In the music business it’s one thing to garner acclaim from fans and critics, but when other already successful acts start showering praises over you, that’s when heads begin to turn.  For the Los Angeles based, Opiate for the Masses, kudos began rolling in from the likes of Chester Bennington of Linkin Park, Joey Jordison of Slipknot and even Synyster Gates of Avenged Sevenfold.  Combine those compliments with a national tour with Filter and Opiate are on the fast track to become a household name in no time.

 

We recently caught up with Opiate guitarist and synth master Jim Kaufman who gave us the low down on what all this means for a band that watched Linkin Park open for them at one point, and then went on to become bigger than life itself.

 

“It’s an honor when you see your art influence other people,” says Kaufman.  He especially appreciates when artists who have been an influence to him take notice in his work as well.  The Filter tour is monumental for Kaufman and the rest of his band.  ““Hey Man, Nice Shot” was a huge influence to us,” Kaufman explains.  “That’s one of the reasons we started [this] band.”  From keeping their nose clean to having a great work ethic, Opiate for the Masses has learned a lot from Filter.

 

Opiate for the Masses, rounded out by vocalist Ron Underwood, drummer Seven Antonopoulos and Anna K. on bass, is one of those bands you may not have heard of, but definitely should pay attention to.  Their blend of Nine Inch Nails influenced metallic rock soars with aggression and cleanliness on the band’s latest endeavor Manifesto.  It’s a record that according to Kaufman was two and a half years in the making.  “We let our manager go, got a new bass player and found ourselves in a very unique place,” says Kaufman.  He notes that he was actually worried at times if the band would survive the rut they were in.  “We got stagnant there.  I was worried if the band would ever get back out there and do it,” he explains.  “We were stuck with a shitty record label and a shitty manager.”  After the dust settled and the band regrouped, Manifesto finally became a reality.  “[The record] is our statement; our coming to life.  The songs are personal and about the things that have happened to me and Ron and each other,” Kaufman explains.

 

Kaufman says that Manifesto was actually recorded one and a half times before it ever hit the streets.  The first time it was produced by Ulrich Wild (Static X, Incubus, Seether) and their previous record label sat on the release for a while.  Opiate was finally able to get out of their record deal and began regrouping.  “We waited for a year, freshened up, wrote new songs and had Anna record the new songs,” says Kaufman.  “I’m really happy with it.”  The second time around, John Travis (Kid Rock, Sugar Ray, Social Distortion) manned the production helm.  Kaufman is confident that both producers were influential on the final product.  “Ulrich is a huge influence on the record,” Kaufman explains.  “He is cut and dry, meat and potatoes.  John is a pusher [and] makes you take it to the next level,” he concludes.  From the business standpoint of things, Kaufman is also very pleased with Century Media.  “Without Century Media we wouldn’t be doing this,” says Kaufman.  The band also realizes that a lot of their success falls on them.  “In this state of the industry you have to wear a couple of hats,” Kaufman explains.  “You can’t make any money just playing guitar.”

 

Manifesto is definitely a combination of what has influenced the band over the years.  “I grew up playing piano,” says Kaufman.  He has always been into music, listening to bands like Pink Floyd, Alice in Chains and Nine Inch Nails.  He also cites dance music as an influence.  “That’s how we get our electronic edge,” says Kaufman who grew up break-dancing and going to raves.

 

All of the musicians in Opiate for the Masses have quite an artistic tract record.  Anna K, who happens to be married to the band’s drummer, has spent 12 years in the music business as a founding member of the Swedish band Drain Sth.  She also played with the New York-based Hanzel Und Gretyl and even spent some time with the Revolting Cocks.  “Anna has done this before,” says Kaufman.  “She has a great tract record, is a bit older and calmed us down.”  Antonopoulos was heard by Kaufman shortly after the band’s previous drummer left the band.  Kaufman knew Antonopoulos would be an important piece of the puzzle.  In the band’s official press release, Kaufman is quoted as saying, “My jaw dropped when I saw him play.”  Aside from his work in Opiate, Kaufman has also dabbled in scoring films and video games.  Most recently Kaufman worked on the documentary horror film Dark Reel, which stars Eddie Furlong.  It’s a movie that has been accepted into the Rhode Island Film Festival and Chicago Horror Film Festival to name a couple.  Kaufman has even worked with Mattel scoring car video games.

 

So as it stands now, Opiate for the Masses have not fallen victim to the music business.  Between a powerfully energetic record, a cast of tenured musicians and a goal to continue making music no matter what it takes, Opiate have all the tools to be successful.  What does the band want most?  “World domination,” says Kaufman.  “We’re not going to stop!”

 

By: Adam K. Zak III - Senior Editor / Founder