Interview with Nate Hall (USX, Uktena)
When, in February 2020, I heard that USX (a.k.a. U.S. Christmas) lead by the prolific songwriter and polystrumentist Nate Hall were about to play their first live show in nearly 5 years, I couldn’t help but wonder whether this was the beginning of the much anticipated, yet barely hoped for comeback of one of the most interesting underground bands of the beginning of 2000. So I asked Nate himself.
Ekaterina K.: Hi Nate. What does this recent USX live show mean for the band and what can the fans expect to happen? Are there any more shows planned? Maybe a tour? Hopefully (for us) Europe? Or even some new material? What motivated you as a band to start playing live again?
Nate Hall: It means the band is active once again. Currently we are a trio, but Chad, one of the original members is on board with future shows and recordings. He lives in California though, the literal other side of America. Right now, we don’t have any set plans for tours or recording, although some things have been discussed. I would prefer to tour in Europe or Australia because America is pretty difficult for a lot of reasons. The new guys are Tony Plichta, who plays drums, and Graham Scala on bass. Chad Davis, an original member, is also going to be a part of it. The door isn’t closed on anyone though. It’s not like that with me. We are just doing our thing in the moment, while we can. I do g know what we will do. I’ve never planned a thing in my life.
Do you remember your first ever gig with USX? Where did it happen? How was it put together? How did the public react? What is your most memorable USX show ever and why?
I don’t remember the first gig specifically, but the earliest ones were in Marion, NC, where the band began. We were able to set up and play in a pretty cool local theatre, sort of like practice. It was fun. We could be loud, use a ton of amps, go over the top. As for memorable shows, there have been a few. The big ones, opening for Neurosis, Mastodon, some of the larger bands were of course a huge step up. A drastic step. It messed with some of us, the pressure. I always looked at that like it was something we were supposed to do. Our destiny or whatever, so I wasn’t nervous, just determined.
I read somewhere that the name U.S. Christmas comes from the name of a buffalo hunter from the 19th century. Bob Dylan mentions it in a movie called “Pat Garrett and Billy the Kid”. Do you consider Bob Dylan an inspiration? Whom of the artists, past and present, you can say you’re inspired by?
That is the correct origin of the name, and I am a huge Dylan fan. The influences on the band are hard to nail down, so I can really only speak for myself. It’s different for everyone involved. Neil Young and Crazy Horse, Pink Floyd, Caustic Resin, Soundgarden, Nirvana, Screaming Trees, those were all bands I really wanted to emulate.
“I like anything that sounds different.”
Many people know that you love and collect guitars, you have over a 100 of them, right? What are some of your most cherished pieces you would never part with and what are their stories? Is there an instrument you don’t play, but would love to learn?
I do have tons of guitars and I have steadily acquired them for the last nearly 30 years of playing. I’m really weird about them all. I have no problems being rough with and using any of them, but I hate to see any destroyed. I hate that. I have an 81 Les Paul custom that was my first really nice guitar. I sold a chopper to buy it. It is on all the early USX stuff up to Eat the Low Dogs. It weighs 15 pounds so I had to have a heavy strap made to hold it so my arm doesn’t go numb. I have a ton of parts/mongrel Stratocasters, and a lot of oddball things. I like anything that sounds different. I’ll find a way to use it and layer it. Or one of the other dudes will have options to play them. Monson guitars has been really good to me for the last 10 years or so and I love those things. So I usually have one of those live. Black 35 made a nice Hendrix style strat that I use. I have some modded BC Rich guitars with sustainers, active pickups.
I like to find new sounds to layer. I have an electric 12 string that’s gonna be a texture on whatever we do next. I have a Warren Ellis electric mandolin by Eastwood guitars that was on the intro to the Uktena record and it’s gonna be on future stuff as well. The layering of sounds has always been a part of USX records. The more you listen, the more you will hear.
“I don’t have any control over creativity.”
You have been very prolific throughout your career, be it starting many bands or collaborating with other bands and artists. What drives your constant urge to create? Do you have some kind of routine or ritual, when it comes to composing or is it all spontaneous and out of the blue?
I appreciate that, and it’s true I have created a lot. However, I haven’t written much the last few years. The last thing I released in physical form was a nightmare in every sense of the word. It’s a great record and if it wasn’t so miserable for me I’d probably like it, but I don’t. I don’t expect anyone to feel sorry for me, but man, after a dozen or so kicks to the nuts the motivation isn’t what it once was. I don’t see the point. That said, I don’t have any control over creativity. It just happens when it happens. The one thing I would point out to anyone who would listen is that artists are rare and have great value to the world. Don’t kiss their ass, just don’t sadistically fuck with them if you care at all about music.
What are some of your favorite and most memorable collaborations? Whom of the currently active artists would you like to collaborate with? And those from the past, if you could go back in time?
My favorite collaboration is with Dorthia Cottrell. She and I have talked about doing things for years. I hope it happens. Also, again with Brett Netson and Stevie Floyd. Two greats. And Mike Scheidt.
You also participated in two memorable tributes, to Hawkwind and Townes Van Zandt, would you do more? If yes, to which artist(s)?
I’d love to do a Neil Young/Crazy Horse covers record. Absolutely. Always have wanted to.
Let’s talk about Uktena, your most recent project. Uktena is also the name of one of the songs on Eat the Low Dogs (the 4th LP by USX). How was the project born and what distinguishes it from the rest of your work? It is inspired by the antique culture and traditions of the indigenous peoples of the Americas, can you tell us more about the idea behind it and its messages?
Uktena started out to be more of a black metal/sludge inspired thing but it went off in a really cool psychedelic, and I think positive direction. It’s of course rooted in the ideas and stories, values of native Americans. The guy speaking is John Trudell, who I first learned of through the Robert Redford documentary Incident at Oglala. It’s important American history that gets swept under the rug a lot. Their whole way of life, ways of looking at the world and life on it were snuffed out almost entirely. We hoped this would help bring those ideas back into the living world.
Now let’s talk about your solo music. On multiple occasions you mentioned that your roots, your home in the Appalachian mountains and its culture have quite an influence on your music, you even define it Appalachian rock/metal, do you think you would be the same (and as prolific of an) artist, were you born anywhere else? What is more “natural” for you: be part of a band and play with other people or create and play solo? Are you working on/planning on working on any new solo material?
I’m lucky enough to be from somewhere, a place that is part of me and vice versa. That’s rare in this transient country. I have always had a chip on my shoulder due to the perceptions about my rural roots, and now it’s apparently a thing people feel they can appropriate and exploit through fake music, imagery, whatever. Put a feather in your hat and get some overalls, that’s all some people here have invested. I’m here to stay, my family is here. I feel awful being away for long, although I love to travel. I know people see and hear, feel the authenticity in my music, and that’s great. I want them to. I give freely of myself. As for solo performing, it’s so much easier. I don’t have to worry about anything but myself. I can agree to offers and shows on the spot, and can record whenever and whatever I feel like. Nothing is happening lately because all I do is work in a lumber yard. I’m literally using my body up, and that’s just how it is. America is a broken, backwards, empty place in a lot of ways. And it rewards the dumbest shit imaginable. I gave up on it long ago.
Last question. Sadly, nowadays, most of the independent underground artists can hardly make a living by being just artists, most have to have day jobs, which also allow them to tour. What do you do to support yourself and how do you manage to allocate time for music? If you could, what advice would you give to your younger self from 20-25 years ago when you just started making music? And what would you advise to today’s artists that are just starting their careers?
I’ve done all kinds of stuff to make money. Right now I work in a lumber yard/warehouse. I sort and pack lumber, unload and load trucks, plane boards, whatever is needed. I spend a lot of my day in extreme noise with dudes that I can’t really communicate with verbally due to language barrier, but they are cool. I appreciate hard workers, family centered people. I hate modern American culture, it’s so whiny and petty, selfish. Sociopathic. It rewards laziness and punishes strength. So I’m not terribly sympathetic to modern white people problems. That’s what I would tell myself 20 years ago: dude, don’t expect much from anyone. If I had to tell a new band anything it would be play every show like it is your last, have fun when you can. Leave nothing undone, don’t wait. Do it now. And trust no one. Ever.
– Ekaterina K.
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