Art Mindy Abovitz

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The State Of

The State Of live in Miami, Fl and have a new album coming out September 19 called Day of Abandon. This interview was done on location in Miami by Tom Tom Magazine’s Alex Carulo.

My good friend and Founder/Executive Director of the Vibe Theatre Experience, Dana Edell, recently drew my attention to this powerful drumming group stationed in DC. Run by executive director Kristen Arant, the Young Women’s Drumming Empowerment Project, “strives to create a safe space for young women to build community, and to fearlessly express their authentic selves through drumming, spoken word poetry, song, movement and performance.”

Arant is a drummer herself and a performing artist living in Washington, DC and specializes in the West African Mandingue drumming tradition. She is the Founding Director of the Young Women’s Drumming Empowerment Project – a drumming, poetry and performance art empowerment group designed to build the confidence and self esteem of teen-aged girls living in the DC area.

For more on this incredible group go here: YWDEP

Steph’s voice is melodic and there is passion in her delivery. Her keyboard style is smooth, but can also get quite percussive giving it an edgy sound. Additionally, there is nothing kitsch or Poppy about her lyrics, they are, in fact, smart and it was a treat to listen in. On stage they have a great camaraderie and it is evident they are comfortable with each other’s style and hence, complement each other.

They played for about an hour, and in that time, offered a nice variety of their original songs including their own special twist on Happy Birthday Miami style. This was very well received as at least five people from the small and loyal crowd were celebrating that evening. Peppered within their set where some fun covers, including The Eurythmics, The Bangles, Madonna, and one especially close to my heart, The Postal Service’s Such Great Heights.

Nabedi, born and raised in Miami, has been drumming since her early teens and her techniques are vast and quite polished. Her musical skills are eclectic including the melodica, triangle, tambourine, banging with a maraca, as well as vocalizing. Don’t let the fact that this is a two member band fool you. There is big sound coming from them, and it’s all live, nothing looped or sampled.

Be sure to check out their new CD Day of Abandon there is information on their website on how to purchase, and their will also be a CD release party at the Awarehouse in Miami Saturday September 19th, 2009.

I will focus more on Nabedi’s style in the upcoming exclusive interview. For now I leave you with one of my favorite pieces from The State Of, Anything for you. Enjoy.

Alex Carulo

The drums you see here are basses farthest left, then snares, and tenors closest to the camera. I’m going to break down playing technique for each of these instruments ASAP. You can see that the playing technique varies greatly from drum set playing.

Drum corps is very male-dominated, as you’ll notice. Every once in awhile you’ll see a few chicks on a line, though. That always makes me happy.

If you want to watch more DCI bands, I suggest more Santa Clara Vanguard, Blue Devils, the Cavaliers (all-male), or Bluecoats. It helps to search “{coreline name} in lot” if you specifically want to see drums.

Julie-ann Odell has lived in the Middle East for 32 years. She is an experienced drum circle facilitator who has used rhythm work and group drumming extensively as a tool for team building in the United Arab Emirates and the Gulf Region. She is an experienced executive coach, co-active life coach and organization relationship systems coach (a cutting edge training that develops the entire team using a revolutionary systems-based approach drawn from the best of coaching, psychology, organizational development, mediation, quantum physics, process work and general systems theory). Since starting Dubai Drums eight years ago, Julie-ann and her team have drummed with thousands of people and children at corporates, schools, universities and community events. They drum in all parts of the Middle East and have now opened Cairo Drums in Egypt.

Dubai Drums Website

Exclusive Tom Tom Magazine with Julie-ann COMING SOON!

Exclusive Tom Tom Magazine Photo by Jee Young Sim

Full name: Andrya Elena Ambro
Nickname/pseudonym: Andy, Lenny, Rad Ambro, Double aa
Age: 29
Hometown: Wilmington, DE
Where you live now: Brooklyn, NY
Bands you are drumming in currently: TALK NORMAL
Bands you were drumming for in the past: death.pool, Glen Olden, Antonius Block
What you do for a living: musician/sound engineer

“I like them warm and dead. Like cardboard boxes with lovely tone a la reggae drum sounds.” – Andrya Ambro

Tom Tom Magazine: When did you start playing the drums?

Andrya Ambro: I was 13 when I (with the help of my brother Bryan) convinced my mother to get me a drum kit and let me quit piano lessons.

Tom Tom Magazine: I noticed that you play without cymbals and your kit sounds really flat and low.  Why did you decide to play your kit in that way?

Andrya Ambro: To be honest, I never understood how people played with drums up to their ears.  It seems like such a disadvantage. Also as a woman (who barely stretches to 5’5”), we are generally smaller creatures than our male counterparts. Men can play bigger drum sets and still get on top of their instrument. It takes a smaller drum-set for a woman to get on top (please excuse all the sexual innuendo ).

Tom Tom Magazine: How do you tune your drums?

Andrya Ambro: I like them warm and dead. Like cardboard boxes with lovely tone a la reggae drum sounds. I use my ears.

Exclusive Tom Tom Magazine Photo by Jee Young Sim

TTM: When did you and Sarah (Register) meet and how did you form Talk Normal?

AA: I met Sarah in 1999 at NYU. She was in the Music Technology Department and I worked there. We were fast friends. It was not until 2006 that we actually played together in the minimal and discordant band Antonius Block (she on bass/guitar and myself on drums).  That band went on hiatus in late ’06. On the tails of AB, we both were driven to create a more raw music, stripped down, and basic.  Our first show as Talk Normal was September ’07.

TTM: What was the idea behind your tribal drumming and chanting?

AA: I am conflicted over the word tribal. If tribal means direct – I accept this. If tribal means danceable – I accept this, I want to make the people dance. If tribal means incapable of syncopation – I reject this. I ask you this – why is it most woman get the uncanny rap of being labeled “tribal” drummers?  i.e. Moe Tucker, Ikue Mori, Lori Barbero etc. Do stereotypes exist for a reason? I constantly ask myself – why does this bother me so very much? Perhaps woman are just more “of the earth.”
As for the chanting, can’t say any of it was a premeditated idea. If I were to rationalize TN’s collective unconscious, I suppose some might consider our music dark and intense. Something’s gotta bring you up and over.
Short answer:  Some might attribute both the tribal drum and chant style to my pursuit of African music (beats, song, and dance) in my formative years. Also, in my teens, I very much took to Mahalia Jackson and the black tradition of the rejoiceful shout.

“If tribal means danceable – I accept this, I want to make the people dance.” – Andrya Ambro

TTM: What region of the world influences your drumming style the most?

AA: Black music is a consummate source. Or rather music of what some might call the Black Atlantic is very powerful to me.  To fine tune my coordinates – Ghana and Jamaica.

TTM: What do you think the role of the drummer is (in a band)?

AA: I suppose it is the nature of the drums to be the heartbeat and drive underneath the band, usually perceived as non-melodic, and in the back. Personally I think drums can be so much more.  Don’t get me wrong, I want to be the heartbeat and the drive.  But why must this be the drummer’s only role? Why can’t others take this role? Why can’t I share the front? I want to sing. Yes, this has happened many times before i.e. Phil Collins, Karen Carpentar, Don Henley, Levon Helm etc. Yet somehow, it always looks, sometimes feels, awkward. It is my own personal assumption that these people were ‘fronting the band’ (another idea that perplexes me) and playing the drums as a secondary/subsidiary instrument, not as an accompanying/complementary instrument. With respect to all of the above mentioned and so many more, I say, I want to break this mold, for myself.  I want out of that box – audibly and visually.  I want to play the drums as an orchestration within an arrangement of sounds. I want extreme dynamics.  Texture. I love structure. I want to use drums (just like my voice!) to tell a story. Perhaps this why I don’t see myself as a ‘drummer.’  I just want to write songs and I happen to play the drums.

Exclusive Tom Tom Magazine Photo by Jee Young Sim

“As I grow, I realize these “setbacks” are more like a jewel of bondage – giving me the fire to make something new, to fight to make something my own.” – Andrya Ambro

TTM: Have you experienced any setbacks as a female drummer?

AA: Yes. I don’t want to be seen as a dancing dog; in that you’re surprised it’s even done at all. However, these setbacks seem more in my head than reality. As I grow, I realize these “setbacks” are more like a jewel of bondage – giving me the fire to make something new, to fight to make something my own. I just want to be free.

TTM: Who are your favorite drummers?

AA: Influential: Pat Samson, Leroy “Horsemouth” Wallace, Brendan Canty, Max Roach, Moondog, Bob Bert, Mac McNeilly, Jaki Liebezeit, Art Blakey, Budgie. Contemporaries I love: Kid Millions, Matt Marlin, Ryan Sawyer, Tim Dewitt, Deantoni Parks. Aside: I love drummers. I love to watch each as an individual and how they approach their instrument. However, in my pursuit of music with rhythm at its helm, it was not solely the drummers that I studied.  I love the rhythms and phrasing of Thelonius Monk, Ahmad Jamal, Alice Coltrane, Henry Cowell, Terry Riley, Al Johnson, Roberta Flack, Mavis Staple and the list goes on. In fact I would often try to imitate (on the drums) how these folks would sing or play their particular instrument, more than I would imitate drummers.

“Guess I just want to make stuff – be it visual, audible, or dinner.” – Andrya Ambro

Exclusive Tom Tom Magazine Photo by Jee Young Sim

TTM: What are some of your other hobbies/interests?

AA: For gainful employment, I am a sound engineer – primarily live, some recording/mixing at home. I consider this a hobby from which I conveniently make money. If I had more time to encourage hobbies, I would definitely practice my clarinet more, take hair braiding classes, teach high school history, fix my sewing machine to make my own clothes and so much more. Guess I just want to make stuff – be it visual, audible, or dinner.

TTM: Who are some of your favorite lady drummers right now?

AA: Ikue Mori (don’t think she does too much drumming these days), Susie Ibarra, Allison Busch

“I want to use drums (just like my voice!) to tell a story.” – Andrya Ambro

TTM: Who are some of your favorite bands right now?

AA: Naked on the Vague, Magik Markers, Sightings, Fabulous Diamonds, Antimagic, Kanye West, Little Claw, Pterodactyl, These Are Powers

Interview by Tom Tom Magazine Creator: Mindy Abovitz

Tom Tom Magazine Photography by: Jee Young Sim

More recently she has played for the British rock band The Spins whose website offers some tasty morsels off their Level Eleven album available through iTunes. Little can be found about what Alessia has been working on since then but you can bet she is staying busy. I contacted her early in July and hopefully we can coordinate and bring you an interview soon.

Until then check out her myspace and her website which offers an interesting look and description of the back of one of her set-ups.

Alex Carulo

It’s important to know that when you’re playing 16th note paradiddles, it should sound like you’re playing a roll. Keep your strokes consistent.

A good way to start building your paradiddles is to play quarter notes for a measure (4 counts) with alternating sticking (RLRL). Next play 4 counts of eighth notes, sticking RRLLRRLL. Then play an eighth note with two sixteenth notes, sticking R-RR, L-LL, and so on for 4 more counts. This builds the “diddle” part of the paradiddle. Finally, make the last measure complete paradiddles.

Now you’ve got yourself a snazzy paradiddle-builder, if I may say so myself.

Once you master the paradiddle, you can spread the notes across your toms. Paradiddles between the hihat and snare sound pretty rad, too.

Born in Havana, Cuba she was formaly trained in the Felix Varela School of Music. Afterwards, Madelin played in various all girl percussion groups and colaborted with other groups and recordings including Raul Torres’ Fenix de Crystal. She is curently living in Madrid, Spain and has toured Finland and Sweden with singer Jari Sillanpaa and band director Carlos del Puerto.

I’ve been fortunate enough to be chatting with Madelin via email and I’m happy to announce that we will post an interview soon. For now I can tell you that she has been a pleasure to speak with and has been very generous and accommodating. She has a true, admirable passion for music and it is apparent in her performances. You will rarely see a video performance of her where she is not smiling.

More recently she is collaborating in a group called Timbako directed by her talented brother Pepe Espinosa.

Talent, style, and class, this sums her up. Check out her myspace page for more info on Madelin.

Alex Carulo

I love how she’s already groovin’ in the back as soon as the song starts. While she plays the main beat, she doesn’t play on counts 1 or 3 so she has time to throw her left hand up. Which looks really cool, let’s be honest. Another thing I like is during the breakdown around 2:30. The tom hits, then a turn off to the side.

Little things really make a difference in your performance. You may think no one notices these things, but people definitely notice. So don’t be afraid to throw them into your set.

Pamela Love

Full name: Pamela Love
Nickname / pseudonym: Panina Sverdlovetzky
Age: 27
Where were you born: New York
Where do you live now: New York
Bands you are drumming in currently: Scorpio Rising
What you do for a living: jewelry designer
Something outstanding about you: I’m an outstanding multi-tasker

“I’m really inspired by Afro-cuban polyrhythms… I am still limited. And I think my limitations inspire my style.” -Pamela Love

Tom Tom Magazine: When did you start playing the drums?

Pamela Love: In high school but I stopped for a very long time. And every day I am still learning.

Tom Tom Magazine: What influenced your decision to become a drummer?

Pamela Love: I had damaged my vocal cords and could no longer sing. But I still had all this musical energy I needed to get out.

Pamela at the kit

Tom Tom Magazine: Has any drummer influenced you? Who has influenced you the most?

Pamela Love: When I was a kid I was obsessed with Keith Moon.

“I am always listening for the drums even when I am not trying to.” – Pamela Love

Tom Tom Magazine: What inspires your drumming style?

Pamela Love: I’m really inspired by Afro-cuban polyrhythms… I am still limited. And I think my limitations inspire my style.

TTM: How did you form your band?

PL: My close friend Stephanie and I just started jamming together and we have gone through a lot of lineup changes until now. Currently our good friends Elizabeth and Jane are on guitar and vocals.

We Love Pamela Love

TTM: What band has influenced your band the most?

PL: Personally, Neil Young, The Band, Fleetwood Mac, Paul Simon, Bruce Sprinsteen have been major influences on me. All of us are influenced by totally different kinds of music. It’s hard to say who has influenced us the most.

TTM: How would you describe your band?

PL: Sort of psychedelic, garage, with an element of early 90′s grunge.

TTM: What’s the hardest part about playing drums?

PL: Singing and drumming is so challenging. Also (and I’m not kidding) I really have such a hard time getting my hi-hat clutch tight enough.

TTM: How would you describe your ideal drum set?

PL: One the puts itself together and takes itself apart.

TTM: You’re involved in a lot of different projects: jewelry design, film, painting etc…do any of them influence your drumming? Does your drumming influence your other creative endeavors?

PL: I think everything influences each-other. Last season my jewelry was heavily influenced by African, Mexican and Native American jewelry. I was also extremely interested in drumming styles and music from those cultures as well. Especially the music of Ali Farka Toure. Its interesting how a fascination with a particular culture can affect many different creative aspects of your life at the same time. I also think another common thread is that I am always doing something with my hands.

Pamela at Tom Tom Magazine / Make Music NY Show

TTM: Who are your favorite drummers right now?

PL: Keith Moon, Steve Gadd.

TTM: What are you listening to currently?

PL: Grizzly Bear, Miles Benjamin Anthony Robinson, Devendra Banhart, Leonard Cohen, Tk Webb and the Visions, TV on the Radio, Moon and Moon, Bat for Lashes, T.I.

TTM: Has drumming had any impact on the way you listen to music?

PL: Yes. I am always listening for the drums even when I am not trying to.

Pamela working on her line

TTM: What is your favorite set-up for your kit? Why?

PL: The simpler the better. As long as I have a bass, and a snare and a high hat I’m happy.

TTM: How often do you practice?

PL: 3 days a week.

TTM: How do you warm up?

PL: Coffee, tea, cigarettes.

TTM: If you could change one thing about the drums what would it be?

PL: Nothing. They are perfect. Well actually sometimes I wish I could play standing up so I could dance. I’m thinking I might need some congas.

Pamela at Coco 66 in Brooklyn

TTM: Do you do anything else drum related besides playing in a band? (i.e. teach drums one on one, rock camp, drum circles, etc …)

PL: I really like playing djembe.

“Listen to as much music as possible.” – Pamela Love

TTM: Where do you shop for your drum gear?

PL: Guitar Center usually. Or Main Drag Music in Williamsburg, Brooklyn.

TTM: What’s the best piece of advice you have as a drummer?

PL: Keep it simple.

Pamela

TTM: What would you recommend to a new drummer starting off / advice for new drummers?

PL: Practice all the time. Get “the new breed” and learn everything in it. Listen to as much music as possible.

TTM: What are some of your other hobbies / interests?

PL: I like to paint, sculpt, draw and make jewelry. I also love riding my bike.

xo,

Vicki Simon, Senior Editor

]]> http://tomtommagazine.wordpress.com/2009/08/14/exclusive-interview-with-drummer-jewelry-designer-pamela-love/feed/ 1 tomtommagazine l_4dca7519053743deb4e9989ed9f8948b fresh-talk-pamela-love-mary-kate-olsen-olsen-twins-news-f54badea9359df433ba90bbfccb44513 l_0cefb8d7241e4625970e3206165dd6d6 pl4 DSC_0044 19_pamlove3_lgl.larger l_0fa3f7636c2f468aa4d778ca40a78a57 pamela+love3 http://tomtommagazine.wordpress.com/2009/08/12/drummer-of-the-week-marilyn-mazur-plays-with-miles-davis/ http://tomtommagazine.wordpress.com/2009/08/12/drummer-of-the-week-marilyn-mazur-plays-with-miles-davis/#comments Wed, 12 Aug 2009 19:03:17 +0000 alexcarulo http://tomtommagazine.wordpress.com/?p=1391 ]]> If you ever get writers block, try putting on some Miles Davis. Seriously. My cousin Frank lent me the Miles Davis live in Munich 1988 DVD and almost immediately, the aura and greatness of this musical giant channels through your soul and begins to wash away any strife, stress, or tension. Conveniently, Miles toured with well renowned drummer, percussionist, bandleader and composer Marilyn Mazur.

Marilyn is originally from New York but was raised in Denmark. She has formal training from the Royal Danish Academy of Music but her work on her instruments is mostly self taught, a very impressive feat.

The video below is a piece called Tutu from the Munich concert. Miles is a true master at his craft and has total command on stage. Yet he has an intimate connection with his band mates, standing close to them or placing a hand on their soldier, communicating with them casually and calmly. It allows his musicians to work their craft without any intimidation upon them, allowing a truly great collaboration to punch through. Marilyn has an impressive solo part at about 6 minutes and 50 seconds in.

Read more about Marilyn at her website or if your fluent in Danish there is a documentary movie done about Marilyn by Danish film director Christian Braad Thomsen.

Alex Carulo

First, I’d like to examine Meg White’s presence.

(http://www.youtube.com/watch?v=li3Sqqf3Ki0)

She doesn’t just hit the drums, she’s beating them. Notice that she doesn’t just use wrist-strokes here…No, she’s using arm for those strokes. Sometimes above her head.

Her playing isn’t too complicated, but she’s filling the stage with sound. This is an especially important role, as there are only two people in the White Stripes. The notes she plays on the floor tom & bass drive the verses, and when she brings the crash cymbals in, you can feel it. It all comes together.

Exclusive Tom Tom Photo by Erin Nicole Brown

Full name: Allison Busch
Nickname / pseudonym: Awesome Allison, Sharon Gear
Age: 28
Where were you born: Flint, Michigan
Where do you live now: Brooklyn, NY & Detroit, Michigan
Bands you are drumming in currently: Awesome Color & Red Dawn II
Bands you were drumming for in the past: same as above

Exclusive Tom Tom Magazine Photo by Rebecca Smeyne

“Keep the beat & keep the band smiling.” – Allison Busch

Tom Tom Magazine: When did you start playing the drums?

Allison Busch: at 16 years old

Tom Tom Magazine: Reason that you started playing the drums?

Allison Busch: Hyperactivity & incessant tapping on things

Tom Tom Magazine: How long did it take til you felt like a “real” and legit drummer?

Allison Busch: When I joined a band and we played a show

Awesome Color

Tom Tom Magazine: What is your favorite set-up for your kit? Why?

Allison Busch: Low and spread out so you can hit hard & sloppy without splitting your knuckles or breaking sticks

TTM: What would your dream kit consist of?

AB: Giant crash cymbals, absolutely enormous

TTM: What do you do to get better at the drums / Best way to get chops?

AB: Play every day

TTM: What is your favorite drum warm up / what do you do to warm up before playing?

AB: Drink coffee and listen to some killer music to get your blood going

TTM: What do you think the role of the drummer is? (In a band)

AB: Keep the beat & keep the band smiling

TTM: Do you play any other instruments? If so … how does that effect your drumming?

AB: No, but any time I try another instrument, I play it real percussively.  I’ll just hit the strings on the guitar, not really strum or anything

TTM: What do you consider to be the most challenging thing about the drums?

AB: Not messing up the beat

Awesome Allison

TTM: What’s your favorite part about playing drums?

AB: Hitting both crash cymbals at the same time & playing fast rolls around the kit

TTM: Most notable show you ever played?

AB: At ATP a couple of years ago, Awesome Color got to open up for my favorite bands….Wolf Eyes, Negative Approach, and The Stooges

TTM: Have you experienced any setbacks as a female drummer?

AB: Hell no

TTM: Who are your favorite drummers?  

AB: Kid Millions, Animal

TTM: If you could change one thing about the drums what would it be?  

AB: Front of the stage (just kidding). Unbreakable cymbals

Allison

TTM: Do you do anything else drum related besides playing in a band? (i.e. teach drums one on one, rock camp, drum circles, etc …)  

AB: I used to help teach drums at the Glasslands after school program

TTM: Where do you shop for your drum gear?

AB: Anywhere with used cymbals, Main Drag in Brooklyn

TTM: Best piece of advice you got as a drummer?  

AB: “You must play the drum hard and blow the big man’s mind.” —Big Youth in “Rockers”

TTM: What would you recommend to a new drummer starting off / advice for new drummers?

AB: Think about hitting the bass drum, that’s where the beat really takes off

TTM: What are some of your other hobbies / interests?

AB: Skateboarding, pinball, ice hockey, horror movies

TTM: Who are some of your favorite lady drummers right now?

AB: Andrya Ambro from Talk Normal rips

TTM: Who are some of your favorite bands right now?

AB: Knyfe Hyts!  There are some killer bands in Detroit right now… Tyvek, Bad Party, Infinity People, Gardens, & Druid Perfume…that I’ll go see live, but if I put on a record it’s usually an old Radio Birdman or Motorhead jam or some Scandinavian crusty punk.

TTM: When did you start skateboarding?

AB: When I was 14

At the kit

TTM: What kind of taco is your favorite taco?

AB: Fish tacos in California and nopalitos in the Southwest

Exclusive Tom Tom Magazine Photo by Erin Nicole Brown

Interview By Tom Tom Magazine Creator: Mindy Abovitz (a total awesome allison fan)

Perhaps most notably, the band looks like they are having a complete blast on stage with clanky percussion driving each number. Drummer Courtney Gray is a joy to watch at the kit: energetic, on-time, and completely animated. Lauren Stern rocks the crap out of a tambourine, and guitarist Caroline Partamian jams alongside Gray on the floor tom in various songs, all while lead singer/guitarist Ashley Thomas strums away up front as each member contributes to sweet vocal harmonies.

Just in time for their first release, 7-inch “Splintered Bridges” (Aug. 1 on Double Negative Records), Tom Tom Mag caught up with drummer Courtney Gray to discuss picking up drums again after years of not playing, and using those toms to “set the mood” (bow chicka bow!).

Courtney Gray playing it cool at the kit March 19, 2009 at South by Southwest in Austin, TX. Photo by Derek Evers & http://www.tripwire.com.

Name: Courtney Gray

Age: 23

Hometown: Ojai, CA

Currently Lives in: San Francisco, CA

Past bands: The Skullfuckers (Misfits cover band)

Current bands: The Splinters

Day job: High School Teacher

“Physically and emotionally, I would never choose any other instrument for myself. Playing drums is just the BEST feeling.” –Courtney Gray

Courtney Gray with fellow Splinter tambo/singer Lauren Stern at South by Southwest in Austin, TX 2009. Photo credit: http://www.flickr.com/photos/frankenhoodie.

Tom Tom Magazine: How long have you been playing drums? Why did you start – and select drums instead of any other instrument?

Courtney Gray: So, the first time I started playing drums, I was about 13-years-old. My older brothers had bought a cheap drum-set and taught me how to play it, and then I got better than they did, so they decided to just stick to the guitar, and we created a pretty sick Blink 182 / Nirvana cover band, but I stopped playing like a year later, and started playing again recently when my college friends [at UC Berkeley] and I decided to start a Misfits cover band.

Tom Tom Magazine: Why did you stop?

Courtney Gray: I stopped because I was really young at the time, and it was basically a fun hobby to do with my brothers, and once I started socializing at school more, I got distracted.

TTM: After such a long gap of not playing – was it difficult to pick it up again? What were some of the challenges there?

CC: It actually wasn’t that difficult. I mainly only knew basic beats and punk beats, so just playing Misfits songs was pretty simple. It ended up being like hopping on a bicycle again, but the one challenge was stamina: My stamina was really low at first, and my forearm would get really tired really fast after only one song. So, it would be hard to play a lot of songs in a row, which was frustrating, and the creative aspects were also challenging, like coming up with fills or finding my own style, etc.

Courtney jamming at Cafe Pergs in Santa Cruz, CA (April 2009). Photo by Chris Guerrero.

TTM: So how did you teach yourself to play? Do you think that playing covers and being in cover bands originally was a good way to start?

CC: Definitely! Especially when you’re that young, and you don’t have a clue about theory and whatnot. Just listening to songs in my headphones and duplicating the beats and fills was really helpful, and when you’re at such a beginner level, you don’t even know where to begin and what options are out there, so each song you duplicate is like a mini drum lesson

TTM: And what about punk-style beats? What draws you to that?

CC: I was into really shitty punk when I was in junior high and high school. I liked the energy and fast pace of the music and was kind of a tom-boy – no pun intended – so I naturally would cover punk songs and then had that as a foundation for myself. Actually now though, I am not as drawn to punk-style beats as much. They’re starting to bore me. When we write new songs now, I’m more interested in trying to make “interesting” things happen and really explore the use of the toms rather than just slap on a punk beat.

TTM: Same here. It takes a while to really start getting creative with the toms, I think – especially the rack toms. What kind of kit do you play now?

CC: I recently got a new kit, but have to do some work on it before I can play it. It’s an old Gibson Slingerland (I think from the ’60s) – BEAUTIFUL sparkle champagne (Sorry, I have to brag about that), and it has two rack toms and one floor tom. I like toms. I was considering downsizing to just one rack tom, for the sake of convenience, but I don’t think I’ll be able to go through with it.

TTM: Explain your love for toms. What do you think they add to songs? ☺

CC: So, I also do art, like painting, drawing, etc, so sometimes I approach a song the same way I approach an art piece, and the toms are like that extra bit of texture that gives a piece more body and depth, and they can take the song in specific directions, tone-wise, and I love being able to do that. Also, sometimes our songs have like a progression of events, almost as if it’s a story, and the toms really help “set the scene” I guess you could say.

“I was into really shitty punk when I was in junior high and high school. I liked the energy and fast pace of the music and was kind of a tom-boy – no pun intended.” — Courtney Gray

The Splinters playing The Smell in Los Angeles, CA, May 23, 2009.

TTM: Maybe you can give me an example of how your drum part “sets the scene” in a particular song?

CC: Okay, the song “Oranges:” The whole premise of the song is totally lesbo, even though none of us are gay, it was just a cute idea to make it a girl instead of a guy. Anyway, the song starts out by kind of introducing her, and during the intro I’m just on the toms doing a tribal-like beat. And to me, it kind of creates the vibe that she is this epic character that we’re starting to tell you about and she’s coming your way. Then there’s a part in the story about running into this girl where the narrator falls and the lyrics go, “fall fall fall, fall fall fall,” and at the point I’m doing a drum roll on just the snare that creates the effect as if someone is falling repeatedly and like tumbling away after she falls.

TTM: What is your favorite thing about being a drummer/playing the drums?

CC: Oh, it’s hard to pinpoint a favorite thing, but I would have to say first off, physically and emotionally, I would never choose any other instrument for myself. I’m a pretty emotional/intense/high-energy person, so playing the drums is just the BEST feeling. It’s a good release, and it feels more personal and intimate because of the level of intensity with which they’re played. I also tend to hit extra hard, because it’s that intense contact that feels so good, and so right.

TTM: And what is the most challenging thing about drumming?

The Splinters pose for a band picture. Photo by Lizzzz Wood.

CC: Of course, just wanting to be better or more advanced than you are – like having all of these things you want to do, but not being technically equipped to do them, and then the frustration that goes along with that. I’m also bad at doing the whole “practicing alone” thing in order to get better. It’s kind of intuitive for me, so I don’t really know the best way to go about like formally improving, you know? But I’m starting to brainstorm things that I want to start doing. Like my friend was showing me all these different types of “paradiddles,” and I’m going to just do those constantly, and then try harder ones, and harder ones, because it’s getting your muscle memory going that helps you improve, and getting your body to be comfortable with all those awkward sequences.

TTM: Who are some your favorite drummers?

CC: I’m not too keen on ALL of the drummers out there, and that’s definitely something I haven’t really gotten super obsessed about figuring out, but there are drummers that I technically admire. Like the drummer from the band Man Man [Pow Pow AKA Christopher Powell] is amazing and can do so many things at once, even down to playing a kazoo on key while doing a really complicated drum sequence. He’s just 100% rhythm when he plays, like his face makes the strangest expressions and when you watch him, he’s not just a dude sitting at a drum set, he’s a machine that’s a part of the drum-set.

TTM: And as a female drummer, have you experienced any sexism – ever get the “oh, they’re just a chick band” write-off? How do you deal with that?

CC: It always causes lots of hilarious conversations, or conflict. For example, we were talking amongst a big group of people we didn’t know at this bar, and this guy was like, “Hey, I really like your band! You’re really great! And I love how it’s all girls too, it’s so awesome.” It was a really nice comment, and we were really flattered and didn’t read into it or anything, and then this girl standing nearby got really offended and was like, “What’s that supposed to mean?! All-girl band? What does that have to do with anything… like what if they were a . . . transgender girl band?! What then?!” Essentially, we’re comfortable with being an all-girl band, and aren’t like on the defense or anything, and are really into the jokes that go along with all of it, though

“Sometimes I approach a song the same way I approach an art piece, and the toms are like that extra bit of texture that gives a piece more body and depth.” –Courtney Gray

Aw! The Splinters handmake and customize their merch.

TTM: Let’s hear all about the Splinters’ new 7-inch, “Splintered Bridges,” just released (Aug 1) on Double Negative Records in Oakland, CA. Where did you record? What was the recording process like? What were some of the challenges in tracking the drums?

CC: Well, the two songs we ended up choosing to put on it were recorded in two separate places by two different people. The song “Splintered Bridges,” was recorded at our practice studio Soundwave, and the other one, “Sorry,” was recorded in a home studio of another friend of ours. Both recording processes were amazing! The one at Soundwave was an all-day affair – the guys recording for us were grrreat. They were really open to what we wanted and were extremely patient. We recorded from like noon to 2 am that day. The other one in the home studio was just a relaxing Saturday – drank beer and limeade, ate tacos, laughed a little, recorded a little – it was a good day. We never really encountered too many problems tracking the drums. The only challenge that we came across for the drums was capturing the right essence for certain songs, because they don’t translate in recordings like they do live.

The Splinters brand new 7-inch!

TTM: What’s next for the Splinters? What are your goals as a band, and how hard is it to realize “making it” with a day job/school/rent to pay, etc?

CC: Good question. We actually have a pretty set idea of how things are going to go/how we’d want them to go in the next year. One of our guitarists/singers, Caroline Partamian, was supposed to go to NYU this fall for grad school, but she ended up deferring for the band. So we actually have exactly a year to “do stuff.” One of our goals was a 7-inch, which we have officially accomplished. Yow! We’re planning on recording again in September to work towards our next goal of having a full-length album. Our tambourine player, Lauren Stern, might end up learning how to shred at the bass in the near future. Our other guitarist/singer, Ashley Thomas, might end up rapping in a few more songs, since we found out that’s her secret talent. In addition to that, we’re all creative, so we always like to dedicate time to creative Splinters-related projects, like T-shirts, artwork, videos. It’s fun to do those kinds of things yourself instead of having other people do them for you.

Right now we all have full-time day jobs (booo!), so making time for practice and other band-related stuff can be pretty challenging, especially when we play a lot of shows in one specific time period. There are weeks where my life is literally work and band, work and band, but it’s a great time and it’s worth it. The band is one of the main things that’s keeping me from going totally nuts from this new post-college “job life.”

More info on the Splinters:
http://www.myspace.com/thesplintersband

–Melanie B. Glover

A Native New Yorker, Paula gained her drumming chops at the tail end of the 1960′s at a percussion shop which served some of the greatest drummers and Jazz greats of the day. Getting advice from all different genres of music, she honed her skills and played in several bands. By the early 80′s she had quite a following and started the workshop at the urge of some fans.

My vision for the workshop is to provide quality instruction and support to those beginners who may not have played drums before and to the women and girls who are already drumming to propel their skills and mentor those students who express a desire to go on to a professional career in drums. This is my legacy and my life’s work.”

-Paula Spiro

If you are a beginner or an active drummer looking to kick your skills up to the next level, look up The Female Drummers Workshop in Williamsburg, Brooklyn. Get the formalized training that will kick your skills in the pants, and inject the credibility of 40 years of wisdom of great musicians pipped through the master advice of Paula Spiro.

Alex Carulo

READ OUR FULL INTEVIEW WITH PAULA SPIRO BY DRUMMER HEATHER WAGNER COMING TO TOM TOM MAGAZINE SOON!!!

There are so many different types of rolls, but for now I’ll cover a buzz roll and an open roll.

Notation for a buzz roll:

Buzz rolls are crushed diddles (to be explained momentarily). When you hear the “Drum roll, please!” before a big announcement, they’re going to be playing a buzz roll: multiple bounces per stroke, pushed into the drum head. Buzz rolls can be played at various pulses. Usually at a triplet or 16th-note pulse. That means your hands would be playing triplets or 16th notes, but you’d be buzzing the strokes.

Open rolls (also called double-stroke rolls) are two hits per stroke (called “diddles”), alternating between right and left hands. Sounds easy enough, but you have to be sure not to crush the strokes and to let the diddles breath. A clean, open roll should sound like you’re playing even 16th notes.

Notation for an open roll:

Notation for a diddle:

Like I said before, there are tons of other rolls: single-stroke rolls, single and double paradiddles, five- and seven-stroke rolls, variations on six-stroke rolls, etc. I’ll cover a few in future blogs, but if you want to learn more now, go here: http://www.vicfirth.com/education/rudiments.html. Vic Firth’s website has an awesome rudiment section. Enjoy!

Exclusive Tom Tom Magazine photo by Jennifer Leigh Aschoff

Exclusive Tom Tom Magazine photo by Jennifer Leigh Aschoff

“I just sat down behind the kit and it was decided that I would be the drummer.” – Frankie Rose

Tom Tom Magazine: Why did you start playing the drums?

Frankie Rose: Well, in my first band no one except the guitar player really knew how to play anything so I just sat down behind the kit and it was decided that I would be the drummer. Still don’t really know how to play actually.

Tom Tom Magazine: How long did it take til you felt like a “real” and legit drummer?

Frankie Rose: That’s funny, as far as I know I still am not.

Crystal Stilts

Tom Tom Magazine: What is your favorite set-up for your kit? Why?

Frankie Rose: I always prefer a simple kit really, just a kick, a snare, a floor tom, one cymbal, and a high hat.

Tom Tom Magazine: What would your dream kit consist of?

Frankie Rose: Maybe a 64 Slingerland or something.

Tom Tom Magazine: Do you remember how we met (me and you!)?

Frankie Rose: It’s a little fuzzy but i think it was when i first moved to New York and you were putting on a show at your house…But maybe just maybe Shitstorm and Taigaa played together at The Woodser.

Tom Tom Magazine: What was it like drumming for that band (Shitstorm)?

Frankie Rose: It was a beautiful thing… we mostly just laughed a lot. Those people continue to be like my family. I love them.

“…a drummer however is a key player, the drummer brings the party, so to speak.” – Frankie Rose

Crystal Stilts

TTM: What style drumming would you say you play?

FR: Absolutely my own weird style.

TTM: Are you self taught?

FR: Indeed. Very.

TTM: What do you do to get better at the drums / Best way to get chops?

FR: Man. I almost never practice playing drums. Thats the truth. I may never get better.

TTM: What is your favorite drum warm up / what do you do to warm up before playing?

FR: I don’t!

TTM: Have you experienced any setbacks as a female drummer?

FR: Not so much.

“I love the physicality of it.” – Frankie Rose

Exclusive Tom Tom Magazine photo by Jennifer Leigh Aschoff

TTM: What do you consider to be the most challenging thing about the drums?

FR: Having stamina.

TTM: What’s your favorite part about playing drums?

FR: I love the physicality of it.

TTM: What do you think the role of the drummer is in a band?

FR: This is a strange question for me because I suppose I don’t really identify as being only a drummer anymore. I often found it difficult to be a drummer in bands where I wrote songs or had a big part in the songwriting process. It can be tricky to hand over something you have written for someone else to play on the guitar…a drummer however is a key player, the drummer brings the party, so to speak.

“I  know what I like, and I know what I don’t like.” – Frankie Rose

TTM: What is your songwriting process?

FR: I write all my songs on a little electric guitar with a practice amp or an acoustic. as of late there is an organ in my house so I have been playing that a bunch… I’ll usually record a rough version, then I’ll re-record after everything is worked out.

Frankie

TTM: Do you play any other instruments? If so, how does that effect your drumming?

FR: I think drumming has made me a much better songwriter. I think you get a sense of timing for things you wouldn’t necessarily get otherwise.

TTM: What’s your favorite part about playing drums?

FR: Its good exercise.

TTM: Who are your favorite drummers?

FR: Paloma from The Raincoats, Jaki Liebezei, and Mo Tucker

TTM: Where do you shop for your drum gear?

FR: I almost never do! But I buy drumsticks at Main Drag most of the time.

TTM: Crystal Stilts has gotten a lot of attention lately…why do you think that is, and how does that feel?

FR: Its really nice to put work into something and have other people appreciate it. What more could you ask for?

TTM: What is the most stressful thing you have overcome at a show and how did you do it?

FR: Oh man…maybe being direct support for TV on the Radio in front of 2000 people. at the time , that was the biggest crowd I had ever played to.

“…drumming has made me a much better songwriter. I think you get a sense of timing for things you wouldn’t necessarily get otherwise.” – Frankie Rose

TTM: Best piece of advice you ever got as a drummer?

FR: Someone once said to me ” why don’t you try hitting the snare and the crash at the same time?” I found that helpful.

Crystal Stilts

TTM: Who are some of your favorite lady drummers right now?

FR: My  favorite  drummer of the moment is  from a band called Grand Ole Party from San Diego. She sings lead vocals and plays the drums. Brilliant.

TTM: Who are some of your favorite bands right now?

FR: Harlem, Dum Dum Girls, Reading Rainbow, Glass Widow, Thee Oh Sees, Ty Segall, Sic Alps

Exclusive Tom Tom Magazine photo by Jennifer Leigh Aschoff

Exclusive Tom Tom Magazine photo by Jennifer Leigh Aschoff

Perhaps it’s because I grew up in the 80′s, perhaps it’s because I have a latin background, perhaps it’s because she toured with Prince and I happen to be a Prince maniac (this is my second featured drummer that has worked with Prince), but Sheila still reigns as my personal all-time drumming pick, male or female.

It’s easy to overlook and begin to take for granted the talent that resides in mainstream pop. Take for example the recent loss of Michael Jackson, and how the stations began playing his songs day and night in his honor; chances are you forgot how good his music actually is.

Well, I fear people have forgotten about Sheila, people tend to shelf her, overlook the greatness, they are numbed by the easy listening stations constantly droning out “Glamorous Life”. They may fear to fall part of a cliché especially if the 80′s goes back out of style (yeah right!).

But if you put the whole Sheila package together; drummer, percussionist, vocalist, songwriter, performer, arranger, producer, composer, instrumentalist and humanitarian, you will recognize the greatness. Notice in the video below how the crowd reacts strongest during the slow breakdown beats, the parts that are simply Sheila E. Enjoy.

Alex Carulo

]]> http://tomtommagazine.wordpress.com/2009/07/29/drummer-of-the-week-sheila-escovedo/feed/ 0 alexcarulo Sheila E. http://tomtommagazine.wordpress.com/2009/07/28/technique-tuesday-subtle-stretches/ http://tomtommagazine.wordpress.com/2009/07/28/technique-tuesday-subtle-stretches/#comments Tue, 28 Jul 2009 03:09:05 +0000 Bianca http://tomtommagazine.wordpress.com/?p=1220 ]]> If you’re short on time and need a quick stretch before you perform, here are some simple things you can do pretty subtly behind your set.

Hold your arm out, with your palm facing away from you. Hold your fingers with your other hand and gently pull your hand backwards. Know your limits, don’t overdo it.

You can also do this stretch with your hand pointed downwards, palm facing you.

If you can stretch nothing else, stretch your wrists and calves. You can easily stretch your calves by standing with your foot at an angle on a stand or nearby wall. Apply pressure, but again, know your physical limits. The last thing you want is an injury right before a show.

There are tons of stretches you can do if you have more time pre-show, but I’ll get to those later.

If you have anything you want me to cover in Technique Tuesday, tweet your ideas to us at @tomtommag!

Take a look at the video below: Modern Drummer Festival 2000

This solo by Hilary Jones could be an instructional video. In fact Hilary has done workshops and clinics to teach the craft. Notice the way she feathers the beats to soften the sound and then strikes back in hard and thunderous. She uses the whole stick including the butt, and the side and shows excellent command of awareness of her kit. Through out the six and a half minute performance, the feel and rhythm changes over a few times from jazzy funk, to rock, and even a tribal vibe. I think she has incredible soul and is an amazing talent.

Hilary released a CD in 2001 titled Soaring which I would love to get my hands on. She has been featured in other magazines and writings but unfortunately, little is known about what she’s up to currently. Her website still says “coming soon” and there does not seem to be anything published about her newer than 2002.

Nevertheless, this performance is one I wanted to share, in case you have never seen it. Once, we get a hold of Hilary, we’ll be sure to update you.

Alex Carulo

Marika was born in 1890 on the island of Kos (a small Greek island that is actually much closer to the mainland of Turkey) and lived there, playing in cafe’s, until she relocated to New York City, possibly at the behest of the Victor recording company, in 1918.  Though not much information is available about her, or recordings of her music for that matter, she seemingly did well in New York, playing music often with her husband accompanying her on the hammer dulcimer. She recorded about two hundred performances of café-aman styled songs.  In the early-mid 1920′s Marika and her husband opened a club on 34th street between 7th and 8th avenues (if you’re in NYC go see what’s there now!) but sadly lost it when the Great Depression hit.

You do not have to be an expert on Greek music to appreciate Marika’s astounding command of her voice.  Meara’s interpretation of Smyrneiko Minore is an amazing homage to the way Marika pays extremely close attention to the “notes between notes” as Meara has once referred to the microtones that are woven into many of Papagika’s songs.  I highly recommend tracking down more of her music (and letting me know when you’ve found it.)  And if you’re lucky you can catch Meara playing as Avocet on the west coast at the end of this month.

Sara

Light Asylum will be performing tonight!!

China Chalet

47 Broadway

Below Rector – Between Exchange Alley and Morris St.

COME. WE’RE HAVING AN EPIC JOINT BIRTHDAY PARTY. BE THERE.

IT’S GONNA BE A BIG DANCE PARTY WITH ALL OF OUR FRIENDS AND PEOPLE WE KNOW. A SPECIAL EVENING FOR SURE.

PERFORMANCE AT 10PM BY LIGHT ASYLUM !!!!!!!!!!!!

BOOTY SHAKING DJ SETS BY: JESSE HUDNUTT, KATHY LO, KAELIN BALLINGER, SARAH COLLIGAN, MAY KWOK AND MORE!

Fresh off her tour with Parts & Labor in Berlin and Norway, Sarah Lipstate these days can be found with a double necked guitar and Moogerfooger Ring Modulator pedal for her solo project Noveller. With her second album Paint on Shadows, Sarah has carved out a niche for herself mixing Phillip Glass like minimalism with pulsing meditative rhythms.  Just this week Sarah announced that she was parting ways with Parts & Labor to focus on Noveller and her film making career. We caught up with Sarah to see what she’s been up to.

Full name: Sarah Lipstate
Age: 25
Where were you born: Birmingham, AL, but I grew up in Lafayette, LA
Where do you live now: Brooklyn, NY
Bands you are in currently: Noveller, Parts & Labor
Bands you were involved with in the past: One Umbrella, Sands
What you do for a living: This is it
Something outstanding about you: I’m really good at eating

“I like to let my pieces have kind of an organic pulse.  I

have a Moogerfooger Ring Modulator pedal that I use a

lot for creating rhythm.” – Sarah Lipstate

Exclusive Tom Tom Magazine Photo by Aaron Wojack

Tom Tom Magazine: How long have you been playing music? How long have you been playing the instruments you use for Noveller?

Sarah Lipstate: I started taking piano lessons when I was in 2nd grade.  Throughout middle school and high school I played trombone, and when I was 17, I started teaching myself to play guitar.  I found the double-neck guitar that I use for my Noveller setup at a pawn shop in Austin, TX sometime in 2004.

Tom Tom Magazine: How did you get involved with Parts & Labor?

Sarah Lipstate: A couple of months after I moved to Brooklyn, I got an email from a mutual friend, Jesse Hodges (Pterodactyl / When Dinosaurs Ruled the Earth) asking if he could give my contact info to the Parts & Labor guys.  He told me that they were looking for a guitar player and thought that I would be a good match.  I met with Dan a few times and learned a couple of their songs and then “auditioned” with the full band.  They asked me to go on tour with them a couple of days later. (Sarah no longer plays for Parts & Labor so that she can now focus more on Noveller and her film making career.)

“I got really into using objects to make sound with the guitar.  I used a carrot peeler on my Telelcaster when I played in One Umbrella.” – Sarah Lipstate

Noveller @ No Fun Fest - NY. Photo by Michael Muniak

TTM: What lead you to do your solo project?

SL: I started Noveller in 2005 when I saw an open call for submissions for the Women Take Back the Noise compilation.  At the time, I was playing in a duo called One Umbrella and the other member was a guy, so I decided to record a solo track.  After that, I recorded several other tracks for compilations and released some 3” cd-rs on my own.  I didn’t play a live show as Noveller until 2007 after I moved to NY.

Exclusive Tom Tom Magazine Photo by Aaron Wojack

TTM: Do you have any other projects / collaborations in the works?

SL: Right now I’m focusing on Noveller and my film work.  I finished a new short film in March for the first time in two years and it felt really great.  Hopefully, I can work on some new films before the year’s over.

TTM: What is the most notable show you’ve ever played?

SL: My favorite Noveller show was at the Un Son Par Là festival in Nîmes, France.  It was the longest set I’d ever played (45 minutes) which was a challenge, and I got to play to a packed auditorium in a beautiful modern art museum.

TTM: Where is your favorite place to perform?

SL: The sound at Music Hall of Williamsburg for No Fun Fest was amazing.  I’d love to play there again.

TTM: What influenced your choice of instruments for Noveller?

SL: I went through a phase in college where I was constantly pawning and buying gear.  There was a particularly awesome pawn shop in Austin that I went to regularly.  At one point, I pawned an acoustic guitar and bass amp and bought an electric sitar. I bought a Theremin online and put the double-neck guitar on layaway at the pawn shop until I could pay it off.  I started using an Ebow after a friend gave one to me my freshmen year of college.  I got really into using objects to make sound with the guitar.  I used a carrot peeler on my Telelcaster when I played in One Umbrella. Luckily, I’ve grown out of buying new gear and have sold everything that I don’t use regularly.  I’m more focused now on making the most with the instruments that I have.

Exclusive Tom Tom Magazine Photo by Aaron Wojack

TTM: What is your approach to making beats in your music?

SL: I like to let my pieces have kind of an organic pulse.  I have a Moogerfooger Ring Modulator pedal that I use a lot for creating rhythm. I have a favorite setting that I use to make a driving beat.  I also use my delay pedal for making beats by repeating chords or harmonics and then looping them.

TTM: Are you a full time musician?

SL: Currently, yes.  Luckily I’ve gotten some pretty cool gigs like playing in the revival of Rhys Chatham and Karole Armitage’s “Drastic Classicism” at The Kitchen, and playing with Rhys at the Met.  I try to supplement Noveller and P&L shows with other interesting guitar-playing opportunities when I can.

TTM: What drives you to compose/perform music?

SL: It’s the most satisfying job I’ve ever had.  I love recording and playing shows.  There’s nothing better.

Exclusive Tom Tom Magazine Photo by Aaron Wojack

TTM: What has influenced your music the most? (Specific bands, musicians, film, video, art etc…)

SL: I was really inspired by No-Wave around the time that I started playing guitar.  I worked at an independent record store in high school where I discovered Lydia Lunch, Theoretical Girls and The Contortions.  Sonic Youth was a huge influence as well.  I wanted to learn how to play the guitar, but I wasn’t interested in standard tuning or traditional playing.  I really latched on to bands that had innovative approaches to making music.

TTM: What is your creative process with Noveller? How do you compose your music?

SL: I usually start out with a basic idea or object and improvise until something interesting develops.  I’ll decide that I want to do a new piece using my violin bow or tape player and go from there.

TTM: If possibilities were endless, what would your fantasy instrument look like?

SL: My fantasy instrument would be a double –neck guitar with infinite sustain that weighs 5 lbs.

TTM: Out of all of the instruments you play, which is your favorite? Why?
SL: I really enjoyed playing trombone when I was younger.  It can be a really beautiful instrument.  Currently, my favorite is my double-neck guitar.  It inspires me.  There are so many possibilities.

TTM: If you could collaborate with any one in the world, who would it be?

SL: I think Zeena Parkins is amazing and would love to do a collaboration with her.

TTM: Where do you record? Does anyone help you with the production?

SL: Prior to recording my LP, I recorded all of my tracks at home on my laptop.  I recorded the tracks for Paint on the Shadows at Colin Marston’s studio in Brooklyn.

“I’ll decide that I want to do a new piece using my violin bow or tape player and go from there.” – Sarah Lispstate

TTM: What are some of your other hobbies / interests?

SL: I love traveling with my girlfriend, working on my short films, reading, doing graphic design.  I got really into knitting last winter when I visited my friend in Norway and she taught me the basics, but I haven’t kept it up.  I have a burgeoning interest in learning how to not be terrible at cooking because I really really really love eating.

TTM: Who are your favorite female drummers?

SL: Janet Weiss is great. I got to see her play with Stephen Malkmus and the Jicks at Siren Fest and she was fantastic. I also really like Andrya Ambro from Talk Normal and Libby Fab from The Paranoid Critical Revolution.  Awesome drummers.  Awesome ladies.

TTM: What are some of your favorite bands ?

SL: Right now I like Grouper, Emeralds, Talk Normal, The Goslings, & Marnie Stern.  Favorite bands ever include Sonic Youth, Teenage Jesus and The Jerks, Rhys Chatham, Brian Eno, & Einsturzende Neubauten.

TTM: Who is your favorite noise musician?

SL: At the moment, I’m really enjoying Prurient.  His set with Kevin Drumm at No Fun Fest was so good.

By Vicki Simon

A decade later the band is still cranking out throat ripping vocal, fast drum beats and screaching guitar riffs. Tsuda plays guitar, Nao drums and offers vocals. She introduced her younger brother Ryo on guitar and vocals into the band soon after it started and along with Futoshi Uehara on bass, this makes up the band roster today.

Their latest album Buiikikaesu released in 2007 features the song Zetsubou Billy. The video is below, its one of there bigger productions with sets costumes and make-up.

They are currently doing gigs all over Japan and their latest maxi single released last year called Tsume Tsume Tsume. Check out their website for more information and try your hand at extreme Japanese rock.

Godspeed Roy.

Alex Carulo

Obviously, we keep time. I don’t have to explain that to you. But I think our role as musicians goes deeper than that. Think of any song on mainstream radio right now, and it most likely has a unique or very prominent beat. Look at Aerosmith’s “Walk This Way” or No Doubt’s “Hella Good”.

The first thing you hear is the beat, and it grabs your attention. Once the song has your attention, courtesy of the beat, you listen to melody next, then lyrics. Something had to initially grab your attention.

In my opinion, drummers are time-keepers yes, but also attention-grabbers. What do you think?

~Bianca

PS- Bob Lefsetz (@lefsetz) twittered this last week, and I thought it fit well with this post: “An amazing drummer makes a huge difference.“

Cassie.

Sadly, your intrepid reporter’s fear of Port-O-Potties combined with bad bladder timing had her stuck in the bathroom line at Mr. Kiwi during my much anticipated Brilliant Colors so I only caught their last song. I was sad but they were awesome! From all accounts of trusted sources Brilliant Colors were one of the great hits of both days.

Katy.

My personal favorites from day one were caUSE co-MOTION whose bassist Liam was so energetic he literally stomped a hole right through the stage and The Mayfair Set debut, with Kristen Dum Dum haunting us in the sweltering Market Hotel heat with her stage presence and sweat-inducing outfit.

Day two was a beauty all around: outside, sunny, breezy, the Vivian Girls, the aforementioned much lauded Brilliant Colors set, Frankie drumming for the Dum Dum girls, and Todd P’s loudspeaker voice hovering over it all like God on a Sunday. It was a damn good 4th of July, hope you were there.

Ali. All Vivian Girls photos by Cathy Hsiao.

This weekend a scene of a different sort is worth supporting: the For the Birds Collective show at the 1087 Broadway loft.

For the Birds is a Brooklyn collective supporting women in music that’s been around for a couple of years now with members from the ashes of the beloved feminist Jane Doe books out on Montrose avenue. You might have seen them tabling at the Tom Tom benefit at Death by Audio and they put out zines, comps, and a yearly all-ages all-day event called The Big She-Bang (8/15) with “workshops, panel discussions, visual art, and music by and for women and women-identified artists & community members.”

Saturday’s show features all women bands, including Zombie Dogs. Zombie Dogs played two weekends ago with another Tom Tom featured drummer Gina Marie of Ina! Ina! and their myspace description is pretty accurate: like if Minor Threat and Excuse 17 had a beautiful zombie baby. Multi-talented guitarist Krista (who was also the drummer for the now defunct Carnal Knowledge) plays off Kathi’s muscular drumming with sweet intensity.

The dynamic duo.

The 1087 Loft itself is a feminist space that hosts plenty of great shows often put on by the Strength in Numbers Collective in addition to For the Birds. So show some sisterly pride and take the J train down Kosciusko way this Saturday! Cathy.

After the first two premonitions came true, Austin was determined to aid the last one. He bought his daughters instruments, made weekly trips to Manchester for music lessons, and made them practice everyday. Soon they were playing gigs every Saturday night at the Fremont Town Hall as Austin dubbed his musical daughters The Shaggs for their shaggy hairdos.

A year later they trekked to a recording studio in Revere, MA and laid down 12 tracks that would be released as Philosophy of the World. The sound engineer promised 1000 copies of the album but somehow, only 100 where distributed throughout local DJ’s and events with little fanfare.

They eventually returned to the studio to record a few more tracks but by then the band was slowing down. The drummer, Helen Wigin, eloped at 28 years old much to their fathers Austins dismay. The other Wigin sisters went about their lives as well. Then tragically, Austin suffered a heart attack and passed away in 1975. The Shaggs were finished.

Throughout the years, those 100 albums made its way into the hands of collectors and purists and in the late 70′s a Boston radio station played a few songs. Philosophy of the World was re-released on vinyl in 1980, eight years later both the band’s recording sessions were combined on the self titled CD The Shaggs. Frank Zappa heralded the Shaggs as being “Better than the Beatles” which later became the name to a tribute album, and Rolling Stone magazine declared their album one of the 100 most influential alternative releases of all time.

Their music is off tempo, off key and has a very amateur arrangement with simple and often predictable lyrics. But listen to it all the way through, then listen to it again, then again, and something begins to happen. The story of Dot, Helen, and Betty starts to come through. Saturday nights at the Fremont Town Hall comes through. Hours of practice from the basement of their Fremont home comes through. The innocence, the simplicity, and the cliché philosophy comes through. Austins perseverance comes through.

This is a textbook example of what we know today as the outsider music genre. Music that follows no rules, that sets no presidence or no expectations. Music that doesn’t top the charts, or sell hit records, or play on commercials, or make it to many if any MP3 players. But give it a chance, and it will make it to your soul.

Check out their website here: http://www.theshaggsonline.com or order their music at Amazon and discover outsider music.

Alex Carulo

I know that this is a highly detailed and sophisticated graph, but the point is that you need balance in your practice routine.

You need a healthy amount of practice:

• Live/With a Band: As in, with a band, a guitarist, or even another drummer (Never rule that option out!). Whatever you can find. This is really important if you plan on playing shows…or anywhere in public, and I certainly hope you do! Playing with another musician will help you get a feel for being in control of the tempo. It’ll also work out any kinks that you wouldn’t want happening at a gig. I know it might be hard to find someone to drum with. I wouldn’t be writing this if a band director hadn’t needed someone to play drumset at pep sessions 4 years ago. Just ask around and put yourself out there, you never know who might be looking.

• With a Metronome: I’ll be honest, I hate metronomes. They’re obnoxious. But I force myself to practice with them. Why? Because they give the beat! Metronomes will help you grasp the concept of tempo much better than practicing with a band will. If you play along to a met, you’ll become more used to keeping a steady beat. Which is a big job of yours, right?

• With a CD/MP3 Player: This is how I began drumming (along to Meg White & Torry Castellano, yo!). Find a good set of headphones first. Ear buds won’t let you hear your music well enough, you’ll need something heavier than that. Make sure the cord is long enough for your flailing. Obviously, short cords can become a problem. Be sure that what you drum to isn’t too easy. Have a nice mix of slow, fast, easy, and hard songs of all genres. Even if you can’t play a song all the way through, put it in the mix. That way you’ll have something to work on and up to. If you are using your MP3 player, make a playlist exclusively for drumming.

Links:

http://www.metronomeonline.com/ - This is a free online metronome. Highly recommended.

http://accessories.musiciansfriend.com/product/Vic-Firth-Single-Sided-Practice-Pad?sku=447605#new - If you’re interested in buying a decent drum pad, for a more quiet practice session, this is a nice one.

Next week: The Importance of a Beat.

Be sure to follow me (@girlbeatsdrums) and TomTom (@tomtommag) on Twitter, if you haven’t already.

Shoko

“I’ve learned that if I don’t put my 100% on drumming, it wouldn’t give me any result I want.” Shoko Horikawa

SARA MAGENHEIMER: You and I were on tour together in the US this fall (you in XDS and me in Flying and Fertile Crescent) and recently you just returned from another tour, this time of Europe.  You mentioned that your experiences on tour were quite different, especially in your relationship to drumming, and that you were in a very different place physically and emotionally.  I’m curious about some connections you might see between your drumming and your psychological, emotional, and physical states?

SHOKO HORIKAWA: I think on the last US tour with you guys and Deerhoof, I was focused on drumming, and nothing else really mattered. I was never able to face to a instrument like that before. It was very intimate.

In the beginning of the tour, I had a really hard time getting used to being on a larger stage, and playing an instrument I’d only known how to play for 10 months or so.  But being with great musicians like you guys and Deerhoof made me want to get over it, and gradually, I was able to shake off the negative feelings I had towards my drumming. I was making fewer mistakes, and even started to enjoy on stage.  In the end, I felt my drumming got better, and believed I’d accomplished something.

On the other hand, during the European tour we just finished last month, I was not able to feel very good about my drumming. It didn’t get any better or worse throughout the tour. My mind was focusing on something other than drumming, I think. I had a trouble sleeping in the first half of the tour, and that was very hard physically and mentally. After I got over that, it just kind of felt busy dealing with daily schedule of the tour. I started to miss home, and wanted the tour to be over soon, even though the tour itself was going really well.

This may sound too obvious, but I’ve learned that if I don’t put my 100% on drumming, it wouldn’t give me any result I want. I feel that it’s time for me to reset my mind, and get ready to face to face with drums again.

“After we were on tour for 2.5 months this fall/winter I stopped playing drums completely for a while.” – Sara Magenheimer

SARA MAGENHEIMER: Touring can be so hard!  After we were on tour for 2.5 months this fall/winter I stopped playing drums completely for a while.  In fact, we stopped playing most of the songs we were playing on tour and began writing new ones.  When we’d play we’d have Blang time where we’d just Blang out whatever was in the air. Eventually we started recording these sessions and sculpted new songs out of them.  This felt like a really good, organic way of working.

In terms of the relationship between drumming and emotional/psychological states I think there are many possible connections. Other drummers have said that they feel a sense of calm after playing and I would say the same.  This is mostly after practicing, when I can really get into a groove or just play the hell out of a repetitive beat.  I think most people would be much happier if they could do this for a little while every day.

I read something recently that said that the first rudimentary percussion instruments grew out of activities humans were already involved in; we needed to make tools by scraping and tapping and then we made the first idiophones (an instrument that creates sound by way of the instrument vibrating itself, like two bones or sticks being hit together.)  This basic need to create rhythm is fundamental to something innate in all living creatures, I think.  Nearly every culture has a folktale in which there’s a drum featured prominently.  So many voodoo ceremonies depend on the rhythm of the drum to work the participants into a trance in which they commune with/are taken over by a spirit/god.  I also read recently that elephants stomp their feet to transmit information to other elephants who are miles away (and receive the vibrations through their feet.)  It does seem that vibration, rhythm, is a truly basic way of communicating.

I remember when we were on tour I was really impressed when you told me how much you practice.  I think you said that you drum sometimes up to 5 hours! Am I remembering correctly?  What is your practice like? Do you have a routine? Also, can you walk me through a practice in terms of what you go through emotionally, psychologically over the course of that time?

“I used to have a serious anxiety problem, and I once had to go to the emergency care because of it. Playing drums has helped me so much with that.” – Shoko Horikawa

SHOKO HORIKAWA: I was practicing a lot before the US tour because I felt so nervous and worried! We did practice 4-5 hours 5-6 days a week at that time. We went through the set over and over, and also played the shaky ones over and over again. And also we practiced with click-track.
Emotionally I was frustrated pretty much most of the time. Jesse would be pushing me to play more all the time, which now I think it was great that he did, but at that time I showed no appreciation…

It’s different now, but I still like to practice at least 2 hours 5-6 days a week. I don’t have any drumming practice routine (I really should. Do you?) We normally work either new songs, or rework old songs, or practice the shaky songs or the set.
On some days our practice would go great, writing new songs and feeling easy. On other days, it’s not so easy and I feel frustrated.. Also of course if one of us is not in the good mood, it affects the other so much, and naturally we don’t get anything done. That’s when dark clouds of negative feelings come to me…and I start to doubt just about anything we do.

SARA MAGENHEIMER: Lately our rhythm of practicing together has been erratic.  We just moved to California, but mostly it’s because we’ve been writing and recording for a few months.  But I’ve been practicing on my own a lot, which I think is really important to do, even if you’re in a band with another person.  Practicing alone gives me a chance to just feel out where I am in my relationship to my drums.  It also just gives me time to have FUN and PLAY which is great!  I have a list of various things that I can do on the drums, in case I forget, which totally happens. Sometimes I’ll just go and sit down and not really know what to do. Then I look at my list and remember that I can play some rudiments, or practice a few beats I like, or practice moving the snare hit around within another beat, whatever…Or sometimes I’ll just rock out a little bit.  Or I’ll try to play along with something.  What I’d really love to do is drum with another drummer more.  That’s one of my favorite ways to play, but logistically it’s kinda tricky.  One of the best moments on tour was when Greg  [Saunier of Deerhoof] would join us on stage for the last song.  He’s so completely amazing.  It was such a powerful feeling to be playing and putting forth so much energy!

I’ve heard about rhythm therapy and people drumming in music therapy sessions.  Do you think that drumming has therapeutic qualities? Have you noticed any sort of “healthy” feeling after you drum or anything else that you might call therapeutic?

SHOKO HORIKAWA: I didn’t know about rhythm therapy. That sounds really interesting! I could definitely see that drumming has therapeutic aspect. I don’t get that too often these days because we are working on new material, and I am not letting go of my mind. But when I just play around and don’t use my brain while I play, I usually feel something different than before. It’s not particularly good or happy, though. I feel neutral or calm. I used to have a serious anxiety problem, and I once had to go to the emergency care because of it. Playing drums has helped me so much with that.

Sara drumming for Flying

“I wish more people had access to drums.” – Sara Magenheimer

SARA MAGENHEIMER: Yes! Neutral or calm.  I don’t meditate regularly right now, but when I have in the past it gave me a similar feeling. Afterwards you kind of “wake up” feeling refreshed and centered. That’s really interesting that drumming has helped with your anxiety! That certainly seems like proof that drumming is therapeutic.  I often dream of starting an experiential-learning school.  One thing we’d have is a room with a beat-up drumset and a whole bunch of percussion instruments.  Anytime someone needed to they could go in there and bang on things.  I wish more people had access to drums.

SHOKO HORIKAWA: Do you have any routine or ritual you do before you are about to play, to prepare yourself mentally or physically?Especially when you are very tired (after a long tour or sleepless nights), how do you put yourself in the mood to play? I ask you this, because when I watched you guys play night after night on tour, I thought your stage present was so peaceful, and calm, and it was so easy for me to engage with what you did on stage.  I sometimes feel too self-conscious or shy on stage. And this sounds silly, but too much lighting on stage totally messes me up sometimes. So I am hoping to find some kind of “method” to put me in the right mood to perform. Even the act of performing in front of people still feels foreign to me. I can’t engage with audience very well, but I want to.

SARA MAGENHEIMER: I don’t really have a ritual that I do before shows.  Eben [the other half of Fertile Crescent] and I usually make sure we check in with each other so we get that “we’re in it together” feeling…solidarity I guess.  But it’s not the same way every time.  That’s really nice that we seem calm and engaged. When there are only a few people in the audience (something that has happened many times) I have a hard time not being incredibly self-conscious, especially if they’re standing a foot away from me, arms folded, with no facial expression (something that has also happened many times.)  But something about being on a stage, with the boundaries clearly delineated can be a little freeing.  Many “avant-garde” performers talk about “breaking down the wall” between audience and performer, but “the wall” is really just a vague suggestion of architecture.  Mostly it’s a mental/conceptual barrier.  And it can be useful in calling attention to boundaries that we already have established unconsciously.  Just like an art gallery can sometimes be useful, but not all art has to be in a gallery nor should it be.

Mostly my pre-performance rituals consist of ritualized ways of getting ready, such as putting my kit together. I find that activity deliberately kinda ritualistic and calming…checking in with my equipment, making sure everything is screwed together tightly and in the correct position.  That’s something that I have to do anyway, but it helps me get comfortable on stage.

I think you do just fine in front of audiences!  While we were on tour I witnessed your sheer skill impress so many people.  You seem very in-control of what you’re playing.  It’s amazing.  My equipment was always breaking or falling over, or my sticks were flying out of my hands, but you seemed so cool!  I think some of the best performers don’t need to do a lot of talking to connect with an audience.  Their performance, behavior, and just generally what they’re doing on the stage is what people connect with.

SHOKO HORIKAWA: I agree with what you said about setting up drums on stage. It does get me in a mood to play.  And I realized Jesse and I don’t really talk before shows.  We should do that more like you guys do. And also I feel the same way about playing for little amount of people.  It sadly happens so often in this over-saturated indie music world we live in.

SARA MAGENHEIMER: Do you have any thoughts on why we make music at all and what the purpose of music is?

SHOKO HORIKAWA: I think about questions like this all the time, but haven’t really found clear answer…To me music is a way to change my mood/feelings (it’s a kind of therapy), and a way to represent what kind of person I am.
That’s what I think about for the purpose of music…

Why we make music at all?
The sounds and rhythms are everywhere in our lives. Your heart is beating steadily all the time.
I really can’t remember when was the last time I had a total dead silence for more than 3 minutes.
Sometimes silence is calming, but other times I find it to be scary for some reason.
Anyway, I believe we all live with music in one way or another. Some do very closely, and others don’t so much, but…
I think that’s why many people engage with music, it’s only natural.

SARA MAGENHEIMER: I like what you said about silence/rhythm.  Maybe one function of music is to calm the mind/body through externalizing internal biological rhythms.  There’s something pacifying about exerting control over rhythmic patterns that are innate in us.  And it’s fun!  It’s human to play…to create new patterns out of preexisting ones.  It’s language at it’s root. That’s why it’s interesting to me. Communication.
A good note on which to end!

Shoko Horikawa lives in Portland Oregon, with her husband, Jesse, and one kitty named Honeybunny. She plays drums in Experimental Dental School. She enjoys good food and gardening with her neighbors.

Sara Magenheimer is a visual artist and musician specifically interested in multi-disciplinary work, formulating dynamic culture-productions, situations, pedagogical practices, and nurturing/maintaining a sense of wonder in her work, self, and others.  She plays drums and sings in the bands Flying and Fertile Crescent. (To Shoko’s humble bio I would like to add that Shoko is an incredible drummer and tireless musician.  She and I met this fall when XDS and my bands, Flying and Fertile Crescent, were on tour supporting Deerhoof.  She and I had both recently made the transition to playing the full drum kit.   Shoko’s drumming can be extremely powerful, yet nuanced as well.  As I watched her perform nightly I was struck by her incredible dedication to improving her playing and approaching the drums with a beginner’s spirit each time).

Though much is attributed to swirling, driving guitar and calming faux British accented vocals by Jason Bays, Colleen Coffey underestimates her rhythms – marching high hat, and swooshing ride – which are timed just right, and add to the overall “shimmering” quality of their songs. (Think Luna, The Wedding Present or a mellow Pavement.) Listen to their new recordings, and you’ll be thankful Jason, also her husband, gave her the initial push to try out the drums five years ago.

Joined with new bass player Catelyn Kindred, The Spires’ released the lovely full-length “A Way of Seeing” in May ’09 (Beehouse Records), and have been playing around California non-stop ever since. During a notable show in LA this June, they performed as their idols The Velvet Underground for the second time with Colleen as the awesome Moe Tucker. Below, the drummer humbly gabs about the benefits of counting, what it’s like being married to the lead singer, and the trials and tribulations of recording drums. (No punch-ins, for us!)

Colleen Coffey with husband Jason Bays of The Spires. Photo by Mark Regester.

Name: Colleen Coffey

Age: Private

Hometown: Born in West Los Angeles CA

Lives in: Ventura, CA

Past bands: None

Current bands: The Spires

Day job: Legal Assistant

“I don’t know as I chose to take drums up so much as Jason strongly suggested (decided) that I should.” –Colleen Coffey

Colleen Coffey

Tom Tom Magazine: First, tell me a little bit about your drumming history. How long have you been playing and why did you choose to pick up the drums versus any other instrument?

Colleen Coffey: I have been playing just about exactly 5 years now. I don’t know as I chose to take drums up so much as Jason strongly suggested (decided) that I should. In early 2004 he had some songs and was wanting to do something more with them. He got in touch with a drum teacher in town and I pretty much started with lessons right away. A couple months later we recorded the “Amplifier” EP. I had played bass as a teenager but not very seriously. I never would have thought I would end up playing drums.

Tom Tom Magazine: What kind of drum set do you use?

Colleen Coffey: I have a Gretsch Catalina Club kit. It is a small, jazz style set; its bass drum is only about 18 inches. To be honest, I didn’t know enough when I picked it out to know what I was buying. I went with a friend of ours who knows about such things to Mike’s Drums in Santa Barbara and they had the whole set with a silver sparkle finish—hardware and everything—for only $700. It was also the one kit that would fit in our Honda Civic. So I put it on layaway and a couple months later it was mine.

Tom Tom Magazine: What do you love best about playing the drums?
Colleen Coffey: I don’t have to remember any notes or chord changes.

TTM: What has been/is still one of the biggest challenges for you as a drummer?

CC: Honestly: tuning the drums. I kind of assumed early on that I would just lean on my drum-playing friends to help me out but they have proved no help at all. Even the best drummers in my circle of friends will swear they don’t know what they’re doing. I’m figuring it out, but it is still such a huge pain in the ass. Fortunately, I’m not a hard player so once I get them where I want them, they’ll stay that way at least for a little while.

TTM: Who are your musical inspirations? The Spires makes me think of an airy version of The Vaselines, which is awesome.

CC: I would have to say Guilded By Voices stands alone for me as an entirely life-changing kind of band. That probably sounds so corny but it is so true. This might be why (as Robert Pollard put it): “GBV showed the world that you can suck and still rule.” There is no one that can touch them for songwriting and performance genius. They really did change my entire perspective on music. They are also responsible for the funnest shows I have ever been to over and over again. I remember when Jason was first getting into them and it seemed like every time I heard him playing a song I liked and I would ask him: “Who is this?” The answer was always: “GBV.” So after awhile I clued in that I must really like this band. It was all pretty much downhill from there.

“I have heard from other couples that play music and they seem to experience it as some kind of deep connection. It has not been like that for us—we compartmentalize playing music from our regular life.” –Colleen Coffey

The Spires at the Pink Mailbox in Isla Vista. Photo by Mark Regester.

TTM: What’s it like being in a band with your significant other? What are the positive factors? Are there any challenges?

CC: We get this question from time to time. I think Jason and I might be peculiar in this respect. I have heard from a couple other people that play music with their boyfriend, girlfriend, spouse, whatever and they seem to experience it as some kind of deep connection or experience between them. It has not been like that for us—we seem to just compartmentalize playing music from our regular life. When we’re playing, I barely remember that we’re married and I know Jason is the same way. When we’re home, it’s different. I think the biggest plus of playing together has been that we’re almost always available to play at the same times, so I think we play more often for living together than we might if we lived separate lives. The challenge might be that the band is not such an equal partnership as marriage—as the songwriter, Jason exerts more creative influence ultimately than either Catelyn or I.

TTM: When you first started playing, did you face any criticism/sexism? Did you ever get the whole “Oh, his girlfriend is in the band” thing? As a drummer in a band with my boyfriend, I was always worried about that starting out – that people wouldn’t take me seriously.

CC: That is an interesting question. When I think about it, I may have actually benefited from a kind of reverse sexism. What I mean is: I played so poorly when we started (listen to the “Amplifier” EP—it’s so rudimentary, I couldn’t even hit the cymbals yet). But I think I got a pass on it to a certain extent because I was a girl. I suspect audiences would have been less forgiving of a guy in that situation.

TTM: What bands are you digging on right now?

CC: All three of the Spires have been on a Joy Division/New Order jag for the last couple months. Catelyn has also turned me onto Little Joy, which I really like. And she and I listen to the Parson Redheads in her car at least twice a week (they have a great girl drummer, Brette Marie Way, and she has a beautiful voice besides). And we both love Franklin For Short (another Ventura band).

With the Velvet Underground show coming up I have been listening to perhaps an inordinate amount of VU but I love them under any circumstances. And my drummer friend Tim recently turned me onto Band of Horses—they’ve been a daily listen the last few weeks. And, of course, I have for a long time loved Pavement (their drummer is so rad) and Luna/Galaxy 500 and Built To Spill. And I’m crazy about The Flaming Lips and in awe of their live shows (even though I haven’t seen one for awhile).

But, you know, all of that said: When I’m at home, I rarely listen to rock music. That’s more when I’m driving, or hanging out with friends, or when I’m stuck doing something boring at work. 90% of the time at home it’s John Coltrane, Bill Evans, Johnny Hartman, Django Reinhardt, Miles Davis, Thelonious Monk, Chet Baker, etc. I’m absolutely crazy for that stuff. Of course, I’ll never drum like Jimmy Cobb—never (not a hope in hell!!). But I love listening to him and I’m completely in awe of him and others.

“The brain is a more reliable metronome than the arms. ” –Colleen Coffey

TTM: If you could give advice to a girl looking to pick up drumming, what would it be? Is there a good practice method you can recommend?

CC: I really think the critical piece is to take lessons from a competent teacher. Maybe a lot of other drummers would disagree with that and surely some people have such innate talent that lessons are superfluous, but for me, lessons were critical. My own drum teacher was a kind of real hard rock guy, you know, he didn’t play Jason and my kind of music at all. But he really knew what he was doing. I didn’t even play on a drum set for the first few months because he had me just playing patterns on a pad and learning to read drum music. The other thing he taught me that I still use and recommend is to always be counting. The brain is a more reliable metronome than the arms. By always counting to myself, I think I am able to keep the beat more reliably. That seems obvious but I don’t think I would have thought of that on my own. Fortunately, I’ve learned to count with my mouth closed so it’s not so obvious to the audience anymore that that’s what I’m doing—that took some time though.

The Spires' newest LP, A Way of Seeing

TTM: Give me all of the juicy details about A Way of Seeing. (Which is awesome, by the way!) What are your favorite memories of the recording process?

CC: Thank you so much. I think I am funny when it comes to recording: I can only begin enjoying it when my drum tracks are done. To be honest: recording my drum tracks stresses me out. Over the course of a couple albums I have gotten Jason and our engineer to realize that with me it’s diminishing returns: I need to get the song in the first or second take or we have to move on. After that, I just start thinking about it too much and it gets worse and worse.

The one exception to that on this new record is the song “Famous Last Words” (track 5) which I had originally played very differently—you wouldn’t recognize it from the song that ended up on the album. We went in the studio to record it and I just couldn’t pull it together that night. We were on the verge of scrapping the whole song as unworkable—in fact, I think we had pretty much decided that we would scrap it. But the engineer (Craig Costigan) really liked it and persuaded us to give it another shot. That last time through, I dumped the part I had planned and just played it off the cuff (something I never do in recording) and just really straight, right with the rhythm guitar. And that was the take we stuck with—really, an entirely different song from what we started with.

Overall, I think the thing about this record is that it is a bridge between two versions of The Spires. Jason and I recorded half of it with Craig Costigan at Garage Majal [Santa Barbara] starting in January 2008. Then in June 2008 Catelyn started playing with us. From that point on, we just started writing a whole crop of new songs (and the old ones started sounding a lot differently). Toward the end of last year, we got Justin to bring his gear to our practice studio over two weekends and we recorded “TAM,” “Lowercase,” and the others. What we ended up with I think is a hybrid of sorts. I’m excited to see what the next album brings.

The Spires with new bassist Catelyn Kindred on KCSB 91.9 FM (Santa Barbara). Photo by Mark Regester.

TTM: Do you have an all-time favorite personal drumming moment?

CC: So far, the most fun I have ever had drumming was April Fools Day 2007 when The Spires and half of the band Franklin for Short joined forces and played as the Velvet Underground courtesy of Part Time Punks at The Echo (LA). Fortunately for me, Moe Tucker is the one drummer of a major band that I could hope to emulate. The sound guy at The Echo (Scott) is a genius. I told Jason later that my whole frontal lobe must have just shut off because it was pure pleasure for 40 minutes without a thought in my head.

TTM: What’s next for The Spires?

CC: The Spires are already at work on the next record believe it or not. We have shows planned through early summer and more (hopefully) on the way but we want to get back in the studio by August so that we’ll have another release at the end of 2009. Our plan is to play everything pretty much live—a little more ’60s garage I guess you would say. That’s fine by me since I’m only good for one or two takes anyway

More on Colleen Coffey and The Spires:
myspace.com/thespires

-Melanie B. Glover

I’m also especially excited about seeing Brilliant Colors.

They’re three girls out of the San Francisco scene (along with Grass Widow) with Diane on drums, Jess on guitar and vox and Michelle on bass. The song “I’m 16” is a perfect evocation of being exactly that, with a sigh and a snicker just as much as a snarl.

Last in celebration of Independence Day I want to post an “Old School Throwback” and ask if we agree that The Runaways are one of the most all-American bands of the ages?

The “Famous Five” version of the Runaways with Cherrie Currie’s equally infamous corset: Sandy West, Jackie Fox, Cherrie Currie, Lita Ford, Joan Jett. Listening to Sandy West’s drumming on Cherry Bomb makes me instantly want to spray some Sun-In in my hair, head over to a BBQ with shorts on, beer cozy in tow and throw some patties on the grill. The Japanese loved them and its the perfect song to celebrate the inauguration of a wet hot American summer.

By the time you read this I will be parked next to the stage at Market Hotel and 979 Broadway, but here’s to you lady drummers and a happy fourth of July to all! Cathy.

Ashley is busy. You may be interrupting her. As the messages sailed back and forth between Portland and Brooklyn, it became hard not to wonder whether that familiar warning splayed across the chat window might really be true. In only eight years since sitting down behind a kit, Ashley Spungin has become one shredding third of the Portland trio Purple Rhinestone Eagle, with a laser-like focus fueled by Bonham worship, babies, and bad weather. Just back from PRE’s spring tour, Ashley shifted her attention to talk about how she gets her thick, dark sound and how she responds to post-show comments from boneheads.

Name: Ashley Spungin

Age: 26

Hometown: Hartford, CT

Lives in: Portland, OR

Current bands: Purple Rhinestone Eagle

Past bands: None. PRE is her first band.

Day job: Nanny

Outstanding bit of trivia: No, she is not related to Nancy, but she is a distant relative of the great producer and Hammond B3 player Al Kooper, “who is known for musical contributions that are a little cooler than Sid Vicious’s notorious lady friend.”

“I guess I had always wanted to learn to play drums from when I first started going to shows, when I was like 12 or something. I would obsess over the drummers and try to wrap my head around what they were doing.” – Ashely Spungin

Ashley at SXSW

Tom Tom Magazine: We know you play with PRE; are you currently playing with anyone else?

Ashley Spungin: Not really. I am usually down to jam with friends but there is nothing else I’m seriously committed to. PRE takes up a lot of my time.

Tom Tom Magazine: How did you hook up with PRE? You formed in Philadelphia, right?

Ashley Spungin: Yep. I met Morgan (Ray Denning, bass and backing vocals) at a potluck in 2004. She and Andrea Genevieve, (guitar and lead vocals) were living together and wanting to start up a band. I approached Morgan because she was wearing an All Girl Summer Fun Band T-shirt. We got to talking and she invited me over to play with them. It was awesome, except I leaned on a faulty guardrail and fell off their porch before I even entered the house and contemplated going home right then and there. I’m glad I didn’t, obviously. We started playing shows shortly after.

Tom Tom Magazine: Ow! We’re all glad you didn’t. How did you end up in Portland?

Ashley Spungin: We ended up moving to Portland about a year and a half ago after going on a short East Coast tour with the New Bloods, who were all living here at the time. Basically they saw how we were all kind of bumming on Philly and itching to move somewhere, so they convinced us to move out here.

TTM: How do you think the move has affected your evolution musically?

AS: Moving here has totally helped us get “serious.” It’s just a far more mellow place. None of us are working our asses off just to make rent. We’re usually able to practice about four times a week. The weather sucks a lot but that can be helpful for locking ourselves in the practice space and working on song ideas. We moved here with the intention of just going for it, and that’s just what we are trying to do.

TTM: Speaking of making rent, what do you do when you’re not drumming?

AS: I’m a nanny. My job rules. I hang out with an awesome 6-month-old baby named Eleanor.

TTM: Sounds like a great life. It’s funny to imagine a 6-month-old named Eleanor….

AS: The name suits her very well. It’s a good job to have, because the family is super supportive of me and understanding about my weird schedule and touring and all that.

“I eventually got my own kit and traded free coffee for real lessons for a few months.” – Ashley Spungin

TTM: How did you get started playing the drums?

AS: I started playing drums when I was about 18. I was living in Boston at the time and had a good friend who let me go to his practice space and play his drums. He started off just showing me basic things. I eventually got my own kit and traded free coffee for real lessons for a few months. I played with other people here and there, but was moving around the country quite a bit, so I never stuck around to play in a real band. PRE is the first for me.

TTM: What inspired you to play drums in the first place?

AS: I guess I had always wanted to learn to play drums from when I first started going to shows, when I was like 12 or something. I would obsess over the drummers and try to wrap my head around what they were doing. Actually playing and getting over my nerves and really cutting loose was like the best thing ever for me.

TTM: What’s with the wanderlust?

AS: I guess a girl’s gotta know what’s out there, ya know?

TTM: Definitely. Who are some of your favorite drummers, or drummers you emulate, past or present?

AS: My first favorite drummer was John Bonham. I used to sit in my room when I was 17 and rewind the one part in “Moby Dick” over and over again when he comes in with the fills after the drum solo. It kind of still blows my mind.

TTM: That’s funny, because the colors you play with and your technique are pretty Bonhamesque.

AS: He turned me on to Vistalites, so that’s true. He and also Keith Moon will always hold a special place in my heart for their amazing drumming. Some of my other faves, hmmm: Bill Ward, Dale Crover, George Hurley, Robert Wyatt, and on and on. It wasn’t until I heard drummers like Moe Tucker and Janet Weiss that I felt more included in the music that I love. It was a good motivator to listen to other women playing drums who were in bands I could really get into.

Purple Rhinestone Eagle in Action

TTM: Andrea said in an interview last year that PRE’s sound is “heavy riffs laden psychedelic fury with rock and roll roots.” You sound pretty proggy to me. How do you describe it, and how much does your drumming style play a role in shaping the band’s whole sound?

AS: Our music is always hard for me to describe because we aren’t really just going for one thing. We are all pretty big music nerds and are all coming from different musical backgrounds and experiences. We write mostly all the songs together, which works great for us and makes it that much more a special process. Our music has elements of ’60s and ’70s, psychedelic, heavy riffin’ rock and roll. At least those genres are a big inspiration for my drumming style, so I’d like to think that.

TTM: You brought up an interesting point: feeling like an outsider in your own genre (insofar as we can define your genre).

AS: I guess I used to feel like an outsider in the sense that I didn’t have many other female drummer friends to relate to. But that has changed since my move out here, thank the lord.

TTM: Do you still run into the “rocker chick” bias a lot? Like any guy can play thrash or prog or garage rock, but if a girl plays it she must be a real badass, and in fact has to be a real badass?

AS: PRE was touring the U.S. over the past month and a half, and night after night we would get some very weird responses from both men and women, like: “I was really impressed” or “That isn’t what I expected” or the worst, “You play like me!”…like we should feel good that we proved ourselves as female musicians.

PRE Flier

TTM: Like you’re supposed to be flattered, or the dude version is the gold standard?

AS: Yeah, unfortunately that mindset is still alive and well, which is both discouraging and fuels my fire, as there is still plenty of work to do! Being able to have teenage girls come up and ask me about how they can start playing the drums after a show, as well as being a part of amazing projects like this magazine, make having to deal with those boneheads much more bearable. Plus, it would feel great to know that some guy in Georgia came up to me after a show and said, “I’ve never seen anything like that before in my life,” and mean it!

TTM: Have you done Rock Camp for Girls?

AS: I’ve only been able to volunteer at workshops because we were touring last summer. This summer I plan on volunteering way more. Portland Rock Camp has got it going on and I want to take advantage of that while I’m here.

TTM: How do you nurture your technique? What’s your setup?

AS: I play a Ludwig Vistalite kit from the early ’70s. Snare, bass, rack and floor tom; ride, crash, high-hats, tambourine.

TTM: How do you warm up?

AS: Warmups include stretching (everything), meditating, and running through some songs if we can.

Photo by Noelia Tejada

TTM: What’s your go-to tech drill?

AS: I like to practice paradiddles in the van on the seats or my lap.

TTM: What’s your personal goal for drumming?

AS: My future goals include touring with my band everywhere we can. We’re recording an album this winter and have big plans for tours after that.

TTM: You have an EP recently out, right?

AS: Yes! We have a record out now on the great Eolian Records. It’s our first one and I am very, very stoked on it. It is also turquoise.

PRE Flier by Sonrisa

Interview by: Meg Ryan

It is natural when talking to or about musicians to assume that they are part of a band. Independent drumming, however, is a very common and often times preferred status of many drummers. In many cases, it’s the convenience of not having to travel and lug around kits that indie’s like. They get booked by traveling bands as stand ins for local shows or festivals and therefore play a wide variety of venues and artists all in their local area.

Yet the most successful independent drummers often travel and even tour the world. One such independent drummer hails from Tel Aviv, Israel. Nati Niv is a formally trained musician for hire with quite the resume including available drum lessons and volunteer work for charities as well as playing shows all over the globe. The video below is a good compilation of Nati playing different venues. I find it hard not to admire her energetic style and charisma.

Nati also DJ’s and plays live DJ shows with a unique standing kit set up.

If you are a drummer who is concerned about not being in a band, pick up your sticks, keep beating the drum, and consider an independent career. For more inspiration, check out Nati’s website and her MySpace page.

Alex Carulo

Enjoy!

xo,

vicki simon

Muffle drums that ring too much. It’s pretty simple, eh? Just keep in mind that some ringing is good. Drums are supposed to speak. When you’re practicing at home the ringing might be annoying, so you muffle the drum. When you go to play a gig in a big open space, this will change. You’ll need to project more at the gig than you would at home in your little practice nook (…you practice in a nook?). Be aware of the acoustics of your location, and know that some quick changes may need to be made.

Some things you can use (or not use) for quick & easy muffling:

RTOM Moongel pads. A pack of 4 for around $6. I love these. They come in their own little case, and , yes, they’re sticky, but you can easily wash them off if they get too dirty.

Evans Mini EMAD Tom & Snare damper pads. A pack of 6 for about $7. I’m not a big fan of these. It’s a little velcro strip that sits on the edge of your head.

And, when all else fails:

Some other (not-so-quick) things you can do:

For your bass drum, try a small pillow. Don’t over-do it. I know some people that put huge pillows or even comforters in their bass drums. You want it to sound like you’re hitting a drum not a giant pillow.

I set mine right in the middle. You’ll get a different sound depending on where the pillow is in relation to the two heads.

Also, you can use a bit of weather-stripping on the inside of your top head. Just make sure that it’s around the edge of the INSIDE of your head. It helps if your heads have a stripe to follow.

Weather-stripping works really well for me. I haven’t tried to remove any yet, so please keep in mind that this will more than likely leave gooey residue on your head.

Those are the main things that I’ve seen used for dampening/muffling. There are tons of others, though.

~Bianca.

Next Week’s Blog: I honestly have no idea yet. It’ll be a surprise for all of us, haha.

xo,

vicki simon

Lay out the origins right and Dame Evelyn Glennie’s bio is the stuff of great comic books, folk lore, legend. Raised on a farm in Aberdeenshire (Hi, Krypton!) and starting with a mouth organ and clarinet she began to absorb a hoard of influences from the north-east Scotland indigenous tradition. Struck deaf at the age of 12, she took off her shoes and began to feel the music. Exerting a compensatory strength from her other four senses, she mastered the percussive tableau, a la Daredevil and the art of sightless vigilanteism, to become a pioneer in professional percussion as well as a door stomping beacon of hope for other potential musical geniuses discarded because of stuffy, old-guard technicalities.

As demonstrated in her wonderful TED lecture, Glennie acknowledges and then bypasses the rigorous stricture of academic musicality, that based on assigned notation and directed spatial movement. Unlike the Beatles, who never learned to read or write music but still mastered many of instrumental intricacies, Glennie has wholly studied the notations. But her treatment of notation is that of annotation, a bibliography offering further explanation to what initially may seem unclear but wondrous. Glennie also goes beyond that, though, having mastered the functionality of annotation she also creates annotiations of the annotations, thus a veritable sandwich of method in which the staid appearance is both deconstructed, manipulated, and eviscerated but kept for safekeeping (like a wax model!).

What’s great about her deconstruction is that instead of allowing the imposed definition to be swallowed up into a black hole of perpetual denial via the postmodern nitpicking of what’s real, the deconstruction provides the thrust of the wondrousness itself. Perhaps it’s because the tools for taking things apart aren’t words but physical objects that have immediate but also immediately changeable effects that the act doesn’t become increasingly depressing, but Glennie makes a leap of logic and suggests her wild intuitive streak is a good template for human relations.

Her acceptance into the Royal Academy of Music in London and subsequent triumph in professional musicianship involved a smart, and smart-alecky, subversive interpretation of hearing, one concerned not just with the direct relation between the person and the object but the inherent multitude of variables of how a person relates to an object. Merely hearing a drum doesn’t necessitate intimate knowledge with it, there’s an internal dynamic to the drum’s setup, one felt when playing it and playing with it. Merely seeing a drum brings the same inconsistency. Thus, a combination is required, experiential discovery of multiple truths.

As explained in the lecture, “all of my performances are based on entirely what I experience, and not by learning a piece of music, putting on someone else’s interpretation of it…because that isn’t giving me enough of something that is so raw and so basic, and something that I can fully experience the journey of.”

Her acceptance and subsequent success overturned the notion of what a music institution is supposed to do, because not anymore does it just dictate, but it had to improvise to! No longer were the partially limbless or sensorily deprived given the short-shrift based on the principle, but instead based on the ability. Meritocracy in a sense, where a new definition of able-bodied was instituted into entry requirements for music schools. And not just schools for the (insert disability here) but gen. pop. institutions as well.

Like Beethoven before her, she’s crossed arbitrary lines and made their actual non-existence a point of ridicule. She’s taken singular sensory experience and expanded something like the ability to hear beyond its one-note interpretation, where a deaf person can articulate the subtleties of a sound emanating from an object, and the intricacies of how that sound can be procured, in ways someone with functional ear can’t.
Not even the grouch could deny it!

by adam katzman

Although the band went through several different members, it was founded by front woman Paula Peirce, who was insistent on using authentic 60′s instruments and clothes to establish their retro image. My favorite roster included Julie Patchouli, who played bass and also manages the bands website and MySpace, Melanie Vammen played keyboards, and on the skins was Karen Blankfeld.

The Pandoras released a lot of music during their time recording various LP’s and EP’s with such labels as Voxx, Rhino, and Elektra. Karen eventually moved on to front a group of her own called the Rebel Pebbles who released their debut album Girls Talk in 1991. I think she was one of the most underrated drummers of her time. The Female Drummer Newsletter thinks so too ranking her #44 on their list of the 100 greatest female drummers of all time.

By the Pandoras obtaining this level of moderate success, I feel makes their mystique all the more special. It’s made of the type of stuff that cults follow. It seems to me that Courtney Love may have modeled herself partly on Paula Pierce. Coming from a time where the Bangles and Go Go’s where topping charts with the pop music model at the time, Paula’s vocals were poignant and edgy and eventually became legendary. Tragically, Paula passed away of an aneurysm at the tender age of 31.

Alex Carulo

Before you start tuning, it’s a good idea to take the drumhead off completely and wipe down the rim and shell with a dry cloth.

Once that’s done, put the head and rim back on. Screw the tension rods back on by hand until they’re secure enough. Now get out a drum key. They generally look like this:

Mine’s a little different:

I love, love, LOVE this tool. It works like a ratchet, and it makes tuning much easier. It’s nifty if you’re picky about tuning. /rave

Pick a place to start and tighten that tension rod. From there, do the rod directly across from it. Next, tighten the rod that’s to the right of your original rod. And continue the cycle. By going across and clockwise you’ll avoid pulled heads.

Pulled heads are nasty buggers. That’s where the actual “head” part of the drumhead rips apart from the metal hoop that it’s attached to. This makes tuning useless because the head can’t tighten anymore.

You should be hitting the area that you’re tuning and listening for the change in pitch. It’s extremely helpful to remember how far you turn your drum key (1 full rotation, ½ rotation, etc…) and to use that on each rod before you do the more fine-tuning (Pun totally intended). If you keep a consistent rotation, you’ll make tuning so much easier on yourself.

The fine-tuning is done mostly by ear. You’ll have to hit around the circumference of the drumhead and listen for inconsistencies. Be sure to not only hit around the head, but also across it (like the way it was tuned).

Also, don’t forget the bottom head! Even when the top head is in tune, if the bottom is out of tune the whole drum will sound bad. I’ve heard some people say to tune it higher than the top. This has always produced a rather nasty sound, in my opinion. You actually should tune lower than the top head.

I remember when I first started drumming and someone would say how far out of tune a drum was. “It sounded just fine to me…” I would think. Your ears will become accustomed to tiny tune-y details the more you sit and really listen to the pitch of your drums.

Next Week: Tuning (Pt.2) – Muffling/Dampening.

Whoo!

“Its the closest sound reminiscent to a heartbeat – can be dark, powerful, and extremely emotional.” – Veronica Ortuno

Full name: Veronica Ortuno
Age: 23
Hometown: Austin / Houston, Texas / Santa Ana, California
Where do you live now: Portland, Oregon
Bands you are drumming in currently: Mutating Meltdown and Finally Punk
Bands you were drumming for in the past: Cold Girls
What you do for a living: Student, Freelance Artist, Nanny, M’lady’s Records

Photo by Sherry Cardino

Tom Tom Magazine: When did you start playing the drums?
Veronica Ortuno: October of 2005.

Tom Tom Magazine: Reason that you started playing the drums?
Veronica Ortuno: I always admired female drummers. I felt like drummers were the underdogs of bands in general – often underrated, so I was drawn to that aspect of it.

Tom Tom Magazine: How long did it take til you felt like a “real” and legit drummer?
Veronica Ortuno: Last year – Summer 2008.  It’s obvious I’m not a trained drummer; I just play as best I know how.

Tom Tom Magazine: What is your favorite set-up for your kit? Why?
Veronica Ortuno: When I first started playing I would set-up the minimum amount of drums out of intimidation, I’m sure. Now I play with a rack tom and gradually use the cymbals more. I take a liking to deep sounding drums. Its the closest sound reminiscent to a heartbeat – can be dark, powerful, and extremely emotional.

Tom Tom Magazine: What would your dream kit consist of?
Veronica Ortuno: I don’t have a preference momentarily, but one time I played Chad’s clear crystalite kit when Mutating Meltdown first played out; the sound was near perfect to what I dream of.

TTM: What do you do to get better at the drums / Best way to get chops?
VO: I never practice, truly. I don’t even own a standard kit! Its coming together rather…slowly (secret’s out).

TTM: What is your favorite drum warm up / what do you do to warm up before playing?
VO: This is terrible, but I can’t recall a time that I’ve warmed up. I have to say that I rely on my instinct a lot of the time.

TTM: What do you think the role of the drummer is? (In a band)
VO: I feel the drummer is the backbone of the group.

“The drumming can become very fluid or a total cluster-fuck.” – Veronica Ortuno

Photo by Erynn Patrick

TTM: Do you play any other instruments? If so … how does that effect your drumming?
VO: I play around with Bass, Saxophone, and Guitar, but I’m no virtuoso by any means. When I drum, I listen to the other instruments or sometimes don’t listen to them at all. The drumming can become very fluid or a total cluster-fuck.

TTM: What do you consider to be the most challenging thing about the drums?
VO: Its entirely a complex object. Its a constant challenge and I feel I still have a lot to learn. Someday I’d like to master playing drums in traditional grip.

TTM: What’s your favorite part about playing drums?
VO: How therapeutic it is.

TTM: Most notable show you ever played?
VO: Finally Punk Oakland show in 2006. We played an eviction party where Erin and I took mushrooms prior to our set. The entire show was a frenzy, but I remember honing a more competent drumming style that night!

TTM: Have you experienced   any setbacks as a female  drummer?
VO: At first yes, being female,  playing atypical ‘punk’ music. As a collective experience, we didn’t have a lot of support and at times the criticism could be daunting, but in retrospect it is mostly conditioned stereotypical bullshit. It’s hard to say if it’s more or less surprising to see female drummers presently. There have been female drummers way before my time, like Honey Lantree and Moe Tucker, if not earlier — Viola Smith, a jazz musician, was drumming in the 20′s. Point is – Women have been a part of music forever, and we should have every right to it. I receive more compliments now and I can appreciate that. I’m assured and feel I work wholeheartedly at what I’m doing.

TTM: Who are your favorite drummers?
VO: Palmolive, Stephen Morris, Toby Tolman, Ikue Mori, Lislot Ha, Penny Rimbaud, KK Barrett, Ron Reyes, Adris Hoyos, Tobi Vail, Christine Hahn, Drumbo, Teresa Nervosa, Jaki Liebezeit. I’m probably forgetting a lot.

TTM: If you could change one thing about the drums what would it be?
VO: I’d make them go on a diet. Specifically for loading / unloading purposes. Jesus christ.

TTM: Do you do anything else drum related besides playing in a band? (i.e. teach drums one on one, rock camp, drum circles, etc …)
VO: I do not.

TTM: Best piece of advice you got as a drummer?
VO: I don’t think I ever got any advice.

TTM: What would you recommend to a new drummer starting off / advice for new drummers?
VO: Adhere to the proverb: “If there’s a will, there’s a way.” Its a powerful statement.

TTM: What are some of your other hobbies / interests?
VO: I enjoy Scrabble and Pinball; I like to read, watch movies, and listen to music with another person in my room; I like having penpals and meeting them in person; I’m interested in a stimulus, emotion, natural tendencies, vigor; I’m constructing writings that will never see the light of day; I like to look at a person in the eyes; And sleeping.

TTM: Who are some of your favorite lady drummers right now?
VO: Lily Maring of Grass Widow really left an impression on me; Heather Hall and Edie Sharp of White Boss; Lisa Schonberg of Explode Into Colors.

TTM: Who are some of your favorite bands right now?
VO: (no particular order) Brilliant Colors, Grass Widow, White Boss, Total Abuse, and Gun Outfit.

Interview by Adee Roberson of New Bloods

Full name: Sarah Datblygu

Age: 31

Hometown: Essex

Where do you live now: London

Bands you are drumming in currently: WETDOG

“People would say ‘Oh you can’t be that bad’, then they’d see me play and say ‘actually yeah, you are shit’.”

Tom Tom Magazine: When did you start playing the drums?
Sarah Datblygu: About three or four years ago I think.

Tom Tom Magazine: Reason that you started playing the drums?
Sarah Datblygu: I used to play guitar in another band but I am possibly the worst guitarist in the world. People would say ‘Oh you can’t be that bad’, then they’d see me play and say ‘actually yeah, you are shit’. I had always actually harbored secret desires to play drums, and then my friends’ band (WETDOG) needed a drummer so it all worked out fortuitously.

Tom Tom Magazine: What would your dream kit consist of?
Sarah Datblygu: Marching snare from some scouts props cupboard or something, some African bits and probably some bells and shit.

TTM: What do you do to get better at the drums / Best way to get chops?
SD: What the fK are chops?!! I don’t really do much to get better at drumming. When I’m carrying heavy shopping bags, I try and console myself that it will make me a stronger and better drummer, but I’m not sure this counts. I used to try and play drums on my sofa at home to practice but this doesn’t really work that well.

getting her chops

“Don’t wear a tight skirt for a gig.” – Sarah Datblygu

TTM: What do you think the role of the drummer is? (In a band)
SD: To drive the tour bus. Ho ho! No- to keep time, not that I do this very often!

TTM: Do you play any other instruments? If so … how does that effect your drumming?
SD: I play a bit of keyboard – I don’t think this has much effect on my drumming. I do some backing vocals too and this can have a detrimental effect on one’s drumming I find.

TTM: What do you consider to be the most challenging thing about the drums?
SD: Carrying the kit around.

TTM: What’s your favorite part about playing drums?
SD: I don’t know.. all of it!

TTM: Who are your favorite drummers?
SD: Keith Moon, Mo Tucker, Sophie from the Rebel, Amy from Monday Club, Sian from Plug, Hannah from the Gossip, Dave from Blur, Palmolive.

TTM: Who has influenced your style of drumming the most?
SD: Animal (muppets)

TTM: If you could change one thing about the drums what would it be?
SD: They’d be made from a new and as-yet undiscovered lightweight material which is sturdy as an ox to play, yet light as a feather to carry. Also they would pack themselves away and set themselves up too.

TTM: Where do you shop for your drum gear?
SD: This is where I should have pre-arranged a plug for some drum shop, in exchange for a discount. Damn. Hmm… I get stuff on eBay actually sometimes. Or I buy cracked cymbals from muso-geek friends of mine who won’t use them unless they’re perfect – this is a good tip for the cash-strapped drummer actually!

TTM: Best piece of advice you got as a drummer?
SD: Don’t wear a tight skirt for a gig.

TTM: What would you recommend to a new drummer starting off / advice for new drummers?
SD: Buy cheap stuff off eBay. Get someone to carry all your drums for you.

TTM: What are some of your other hobbies / interests?
SD: Wandering around Waitrose, being fascinating, making toast, swearing, and meditation.

TTM: Who are some of your favorite lady drummers right now?
SD: Oh shit, I said them all above! Yeah- Sophie from the Rebel, Amy from Monday Club, Sian from Plug, Ali from Vivian Girls, Frankie from Crystal Stilts, and Trashkit!

TTM: Who are some of your favorite bands right now?
SD: The Pheromoans, Trashkit, Plug, Ariel Pink, Country Teasers, Private Trousers, Blank Dogs, Vivian Girls, The Devil, Teenage Panzerkorps, Blessure Grave, Bigstick.

xo,

Vicki Simon

From my understanding, ESG is a band that gets to you before you get to them. Early in high school, when buzz finally got from New York to my Miami abode via my mom’s NYMag subscription of those found noise pranksters with a mean hankering for a groove, Liars, beats had only begun to mean something. Those 9 tracks on their first album might seem tame now, but my lack of a concern for dancing (aside from my first inebriation in 7th grade at a family function thanks to drinks left unattended) was becoming something to be concerned about in itself. Liars’ stilted high-BPM groove didn’t really help that much but their song Tumbling Walls Buried Me in the Debris w/ ESG was one of many doors. The use of UFO was by then old hat, historically plundered more than almost any other song, but it was my initiation. Being the time of cult experimentalism and whatnot, it’s that song’s ethereal and otherworldly rumblings that lit up my room at night, playing close-lidded REM games in the dark. 

UFO itself came from the age of a dimly lit, smoke-clouded, alleyway-shrouded, and ever enveloping concrete undergrowth, when the streets of New York could easily make their way into a subplot for a supernatural thriller as a psyche-disorienting character of their own. At any nightclub, under the pulse of the strobe light, amid the goading, jagged aesthetic reconfigurations of punkish prowlers any pseudo-scientific lore might seem to be manifesting itself. UFO is almost its curator. UFO’s curators are something else entirely.

Scene – 70′s in the South Bronx: Four sisters left to their own devices by a caring mother attempting to cultivate a trouble-free developmental environment, must learn to play instruments without the aid of lessons. Meager income, economic hardship could only bring home the tools, the craft was a venture to be gained the hard way. Crash course after self-devised crash course through rock and soul music television programs and the girls began to hone their sound. Deborah on the bass, Marie on the congas, Renee on the guitar and Valerie on the drums, they eventually became ESG, a name corresponding the minerals of their birthstones – Emerald for Valerie’s, Sapphire for Renee’s, and since Deborah and Marie had no birthstones hip to the ensuing acronym, a G went to wishful thinking for a record prospect called GOLD. Signed by Liquid Liquid’s label manager, the rest is history. 

The same way UFO’s eerie manipulations of aural scratch come to be the first and last thing you notice, the same can be said for Valerie’s drumming. By the end of high school I still didn’t know how to dance (though I’ve since found it’s not really something you learn, but make up as you go along, with the best coordinated in the room deciding whether its up to snuff) but I did have an interest in shaking it. One of the surest ways was turning the switch on ESG, whose ship ran so tight that with the amount of time not wasted you didn’t even notice it leaving the harbor, two seconds in the cruise is already in high gear. Whether that cruise has run into the Bermuda Triangle is something you’re never entirely sure of.

A perfect embodiment of that feeling is this youtube sync done with some television drama’s dream sequence and ESG’S Christelle. The arrangements are sparse, but forceful. Their simplicity is disingenuously innocuous lull that could place you in a lucid transfixion if it wasn’t for the rhythmic pattering underneath which commands you to MOVE! 

UFO itself distills the distals of your body til the essence of your groove is ripe for discovery. Valerie shows up unannounced 25 seconds in. Deborah’s bass is in the midst of an introduction when Valerie sideswipes in the most complementary fashion, and soon you’re being dragged through this odd aura of swinging overhead lights, rusty from their years confined to dark tunnels for the hideouts of military secrets. But all throughout, that groove says its cool. 

When it wasn’t the atmospherics doing the tricks, it was the vocals, of which everyone took a part except Valerie, ready and steady on the beat. While the previously mentioned songs play with an instinctual urge, this song shouts it out from hiding. Dance is basically it’s title expanded into an experiential manifesto, a how-to by way of being done. This is what I want to do, this is how I get it going and this is how it’s done. It is now an unstoppable force whose longevity can only be pointed out by the sun’s inconvenient arrival the next morning.

On one end of the sampling debate is the unfortunate advent of intellectual copyrights in which faceless corporate mechanisms grip the commodified and already packaged but variegated and boundless forms of human expression, and with an eye on the bank dictate how and where a particular sound or idea should be used and propagated, regardless if said institution devised said sound or idea in the first place. One of the most egregious examples being the Jimmy Page court wrangling of Schooly D for a sampling of Kashmir, forever altering one of the key sequences in Bad Lieutenant. On the other is ESG, who, like the blues artists Jimmy Page ripped off with the aid of success and fame’s insulation, weren’t properly secured during the boom of rap’s earlier ventures into sample happy experimentation. Look at the list of songs ESG appeared in - http://www.the-breaks.com/search.php?term=esg&type=0 – and still Valerie ended up working as a bus driver. In the early 90′s they addressed their penniless popularity via an album called “Samples Don’t Pay Our Bills.” 

Valerie ended up the cause of controversy when in 2006 she was indicted for a false insurace claim garnering 13,000 in worker’s comp for a shoulder injury that prevented her from driving while two months later playing reunion shows. Valerie maintained that the candid cam video used on her  in the trial shows that her arm was limp and her lawyer maintained that three doctors says she wasn’t fit to drive a bus. It’s kind of silly, since playing the drums doesn’t really put the audience in danger the way driving a bus does passengers, which while not the main point is better than driving a bus when the diagnosis suggests the conditions aren’t affable. Nothing on that mix-up lasted longer than the print date of its conclusion, unlike Valerie’s musical contributions. ESG’s name remains in multiple spectrums of dance music. Larry Levan and Frankie Knuckles dropping a needle on their records ensured their influence in the ever-developing variations on house and club music. Their manager booking shows for them at punk clubs ensured the nasal assault of faux-nihilistic teenagers would be alleviated by a productively danceable backbone, so when the alternation between screeds and apathy was ultimately shown aimless, the hips could take over, and the stale march would be conga fixed. 

No coda is needed beyond their own musical output, thus, without further ado: 

by adam katzman

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xo,

Tom Tom Magazine