„We fit together like a fucking puzzle”

Guitarist Chris Mittelbrun tells the story of Sindrome

Back in the mid 80’s, the Chicago scene became one of the most exciting and best scenes not only in the USA, but worldwide as well. A lot of cool outfits opened their wings at this point, that unfortunately never managed to record any albums, but released some demos. Sindrome was one of the most talented acts and guitarist Chris Mittelbrun talked to us about his views on the band.

Chris, Sindrome was formed in 1986, by you and Erv Brautigam on guitars, Shaun Glass on bass, Tony Ochoa on drums and Troy Dixler on vocals. How did you get together?

I remember seeing Shaun hanging around at a few Master practices. So basically, Shaun was the only one I kinda knew. Somehow, either Tony, Shaun, or Troy got my number and asked me if I would be interested in forming a new band. I really wasn’t doing anything with Master at the time so I figured why the hell not. They were all really young when I met them. I met up with Shaun and Troy at this place called the trusses or something like that. It was a bridge over a river consisting of railroad tracks and nothing else. I figured it was a good place for guys under 21 to hang out and pound some beers and not be fucked with by the cops. Okay great, so what happens when a fucking train comes through there at full speed? They said: well, that’s the time it starts getting fun! We like to get under the bridge and hang there while the train goes over the tracks!!! What the fuck are you guys totally fucked up or are you just fucking psychotic??!! They said YOU GOTTA TRY IT. No fuckin way I told them.

All of you were involved in several outfits, such as Master, Death Strike, Terminal Death, Devastation, Solemn, Servitude, prior to Sindrome. Were these bands dissolved or were they on hold at this point?

I really can’t say. The only one’s that I can speak for are Master and Death Strike. As far as I knew, Speckmann took off to Europe and tried like hell to replicate the original players of Master. (GOOD FUCKING LUCK!!) I think the first Master album out sold all the others combined! He did the same thing with Death Strike. Come on.

Did you mean Sindrome to become a serious band or was it only a project?

It was 100% from the start. Troy was determined to get a major record deal from the start.

What was your goal with Sindrome?

To be the main contributor of the musical side of the band. I had alot of songs written that were just not heavy enough to be Master material, but worked perfectly for Sindrome. Troy and I could have written music together for eternity. It was just so natural for us. Everything just fit together perfectly.

Chris Mittelbrun in the 80’s

Were all of you good friends?

When we were in Sindrome together you could rip us apart with a fucking sledgehammer. I would have to say that Troy and Shawn were always very good friends. Tony and I hit it off from the moment we started playing together.

Were you on the same musical wave-length?

Totally. We fit together like a fucking puzzle. No one had any doubts of each other’s capabilities.

Thrash and Death Metal started to develop around those times; was it a fruitful period for the Chicago scene?

I think it was. This type of music was not yet excepted ANYWHERE. Word of mouth, tape trading, and fanzines were the only way of getting our stuff herd.

Did you consider Devastation, Terminal Death etc. to be talented outfits?

Somewhat. They were just kids following the rest of the metal bands.

How about forerunners, such as Trouble, Zoetrope, Thrust, War Cry etc.?

Trouble was by far the best of the bands you mentioned.

Do you think, that the Chicago scene should have gotten more credit for the development of early Death Metal?

Fuck yeah. We don’t even get mentioned in the archives of metal.

Death Strike, Master, Terminal Death and Devastation could all be seen as Death Metal to some extent (albeit with lots of hardcore-punk influences), but for some reason, people seem to have forgotten about most of these bands. What do you think about this?

We never got the attention nor the monetary funding to advertise ourselves. Chicago wasn’t what it is today. Sure we had some shitty labels to send our stuff to and some pretty good studios, but no good producers. You really have to meet these record executives in person.

Was Sindrome an all-star team of the Chicago scene?

Maybe to some friends of the bands but that’s about it. You’re talking about these bands like they are some kings or metal legends. Only here in the Midwest.

How about your rehearsals and songwriting method as a whole?

Most songs just came together as we practiced. After a few hours there was a new Sindrome song. Troy would then come up with a name and some very innovative and aggressive lyrics then it was on to the next one.

Were you prepared to record the first demo Into the Halls of Extermination, when you entered the Tanglewood Recording Studio, Jericho Sound, Chicago?

As prepared as you can be considering the pressure. Things don’t always go as planned, but you adapt and overcome.

What do you recall of the get sessions?

VERY SERIOUS. Troy would have no part of anything distracting. No drugs, no girls, no other music playing. I mean what the fuck. The 80’s were all about sex, drugs and metal. I brought this smoking hot blonde to the studio with me and Troy went fucking psycho. He made her sit alone in the lounge. I don’t remember exactly what happened next. I think I left for awhile to get my daily dose of SEX, DRUGS AND METAL!!

Did you have a decent budget and enough time to cut the material?

Troy took care of the business side of the band. He made sure everything got done whatever the cost was. In hindsight is 20/20. You always think of things you should have done differently. We were all happy about the way it turned out at the time. All the songs were remastered for the Resurection album. Brought to the end was never completed vocally. Troy finished up the vocal tracks during the re-mixing of the Resurrection album.

How did you end up becoming the producers yourselves?

We weren’t ready to accept any fly by bite shitty label so Troy financed the entire Halls record himself including the artwork and all of the Halls demo tape. It hit the underground tape trading world like a ton of fucking bricks.

Is Into the Halls of Extermination the culmination of your previous bands?

Yes and no. Some of the songs that I was writing for Master were just not heavy enough and the songs I wrote for Transgressor were just to outdated so I just started combining some of the unfinished parts.

Do you think, that it’s an interesting mix of Thrash and embryonic Death Metal, or is it technically well played and pretty aggressive Thrash Metal?

Halls was a little old school and some very long series of intricate licks played in different intervals. I wish we would have recorded some of the new stuff we were working on. It was so fucking ahead of it’s time. Brutal, just fucking brutal.

Would you say, that the predominant influence is early Slayer?

It may have a little Slayer undertones. I think when it comes to that type of music, we all used alot of the same chord structures. Very dark, so naturally you hear some similarities.

The riffs are loose, complex and brutal, Troy has a very powerful, dark, raw voice, his delivery is commanding, the rhythm section is tight and accurate. Do you agree with it?

I would say that’s pretty fucking close. Troy has complete control over his voice. Even live he was very aggressive and precise. There was a total professional attitude from the start of Sindrome.

In your opinion, are Rapture in Blood, Aortic Expulsion and Precognition musically above-standard?

I don’t fucking know, what I DO know is that every song was given a lot of thought, where and when we would drop the big change so that it would have the greatest impact on the song, such as by the power invested in me (Trablika). I know pronounce you dead (your death). Shit like that. It was very affectionate and worked really well.

Is the speed almost always high and the title track or does the following Rapture in Blood manage to be also truly dark and evil?

I would have liked to record Halls of Extermination at a higher b.p.m., but it would have caused problems live for Troy. When we played live it was truly LIVE. No fucking bullshit backup tracks or extra tracks. Everyone did their job correctly.

Chris in these days

A 6th track, titled Brought to the End was also recorded during the sessions, but was left off the demo. What happened?

Troy wasn’t happy how his vocals turned out, he was a perfectionist. The song was recorded in one take, LIVE. No backup guitar tracks, no add ins of any kind. We were already playing it live at the shows so it came out like it should.

The demo was traded around the globe and influenced many other bands. Did the band manage to make any name for themselves?

Fuck yeah. We always got a good response and gave away or sold a lot of the demo tapes.

Did it satisfy the fans’ demands back in the day?

It must have or it wouldn’t have got such a shocked reaction from our followers from around the world.

Should it have been the beginning of a glorious future?

Things just didn’t work that way. Sindrome always had trouble holding on to their guitar players. A difference of opinion possibly. Or maybe it was just that things weren’t moving fast enough.

You supported Whiplash on their Ticket to Mayhem (1987) tour, and later Death on their tour supporting Scream Bloody Gore (1987). How were you picked up as an opening act and how did both of the tours go?

We were on fucking fire and everyone was interested in hearing how we handled ourselves live. That and Troy’s unrelenting assault on the booking agencies. You didn’t want to say no to him or you would never hear the end of it. Holy fucking shit.

Did you start working on new tunes after the tours ended, by the way?

Immediately. We had a storm of unrelenting. New material after the second tour.

At which point were Surround the Prisoner and Psychic Warfare written?

After the first tour. We started playing them live when we supported Death for their Scream… tour.

Why didn’t they get on the second demo?

The second demo was a different Sindrome. New guitar players, new songs. Mick Vega was one hell of a good choice for Vault. Now THAT was a thrash demo! Great fucking lyrics and great guitar playing.

In late 1988, you decided to leave Sindrome. What kind of reasons led to your departure?

Master got a record deal from Nuclear Blast and I really wanted to make fucking sure Master got their songs recorded like they were supposed to be LEGENDARY and powerful as all hell. I really didn’t have the time to be touring and practicing with Sindrome as I was recording the legendary first Master album. Nothing even comes close to it.

Have you heard their other efforts, Vault of Inner Conscience demo (1991) and the Astral Projection single (1992)?

Yes, and it is outstanding.

Five years ago Century Media released the Resurrection: The Complete Collection. Were you involved in it?

Not at all. I didn’t even know it was happening. I’m glad the way that it came out though. Just not happy about the choice of photo selection. The first demo is the one that put Sindrome on the map. The album is really focused on Vault. I mean come on. The whole picture with the rockstar autographs.

Chris, thanks a lot for your answers! What are your final thoughts for the Hungarian readers?

Mittelbrun is a Hungarian name. My family is originally from Hungary. Maybe that’s why I write like I do. Metal is a way of life, keep living it!

About Dávid László 823 Articles
Első cikke 1994-ben jelent meg a Metal Hammerben. Hazánk első webzine-je, a Ragyogás egyik alapítója. Később a Stygian Shadows fanzine munkatársa, hazai és külföldi fanzine-ek/webzine- ek cikkeinek szerzője.

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