TDJ Issue OneD

7/28/2019 TDJ Issue OneD

http://slidepdf.com/reader/full/tdj-issue-oned 1/68



Contents

Masthead

he O

Loic maurin Apesanteur [Z ero G ravity ]

he Sum O he Parts John Maher

Dropping NamesDon Lombardi

Maximum Break Richard Colburn

Retirement

Bill Bruord

Out On A Limb A conversation with Eddie Prevost

Rhythm As A MediumBen Martin

atsuya Amanoクロスフェイス [C rossfaith ]

Subscriptions/Newsletter

ContentsIssue One, December 2012

07

17

28

35

44

49

57

62





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A D: L D@.

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C: B M, I B, K D, F HL, J M, J K, J B

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Issue One, December 2012



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Words by Tom Hoare, photography by Luke Douglas

Apesanteur [Zero Gravity]LoiC MAurin



• In 1965 France became the third coun

world to launch a satellite into

• It has its own national space program c

• It contributes the most money to th

Space Agency

• France own a 28 per cent stake iInternational Space Station

I F , Lï M –

T M83’ H U W’ D . I , . N q .

I Lï P’ . I’ . A .

U Lï I , I , Z . M M83 q, ’ A

. D ,

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T H E D R U M M E R ’ S J O U R N A L

09

Lï M: S, P

Te Drummer’s Journal: It’s been great… Have you always lived here? Y, I 3 . I’ .I .

How did you start to develop an interest in music?I . M I f…

Were you a violent child?(L) Y I ! I ’ . I , I I .

Tat’s quite early!I ! M I . J .

Mainstream British music?M. B A . O F , I B . I’ !

So rom there I guess you got a kit. Did you learn yoursel, or was it moreormal?O I . I I . I 8 988. I W W W, P F,S Q, f . B M .

I don’t know a lot about the French music scene… Y’ ().

Everyone seems to say that! Is that really true though? W, , , . M . B I . T’

.



“I tried to teach too. hat didn’t go very well. I was a huge ailure. I hated it. And I could tell the students hated it. But I deinitely hated it more.”

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11

I think, in all airness, the French have a good reputation or a lot o electronic music. W, I . T 97 JM J, . T D P F . W .

Did you study music at school?N. I’ F . I B A . I ’ F .

Why do you think that is?T’ q. I ’ . O , . W A .

I was thinking about this beore actually. A riend o minespeaks French very well because he enjoyed it at school and thenlived in Lille or a ew years. I took the same lessons but I wasalways terrible. I think my experience o languages is similar tothat o the majority o people in the UK. Our grasp o oreign

languages isn’t great, where as in France it is. Lots o young people in France can speak English uently.I F E , ’ ! B, F ’ E S, , f. T .

When did your English start to get good?I . I E .

Yeah, I thought your English might be better actually…

W,

Sorry, it was a joke. A bad one. Your English is at least as good as mine.O, , . S, I E A V.

We don’t have many French records to listen to, or much FrenchV.(L) W, I !

Did you enjoy school then?N . I . I , , .I . T .

So, were you trying to become a drummer? Y. T , I , I .

When you let school, how long was it rom then until you joined M83?

M . I , I I . I, I I . T ’ . I . I . A I . B I . A I I . f .

Do you read music?I . I , I z I ! (L) B , I’ z. I’ z .



Did you try session stu too?I , f .

And that brought you to M83? Y I . I I I . T , . B D , . H’ ’ I .

Was there any inkling o the longevity that the band wothink, as a 20 year old, that you’d still be doing it anoththe line?N . I . W I - f . B A, . I ’ q z . B I’ . W I I’ f A ’ D C I . A . I ’ . I ‘’.

Te critical reception toward M83 has been overwheconsistently so which is quite unusual over so many albI , A f.

In what ways?T . . I , . I B T D, - . B ‘ I ’ ’ ‘ , ’ , .’

“I used to play a certain kind o

stick on a certainkind o kit, then

three weeksinto rehearsals I

thought ‘what theuck am I doing

with this stu? Itsounds like shit.’”

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13

So did things start to become more band orientated?I , , . I’ -A. I’ , .

I wanted to ask you about your creative input…I’ , .

So Anthony just says exactly what is gong to happen with thedrums? Y, . B, . I ’ ’ . I’ . I ‘, I’ .’ U, I’ ‘, , .’ I . H z f . I . I’ . Y I

A riend o mine used to make tracks in Pro ools and just randomly program in the drums. He’d make these flls up, and

because he was dragging random percussive sounds into randomslots, they used to sound insane, like nothing a drummer could actually come up with. I certainly couldn’t play them.E. T f M83 , ’ M83 . A I ’ . I’ I .

Do you think you’ve learnt a lot during your time with the band,I mean, have M83 now shaped the way to play? Y, . B I I ,

I ‘ I f I

.’ I 7A - , . J I I , q . T – I I . I I I .B, I I . I . N I I . S , . E f. I ( ) . B . T I’ .

Do you have stu in the set you enjoy playing more than others?M R S MQ. BI Y O, O UFO. M q , I’ M83 . I .

So the technical aspect is never really something that preoccupied

you?

F , . I , I’ z . I . I T L, , . L, .

Have you listened to any o Dave Weckl’sO. I . A . T , T M V. I’ q

With regards to the electronic elements, had experimented with beore M83 or dthat specifcally?I , . I’ A , I , DX. I .

... using Ableton? Y, A. W A A f . I C – I . T I . B, CV. I’ f I f .

So in terms o the actual sounds, do youand don’t like?

I’ ,

“H ave you listened to any of d ave W eckl ’s

solo stuff?”

“Once. I had to stop

mysel throwing up. Awul.”

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Do you trigger an acoustic kit?N, . I’

. I , , I . D f

Lovely.

(Lï f f .)

O, ,

I think so. Are you endorsed? Y, DW. T’ . I’ I

f, , . A f , . S DW . I Z .I’ . I , I q. I , , . A I

You can say what you like!O, I V F R .

So has the recording process changed at all?

S . F B T D

S = Y, I . S, , ,

. I , , , . F S = Y . W f , H U W’ D . T ’ , J ‘, - .’ I’ . I ,

How did you fnd the studios in Los AngD, I . T ! I . I , I J

V B I

Galaxy Messier 83

“Anthony was li want to stick to ton this keyboard

minutes that is wgoing to do’ and all just be like ‘o

it’s your albu w w w

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15

E E ’ .B . I’ ’ .

Te response to that album was pretty intense. For example, the

review on Pitchork, they can be incredibly brutal…O , , . S ’ . B , .

But they weren’t alone. I honestly tried to fnd a bad review o it but I couldn’t. Tat has to have helped a lot. Y, . W C . N , . A B A . W I. T .

And touring is still something you enjoy? W, . S, . D . W’ , I’ ‘ I ’ I’ ‘I’ I’ ’ I - I -. I’ . B ‘ , ’ .’ W I I’ . W’ , .

T , I ’ . I z . L , , I’ P, .

Did Anthony move to the states? Y, ’ .

You’ve never ancied it?M! () I’ .

What about London?(L ) L! , ’ . Y’

No, so bad mouth it all you like.I’ . I , , I I’ , B.

Brighton? I’ve never actually been.R

Really.O, , ’ .

Ok, but it’s not exactly French style ‘by the sea’ though is it?N, , I ’ f.





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Photography by Kate Dar

tHe suM o

tHe PArt John Maher



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He said tHat i Was

making a very big mistake.”

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Sunset over arbert

Harbour, Harris

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Buzzcocks

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UK. A J, “ £5 P S’ .”

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B J’ M A F T P. T J’ , K M NME’ 978.

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Rose inted Spectacles and Teir Removal

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“tHat energy WHicH inspired all tHat stuff to

Happen seemed to evaporate quite quickly ”

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“i Wasn’t on some campaign to cHange tHe

World, i Was a drummer in a band, a little unit,

a gang of people.”

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‘Leverburgh Jetty’ - John Haher

25




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Don Lombardi

Words by Julia Kaye

DroPPinG nAMes

29




, D L . H , , . I G

, ’ D L CEO P I. Y ’ - , DVD . I’ q , , . Y, f

, .

I 97, D D W (DW) , . M , D C. I’ T D M .

Te Drummer’s Journal: So, how’ve you been?D L: G, I’ ,

. E I’ I ! I q ’ .

Have you been pleased with the reception Drum Channel hasreceived so ar?I , DW , ’ . I’ . W D C, I R&D DW , I’ D C .

“I started playing less and less and then

virtually not at all. I was working a seven-day week doing eight

to 10 hours a day trying to run the

business without any outside unding.”

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30




No major issues then?T . W . A,

, I’ ’ ,

. f

One o the frs was just how actually done cbeen a product an entrepreneudrummer and umbrella terms I one describes youI

I I I I , I’ I . I

I I N C, A I C B, J M

“heir goal was todominate the American

drum industry back in thelate 1970s and early ‘80s.

hey saw it as a very labour intensive industry. hey

were looking at Ludwig,Slingerland and Rogers

paying seven, eight or ninedollars an hour when they were paying 60 or 70 cents

an hour in aiwan.”

www

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31




T, , I .B LA. I I , , . I I 6 . I I . W I ’ , I 4 5 . S, DW. I

. S M,E S, F LA , . B, I : I ’ !

S . J G, DW V P, I , I

. O ’ C . M ‘7. I ’ I’ . B 98 DW LA. I , , I . I - .

It’s quite easy to overlook the act that there is an economy behind drum production. Economies, o course, are amously

fckle, but DW seem to have weathered the storms quite well…I 98 , , NAMM , ‘ ’ I, ‘ .’I ’ . T I . T I ,DW ’ , ’ . I ’

. F, ’ .

And how do you see it? Y’ , ’ . T A 97 ‘8.T . T L, S R , 6 7 . T , , ,

. S A f . A, . I , ’ .

S , 98, I , I ‘Y’ . T A , J , 9 ’ W ’ . W , Drum P

32




Drum Pe

33




’ . W I . T ’ . I I ’ I ’ , I q .

W ,

, . Y . I ’ . W , P Y .

Speaking rom a manuacturing standpoint, what would be themain dierences now in being able to produce products rom

when you started?P, ’ f. O , ’ q

, , . I . A , J . W . W CNC , ’ , . B , q, f, ’ f . T . H

No, I haven’t… W, , ,

.T . T . O ” ” 4” .I ’ , 45 45 , ,

5 . I’ , , .

People say that the drum kit is still quite a young instrument.From when you started you’ve seen the drum set change quitesignifcantly since then. Do you see potential or it to changeurther?T . W’ z

’ . I I ’ , , , I’ .

I guess that brings us back to Drum Cha

the idea o the evolution o technical abilI . A – . I ’ W

Does the increasing availability o odrumming, as a potential career, is becomthan it used to be? W, ’ . I’ ,

, . I , , C ’ , ’ . W , ’ M . A 8, V D C

“you’re nuts. hree Americandrum companies have already

gone under, the Japanesecompanies are dominating,interest rates are at 19 per

cent and you want to start a drum company?”

www

www





MAXiMuM BreAKRichard Colburn

“D ” T q f ; I’ . H I S,

I . L . “S,.”

P I . I q , I . G R C

6 B S . I , , q M S q f.

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S, I . N K .

B , 996 R S’ . I , I .

36




Te Opening Frame

“I’ .” I . “I I , I . M . I’ – , .

M S. I , ’ …” H .

“I I – ,, , …” A . “S , I , I , I , z , . T – I I q .” H .

I’ R. F I – . S, , I , . I S H S .

“I , , ’ , . I . I , I . I I P, I . I f . I , P S C G.

“W I G I S D, B S. H S M, , ’ . I ’ . I , ‘D ’ A I , ‘I I .’ S I , , . B I ’ , I ’ .” H .

“S ’ ,” . “I 5 I , , . I’ . I’ . W , I ’ ’ ‘J! A! . “T ’ ’ . I , ‘W I !’ I

. Y ’ . T

I ’ . W ’ , , ‘M , , I’ .”

Alterations

I I I R . T

, F

, I I , .

P I R’ . F . “D ,” . W, ’ z, z , , , I .

“With Belle andSebastian, the ethos we’ve had is i you’re

never in ashion you’re never out o

ashion.”

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“My an

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38




I , I R . F, q, B S . S, , , R . B S N S P 99. T . I , R’ .

I . I B S , ’

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“I 6 , , ’ . S , , S . S I I’ , I , I . I’ , I I ’ . I’ ! B ’ , ’ , S q . I .”

Perceptions

W 5 , . T FM, H B

, I

“I ’ . I . I ,

‘ I’ .’”

T S P, T R P. A , , . I , q H DF P . I q .

“W B S, ’ ’ . T F F, S’ . T

B P . W ’ NME M M . W , .”

I . N , R “S I . H , , . L . W .

“You’ve got to getbetter. No band

will last orever,so what do youdo ater that?”

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From let to right, top to bottom

[996] I Y’ F S[998] T B A S[] F H C, W P[] S

D CP B

B & S

“You can’t bePeter Pan, youcan’t always be at that pointin your lie.”

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40




“I I’ , , . I 5 . I ,I , , I’ ‘ I ’ A ’ ’ ‘, , ’ ’ . I , I , I I , ’ . N ,

“W . T I

’. W S W A L), S. I . I ’ I . I . I I’ , I’ I .

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, ’ , , ’ , ’ ’ , ’ … !” (M --- f.) “I’ , ’ . T’ ’ f. I’ ’ , ’ ‘ G!’”

Reections

O B S , , I Y’ F S, T B W T A

B S . I ’ , R’ . I S M , I .

“I I ’ . I . I M Rf . W’ . 5 , I . T, ’ ’ . I . I ’ F S, , I I . T

Promo Poster: Belle Sebastian’s ‘he Bowlie Weekender’



’ . I’ ’ ’ f , T B W T A S, . T .

“I S . I S , ’ A W ’ SS I , S

“I , , f , . F M W D A z , . I I . I ’ I I

T’ , I ’ . I ’ I I - I ’ , I’M , . B I . S I ’ B I ’ ! W’ , ‘I I ’ ! I ’ , ’ . Y ’ P .”

42




W , R’ , J, R S P.T J ’ , R . W I I B

N, I ’ . W P P . I, I V. T ’ . R , I ’ B S .

My Wandering Days Are Over[@ 4:20, 158bpm ]

www

G ROOVE 1

G ROOVE 1 X 3

G ROOVE 1 X 3

G ROOVE 1 X 7

G ROOVE 1 X 7





Bill Bruord

Words by Tom Hoare and Iain Ballamy

retireMent

45

B B H T D ’ J l S h t h t d t b




B B . H q . T

, . T : ‘PR I G,’ ‘Y,’ ‘K C/R F,’ ‘G.’ I B’ , .

S , , , W A, ‘BB’ q 9.

I ’ q I PD U S, , I ’ . D f UK, US S, ’ .H PD .

, I . W .

Te Drummer’s Journal: So what has prompted you to probethe depths o your psyche and ask the question most neverdare to ask, ‘why do drummers do what they do and what have I spent my lie doing?’B B: W I I – – , , , . I ‘-’ , ’ A. A I I , q .M I’ I .

Is that question not a little dangerous? We can’t change thepast and supposing you are not happy with the answer?R ’ . I’ q, , , I , I’ .

Are you a religious man? W, I’ . I , , I’

. I S, I ’ .I S G , I .

Do you see the separate phases o your lie with a sense o continuum or as separate chapters or even separate lives?I’ ; . S .

Do you eel a dierent person now you have stopped being a musician and become a student?N, B. M ’

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! I E. I

. M . A , .I I . I ’ I .E .

What’ve you learned about yoursel and others through music?I’ , . I -, q. [I - – M Iq] F - G, G S, A S, I’ - f f, . A , ,

I , ’ , .

I you had your time as a bandleader again, is there anything you would do dierently?N, . Y , . W B E . I’ . G

Can you articulate how you see the scene and orientation o a musician as having changed or is it still the same as it ever wasbut just in a dierent age?S , f. T

, , , . I’ ,

. B ‘’ - - f. A . L , . T

Drummer jokes apart, is there an innate with other musicians or is that a thing o A , ’ , ’ . O . B , I - I

47

-




- . T’ -, , , ’ P C, F W, N P , G H, J DJ, P M P E . S …

Are drummers disenranchised by computer programming and generic popular music genres

which deploy an ‘ever diminishing selection o beats and tempi?’R BU . W , ’ . I

... – . T , I KU . T “ - ”

So is there a revolution around the corner? When and how might that happen? W ‘zz’ ‘’,

.

I have never met another musician whthat through choice, usually a musicon stage, or on the road. Has this aand original act made your contemp

in that yosomething I’

R, f . T f ’ -

. I S

.

So in 70,000 words time when you haon why you did what you have donnext? A trout arm perhaps?I I .

“so is tHere a revolution around tHe corner ? W Hen and HoW

migHt tHat Happen?”

“We could start by banning the words

‘ja’ and ‘rock’, which cause a whole

lot o trouble.”

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Where are the ads?

W,

’ q . W’ , z ’ , ; z, , ’ .

I .

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outon

ALiMB

A Conversation with Eddie Prevost

I L, ,

é. I, é . T . “D ,” . “I’ .” B, , , , . A . “I ’ .” P f , . L . I’ q; . “T ,” . I . :55. :57. :3. S. T, , J B, G V E Pé .

Words by Tom Hoare

. I



zz .

D . E, , . A ’

AAM. T , E , . H

Te Drummer’s Journal: I imagine you’ve talked aboubut what was it about the drum set that initially interE P: I ’ I’ . I f zz

f. S , . I’ I I’ .

Did your interest in jazz go on to shape your iimprovisation?D’ I . T , . I . I’ S J Gf .

w w w

itle Page:

op, Prevost,1984 & Bottom,

1979

Let:

inconspicuous

cae, london

51

Was the socio-political climate o the 1960s anyway tied into what




you were doing?I z . I . I . W f . M . I . B I ’ . (L)

How do you perceive the drum kits role in contemporary musicmaking today?I , . T –S , .N ’ ;’ . Y , , .

Do you still see scope or it to develop urther as an instrument?I

Well, I’ve heard opinions that make it seem like the drum kit hashad its day and there is not a lot more it can oer music in terms o originality, any more than it has done so already, at least.I

No.I’

I I did think that was the case, I probably wouldn’t have chosento start a drum magazine. But it is an opinion I’ve heard peopleexpress, yes.O. W f ’ . T ’

“he said ‘i can see you can play a bit, so why are you playing like this?’ I should have been insulted

w w w

w w w

Eddie Prevost Quartet, 1983

–



. Y . T f ’ ’ . B I . Y’ - I - . W ’

, . T . T . Y .

Do you ever see the drum kit as more than an instrumethat it can encapsulate certain ideas or trains o thoughT , ’ . T . I N O . P -

. I , . S , , zz . B - , , , , . O B D, B R, E J M R . I ’ . W R ‘ R . I . M ’

“Damien Hirst andthe like. You cando all sorts o

things to make an absolute ortune

and be treated as someone uite

remarkable”

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Prevost, 1970



“For my monthe two thinimproviser sh

attend to is, the idea o sea

or new mate and, secondly

collaborativdialogical nat

the music, i.e. w with other pe

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. T zz . B ’ . I , I , …

Yes, I enjoyed it, thanks.… I , I , “I ,

” I , I I I ’ I . I q . B . W , J B, ’ . I’ f . A .

So you think drummers, as musicians, have a pre defned role in termso what they’re expected to do? Y, I ’

. T ’ . I , . A ’ ’ . I, . T’ ’ . T’ I zz. I ’ zz , ‘ , ’ T’ f ! T , , . I ,I’ , ’ .

Clockwise:Prevost in 1982,

1973 & 1991

55




Do you think that improvisation, as an approach to making music, is sometimes misunderstood or misconceived in any

way?T’ q . I ’ .I , I . M

’ .H , I ’ .

Can improvisation acilitate notions o right and wrong, or isit not quite as clear cut as that?I , , . W I ’ . W’ . F , , , , , , , .. . I

’ ’ I ’ (). D

Yes, I think so.E, ’ , ‘I I ’ ’ . S . I ’ I ‘N

S I’ .

I wanted to ask you about that actually…B I ’

Well, in short then, would you say that the musical, socialand philosophical aspects o improvisation are very muchentwined?C , . B I’ , , ’ , ’ , ‘ .’ I’ q .I ’ q . T , , “A” - . I ’ . I . I ’

. B . D H . Y q , , ’ . I’ . I ’ . I .P .

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A workshop on improvisation? Y. I’

, ’ . A , ’ . T B, S P I’ . T’ . I f. I ’ . T L. I’

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“Rhythm is the property o a seuence o events intime which produces on the mind o the observer

the impression o proportion between theduration o several events or groups o events o

which the seuence is composed”

Sonnenaoheinwww

Aristoxenus’ Greek Writings on Rhythm

59




Aristotle’s School: Paintedin the 1880s by Gustav Adolf

Spangenberg

“he most undamental error made aboutrhythm is that it is ‘an ordering o times’.

he most undamental truth about rhythmis that it is an ordering o accents.”

Aristoxenus, Disciple o Aristotle.

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60




C T f . I’ . T

.U . Y .

Listen to Naturally Occurring Patterns:

U . L . I ’ . A . R . I . J . D’ .

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Defne your Control over Syncopation and on Beats:

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O . T

C. T , A q , 5 5” D Z , C ’ I - ’ R. F J ’ . ’ E, J, ”.

T . I , J E. M R’ , E, I’ , , .

Te Drummer’s Journal: Could you ask atsuya wrom? R: H’ O - ’ J . I’ .

I didn’t think the Japanese did shithole cities…N, .

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64

Oh. Ok. Well at least most places in the UK aren’t going to be toomuch o a shock then. So how did he start playing? ’ A




. A DVD T R H C P. H C S. S .

So he’s better than his dad now? Y.

Has he always hit the drums so hard?

(Lengthy conversing in Japanese): Y!

Oh, so he speaks a bit on English then?H ‘ Y” “N” E.

Right. So what type o stu did he start out learning?: J J. S!

I imagine he went down a treat with the neighbours then?H , .

So how big is the hardcore scene in Japan?C UK, ’ . I , J P . I’ J . B, .

And is it getting bigger?I , . T J , , , Z E.P ’ , 7 J z.

A lot o English or American bands, well, perhaps more so the classicmetal or prog rock bands such as Iron Maiden or Dream Teater, goto Japan and do really well there…T , .

65

But there isn’t, comparatively anyway, as many h J q Wq




q , 3 . Y ,

I saw part o the video tour diary the band recoro the UK earlier in 2012. Did the tour live up toI , , . B .

I’ve heard that the band enjoy drinking Jägerme: Jä Y!

Is he ever too hung-over to play? W, “H T D

Hit Te Deck? I know it, yeah.O, A. T ’ , .

He has a lovely SJC kit, is that an endorsement? Y, ’ . H SJC E .

Does he tend to break much stu?(L) W ’ !

Ok, beore he got his endorsements did he break Y, . A, .: (N) Y!

66

Te cymbals on his kit are massive… Y. H ’ 4”. E . H’ 4” .

Intimidating Guy attempts to exit through a locked door marked “staf only” beore returning to the bar.




.

On the latest album, they cover a song called Omen by Te Prodigy.Tose drums were recorded by Dave Grohl…D G R

Yeah it’s true.R I ’ . F T P D G

I’m pretty sure he plays on that song, yeah.I ’ !

Oh, well I was going to ask i that played any part in why they chose tocover that song. It obviously didn’t.: (L) D G! P! D G!

Yup, Dave Grohl. ’ . B, T P . S q .

At this point a guy who must have been at least 6’6” with ample acial tattoos and a bullring piercing, wanders over.

I G: E , I’m not. But these guys are (gestures to atsu)IG: W R: C.IG: C. A W S SR: Y.IG: N . W R: E, 5.3.IG: N . ( R’ ) W R: J. T’ J.IG: S. C .

O, . (Rew talks to Tatsu). 5 zz . A . A .

Who does he think he is going tohave to displace to earn that title?…’

J, (lengthy conversing in Japanese): C S. Y.

Intimidating Guy, leaning round the door into the bar, shouts

IG: E , EP R: Y, ’ .IG: H R: £7IG: H R: .IG: T’ ! D D W I O G. I CD . S !R: Y, .

Maybe we should move. Can we get a ew photos or something?G .

67




suBsCriPtions/neWsLetter

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Ingredients to use:

2.0 Part Cream[add last, and stir to liking]

1.0 Part Coee Liueur

[add second]

1.0 Part Vodka [add irst]

Serve on the rocks, with mint

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