Drums and Anthrax

After reporting on this earlier, it seems that MORE anthrax-related drum scares are happening. Seriously people, since when do West African drums become such a threat to national security?

Drummer Spotlight: Travis Barker

It might be cheesy to make a sentimental entry about a man who just recently escaped death by a thread, but there’s no denying Barker’s talent as a drummer. Here’s a brief primer to what many dismiss as “that blink 182 drummer” and the star of his own reality show.

A drummer known for his loudness, technical skills, and inventiveness, showed promise even in his brief stint in the Aquabats. Despite the group’s silly ska sound, “Super Rad” became a hit, known for it’s punchy drum line.

After Aquabats, Barker really shined in blink 182, replacing longtime drummer Scott Raynor. From the start of their mega-hit album Enema of the State, Barker’s presence is known. Instead of succumbing to the standard doo-dat-doo-doo-dat beat defined that most punk albums during that time, Baker infused typical songs with intricacies. Just listen to the opener “Dumpweed” or single “Adam’s Song” – both of which rely on non-conventional beats.

When blink decided to venture into experimental territory, Barker was more than game. Their self-titled last album shows a band trying to expand, which included electronic beats and marching percussion.

After the demise of of blink, Barker began showcasing his penchant for hip-hop. His side-project, The Transplants was a mixture of hardcore, rap and punk which Barker attacked with a mindset for minimalism. “Diamonds and Guns”, a song off the group’s first album sounds like it was made with drum samples, but I have a feeling that it’s not. It was also during this time that Barker began producing hip-hop tracks for rappers like T.I.

Plus 44 (+44) is his current band, where he collaborates with former blink bandmate, Mark Hoppus. +44’s drumming continues the punk-experimentalism that defined blink’s last album, but there is more of an emphasis on dance/club/electronic beats. During the tour to support their first album When Your Heart Stops Beating, Barker sustained an arm injury that forced him to relearn the drums:

Def Leppard he ain’t. That’s pretty impressive.

Slapstik – New Stick

The Slapstik company has developed a new stick that’s said to revolutionize drumming. The stick has a flexible tip that – I guess it’s the drumstick equivalent of the double bass pedal. According to the site, “The Slapstik® opens up a wide range of drumming methods that are simply impossible to execute with a traditional stick.”

I usually get wary when a company comes along and proclaims something as “revolutionary.” Since drums are the oldest musical instruments (in one form or another), it takes a lot of gall to proclaim that a single factor will change them entirely.

Some purists are also accusing the Slapstik of being a cheater-item, that it will negate high-quality technique in favor of convenience. Personally, I don’t agree of these accusations. You can’t hear whether a musician is using a specialized stick on a recording, and expert drummers will be able to find new ways to incorporate the stick into making new sounds.

However, do I think it will replace old sticks? Hardly. The whole thing sounds too gimmicky, and (if the video is any evidence) people look silly when they play with the Slapstik – a little like playing with a wet noodle.

Product Spotlight: DW double-bass pedal

You know that Drum Workshop’s doing something right when even anti-double bass pedalists think that the DW pedal cool.

Before this revolutionary design, double bass players had the reputation of being overindulgent, arrogant and show-offy. Since DW released this, drummers have been able to explore the sound provided of two double basses without actually having two–thereby freeing them from the associated arrogance. (Although, perhaps contrarily, Tommy Lee–the most arrogant drummer in rock history–was one of the first major proponents of the DW pedal).

These have since become the standard, used heavily (literally) by metal bands. Here’s a common metal beat played with a double-bass pedal:

That said, I could never get down with the double bass. When people ask me why, I tell them it’s partly due to the limiting beats available with a double bass (for fear of getting my face pummeled, I’m not gonna say that all metal songs sound the same… but you know…). But here’s the main reason: After years of playing on a single bass, I’ve think it’s extremely difficult to add that next level of ambidexterity to drum playing. So even though I’m a bit stubborn in my ways, I’m in complete awe of those who can play on a double bass.

100 Hours of Drumming

In a fascinating exercise of human endurance, Allister Brown played drums for 100 consecutive hours. Although he was allowed a five minute break for every hour he played, I can’t imagine the difficulty of this feat. If anyone has ever played in a band, even one hour behind the set is pretty exhausting.

Here’s the video of him completing the drum-a-thon:

I can imagine Neil Peart somehow trying to incorporate this into a Rush set…

Acoustic vs. Electric

A lot of people ask me about my opinion regarding electronic drums and it’s this: I generally advise against them.

Now, before all the electronic-drummers get all uppity, I must say that playing on electronic drum sets is fun as hell. With a good one, you can literally have hundreds of different sets in one, interchangeable with the touch of a button. If you’ve ever been to a warehouse store (Guitar Center comes to mind), then you’ve probably had a chance to play Roland’s V Series, which have amazing response and feel. Electronic drums are also excellent for drummers who live in close proximity to others; because the sound has to be amplified, it’s possible to drum away without bothering roommates, neighbors, etc. For these cases, and electronic set makes perfect sense.

With that said, think back to the day you stood in the music shop and decided that you wanted to play drums. Most of us didn’t care about response time or how many settings/doodads something had–we just wanted to be LOUD! We didn’t mind being relegated to the back of the stage because we knew that the sounds we produced were going to be the backbone of the music. We love the cathartic thrill of being violent in a world that that requires quiet.

Electronic drum sets muffle this experience. An electronic cymbal will never have the bright timbre of a real, metal cymbal. Acoustic sets have a warmness that no machine can never replicate. Not to sound too cheesy, but I don’t think I could feel as connected to an electronic drum as I do my wooden set.

Of course that’s my opinion. To me, it’s the difference between nutrition and candy: candy is sweet, but where is the substance?

Copeland

A recent Police performance in my hometown has prompted me to reflect on Stewart Copeland, one of the best drummers in rock history.

It seems that there are unofficially two schools of influence for the modern rock drummer: Led Zepplin’s John Bonham and Copeland. Drummers in the Bonham tradition prefer hard-hitting, all out rocking, while Copeland-style drummers are keen on intricate, subtle rhythms, syncopation and technical prowess.

Although there must be something said of the sheer spectacle of Bonham’s ability, I’ve always fancied myself a fan of Copeland’s work. The less-is-more technique always thrilled me in a way that a 26-minute drum solo never did; Copeland just felt so much, for lack of a better word, cleaner. Nurtured on jazz and raggae, Copeland developed a fusion style that was both accessible for a casual listener and radically different than anything else in popular music. Despite his amazing ability, he was also a strong proponent of fundamental beats (during one drum clinic, Copeland supposedly enticed the audience by promising them something “no other rock drummer could do” and preceeded to play a straight beat, without fills, for two minutes).

Despite the apparent money signs that surround the recent Police reunion (and subsequent breakup), Stewart Copeland remains one of the most intriguing figures in music, and if you aren’t familiar with his work, check out the Police’s debut album, Outlandos d’Amour, which includes the hit “Roxanne.”

Listen for the cue

What do you call a drummer that just broke up with his girlfriend?

-Homeless

How can you tell if a drummer’s knocking at your door?

-The knocking speeds up.

As much as it pains me to say it, I love jokes about drummers. Not that I think they’re true (although there are always the select few who fit the stereotypes) but they just point out others’ insecurities. It’s easy for a person to become intimidated when up against an individual with a perfect sense of rhythm, awe-inspiring ambidexterity, and er… fast hands. Faced with all those ingredients for cool, some people just become defensive and have to resort to jokes.

This blog is for drummers or anyone with an interest in drumming. It is a forum for like-minded musicians who want information, news/current events about drumming, tips, product reviews, or random beat-related ranting.

It’s also a place where we can laugh along with those jokes about drummers together.

Stay tuned.