It’s just one thing the whole time, and it’s great. I love the super streamline Ramones-esqe record where it’s just – like the first Ramones record is so great and is mixed so great because the bass is in the left channel and the guitar is in the right channel, and they never change. TS: I’m a fan of all different types of records. Could you speak to how you crafted the songs as individual works? But live we stick to two traditional kits and I have the roto-toms.ĬW: Each song on First Taste seems to have its own identity. On the album there’s a lot of extra percussion – timbales and roto-toms and shakers and banging a chair against the floor and smacking a table and hitting metal…all those kinds of things…shells and bells and shakers. TS: I had written all of the songs, and then Charles and I would get together and discuss the drum patterns and where things should go.ĬW: Are you using any additional percussion for the new songs? And we never actually played drums like this together.ĬW: How did the songs for the new album come together, and how did you write the double drumming parts?
Or I’d be like ‘check out this weird thing.’ That’s kind of how we learned a lot of the stuff that we know.
I’d go over to his house and he would have figured out a new lick on the drums, and he’d show me that.
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We basically grew up drumming with each other where we were teaching each other how to play the drums. TS: I’ve been playing with Charles for, man, fourteen or fifteen years. We didn’t really stick to that method a hundred percent, but there are a couple songs with that happening, and not fully chopped up, but that’s where it started, and it grew from there.ĬW: What do you like about Charles’ drumming and how does it work with your drumming? Then when you take a really complex beat, that’s nearly impossible to play by yourself, chop it up and split it between two drummers, it creates this really syncopated, bizarro stereo feel. And every other snare hit panned…that’s the super over-simplified version. TS: The idea kind of came from this bizarro, stereo syncopation idea for the album, where, let’s say you take a super simplified 4/4 beat and split up every other kick hit and pan it left and right. They are a bit more aggressive, a bit more wild.ĬW: What inspired you, or what made you want to execute this idea of double drumming for this album? You’re changing with one another – it’s a living thing.ĬW: Would you say that the live versions of these songs are fairly different than what we hear on the record? But when you’re doing something live, you’re actually interacting with each other, you’re looking at each other and taking cues. TS: It’s a totally different experience, because when you overdub drums, you’re playing to something that’s already been created, and if you’re overdubbing more drums, the existing drum track is the click track. TS: There’s been a couple songs over the years where I’ve had double drums on the recording, but this is the first time we’ve done live double drums.ĬW: How was the experience of tracking drums at the same time? Charles and I play double drums for about half of the album, so that’s really fun for me.ĬW: Is this the first time you’ve done double drums on an album?
Drumhead chatted with the two artists about the how the idea for using double drums came to be implemented, and how it’s worked out in live settings so far on the band’s current tour.ĬW: What are you most excited about in playing these new songs?
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