Coroner were in the progressive wing of the old-school European thrash scene. Between 1987 and their split in 1996, the Swiss trio released five albums that incorporated increasingly unorthodox, prog- and jazz-inspired textures into their music.
Fourteen years after reuniting, they’ve released their belated sixth album, Dissonance Theory, which brings their titanium-edged technicality into the 2020s.
“They used to describe us as the Rush of thrash metal,” says guitarist Tommy Vetterli. “There are worse things to be called.”
Coroner reunited in 2011. Why wait this long to release a new album?
We originally got back together just to play a few shows. Marky [Edelmann, original drummer] left in 2014. We got offers from record labels to do a new album, but he didn’t want to do it – he thought we’d destroy everything we’d achieved. Ron [Broder, bass/vocals] and I didn’t agree, we were having too much fun. But recording a new album was difficult. Life got in the way – family members dying, I got divorced. Maybe I just had a procrastination problem.
What changed?
Pressure from management. I’m a lazy bastard. I needed someone to force me to pull my finger out of my ass. But I knew I couldn’t write an album like [1987’s thrash-heavy debut] RIP or [1993’s avant garde] Grin again. We’re completely different people these days.
What does ‘dissonance theory’ refer to?
It’s from cognitive dissonance theory, which is where you have a conflict in your brain – like, you like the taste of meat but you love animals. I wanted to make an album, but I started to think: “Is it a good idea?” That’s where it started.
You were signed to influential German label Noise Records first time around. Was that an exciting scene to be part of?
It was. It was a family, most of the time. Back then everybody hated the label, but nowadays I see things a little different. We were too stupid to sign contracts without checking them with a lawyer. We were young and dumb.
How do you look back on Coroner’s first five albums now?
When we started I was just into the classic stuff, but then I started listening to jazz players like Lee Ritenour and Allan Holdsworth, and that showed in our music. To me it was just a normal evolution , but a lot of musicians have told me that we’ve been a great influence on them –Mikael Åkerfeldt from Opeth was a huge fan. We definitely co-invented the technical progressive thrash metal movement.
Do you regret splitting up when you did?
No. It was the right time to stop. Grunge had come in, music was changing. Coroner was our first proper band, and after ten years everyone wanted to do other stuff. Most people don’t stay married to the first person they sleep with.
What could Coroner have done to become more successful?
Wrote less complicated songs. I work as a producer now, and it’s obvious what works – all the big bands have choruses that everybody can sing along with when they’re totally drunk. It’s that easy. I can do it for other artists, but for myself? No. I mean, I could theoretically, but it wouldn’t be believable. It’s important to be honest and be yourself.
Dissonance Theory is out now via Century Media.
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