Tom Tom Magazine Issue 10: The Glamour Issue

a magazine about female drummers

TOM TOM MAGA Z I N E

SHeILA E.

is s u e 1 0 | sum mer 20 1 2 | u sD $6

the glamour issue

brittany brooks Nikki Glaspie neon trees

welcome to tom tom issue ten, the glamour issue. have a seat, rel a x, and enjoy the ride.

contributors FOUNDER / EDITOR-IN-CHIEF Mindy Abovitz (info@tomtommag.com) DESIGN Lauren Stec Candice Ralph WEB MASTER Harlo Holmes managing editor Colleen Siviter web editor Joanna Gutierrez NORTHWEST CORRESPONDENT Lisa Schonberg LA CORRESPONDENTS Liv Marsico, Kiran Gandhi distribution Segrid Barr COPY EDITOR Colleen Siviter PHOTOGRAPHERS Bex Wade, Stefano Galli, Maya Stoner, Elizabeth Venable, Anthony Buhay ILLUSTRATORs Minka Sicklinger, Karen Codd, Caroline Wilson, Moselle Spiller, Rachel Day, Lauren Maresca, Kelly Abeln WRITERS Emily Rems, Van Alexander, Natalie Peart, Joanna Gutierrez, Colleen Siviter, Elisabeth Wilson, Jen Ruano, Rebecca DeRosa technique wRITERS Bianca Russelburg, Morgan Doctor, Steph Barker, Dawn Richardson, Fernanda Terra, Kristen Gleeson-Prata, Aimee Norwich, Rachel Fuhrer, Jose Medeles, Kimberly Thompson art by Mo se ll e Sp i ll e r of B oo m Chi ck

REVIEW TEAM Rebecca DeRosa, Anika Sabin, Stephanie Barker

tom tom staffer love

TOM TOM TV Steph Barker, Tamar Glezerman, Elizabeth Venable, Jodi Darby, Anthony Lozano, Anthony Buhay

are good friends of ours who passed through NYC this Spring and helped out with our tweeting, distribution management and generally they were amazing.

minka sicklinger

has written several articles for Tom Tom including BRMC, The Black Belles and many other beloved pieces. She’s great and we are looking forward to reading more of her work!

the anthonys are incredibly talented guys from LA who have put together some of the best features we have ever had on Tom Tom TV. These guys are the greatest.

anna & Adee

jen ruano

is a tattoo artist and talented illustrator who introduced herself to us with an incredible Tom Tom drawing (love poem style). She is now a regular contributor.

interns NYC: Joanna Gutierrez, Adee Roberson LA: Nick Fermin Portland: Misti R. Miller, Katherine Paul THANK YOU All of you, Ima, Aba, Rony, Shani, Stephanie LaVigne (fireball), Ace Hotel, DW Drums, Drum Channel, Dawn Richardson, The Participation Agency (Jess), DRUM! Magazine (Phil, Andy and the team), TRX Cymbals (David) CONTACT Address: 302 Bedford Ave PMB #85 Brooklyn, NY 11249 Email: info@tomtommag.com Corrections Anthony Lozano’s name was misprinted. Sorry!

ON THE COVER FRONT: Sheila E. by Lynn Mabry BACK: Nikki Glaspie by Bex Wade TO SUBSCRIBE WWW.TOMTOMMAG.COM

4 the pack

inside

issue 10

Welcome to Issue 10 of Tom Tom Magazine This is the Glamour Issue. What exactly do we mean by that and why did we decide to focus on glamour you ask? Well, it’s simple really.

We are the only magazine in the world about women who drum so we decide to, on occasion, celebrate parts of drumming that are exclusively ours, like being glamorous (with the exception of a few glamorous boys out there, hi guys!).

When we put this issue together we had already had the pleasure of meeting the charming and talented Brittany Brooks out in LA. She was just getting off a tour with Cee Lo Green and excited to talk to us about her newest band DDMC and her love of killer manicures.

After that we called Nikki Glaspie and asked her about her time with Beyonce and her current project Dumpstaphunk. Neon Trees passed through NYC and we got a chance to eat cupcakes with the gorgeous (and newly pregnant) Elaine Bradley. And lucky us, we were able to get Sheila E. on the phone. The first lady of Glamour as far as we are concerned (and oh yeah, Prince would agree with us too). She told us about her glamour team, playing with her Pops and her newest project Stilettoflats.

For any of you who followed the first contest of its kind, Hit Like a Girl 2012, we were pleased to announce the winners last month. You can find out more about these three phenomenal drummers in their feature in this issue and keep an eye out for the next contest we put together with DRUM! Magazine & TRX Cymbals.

glamour tips 10

drummers on film 11

DJ mia moretti 17

sheila e.

18

brittany brooks 22

Nikki glaspie 25

neon trees 28

The next issue (out in the Fall) is themed Drum Corps. So all of you sweet drummers in marching bands, drum lines, snare students, street drum corps, etc, please see the submit portion of our website to contribute. And as always, we look forward to your photos, interviews, personal accounts, love mail, review materials, etc.

nite jewel 32

lux 36

pintech

In glamour and drums,

43

diy drum workout

Mindy Seegal Abovitz d ia mond icon by minka sickl inger

50

fan love We love our Tom Tom readers.

Send us your pics!

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see more event pics online / we like to party

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Berlin, GR

photos by mi ndy abovi tz

drum channel Oxnard, CA

photos by anthony buhay

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we are fans of these heavy hitters

the pulse and the beat marit wor d s by joanna gutier re z photo by B irgit paulk in

Twenty-seven-year-old Marit Ilison is the self-taught drummer for Estonian band Väljasõit rohelisse, a collective of friends who like to experiment with sound. Her influences include Karin Dreijer Andersson and any darker, repetitive and tribal vibes with a good beat. An artist and fashion designer as well, she fits in well with her band who describe themselves as “one chord psychedelia with swamp blues, surf and Krautrock tinges and Estonian echoes.” Haunting and beautiful, Väljasõit rohelisse sound like they are playing from a magical world underwater. Their newest 10” EP Külastus has been released through Onesense Music. From her art installations to her music, Marit is definitely a creative force to keep an eye on!

maritilison.com

san cisco by joanna g u t ier r ez photo cou rt esy of a rt ist

Coming to us all the way from sunny Australia, San Cisco is made up of Jordi Davieson, Josh Biondillo, Nick Gardner and drummer Scarlett Stevens. Signed to Alfred Productions, they are currently taking the alternative scene by storm in their home country. San Cisco is known for their fun yet deep lyrics, bright catchy hooks and quirky sense of style.

Coming onto the scene in 2011 with Golden Revolver to rave reviews, they recently released their sophomore effort Awkward. Songs to check out are the title tracks from both EPs and “Reckless” from Awkward.

facebook.com/sanciscomusic

Rakkatak wor d s by joanna gutier re z photo by jim s em lo r

Rakkatak is a Toronto-based world music collective that merges Indian rhythms and instrumental melodies with tabla and electronic soundscapes. Fronted by tabla player Anita Katakkar, Rakkatak is currently working on their second album. Last year, the whole band studied under tabla extraordinaire Swapan Chaudhuri and learned about North Indian classical music at the Ali Akbar Khan College of Music in San Francisco. They are currently resident players at Octopus Garden Yoga and have released two 25-minute tracks that are meant to aid in linking breath to movement during yoga practice. Both tracks are available for download on their website.

rakkatak.com

the she’s W o r d s by joanna g u t ier r ez photo cou rt esy of a rt ist

Reminiscent of the Beach Boys and the Shangri-Las, this San Francisco band takes 50s and 60s beachy surf sound and harmonies to the next level. Fronted by Hannah Valente with Sami Perez on bass, Eva Treadway on guitar and Sinclair Riley on drums, The She’s are currently unsigned but probably not for long! Songs like “Jimmy” and “Fabian” showcase these girls’ abilities to deliver infectious harmonies with a nice slice of sunshine pop. Check out their EP Surfer Boys and get to daydreaming.

facebook.com/theshesmusic

pins wor d s by joanna gutierr e z photo co urtes y of artist

We don’t know much about Faith Holgate (vocals/guitarist), Anna Donigan (bassist), Lara Williams (drummer) and Lois McDonald (guitarist) who make up the band Pins. They have only been a band since last summer and only have a handful of gigs under their belt. They have yet to release a full length EP and the only recordings available are on limited edition cassette tapes via Haus of PINS. That being said, these girls are making quite an impact on the Manchester music scene. Influences á la Hole and The Jesus and Mary Chain are evident in their noisy and layered pop offerings, exemplified on their track “Eleventh Hour”.

wearepins.co.uk

tacocat wo r d s by r eb ecca d er o sa Photo cou rt esy of a rt ist

On a hot night last summer in Brooklyn, I pogoed and sweated along with some of my besties to the salty-sweet tunes of Seattle’s TacocaT. The band first came to my attention when I read an article written by the bassist, Bree McKenna for The Stranger.

It was about the different ways journalists approach writing about female bands vs. male bands. My friends were excited to check them out. When they hit the stage, we hit the dance floor.

Yes, it is possible to write fun, pop punk songs about UTI’s and toxic shock syndrome! Thanks, TacocaT! Look for their newest EP, Take Me to Your Dealer out on Subpop. Or order their 7” Woman’s Day. Mine came with crayons so I could draw on the album artwork. Did I mention I love this band?

facebook.com/tacocatband

SNAX CHAT

snacks from the Road With emily rems: drummer for The grasshoppers

Perfect, Portable Vegan Treats For Drummer Gals on the Go

As a magazine editor in NYC by day and a drummer in the spooky blues rock band the Grasshoppers by night, I often find myself running from my office to band practice or to gigs without time to stop for a proper meal.

When this situation befalls other members of my band, they can combat their snack attacks at any corner bodega or pizza shop. But since I’m a vegan (and avoid all animal products, including meat, dairy, eggs, and honey), I find it’s better to pack myself some treats ahead of time. That way I know my choices will always be in line with my ethics, even when I’m on the go. Here are a few tried and true crueltyfree products that are small enough to store in my stick bag, but still pack a punch when the growling in my stomach threatens to drown out my kick drum.

4. One Lucky Duck Cheese-y Quackers ($13.50, oneluckyduck.com). When I am

feeling decadent and want to treat myself to some super-high quality, raw, vegan, organic, hand-made deliciousness, these crunchy “Quackers” are worth the splurge. They get their cheese-y flavor from nutritional yeast, and are made in a dehydrator with a blend of almonds, flax, and spices.

1. Primal Strips ($1.29 each, primalspiritfoods.com). When I’m hungry for a quick pop

of protein, these delicious slabs of seasoned seitan jerky really hit the spot. My favorite flavor is Mesquite Lime, but they also come in five other delectable varieties including Thai Peanut, Teriyaki, and Texas BBQ.

3. Lärabars ($1.29, larabar.com). Most

energy bars are just glorified junk food, but these winners keep it all natural with a simple ingredient list of only dried fruit and nuts. My favorite flavor, Cherry Pie, contains dates, almonds, and cherries (that’s it!), it has 5 grams of fiber and 5 grams of protein to keep me full and focused while practicing my fills.

5. Liz Lovely Cookies ($3.99 for 2, lizlovely. com). Sometimes I think I should just walk 2. Justin’s Organic Dark Chocolate Peanut Butter Cups ($1.99, justinsnutbutter.com).

While the rest of my band claims cigarettes as their break-time vice of choice, I prefer the sinful sweetness and sugar rush of a perfect peanut butter cup, and there is none greater than Justin’s. Organic nut butter bathed in deliciously dark, fair-trade vegan chocolate?

Yes, please!

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around with a sign that says “Will Drum For Cookies” because in the case of these vegan beauties, it would definitely be true.

Liz Lovely’s spicy Ginger Snapdragons are truly spectacular, and when I get a nervous stomach before a show, a little ginger always feels good going down. I also appreciate that this company offers a full range of glutenfree options as well.

HOLY KALE

recipes from the Road With emily rems: drummer for The grasshoppers i llu str at ion by kar en codd

kale chips

Nathane Jackson’s Cheesy Kale Chips Inspired by Ani Phyo Ingredients:

• 1 cup red bell pepper seeded and chopped • 1 cup raw cashews soaked • 2 Tbsp nutritional yeast • 2-4 Tbsp water as needed • 2 Tbsp raw agave nectar • 1 Tbsp organic extra virgin cold pressed coconut oil • 1/2 tsp Himalayan sea salt • 6 cups of chopped kale (1 bunch or so)

One snack that has really taken off

1. Place all ingredients except kale in to

in the past year is kale chips. Savory, crunchy, and packed with beta-carotene, vitamin C and calcium, these beauties are true nutritional powerhouses. The Grasshoppers love them so much that our appetite for them was outrunning our budget to buy them. So we finally bit the bullet and started making them ourselves with this recipe by fitness trainer Nathane Jackson of nathanejackson.com. Try them for yourself and you’ll see why we can’t get enough.

blender and mix until it forms a thick cream.

2. Pour mixture over kale in a large bowl and mix thoroughly.

3. Spread kale onto two dehydrator trays

and dehydrate at 114° for 6-8 hours.

9

By Kimberly Thompson I keep a towel, water and

lip-gloss in the drum cup holder. it never fails.

h ealt hy meals,

daily workouts, meditation, prayer, and practice and not too much time for partying. I usually retract back to my hotel room and work on personal development in my spare time.

I always

apply makeup an hour before

Stay on top of

As for

the show and I consider different lines of makeup and how they will react after a night of drumming.

jewe lry

Now that my hair is shorter, I can get away with the

rock star look

under any condition. I always believe that one’s hair had a mind of its own, and it should be respected at the kit.

necklaces are fine, though they could irritate your skin if you sweat during your show. Earrings work as long as they are not too long. If they are long they could potentially slap you in your face during a performance (trust me, I’ve lived it).

I recommend keeping some

molding gel

around, a flat iron that’s international,

and organic Shea butter when needing to

deep condition.

Water and these elements do wonders.

Stay clean and fresh

on tour and you will manifest the same in your physical and mental being.

Wh e n weari ng h ee ls,

make sure the heel of the shoe lays flat. That way you won’t overpower the kick or the hi-hat.

c u t o u t illus trat ion by rache l day

drummers on film

By Colleen Siviter Illustrations by Caroline Wilson Drummers in movies rarely get to play center stage, with storylines often focusing on a single front person. But with a closer look, drummers represent a wide range of intriguing and diverse characters with their own strong stories. Here’s our homage to some of the female drummers on film that have inspired us with their personalities and individual styles over the years.

WATTS (I L LUST RAT IO N O N PRE V IO US PAG E)

While tomboy drummer Watts (Mary Stewart Masterson) was crushing on long-time friend Keith (Eric Stoltz) in the 1987 film Some Kind of Wonderful, most of us were busy crushing on her. The opening drumming montage alone most likely inspired hundreds of VHS rewinds.

Bleached-top bowl cut with the perfect ducktail, white tank top, black vest, red leather fingerless gloves with fringe…she was a teenage loner punk dedicated to her kit. Who wouldn’t have given her the diamond earrings in the end?

Petronella Danforth Petronella “Pet” Danforth (Marcia McBroom) is the drummer of all-girl psychedelic rock band The Carrie Nations in the campy 1970 film Beyond the Valley of the Dolls. Sure, she was just as loaded on downers (or “dolls”) as the rest of the band but she never skipped a beat and she’s probably the only person (ficitonal or non) who can pair a leather studded wrist cuff with a silk-tie shirt and make it look classy.

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KYOKO YAMADA It’s hard to stick out as an individual when you have to wear a school uniform, but somehow, drummer Kyoko Yamada (Aki Maeda) from the 2005 Japanese film Linda Linda Linda charms us with her sweet attitude and laid-back style. When a few friends decide to put together a band for Hiiragi-sai, their high school cultural festival, the girls start practicing day and night to get ready. Despite school, band practice, and a job making crêpes, Kyoko pulls it together with a smile and has the crowd bouncing and cheering to her rock n’ roll beats.

KIM PINE Usually found wearing a 90s alt-style track jacket and making sarcastic comments, Kim Pine (Alison Pill) is the drummer for Sex Bob-omb in Scott Pilgrim vs. the World, a movie based on the graphic novel series by Bryan Lee O’Malley. When ex-boyfriend and bandmate Scott Pilgrim (Michael Cera) must defeat love interest Ramona’s seven evil exes, she provides the fierce rock-fueled drumming in battle after battle, and she looks good doing it.

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Shana and Raya Jem and the Holograms Music company owner Jerrica Benton could magically turn into her singer alter-ego Jem with a touch of her sparkly star earrings, but drummer Shana was the real gem of the Holograms. A “foster child turned fashion designer,” Shana Elmsford rocked her own unique style (short purple hair, anyone?) and made most of the bands super cool clothes. When she briefly leaves the band to pursue her fashion career, pink-haired beauty Carmen “Raya” Alonso joins the Holograms as her replacement (after beating competitor Craig Phillips during a drum duel in a nationwide talent search). When Shana comes back to the band, there are no hard feelings. In true feminist style, Raya stays on drums while Shana kicks it on the bass.

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MAY MOOCH You know you’re tough when all your friends are in bathing suits on the beach and you won’t take off your black leather jacket. Such is May Mooch (Trini Alvarado), the rock-n-roll-to-the-core drummer for high school band The Mystery in the 1988 movie Satisfaction.

She’s so tough she even steals a van to get her band to a gig at a preppy beach town. Damn, that’s dedication.

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djlindsey.com

OFF THE DECKS dj LINDSAY

C r eat iv e Dir ecto r: G * L EE Photog r aph er: Awol E r izku A rt Dir ecto r: Ma r i J Br ooklyn Interv iew ed by L ia ison F emme & G * L EE

Name: Lindsey Caldwell Hometown: St. Louis, MO Lives in: NY Current DJ residence: FAM at Von Latest Project: Featured on the Work It EP Last record bought: Clams Casino instrumentals, Afrika Hitek project Favorite designer: William Okpo, Opening Ceremony, Bonpoint!

“There’s nothing in What to Expect When

You’re Expecting about a mom who is a DJ so I’m just flying by the seat of my pants. There are no family bathrooms in clubland!” New mom DJ Lindsey is venturing into unknown territory: balancing caring for her new son Henry with her DJ career. “I don’t know one female DJ who’s done this and continued being a DJ after, it’s a scary unknown.” That being said, she’s doing a remarkable job. Previously the DJ for resident parties “The Hump” and “Negroclash” in New York City, she is now the DJ for FAM a resident party at Von. She gets to work with other talented DJs such as DJ Eleven, Sure Shot and her husband DJ Myles. DJ Lindsey is all about hard work and knowing your craft. She is more focused on developing her own unique voice and style than following the latest trendy sound. As a result, when speaking of her peers she says, “I really believe that they respect me as a DJ and that’s all I could ask for as a female in this industry.” While DJ Lindsey is currently focusing on her family, she is still looking to the future of her career. She still has some unreleased material with The Twilite Tone which she hopes to work with soon as well as potentially doing another season with designer William Okpo.

LIAISON LF FEMME Liaison Femme is a forward-thinking collective/movement comprised of female DJs exclusively. The movement’s intention is to create awareness of leading female DJs in the industry. Liaison Femme’s vision is to raise the bar for all female DJs in our culture and create a promising platform to present the artist’s aesthetic in its entirety. Liaison Femme is a collective that will ideally break stereotypes in our realm. LF has curated this issue of Tom Tom’s Off the Decks. Enjoy.

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hookedonthedolls.com

OFF THE DECKS MIA & CAITLIN

P hotog rapher: Jayn e Lies C r eativ e Director: G*LEE Stylis t: Logan H orne St u d io : David “Shad i” Per e z ’ s St u di o Int erv iewed by Liais on F e mme & G *LEE W r itt en by Mindy Abovitz

Mia Moretti & Caitlin Moe are a dynamic duo that

are impossible not to love at first sight. Mia spins booty shaking hits while Caitlin accompanies her on violin (she is classically trained). Their sets are almost always spontaneous, though as an audience member you wouldn’t know it. Recently they re-mixed a Katy Perry single and partied with her at its release. Since then, they’ve put out their first debut single they produced alongside Cory Enemy. Mia described the experience as happening organically with, “the rustling of branches, the sound of wind, a few animals settling, eventually the beat of a drum, a human is born, a city is built, everything we know today is created—and it’s beautiful. Caitlin’s lyrics were exactly right for the song, it’s about seeing the beauty in all positive or negative experiences.”

The two also have a nice hold on the fashion industry playing at shops like Prada and Missoni.

They say, “We try not to overthink what we wear, we always just put on something that makes us feel good.” And they always look good. When we asked them about their technical methods for a great performance they said, “it’s based on instinct.” Well they have incredible instincts.

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GLAMOUR We told you why we chose glamour as the theme for this issue, but we didn’t mention how easy it was to find drummers who fit the bill. So many of you ladies who play drums have kickin’ glamorous style and we don’t have enough pages to do you all justice. The drummers in this issue shatter misconceptions that only the front-person in a band is allowed to shine. These ladies shine and occasionally outshine their bandmates. Read on to find out more about these fabulous drummers and how they do it.

icon illu st r at ions by M inka S ickl i nge r

www.sheilae.com

S

heila E. is the first name on the tip of everybody’s tongue when you say “female drummer” and also the first person you think of when you hear “glamorous drummer.” So when we decided to theme this issue “Glamour” she was on the top of our list. Starting her career as a small child performing with her all-star family band, Sheila was an equal from the get-go. Her father, Pete Escovedo, and Sheila have always had a great relationship that has informed and inspired her to play from a place of love and creativity throughout her career. She notes that rehearsing and performing with her father was the most amazing classroom for learning drums.

SH EI La e

By Mi ndy Abovi tz P hoto s of Sh e i la e . by lynn mabry

While she achieved her greatest notoriety as Prince’s drummer (he was vying for her hand in marriage when he propositioned her to join his band), she went on to make several of her own albums and is currently a celebrity in her own right, having performed at this year’s Oscars and Dancing with the Stars, amongst others. We consider ourselves fortunate to have had the opportunity to talk with this incredible drummer to discuss her career, her family, and to find out how she got so damn glamorous. Oh, and most of the questions we asked her were your questions. These are Tom Tom reader generated questions for Sheila E. Enjoy.

elevatehope.org / theefamily.com

Tom Tom Magazine: Did you ever experience pressure to be a certain way or a certain thing (career-wise perhaps) when you were growing up? Sheila E. No, I did not experience any pressure

growing up. My family was very supportive. Once I signed a record deal the record companies want you to do certain things to sell records but I was able to work with them and help them to understand what kind of artist I was.

How do you think that playing with your family has shaped the way you approach your music? Growing up with Pops, practicing

to records and rehearsing with his band made for an amazing classroom. All of us jamming, singing and dancing at every family function was like a talent show.

If you could relive an on stage moment from your past what would it be? I

would relive the first time I performed with my father’s band, Azteca. I took his percussionist player’s place and it was then that I knew that this would be my career, my passion, and my purpose.

Who was your stylist in the mid 80s? My stylist in the 80s were fashion magazines. I would get ideas from fashion in Europe and use something I saw and give it a twist to make it my own.

We had a fantastic seamstress and pattern makers for our tours.

These men and women on the team would also come up with amazing ideas for me. We loved taking it to the limit.

Who are you working with now? My stylist for the past six years has been Roni Burks. She is incredible. I have never looked and felt so good. She has taken my look to another level. In addition to her, I have a great team of people (Lynn Mabry, JoJo McCarthy) who have helped shape me into who I am now. It takes vision and a village. what is your relationship to glamour?

“your look is something that people can relate to and it brings attention to your music”

Of all your recent public performances which one(s) have been the most rewarding and why? Every single time I perform it feels like the first time and

that’s what makes it special. Every performance is rewarding and a blessing.

have you experienced sexism in the early part of your career and how do you think things have changed for women in music since then? Growing up and playing percussion, my family never told

me that I could not play because of my gender. It was only when I became a professional musician that I experienced sexism. The great thing about having wonderful parents is they allowed me to speak with them about how I was being treated. Pops gave me great advice. He said, “learn your music and be prepared so that you walk in the room with confidence and you can hold your head up high. This will allow you to be at ease and have fun and enjoy music to its fullest. Don’t let them bring you down, you are a great player, not only because you are a girl and you are special but because you’re an amazing musician. Be sure to treat others as you would want to be treated and be on time.” Drums are a very powerful instrument and it takes every inch of my body to do so. I believe people take me seriously as a drummer because I have not seen anyone else play like I do in 6-inch heels!

What role has style and glamour played in your music career? I

love to dress up because it makes me feel strong. Appearance is important to me because this brings attention to detail and who you are as a person, I went from no clothes on stage to covering up and now I dress to impress. It makes a statement. Back in the day that was my statement, less is more. Now I say at 54, more is better!

Music and fashion are one. It’s important as an artist to know who you are. That is why I also think it’s so important to have mentors, people who can help shape you and your music. Your look is something that people can relate to and it brings attention to your music.

What is your favorite rudiment or drum practice and why? I don’t know any

rudiments and I don’t and have never practiced playing drums or percussion. My practice is learning a song or writing down what I have to remember and then executing it on stage. I rehearse with my bands to put a show together, but those rehearsals are like actual gigs. I play them as if there are people in the room, which helps me to go all out and figure out what I need to change or not.

What was the thing that took you from mid level to top level professional gigs, as a player and an overall musician? I think it

was experience at an early age that brought me from mid level to top level. I was able to be a sponge in a house of music 24/7.

At age 15 I became a professional musician.

What are you working on now? I have a new record company called Stilettoflats Music. We released our first project entitled Now & Forever The E Family. This CD was recorded by my father Pete Escovedo, and my two brothers Juan and Peter Michael Escovedo. Special guest performers include Earth, Wind, and Fire, Joss Stone, Raphael Saadiq, Gloria Estefan, Israel Houghton and George Duke. We are very proud as a family to be able to write, play, sing and record together for the first time. We are going to release our 3rd single “Nothing Without You.” I also have a book coming out entitled From Pain to Purpose and I also have a foundation called Elevate Hope. That foundation raises money and uses music and arts to help children in foster care.

AGE: 26

HOMETOWN: Oakland, Ca

LIVES IN: North Holly wood, Ca

PAST BANDS: Scarlett Fever (too many to name!)

CURRENT BANDS: DDMC, IN4D DAY JOB: Photogr apher, Producer, Musician, drum instructor FAVORITE FOOD: NACHOS

myspace.com/thadrummindiva

brittany brooks GI VI NG US FEVER

BY J E NI F ER RUA NO PH OT OS BY S T E FA NO G A L L I

In a word, Brittany Brooks, the powerhouse drummer behind the sizzling beats in Cee Lo Green’s backing band Scarlett Fever, is nothing short of amazing. At 26-years-old, she’s already opened for megastars like Prince while touring around the U.S. and Europe.

She has also been working with upand-coming Los Angeles rap and hip hop artists, in addition to spearheading her own musical projects. She is a girl who likes to dream and dream big! But perhaps her most impressive quality is her innate awareness that making a life in music has always been her destiny.

“All the ladies of Scarlett Fever are very talented, real musicians who can hold their own on a stage full of dudes”

As a young girl and an enthusiastic member of Faith Worship Center in Pittsburg, California, Brooks became active in the music department at her church and soon found herself behind a drum kit. For her, a weaving of love from her faith and a desire in her heart is what pulled her toward the instrument. “It really was just a desire that God placed in my heart,” Brooks explains. “At the time I wasn’t familiar with any famous drummers. Our church drummer Angel Carrillo was the

only drummer I knew of and he ended up being a huge part of my early days.” Dubbed “Little Sheila E.” by her peers in church, Brooks embraced her newfound love while finding inspiration in drummers who came before her.

“Sheila E. gave direction to my goals and aspirations to become a professional musician,” she says.

Brooks’ family has shared in her dreams by being a strong support. “My family has always been very supportive of anything I’ve ever wanted to take a stab at,” Brooks says. “Before music I was an athlete and played various sports and was good at them, so when I took an interest in music there was no hesitation on my parents’ behalf. I don’t remember their initial response to me wanting to play drums . . . they probably laughed at me because I was so small and I wanted to play the largest instrument,” she smiles.

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In sixth grade, Brooks was fiercely determined to master her craft. With the help of her mentor Angel Carrillo, she soon found herself drumming for her junior high school band and then going on to drum for Pittsburg High School. She gained skills by watching other drummers and learned to play by ear, which strengthened her confidence. By merging the elements of swing and funk, as well as what she liked in other drummers, Brooks began tweaking and creating her own style.

And the hard work paid off. After a bold move to Los Angeles to study at the Musicians Institute in Hollywood, Brooks auditioned in early 2010 for Scarlett Fever; Cee Lo Green’s all-star group of sexy women backing him for his promotional tour. “I had heard about the audition from a friend of mine,” she recalls. “Cee Lo was there for the auditions and although there were others who auditioned after me, Cee Lo leaned over and whispered that I got the job.” Soon Scarlett Fever was formed and the ladies all met for the first time and bonded immediately. “All the ladies of Scarlett Fever are very talented, real musicians who can hold their own on a stage full of dudes,” she says. “The fact that Cee Lo chose me as his drummer, I knew he was looking for real musicians so anyone else he would have chosen to accompany me would have had to be equal or better.”

Working with Cee Lo and rehearsing with Scarlett Fever was a natural transition. “Cee Lo is a true artist who knows exactly what he wants in his live performances. He is very involved in every aspect

“The fact that Cee Lo chose me as his drummer, I knew he was looking for real musicians so anyone else he would have chosen to accompany me would have had to be equal or better.” of the show and although he is the mastermind, he understands that we are artists too and he welcomes new stuff,” she says. She soon buckled herself in for the ride of her life and began touring and traveling the world.

Having already fulfilled personal dreams such as playing on the same bill as Prince, Brooks continues to reach for the stars. Her career on drums has armed her with the skills to work in a tough music industry. “It’s a risky business to be in,” she admits. “It is

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very competitive and I don’t think everyone is cut out for the level of rejection, phoniness and uncertainty that you can face being in the music and entertainment world. My approach to this business has nothing to do with the business itself. I just continue to trust God and pray that He places me in the right situation.” She’s also interested in becoming a producer. “My love for music inspires me and I love being in creative places and the challenges of making something that’s never been made before drives me,” she says. “Producing is similar to my approach on drums because I’m always trying to try something new on the set. Lately, I have really been focusing on building my producing chops by mostly exploring and teaching myself. I am really surprising myself with my outcomes!”

With hopes to produce music for artists like Rihanna and Alicia Keys, Brooks continues to chip away creatively and explore new paths. She has two hot new music projects in the works. One includes Scarlett Fever’s Sharon Aguilar and Theresa Flaminio and singer Brit Burton (songwriter of the hit “Elephant in the Room”) called IN4D. They have recorded a podcast for Blue Microphones, which included two live recordings of original songs and an interview for the subscribers. And if that doesn’t keep her busy she’s got one more project called DDMC (Dj, Drummer, MC) consisting of DJ K-La-V and rapper Liberty Jayne. Brooks is truly a woman of determination, faith, skill and intelligence. Her star is certain to shine bright for years to come.

ni kki glaspie

BY NAT H A N M C K EE P H OT OS BY BE X WA DE

B

y the time rhythm wunderkind Nikki Glaspie was eight-years-old, she was already the fulltime drummer in her church. She continued on to study at the reputable Berklee College of Music in Boston, MA, and she hasn’t slowed down since.

While she has plenty of her own projects, Glaspie has also toured with the likes of Beyoncé, Chaka Kahn, Jay-Z and George Michael, among many other star musicians. It is her keen ability to play across genres that makes her truly unique. This drummer, composer, and producer took a moment from her busy schedule while at Jazz Fest in New Orleans to answer some questions for Tom Tom about what makes her tick.

Tom Tom Magazine: Something that grabs me when reading about you is your versatility; you’ve played with the best of all these worlds: pop, funk, gospel, jazz. I was wondering if you could tell me about where this versatility comes from. Nikki Glaspie: I grew

up playing in church and gospel music is very versatile. It has all sorts of genres included in it, you know? There’s funk, there’s some Latin stuff, there’s anything that you want, and that’s kind of the cool thing about gospel is that it doesn’t really matter what’s happening in the song. Because it’s about God or Jesus, that makes it gospel.

That must have been a perfect introduction into what would eventually become your career. Totally. I’m just learning that you

have to play everything because you get more work. I’ve been called for all sorts of gigs, and I’m like, is it paying? If it’s payin’ then I’m playin’.

Do you tend to gravitate towards one genre more than others?

Yes, definitely funk.

It must be a dream come true playing with Dumstaphunk then.

Yeah, it is! Right now we’re at Jazz Fest in New Orleans. It’s probably the most hectic ten days of the year; my band’s playing down here, I’m doing a few all star things with Josh Porter Jr., Robert Walter, Eddie Roberts, Jennifer Hartswick. I’m playing with a bunch of cats, all from different bands.

I know you have so much experience playing with your idols at this point in your career, but are there still people you’re nervous to see on stage next to you or perhaps in the audience? No, I just get a

surreal feeling. It’s like, I’m on stage with Chaka Khan! She’s like my favorite singer in the world. It doesn’t make me nervous.

Improvising is one of your strong suits. Did that start at Berklee School of Music where you were studying, or was it earlier? It

started in Berklee. There’s this club that I used to go to called Wally’s that was like the training ground, like a cesspool for musicians. Most of it was improvisational music. We would have an idea, like let’s play “Watermelon Man,” but we wouldn’t play it straight, we’d use a different beat or reharmonize it, or play something else under it and just use that melody.

nikkigl aspie.com

I know you were exposed to rock later in life and remember reading that John Bonham of Led Zeppelin is one of your favorite drummers. What is it that attracts you to rock music, as it’s so different from your BerkleE background of jazz improvisation?

Well that’s exactly it (laughing)! It’s so different from jazz; it’s the exact opposite. I like it because there’s a heartbeat, so to speak.

With funk, it’s like a train that just keeps going. It’s like chuggachugga-chugga and it goes not stop. Rock is in your face and for a drummer it’s awesome to just bash the drums. I think Led Zeppelin is probably the greatest band of all time. I’m a big fan of Dave Grohl as well. He’s just an exceptional musician. You could bring him on stage and hand him a cowbell and he would make the whole musical experience better, because he’s just a musical kind of guy. He plays everything and it’s obvious that he just hears a bunch of crazy stuff in his head.

NAME: Nikki Gl aspie

HOMETOWN: Fredricksburg, Va

LIVES IN: New Jersey PAST BANDS: Sam Kenninger Band, Martin Luther, Andre Ward, State Radio, Dave Fiucynski, Beyonce CURRENT BANDS: Dumpstaphunk DAY JOB: Drumming Drum Kit Set up: Yamaha Maple Absolute Custom CYMBALS: Zildjian STICKS: Vater HARDWARE: Yamaha PEDALS: DW9000, Yamaha 10,” 12,” 16,” 18” toms, 22” Kick, 14” snare

That’s very well put. In general, do you feel like a role model?

What about to female drummers specifically? I do feel like a role

Maybe he’ll see this interview and play cowbell on your next album. I would love that. You got to put it in there because I’m

model, which is really strange to hear coming from my mouth, but yeah, I am. And I hope that I’m the role model that their parents want them to have (laughs).

What about the world tours you did with Beyonce; were they as glamorous as people think they would be? No, they were definitely

What advice do you give these young women?

trying to find him. I don’t know where to find him!

not as glamorous as people think. There’s the saying the grass is greener, you know. I wouldn’t trade that experience for anything in the world, well maybe three million dollars (laughs). I went to places that I didn’t even know existed, and the traveling was so awesome, but I was not home at all. My friends thought I’d dropped off the face of the planet and I’m like, yeah I’m on a year-and-a-half tour.

What’s your idea of glamour then, as a musician? Personally, my idea of glamour would be making music and money with the people that I want to play with and spreading peace and love through the music. There’s so much going on right now that people don’t even realize. We’re traumatized every day, when we turn on the news or hear about shootings, so if I can reach one person at a time and help them with my music, because we all need help, then that’s glamour to me.

I give them life advice, mostly. Just for the simple fact that women don’t even realize that we can do anything. If we can give birth, if we can have a human being pop out of our bodies, then we are capable of anything. And so I try to express that to young females because the imagery that they see on MTV and elsewhere is so messed up.

What’s next for you? What are your immediate and long-term goals as a drummer? My immediate goal is just to keep doing what I’m

doing; touring and getting in front of more audiences, to build a fan base. Long term, I want to tour with my band, which is difficult because of gas prices. Musicians are probably the only people besides truck drivers that sit in a car and just drive; like that’s our life (laughs). I’d like to tour with my own band and release my own music. More so than that, my goal is to spread the message of love and peace through music. If that becomes contagious, then the world will be fine.

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elaine BRA DLEY

the beat behind neon trees

BY JOA NNA G U T IERREZ PHOTO by Au t u mn De W ilde

Decked out in leopard print wedge booties and a single statement earring, Neon Trees drummer Elaine Bradley exudes rock n’ roll glamour. We’re sitting in the greenroom of New York’s Bowery Ballroom before her set discussing everything from drumming to skateboarding to the new album Picture Show, while the rest of the band nibbles on whole wheat bread, peanut butter and cupcakes. Sitting on the couches, we dove right into the interview. I started off with a basic question “How long have you been drumming?” To which she replies, “Brace yourself. It’s a long answer.

anyway. “I always had rhythm, but that does not a good drummer make,” she admits. Once she made her way up to the guitarist’s spot, she started observing the band’s new drummer, finally understanding what it was that a drummer did. “I started thinking about it in a more logical, musical way.” Watching her bandmate play made her realize that a drummer is an equal member of the band, the drummer can accent vocals as well. It wasn’t until 2004, after her band broke up and she came back from a church mission in Germany, that she finally considered herself a drummer. Three years later she joined Neon Trees and the rest is history.

“When I was younger I never thought to myself ‘I want to be a drummer.’” Yet here she is, drummer for Neon Trees, a postpunk-soul-pop band from Provo, Utah. Her road to becoming a drummer was a long one. Attracted to drums as a kid, she begged and pleaded her parents for a drum kit. She started with wooden spoons and pots and pans, moving on to a drum set she had coveted from the Sears catalog for so long. When asked why she was attracted to drums in the first place, she says, “Probably because they were so physical, and I liked all things physical.” That point was proven when the drum set barely lasted a year, as she beat the thing to crap. Once her parents realized she was serious about the drums they invested in a Tama Rockstar DX for her 13th birthday.

Picture Show is the latest effort of Neon Trees, following 2010’s Habits. Already making waves with the lead single “Everybody Talks,” the band is excited to see where this album will go. It showcases a new side of Neon Trees without alienating their previous fan base. “There’s a distinct segue from Habits to Picture Show, the album shows so much more of what we’re capable of,” Bradley explains. Compared with Habits, the new album features more valleys and peaks, harder and softer tracks, others more intense and relaxed. In essence Picture Show is a much more varied album, bound to appeal to their fan base without creating Habits 2.0. Indeed songs like “Teenage Sounds” and “Close to You” are haunting, yet upbeat, highlighting lead singer Tyler Glenn’s impressive vocal abilities.

In high school she started her first band with some friends.

She always wanted to be the front person and sing, so she only took on drums while the band looked for someone better.

Bradley claims she wasn’t all that good at being a drummer

In terms of musical influences, Bradley lists everyone from John Bonham to Depeche Mode and Patty Schemel. Don’t expect to find a majority of women on her list though. “I didn’t care, never have, and still don’t if a drummer is a girl,” she says. Concerned

fameisdead.com

NAME: Elaine Bradley AGE: Eternal LIVES IN: Provo, UT CURRENT BAND: Neon Trees PAST BANDS: Another Statistic, Less Yes, Make Yours Like Mine, Nymb FAVORITE FOOD: Avocados

“Stylists never understand how I get my hair to do this. they always try it themselves. then they watch me stand with my head upside down and a can of hairspray and go aaaaaaaahhh.” solely with talent and not gender, she has an interesting perspective on being a woman in music. “I’ve just never thought as myself as a girl… never thought of myself as a guy either, just never thought of myself in those terms,” she explains. She’s a firm believer of if you want to do something, just go out and do it. While pleased that she is having a positive effect on aspiring drummers, she’s perplexed as to why she’s even needed as a role model.

“I sincerely don’t get why I have to exist for girls to open their minds to drumming.”

When we get to talking about style, she opens up about what works for her as a drummer. “Being a drummer affects the way you can be stylish,” she laments. “You have to think about functionality.” Drumming demands clothing that allows for a full range of motion. As for footwear, she has tried drumming in heels and flats but ended up hitting her knees and bruising the balls of her feet. Her solution to looking cute but still being able to play the way she wants to? “Sparkly TOMS shoes,” she says, “they have a thick enough sole to protect my feet.”

For the red carpet and press on the other hand she’s all about a flashy heel. “First of all because it’s slenderizing… second because it’s fun to act out since I can’t for gigs.”

Her style is ultimately all about balance. “I like symmetry in asymmetrical ways,” she says as she points out that her one dangly earring is balancing her amazingly styled asymmetrical haircut. “Stylists never understand how I get my hair to do this… they always try it themselves… then they watch me stand with my head upside down and a can of hairspray and go aaaaaaaahhh.” If only we could all do that, and still look that good!

TH E BRA I N S A N D TH E BODY: SLOW CLUB

By Elisabeth Wilson Photo by Stefano Galli

slowclubband.com

I

first saw British folk rock duo Slow Club play live on a sunny afternoon in an Austin dive bar in 2010.

Their performance was part of the Yorkshire SXSW Party—an entire afternoon of ’60s-inspired rock, with Slow Club’s signature “shout-folk” creating quite a frenzy in the packed bar. Originally from Sheffield, Charles Watson (vocals and guitar) and Rebecca Taylor (vocals, guitar and percussion), formed Slow Club in 2006 after the dissolution of their band Lonely Hearts.

Their 2009 full-length debut, Yeah So, featured catchy, high-energy, sugary sweet love songs, with Watson and Taylor harmonizing closely on nearly every track. Taylor is known for her unconventional drumming style during live performances, standing behind a scaled-down kit, pounding out simple rhythms on a snare and floor tom, or sometimes, transforming chairs, bottles and other objects into percussion. Their sound matured somewhat on their 2011 album, Paradise, incorporating darker themes, a more serious indie-rock sound, and spotlighting Taylor’s voice much more. They are currently on a tour of the UK, after hitting SXSW for the third time.

Slow Club’s music is both jubilant and tender, catchy and heartfelt. The video for their 2007 single “Because We’re Dead” is impossibly twee, featuring balloons, cupcakes, paper airplanes and choreographed dances with friends. They explore grief and heartache with a soft strum of a guitar with such songs as “There Is No Good Way To Say I’m Leaving You,” on Yeah So. In December of 2008, they released the folky single “Christmas TV,” about long distance love, Christmas time and coming home, singing “I’d like it if you’d made it to mine by Christmas Eve/So you can hold me/And we’ll watch Christmas TV.” Other times, on tracks such as “If We’re Still Alive” from Paradise, their music is exuberant, featuring Taylor’s signature stripped-down, raucous drumming style and equally rowdy choruses.

They has been described as UK’s answer to the White Stripes, but the resemblance stops at being a boy/girl friend duo that writes songs together. Slow Club’s raw rock energy always has a sweetness and catchiness to it that is hard to find anywhere else. Their brand new single, “The Dog,” is available for download or purchase from London-based Moshi Moshi Records.

NAME: Ramona Gonzalez AGE: 28 HOMETOWN: bAY AREA LIVES IN: Los Angeles PAST BANDS: Y ‘N’ N CURRENT BANDS: Nite Jewel

Nite Jewel

BY AN NA LUISA P ET RISKO PHOTO by mathe w scott

Beat maker, producer, synth player and bandleader Ramona Gonzalez, aka Nite Jewel, does it all.

She’s evolved tremendously since 2008 when she unleashed her trademark sound: hazy drugged out bedroom pop recorded on 8-track cassette.

Since then, she’s collaborated with everyone from Peanut Butter Wolf to Julia Holter, and performed the entire Kraftwerk album Computer World. Her new album One Second Of Love out now on Secretly Canadian, sheds some of those smoky layers to reveal a more slickly-produced sound. This maturation is especially evident when it comes to her drum production, which was influenced heavily by 80s pop sensations Prince and Sade. I caught up with her at her DJ gig in Brooklyn to talk about beat production, wanky drums, and religious experiences.

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Tom Tom Magazine: Where do you get the drum sounds you use on your new album One Second of Love? How do you put them all together and which programs do you use? Ramona Gonzalez:

I have a library of drum samples that come from both drum machines and live drum kits that I pull from. I produce everything with my partner Cole. He uses Ableton Live and I use Logic. I’ll start with an idea for the drums on a song, for example, “She’s Always Watching You.” I write all the drums in Logic and he’ll take them and refine them in Ableton.

So for “She’s Always Watching You,” you started that song with the drums? Yeah, drums and Clavinet. It was the most fun thing

to write drum-wise ever. Cole described it as one long drum solo because there are lots of breaks, messed-up timing, and weirdly-structured patterns.

What does that do for the song? It’s kind of selfish! I am

doing the most wanky shit ever. If you can make this style of drumming palatable for a listener who is not into like prog or whatever, that is an achievement. I think we did that.

nitejewel.com

So is it the drummer’s role not to be wanky? Well, I think that

what’s most popular right now is Euro dance and disco which is basically snare on the 2 and 4 and really simple. Wanky drums are not in vogue right now. So in that sense it’s sort of against the grain.

How has your drum production evolved from your past records Good Evening and Am I Real? On Good Evening we only used

drum loops. We sampled beats and looped them, similar to what a hip-hop producer would do. I used to have this Italian keyboard called an Elka — it was a one-man band keyboard where you could program drums and play bass and top synth all at once. Some of the songs were drum loops from that keyboard and some of the songs were drum loops from a Roland drum machine. It wasn’t until later records like Am I Real and this new record that I started actually making long drum patterns and drum compositions.

We followed up our interview with Gonzalez by getting in touch with Allison Smith, her current drummer. How many religious experiences can we get out of one band? Apparently quite a few.

NAME: Allison “Hi-Hat” Smith AGE: 26 HOMETOWN: Baltimore, MD LIVES IN: Los Angeles, CA PAST BAND:S Unsound Foundation, Sarah Agajanian CURRENT BANDS: Nite Jewel DAY JOB: Percussion teacher for after school programs in LA FAVORITE FOOD: SUSHI DRUM SET: Yamaha Recording Custom HARDWARE: Yamaha 700 series

What influenced that evolution? It was influenced by what I

was listening to at the time. During “She’s Always Watching You,” I was listening to a lot of Yes and Prince. I was obsessed with making something rhythmically challenging that still feels good. Whereas on “Mind and Eyes,” that was my Steely Dan and AOR obsession playing out. That was another song where drums and vocals come first.

Do you think there is a drum machine or a program that defines the kind of music you are making? Lately I have been using

a lot of Neptunes’ samples and I use their drum sounds a lot. I am not sure if I would say it defines my sound though.

Alternatively, there are recorded samples that I use, for example a Ludwig Black Beauty snare recorded with a certain kind of mic in a certain room. It’s a combination of those live drum sounds that are recorded pretty perfectly with other drum machine samples that I am into.

So you see yourself as a drum collage artist? I think

everybody who does drum programming has to collage. If you stick with one drum machine, you’re going to sound like that drum machine. You have to layer stuff a lot to make it unique.

Sampling from vinyl is cumbersome so I prefer to use these libraries that I already have access to.

Are there any female beat makers that you’re really into right now? There are a lot of women making beats that don’t

advertise that. There are all of these women who just want to be viewed as a singer. My friend Julia Holter does all of her own drums but it’s part of her allure that she does everything herself. I really respect Julia’s work on her drums.

PEDAL: 1980s Yamaha single belt drive STICKS: ProMark 7A

Tom Tom Magazine: How is it playing with Nite Jewel & what can we expect in the future from this project?

I love Nite Jewel. This has been the biggest learning curve for me because I have never had to incorporate technology (I play a percussion pad and trigger computer tracks) into my kit before. I definitely dig it. And it helps to have such a stripped down kit. I can’t complain with having to set up just kick, snare, and hat each night.

I noticed that you have drum tattoos. What do they mean?

I have two. One is a snare drum with my drum idol (Carter Beauford’s) initials and the other is (in percussion clef) a sixteenth note triplet followed by a half note, which is a drum intro I like.

What was it like taking Lessons from Terri Lyne Carrington and going to Berklee?

She is amazing. Simple as that. My first lesson with her I had to be real and let her know I was a huge fan and very scared to be taking lessons from her. She was very cool about it and the rest of my sessions with her were so relaxed and fun. She helped me with my focus and discipline behind and in front of the kit, and I thank her for that.

What is your favorite drum solo?

Max Roach’s hi-hat solo.

Historically and cross-culturally drums are tied to shamanism and religious experiences. Have ever had a religious experience evoked by drums? My drummer, Allison Smith, evokes a

religious experience in me. Any night that I have a woman providing the rhythm in my presence is like a religious experience. Female drummers respect the vocalist in a way that is uncanny and they vibe off you hard.

What’s next for Nite Jewel? We’re touring Europe in July,

we have some new videos in the works, and were going to Australia in August.

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mollygene.org

MOLLY GENE tHE MULTI-TALENTED MASTERMIND BEHIND THE ONE WHOAMAN BAND

BY C OL L EE N SIVI T ER PHOT O BY p et er l ee

Molly Gene aka “The One Whoaman Band” greets me outside of her converted Dodge Ram wearing vintage snakeskin cowboy boots, skinny jeans and a fitted plaid shirt. We’re in Brooklyn and the club she’s booked for the night isn’t open yet, so I hop into the vehicle she has called home for the last few months to conduct our interview. “I don’t know about this venue,” she says as she mixes Bloody Marys in a reused fast food cup. “I’m playing with some bands I never heard of. It might be lame.” She laughs and hands me a cocktail.

This sweet and soft-spoken girl from small town Missouri is a stark contrast to the brash husky-voiced, smack-talkin’ broad who belts out soulful blues-fueled lyrics while furiously stomping a foot drum and shredding on slide guitar. “My speaking voice is very girly and high pitched and then when I’m on stage I don’t even talk the same,” she explains. “I’m this obnoxious woman that puts moonshine on her cereal in the morning and will bury her man out in the backyard if he does her wrong.”

Inspired early on by Bob Dylan, Molly soon discovered Delta Blues artists Mississippi Fred McDowell and Robert Johnson (among others), who influenced a shift in her music. To help her achieve a new level of sound, she started researching Porch34

Boards and came across the Farmer Foot Drum — a full kit creatively arranged to be portable and played using four top pedals and a kick. She credits the drum with taking her in whole new direction and making her performances and music unique. “I would’ve had a lot harder time touring the world as a singer/ songwriter chick playing an acoustic guitar in coffee shops,” she says, “It just wouldn’t have been as fun as this.”

Her first tour was with one-man band performance sensation Bob Log III, which had her playing sold out shows across the country. But living on the road and booking her own tour has had its ups and downs. She often finds bigger and more welcoming crowds on the outskirts of the venue-saturated cities — where attendance tends to be low (as are the merch sales). “For Bob Log to be my first tour I was totally spoiled,” she admits. “I went on some crappy tours after that where I was like, ‘this is hard.’” Whether she’s playing to a full house or a small crowd, her energy and sheer ferocity are absolutely contagious. “I have a really fun life, every day I get to go somewhere and do something that I love and just pour out my heart and soul,” she says.

“I may not be rolling in the dough, but I’m paying my bills and paying my car payments, paying my gas — which is outrageous.

That says a lot.”

littlehurricanemusic.com

little hurricane PACKS A BIG PUNCH BY j en ruano P hoto by Rebecca W ils on

Tom Tom Magazine: We’ve read that Little Hurricane came to be because of a Craigslist ad that you placed looking for musicians to play with, after being away from a kit for eight years. What made you want to play again?

CC: I spent many years cooking professionally, and took a break from kitchens to bartend. While bartending I met a lot of local musicians and had more free time to check out small shows. I had kept a pair of drumsticks through the years and just started jamming on hardcover books.

This led to buying an electronic drum set to see if I even remembered how to play, but with a little practice I felt confident enough to reach out.

Once you found your bandmate, Tone, did you know right away that you wanted to keep it as a duo? I knew before I

met him that I wanted to be in a duo. I like the simplicity of it. We have played with bass players on occasion, and have considered adding a keyboard player. At this stage, it seems to make the most sense to leave well enough alone, but we’re not ruling out additional members either.

What is your musicianship/relationship like with him? He is a great friend and mentor. He has quite a bit of experience in sound, and has taught me a lot about music and the business — I had no idea what I was getting into!

You mentioned that you had taken a big hiatus from drumming before forming Little Hurricane, when did you originally start playing drums? I started in middle school,

and continued until my first year of high school. I loved playing marching snare drum, but hated hanging out at football games and wearing goofy uniforms.

Yeah, those uniforms are rough, for sure. So, what is your favorite part about drumming? I like learning. Playing a

fill or beat for the first time is so awkward and frustrating, but it’s fun to hear and feel the progress that comes from nothing else than repetition.

You’ve said that you don’t just want to be a girl drummer, but you want to be the best girl drummer. What do you think it takes to do that? I said that in the very first

Since releasing their self-produced first album Homewrecker last year, the San Diego based duo Little Hurricane has gone from playing taco shops to opening for the likes of M. Ward and The Shins.

The aptly named band has been taking audiences by storm with their powerful brand of rockin’ dirty blues and high-energy performances. Celeste aka CC, one half of this big sound, talked with Tom Tom about Craigslist, her vintage kit, and why she doesn’t want to be the best girl drummer.

interview we (Little Hurricane) ever did. I don’t really feel that way anymore. I will never be the best female drummer, but I do aspire to be a great female drummer. I don’t want to just be a novelty because I am a girl in a dress behind a drum kit. I think it’s important to keep growing and never stop pushing to be better. I have learned no matter how great you are there is always someone to look up to and ways to improve.

This issue of Tom Tom is themed glamour. Your style and your kit setup are very elegant and feminine. What’s the inspiration behind that? I love anything vintage, and this

goes from drums as well. My drums are from 1965, and they have heart. I’m not sure who has played them or where, but they were lovingly cared for and I feel honored to play an instrument that is older than I am.

What can we expect to see from Little Hurricane in the coming year? More touring and music and hopefully some

festivals. Bigger drum parts, bigger songs, and bigger stages!

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luxdrummer.com

LUX DRUMMERETTE

BY E L ISA BE T H W I L S ON PH OT OS BY S T E FA NO G A L L I

NAME: Lux AGE: 26 HOMETOWN: Orange County, CA LIVES IN: Orange County, CA PAST BANDS: Mystery Hangup, Sacred Storm CURRENT BANDS: Nekromantix DAY JOB: musician DRUM KIT SET UP: 2 standard kick drums, 2 rack toms, 2 floor toms DRUMS: Yamaha Absolute Maple CYMBALS: Paiste STICKS: Pro-Mark 747, Japanese Oak PEDAL: A xis

When she isn’t touring with her psychobilly band Nekromantix, Orange County native Lux Drummerette is busy creating a sensation with her metal covers on YouTube. With her pink-shocked long black hair, high heels and corsets, you almost don’t even need to witness her fierce metal drumming to become an instant fan.

Twenty-six-year-old Lux is a self-described veteran, starting on drums when she was only 12. Her parents enrolled Lux, along with her sisters, in a Latin Music School in Anaheim, urging her to play drums, when what she really wanted to play was piano. It wasn’t until she was asked to fill in on keyboards that she realized she had fallen in love with drumming. By the time she was 13, Lux and her sisters had formed the band Mystery Hangup, playing paid gigs at weddings and parties. From there, she went on to play in the thrash/ death metal band Sacred Storm.

Lux has always gravitated toward high-energy music, citing the Cranberries’ “Zombie” as one of her favorites. She also names Van Halen and Megadeth as some of her early musical influences. In high school, her brother introduced her to Judas Priest’s Painkiller, which inspired her to get a second kick drum. And Scott Travis’s playing “opened her eyes and ears”, she says, to a heavier, harder, and faster style of playing. It’s the energy in playing metal that she finds appealing, conducive to playing as “fast as you can, as crazy as you can.”

When asked what barriers she might have experienced as a female drummer in the predominantly male metal genre, she can’t think of any. “I’m a metal-head, period. I’m a metal drummer, period,” she says. Her experience as a lady in metal has been a positive one overall, and she says she’s never felt like an outcast.

She even goes so far as to say being a female metal drummer is an advantage, because she attracts more attention. Whether it’s with suspicion or enthusiasm, people take notice.

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Her YouTube videos, which started out as original videos for Sacred Storm, have garnered hundreds of thousands of hits after her enthusiastic fan base (thanks to tireless touring) started requesting covers of Megadeth, Slayer, Sepultura, and Judas Priest. “It’s an opportunity to give something new to my fans while I’m not on the road,” she says of her videos. “It’s fun for me and it’s fun for them.”

It’s not surprising that the young drummer already has such a devoted following. She not only has incredible talent, she’s got charisma, a camera-friendly demeanor, and a rock n’ roll highfemme personal style that is all her own. Her fashion on YouTube and in her stage performances reflects how she dresses in real life. There’s no difference, she says, describing herself as “such a girl” and admitting to buying black sparkle, 5-inch heels to match her drum set. She has a clothing sponsorship from Too Fast Clothing and Serial Drummer Clothing, as well as her own line of Lux hoodies that are available on her website.

Lux’s momentum shows no signs of slowing, with future collaborations with LA Playboy model/DJ Roxanne Dawn and Megadeth drummer Jeff Young in the works. She first got together with Young in January after he heard her Megadeth drum cover on YouTube and approached her about the possibility of them working together. They have about five songs written so far and are planning to record this summer.

As far as advice for young drummers, she says practice is the most important thing. She also urges girls to not be afraid of rejection or negative reactions based on their gender. Her girlish style may get people’s attention, but it’s her raw talent that holds it.

annepaceo.com

anne paceo PRODIGAL FRENCH JAZZ DRUMMER SHARES THE LOVE

BY Steph Ba r k er Photo by J ean Yv es Per r au d in

Charming French drummer and composer Anne Paceo has a unique style that has earned her a dedicated fan base and a slew of musical collaborations and projects. At age 27, she has already played around the world and studied with some of jazz music’s greatest artists.

Tom Tom Magazine: What got you started on playing the drums?

Anne Paceo: I started drums when I was ten. When I was a child we used to live on the Ivory Coast in a small village called Daloa.

My parents were teachers there and next to our home were percussionists playing all day long. I think they were what gave me the passion and rhythm.

What specifically turned you onto Jazz drumming? At the

beginning I was inspired by Nirvana, Rage Against the Machine, and Oasis. I had a band with a friend who was a guitar player and singer. We were playing covers and composing our own music. Then when I was 13 my parents moved to Paris. I went to this summer workshop in the Alps — 15 days playing music all the time, drums lessons, combo lessons, workshops, master classes, jam sessions. I fell in love with jazz there.

What was it like working with Kenny Garrett, Dianne Reeves, and Ravi Coltrane at such a young age at the workshop? At the time

I didn’t know who these musicians were. It was completely new for me. The thing I remember is the way they talked about music, the passion. We had the chance to play with Dianne Reeves and it was then that I understood for the first time that music is love. sounds amazing. Which musicians would you like to collaborate with in the future? I would like to collaborate more with

musicians from all over the world. I love traditional music and I would like to learn more about it. I would also like to one day tour with a great and famous rock-pop band, have a tour bus, and be able to play in front of 10,000 people. I would like to experience that at least once in my life.

Love that dream. It feels like all of us share that tour bus dream!

You also compose and lead your own group. What inspires you the most when you are composing? I’m inspired by experiences

of life and traveling, places, people. Each tune I compose has a meaning or reminds me of the mood of a place or a person. For example, one of my tunes is called “Schwedagon.” It’s the most sacred Buddhist Pagoda in Myanmar. I have visited there twice and if I could I would go there everyday.

WOw. I have never been. It sounds magical. About being a woman on the drums, Do you feel that it is difficult being a woman in the Jazz world? When people don’t know me it can be difficult,

because I have to prove that I can play drums, for example in a jam session, some guys see me and say “she cannot play well”, and then when I’m on stage and play the best I can, they shut their mouths!

Have you found any major differences in the acceptance of women on drums in any of the countries you have toured? I have the

feeling that girl musicians are much more accepted in the U.S. than the rest of the world. It seems to be normal in the U.S. In Europe and France, for example, it’s still quite new, and people are very often surprised to see a girl playing drums. Sometimes people assume that because you’re a woman you don’t have the body or the muscles to play this instrument. That makes me angry because drumming is music, not a sport.

i agree. You have so many amazing projects. What’s coming up in the near future? I am recording a new album with my quintet to

be released in October 2012 on Laborie records, a great record company. I’ve composed all the music and I’m also doing the artistic direction. I’m going to continue being a “sidewoman” and working with different projects. I’m looking forward it!

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thepack ad.com

maya miller of the pack a.d.

Inte rvi e w by Me li ssa G u i on Photo by J ohn Carlow

With four albums under their belts and an extensive list of upcoming tour dates, rock duo The Pack a.d. has been going non-stop since they formed in 2006. Tom Tom caught up with drummer Maya Miller at a Vancouver, B.C., sports bar to discuss how she ended up on the throne for The Pack a.d., one of the most promising — and delivering — indie rock bands out of Canada. It was fun, noisy, and irreverent, much like The Pack’s live show.

“Don’t listen to anyone.

Drum your heart out.”

Tom Tom Magazine: How did The Pack A.D. get started? Maya Miller: I met Becky (Black, the singer and guitarist for the duo) through two friends who wanted to start a band. I became the drummer because Becky looks funny playing the drums. I mean, honestly, Becky always looks funny.

So, you weren’t a musician at the time? No. Becky played guitar. I’d never played anything. The four of us went to Tom Lee Music and bought instruments. That band lasted for one summer and broke up. But Becky and I kind of kept playing, and in 2006, a friend asked us to play a barbecue and we blindly said yes. That led to a few more one-off gigs, and in 2007 a friend approached us about recording. We had 17 songs and we recorded all of them. That became our self-released album, Tintype. I believe if you want something, either do it or shut up.

What was your first kit? It was a white Pearl Export kit. I’m really happy

with Pearl. The legs on the bass drum are bent from Becky jumping on it, but it’s held up. I don’t even use cases; I just throw the drums in the back of the van. People yell at me for that. I finally retired it last year. I’m trying out my new kit on this tour. It’s a Pearl Vision silver glitter kit. I really get drawn in by the glitter.

How would you describe your drumming style? I’m not a mathy drummer, I’m a feel drummer. I started late. I hit hard because I can’t even help myself.

Who writes your songs? We both do. Sometimes I come up with a beat, sometimes Becky comes up with a guitar lick. I write a lot of our lyrics.

I tend to write lyrics when we’re apart, whereas Becky writes stuff in the practice space, as we’re working. The “Mmmms,” and “Yeahs!” are Becky.

You’re both very theatrical. I’m thinking especially of the Crazy video, where you play gangstas with a man-harem. Making that video was nerve-

wracking because we put out a casting call for guys, and by the night before the shoot we only had ten responses. Then 24 guys showed up. They were nervous at first, but we got them drunk and they quickly started trying to out-sleaze each other. It was fun.

Let’s address the thorny girl-guy issue. Tell me about being a woman drummer. I’ve never been reminded as much that I’m a woman as I have been

since I started playing music. When we began, maybe one in every 20 shows there would be another woman playing with us. We once played a show where they introduced us by saying, “Do you want to see two chicks who can rock out?” Another time a guy came up to me and said, “I thought you were guys.” I said, “We aren’t,” and he said, “We’ll see how that goes,” and walked away. There are a lot of these stories. I want to believe, somewhere in me, that I don’t have to face these issues.

Did you read that Village Voice piece, “How Not to Write About Female Musicians?” That was a great article. Imagine saying, “The Black Keys, a band

of two men who are not gay.” I think a lot about this. Women are allowed to rule pop, that’s OK, but riot grrrl bands like L7, Sleater-Kinney, Bikini Kill, or Bratmobile are often left out of mainstream discussions of grunge and rock. They make people feel threatened somehow. But it’s rock, it should be threatening.

What’s it like to reach this level of success? When you’re paid attention to, you’re suddenly on this platform of expectations. It’s not that we aren’t trying — we were always trying — but neither of us is shooting for perfection. We are shooting for enjoyment.

Do you have any parting advice to drummers just starting out? Don’t listen

to anyone. Drum your heart out.

www.evenable.com

one drummer one question by lisa schonbe rg / PO RTRAI TS BY joshua orion

name: Elizabeth Venable Nicknames: Venable/Venny Age: 33 Hometown: Terre Haute, IN lives in: Portland, OR Past bands: Venable, The Naysayer Current bands: Sad Horse Day job: Random

elizabeth venable of Sad Horse

What is going on in your head as you play live? Oh man, it’s amazing where my thoughts go

when I’m playing sometimes. It’s easy for Geoff (my bandmate) and me to sync up. I’ll lose myself in the song [and] some other part of me comes out. Ideally, and most often, I’m just being present with the beat. That’s what I love about playing drums! For me, they demand presence and that whole living-in-the-moment business takes very little effort. But sometimes my thoughts drift. I’ll start thinking about how bizarre it is to play in front of people — the whole dynamic. I’ll notice how my tits are violently bouncing and wonder how clear that is to the audience. I’ll pay too much mind to the kick drum which will invariably screw me up. I’ll wonder if I’m playing with every ounce of energy I’ve got — which is a good thought: [it] focuses me and reminds me to do just that.

Sad Horse recently released a split cassette with 2UP on Toad Records, and has an album out on PDX’s Water Wing Records this summer.

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one d one q one d one q one d one q

ONE DRUMMER ONE QUESTION is a regular feature of ours. We get a drummer to answer one loaded question and ask an artist to celebrate her in a portrait.

Lisa Schonberg curates this feature and has so far focused on drummers from her stomping ground of Portland, OR. This installment features drummers Sydney Roth and Elizabeth Venable and local artist Joshua Orion.

Name: Sydney Roth age: 25 hometown: Columbus, Ohio lives in: Portland, Oregon past bands: Orca Team, The Caldonias current bands: Psychic Feline day job: Hairdresser/Cashier

sydney roth of Psychic Feline

What is going on in your head as you play live?

When I play live I pretty much think about anything. I might fixate on the audience or a spot on the ceiling. I think about how my hands hurt or what my bandmates are doing. If I find myself thinking way outside of the song I will generally fuck up when I realize that I’ve spaced out too much. I don’t count at all. I think about parts ahead of time though. There are always times where it feels so good [that] I can’t even believe it.

Sydney Roth is known in Portland for both her hairdressing and drumming styles. People have been getting pretty excited about Psychic Feline here in Portland over the last year, for good reason. Labelmates with Sad Horse, the two bands are currently my dream house show. Sydney’s minimalist drumming has been consistently engaging and fun in all the projects I’ve seen her in, and her tendency to keep it simple ties the music together perfectly. Psychic Feline recently released a 7” on PDX’s Water Wing Records.

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www.chicksriot.com / www.gogovamp.com

ayumi TSUBOUCHI

Name: Ayumi Tsubouchi Project: CHICKS RIOT! and VAMP! Mission: Tinderbox Music Festival is an annual event

SUPERheroes

showcasing a powerful and diverse lineup of emerging female artists producing innovative original music. Rooted in the vibrant New York City music scene, Tinderbox fosters community by providing opportunities to perform, collaborate, and connect. Through additional programming, Tinderbox hopes to expose both industry and fans to even more innovative female artists, as well as giving back to arts programs for young women.

by Van Alexander Translation Manami Tominaga Photos Yoko Yamashita(SLANG) Styling Saki Imakado and SPANK! Costume Jeanee Hammett

Ayumi Tsubouchi is a complete whirlwind of lady-power; the kind that doesn’t have anything to do with holding others down in order to rise to the top, but rather sustains itself on being inspired, empowered and dedicated to bringing others up right along with it. A live music festival, a magazine, a record label, visual art, fashion, and parties! Uh, yes, please!

Why are women still not equally represented in music? I do not think gender should ever

be discussed around superiority or inferiority.

Women are different from men in terms of physical appearance, feelings, and mind. Equal representation is difficult in the first place.

Despite advances, the world may still be, even though not entirely, male-oriented when we face reality and our impression of what is going on around us. A good part of our history, society and industry has been formed mainly by men and for men, therefore the standard of most things remain male-centered. A band comprised of women only is referred to as “a girl band”, while we would never refer to an all-male band as a “boy band.” This seems to be one of the factors that attributes to the con-

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cern of unequal representation between both genders. I will also point out another factor that women face as well, which is whether they choose to get married or have a family at some point in their lives. Many women, whether they are editors for music like me, or musicians in a band, may end up choosing to stop their careers temporarily, or even permanently once they are married or have a child. Alas, in Japan, a prevailing idea about female-only bands is that they do not continue for long.

Apart from what I said, a lot of people, with a special emotional attachment, consider a female band or a female vocalist to be a separate musical genre. Those people are, so to speak, “Otaku for a girl band!” It is very true that there has been a special status that only female bands can enjoy, although this may be one of the negative examples of unequal representation. I am no exception, being a big fan of “girl pop and rock” and of course of many other musical genres as well.

How do we change this? I do not think we

should ever force things to change. I think it’s

important that we never give up and continue to go forth with our beliefs. One suggestion I have would be to practice consciously not adding the word “woman” or female” to anything as some kind of prefix or suffix. what are your future plans? I have many. I

would love to issue more VAMP!, and hold more CHICKS RIOT!. I want to publish art and photo books. I want to travel around the world and conduct interviews and research with an IC recorder and camera in my hand. I want to hold events abroad. I want to have my own music studio for my own band. I want to release my own music albums as records from my own music label “Peachy Doll Records.” (I’ve already released two albums.) I want to make original items with original material. On top of online stores I‘ve already opened, I want to open a brick-andmortar store where customers enjoy choosing among CDs, records, clothing, and many kinds of goods that are specially selected according to our high standards. They can also take a rest at the in-store coffee shop.

industry women PINTECH by natalie peart Photos courtesy of pint ech

In 2010, women became the majority of the American workforce.

Their proclivity toward social intelligence, communication, flexibility, and empathy are more suited for the modern, postindustrial economy claimed Hanna Rosin in her article, “The End of Men,” which appeared in The Atlantic last year. The context in which women make up more than 50 percent of the workforce does not necessarily constitute a victory; the types of jobs women are holding and the issue of pay discrepancy are a few of the contentions that need to be examined. Lorrie Landry, manager of Pintech Electronic Percussion, posed this question after listing all of the jobs she performs at the company, “Dare I say it?” she asks, “Women are becoming more dominant in the workplace.”

lorrie & fawn

As marketing director, webmaster, bookkeeper, customer service rep, and a slew of other trades that make a small business run, Lorrie and her daughter Fawn have made Pintech a family affair.

“With my mom being my boss, there is more pressure and more is expected of me,” says Fawn. “But on most occasions I like it that way. It makes my day go by faster…I love my job and the people I work with.”

Pintech has been in business since 1989. It was purchased in 2002 by Dan and Linda Gilbert who would end up hiring Lorrie — who has been the sole manager since 2006. “My ex-husband was a drummer and worked for Pintech. I was in health care and getting burned out. I had an hour every morning and afternoon to kill while I waited for my husband to get off of work, so I would do odd jobs around Pintech here and there.” In an economy that has been suffering, Pintech is a part of the old guard — providing a truly American-made product, except for the hardware and modules. Fawn makes all of the Visu-Lite cymbals and builds all of the Dualist pedals. When asked why it was important that Pintech proudly bears its “Made in USA” stamp, Lorrie spoke not only about the outsourcing that has contributed to the economic hardship in the U.S. , but also the sense of community she felt with other U.S. vendors. Located in Greenville, South Carolina, Pintech works with vendors across the nation.

“I have a relationship with each of my vendors. I have visited several of my vendors to view the process that goes into producing the items that are made for us, and I know our product is contributing to jobs and the economy.”

Aside from trying to keep business local, Pintech, like any company, has to stay creative to stay in the game. For Fawn, this is one her favorite aspects of the job. “I’m always trying to think of new products or building things that make my job easier or more efficient,” she says. “I also do all of the custom engraving work when artists want their logo on things.” Lorrie has created drum triggers for kids, modeled after a rubber duckie, a motorcycle, and a gorilla. She thought it would be a great way for young ones to learn the drums, or at least learn rhythm. As for playing the drums? Lorrie says she doesn’t consider herself a drummer, but she can be caught practicing her 1/4th, 1/8th and 1/16th note for snare, bass and hat practice on her steering wheel and on the gas pedal of her car. “Especially on long trips.”

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I L LUST R AT I ONs BY K E L LY A BEL N

T E C H N I Q UE

SECOND LINE DRUMmING by bi anca r u sselbu r g

Second line drumming originated in New Orleans back in the day (“the day” being the turn of the 20th century). This popular style, played in parades or even funerals to celebrate the life of the deceased, eventually made way for contemporary jazz and blues grooves. Second line was marched, so imagine what pieces of your kit would be carried through the streets: kick, snare, cymbals, and maybe even a cowbell.

Here are two basic “skeletons” of second line beats. I did this because the style involves many ghost notes, buzzes, and rolls added in at the player’s discretion or according to the music being played. It’s important to note that although this style requires a lot of swing and buzzed notes, one shouldn’t

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mistake the feel for sloppiness. Keep the rolls controlled and in time. Be sure to differentiate your buzzes from your clean hits.

The first beat is written in triplets in order to help better convey the “swing” feel, but the second is written in eighths. Note that those eighths will be swung. Also, in that second beat, the hi-hat will be splashed (think of marching cymbals). Once you learn the basic patterns, throw in some buzzes or ghost notes of your own to spice it up!

Bianca Russelburg has been writing for Tom Tom since 2009. She just finished performing an enjoyable, and productive run with folk/pop band, The Goodnight Fields. This summer she will be volunteering at Girls Rock! Indianapolis.

fernandaterra.com

SKANK BEAT (By: Fernanda Terra) SKANK UPBEAT

SKANK BEAT

1

by f er nanda terra

+

2

+

3

+

4

+ HH SN BD

In this Issue of Tom Tom Magazine, I wanted to introduce the skank beat. This is a beat commonly used in genres such as, punk, hardcore and metal. When learning the skank beat, it is important to remember to start at a very slow tempo. It may seem simple from just a glance at the written examples, but believe me, snare and bass coordination is very difficult at a fast tempo. So, building a slow and solid foundation is crucial. If you aren’t best friends with your metronome yet, you will be after shedding this worksheet.

SKANK DOWNBEAT 1

+

2

+

3

+

4

+ HH SN BD

PUNK/HARDCORE FEEL 1

+

2

+

3

+

4

+ HH SN BD

3

3

3

3

HH SN BD

Fernanda Terra is a drummer from Brazil. She has been playing since 1992, and since then has performed with punk rock/hardcore bands like, Food 4 Life, Final Flight, Baby Scream, Hellas, and many more. Currently, she is playing with the thrash metal band, NERVOSA.

(Music: Nervosa - Invisible Oppresion)

1

+

2

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3

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4

3

+ HH SN BD

SKANK BEAT DOUBLE BASS 1

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2

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3

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100 95

4

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75

HH SN BD

25 5 0

skankbeat q u i n t a - f e i r a , 2 2 d e m a rÿÿ o d e 2 0 1 2 1 1 : 1 4 : 4 6

by ta mar gle z e rman

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Ed u cati on

Hi-Hat Variations

By Dawn R icha r d son

Starting Groove

Key:

1 + 2 + 3 + 4 +

Ride

4¿ / 4

Hi-Hat with Foot

Snare

œ

Kick

œ

¿

¿ .. œ

¿

¿ ¿ ¿œ ¿ ¿ ¿ ¿œ ¿ . . / œ ¿ œ ‰ œJ ¿

¿ ¿ ¿œ ¿ ¿ ¿ ¿œ ¿ . . / œ¿ ¿ ¿ œ¿ ¿ œ¿ ¿ ¿

These are some exercises to get that last limb moving, the hi-hat foot. It doesn’t get much attention, because a lot of grooves are just fine without it. Adding in the hi-hat with your foot can ad another texture to your beats, and strength to your timekeeping. I won’t kid you though — we all know that it’s more difficult to do four things at a time than three — so some of these will be hard to handle! However, this will be rewarding and can also come in handy if you want to use the hi-hat to play some auxiliary percussion, like a tambourine.

These patterns can be applied to practically any groove. If the starting pattern is too difficult here, just use a more basic beat to get up and running.

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¿ ‰

¿ œ J

¿œ

¿

2 ¿ ¿ ¿œ ¿ ¿ ¿ ¿œ ¿ .. .. œ ¿ ¿ œ ¿ œ ¿

Eighth Notes with the Hi-Hat 3

¿ œ

..

Quarter Notes with the Hi-Hat

Hi-Hat on 2 & 4 1

¿œ

..

Hi-Hat on the off-beats 4

¿ ¿ ¿ ¿ ¿ .. .. œ ¿ œ œ ¿ ‰

¿ ¿œ ¿ œ¿ ¿ J

..

If it seems too simple, try the variations with a more complex groove for more of a challenge.

Hopefully, these tips will give you some new ideas, and help you be more creative with your drumming, no matter what playing level you are at. Be patient and enjoy!

Dawn Richardson is a drummer from the Bay Area. In addition to playing, programming, and teaching drums, Dawn has had several drum method books published (available through Mel Bay Publications). She has B.A. in Percussion Education and has toured or recorded with many artists including 4 Non Blondes, Tracy Chapman, Mental 99, The Loud Family, and Penelope Houston.

The Purdie Shuffle

By Kr ist en G l eeson- Pr ata

This timeless groove was introduced in the last issue, but it’s definitely one worth repeating and expanding on! My first exposure to the famous Purdie shuffle was learning John Bonham’s variation of it on “Fool In The Rain” by Led Zeppelin. I later learned that this halftime backbeat shuffle was first made famous by Bernard Purdie, who started working it out when he was only eight years old.

He originally called it “the locomotion,” as he was trying to capture the sound of the train that passed by his childhood house.

The backbone of the groove is swung eighth notes on your hi-hat, a strong halftime backbeat (in other words, on beat three) on your snare, and a strong bass drum kick on beat one. What differentiates Purdie’s shuffle, from just any old shuffle that came before it, is his use of ghost

notes on the snare and his use of stick technique on the hi-hat. Purdie alternates between shaft and tip strikes. As you can see in the examples below, ghost notes are placed on the second triplet partial of every beat (even the one right after the backbeat!). The hi-hat notes that fall on the beat are accented and played with the shaft of the stick on the edge of the hi-hats, and the hi-hat notes that are on the up-beats are unaccented and played with the tip of the stick on the top of the hi-hat.

You may need to practice a good amount to get it sounding right, but it’s worthwhile to put this crowd-pleaser into your bag of tricks. In Purdie’s words, “You’ll know it when you hear it, because when you do, you’ll have to move your feet”. Isn’t that our job, drummers?

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Ed u cati on

Vintage Rhetoric Mallet Percussion : Getting Vintage Vibes

by J o s e Medeles photo by keary ortiz

LATIN EXERCISE By mo r gan docto r

This was one of the most influential practice techniques for me. I worked intensely on three pages of Latin figures, and came up with over 15 variations of each. In this Issue, I will share with you one figure and five different approaches. These exercises helped me move more fluidly around the kit, improved my bass drum technique, expanded my independence and gave me more creative ideas for fills. The first step is to learn the basic figure.

It is very important to be able to play it in the right hand, and the left, before attempting the variations.

Variation 1: Play figure with the right hand on the ride. Left hand fills in 16th notes between the pattern on snare drum, and then move it around the kit when comfortable. Feet play Samba or Bomba pattern. (See example 2)

Vintage vibraphones are one of the coolest percussion instruments ever. A brief description: the vibraphone originally was called the vibraharp.

Nowadays most of the time they are simply called the vibes. They were first made in the US in 1921.

Vibraphone bars are made of aluminum or steel.

What makes this instrument special is that it has a motor that spins resonators for sustain and the tone produces a vibrato. The sustain is controlled by a pedal. They are sometimes mistaken for xylophones, which have no vibrato. Originally the vibraphone was used for effects, but eventually it worked its way into being an important part of ensembles. Primarily used in jazz, over the years it has made its way into experimental, fusion and rock situations.

Most of the time when you find a set of vintage vibes they’ll need some TLC. Luckily there are people who still have the chops to fix them up.

Legendary Gilbert Sarna at Century Mallet in Chicago, IL and Stan Keyawa at the Professional Drum Shop in Hollywood, CA are both world renown for tuning and repairing mallet instruments. Belts, felt and string are still available for most sizes. I’ve seen vintage vibes go for as low as $400 and high as $3000, so they can get expensive but are well worth it.

Vintage manufacturers included Leedy, Ludwig/Musser, Jenco, Kostch and Deagan. Some vibraphonists to check out would include Lionel Hampton, Bobby Hutcherson, Gary Burton, Karl Bergman, Roy Ayers, Walt Dickerson, and Jason Adasiewicz. Vintage vibraphones are an amazing instrument with endless possibilities. The sonic accompaniment will add so much to your ideas and recordings.

This is our regular column on vintage drums by Jose Medeles. Jose is the owner of Revival Drum Shop in Portland, Oregon. It specializes in vintage and custom drums, and is full of all sorts of percussive treasures. Jose plays the drums in The Breeders and the 1939 Ensemble.

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Variation 2: Play figure with the left hand on snare. Right hand fills in 16th

notes on the ride. Feet play Samba or Bomba pattern. (See example 2)

Variation 3: Right hand plays pattern on hi-hat, left hand fills in 16th notes

on snare, and the kick follows the right hand pattern. (See example 2)

Variation 4: Pattern is played between both right and left hands on hi-hat.

The 16ths are played as single strokes between both hands accenting the figure. The right hand accents all the downbeats, and the left will accent all of the upbeats. In addition, the right hand comes down to the snare on beats 2 & 4. The kick plays the pattern with hands, aka accenting the figure (omit beats 2 & 4).

Variation 5: Pattern is played between both right and left hands. All down beats are with the right hand, and all upbeats are with the left hand. Fill in 16ths with double strokes between the pattern. All doubles are played on snare. The pattern is played with the right hand on the floor tom, and the left hand in played on the rack tom. Feet play Samba or Bomba pattern. (See example 3)

Morgan Doctor is a female jazz/ rock drummer who has toured the world, and recorded with artists such as: Andy Kim, The Cliks, Bob Wiseman and The Tea Party. Morgan has also shared the stage with Cyndi Lauper, B-52’s, Tegan and Sara, The Cult, The New York Dolls, Indigo Girls, the Gossip, Dresden Dolls, Debbie Harry, The Stars, Feist, and many more. She has performed and appeared from live National TV (MTV Live, MTV CRIBS, MTV Total Request Live, IFC, CNN, Craig Ferguson, etc), live radio shows and countless full length albums.

Ed u cat i on

quick and easy :

Drum Machine Love

repairs to get you through the gig

by Rachel F uhrer

Okay, we have all experienced that sinking feeling of something going terribly wrong either just before a gig or while on stage. A crucial bolt strips, a head breaks, something cracks and panic ensues. On the Tom Tom Magazine site in my “Be Prepared” article, I talked about essential parts and tools that you must have with you at all times. Here are some quick repairs that you should be able to pull off to get you through the gig without breaking a sweat.

The Synare 3 Star Instruments 1977 W o r d s and Illu st r at ion by A imee No rw ich

1. Fix a stripped out floor tom leg bracket, kick drum spur or cymbal stand with a hose clamp.

2. Use the pliers on your multi-tool to loosen an over-tightened wing nut. If you don’t have a multi-tool try using two drumsticks.

3. Use a bolt to replace a lost cymbal stand post.

4. Secure a “traveling” piece of hardware or drum to your throne using an old instrument cable.

5. An adhesive bass drum reinforcement patch can be used to cover a tear on any head to get you through the rest of your set.

6. If you’re hi hat clutch keeps slipping up the rod, try replacing the wing nut with a key nut that you can tighten with a drum key.

7. Use a rubber bass drum hoop protector to help secure a slipping boom arm or accessory post in a clamp.

Waaaaay trippy, and waaaay fun!! Not only does the Synare, short for synthetic snare, look like a flying saucer (my favorite mode of transportation, aside from astral projection), but the sounds are sooooo amazingly intergalactical! Its potential uses stretch far beyond mere enhancements of acoustic drums — you could write an entire symphony with the Synare alone…

This spherical beauty is a drum machine by literal definition — a drum pad on top, with two oscillators and a noise generator on the sides. It is battery operated, so that you can freak out the ufologists camping in the deserts of Roswell. The real one is black, of course; although, if I had been on the design team, I would have made them available in various florescent and pastel colors.

Also, who needs couples therapy with this instrument? Instead, you could re-establish intimacy with your significant other by happily tweaking the knobs while your genius drummer sweetheart paradiddles on the drum pad. Trust me, you would start cracking up and kiss and make up instantly… All tiffs in the world could be solved with this instrument alone.

Obviously Kim Carnes got it when it came to the Synare 3 — she used it for the hand claps on her 1981 hit “Bette Davis Eyes.” It also made an appearance on The Cure’s “Seventeen Seconds,” and some of Gary Numan’s and Joy Division’s work.

Aimee Norwich is a musician, composer, and producer and a regular contributor to Tom Tom Magazine. For more info, please visit www.aimeenorwich.com

i llu strat ion by lau r en st ec

49

D.I.Y DRUM WORKOUT part two

By St eph B arke r illus trati ons by ka ren codd

This workout requires: • a cymbal stand • a snare • a good attitude

CARDIO: 1. Renegade Rows

This is roughly a 20-25 minute workout. These ten moves can all be done in your practice space (or anywhere really) using just your drum equipment as your weights.

The key is to do three strength moves, two cardio moves, and one ab move in that order. Repeat that cycle three times, and you’ve got an intense 20-minute body buster.

Summer is just around the corner, and there is no better way to look good than to feel good first. Get some. Keep an eye out for Version 3.0 in the next issue!

STRENGTH : Pick the cymbal stand you are most comfortable with and keep using it for all the strength moves. The crash is typically lighter than the ride stand. So, keep that in mind when selecting your stand.

Your stands should be completely closed and as streamlined as possible.

Your crash stand will typically weigh anywhere from 8-10 lbs, and your ride stand will weigh about 10-12lbs.

50

Grab two cymbal stands, and grip them in each hand as you get into plank position.

This is just like push up position, except you want your elbows in towards your side, not out. Your hands should not be touching the ground because you are leaning on the cymbal stands. Make sure to angle them so they are steady, and can hold your body weight. Your back should be flat, not sinking or bent. If your butt is towards the sky, get that sucker down! Next, pull one arm back, lifting it so that your elbow is still in to your side. At this point, you are using your other arm and two legs to hold your weight. Do not twist your torso or hips. Stay straight, and strong in your plank position. Bring the arm back down, and do the other side.

Repeat 10x on each arm.

2. Squat with Shoulder Raise

Stand with hips a little wider than hip-width apart. Hold cymbal stand, with elbows out and bent 90 degrees, above your head.

Inhale and lower into a squat. Do not lean over your toes. Sit back on your heels, chest up, and a neutral spine. Exhale, and rise back up, extend your elbows to lift the stand. Repeat 20x.

1. Burpees

These are not fun, but they are amazing for cardio. In a standing position, place your hands on the ground in front of you, and jump back into plank position. Do not let your back sink. From here, immediately jump back into a standing position and hop in the air with your hands up high. Repeat this motion. It is important to understand that it is a fluid move, and until you hop with your hands up, it is not over. Repeat 15x.

2. Jump Rope

You do not actually need a jump rope to perform this exercise, but if you have one, that is pretty rad. All you need to do pretend to jump rope. The key here is to just keep moving. Make sure to swing your arms as if you are actually jumping rope.

Get fancy and integrate speed/one legged jumps if you feel adventurous. Jump for 30 seconds.

abs: 1. Toe Touch

3. Wall Sit with Arms Out

Literally, sit against a wall. Keeping a 90-degree angle at the knee, and holding a crash stand horizontally in both hands out in front of you, arms fully extended. Hold for 30 seconds. Make sure to keep your back against the wall. This will keep the contraction all the way through. Repeat 15 times.

Lie on the ground, flat on your back. Lift your legs up so they are perpendicular to the ground. Holding your snare drum or high tom, bring your hands back behind your head, arms fully extended. Bring your arms up and touch the drum to your toes.

You should be lifting your shoulder blades off the ground as you reach for your toes.

Repeat 25x

the l atest on the greatest / gearheads

GEAR reviews

top pick Gibraltar Hardware gibraltarhardware.com Gibraltar has just released a new hardware feature called the Swing Nut. The Swing Nut was made to allow for a quicker removal of cymbals attached to stands. Pushing down on the spring-loaded tilter activates the device.

From there, just turn the swing nut into the release or lock position. The only thing you have to remove is the felt, and you are good to go.

This is an excellent option for a drummer on the road, also, for a backline house kit. Having the ability to quickly change cymbals makes it much easier to share gear, and the stage with other bands. The only issue I spotted with the Swing Nut was that it could only tighten so far, and the tightest setting still allowed a lot of cymbal movement. This could be an issue for some drummers.

Boom Stand w/ Swing Nut This is a standard boom stand that features the Swing Nut. I am a huge fan of Gibraltar Hardware in general of the amazing durability, and memory locking systems they use on all of their stands. This one is no exception. It is a medium weight boom, with two memory locks along the straight extension. This allows for easy set up; after you break it down to take to your next gig. The bottom tripod has rounded rubber grips for a solid base. The boom arm can be broken down into the stand, and used straight as well. The Swing Nut adds just another awesome feature to this stand, fast cymbal removal. — Steph Barker

eskuche KASSETTE ICÉ headphones

Evans G14 Coated Heads 12”, 14”, 16”

These retro looking headphones (make you want to dig up your old Walkman) by Eskuché, are surprisingly comfortable and functional and they look super cute when you put them on! The sound quality is also pretty great. They have a woven cloth cord to prevent tangling and an adjustable aluminum headband (lightweight) that is quite useful.

While they are not noise canceling, they do have a built in single touch controller to play/ pause music or answer/end calls. Overall these headphones are awesome and totally affordable. — Joanna Gutierrez

The new Evans G14 Coated skin is an excellent edition to the string of heads that Evans offers. This head takes the best qualities from the G2 Coated and G1 Coated, and creates the G14 Coated. It is 1ply, 14mil thick, made from premium quality film. Since the industry standard has is 10 mil thick for a 1 ply head, the G14 is extremely durable. This allows it to have a stronger attack similar to the G2, but still allow a beautiful tone, and sustain similar to the G1. This head also falls on the brighter end of the spectrum, but not quite as bright as the G1. In all three of the above sizes, each drum was allowed to breath, and resonate a very warm tone. If you want less warmth, and a bit more of an aggressive pop, try the clear version. Evans may have just created a new industry standard with the G14 Coated series.

— Steph Barker

Eskuché, Control i 40mm Headphones

tune-bot

I use these headphones nearly every afternoon to drown out the sound of my super’s kid bouncing a ball outside of my window. These are great headphones. Pros: Tangle free rope cord, great sound, noise isolating so you can ignore people on the subway, answer/talk button so you can answer every time your mom calls in the middle of your favorite song. Cons: They are a bit uncomfortable after long periods of time, fuzzy on some hip-hop songs, and no volume button on the cord. Overall, these headphones are great for their price range. — Lauren Stec

Tune-Bot is an electronic digital drum tuner.

What if you’re recording a song and the rest of the band is playing in Drop D? Sure you can adjust the drum heads and sure the producer can perform the post production magic. But if you want something a bit more surefire, you can toss this light-weight portable tool in your stick bag and get the job done. Features include: Pitch measurement, frequency & note modes, overtone filters, difference mode, 80 plus save slots, easy to read display with backlight, drum hoop clip, drum tuning charts & pitch recommendations. —+ Besty Short

eskucheme.com

eskucheme.com

evansdrumheads.com

tune-bot.com

51

MUSIC top pick Palo Verde Hour Zero

Phratry Records l March 2012

Initiated as a guitar-drum duo in 2006, Palo Verde has been rolling out “spontaneous compositions” that largely feel so confident and tight, it’s hard to imagine the songs go unrehearsed. In fact, the two women’s musical chemistry has been called downright telepathic.

Live, they are unrelenting, propelling metal kicked in a little sludge and doomy math rock and engorged with psych rock guitar and mesmerizing distortions. This, harnessed by the vast and brutal palpitations from Newman, makes for a profound, raw, and unpredictable show not to be missed. The album delivers a more meditative tangent. Hour Zero is a mere four tracks but endures for 45 minutes. It’s something to get lost in, and feels a lot like walking straight into a desert in the middle of the night without a light.

Listen to this: Live on a rainy night in a small, packed-in house show. — Anika Sabin

Whore Paint Menarchy

Anchor Brain Records l February 2012

If you threw Cadallaca, Black Flag, Babes in Toyland, and Dick and the Del-tones into an audio blender and hit frappé, you might end up with something as delicious as Whore Paint.

The Providence, RI trio’s mix of surf and punk goes down smooth, hits you hard, and will make you feel like dancing barefoot in your favorite underwear. The percussion alternates between heavy, grunge-y stomp and post-punk sprint; the guitar distorts, arpeggiates, and tremolos ferociously, and the vocals consist of operatic howls and pleasingly blood-curdling screams.

The resulting sound is rhythmic and sensual, dark and humid, and unapologetically wild. You can practically feel the sand, waves, and salt air when you listen to it, but Menarchy ain’t no day at the beach — it’s midnight in a seaside cave with your coven. Which is, of course, infinitely better.

Listen to this: While driving on a warm night with the windows down, preferably with your best friends, as you talk about the band you’re going to start this summer. — Jamie Varriale Vélez

Broken Water

Gossip

Hardly Art l May 2012

Capitol Records I May 2012

Broken Water is a collaborative ensemble, made up of members of Sisters and Congratulations.

In the sound trails of their post-punk and grunge predecessors, Broken Water composes fine spun and unsettling melodies, concocted by Jon Hanna’s swimming effects, Kanako Pooknyw’s expressively frayed percussion, Abigail Ingram’s steady punctuated bass, and the sweetly jagged vocals of all three. Broken Water frenetically shifts instrumental and vocal roles. Ingram luridly delivers “Orange Blossom Stains” and “River Under the River.” Schools of fish seem to ripple beneath our eyelids, bridges and planks rise suspended in sadder times in tempo shifts, while Pooknyw brings us crashing back to the water surface, layered in circles and tilts.

All music is an argument; an exchange of intense emotion. And no one can argue with Beth Ditto. Consistently fresh, always accessible, A Joyful Noise, the band’s fifth album, holds water to any Fleetwood Mac album. Ditto’s voice conjures a parallel spirit to Stevie Nicks’ raw emotive power. And somewhere Siouxsie Sioux is smiling. A post-punk balladeer, Ditto, backed by synth crescendos and a tight, persistent rhythm section, has created yet another mesh of angst and pop sensibilities. Obvious stand out tracks are “Melody Emergency,” “Into The Wild,” and “Perfect World.” A Joyful Noise is an apparition, a delightful haunting.

Tempest

Listen to this: In an artists’ studio surrounded in butcher paper, charcoal, and gouache.

— Bonnie MacAllister

Various Artists

Rebel On The Underground — A Tribute to X-Ray Spex Permanent Wave l April 2012

Upon learning of Poly Styrene’s early death to breast cancer last year, the feminist collective Permanent Wave rallied to put out this compilation that benefits Sweet Relief Musicians Fund, an organization that helps musicians with healthcare. While some songs are pop in nature, it is surely not a pop album. Drums get loud, ladies get loud, and a little frightening.

The screams and cymbals of Delta Hotel turn punk into emotion on “Germ Free Adolescents,” which sounds more vintage than the original — a success in itself. In my personal favorite, “Oh Bondage Up Yours,” from Titus Andronicus, Amy Klein’s vocals offer the same proclamation that rings now just as it did over 30 years ago .

Let’s thank WOJCIK for setting in our nostalgia and Vonesper for tying the knot to shore with authentic punk.

Listen to this: With much respect and love.

— Attia Taylor

A Joyful Noise

Listen to this: At your wild dance party for one on a steamy summer night after your air conditioner has decided to break down.

— Matthew D’Abate

Sabrina Chap

We Are The Parade ERT Records l July 2012

We Are The Parade is Brooklyn-based singer/ songwriter/vaudeville performer Sabrina Chap’s second album. Enhanced with bright strings, brass and the raucous Lee Free on drums, the full band buoys Chap’s intimate, witty songwriting. “Fly Away” stands out, featuring summery guitar and horns. So does the sweet, strings-heavy waltz “’Til it All Stops,” in which Chap’s lyric “I’ll sit with you through the tik tok’s, in the rain drops,” shines.

The album is a confident, messy, happy mix, best showcased in the title track/gay marriage anthem “We Are The Parade.” From the grittiness of subject and lyric (“I love the fuck and the fight”) to the loose, joyful sing-a-long chorus, it has all the edge, personality and charm of Chap and her songwriting.

Listen to this: when you need a motivational soundtrack to get active; personally, publicly, or politically. — Jo Schornikow

reviews

The Wanton Looks

Imperial Teen

Low Spin

Haughty Eyes Records/Whoa! Records l March 2012

Merge l January 2012

Self-Released l April 2011

This is a group of women that clearly grew up on hard rock radio stations. If guitarist Inga Olson’s Motorhead T-shirt in their video for “Worst Side of Me” wasn’t enough evidence of The Wanton Looks’ influences, then the wild guitar solos should give it away. Even their key changes (the drop for the chorus of “Electromagnetic Force” isn’t far removed from Nirvana’s “Drain You”) prove that they’ve been studying their heroes very carefully to generate maximum fist-pumping. The band’s swagger is due in no small part to the drumming of Meg Thomas. She supplements singer/bassist Traci Trouble’s lyrics about deliciously bad decisions (see “86 Me”) with furious velocity on the kit. The sheer speed of her snare rolls makes it hard to believe that she could utilize her crash cymbal as much as she does. See their “Electromagnetic Force” video for evidence.

Despite the fact that San Francisco’s Imperial Teen have been churning out their sugary brand of alt-rock since 1996, they’re still one of Merge’s best-kept secrets. Those of us who remember their 1999 hit “You Hoo” from the Jawbreaker soundtrack will be glad to hear those catchy pop vocals with an indie rock grittiness on tracks like the album opener “Runaway.” In fact, that track features the entire band on lead vocals. Their fifth full-length, Feel the Sound includes the same wry, witty lyrics and addictive vocal harmonies that have kept this band going strong. But don’t listen too fast; this band is on a luxurious once-everyfive-years release schedule, so you’ll likely need to make this lollipop last.

With foreboding bass lines and astral synth chords, Vancouver’s Low Spin are three musicians exhibiting incredible potential yet shy away from fully transporting listeners to their lush, chaotic dreamscape. The lyrics express the passionate desperation so often present within the struggle of unrequited love. Initially erring on the side of generic, the coy Rene Botha doesn’t unleash her full vocal prowess until “37 Days,” more than halfway through the album. Most tracks are brief and end almost abruptly, but the powerful bridge in “Sense and Motion” satisfies. It comes as no surprise that Low Spin claims The Cure as an influence, but it is vital to emulate, not imitate. Although Low Spin is a group who is very much still finding their sound and is eager to soar beneath a set of still-damp wings, they are off to a stellar start.

S/T

Listen to this: When you want to put on a leather jacket, black boots, and red lipstick or generally feel like a bad ass.

— Valerie Paschall

Feel The Sound

Listen to this: while racing your best friend to the ice cream truck this summer.

— Annie Russell

Self-Titled

Listen to this: After a hopeful OK Cupid date goes horribly wrong and you’re convinced you’ll die alone. — Marisa Gumpert

youtube

Drawn Together Funny Drums Ok so…trust me on this. Just watch this video. I do not want to explain anything. I laughed immediately afterwards, and if it doesn’t make your day a little brighter or at least make you smile, then we can talk. Trust.

These drummers are killing it in the world of YouTube.

Here are some of our favorites.

Search: Drawn together funny drums

Drumming in High Heels If you are interested in drumming in high heels, this is an excellent tutorial on how to do just that. Lux is featured in this issue as one of our “glamorous drummers”. This video explains the pros and cons of different heels.

Heels with a wedge, without a wedge, and heel height. Very informative, and this lady can throw it down on a double bass pedal, so I would trust her advice!

Search: Lux drummer heels

Hit So Hard Official Trailer 2012 This is the trailer for the documentary, Hit So Hard: The Life and Near Death Story of Patty Schemel. There really is nothing left for me to say. This is an amazing documentary, and the trailer breaths truth to that. Must see.

Search: Hit So Hard trailer

The xx cover Wow. This is sick. I love this song first off, and she is killing the groove. The drummer is Lena Zawaideh. She is moving so fluidly, and making it all look so easy. This is actually a very difficult bass drum pattern to keep in time, and relaxed.

Lena has done that effortlessly, and with buckets of finesse on top of that. Awesome video, great groove reference.

Search: The xx intro female drum cover

reviews

books Live Through This: On Creativity and SelfDestruction (second edition)

Women of the Underground: Cultural Innovators Speak for Themselves

When people face abuse, depression, incest, madness, and other hardships, they will often exhibit self-destructive tendencies such as cutting, eating disorders, drug abuse, and suicide attempts. Another way to deal with trauma and pain is through art. In this collection of essays, artists such as bell hooks, Cristy Road, Bonfire Madigan, and Eileen Myles reflect on the relationship among their suffering and rage and their creativity.

There’s something comforting about knowing that “it gets better,” or it at least gets bearable. Anyone who has struggled with inner demons, stared into the abyss, and has come back, will identify with these women and know they’re not alone.

— Rebecca DeRosa

Zora von Burden interviews some truly groundbreaking and unique women including Wanda Jackson, Jarboe, Lydia Lunch, and Ana da Silva. Many of the women in this book are on the fringes of society, and yet have cult-like followings and have influenced countless other artists. While some of the interviews fail to engage (Moe Tucker seems especially tight-lipped and Nina Hagen is from another planet), others offer up some amazing stories and insights. Take for example this quote from Adele Bertei (the Contortions, the Bloods), “Take the risks, fight the good fight, never be afraid to be a loner, for that is precisely where you will find community. Risk is the fountain of youth and the fire of transformation. It’s all about alchemy — learning how to transform the basest shit into the purest of gold, and these days, we are sorely in need of master musicians.” — Rebecca DeRosa

Ed. Zora von Burden Manic D Press I August 2010

Ed. Sabrina Chap Seven Stories Press I Dec 2012

best of

tom tom tv Li st co mpi l ed by st eph ba r k er

If you haven’t noticed, we have a video screen on the homepage of our website. Yep. That’s right. We use it to premiere music videos, upload exclusive drum lessons, and for just about anything female drummer related. Here are some of the highlights from Tom Tom TV.

dvd The Girls in the Band

Directed by Judy Chaikin Artist Tribe/ One Step Productions thegirlsintheband.com Fall 2010 To play jazz, you have to have confidence and pride. You can’t be afraid of the spotlight and you need to take risks. To some, especially in the past, this may have seemed “unladylike.” Women who dared to play jazz endured plenty of sexism and racism, among other obstacles, but as a stream finds its way to the ocean, these musicians found a way to do what they loved. You know the famous quote about Ginger Rogers (referring to dancing with Fred Astaire), “Don’t forget, she did everything he did backwards. And in heels.” This sentiment could be applied to women musicians, too. One woman remembers being told to smile the whole time she was performing. How exactly does one smile while playing a trumpet or saxophone solo?

(This must be where the “smize” comes in handy.)

This documentary touchingly and lovingly shows the past eight decades or so of women’s jazz history with exclusive footage of some of the greats who you may have never heard of. Where there is a Louis Armstrong, Dizzy Gillespie, and Herbie Hancock, there is a Melba Lisbon, Mary Lou Williams, and Viola Smith. While many of the early jazz pioneers are no longer with us, their music and their legacy live on. Let’s not forget them.

— Rebecca DeRosa

Desert Gold Fest 2012 Tom Tom threw a poolside party at the ACE Hotel in Palm Springs back in April. This is a video tour of the event! The BBQ party menu is enough of a draw for me to want to watch this video, but many more goodies are packed inside. It includes interviews with drummers, Kimberly Shin (The Electra), Scarlet A. Newman-Thomas (Professor Possessor), and Brittany Brooks (DDMC).

Space Invaders: The Cold and Lovely This is an awesome video of the newly established band, The Cold and Lovely. They are based out of LA, with powerhouse Patty Schemel behind the drums. We get a look at their practice space, hear some music, and chat with Patty about her set up. Not to mention, there is an interview with the whole band, and the track record that these ladies have is unbelievable. This band is bound to blow up, and fast.

Interview with Erin Yanke

Interview with Mamta Suresh

Few interviews can compare to this one.

Why, you ask? Erin is being interviewed while cleaning her dirty dishes. Having played such an important role in Portland’s punk scene as a drummer, and member of the filmmaking community since the 90s, Yanke has a lot to share. Luckily, for the sake of her house and your ears, this interview was conducted.

This video takes a sneak peak inside St. Michael’s School and Hostel for Girls in India. Mamta Suresh is a 13-year-old girl who attends, and also plays the drums. She expresses her feelings about St. Michaels, and shares her favorite beat to play. I really like this video because it shows the true joy of music worldwide.

KEEP THE HITS COMING

For all your drum and accessory needs GC_Tom_Tom_HalfPg_0512.indd 1

Katherine Wing - Drummer with Green Lady Killers and Guitar Center employee

5/8/12 2:33 PM

Hit Like A Girl 2012 Winners Announced!

A Contest For Female Drummers

“With so many great players to choose from, picking the top three drummers was nearly impossible; let alone choosing the top one,” comments Sheila E. “This year all the women and girls who participated really raised the bar. However, we felt that D’Arcus’ incredible drumming skills, musicianship, passion and dedication made her the best of the best.”

D’Arcus Curry, Angieszka Matusczak and Karmi Santiago Chosen As Winners Of Hit Like A Girl 2012 — A Contest for Female Drummers put together by us at Tom Tom Magazine and the amazing guys at DRUM! and TRX Cymbals. This contest was an enormous success and if you haven’t heard of it yet, go Google it NOW! The sponsors and supporters of “Hit Like A Girl 2012”—along with a panel of celebrity drummer judges that includes the legendary Sheila E, Jess Bowen (The Summer Set), Susie Ibarra (Mundo Niños), Dawn Richardson (4 Non-Blondes), Kimberly Thompson, and Hannah Ford (Bellevue Suite)—are proud to announce the winners of the first ever drumming contest for girls and women.

All three of the top drummers will also be featured on Hit Like A Girl 2012, in upcoming issues of DRUM! and online at DrumChannel.com and Enter Music Network affiliates DRUMmagazine.com, DrummerCafe.com,

DrummerConnection.com, OnlineDrummer. com and SickDrummerMagazine.com.

In its inaugural year, Hit Like A Girl 2012 received hundreds of video entries from female drummers as young as 8 and as old as 55 based in 30 countries around the world. Hit Like A Girl 2012 celebrated the impact of women drummers’ contributions to contemporary music while supporting their continuing growth and increasing relevance within the worldwide drumming community.

Hit Like A Girl 2012 thanks the judges, sponsors, supporters and voters, and congratulates this year’s winners along with all the girls and women who participated, including a special shout-out to the other Hit Like A Girl 2012 finalists: Lindsey Ward, Nikke Blout, Illari Arbe, Arianna Fanning, Janitra Priyanka, Monica Del Valle, Lauryl Brisson, Taryn Lee Young, Mandy Tieman, Jess DeVries, Adrian Johanssen and Drashti Thakkar.

HitLikeAGirl2012.com primary sponsors:

D’Arcus “dbaby Curry Named Hit Like A Girl 2012’s Grand Prize winner, D’Arcus “dbaby” Curry (USA), will receive a complete drumset package featuring Crush drums, TRX cymbals, Vater drumsticks, Evans drumheads, SKB cases and an assortment of books and DVDs from Alfred Music valued at more than $6,000.

Angieszka “AgaDrummer” Matusczak Angieszka “AgaDrummer” Matusczak (Poland) was selected as the Second Place winner and will receive prizes from TRX, Vater, Evans, SKB and Alfred worth $2,500.

Karmi Santiago Third Place winner, Karmi Santiago (Philippines), will receive $1,500 worth of drumming gear from TRX, Vater, Evans, SKB and Alfred, as well.

additional media sponsors:

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bl ast from the past

throwback

viola smith By an ika sab in

The camera pans up to Viola Smith, sitting atop a stage as she starts in on a full tier of mounted bass drums, floor toms, high hanging toms, and banged out cymbals.

She’s smiling wildly, restrained only by her concentration to pummel out intricate compositions this way and that, as she glances down at the barrage of clarinets, trumpets, cellos, shakers and maracas that flank her.

The year is 1939, and she is surrounded by the Croquettes: a fierce orchestra of women musicians. On the brink of WWII, Viola Smith and other women gained the opportunity to play, as the war swept men in uniform out to Europe, leaving not only jobs, but bands and instruments vacant.

Before the war, women were guided to instruments associated with their gender stereotypes, so-called “feminizing”, gentle instruments like the harp and piano. But beginning in the 1920s and reaching its peak in the 40s, women proved themselves in a major way within the realm of jazz, taking on trumpets, tubas and of course, drums.

In the heyday, female jazz musicians rigorously toured both at home and abroad, in clubs, on television and in U.S.O. dance halls. On the Los Angeles Times website Daily Pilot, at the age of 99, Smith remembers, “Before World War II there was great prejudice. The war overcame it to an extent. They could finally see what girl musicians could do. They were finally given a chance.” Still women had to sugarcoat much of their talent by performing in evening gowns or playing under such monikers

as “Phil Spitalny’s Hour of Charm All-Girl Orchestra,” one of the most successful groups of the time. Smith played with this band, and many others, including a threeyear gig in the Kit Kat Band for Broadway’s Cabaret.

Women jazz and orchestra musicians’ popularity and undeniable talent did not come without its critics. George T. Simon famously wrote into the history books “Only God can make a tree, and only men can play good jazz,’’ in the late 1960s! Beyond being an outdated statement even for the latter years of the ’60s (get with it, Simon) and a testament to irresponsible historians, these words can be dashed away by a flood of remarkable, underexposed female jazz musicians before Simon’s era. Viola Smith was not only a talented drummer, she was also outspoken, writing a letter-to-the-editor in Down Beat Magazine entitled “Give Female Musicians A Break!” challenging that women could hold their own in any jazz jam sessions dominated by men. The letter caused quite a stir back then and opened up a dialogue that long needed to be addressed.

Further Reading: Sherrie Tucker pays tribute to these women, and brings to the light the vast gender and racial barriers female musicians faced throughout the 20th century in the book Swing Shift: “All-Girl” Bands of the 1940s. The New York Times also ran a great article in 2000 entitled “When Women Called the Tunes: Rediscovering the Players Who Kept Things Swinging After the Men Went to War”.

a magazine about female drummers

TOM TOM MAGAZINE

the glamour issue

NIKKI GLASPIE issu e 10 | sUMMER 2012 | us D $ 6