Few bands can improve upon their debut when it comes to their second release, but ’90s alternative rock group Failure is among the select few that consistently defy this norm.
In this decade-long project, the Los Angeles space rock band has produced a documentary titled “Every Time You Lose Your Mind: A Documentary About Failure“. This film delves into their origins from the early ’90s, tracing back to when lead singer Ken Andrews and multi-talented musician Greg Edwards first crossed paths through the music classifieds of The Recycler.
The Los Angeles space rock band’s documentary, “Every Time You Lose Your Mind: A Documentary About Failure“, is a result of a decade-long effort. It narrates the story of their formation in the ’90s, starting from the chance encounter between lead vocalist Ken Andrews and instrumentalist Greg Edwards through the classifieds section of The Recycler.
The film director, Andrews, assumed control during the pandemic and concentrated on chronicling the band’s various triumphs and struggles while producing their initial three studio albums, with a particular emphasis on their third album, “Fantastic Planet” (1996). This album, considered a masterpiece, is often ranked among Butch Vig’s favorite albums of all time, as he was the one who produced Nirvana’s famous “Nevermind”.
During the recording sessions for the album “Fantastic Planet” in 1995, the band was unfortunately affected by the widespread issue of heroin, as was common among many groups during that time. Band members Andrews and Kellii Scott developed more social habits, but it was Edwards who became deeply entangled with opioids. Despite their efforts, the drug held tightly onto him, refusing to let go. A pivotal point in the documentary was reached when Andrews unearthed chilling footage from 1991, showing a 20-year-old Edwards expressing curiosity about trying drugs and predicting how easily he could become addicted to heroin.
When Ken discovered the initial scene that opens the movie, I was astonished by how perceptive I was at that young age about the events that ultimately unfolded. It’s quite eerie to me,” Edwards expresses to The Hollywood Reporter in endorsement of Every Time You Lose Your Mind’s Hulu premiere.
In 1995, the band was deeply engrossed in creating what they believed to be their best work yet. However, as they were wrapping up their “Fantastic Planet” album, a series of potential fatal blows struck during the recording process. Their record label, Slash Records, decided to postpone the album’s release indefinitely as part of an attempt to sell itself. This unexpected development plunged the band into deeper despair and substance abuse, leaving them wondering for 18 months if their masterpiece would ever see the light of day.
In August 1996, Slash’s former collaborator, Warner Bros. Records, released their album “Fantastic Planet” independently. Although it was praised critically, the album didn’t receive the promotion it deserved, leading to underwhelming chart and sales performance. During this time, Edwards’ health was questionable, causing speculation about his ability to perform well during tours for the long-awaited record. However, as Andrews has mentioned subsequently, Edwards managed to give powerful live performances.
Looking back now, Andrews, Edwards, and Scott feel grateful that the movie Fantastic Planet didn’t get a stronger commercial success.
Andrews expresses that perhaps our success back in ’96 and ’97 might not have been beneficial, as he puts it. Edwards agrees, suggesting that without those years of achievement, he may not be present today.
By the end of 1997, Failure was dissolved by Andrews. The final straw was when Edwards skipped two consecutive writing sessions because he fell asleep at the wheel and collided his car into a row of parked cars at a Los Angeles Nissan dealership. In the ensuing years, each member faced their own challenges, but they all went on to have fruitful music careers. Scott joined various well-known bands before establishing himself as a successful session drummer. Edwards managed to overcome his struggles and co-founded the alternative rock band Autolux in 2001. Meanwhile, Andrews embarked on numerous musical ventures until becoming one of the busiest mixers, engineers, and producers in the industry.
In their absence, the band’s influence started to transform significantly, particularly as the internet and file sharing gained popularity. They soon attained cult status, further emphasizing their standing as a beloved band among other bands. At that time, Failure was one of only a few bands endorsed by the L.A. alt-metal band Tool. This support continued when Maynard James Keenan, the frontman of both Tool and A Perfect Circle, contributed to a cover of Failure’s “The Nurse Who Loved Me” on A Perfect Circle’s critically acclaimed second album, “Thirteenth Step“, in 2003. Later, Hayley Williams-led Paramore also covered Failure’s “Stuck on You” in 2006. More recently, Williams and Andrews performed Failure’s “Daylight” at a charity event for L.A. wildfire relief.
In 2010, things shifted significantly as Andrews and Edwards became fathers around the same time. This coincidence led to numerous family social events where they found themselves playing instruments. By 2013, they were certain that they could create music worthy of the Failure name. They then shared this exciting news with Scott, marking the beginning of their reunion. In 2014, they organized an L.A. show, which sold out instantly, a feat their ’90s version never achieved.
In 2015, marking a gap of 19 years since their last LP, the band released their return album titled “The Heart Is a Monster“, receiving yet more critical acclaim. At present, they are finalizing their seventh studio album and fourth post-revival effort, which promises to surpass their ’90s work. Band member Andrews expresses surprise at the fact that Failure has been able to resume their musical journey from where they left off, but he is most thankful for their live audience – a mix of younger generations and diverse demographics.
Andrews remarks, ‘It’s an unexpected treat to step onto the stage and find those youthful expressions looking back at me.’
During a recent chat with THR, each member of Failure shares their individual viewpoint about the disbandment and resurrection of the group. They also provide insights into some significant instances from the album, ‘Every Time You Lose Your Mind’.
***
Every time I converse with David Dastmalchian, I inquire about updates on Failure, and it was in March 2024 that he mentioned to me that he had introduced you to Jordan Helman, the head of scripted content at Hulu. Is it possible that David’s matchmaking played a significant role in our current discussions regarding a potential release of your long-awaited documentary on both Hulu and Disney+?
Ken Andrews (Vocalist, Multi-instrumentalist, Co-Lyricist) It turned out to be quite serendipitous. David dropped by to assist with the editing, and he said, “To tell you the truth, Ken, I’m swamped right now with filming several movies all at once, so I can’t dedicate much time to helping you. However, I want to introduce you to someone who is well-versed in your band and storytelling. So, Jordan and I quickly bonded, and he played a crucial role in shaping the movie’s narrative. He helped me condense a three-hour cutdown to two hours that had a seamless flow.”>
Hey Ken, you stepped into the director’s role during the pandemic, and when an artist is in control of their own documentary or biopic, there’s often a worry they might clean up their story. However, that isn’t a problem with your work because you’ve always been straightforward about the grim aspects of Failure. Was this approach deliberate when you assumed control?
Hi Ken, during the pandemic, you replaced the director, and it’s common for artists to direct their own documentaries or biopics to have a cleaned-up story. But in your case, that’s not an issue since you’ve always been candid about the harsh realities of Failure. Did you intentionally adopt this honest approach when you took charge?
Sure thing!
ANDREWS Indeed, there were YouTube videos suggesting that our band was facing challenges. It wasn’t exactly a surprise when I learned about our internal struggles. When I came across the interviews previously recorded by different directors – particularly Margaret Cho’s insightful take on the link between addiction and creativity – it sparked an idea in me. Our band has grappled with addiction, but we’ve also managed to create amidst those difficulties. The topic is complex and intriguing, so I wanted to offer a glimpse of our situation for people to make up their own minds about it.
Some interviews go all the way back to 2016?
ANDREWS Indeed, the initial directors worked on it for five years, piecing it together whenever they could. However, when the pandemic struck, they were unable to complete the movie. That’s when we got a glimpse of the footage they had already gathered. frankly, I wouldn’t have initiated a documentary myself, but upon seeing some of that footage, I became aware of numerous other intriguing individuals who might have insights about the band and the themes they explore. It was at this point that I realized, “Yes, we may very well have a movie here.” However, it took us ten years to record all the interviews. We experienced an album delay and a concert film, but only two years ago did we start editing the film.
Greg, watching the video of your 20-year-old self gave me quite a shiver. When you initially viewed it, did you feel an urge to somehow stop your younger self from even contemplating using heroin?
GREG EDWARDS (Multi-instrumentalist, Vocals, Co-Lyricist) To be honest, a part of me is tempted by the idea, but most of me acknowledges that it’s my tale, my reality. When Ken discovered that initial clip that opens the movie, I was astounded at how much understanding I had back then about what ultimately unfolded. It’s almost surreal. It’s eerily reminiscent to me.
As a dedicated fan, I must admit that I missed the intriguing conversation the first two times I watched the footage. Perhaps I was distracted by other tasks, like responding to emails or something similar. However, upon rewatching, I was jolted when I heard Robert Gauss casually ask, “So what are you thinking about heroin these days?” My eyes widened, and I sat up straight, as the significance of that statement finally clicked. That moment marked a pivotal shift in the documentary’s narrative.
Was this footage part of a more recent discovery?
ME Back in the ’90s, I’d snagged a Sony Handycam from my folks without much thought about its purpose. Spontaneously, we began capturing random moments on tape for fun. However, those tapes remained untouched over time. It wasn’t until we delved into editing our documentary that I stumbled upon some old videotapes hidden away in closets. Since the formats were obsolete, I had to hunt down vintage tape machines on eBay to play them back. This is when I unearthed a wealth of fascinating footage, with Robert being the one who captured that particular shot.
EDWARDS He filmed me while he asked me that question?
ANDREWS Indeed, he was conducting the interview with you. While my voice could be heard as I chatted with a buddy in another section of the room, it wasn’t until thirty years afterward that I realized our conversation had been recorded at all.
Hey Greg, when you come across tales about your past self in that document, doesn’t it ever seem as though they’re talking about someone else instead of you? Or do you still find a sense of familiarity with the person they’re depicting?
EDWARDS (PARAPHRASED) I continue to feel deeply connected, yet the realization of how recklessly and thoughtlessly I lived for a period is still challenging for me. Just contemplating it now causes me stress. However, as Ken mentioned, when Margaret articulates the link between creativity and addiction so profoundly, I can’t disagree. The intense focus required in the creative process mirrors the energy channeled into an addiction and maintaining it. At times, these aspects intertwine to produce stunning results, while at others, one dominates the other.
Kellii, it appears that the positive vibe you consistently radiated, both while playing the drums and off-stage, has been incredibly beneficial for the band. When there were conflicts between Ken and Greg in the past, did you feel like you had a role to play in easing the tension or serving as a mediator?
KELLII SCOTT (Drummer) No, I didn’t intentionally adopt that clear-cut behavior. It’s just my nature, and it shows up in any setting. Happily, it aligns with this particular group of people. I wasn’t deliberately trying to replicate a specific role. Instead, my personality meshed well with the band, and it proved essential. You don’t fully appreciate the importance of both elements until you experience them together.
Are all of you, being more mature and better prepared to deal with conflicts these days, have you found that current situations might have been significantly more challenging back in the ’90s?
SCOTT We still have disagreements, which is normal being human. However, as you pointed out, we had fewer resources at our disposal in the past. Some of the things we fought about might seem trivial or insignificant now. But we’ve discussed our future together, and the only thing that’s evolved is that we’ve all gone through significant life events. Therefore, for the most part, we appreciate more deeply the opportunity to create music once more after so many years.
Priscilla Chavez Scott, your partner, played an unrecognized role in making this documentary happen. She collected much of the material used in various parts of it.
SCOTT Indeed, she was quite active with her camera, not just taking photos but also capturing fan moments during our 2022 concert tour. Immediately after each show, she would dash outside to engage with the fans. Truly, she showed great initiative. Prior to this, she specialized in still photography. Working alongside Ken, they complemented each other perfectly, and she picked up a lot of new skills during this experience.
In that instance, you can see that I directly address certain individuals with a clear and firm message, then turn off the camera. This was in relation to Ken taking on the initial responsibility as the band’s protective barrier. Could you please clarify further what specific details you’d like me to elaborate on regarding this reference?
SCOTT Indeed, there have been instances throughout his career where he had to assert himself against nonsensical comments, typically from business-oriented individuals or those attempting to negotiate more favorable terms for themselves at the band’s expense. Mostly, he was simply defending the band and ensuring we received the fairest deal possible.
Troy Van Leeuwen, our ex-guitarist, shared a captivating tale about Stone Temple Pilots which left me quite astonished. I’ll leave it for readers to discover on their own, but I can tell you that this anecdote certainly raised some concerns among certain executives.
ANDREWS There was a tinge of apprehension since we needed to scrutinize the film legally, which did cause some worry. However, we consulted individuals from that sphere who reassured us, saying “Don’t worry, you’re good.” I have personal connections with Stone Temple Pilots’ current members. Although our bands didn’t collaborate much in the ’90s, they gained a larger audience and popularity compared to us. Yet, there was always this bond between our bands. Just recently, Dean (STP guitarist) shared a video of him and Scott (Weiland) from a TV interview in 1993 before an STP show. When asked about suggested bands, Scott spoke enthusiastically about Failure for several minutes. This incident seems to reflect the chaos that both our bands experienced during those years.
After Steve Albini, the record producer/engineer, passed away last year, did you revisit his work to ensure that no important details were overlooked? (Steve Albini produced Failure’s debut album, Comfort, in 1992, and later worked on Nirvana’s third LP, In Utero.)
ANDREWS: Yes, indeed! We’re working on a new edition of the film that delves deeper, featuring an abundance of additional scenes focusing on Steve. While much of his insights about the music industry are already included in the current film, he was incredibly fascinating when discussing these topics. However, there’s so much more where that came from. His recall of the recording techniques during the production of Comfort was astonishingly precise. That moment was particularly intense because he passed away shortly after our interview.
One of the most amusing yet poignant tales I’ve come across is the “bread mix” story from the 2004 Golden documentary, a tale that now serves as a prototype for this film. In 1997, during one of your tours, your email system let you down at a specific stop, leading you to send a crew member in search of some kind of opioids. However, he returned with bread mix instead, which you ultimately consumed.
EDWARDS: Well, I’m not quite sure about it, but I’m crossing my fingers that it might have been a dough mixture. (Chuckles).
Was it necessary to repeat that particular tale again in this document, or was it perhaps too redundant considering the abundance of related narratives already presented?
EDWARDS Perhaps we didn’t discuss it as it had been mentioned before. It’s been a while since I last thought about that story. I was completely certain that the object wasn’t a drug meant for recreational use, but it felt like playing Russian roulette nonetheless.
Carson Daly first brought us together through KROQ, and it’s interesting that he also informed me about your split when he was just starting out at MTV in 1997. By chance, did anyone contact him regarding this documentary?
ANDREWS He used to be present in those days. He attended many of our performances, and on several occasions, he even presented us during live shows. However, his professional journey veered off course, which led to our eventual separation.
SCOTT I’ve made a few attempts to contact him, but haven’t been successful yet. I maintain a strong friendship with Zeke Piestrup from KROQ. We often socialized with Carson in the past at the Opium Den, which is where we first became acquainted with him.
Regarding KROQ, I recall your segment on Loveline as well. For almost four decades, Loveline was a widely recognized talk show where people could seek guidance on relationships and health matters.
EDWARDS Listening to Loveline on KROQ at home was amusing. I was in some state of mind, and all of a sudden, it was on with Failure.
ANDREWS & EDWARDS & SCOTT (Laugh.)
EDWARDS It was you guys [and guitarist Troy Van Leeuwen]. You hadn’t even told me about it.
SCOTT We were in the midst of breaking up.
ANDREWS Yeah, it was the peak.
EDWARDS Indeed, I was utterly stunned. I had absolutely no idea what was happening. It seemed strange that I wasn’t informed about it earlier. Perhaps you felt it was more convenient not to involve me in the matter.
ANDREWS Well, it was actually the manager [Warren Entner].
SCOTT We’d recently completed a cover of “Enjoy the Silence,” which turned out to be quite chaotic. As such, we were wrapping up our final commitments.
ANDREWS There was discussion of not doing it.
SCOTT Yes, there was, and I think we were told, “You have to do it. It’s Loveline.”
ANDREWS Yeah, Warren was pretty concerned.
EDWARDS I had no idea about the situation at all, and I was astonished to learn that you had taken such an action.
SCOTT It’s amazing we managed to pull it off given that behind the scenes, things had started to derail.
EDWARDS But I was completely unaware of that too.
After spending 16 years apart, you came back together in 2013 and overall, you’ve managed to rewrite your story in a way that many of your peers couldn’t due to unfortunate circumstances. Does it bring a sense of relief now that you no longer have to ponder “What if?” about the past?
ANDREWS Indeed, a significant portion of our energy went into making this documentary. The aim was to provide clarity about our narrative and perhaps find resolution for some lingering remorse and errors.
EDWARDS I’ve never really asked myself that.
SCOTT Following our band’s disbandment, I plunged into a deep personal turmoil that required me to find solace and closure from my past. When Ken contacted me in 2013 with the news that Greg and he had been composing music together, I found it effortless to embrace this development. It almost felt as if it was meant to be. I had already let go of my emotional burdens concerning what could have been or what might have happened, as dwelling on such questions only hinders progress. To move forward, one must leave the past behind. Thus, dealing with these feelings before our reunion made the experience of coming back together more liberating and gratifying, free from the burden of past baggage.
ANDREWS I’ve often pondered, if we had achieved greater radio exposure or success in ’96 and ’97, it could potentially have been detrimental.
SCOTT Be careful what you wish for.
EDWARDS To be honest, I likely wouldn’t be in this position. Reflecting on the work we accomplished in the ’90s and the work we’ve since produced, there’s absolutely no remorse. It has achieved everything I could ever dream of. Although it might reach a larger audience, the art itself surpassed my expectations.
Absolutely, it’s refreshing to see that you’re not merely relying on past achievements and instead continuing to evolve as an artist. Your latest work seems like a natural progression from where you were in ’96, and interestingly, I find myself listening more to the new tunes than the old ones these days, despite having two decades with the ’90s material. Given this evolution, I must admit that I’m somewhat surprised by your ability to create music that remains just as relevant today.
ANDREWS I’m amazed! What truly astounds me and motivates me is the new generation of kids who stumbled upon Fantastic Planet and our newer albums concurrently. They had no idea about the band disbanding; they simply thought it was a single entity. So, to find ourselves older now, yet witness younger counterparts enjoying our music, is an incredibly fulfilling experience. It’s also a delight when I step onto the stage and see those young faces, something I hadn’t anticipated.
For the past six to seven months, I’ve been observing closely and it seems like you’re almost done with your seventh album. This new phase of the band is poised to produce more work than the original Failure era did. So, what can you share about this milestone at present?
ANDREWS We’re wrapping things up. That much is certain. We have a solid collection of songs that are album-worthy, and we’re currently in the mixing phase. At this stage in the production, my perspective on where the album fits within our band’s timeline isn’t very broad. I simply know it sounds right to me, and I enjoy the tracks. However, it’s difficult to predict how it will resonate with listeners.
Are the segues between songs back?
ANDREWS There’s some extended intros, but they’re not defined as “segues.”
SCOTT We don’t actually use that word on the record.
In our early album creations, we paid no heed to the playtime since vinyl records were practically obsolete. People stopped purchasing vinyl, manufacturers stopped producing it, and a CD could comfortably hold 74 minutes. However, vinyl has made a significant comeback in recent times, forcing us to consider it during our recording process. The classic Beatles albums typically span around 38-40 minutes, as that’s the limit before vinyl starts losing sound quality. Consequently, long transitions (segues) can consume valuable time on vinyl. Should we prioritize a few seamless transitions, or ensure our songs sound rich and robust?
ANDREWS I appreciate the thrill of crafting a succinct album that fits onto a single vinyl record. Perhaps it’s due to my fondness for many classic albums that did the same, and although it’s just a technological limitation, it has significantly impacted creativity and how we approach records: “What should be the opening track on side B?” That was always an important decision. Given our success with vinyl in the revamped band, it’s a factor we frequently ponder.
Are you done reinterpreting the Golden b-sides à la “Petting the Carpet” and “Pennies”?
ANDREWS I’m unsure if we’ve finished yet, but it seems like we might have chosen some of the best ones. We won’t be revisiting the past with this album, however, we are currently rehearsing some of our older songs to reinterpret them for an acoustic performance at the documentary premiere on 6/26.
Hey there fellow gamer! In the latest gaming doc, my sis, Julie Edwards, had some thoughts about the epic finale of “Fantastic Planet” (1996) – specifically, she loved the combo of “Heliotropic” and “Daylight”. As for me, what’s my go-to level from the more recent content? That’s a tough one, but I’d have to say it’s that exhilarating boss battle in Level 7. The adrenaline rush is unmatched!
As a music enthusiast, I found the progression from “Long Division,” to “Bad Translation,” and finally to “Half Moon” in the album “Wild Type Droid” to be incredibly smooth and harmonious.
ANDREWS We devote a significant amount of effort to arranging our songs, and at present, we’re still negotiating about the sequence on our latest album. For us, it’s similar to songwriting; we focus on the transitions, ensuring the rhythm flows well. It’s crucial that everything feels harmonious in terms of pace.
SCOTT I’d claim “Force Fed Rainbow” and “The Pineal Electorate” from In the Future as my favorites. “Force Fed Rainbow” is one of the best new tracks for me, and performing it live on our last tour only reinforced that feeling. Each night, it felt incredibly powerful. I genuinely believe that the final four songs on In the Future are just as strong as the final four on Fantastic Planet.
Apart from the two points mentioned, let me add that I find the seamless transition from “A.M. Amnesia” to “Snow Angel” in The Heart Is a Monster particularly appealing as well.
As a hardcore gamer, let me tell you, the opening of “A.M. Amnesia” is my jam! Just recently, Dean from STP shared with me that whenever he hops in his car, his audio system automatically plays this album first due to its pairing with his phone’s library. The powerful intro always gives him a rush because he usually keeps the volume high after each drive. Rock on, man!>
ANDREWS & EDWARDS & SCOTT (Laugh.)
The first tune that always plays whenever I climb into my car is the soundtrack from “Amélie”.
Now available for streaming: “Every Time You Lose Your Mind: A Documentary About Failure” can be found on Hulu and Hulu on Disney+.
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