“Reeves Gabrels had a big part in me being involved in this record. Bowie was a hero of mine, obviously, and so the chance to work with him was incredible. Reeves and David were figuring out this project they were working on, and they were looking for somebody fresh who’d been working with guitar-type bands. At that point, I’d worked with The Mission, The House Of Love and The Mighty Lemon Drops, so I guess I was known as being a guitar-centered producer.
“David was up for trying somebody new. I remember getting a call from his manager: ‘You’re going to be getting a phone call from David Bowie.’ I waited by the phone, and David finally called to tell me that they were going to go to record in Switzerland, and that he wanted to make a lively, less polished kind of album. David isn’t the kind of guy where you say, ‘Can I just hear the demos?’ You just say ‘yes’ and go in.
“David wasn't looking to make a ‘radio single' type album. Like Robert Plant, he does exactly what he wants to do with no fear of consequence. In the context of Tin Machine, Reeves and David were listening to Sonic Youth, Glenn Branca and some pre-grunge music like Dinosaur Jr., so they were in that frame of mind. David wanted to have fun and re-introduce a bit of chaos into his music.
“We recorded in Mountain Studios in Switzerland, which is a studio basically connected to a old casino. The reverb that you hear on the drums of songs like Heaven's In Here isn’t really reverb at all; it’s the sound of the casino. David was quite enjoying the random, chaotic atmosphere, but it was a little tough for me at times. I would be still setting up and changing sounds on the drums, trying to get the EQ right, when they would say, ‘That’s it. That’s the take.’ Working with Bowie taught me to let go and not be so pristine.”