the distortion of "there is potential profit we did not earn" as "there is money we lost" is fascinating and disgusting to me. "megamediaconglomerate lost $1,000,000,000 to piracy this year" is a flat out lie. it is not true. they did not have a billion dollars, that they now do not have. they felt entitled to one billion dollars, that they did not have, and still do not have. it's an infuriating perversion of the truth

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For the past decade or so, super massive mothersludgers KOMATSU have been crushing eardrums and bulldozing down venues all around the world. While early releases of the Eindhoven, the Netherlands based band, like their 2011 self-titled EP and ‘Manu Armata’ (2013 - Suburban Records), display a relentless combination of stonerized sludge that lives up to the band’s name, Komatsu always kept evolving and expanding their sound.

Their latest record, 'Rose of Jericho’ (2021 - Heavy Psych Records), is on the one hand a natural successor to 2018’s 'A New Horizon’ (Argonauta Records), but surprisingly also introduces the listener to a more rocking side of the band. I had the chance to sit down with vocalist/guitarist Mo Truijens and guitarist Mathijs Bodt and after some chit-chat, we went to talk about the new record, the impact of the COVID-19 crisis and much more.

Last year, I was in contact with your bass-player, Martijn Mansvelders, and he told me you were impacted pretty bad by the corona measures.

Mathijs: Indeed. Our entire planning basically went down the drain. It started with the last bits of our recording process. We started recording during Carnaval [the end of February] at the Anker Studio in Eindhoven with Peter van Elderen (TankZilla, formerly of Peter Pan Speedrock). Things went very well and we were just at the point where we could start recording the vocals when COVID hit. Usually, there’s always one of us present to oversee the process, but that wasn’t allowed. After that you get into the mixing process, where usually the entire band is involved and in the studio. As you can imagine, that didn’t go through.

Mo: In this case, it was mostly just me who was there. Also because we still had to do the vocals and the mixing of the vocals.

Mathijs: Right, and we got the mix-downs sent to us after which we had to write down and send in our comments. That took a bit longer than expected, but it worked out nice.But like you said, we had planned to release the record during the summer, do a Brazilian tour in September, followed by a release show, here in Eindhoven at the Effenaar. After that we were going to do a two-week tour through Europe. Initially the release show was planned for October 15th, but that got postponed until January, then early February, then the end of February, then the 12th of June, but thanks to the test events we can finally present our record, which was released in February, on the 25th of April.

Mo: What’s nice is that this is certain. We don’t know whether we’d be allowed to play on June 12th, but April 25th is certain. We found that we couldn’t keep on postponing the date, so we decided that if we couldn’t play then, there wouldn’t be a release show. You can imagine that we’re in a rush now with rehearsals, because we were thinking “soon”, but now it’s happening “very soon”.

Mathijs: You have a point there. You’re saying we rehearsed a bit, but we couldn’t rehearse in our own rehearsal room. Even with the 1.5 meter distance and a face-mask, we weren’t allowed to be in there with four people. I believe we’ve only had 6 rehearsals.

Mo: The good thing is that we’re allowed to rehearse now, because currently we’re a performing act. I’ve checked it with the authorities and it’s allowed.

You already mentioned that Peter van Elderen produced the record. What was his influence on the process?

Mo: He has a good view on songs and regarding the vocals, while I had rough ideas, he really helped me improve them. He was a great help.

Mathijs: Of course we also have quite a history with Peter. Mo and Peter used to play in Repomen together and I used to be a roadie for Peter Pan. We know him through things like PopEI, Speedfest, Peter Pan, Repomen.

Mo: The circle is complete, so to say. And Pieter [Kloos] eventually did the mastering. It doesn’t get more Eindhoven than that.

Mathijs: We recorded the previous two records with Pieter. That worked out great, but for this one, we wanted to try something different. Not because it didn’t work out with Pieter, but we just wanted to try something different this time. Peter was heavily involved from the start and he joined our rehearsals and such. We recorded the record in just over a day and a half. Everything is live, with some guitar overdubs added afterwards.

Mo: We finished those overdubs just before the lock-down started, so all the music was recorded.

Mathijs: I think we spent three, three and a half days on the music, so that was a relatively quick process.

The album title, 'Rose of Jericho’ (2021), is a symbol of resurrection. I can imagine that relates directly to your new sound.

Mo: Yes, there is certainly more variation and dynamics on the record.

Mathijs: The rose of Jericho, or resurrection plant, is a plant that can go without water for ten, fifteen years. When it receives water it pops back up as a flower. That concept really spoke to us, and that’s why the instrumental title track has a bit of a western feel to it.

Mo: We really went for the desert atmosphere on that one. You can almost see the tumbleweed pass by during the intro. The track was originally meant to be called “Tumbleweed,” but then I found out that Candybar Planet already has a song called “Tumbleweed.” I still liked the desert idea, and eventually we renamed the track “Rose of Jericho.”

Can we expect anything special for the release show?

Mo: We’ll be playing all the tracks of the record live. In the past that wasn’t always the case. I think a lot of these tracks will remain in our set. Of course we will revise our set when we’re playing a real metal festival. We’ll probably be playing more of our old stuff then, although the roughness is still there in the new tracks.

Mathijs: At some point you’re starting to weigh your choices while writing songs. We want to be able to play them live, because we’re still first and foremost a live band. That’s where we really shine. This was also a period of reflection and we figured that we had fifty tracks on four records. You start listening to them in a different way and you come to the conclusion that we already have so many hard songs.

Mo: Martijn often says things like “This is a quiet song,” but a quiet Komatsu song is still far from a quiet song.

Mathijs: We didn’t plan on changing our style. It came together in quite an organic way, as a result of playing live, rehearsing and recording. The COVID period was also quite interesting in that regard, because Mo and I never stopped writing music, and we’re currently at the point where we could start arranging songs for the next record.

'Rose of Jericho’ is your first record on Heavy Psych Sounds. How did that collaboration come about?

Mo: Gabriele [Fiori] arranged a couple of tours for us, like the ones with Nick Oliveri and Duel.

Mathijs: The first tour after I joined the band was the one with Mondo Generator and he arranged the one with the Freeks, featuring Ruben Romano of Nebula and Fu Manchu. So we were already in contact and at some point we just called him.

Mo: Yeah, that was for the previous record, but for that one we ended up at Argonauta. Now we all just said, let’s just do it.

Mathijs: It’s really cool to be part of a roster like that, to be part of such a stoner family. Gabriele, one of the two people running HPS, also plays in Black Rainbows and to see how involved in the scene he is and what he does for the scene, to be a part of that is just amazing. We already had the connection through the stages we shared and the tours he arranged for us and this is just the next step. It’s not the most logical step, but try and find a label where we perfectly fit in with our distinctive sound.

Mo: When we write music, we don’t try to fit in the stoner, the metal, or whatever group. We just make the music we like. We don’t have any rules from ourselves, telling us what we can and can’t do.

Mathijs: In the end we just make the music the four band members like to make.

About that, what are your main influences?

Mo: The Melvins is a favorite of mine, especially their quirkiness. Of course there’s a lot of stoner bands, but my roots are within 80’s hardcore punk music. Due to the whole COVID thing I started collecting records again. I bought a new record player and now I’m searching Discogs for vinyl of records I used to love and used to have on cassette.

Mathijs: I think that I’m the biggest metalhead in the band. You [Mo] are the punk rocker, Martijn is the new-waver, even though he’s also into old school hip-hop, and Jos [Roosen, drums]is a Tool fan and he used to play in Dreadlock Pussy. He and I went to the 25th anniversary show of Machine Head’s 'Burn My Eyes’ together. He’s into that as well. He’s also really into metal, but also bands like Helmet. I have quite a broad taste. I’m really into Cannibal Corpse, but I also like the Melvins. I actually met Mo at a Melvins show and a week later I got a call on whether I would like to join his band. The Black Sabbath influence is also clearly present on Rose of Jericho. That first riff is basically a Sabbath riff.

Mo: Sabbath is the mother of all metal bands. I saw Blue Cheer live at Roadburn once. It’s slightly different, but from the same period, I think. Absolutely brilliant. They did an interview for the Top-2000 once, where they were still living in a house together, blowing and making music.

Mathijs: I also really like those genre-crossing bands, like High on Fire. They’re metal, but also have stoner elements, together with some psych and some rock.

Mo: When I used to play in punk bands, there were set rules, but now I can do whatever I like.

Last question, did you guys discover any new music you’re really into?

Mo: Absolutely, they’ve been around for a while already, but I recently discovered Helms Alee. They’re a man and two women and they all sing. When they sing together it’s just amazing. Mathijs also got me into Made Out of Babies, featuring Julie Christmas. I’m usually not a fan of female singers, but this is something else.

Mathijs: Yeah, I showed you the record she did with Cult of Luna. That’s such an amazing record. Recently I’ve been listening a lot to a Finnish band called Oranssi Pazuzu, especially their latest record 'Mestarin kynsi’. There are so many different elements in there, it’s really cool.

Mo: Recently I bought two Floor records. They’ve got three records, one that sounds like shit and two that are amazing. I got those on vinyl.

Mathijs: I’m also looking forward to the new Mastodon record. They made a record with the guy who produced the best Tool records and they say it will be far more sludgey, slow and doomy than their previous works.

The curfew is rapidly approaching, so I think it’s time to wrap up. Thank you for this interview.

Mo: Thank you and see you later. Maybe later tonight in prison if we don’t hurry up.