 1996, yet after Cubanate's disbanding it was a rumor that you would be focusing on a new release with Ashtrayhead. Is there any truth to this?

Heal: That's funny! At the time Ashtrayhead was released, my label at the time (Dynamica in Berlin, who released the album) felt it was a total flop. It had been recorded two years before and it came out too late. So we never made another one. Then later when Cubanate played live, there would sometimes be a little freak at the back who would come up after the show and say, "I'm only here because of Ashtrayhead." But considering we made the album for only a few bucks, I was pleased. It still makes me laugh anyway.

But to make another Ashtrayhead, I would have to shave my hair off and wear all those damn Marlboros again. It’s a lot to ask.

Having co-written much of C-Tec's music with de Meyer, Cubanate's with Barry, and even co-writing two songs with Raymond Watts on his Pigmartyr album (later re-titled Pigmata), what is your collaborative process like? How do you find a working ground with other artists?

Heal: It really varies. I know I'm an intense person, so studio sessions always get a bit crazy. Sometimes it's really easy. I like to work fast. Making the first Cubanate album took about two weeks total, no more. With Jean-Luc, the first album came easy, the second much harder. With long studio sessions it very much depends on the mental state of the parties concerned. Interference took a long time, was horrible, dark.

As for Raymond, the entire Pigmartyr album was mixed by he and Eden in my studios between 2002 and 2004, so I was around the whole "creative process." Watts and I sharing a studio! It was fun, but fucked up. Some things are best left behind closed doors.

As one of the most prolific artists in the music scene today, you've been involved primarily in the industrial and electronic scenes and have worked with some of the biggest names around. Have you ever given any thought to releasing solo material, something that people could distinctly identify as Marc Heal?

Heal: Erm...never seriously. I like to collaborate. I need external input. A remix is different; you have input from the track. Maybe I should try something solo. But I'm always looking for a new partner in crime.

Having worked with so many big names, is there anybody you have as yet not worked with whom you would like to, either as a producer or a performer?

Heal: Not really, I take it as it comes. I like finding new people as much as working with established hands.

As a youth I admired Bowie, Numan, Foxx, that kind of stuff. Later on, I was into harder sounds, industrial, techno. I was lucky enough to meet and work a little with Numan. In fact, he really gave me my first break, back in the day. I worked with Colin Thurston, the engineer on Heroes, that’s my Bowie claim to fame.

And then strange people turn up. I only recently got to know Mark Moore from S Express, a lovely geezer. And Belouis Some, who now directs pornographic films.

I’ve met, but not worked with Andrew Eldritch. I’ve got some drum ideas ready for him. And he does owe me a favor; I scored him some sulphate at Brixton Academy in '96. He could cut me some slack.

And girls. I want to work with some girls.

Recently, you’ve branched out to other areas like metal (having worked with Raging Speedhorn) and indie-pop (Rubicks). How exactly did these collaborations come about, and how has working with them affected your outlook on industrial and electronic music?

Heal: Speedhorn...well that was Dave Bianchi, their manager, who now manages Killing Joke and Boy Kill Boy. Dave had played live in Cubanate through all the U.S. tours, and it was him who got Doug and I to do the mix. See, Speedhorn were incredible live, truly frightening, an insane experience. But no one could get the recorded sound right. Thumper, their first single, was the most mental recording session. I had to replace the original drum track recorded by Gordon with one by Frank Regan. The band had a huge fistfight, blood on the carpet.

But despite me being on about six bottles of wine a day, we got it made, and off they went. Rubicks was lovely, pure chance. They walked into the studio and I did a couple of B-sides with them. Alan Moulder did the A-side; first time anything I’ve been associated with has been in the NME for ages. I love them.

You've been focusing primarily on production work for the past several years as opposed to releasing your own material. How has production work affected the way you look at music in general?

Heal: Production has distanced me from making my own music I suppose...not playing live anyway. It broadened my mind. A more distant perspective is always broader.

Having been behind the scenes for the last few years, aside from your vocal appearance on Jerico One's No Blind Runner single, what sort of changes have you seen occur in the music scene since you've stepped back? What are the primary differences between being a producer and being up front with your music? How does producing another artist differ from working on your own music? Which do you prefer?

Heal: Production is easier in one way. It's not you in front of the microphone. I enjoy psychoanalyzing people, especially if they front a band. I like sharing someone's crazy vision, working to make it live. But these days I only work with people I like, or that interest me. Or that pay me lots of money. In which case they are de facto likeable and interesting. The projects you mention are mostly coincidental work. Jay (Jerico One) was just recording at my studio; Geoff Pinckney was producing. I was passing the door and Jay asked me to do something, so I came in and coughed a few things over the top. It took about three minutes. I didn't even know he was going to use it. I'm flattered that he did.

Recently, you started up Punish Productions, where on the Web site it says that future news on Cubanate and C-Tec will be found. Will Punish Productions focus solely on Marc Heal projects, or is it intended to be a full-on record/production label that will include other outside artists?

Heal: Old Web site. Punish is my company for whatever I decide to do. Simon Oliver at Cubanate.com is the keeper of the flame.

According to the Web site, recording is being done for the first Swarf album. What can you tell us about Swarf? Is there a projected release date for this album?

Heal: I produced four or five tracks for Swarf. I wanted to work with Liz Green, she's got a great voice. Mixed results really. I wanted to make them sound "big." I don't think they liked it. But some of the club mixes worked out well.

Punish Productions is also stated on the Web site to be a superbly configured digital/analog recording studio. As the music you're known for in Cubanate and C-Tec seems to be primarily based on digital sounds, how does working with analog equipment fit in with your musical output? How do you find a balance between digital and analog?

Heal: When I got some money, I bought a lot of groovy old analog gear. Most of the Cubanate/C-Tec synths were analog, but we digitally processed them. I love having the old gear but recently I've been getting well into computers.

The best way is always to take whatever you've got and squeeze it dry. I've spent thousands of pounds on equipment and it hasn't inspired me to make lots of albums. I did better when I just had a drum machine and a Moog.

Much of the music in the industrial and electronic scenes seems to take a stance towards the current political and social climate. How much do political and social issues come into play with the music you create? From where do you primarily draw your lyrical inspiration?

Heal: In the '80s and early '90s, there was a feeling of apocalypse; the world was going to end soon. This atmosphere certainly sharpened the mind. Of course, it's more pleasant now we are no longer living under threat of imminent nuclear annihilation, but it's inevitable that music and art have lost a certain edge.

But that will change again. People have no idea how controlled they are. They get so confused by magic and trivia and the lottery. Human society is fragile and will be destroyed by war or economic collapse or natural causes very soon.

A lot of my lyrics reflected this feeling that the end was...is...nigh. And sex of course. But the lyrics didn't seem as important as the adrenaline rush from the music. Later I got more introspective; I started questioning what the fuck I was doing holed up in motels and airports, drunk and lonely. That's what you get on Interference. Of course a lot of people hated that album. But it had to be made.

You haven't performed live since 1999. Do you have any plans to perform live again? What aspects of live performance would you say are the most appealing that you would consider doing so again?

Heal: I won't play live with Cubanate again unless we ever record again. I wish I'd left it on more of a high, but you see you can never go back. And I don't want to. I'm happier, and happiness writes blank as they say. I was so lucky. I wanted to make some fucked up music, I took it to the edge, had a blast doing it, toured the world and got paid. Admittedly, I was a wired asshole for much of that time, but hey, acceptable casualties.

So maybe I'll make another album. Then maybe some shows, but only if I've got something new. If not, I'm happy in silence.