Tom Tom Magazine Issue 3

issue three / spring 2010

C i nd y B la c k m a n / S u p h a la / Yuko Ar aki / Z i ldj i an / T h e Run aways

Contributors Fo u n d e r /E d i t or- i n - C h i ef

Mindy Abovitz Des i gn D i r e c t or

Candice Ralph W e b M ast e r

Harlo Holmes Co py E d i t or s

Jeremy Scott, Gillian Avina, Camila Danger, Liz Armstrong No rt hwe st C or r es p o n den t

Lisa Schonberg Des i gn T e am

Jessica Moon, Miho Ishizuka, Vanessa Wahesh

Phot og r ap he r s Bek Andersen, Ports Bishop, Dan Watkins, Louma P, Erin Nicole Brown, Maggie Owsley, John Dougherty, Nathan Backous, Lightrhythm Visuals, Farrel Duncan, Jimmy Bruck, Adrian Gilliland, Shiho Yabe, Chrissy Piper

FonLin Nyeu, Ashley Spungin, Meg Ryan, Mindy Abovitz, Gemma Hill, Emi Kariya, Allie Alvarado, Meg Ryan, Ashley Spungin, Susie Patten, Jessie Nelson, Derek Wayne, LaFrae Sci, Laura Fares, Cristy C. Road, Maren Abromowitz, Itta Abovitz, Lisa Schonberg, Camila Danger, Elisita Punto, Nebraska Odin, Angie Boylan, Christy Gast, Bianca Russelburg, Christina Files, Caryn Havlik

Writers

Candice Ralph, Cristy C. Road, Nas Chompas, Adee Roberson, Carrie Keith, Christina Owen, Itta Abovitz

Art i st s

Nora Iknadossian, FADER Magazine, Dead Herring, Vicki Simon, Ima, Aba, all our family & friends.

Than k you

Contact one year / four issues $30 (plus s&h) subscribe at www.tomtommag.com e m ai l /

info@tomtommag.com

add r e ss /

PM B # 8 5,

302 Bedford Ave. Brooklyn, NY 11211 we b si t e / www.tomtommag.com For Advertising Inquiries: info@tomtommag.com

From the Editor Welcome to Issue 3 of Tom Tom Magazine! In the 3 months span between the last issue and now, a lot of exciting things have happened for us. Tom Tom went to SXSW and showcased female drummers from all around the world including Water Fai from Japan and Wet Dog from the UK. We put together and participated in a panel discussion at Smith College on women in music and media. And Tom Tom was featured in FADER magazine’s Icon issue #67. We worked overtime to bring you exclusive interviews with drummers with full schedules like the legendary Cindy Blackman, one of the greatest contemporary jazz drummers in America (who was so busy drumming we almost had to push her to Issue 4). We took a day trip up to Boston to visit the Zildjian women who run the oldest cymbal factory in the country steeped with history and family lore. We combed the rest of the planet to find and bring you interviews with interesting and incredible drummers such as Yuko Araki, Laura Fares, Suphala, and Pikachu. xo, Mindy Abovitz on the cov er: (front) Cindy Blackman by Aaron Redfield (back) Illustration of Crystal Bradley by Cristy C. Road (www.croadcore.org) corre c tions f rom issue two:

Mispelling: Aaron Wojak, Camila Danger 2

TOM TOM MAGAZINE / ISSUE three

tom tom mag a z i ne i s sue three

Women Who Make Drums Zildjian 8 / District Drum Co. 7 Drummers Cindy Blackman / Lenny Kravitz 17 Yuko Araki / Yoko Ono Plastic Band 22 Laura Fares / Sam Sparro 10 Pikachu / Afrirampo 28 Suphala 32 Bands MNDR 16 / TuneYards 6 ShellShag 12 / 7 Year Bitch 36 / The Shaggs 40 Art Quiet Village 13 / Car Kit 26 / Itta 5 Mujer 14 / One Drummer One Question 30 Reviews Type Foundry 38 / The Runaways 25 / Books 40 Gear 21 / Albums 24 Technique 5, 37, 41

Posts to the Editor Hats off to YOU

Hats off to YOU for starting up the 1st Drum Mag dedicated to women and by women. I’m proud of what you have accomplished so far and will continue to do!

TOM TOM Mag is inspiring young girls and women to play harder, learn more about their instrument, and find the strength within themselves to keep playing. I wish your mag was around 20 years ago when I was a kid and playing to my cassettes with my earphones on! TOM TOM MAG ROCKS! - CB Bummer

Hi Tom Tom, I was really excited when I heard about you, when I actually read the magazine I was deeply disappointed.

Your magazine appears to be a drumming magazine that's NOT REALLY ABOUT DRUMMING. Producing a magazine that claims to be about female drummers, but then in reality is just another women’s fashion magazine completely negates this idea and is basically creating and aiding in our own backlash.

- MM a gift to the world

You've created such a gift to the world of mag readers, not just women and not just drummers. Thank you! - AM Tom Tom Rocks!

The amazing women you've included in the mag have been very diverse in all ways possible: colors/sizes/styles/personas. Tom Tom rocks! - HH VIVA TOM TOM!

I appreciate that tom tom isn't inaccessible and only for gearheads. It really seems like Tom Tom is interested in lady drummers' experience and their own relationship to

drumming, which is so totally fucking righteous. VIVA TOM TOM! - FTL THE EDITOR

Tom Tom's goal is not to model a typical drummer magazine which are geared towards men. It is to find another space that is initially gendered female and eventually non-gendered with a focus on drumming. It will not be exclusively technical nor will it be exclusively fashion centric. It will strive to reach as many audiences as it can by covering all types of women and girls and catering to their multitude of interests focusing first and foremost on drumming and then touching on philosophy, science, art, history, design, fashion, media, and more.

The original intention behind showing a lot of the drummers in the magazine without their kits was to create a question in the reader's mind as to whether or not they were reading about a drummer. When they realize, quickly, that all the images in the magazine are of drummers, I then hoped they would second guess any image of a woman/ girl and consider them a drummer or a musician or something more than what they see. As for technique and gear talk, I agree, there needs to be more of it in Tom Tom and we are working on making that happen.

Hope this helps to define some of the decisions that have led Tom Tom to where it is at today. We love reading your responses and feedback.

–Mindy Abovitz Submit letters to the editor: info@tomtommag.com

READ MORE AT WWW.TOMTOMMAG.COM

3

news / events

40 drummers Celebrating the 40th Anniversary of Earth Day, Loomstate put together "Our Magnificent Earth" an event which featured an original drum composition performed by 40 drummers, led by Hisham Akira Bharoocha.

Tom Tom drummers represented and their were about 10 women on the drums! Woot! Watch the video: shifteditorial.com/40drummers.html

sxsw Tom Tom Magazine was in full effect at this years SXSW in Austin, TX. Valerie George drove her car kit (featured in this issue's art section) up to the show space (Okay Mountain Gallery) a parked. The showcase included Katie Stelmanis Band (Toronto), Wet Dog (UK), Water Fai (Japan), Sparkydog (Miami) and Taigaa, Hard Nips, & Chica Vas (Brooklyn, NY).

fader Tom Tom Magazine got a full page write-up in FADER magazine's Icon Issue #67. They interviewed our Editor-in-Chief, Mindy Abovitz, and gave us their thumbs up. We love FADER too. xo

Holocene Earlier this year, Tom Tom's West Coast Correspondent, Lisa Schonberg, organized a benefit show in Portland, OR. The event took place at the incredibly awesome Holocene. Drummers created one-nightonly duo bands and played back-to-back on 2 stages. Drummers included: Janet Wiess, Sara Lund, Rachel Blumberg, TJO, Germaine Baca, Juliana Bright, LKN, Lozen, Emily Kingan and more. Special thanks to Holocene & Revival Drum Shop.

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TOM TOM MAGAZINE / ISSUE three

yom e m sam e ac h

> i ttaart.co m

itta art

by Mi ndy a bov i tz

Itta is a visual artist based out of South Florida.

She paints with acrylics on canvas that she stretches herself. She typically paints female drummers and is a commission based artist as well. We love her.

t e c h n iq u e tu esda y

b i a nc a rus s elburg

For the intro lesson on Latin Percussion log onto www.tomtommag.com and search Technique Tuesday Clave

SAMBA

Here we have three more basic Cuban pieces to add to what we already have: Samba feet, Bombo bass, and Tumbao patterns.

Cascara

Here’s another little piece of groove from the Latin world.

There’s a silly way of remembering the counts.

(*Mustard works too, if you’re not much of a ketchup person) This sounds great on cowbell, but the bell of a ride or pretty much anything else with a Latin-y feel works. It’s commonly layered over clave patterns. Since they both have their own distinct counts, here are all three clave patterns (Son, Rumba, & Bossa) under Cascara.

*All grooves are subject to alternate interpretations. While I was researching, I found a ton of different versions for many of these.

“Samba feet” is a basic bass/hi-hat groove that you can play with the other things we’ve already looked at. It can also be played with the Tumbao pattern.

Tumbao can be used as a groove or during a fill. For drumset it’s usually played as a cross-stick on snare with some kind of tom.

You can hear hand drums playing this in Santana’s cover of “Oye Como Va.” (search for the video on YouTube!)

Bombo bass works with those pieces too, but it’s a bit trickier because none of the notes are on down-beats, only “ah”s and “+”s.

Sometimes it can really help to write out two difficult grooves.

That way you see where both hit at the same time, where the beats are split, and so on. You have rim-knocks and the cymbal, bass is next!

You can mix and match any or all of these little pieces, and something rad is bound come about.

READ MORE AT WWW.TOMTOMMAG.COM

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> mys pace.com/ tuneyar ds

tuneyar d s In t e rv i ew by c a m i l a da ng e r phot ogr ap h by c h r i s sy p i p er

In March of 2010 I embarked on a tourmanaging journey. I managed Talk Normal on their trip across the US with Tune-Yards and Xiu Xiu. By the time we looped around to Cleveland Ohio to play Case Western University, we were a well-oiled touring machine and felt like a family. I took this opportunity to sit down with Merrill Garbus, the mastermind behind TuneYards, and learn more about her craft.

abroad program in Kenya, Merrill had a radio show on WOZQ about the African Diaspora, which featured African music.

And her love affair with the ukulele began with her work as a puppeteer.

These diverse backgrounds come alive in her music and gain dimension on stage.

Merrill raps a rhythm on her ukulele, hits her floor tom, bangs on her mic stand, and hits a note with her voice. As she makes each sound she records them separately, then blends and loops them together to create a rich and layered background for her ukulele strumming and powerful singing. What’s so captivating is to watch

Tune-yards’ brilliance shines brightly in her recorded material but nothing compares to the experience of her live performance.

Merrill is at home on stage and her energy captivates audiences in a way unparalleled.

On our tour we stretched the gamut of venues from large to small, from college shows to huge clubs with burly bouncers, and night after night Tune-Yards would leave a path of stary-eyed-newly-acquired fans in its wake.

this all unfold live on stage before you as a spectator; its almost like being witness to the creative process and then getting to experience the end product all in one sitting. Its not merely performance, it’s a creation, and its one you can dance to at that.

The Tune-yards “project,” as Merrill calls it, started with just Merrill. What is recorded on the album is her writing first for the ukulele and then writing the melodies.

Eventually as Tune-yards evolved Merrill found herself writing primarily for the drums. Soon she realized that “rhythm is at the root of all that I do, and it’s really fun to zero in on that… I should say that the drums are actually a new part of the TuneYards live show. I started drumming on the ukulele and eventually I just wanted a lower sound like a floor tom. I also wanted the impact that live drums have. I feel like I’m still new as a drummer- its become more and more a part of the project but they are still new for me.”

I was lucky enough to get to watch Tuneyards on stage night after night on tour and each time it was a new experience, but the reaction from the audience was always the same: people love Tune-yards. And best of all, its mutual; “Getting to perform every night is awesome cause that’s what I have always wanted to do.”

Merrill’s musical genius spans back to her child-hood and her influences are wideranging. She grew up with musician parents and was nurtured on traditional American folk music. After a Smith College study

C RY STAL BRADLEY

felt more empowered and encouraged by other women. The DC scene was definitely more welcoming to queers and all kinds of diverse people.”

wor d s an d i l lustr ati o n

By C r i sty C. Roa d

I had just started this band, The Homewreckers. So far there was three of us, slinging a song and a half to a slew of potential drummers. Given the complications with the subculture, gender representation, and the general difficulty of starting a band; nobody seemed to enjoy pop-punk anymore anyways. After performing one song with Crystal Bradley, a recent DC transplant, the universe collided with chance, as we concluded our quest for a drummer.

Crystal was no alien to underrated punk sub-genres; or meticulous precision for that matter. Playing drums since the tender age off 11, Crystal had played in every school band; fiending at the opportunities to challenge her self. Her first set was a Ludwig given to her by her father. Her punk upbringing began in 1993, while playing drums in 7/10 Split and The Go-Steady’s; “Growing up in the south - there were very few female role models or positive both Atlanta-based ska bands. She took on the community despite the unfortunate encouragement from men in the [punk] reality regarding female representation in scene. It was definitely a straight male her scene. In 2000, she played in Atlanta- world down there.” Crystal explained.

“It wasn’t until I moved to DC that I based all-girl band, The Applicators.

Crystal moved to DC with the goal of attaining an MFA in mental health therapy and sign language interpretation. While attending Gallaudet University; fate called on the inevitable, giving her the opportunity to join Partyline; an all-girl punk band featuring Allison Wolfe from Bratmobile. Upon completing school and recording two full-lengths with Partyline; Crystal packed up and headed to more liberating pastures; residing two blocks from me in Brooklyn, NY. “New York is really where I feel most comfortable and at home with my self. It wasn’t until I arrived in NY only 3 years ago that I said to myself- wow, I am not a weirdo – I am normal.”

While Partyline is currently on hiatus, Crystal now contributes indefinite hours of energy to the lost art of pop-punk. “I had no idea I would ever join a pop-punk band!” Recalled Crystal despite youthful fixations on bands like Screeching Weasel and The Queers. She continues to drum in occasional experimental projects; and full-time with The Homewreckers, on that same white Ludwig from high school.

> mys pace.com/ wewreck homes > croa d cor e .o rg

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TOM TOM MAGAZINE / ISSUE three

WOMEN WHO MAKE DRUMS

district drum co.

Interview by Mindy Abovitz Photos courtesy of District Drum Co.

Christina Bulaong has been playing drums on and off since she was a teenager. As a kid she begged her dad for a drumkit and more than five years later got a rag tag kit with no cymbals. She used a leather bound dictionary in place of a snare drum and her left knee as her hi-hat. Today, Bulaong builds custom drums for the finest drum connoisseurs and is an expert drum builder for her own start up District Drum Company based out of Washinton, DC. Read on to see what Bulaong and District Drum Company has to offer you and your custom made snare.

Tom Tom Magazine: When did it occur to you to start building drums? District Drum

Company (Christina Bualong): I started messing around by buying old kits and taking them all apart and studying the wood and how it was built, what kind of cuts the drums had, etc. I even bought some old, old drums, just so I could see how drums have progressed over the generations. I already had a lot of tools and have an installation background so I really wanted to get intimate with something I loved to do.

Did you go to school for drum building ? No,

it’s been pretty much trial and error. I have found that this is indeed a trade secret that most people hold close to their chest. There is very little info out there and even then, a lot of it is that person’s preference and not necessarily something that would work for the masses, so you have to be very careful about the info you find.

What do you look for in a wood? I look for

a nice hard wood shell. I look to make sure it’s truly flat and truly round. I look to make sure my bearing edges are evenly cut. I look to make sure there are no flaws in the wood, i.e. gouges, splits, glue showing from a plied layer.

Can you tell the difference in woods by simply listening to the snare? Unless it’s

a really hard dark wood like Bubinga, most people wouldn’t really be able to tell. So much is mic’ed and filtered in a studio anyway, you can make it sound like

> DISTRI CTDRUMCOMPANY.COM

almost anything. On most rock recordings you can barely ever hear the actual snare wire influence on the drum. Not like jazz players…. where it’s all about the snare wire.

its almost like speaking a language that’s all drum talk. (Laughing) You just have to decipher it.

What is the most challenging part about building a drum? You have to get used to

what kind of sound you want or use most often. What’s extremely interesting and flattering to me is having a client whom I have a great deal of respect for get my drum and tell me that my drum is inspiring them to try different things. For example, Rob San Pietro, who use to play with The Meatmen and now plays with Hot Buttered Elvis, is telling me that the ghostnotes he’s getting out of his new drum sound so incredible, it’s making him want to play them more. I think that’s awesome!

knowing how to use saws and routers, sanding, drilling. The one part that is really challenging is applying the wrap. If it goes on crooked, its all over. You learn what NOT to do real quick when you’re a small business owner and can’t afford to buy a whole massive stock of material.

Any recommendations for tuning a snare?

I usually tune the snare side first, across each lug, tap test, same on batter side, add snare wire and tighten it down. It’s such a personal thing, you know. Some pro drum techs can go on tension rod tightness alone, but I’m not that good yet.

How do you tune your snares? I like my snare choked a bit. I don’t prefer a lot of ring to it. I love a hard, deep sounding snare drum. And I really have to attribute that to some of my fav drummers: like Budgie (Siousxie and the Banshees), Lez Warner, Nigel Twist, Matt Sorum, Samantha Maloney, and Tony Thompon, RIP. Any recommendations for snare care? I

totally baby my snare drums. I only use micro fiber clothes to wipe them, always clean the bearing edges and heads off before you put them on. Keep the throw off gunk free and always make sure your snare wire isn’t too badly stretched out. Make sure its centered OFF the bearing edge so that even when you engage the throw off, the snare wires do not touch the shell.

Any recommendations for someone shopping for a snare? Take your time and figure out

That is awesome! Which is your all time favorite snare? Definitely the Ludwig Black

Beauty. It’s the most recorded rock snare of all time. Ironic because it’s a brass shell… go figure…

How does someone purchase a custom snare from you? They can visit www.

districtdrumcompany.com go through the website and fill out the ‘contact us’ page, or they can simply call and tell me some specifics. If you want to see and test out some of my snares then go see Russells Music World in Norfolk, Va. I’ve know Russell along time and he has exclusive rights to sell, show, and lend out my drums for a player to test.

When describing how a customer would like their custom snare to sound what adjectives would they use? I hear people

wanting: deep, crack, tight, pop, kack, rifleshots for rimshots…. Its funny actually, READ MORE AT WWW.TOMTOMMAG.COM

7

Not Y ou r Fat h e r’s Facto r y Since 1623, Zildjian has set the standard for cymbal making. Since 1999, the occupant of the corner office has been a woman. Who knew?

By M eg Rya n p h o to g r a p h ed by da n wat k i ns

To a non-drummer, cymbals can look like accessories. They're shiny and add flare to the kit. The drums lay down the foundation, while the cymbals just make pretty sounds.

No. Cymbals are instruments. They’re as integral to a drummer’s kit as any skin. In fact, cymbals have been around almost as long as people have known how to work metal. They figure most prominently in the ancient cultures of the Mediterranean, especially the area that’s now Turkey. As far back as the Neolithic period, drums, and later cymbals, figured prominently in daily life and religious rites in which women were the most important players.

In the modern era, when men starred on the military and political stage and women were relegated to supporting roles, cymbals continued to be the signature instrument in Turkish culture.

Now, since we’re dealing with something that dates back to the thousands B.C., “modern era” is around 1615. That was about the time when an Armenian alchemist (yep, alchemist–think Harry Potter) named Avedis stumbled upon a

certain ratio of copper, silver, and tin in his quest to–what else?–turn base metals into gold. At first blush, his experiment failed.

But when he discovered the exquisite sound his alloy made when he hammered it into a cymbal, he realized he had turned tin into gold after all. Makes you wonder if it’s no coincidence about the alchemist’s symbols for gold: One is a circle surrounded by dots, as if it’s vibrating or glowing; the other looks a hell of a lot like a treble clef.

Fast forward to today: Avedis becomes Avedis Zildjian (“Cymbal Maker”) and lands a sweet contract with the Turkish government to produce cymbals for the army, effectively turning his metal into gold again: his initial contract with the Sultan in 1618 was for 80 gold pieces. The secret recipe for the alloy passes from father to son for at least twelve generations (recordkeeping during the 1700s being unreliable), the company takes a bold leap over the Atlantic to Boston right on the cusp of the Great Depression, the Jazz Age makes the cymbals popular as never before, and today Zildjian remains the top cymbal manufacturer in the world. Still a family business. Still a secret alloy.

Each cymbal at their factory is tested by hand.

Craigie, Cady, & Debbie Zildjian

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TOM TOM MAGAZINE / ISSUE three

A secured vault that holds a few hundred cymbals Armand, their grandfather, had a hand in making.

WOMEN WHO MAKE DRUMS

of contemporary musicians. “It was very clear what our mission was,” Craigie says.

“We continued to reinvest in the plant to complete my father’s vision of modernizing our operation.” They haven’t hammered a cymbal by hand in many years, but they have continued to refine the magnificently intricate computer systems that run the machines that replicate hand hammering.

The goal: use technology to help as many musicians as possible benefit from, and hopefully learn from, a centuries-old dedication to quality.

In addition to running the company, Craigie is also the family matriarch and keeper of the company history, archives of which line the office walls. Ironically, it’s Craigie’s devotion to her past that has continued to shape the company’s increasingly modern future. As we walk down a corridor, past a wall crowded with signed photos of artists from the ’50s to today, she stops in front of an instrument vault; inside it are row after row of golden discs, cherished relics of the original Boston factory. At the other end of the hall, the entrance to the current factory, equipped to turn out up to a million instruments a year.

“It now becomes your responsibility to take over the secret that is your heritage,” she says, quoting a letter from Aram Zildjian to Craigie’s grandfather, Avedis III, who

Orchestral cymbal testing studio

By the way, that bit about the secret alloy is not unique to Zildjian. Virtually every highend cymbal maker in Istanbul even today possesses a carefully guarded secret family formula and well-kept trade secrets. But it does make for a sexy legend.

What is unique about Zildjian is that even though their success is built on oldfashioned hard work, high standards, and adherence to tradition, the company has shattered the mold in one very significant way. In 1979, a dust-up between the new patriarch, Armand Zildjian, and his brother, Robert, led to the formation of the Sabian cymbal company. Since Armand’s son had no stake in the company, either, that left his eldest daughters as the heirs. Craigie and Debbie Zildjian are now the keepers of the cymbal-making flame. In fact, they might be the only women on the planet who know the formula for any secret alloy for making Turkish cymbals.

“It’s pure trust,” says Craigie Zildjian of receiving the formula from her father when she was in her early thirties. When she took over as CEO years later, in 1999, she understood the gravity of being entrusted not simply with a set of numbers but with the kind of craftsmanship that has been the gold standard in the industry for twelve generations. “I think trust is an ever more powerful motivator in a family business because you don’t want to let your father or your grandfather down even after they’ve

Armand's original receipt book passed on,” she said in a recent interview at the Norwell, Mass., factory.

Four years into Craigie’s tenure as CEO, Armand died, leaving her to run the operation solo. “It was lonely without him,” she says. “He certainly had an iconic presence, so it was quite an adjustment for me both personally and professionally.”

But, as every CEO has to do, she carved her own identity, one that keeps one hand in the past and the other on the pulse

A sample of their cymbals in the drummers lounge where select players are invited to test them out. brought the business to the U.S. As the petite woman stands for pictures, it’s clear those words resonate in her. You can see her humility, her pride in the undertaking that is her heritage.

In other words, the heritage is not just an accessory. It’s an instrument. A vital instrument in a rare and revered art form.

Now with women at the pinnacle, holding tradition in one hand and technology in the other. Just like in the Neolithic.

READ MORE AT WWW.TOMTOMMAG.COM

9

sam s pa rro & d isc o dam a g e L a u ra fa re s

Full name Laura Fares Nickname Laura Damage Hometown Buenos Aires, Argentina Lives in London, UK Current bands Sam Sparro, Disco

I n t e rv i ew ed by g emma h i l l ( mys pac e.c o m/ g emma hi lld rums )

Past bands Ricky Martin, Jont, The

P h o to g r a p h ed by A dr i a n g illi la nd M ak e u p by M i c h el l e D i a z . H a i r by Eri c Gonz a lez

Damage, Johnny Lazer, TNTT

Future Shape Of Sound, NY Loose, Love Grenades.

Day Job Drummer/Producer/DJ

"He [sam sparro] saw my website and Disco Damage and thought I would be the one for his project.

I didn’t even have an audition. "

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TOM TOM MAGAZINE / ISSUE three

London based drummer, Laura Fares, has played all over the world for Grammy nominated ‘Black and Gold’ singer, Sam Sparro. She has done sessions with some of the biggest names in pop and also manages to find time to fit in being a super cool DJ and producer. She is endorsed

by Pearl, Zildjian, Pro Mark sticks and recently Protection Racket. We found a coffee shop in London that was willing to take us on and talked about what’s coming up for one of the UK’s leading drumming ladies.

Tom Tom Magazine: When did you start playing the drums? Laura Fares: I was 18,

I was at high school, and I started drumming with my best friends. We had a girl band called Isis and we were just messing around having fun. They all picked an instrument and I picked drums cause I thought it was the most fun and I always used to stare at drummers at gigs, so I went for that, naturally.

18 is quite late to be starting - has that been an issue for you? It’s a bit of a

disadvantage from people who started when they were 10 or whatever but we don’t really get to drum much at school back in Argentina at an early age. When you’re in primary or secondary school the music departments are not that well equipped, so you wouldn’t really have drums as a choice. You would play the recorder or melodica only, so if you wanted to learn how to play the drums, you would do so in private lessons after hours.

Where did you study drums and who with?

I was self taught when I was in Argentina until I was 21 ( just following drum books) and then when I came to the UK I went to Drum Tech. I did their degree with Thames Valley University and my main teacher was Paul Elliot and Pete Cater for Jazz studies, which I wasn’t very good at!

Why did you move to London? London was the place to be, to do what I like doing.

I love it.

What are your main playing styles? I like

playing a bit of Latin because it’s part of my background but what I usually play nowadays is pop, rock and electronic stuff including dance music. That’s what I’ve been playing in the last few years so I would say that’s my main style right now.

Have you got any style that you would like to look into more that you haven’t developed yet? I’d like to be more fluent

on the Latin rhythms, and have more independence and I also want to start playing with a double bass drum pedal.

You’ve had some cool sessions with some big names-tell us about that. I did a session

with Ricky Martin and Eros Ramazzotti for their European promo tour of a song they did together. They’re both lovely and very friendly. I stayed in touch with the managers and became good friends with Eros’ manager. I also recorded with Natasha Bedingfield in LA because Sam

Sparro was co-writing a song with her.

I did some stuff with the Presets as well on another track that Sam was co-writing.

I love them, they are actually one of my favourite bands and I was lucky enough to go on tour with them and play at the same festivals. We hung out and I became good friends with Kim Moyes, who is the drummer.

How did the Sam Sparro gig happen?

Jont, an artist I worked with in 2008, recommended me because Sam was looking for a band in the UK, where he got signed.

He called him and said ‘I have the perfect drummer for you cause she loves all the pop/electronic stuff’. He saw my website and Disco Damage and thought I would be the one for his project. I didn’t even have an audition. I met him and he was an amazing guy -so I guess it was all meant to be…

What gear do you use for the Sam Sparro gigs? I have a pretty conventional drum kit,

usually a Pearl Masters (22 inch bass drum, 16 floor tom, 12 rack tom, 14 x 6.5 snare) and a Roland SPD-S sample pad. The good thing is you can put your own sounds into it so you can have the exact same sounds as the album. It’s much better than any other electronic drum pads. You can tweak all the sounds, starting points, effects, whatever.

And in terms of cymbals, all Zildjian, 13”A Custom Mastersound Hi Hats, 11” Oriental Trash Splash, 18” A Custom Crash, 20” K Ride and 20” Z Custom China.

What are your current projects? Sam

Sparro is coming back to the UK so I’m looking forward to that and to start touring with the new album. My own band, Disco Damage (a dance/electronic project), that I produce and DJ with, has been playing lots of gigs. I’m also drumming for Johnny Lazer who is a sort of riot Billy Idol gone electro. The nice thing about the Johnny Lazer gig is that it’s just me and him on stage. It’s me on drums and him on vocals with a backing track so our performance has to be really strong and powerful to make up for the missing bandmates, and it sure is!

Have you had more input on the new Sam Sparro album compared to the first one?

Definitely. The first one was already written so I only had to translate all those sounds and beats into a live performance to go on tour. For the second album I went to LA and recorded a few tracks but I’m not sure how many of those are actually going to make it and get released, because they have about 20 or 30 tracks to pick from.

There are loads of collaborations and most of the drums they use are computer samples, which sound amazing already.

They’re very good beats because Jesse Rogg, his producer, is fantastic.

As a female drummer do you notice any difference in peoples’ attitudes in the UK as opposed to Europe? In Europe or around

the world in general it’s more of a big deal.

People are really surprised and maybe that’s to do with the role of women in their society. I don’t know. In London they’re surprised but it’s not such a big deal. I DJ a lot in Italy and Spain and they just can’t believe there’s a woman behind the decks.

They end up throwing kisses taking photos.

They often think you might be miming and watch your hands carefully, because they can’t believe you could possibly be technical in any way. Disco Damage is a duo with me DJing and Kristin Neely who MC’s, so they get surprised by our roles being reversed when he starts rapping and I start DJing.

Have you got any favourite female drummers? There’s an Italian drummer who

I’ve just discovered and she’s amazing.

I keep watching her videos on youtube.

Her name is Alessia Mattalia. She plays a lot of fusion and other cool beats. She’s like a female Carter Beauford to me. There’s some videos of her playing to a click and you can really hear how she can play on the click or just before, or just after and then come back to it. You can see how she’s so tight and has got so much independence. There are also some new girl drummers out there that I really admire like yourself Gemma, Sarah Jones, Cherisse Osei and Aicha Djidjelli.

There’s a good standard out there and very hard competition, I have to say!

Laura has her brand new Disco Damage EP coming out in July on Kinetika Records, and will be gigging extensively with her various current projects throughout the year.

Warming up Before Your Drumming Session

By Laura Fa res

My main advice is: always warm up your entire arms before rehearsing or playing a show (especially before playing a show).

Your wrists are precious and you want them to be useful to you for many years to come (without injuries).

You can start by warming up fingers (move them as quickly as you can for a bit), then shaking your wrists up and down, and also rotating them from one side to another. Then continue by warming up your elbows and finally do some shoulder rotations, which will also help you warm up the muscles near your neck. And only after you’ve loosen up, grab the sticks and do a quick warm up on a practice pad to be comfortable with your grip (some fast paradiddles will do). Keep a practice pad in your bag or in your changing room, for quick access before a gig. > mys pace.com/ laur afar e s

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N ik k ie Mcl e o d I n tervi ew by N ebr a s k a Od i n P h o to g r a p h ed by E r i n N i c o l e Brown

A standout stylistically, Nikkie’s journey to the kit has been a unique one.

As a young woman growing up in Trinadad and Tobego, she was at first wooed by the clamor of a nearby steelpan orchestra and was eventually willed to pick up a pan of her own. The first time I saw Nikkie play, she had pieced together a kit from stray bits of the club’s scant backline. It was a mad scramble to find the necessary parts to make the mutt playable, but she somehow made it sound amazing. That night she played tight, pocketed grooves with the nimble indie rock group Telenovela Star.

Tom Tom Magazine: How long have you been playing? Nikkie Mcleod: I’ve been playing

the drum-kit for 12 years and the steel-pan off and on for close to 20 years.

Tell me about your history as a steel drum player. There was a steel pan orchestra 5

minutes away from where I lived. They were called Panasonic Connection. I remember staying up late at night listening to Panasonic practice for Panorama, the biggest steelpan competition that’s a part of Carnival in Trinidad & Tobago. Thousands of bands compete for the best band in the

country. My older brother was a member of Panasonic Connection. He played the tenor pan and I remember how angry he would get whenever I stole his sticks and tried to play his pan, ha. What led to me my membership to the orchestra was my constant running away from home and ending up at the pan yard. Yeah I was a handful. During the time I was growing up in Trinidad, the pan yard wasn’t a place for a “nice, decent young lady,” especially someone that was so young, but I was never aspiring to become the norm. Since I was so determined about wanting to learn how to play the steel pan, my father became the orchestra’s manager, just so he could watch over me. I’m thankful he did, because it wasn’t the safest of places to be as a young (aspiring not to become the norm) woman.

Anyway, I remember it was a typical day, where I had ran away following my brother and his friends to the pan yard, and I stole someone’s sticks and was just going crazy on the pan, trying to play like the crackshots in the band. The rehearsal captain ran over to me in disgust and was like “Wait, wait!! You’re not playing the pan

Tips on what to look for when buying a tenor It depends on what type of tenor pan you’re looking for.

There’s the Invader (Low) Lead which was the first pan designed by one of the inventors of the steelpan Ellie Mannette. The Invader is known mostly for it’s solo capabilities. Many of the star panist use the Invader, such as Andy Narell, Len “Boogsie” Sharpe, Ray Holman, Robert

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TOM TOM MAGAZINE / ISSUE three

Greenidge, etc. I like however the Spiderweb Lead tenor pan. That’s what I grew up with. The Spiderweb or as it’s sometimes known as the Circle of Fifths was designed

by Tony Williams. The Spiderweb is known as the melody pan since it range from middle C to high G. Honestly, I can’t read music and the way that I’ve learned

how to play was by watching and listening. Listening to the tonality of the pan, whether or not it’s balancedIf you’re really serious about purchasing a steelpan, I would recommend Mannette Steel Drums because not only are you getting a pan from one of the forefathers, the quality and texture of sound is phenomenal.

you’re beating it.” He told me if I wanted to play the tenor pan, I had to first master playing the grundick pan which is the equivalent to the rhythm guitar in a band.

He said to me, “Once you learn the art of playing instead of beating the pan, then you can play the tenor.” Eventually, I moved on from the grundick to the tenor.

Did you get to play in Panasonic Connection at the same time as your brother? Yes I

played in Panasonic at the same time as my brother, but we were in different sections.

He played in the tenor section and I was in the rhythm section.

Your dad was the manager, but does he play too? My dad always wanted to learn

how to play, but he never had the time.

Who are your main influences as a drummer? My main influences started with

listening to the players from Panasonic Connection late at night. Listening to the steel pan orchestras competing every year.

Listening to the intricate arrangements, a symphony of blood and tears, full of heart that burned as quickly as it lasted: once a year. The most astounding experience I’ve had is listening to a steelpan orchestra of 100 players coming together to create one sound. You have to be there to understand how incredible a feeling it is. The energy is pretty intense. That said, I grew up listening to the greatest arrangers for the only instrument created in the 20th century: the steel pan. Listening to Ray Holman, Len “Boogie” Sharpe, Jit Samaroo, Professor...shaped my idea of song structure and sound in general. Because cable wasn’t accessible to me at that time, as a teenager I was listening to pan and the rock music from Kasey Casum’s Top 40 on the radio on Sundays. It was only when I moved to the US, I was introduced to Jazz and Punk music. Which made sense to me back then and even today.

How they both rose out of a struggle. My ears lived on the Sex Pistols, Bad Brains, Max Roach, Art Blakey, Charlie Parker, anything that demanded your attention.

Of course I was into Radiohead, still am.

PJ Harvey is a poet. Stewart Copeland is incredible. ?uestlove is just all round an amazing artist. I also grew up on Michael Jackson, Al Green, Roberta Flack, Otis Redding, and so many R&B artist so full of soul. Oh yeah the God Father himself, James Brown.

Do you travel to Trinidad often? Do they have steel pan orchestra competitions here as well? I try to as often as I can.

Yes, I believe that there’s a competition that coincides with the NYC West Indian parade.

Why are you compelled to play music?

Survival is what compels me to play and to write. I know that maybe it’s a cliche, but if I didn’t have music, art in general, I would have been dead a long time now.

j en n s h a g Interv i ewed by a ng i e boy la n photog ra phed by mag g i e ows ley

Angie grew up in Long Island and as she recalls: “I built a drum set of pots, pans, buckets. I attached necklace ball chains to the bottom of pans to get the snare drum sound. I even remember trying to make a foot pedal." Since then Angie has been setting the standard for drummers in the D.I.Y. punk scene in the NY area. She plays or has played in The Krills, Each Other’s Mothers, Cheeky, Little Lungs and guest drums for bands like Screaming Females(who, coincidentally, Jenn has drummed for). When Tom Tom approached Angie to interview her she kindly asked to interview one of her all time favorite drummers, Jenn Shagawat (Jenn Shag of Shellshag). This is their conversation.

angie boylan: You ever have a friend who got everything you wanted? Jenn Shagawat:

Laura was my friend. And I worshipped her. I wanted a drum set and she got one. So she let me play it and this is when we were about 14 actually. And then my family moved to Wayne, New Jersey when I was 16. She came up to Wayne and gave me the drum set and said, “You’re the one who always really wanted it.” And I still play that snare today – that’s the Slingerland that I have.

What motivated you to keep playing drums? It became mine. It wasn’t until my late 20s when I realized I wasn’t gunna stop. I started to miss drumming and from that point on I have been in bands. When I see a lot of people I know now who are so good, so young, I’m just like – wow! These kids were born with instruments in their hands! It really inspires me. I feel like the sexism I grew up with is gone in the sense that it is no longer unusual for a girl to shred- its common, because they have already been playing for 10 years at age 24. There’s no sex now for me with music. Growing up it was like, “pretty good for a girl” and all that bullshit, and I feel like that’s kind of gone now.

How was tour with Screaming Females? It was so unbelievably excellent. It made me love

them so much more.

Tell me about your tour in Japan. We were touring around here (U.S.) and just kind of getting battered down by typical apathy. And then we went over there and toured with a band called DMBQ. We learned a lot from them. Those guys were so ambitious about music and excited about it and we were like, of course! This is why we started doing it!

How could we forget? It really re-motivated us big time. We came back and just started playing our hearts out for each other.

Do you think of yourself as a role model to younger punks in your community? I do feel

that way now because you’re here! And Marissa [Paternoster] is so supportive and all these amazing people that I’ve met who are really great at their instruments yet really love and respect what I’m doing. It’s surprising. I went years without any of that.

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art

B eat riz M on t e ava r o ' s n o t s o q u i et v i l l a g e a bo o k a bout d rums a nd the maca bre by chri sty g a st

A veteran of Miami’s music and art scenes, Cuban-born Beatriz Monteavaro has played in punk, hardcore, and sludge bands since she was a teenager. Her visual work embraces the macabre, featuring disembodied heads, menacing monsters, and congealed goo. Last year she published Quiet Village, a book of dark illustrations with an accompanying soundtrack CD provided by her band Beings. There is a similar energy in the drumming and the drawings in the book. Monteavaro makes rows of staccato hash marks that resemble drum notation. “Its good that it communicates that.” Monteavaro says, “I’ve been thinking recently about how the hash marks and ribbons look like notation in drumming. Drum

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TOM TOM MAGAZINE / ISSUE three

notation is writing down time, that’s exactly what people do in prison or when they’re stuck on a desert island.” With layered percussion tracks reminiscent of ethnographic occult recordings, and oozing guitar and bass accompaniment, the soundtrack leads the entranced reader through a feverish jungle nightmare. “At the same time Gean Moreno of [Name] Publications asked me if I’d like to do a book,” Beatriz said, “I had just seen this movie called The Mad Doctor of Blood Island, a really graphic slasher B movie with a tiki aesthetic that was set on Polynesian island and had an exotica soundtrack. It influenced the look and sound of the Quiet Village project.”

art

Muj er i n colla borati on wi th v i sua l a rti st Sh a nte ll M a rti n p i c tur e d a bov e , Ap r i l 20 1 0

> www.s han t e l l ma rti n.c o m

I f you c a n dr um y o u c an da n c e if you a r e n o t af r ai d mujer-to k yo's da nce/ d rum street crew

In the autumn of 2007, Japanese choreographer Misako Kikuchi invited Nao Tsuchiya, URU, Minako Noguchi, and Sayaka Akira to join her in founding Mujer, an all-female street/dance crew that would compose and perform its own dance music.

However, Mujer remains an unconventional “group” in other ways.

While Mujer has a core group of regular members, Misako actively seeks opportunities to grow Mujer through collaborations with other artists.

Eager to share Mujer’s success with other women, Misako made it her mission to provide a venue for self-expression targeted at Tokyo’s female dancers, DJs, and VJs. Now in its third year, the event is regularly held on the fourth Friday of the month, showcasing eclectic lineups of innovative artists that never fail to draw a crowd.

One of Mujer’s most notable collaborations came in March 2009, when the group had the fortune of performing with artist Shantell Martin (pictured above). From the beginning, Misako embraced improvisation in Mujer’s performance philosophy, equally valuing creative exploration, composition, and choreographic structure.

Shantell’s improvisational sketch projections provided a spirited, colorful backdrop that perfectly synced with Mujer’s musical and kinesthetic rhythms. Another of the group’s milestones came in August 2009, when Mujer added more than 20 dancers and drummers to its ranks for an event called ANCESTOR at the Yoyogi Olympic Center. Attendance at the event exceeded 800, Mujer’s biggest audience to date.

With new performances scheduled almost every month, Misako was keen to expand Mujer’s range of expression. First, she called on long-time friend and drummer U to intensify Mujer’s percussive impact. And later, after a number of collaborations, she recruited saxophonist U-KO, adding harmony to Mujer’s musical arsenal. These additions also had the effect of giving the group a more conventional, band-like feel, bringing them closer to Misako’s vision of a headline act; equal parts dance and music.

The women of Mujer hope to perform in front of even bigger crowds in 2010, as they continue to challenge themselves as artists and promote self-empowerment through music and dance.

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mndr I n t e rv i ew by a l l i e a lva rado p h o to g r a p h ed by b ek a n ders en

Amanda Warner is a rising star in the indie electronic music scene. She answered all of our questions with the kind of natural enthusiasm and confidence that makes an artist worthy of worship. She sings, shreds bass, makes killer beats, and gives bold performances. In short, she is the full package. Not one to accept sounds ‘out of the box’ Amanda embraces an experimental approach to creating music. In her latest incarnation, MNDR, she cites an amalgam of musical influences ranging from Minimal Techno and Krautrock to classic songwriters like David Bowie and Carol King. Currently on tour across the country, she took a break to give this interview and talk gear. What else can I say? She is truly a woman after my own heart.

Tom Tom Magazine: you are deep into touring right now. That’s exciting! How are your shows going? Amanda Warner/MNDR:

The shows are amazing. Seems like every city I play there are people singing along to my songs. It is pretty surreal especially when I don’t have an official record out. I opened for Erykah Badu, Yacht, These Are Powers, Spank Rock, Wavves, Tanlines, and will be touring with Massive Attack. MNDR— how did you come up with that name? I was throwing legendary parties at my house “beige house” and just being a very active member of my local art/music community.

People just called me MNDR. When did you start playing music? Tell me about some the things you’ve worked on and whom you’ve worked on them with. I have

played music literally my entire life. My father is a musician and built a very modest home studio 1/4 inch 4 track reel-to-reel studio in the basement of our farmhouse.

He consistently was recording, writing, and playing music with friends when we weren’t farming during the winter. I began piano lessons studying under Dr. Sharon Wesbrook at the age of 5 and took lessons until 18 as a competitive concert pianist.

I also played piano as an accompanist for

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TOM TOM MAGAZINE / ISSUE three

churches, choirs, and soloists. At age 9 my dad handed me an electric bass and told me “every band needs a good bass player” and taught me some Cream’s Sunshine of Your Love. From there I was playing bass non-stop. I would learn all of the bass lines off of Led Zepplin and Janes Addiction records and later began playing double bass in jazz and orchestras. I attended college and left the piano behind and focused my instrument focus to double bass. During high school and in early college days I was expanding my skills in multi-track recording in my father’s studio and I also purchased a Marantz cassette 4-track.

At that point I became very interested in experimental music, techno, and sound design and was fooling around with recording my friends and my own music. At that time I was going to college in Minneapolis and had started a group called tRIANGLE with Brian Tester, which was sort of an IDM, influenced pop group informed by krautrock. tRIANLGE combined drum machines, synths, experimental and concrete music, bass, guitar, and vocals. We became local darlings and eventually put out 4 releases and toured all the time, including playing ATP in 2006. This project was primarily studio-based creativity and this is where I worked out recording on computers, midi, synthesis, sound design, etc. Brian and I spent countless hours every day jamming and experimenting. It was nothing but creating, recording, and re-realizing. In

Oakland, CA I continued with tRIANLGE, but also co-founded a multi-media, music based women’s collective 0th (pronounced Zeroth). At its earliest incarnation it was a duo of bass and drums. It consisted of shredding bass with shredding drums. It is still active, but has morphed into multimedia sound performance art. I have also toured as the bass player in Subpop’s The Fruitbats and other bands along with playing on other people’s records on bass, keys, or backup vocals. When I moved to NYC, I met with producer/musician Peter Wade and we began to write the music that is MNDR. So together we make up MNDR and MNDR is the combination of everything I have done in my past music career and everything Peter has done. What is the inspiration behind your music? Is there a particular musical style/genre that has influenced your music? I am very

inspired and influenced by Krautrock.

Specifically CAN, Neu!, Amon Duul, Kluster, and Faust. I also love minimal techno, Detroit Techno (Derek May/Juan Atkins/Carl Craig), early Chicago House, IDM, and Chicago Juke. However, I love classic song writing like Carol King, Todd Rundgren, Brian Eno, Roxy Music, David Bowie, The Kinks, Donovan, The Zombies, New Order, etc...I also love Suburban Lawns, Blevin from Blechdom. It is tough to really boil it down. When and why did

you start programming beats? What role do beats play in your compositions? I started

to program beats when I was a teenager. I would make multi-track recordings with

Full name Amanda Warner Nickname MNDR Age Carbon Hometown Rural North Dakota

(on a farm) Lives in Bushwick Current Bands MNDR Past Bands tRIANGLE, The Busy Signals, The Fruitbats, Jealous Bitches Day Job Musician

my first drum machine, Sequential Circuits TOM. I usually start every song with beats.

Both Peter and I are very particular about the sounds we choose or design. I am also very aware if there is a good feel or bounce to the beat. It needs to be rigid, but have bounce and a lot of decay and interesting sounds. We spend a lot of time together or separately making sounds or tweaking synths. I love that you have a section devoted to ‘gear’ on your website. Have you always be interested in synthesizers and drum machines? What’s your favorite synth/ sampler that you’ve owned/played? I love

gear, synths, drum machines and music software the way people love puppies....a lot! I want to know all about what makes them unique and the concept behind their design and what they were replacing or if they were just intended to be a new instrument. My favorite synth? That is like asking me which child I love more! Here are some of my favorites: Roland SH-101, Roland 909, OB 8, Jupiter-6, Yamaha RY-30, Linn Drum Machine, anything Sequential Circuits, Yamaha CS series, Electro-comps, anything SoundToys makes. What’s your studio set up? My home studio is really all about portability. I learned that early on with my vagabond lifestyle. I use a combination of Logic and LIVE with an edirol FA-66 interface. I have an AKG C-3000 microphone (total bread and butter mic) and an electro harmonix tube mic pre. My sounds are designed primarily on my Nord g2 engine, micro nord, and Reaktor. I like these interfaces because they allow me to design my own sequencers, synth sounds, and drum sounds. I have a 1970 Feder P bass and a 72 telecaster if I need to use that. I demo ideas at my studio and then bring them into Peter Wade’s studio and that’s where we really begin massage and expand the sound, arrangements, for MNDR and where we do most of the writing. His studio has a Jupiter 6, OB-8, Oberheim Expander, SE-

1, Moog Voyager, etc. Without sounding like biggest nerd ever, he has some really classic outboard modules and overall gear. super fun!!!! So when you perform live do

touring guitarist, bassist, and keyboardist.

I spent a couple of months in LA with them designing their keyboard set up and rehearsing with them to support It’s Blitz.

you patch synths together or are you using laptops? It is a combination of both. I use

Any other notable musical collaborations?

Abeleton LIVE to drive the set, which is sending out sequencing information to my Sound Lab suitcase mini-synth. I also use a Novation SL midi controller. So the computer is there, but it is being used as an instrument...not as a cassette deck. I also send voltage information to my projection

We have collaborated with Mark Ronson for his next record. Do you have any recent musical releases or any coming out? What will you be working on next? Currently, I

have a single; C.L.U.B. and ep; MNDR E.P.E. available on iTunes now and I am on the FADER/Souther Comfort split 7’ series (#12) with Os Mais Potentes. I also have a very limited boutique one sided 12’ coming out of Caligula with a bonus percapella on What The?, strictly for the heads. I am currently finishing my full-length record.

Who are some of your favorite artists right now? DJ Slugo, Mahjongg, Grouper, Sissy

artist, Jamie Carreiro. Jamie designed a lighting projection patch that reacts to the music and my voice. The lights, colors, and shapes, move transform, grow, die, and change according to what the music is doing and to my voice. Makes the live show kinetic.

Is it challenging to reproduce what you make in the studio when it comes time to perform songs live? The challenge

is thinking so many steps ahead when setting it up. Like just logistical things of leaving room to expand and build upon the set. It is always evolving and I am currently working on putting together a group of musicians to expand the set even more. Do you consider yourself more of a performer, DJ or both? I always consider myself a performer in MNDR or if I’m hired in other groups. As a DJ, I feel more like a curator. I read somewhere that you programmed the touring rig—OR maybe the keyboard patches —for the Yeah Yeah Yeahs. is that true? Yes. I was hired as their

Spacek, Ellen Alien, Marina Abravomic, Gloat, Statue of Liberty, Jacqueline Gordon, Peter Wade, Hecuba, Planning To Rock, Brian Tester. What are some of your other interests? I am very interested in ardruino boards and interactive mixed media, MAX MSP, extreme politics, 0th, reading auto-biographies, Jane Fonda, playing my bass as much as possible, and different types of coffee. My obsession hobby in my brain is eventually having a diesel garage where I can work on diesel engines. I like mechanics. I also love skiing. What is the best piece of advice you got as a beat maker/producer? Listen a lot. Making beats and producing requires a lot of listening and a lot of making. It is important to listen to the subtleties of feels. Helps to understand where to place drum sounds. Also use a lot of sounds. What would you recommend to a new beat maker starting off? Make things for no reason.

Make things with no direction. Make things everyday. Gather inspiration from anything. Be informed, but experiment.

You just have to listen and make a lot of stuff and also go and listen to people who are already making the stuff.

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c in d y b l a c k m an I n tervi ew by M i n dy Abov i tz P h o to g r a p h by J i mmy Bruck

“You can only break the rules once you know them.”

5 tips on staying in the pocket

Before I got a chance to talk to her, my interactions with one of my drum idols went like this: 4/14 In Germany. 4/23 Made it back to NYC, yassaay! On the way to Barnes & Noble to do a record signing and meet 'n' greet on 86th & Lex. 4/24 In Nashville, played in the studio earlier and now playing a private party. 4/28 Was in the studio now am in Montreal. Maybe we can speak tonight? 5/2 In Vegas rehearsing and hanging with Carlos Santana, need my attention for that but will get back to you tonight or tomorrow.

Not surprising that she's as busy as she is. While best known for her 11 years of recording and touring with Lenny Kravitz, she's also put out a few jazz albums of her own, and has played with some names you just might recognize: Pharoah Sanders, Ron Carter, Sam Rivers, Cassandra Wilson, Angela Bofill, Buckethead, Bill Laswell, Joe Henderson.

You can tell by watching her that she's one of those drummers who can do whatever she wants, and does. How does that happen when you're supposed to stay within the confines of a band's inherent design? She says she learns the structures, so then she can break them down. "I use a combination of the form knowledge, intuition, intellect, and my heart to guide me. And I try to remain open to the flow.”

You learn about flow when you train with the best. All those names listed up there?

That was just the beginning. She's studied with master musicians such as Tony Williams, Miles Davis, Herbie Hancock, John Coltrane, and Wayne Shorter. “Listening to their note, space, and rhythmic choices," she says, "I begin to build, rebuild, and find a vocabulary to work from.”

I'd read before about the times in her life when crowds of fans would overwhelm her.

When she first started touring with Lenny Kravitz, in the mid-'90s, she said she felt like she'd lose it. The feeling of almost setting herself off balance looking at all those people led her to focus inward. Now a seasoned veteran of stardom, she says a gigantic audience "pushes me to stay on my game, but it doesn't control me or my style. I want to reach people and large masses of them because I want to share light and touch hearts in a way that makes people feel positive and proactive.”

She's famously known for saying that drums have nothing to do with gender. Cindy just loves to play, to highlight her personality, to develop herself further, and support anyone else on a similar path.

Does she maybe have some inkling of her alpha positon as role model for other female drummers? Wouldn't she think she specifically inspires other women? “Any drummers should look to whomever they are inspired by as their role models," she says. "I hope to inspire drummers--not female ones or male ones, but excited ones. For me, music is bigger than that.”

> Always know where the one is > Find each song’s center > Listen to the other musicians > Keep a steady groove > Know how to play on both sides of the beat as well as dead center

10 ways to become a better drummer

> Practice > Listen > Hear in your head the sound that you want > Be musical > Find the sweet spot of every song > Play with dynamics > Be versatile > Be prepared and willing to satisfy every situation > Have fun > Play 'cause you love it!

Cindy's Set-up Gretsch drums, Istanbul-Agop OM Cymbals, Remo Heads I dressed up in Protection Racket cases. My set-up is a five-piece kit with 8x12 and 9x13 toms, a 14x14 floor tom, 14x18 bass drum, 6 1/2x14 wood snare, 22" and 20" rides, 18" and 16" crashes, and 15" sock cymbals. I have white-coated Ambassador heads on the toms, snare, and front of the bass drum with Emperor or Power Stroke 3 on the bass drum batter.

Cindy's Favorite Piece of Gear That's easy: my new OM 22" ride!

It's in my new line with IstanbulAgop. Not to be self-indulgent at all though--I truly love my ride because it's extremely musical yet gives you the cut, warmth, and beauty needed to create a beautiful sound stage. Love it!

Health Tip How do you take care of yourself and keep your body ready for your sessions?

I like to do a variety of things for my body, from the types of food and water that I allow to the amount of rest and exercise that I get. The physical things include yoga and most recently Tai Quan Do. It's just important for me to remember to keep myself balanced in all areas.

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> Fi n d m or e abou t th i s ba da s s at c i n dy b l ac k man.com

TOM TOM MAGAZINE / ISSUE three

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KRISTEN KEMP I’m playing on a Gretsch Catalina Birch Fusion kit with 10,12 &14” toms and a 20” bass. I’m using Evans Genera g2 heads on the toms and a Remo Pinstripe 3 coated head on the 14” snare. I’ve got 14” K Custom Zildjian hats and a 20” K Custom Zildjian ride, both I found used at a local shop. I also like to use a Sabian B8 because I think it sizzles a little and a cracked UFIP an instructor gave me. I’ve been playing since 2001 and I’m currently in an all female three-piece band called “The Ramps” in Houston, Texas.

Andrea MiklaszKito My kit is a mid 70’s Rogers maple with a Dynasonic snare. As pictured, I was playing with Sabian cymbals, but I have since switched to a Zildjian A Series 20” ride. I use Vic Firth 7A maple sticks with nylon tips. I’ve been fiddling around with the drums since I was a child, unbeknown to everyone else in the family, as my father was giving lessons to my older brother. I never played in public or with a band until 2006, when I was asked to join a contemporary Christian rock/pop band with whom I’ve been playing and honing my skills for the last 4 years.

m yspac e.c o m/ h er ma jestysw eatbox

www.rev erbnati on.com

k i to g r a phy Kitography is a new feature on Tom Tom Magazine where each and every female drummer from around the world is encouraged to take a photo of their drums–just their drums (congas, tabla, drumkit, drum machine, thumb piano) and send it to: info@tomtommag.com with a brief bio and a link to their music. It will then be posted onto Tom Tom Magazine Online. Enjoy and submit!

AMI MOLINELLI I play a lot of Brazilian music so I use the “bass” drum which is called a tan tam on my lap and play the shell with brushes…(Left hand plays the bass drum) and then I use a snare, ride, and hats to balance it out. I use bongos as toms and my cajon comes in handy for a variety of musical styles… www. am i m o.c o m

BRI ANA DRENNON The kit consists of a 20” kick, one rack tom, and one floor tom, re-wrapped in the original pink champagne sparkle. I play it with a 70’s Ludwig Supra Phonic snare, a crusty set of 50’s paper-thin Zildjian hi-hats, and a 70’s ride that was re-laithed by a local cymbal artisan. My mate originally bought this 1967 Rogers Holiday drum set as the house kit for his recording studio. I didn’t play drums at the time, but from the moment I laid eyes on it I knew I wanted to learn. myspace.com/funeralclub

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TOM TOM MAGAZINE / ISSUE three

REBECCA GUTTERMAN My drum set is by Pacific. I have a mortal terror of music stores and chose it impulsively at Guitar Center on my 32nd birthday after way too many cocktails. Who could resist the lovely matte red finish? Despite my somewhat lacking deliberation process, it has served me very well the past five years. Shortly after adopting it, I met my future band-mates at Ladies Rock Camp Portland and Another Perfect Crime was born. mys pace.com/ a notherperfectcr im e

R ev i ewe d by L a F r a e Sci

g ea r r ev i ew

The brush has an adjustable O-ring that when rolled forward holds the plastic bristles tighter to pack a punch in a backbeat at low volume, and when rolled back, loosens the bristles so that the brush can speak and whisper.

I love having this brush in my arsenal because it allows me to create strong, but dynamic colors and sounds on my drums and cymbals. Simply put, the Monster Brush rocks! // vater.com

Zildjian K Custom Dark-Hi Hats I recently decided to swap my hi-hats for a change in sound.

I had been using the 13” Zildjian A Custom Mastersound Hi Hats for years.

Then I decided to pick up these 13” Zildjian K Custom Dark Hi Hats that I had sitting in my cymbal bag for ages. What a surprise to my ears. I absolutely love the crisp, bright sound that they make.

They’re so funky when you play them tight and so loud and crashy when you play them open. A perfect combination.

You gotta try them! // zildjian.com

Iphone Apps.

R evi ew ed By L au r a Fa r e s

Reviewed by Allie A lvara d o

In my musical world, I play with a myriad of dynamic levels, not just loud and soft, but with various levels and colors inbetween. To achieve this sound I started taping & banding together different plastic, wire, and wood materials and created different brush & stick combinations that suited my sonic needs. I shared one of my ideas with Vater Percussion, the stick company I endorse. This idea then became the Monster Brush produced by Vater Percussion.

R ev i ew By D e r e k Way ne

LP One Shot Shakers

Monster Brush by Vater Percussion

You’ll probably find the eggshaped variety in many stick bags or guitar cases, as they’re very compact and easy to grab in a flash to start shaking an 8th or 16th note pattern. However, the moment you want to deviate from those stock patterns, things get tricky fast. Playing complex syncopated figures (especially any figure with an odd number of notes) with one shaker will have you constantly trying to avoid ghost notes at the cost of your performance. Latin Percussion (LP) and percussionist Daniel de Reyes have solved this problem with the introduction of the One Shot Shakers. // lpmusic.com

Major Lazer iDrum (iZotope)—Party in your phone! This app lets you listen to and sequence beats from Major Lazer’s debut album (dancehall drums, sound effects from outer space, etc). You can save your versions of the songs and play them back, but you can’t export unless you own iDrum for your desktop.

B.Machine (FM3)—The original version of the Buddah Machine was invented by a China-based music duo who thought it would be awesome to loop drones from a portable (and brightly colored) speaker box. And it is awesome. Now you can download the virtual version for your phone.

Tweetmic (Voicetal)—Tweetmic lets you publish audio recordings from your phone to your twitter account. So if you ever find yourself in the midst of a boombox parade (http://vimeo. com/10684730), you can capture it and share it with friends.

Beatport (Beatport)—Beatport mobile lets you obsessively browse club music without having to put down your phone. You can save tracks to your cart but still have to go to the site to purchase them. iElectribe (Korg)—This is the touch screen version of Korg’s popular analog drum machine/ synth for for ten bucks. No export option but it definitely looks like the real thing (for the iPad).

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yuko araki Grace & Skill I n tervi ew a n d tr a ns l ati o n by Emi Ka ri ya i n tro duc ti o n by mi n dy a bov i tz

I saw Yuko Araki drum first with her band Mi-Gu and then with Sean Lennon’s band The Ghost of a Saber Toothed Tiger. She appears to be perfectly at home in front of her kit and a master of dynamics. She sings, she plays, she interacts with the crowd while simultaneously leading her band with the utmost grace and charisma. I had to remind myself to watch the other players in the band from time to time but it was a difficult task. I seriously felt like she was watching, not playing. I felt lucky to be sharing the room with her. Currently drumming for Yoko Ono Plastic Band, Cornelius, amongst her other projects, Yuko took time to talk with Tom Tom’s Emi Kariya (drummer of Brooklyn band’s Hard Nips) to talk drums, energy, and babies.

Tom Tom Magazine: When did you start playing the drums? Yuko Araki: When I was

14. I was playing trombone at my middle school. Then one day my school bought a drum kit so I tried tapping on it and found myself naturally doing the 8 beat and it was fun. I think I was comfortable moving my arms and legs separately because I played electrone since I was young.

When did you start to identify as a drummer? It’s only recently that I became

aware of myself as a drummer. I made my solo album in 2003 (what solo album) but I realized that I like supporting people, people that I think are amazing, from behind.

ban d m e m b e r s

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Would you describe these amazing people/ musicians? One that comes to my mind is

Keigo Oyamada of Cornellius. Even though he’s very clear about the music he likes and doesn’t like, he’s very open to new things and incorporating them into his music. He also has love for music and the artists he produces.

Cool! What is your drumming style? Is there other style of drumming you want to master? I think my base style is rock

because drumming quietly is boring. I want to be able to do airy light music without backbeats. Like making metallic-only gradation sounds.

Full Name Yuko Araki Nick Name Mi-Gu Age 36 Hometown Tottori, Japan Lives in Tokyo, Japan Current Bands Mi-Gu, Cornelius, Yoko

Ono Plastic Band, IF BY YES, Ghost

Past Bands Smorgas Day Job Drum for Cornelius, Salyu

What do you do to get better at drums?

I ask for rehearsal sessions, as many as possible, before live shows. It’s great when I can rehearse every day for few hours. “To get better”, I think, means to gain a sense of unity as a band.

What do you do to warm up before playing?

I play house-style patterns. I like grooving with the kick. Overall body stretching is good but there are a lot of times I don’t do it and regret it afterwards.

What would your dream kit consist of?

Drink holder. Mirror. Aroma pot. Wouldn’t that be nice?

What do you think the role of the drummer is? I think our role is to give comfort like

their mom’s and a break through that changes the air.

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

What’s challenging is when you are asked to play a beat that’s not in you. You have to go all out to express your beats but its balance within the music is important too.

So the blend of both. Sometimes you have to do things differently than what you were thinking.

YokoHirotaka Ono P laShimizu, sti c Ono Ba nd PIsmaily, hotogand ra ph

by Hond Greg Ka d e l Yoko Ono, Sean Lennon, Yuko Araki, Keigo Oyamada, Shahzad Yuka

TOM TOM MAGAZINE / ISSUE three

Ph o to g r a p h by s h i h oya b e (y uko wi th m i k e watt)

"I realized that I like supporting people, people that I think are amazing, from behind."

Playing drums live can be hectic, including moving a lot of gear. What is it that appeals so much for you to play drums?

It simply feels great like playing sports!

What is the most notable show you ever played? I played as a live support drummer

with a band called Kururi when they had the Vienna Orchestra come play with the band. The numerous moments when the sound of the orchestra and the drums come in sync were hard to put in words.

Who are your favorite drummers?

Ringo Star. Jim Keltner.

Why do you think you become hardheaded as a drummer? Is having to provide the

“comfort of their mom’s” part of it? Maybe.

As a drummer, of course, I want to provide steadiness in beats but by trying to do so makes me less open to receiving different elements of music. I think it’s the ego of a drummer, even though music is freeform!

What are some of your other hobbies? I like making accessories, blending toner for people with sensitive skin. I also like watching a whole season marathon of a TV drama show.

What is your favorite band right now?

If you could change one thing about the drums what would it be? The cymbals are

loud so it would be nice if they weren’t loud to my ears but yet could fill the venue with their sound.

Use the sense of beat you have in you.

What is your goal as a drummer and a musician? The power to communicate with

the audience. Or maybe it’s energy? To fill the entire venue with vibrancy is for sure but I also want to create a sound that even vibrates through TV and YouTube and such. This sound, I think, is in sync with my psychological growth so to be able to add new experience on top of past experiences and grow bigger as a person is needed in order to do that. But I’m not in a hurry because I am meeting great people and am having amazing experiences.

Sean(Lennon)’s unit called Ghost.

What is attractive about Ghost amongst the millions of current bands? There is

What is the best piece of advice you’ve gotten as a drummer? When the drummer

is spiritually dignified, everything else comes along well.

a beauty of music that comes out from improvising and also from structured melody. A single element can not be changed. Ghost has the scent of the latter yet the feel they create at their live show is always different.

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

What are your plans for the future as a drummer? Probably my physical energy

flute and other instruments. Playing chords and melody with instruments makes me realize that I’ve become hardheaded as a drummer.

Could you share your policy/life style?

will drop in general as I get older so I want to be able to drum with less tension and effort. I want to be healthy and drumming untill I die!

Do you want to have kids? If so, how are you thinking about continuing drumming and playing in bands? I do. Not that I have

a specific plan about it. I think I will always be drumming but the activities I do along with it may change. I might teach more and the melody might be softer. I already am conscious of kids and pregnant women when I drum. Like not wanting to include any bad vibes.

Do you think there’s a difference in the power of drum sounds women and men can create? Men’s muscle strength is

beyond our power. But we have unbeatable spirit. Also we have this “unhesitant thick beat."

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reviews

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>4

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1 > MNDR E.P.E. // WonderSound

04/2010

If Tegan and Sarah hijacked Heloise & The Savoir Faire’s next recording sesh it would sound something like MNDR. I Go Away, easily the gloomiest of the four, is still danceable. Fade to Black is pure superstar pop and C.L.U.B could have been a missing dance track off Add N to (X)’s Little Black Rocks In the Sun. Was the purpose of this EP to get me super stoked for the full length?

Well then ... good job MNDR. A+ Fleshy Folds

2 > Indian Jewelry Totaled // We Are Free

05/2010 After being stuck on a school bus with Indian Jewelry for over 12 hours, it only makes sense for me to review their aptly named album Totaled. Totaled is the soundtrack to a night spent next to your broken down car on a highway west of the Mississippi.

It’s haunting, it’s beautiful, it’s gritty, and the album as a whole captures that feeling of messy desperation. The song titles are no exception with names like “Look Alive,” “Sirens,” “Excessive Moonlight,” and “Dog days.” Totaled is a powerful and complete wreck not to be missed. Camila Danger

3 > Broken Water Whet // Night People

03/2010 I can’t get enough of Broken Water. Is it the way the their songs put you in a specific place? Or maybe it’s more of a mood? Or a setting? How about we just say that it’s the way it makes you feel.

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TOM TOM MAGAZINE / ISSUE three

>7

>5

You feel it in your bones like you’re floating listlessly in salt water. Like it’s summer and days fade into one another unbound by time and space. With Konako Wynkoop on drums (with an electric guitar frequently strapped to her bass drum), Abigail Ingram on bass, and Jon Hanna on guitar, Broken Water's Whet makes magic.

Camila Danger

>6

Following Avi’s energetic Daniel Johnston -esque croons and whispers, the band often expertly switches moods, juggling crashing jams and catchy Shins-y hooks. Key tracks include single “What’s in it For?” “One Last” and “Can’t I Know.”

Melanie B. Glover

6 > Wetdog Frauhaus! // Angular

4 > EFFI BRIEST

09/2009

Rhizomes // Sacred Bones

Wetdog’s Frauhaus! is like a dance party circa 1993 inside a circus tent but with more attitude than any cycling chimp could ever muster up.

It makes me want to tap my foot, yell at my exes, ignore my mom, and head to the beach. As for their live shows, their drummer alternates between sitting and standing without ever missing a beat and their three part harmonies are reminiscent of Vivian Girls with a 70’s Brit punk edge. This all-female trio from the UK knows how to hit hard and I like it. A lot.

Camila Danger

05/2010

Rhizomes is the debut full length from one of my favorite bands, EFFI BRIEST. Live, as well as on this album, they capture the loopy edginess of Gang Gang Dance combined with Arthur Russell-esque free-form psychadelica.

Drop in some David Lynch guitar sounds laced with vocals reminiscent of Brooklyn's White Magic and there you have an excellent combo for a great sound. There is a warmth to Rhizomes that can be attributed to the bands regular usage of vintage instruments. Get this album if you are into spacey guitars, drums, and zoning out. Mindy Abovitz

5 > Avi Buffalo Avi Buffalo // Sub Pop

04/2010

Their self-titled debut album exudes a sunny, lush vibe that’s poppy without being overly “cute.” (We’ll call it “mature pop.”) The group produces surf-folk prog-rock—all shimmering guitars, sprinkling piano, and experiments in tempo. Avi’s intricate leads and Sheridan’s reign over the kit on five out of ten tracks, balancing decorative rhythm and driving force. Her skill particularly stands out in “Five Little Sluts,” in which she chooses light, jazzy taps, stick-to-rim work and carefully placed fills.

7 > QUASI American Gong // Kill Rock Stars

02/2010

The Portland based indie rock vets Quasi’s new release American Gong starts like a fight you didn’t know you were in but ultimately is simple and heartfelt. A few tracks, like the ultra bizarre standout “Howler”, are more experimental (like a mid-western kid who just smoked pot for the first time) but still holds on to the rock song structure. The same thing goes for the lyrics which speak of bloodshot minds, Humpty Dumpty, crystal balls, and little white horses. Overall American Gong is a good fuckin’ rock album.

Fleshy Folds

reviews

the runaways

By M e g Ryan I l lust r at i on by C a n d i c e R a l p h

In the biopic about the seminal ’70s chick band, The Runaways, out earlier this month, Stella Maeve stars as drummer Sandy West, opposite Dakota Fanning (singer Cherie Currie) and Kristen Stewart (Joan Jett). The 20-year-old is no stranger to the kit: Stella started drumming when she was 12, learning jazz and rock riffs on her father’s Ludwig. To embody West’s character (the drummer died in 2006), Stella relied on stories from West’s family and fellow Runaways, and watched stacks of photos and videos to emulate her style: hold the sticks high and hit hard. We talked by phone about the new movie, and why The Runaways are the baddest teen idols, like, ever.

Tom Tom Magazine: What was Sandy’s role in the Runaways -- how did her drumming influence the band’s sound, and also personally? Stell Maeve: Sandy was the

“base” of the band, literally. She was the glue that held the band together. I think she was a reminder that this whole experience was and is supposed to be fun. That you get to do what you love and be paid for it. The girls could always look to her for support and a smile. Her drumming played a huge role in the band- what’s a band without the drummer? I think Joan, Cherrie, Lita, And Sandy all contributed to the bands sound.

It’s not just one person or one instrument that makes a band good it’s how all the people and all the instruments sound together.

Sandy comes off as really chill in the movie, kind of happy to be on the sidelines. How accurate a portrayal of the real Sandy is that, and how does her personality come through in her drumming?

I’d like to think it was perfectly accurate.

Sandy was always smiling and always happy, really down to earth and very chill.

Not only was she a drummer but a surfer and a skater- she loved the beach. I don’t think she was ever “on the sidelines,” she was the person with Joan who originally created the runaways, and the drummer throughout their whole run as a band.

Sandy always played with her right elbow really high to the air- her hair flying- and smiling ALWAYS. She enjoyed playing and it showed in all her performances.

How much playing did you do for the movie, and how did you prepare technically? I

rehearsed every single day before and during filming. Dakota, Kristen and I (and other girls) had band practice pretty much every night. Every concert scene and performance scene in the film was us really playing. Nothing staged- nothing faked. If the girls didn’t know their instruments before the movie they learned

them. I prepared by watching all of Sandy’s performances, asking everyone who knew, and played with her what her techniques were. Joan and Cherie were there everyday to answer any questions we had. And I replicated everything she did. How she held her sticks, how she spun them, how she played, her expressions, what she did with her body and her hair, every single way she moved. By the time we were shooting the technicalities weren’t an issue.

What’s your personal experience with drumming? I love drumming. I think it’s

one of the most challenging instruments to master. Because my dad was a drummer it came more naturally to me; however, it’s a work in progress, there are always new beats to create or patterns to follow. Jazz drumming, in my experience, has been the most difficult. I play as much as possible and I try to make it to local studios at least twice a week. I love jamming out with friends, when there’s no pressure and you can come up with your own ideas- just free flow. I also really enjoy hand drumming, the drum circle in Venice is always a good time.

What’s the moral of The Runaways? Follow

your dreams. It’s so important to have a dream. Find what really drives you and just do it. I hope people see these girls and know they can do it. ’Cause if in the 1970s you could be in a powerhouse rock band at 15 …

READ MORE AT WWW.TOMTOMMAG.COM

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art

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TOM TOM MAGAZINE / ISSUE three

Valerie George by mi ndy a bov i tz photog ra ph by John Dough e rty

“I was driving through a powerful storm in Pensacola, and the sound of the rain pounding on the roof and hood made me curious to hear what that force might sound like on a finely tuned set of drums.

Then I got the idea of writing a song specifically for a hurricane.”

Valerie George

A few years ago Valerie George bought a 1983 Mercedes 300TD station wagon with a project in mind—a rolling recording studio and PA system with a drum set on top. Valerie George, the Head of Sculpture at the University of West Florida, and drummer for for Coppertone, and artist/ musician for the solo project Nam June Psyche, says: “It was important that the drums appear to be natural extensions of the car. I decided to let the form follow the function and utilized chrome parts manufactured specifically for drum kits. I installed new hardware on the drums themselves, and it then came together nicely.”

With a contact mic taped to the underside of each head, run through the rain-proofed (saran-wrapped and duct-taped) sunroof to the inside of the car and plugged into the mixer, the drums are adjustable, having the ability of being positioned to be played from the roof by the rain, a sprinkler, or by some brave soul. “The car provides unlimited possibilities. With each project, I use the car like an instrument reacting to or “being played” by my environment,” Valerie says, “therefore the meaning of each piece produced with its help, is contingent upon the content and context.”

This summer, she is taking the decked out car on tour across the United States and on to San Francisco with Nam June Psyche (her band). She plans on stopping at select remote landscapes to record songs that she composes on site, at times with collaborators. When I asked her what she would anticipate from the different landscapes she said, “I have few expectations, but mostly I am excited about unpredictability of both sound and the settings that each chance provides.” She is still looking for collaborators. What?!? If you would like to be a part of this amazing project contact her at namjunepsyche.com. www.valeriegeorgeart.com

READ MORE AT WWW.TOMTOMMAG.COM

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"I swam with wild dolphins a few years ago and since then I can make the cymbals sound softer."

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TOM TOM MAGAZINE / ISSUE three

p ik a c hu Play Like You Are In The Nude I nte rview and t r anslation by emi kariya p h otogr ap h ed by ports bishop

Full Name Pikachu Nick Name Pika Age 26 Hometown Osaka, Japan Lives in Ikuno, Osaka current bands AFRIRAMPO, Acid

Mothers Temple

day job Drumming

( oth e r p h otos cou rtesy of pika)

Pika is one half of the insanely energetic and powerful rock duo Afrirampo.

The two frequently tour with art rockers Lightning Bolt. They regularly pack venues. And they sometimes play in the nude. Badasses.

Tom Tom Magazine: How did you get started playing the drums? PIKACHU: I was

originally playing guitar and singing. Then there was my friends’ band I really liked during high school but the band started sucking when the drummer graduated and the guitarist replaced her. I couldn’t stand it ‘cause I really like the band before and I wanted the guitarist to get back on her guitar. I thought it would make the band sound cooler if I drummed and so I said “can I drum?” That was the beginning.

Did it take you a long time til you felt like a “real” drummer? I think anybody at

anytime is a drummer from the moment you start hitting. Everyone’s body is drumming with their heartbeat. So in that sense, everyone’s a drummer already.

Nice! How would you categorize your drum style? Close to language maybe?

Communication. Magic!! Psychic powers!!!

May be it’s more accurate to say: I want to have SEX with drums. Make LOVE with drums.

What do you think makes you better at the drums? When I take care of plants,

play with dirt, or swim in water before drumming, really nice loose beats come out. I swam with wild dolphins a few years ago and since then I can make the cymbals sound softer. Talking to drums is effective too. Saying “mr drums, ms drums, let’s be friends, shall we.”

What do you do to warm up before playing?

Ha! Awesome! I would get down with that.

Do you have a favorite show you ever played? Maybe the Cargo show in London

and at ATP when I first met Ms. Yoko Ono. The US tour with Lightning Bolt and tour with Oshiri Penpens in Japan are awesome memories too.

Tell us about the time you had your moms play your songs? When Afri Rampo made

a DVD combined with our CD release, we had Oni’s mom on guitar and my mom on drums do an Afri cover with Afri make-up and outfits.

What was that like? It was first time for both of them to play instruments but they looked so free and happy. Seeing my mom drum made me cry. It made me realize that she’s my roots.

That is very sweet. Do you play any other instruments? If so, how does that effect

your drumming? I play guitar and can play piano a little too. When I’m playing other instruments, I always feel beats and grooves in them which sometimes make me want actual drums with them. I learned that by having drums with the other instruments, the impression of the song becomes completely different, liveliness kicks in.

Becomes very strong, clear and threedimensional. Makes you understand how unique of an instrument and quite a energy maker drums are.

Have you experienced any setbacks as a female drummer? When I’m drumming in

My warm up is stretching!! I like fast beats.

And I kiss the snare before the show.

a skirt and people can see my underwear.

And when I can’t confidently play naked.

That is some good advice! How do you envision your dream kit? What would it look like? The heads would be colorful and there

Ha! You are hilarious! What are some of your other hobbies/interests? I

would be scales so you can make melody with. And you can grow plants in them and trees are coming out of is all over. Like a rainbow colored forest drum kit. Or, a drum that’s super big that everybody in the world can drum together at once.

like traveling, gardening, and dressing up too. Recently I’m into pickling plums and making miso paste!

What are your plans for the future as a drummer? I want to make my own drum set

and constantly play my drum solo act and tour all over the world and make everyone in the world dance to my drums. Then we go to space together!!

READ MORE AT WWW.TOMTOMMAG.COM

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portrait by christina owen

caitlin love

What is a current favorite drumming technique of yours, what inspired it, and have you developed any techniques to work around obstacles in your drumming?

Since there are two drummers in Hot Victory, syncopation has become the name of the game lately. Ben (Stoller) and I strive to keep a complimentary style intact. We play off of what the other is playing, working within the open spaces created as opposed to mimicking and doubling up on the same notes and rhythms.

This approach was heavily inspired by the time we both spent playing with Last Regiment of Syncopated Drummers (a Portland marching band). Individually, the parts can be quite simple, but when layered with multiple rhythmic variations, the outcome can be complex and heavy. This same mentality can be applied to playing with multiple drummers or assigning individual limbs to alternating notes and rhythms.

If I am faced with an obstacle, I usually try to stay with it and slow it down dramatically to really feel my way through it. It’s easy to get lazy and locked into what I’m comfortable with, but there is no challenge in what I’m already adept with. Usually if something feels awkward or difficult, I know I’m in an area where some time can be spent.

1 D RUMMER 1 QUESTION

Caitlin Love lives in Portland, Oregon and currently plays drums in the bands Hot Victory and Northern Swords. Caitlin’s drumming is very powerful, dynamic and technically complex, and seemingly influenced by her time spent playing marching drums. In the past she has drummed in a wide variety of bands that have been hugely inspiring in the Pacific Northwest and beyond, including Desert City Soundtrack, LKN, Duo of Destruction, Davies vs Dresch, Last Regiment of Syncopated Drummers, The Thermals, and Her Space Holiday.

She also plays bass guitar and plans to start up with the bass again soon; she played bass in Spice Tomb with Kristina Davies (Davies vs Dresch) and Kathy Mendonca (The Gossip).

How has media coverage (blogs, weeklies, zines, radio, magazines, tv) affected the way that you, and female drummers in general, are perceived, and how would you ideally be portrayed?

When I’ve read our album or show reviews, they were pretty fair.

They didn’t mention my sex or race or anything like that. Some funny [reviews] have described me as a “manly” or “masculine” drummer, which probably wouldn’t happen if I was a guy drummer, I assume?

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PORTRAIT BY NAS CHOMPAS

SHOKO HORIKAWA

Ideally I would like to be portrayed in a way that is true to who I am or in a way that is inspiring to other people. I met this guy at a show who said he’d read about me and it had inspired him to pick up his drums for the first time. That is so amazing to me.

TOM TOM MAGAZINE / ISSUE three

Sometimes it is possible to be portrayed in a way that is true to who you are; a lot of times that doesn’t happen, but that’s okay. I can say this with a relaxed attitude because I recently took a long break from playing music. It made me miss playing drums and helped me realize that I ultimately just want to play music I like, and anything else seems secondary.

If the media wants to emphasize the female presence in a band, I could understand why, although I think it’s an old fashion thing to do. If the female presence somehow changes the way they perceive the band or their music, it could be problematic, because it interrupts the fair judgment that a band should receive.

Shoko Horikawa grew up in Japan and currently lives in Portland, OR. She has been playing the drums for about two years; she started drumming in Experimental Dental School, and is currently between projects. http://learnkokolove.blogspot.com, http://www.experimentaldental.com

ANA RODRIGUE

Most of the press I’ve received has been really positive and encouraging. I get the impression that most people who have written about our band were already either into punk, or female artists in general and wouldn’t really portray me in a way that was demeaning. On the other hand, I know a lot of people are convinced that women are supposed to look and sound a certain way - or they aren’t into DIY music - and they seem a bit more confused & willing to insult my self-taught style. The media plays a role.

There are so many impressive female drummers out there—but if you search around drumming magazines for women on their covers, it’s issue after issue with a dude on the front! Tom Tom exists for a reason, and it’s a great thing, but women drummers still need to be integrated into the general media !

PORTRAIT BY ADEE ROBERSON

How has media coverage (blogs, weeklies, zines, radio, magazines, tv) affected the way that you, and female drummers in general, are perceived?

Ana Rodriguez plays drums in Magic Johnson in Portland, OR; she wails on the drums with hyper, kinetic beats while singing vocals in Spanish alongside bandmate Mando Blanco. Their new EP Perro Suelto comes out in May on M’Lady’s Recs! Ana and Shoko Horikawa, who is also featured in this issue, are in a three piece drum and vocals group called Momish, and she’s also working on a new group called Patojos and is learning to play the bass. She previously drummed for Orca Team and at Riot Grrrl Karaoke events.

Adee Roberson is a black queer artist who lives in New Orleans, Louisiana.

She is inspired by her friends, family, animals and the ocean. She believes in magic, love as a form of resistance, and music as a healing force. Cancer Sun. Pisces Moon. Capricorn Rising. Adee’s work can be viewed at http://pineappleblack.blogspot.com. Adee played drums and sang in New Bloods and currently drums for Nature.

What is your drumming style ? How’d you come up with it, and did anything in particular inspire you to develop it? Have you developed any interesting techniques to work around any obstacles that have come up in your drumming?

Kanako Wynkoop is a drummer who has created and contributed to the art and music community in the Pacific Northwest in all possible manners. She took up the drums in the band Sisters, and currently plays drums and sings in Broken Water. http://kanakowynkoop.blogspot.com, http://myspace.com/brokenagua

READ MORE AT WWW.TOMTOMMAG.COM

Kanako Wynkoop

PORTRAIT BY Carrie Keith

I am a self taught drummer, and the tools I use to help me reign in my wild style are as follows: A) I record what I play and listen back to it. Listening back always gives me insight to what is steady and groovin’ and what is messy and confusing. B) I also learn new techniques by putting on my head phones and playing along to my favorite rap albums. I often use syncopated kick drum and tricky hi-hat beats that are directly related to my time spent playing along with La Chat, Dead Prez, and Talib Kweli. C) I have played the drums compulsively at times, and have hurt myself - my wrists were swollen and achy. I looked up how to properly set up a drum set and hold my sticks. I learned that I had my snare really low, and my seat really really low. I had set up my kit in a way that was making me put more effort into hitting the heads then I needed to. It’s been difficult to unlearn my incorrect form, but I can play more complicated shit now and my wrists are happier. On a side note, since I have adjusted my kit, when I play older songs at shows, songs that I used to play when my kit was set up different, I will completely miss the hi-hat or something. That makes me bust up laughing so hard in the middle of the song. It’s fun for me to fuck up and know that my old ways are still in me, to know I don’t have a “perfect” style and that fucking up is part of this FUN process of learning to rock out.

Lisa Schonberg finds drummers and asks them a loaded question. Then she finds an artist to create a portrait of that drummer.

The art commissioned is a way to rever the drummer.

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"As far as an artist’s role when it comes to societal issues, the very nature of making art is a service to society."

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TOM TOM MAGAZINE / ISSUE three

s u p h a la Tabla Master I n t e rv i ew by F o nL in Nyeu P h o to g r a p h by jen n i f er lei g h a s choff

Suphala Patankar, like many little girls, grew up playing the piano. Her classical music training, however, could not have prepared her for what laid ahead: at 17 she was introduced to the tabla, and was so entranced that she spent the next 8 years flying back and forth from her hometown of Minnepolis, MN to Mumbai, India to study. Her parents, who were originally from Mumbai, were supportive even though she was often gone for 6 months at time, training with tabla masters lla Rakha Qureshi and his son, Zakir Hussain. From them she learned classical Indian tabla playing, but Suphala is an American girl, and as luck would have it, in 1996, when she came back to the United States, Perry Ferrell heard her playing in a cafe in San Francisco. He was so impressed that he asked her to go on tour with his band, Jane’s Addiction. Since then Suphala has straddled both the classical and contemporary music worlds, collaborating with the likes of Yoko Ono, Edie Brickel, Sean Lennon, and Timbaland, among others.

Tom Tom Magazine: Tell us about how you got into playing tabla. Was it something that your parents wanted you to do, or was it something that you chose yourself?

How old were you? Suphala: I have played

piano since I was four and as a teenager I began to explore other instruments. My parents made sure I had access to learning everything so they found a tabla set for me once I expressed interest in learning it. Eventually, I took it up as a profession.

The combination of the instrument itself and being shown all its possibilities by my gurus gave me so much inspiration; I decided it has to be what I do. It was certainly unexpected for my parents and an adjustment at first, but they are very supportive today.

How did you go about your studies? Where did you go to study tabla? Did you make many trips to India? After studying with

local teachers, I was fortunate enough to connect with Ustad Zakir Hussain, the world’s greatest living legend of the tabla.

I began studying with him and soon after with his guru and father, the late great Ustad Allarakha. The level of guidance and inspiration I have received from them is unparalleled.

You’ve worked with a lot of artists. Yoko Ono is one of my personal heroes. What was it like working with her? She is one of a

kind. It was particularly touching that she not only showed her support for the benefit I organized Quantum Shift benefit for South Asian earthquake survivors in 2005), by being there, but also by performing with me and sharing her art.

You’ve also worked with hip-hop artists.

How is it different from working with say, classical musicians? It’s completely

different. This is another reason I love the tabla. It’s so versatile. The melodic and rhythmic range, and the art’s improvisatory nature, allows me to play with virtually any style of music. With any kind of music I approach, I try to do what would aesthetically enhance the sound that is already there. For hip-hop, this can mean how I play with the beats, which are already laid down. For western classical music, it may mean staying within the rules of the art form and staying within the parameters of what is respectful to the composer.

Who are your musical heroes? Ustad

Allarakha and Ustad Zakir Hussain, of course. I am also inspired by my peers on a regular basis.

What was your process like for the record Blueprint? Blueprint started in my home

studio. My process often starts with beats but sometimes it’s melodic. I start laying down parts and then ask musician friends to come in and play with them or lay down their own flavor. I go back in and arrange things once all the parts are in.

How do you go between being a solo artist and “the drummer” in someone else’s band?

Do you have to make a mental shift in how you play? When I play in someone else’s

band, I listen and do my best to enhance the music they are playing. This also means knowing when not to play. When I’m playing as a solo artist or leader of my own group, I’m running the show. So it’s a chance to try out my own ideas.

What was the Quantum Shift festival?

As an artist, do you feel a sense of social responsibility towards those less fortunate?

What is the artist’s role when it comes to societal issues? Quantum Shift was what I titled a benefit concert I organized for the relief of earthquake victims most badly affected in Pakistan in 2006. It’s not that I feel a social responsibility as an artist, but rather, as a human to do what I can to help people. As far as an artist’s role when it comes to societal issues, the very nature of making art is a service to society.

Your music has taken to you many places.

Tell us more about the trip to Afghanistan.

It was the trip of a lifetime. After word got out that I was arriving in Kabul, I was invited to play a concert by a cultural institution and the local television station documented my stay and turned it into a one-hour program. I had no idea that my concert was the first since the fall of the Taliban. I had a chance to meet local musicians who had returned to live in Kabul and teach music. I was eager to hear their stories of what life was like under the Taliban-music was banned and a musician could be killed for playing. Afghanistan’s traditional music is something they inherited from Indian classical musicians brought over from India by a King a few hundred years ago. So, we share the same tabla and other instruments. The tabla players and students I met in Kabul happened to be learning the same style which is taught by my gurus, so it was exciting for us to discover we had this common language.

As a female musician in a traditionally male line of work, do you feel that you have been treated any differently? Has

being a woman been an advantage or a setback, or is it a non-issue? When it comes to playing music, I think it’s a non-issue, because we’re focused on music which takes us beyond things like gender. I surround myself with people who believe it’s a non-issue. At the same time, of course men and women are treated differently but it’s also important to remember that’s not always a bad thing. We need both masculine and feminine energy in the world as well as in music.

READ MORE AT WWW.TOMTOMMAG.COM

33

Photo by NICHOLAS BROOKS

spe ck B ROWN

“When Orphan first started playing, i wore a ski mask for the first few shows to diminish any possible 'TOKEN' FEMALE-NESS.”

k arla way

Photo by PATRICK COX

[orphan]

[BEACHES]

“I never really pursued it and didn’t think I should be playing drums. But then Beaches just started out of the five of us wanting to do something creative and social together – something productive when we were seeing each other socially and it just seems like the natural thing, the natural role for me to play.”

FROM THE THRONE

RU STY c o at hang er

Photo by JASON REED

[THE COATHANGERS]

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TOM TOM MAGAZINE / ISSUE three

“We just played Portland’s Scion Garage fest, that show was great because I had so much nervous tension saved up that when I let it out on stage I felt possessed and played very violently in a very effortless way. It was wonderful.”

alicia warring to n

Photo by BEK ANDERSEN

“Drumming and music are my life and passion. I've loved both since a very young age. For sentimental reasons, I love a Slingerland kit that my mom bought for me when I was about 17 yrs. old. Sound-wise, my favorite snare is a Ludwig 6.5 x 14" Hammered Bronze. It's CRACKIN and great for live and recording situations!! Also, I really dig a 1970's Ludwig Marching Snare that I found at a vintage store in New Orleans about 12 yrs. ago.”

Photo by MICHEL MONTELIS

[THE ALL-GIRL BOYS CHOIR]

“My favorite part about playing the drums is feeling connected to songs through my body and sharing that with an audience.”

L innea VEDDER

[LIGHTS]

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35

valeri e a gn e w

7 Year Bitch

Int e rv i ew by m ar en a bro mow i tz

Did you play instruments growing up? I did not play any instruments at all as I kid.

Tom Tom Magazine: How did you come to play drums? Valerie Agnew: My boyfriend played

drums in the Gits and he gave me my first drum lessons.

And then you moved on to the Seattle Drum School. I did. I went to Seattle about a

year or two after I first started playing. A drummer friend of mine, Lisa Smith, highly recommended it. And so I went, and it was really great. I'm really glad I did it.

Did they have you learning notation and rudiments right away? What was their method to start you off? I don't read. I still

don't read, but just enough notation with drums, they definitely had that. I remember him (my teacher) coming to a few of our practices because Liz (Davis, bassist of 7 Year Bitch) was writing some songs that had some really odd time signatures, and I could not figure them out, so he would help me count them out and figure it out, and write it down, and notate it, and then I was able to write some parts to it.

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TOM TOM MAGAZINE / ISSUE three

Right, and listening to some of the old recordings, I definitely noticed you were able to make a really weird time signature sound pretty simple. Right. And I really

have to say that's Liz, the bass player. She's also a drummer. She never played drums professionally in any of the bands she was in, but she would often write from a drum perspective.

So when you started playing out, you were really just starting out as a musician. How were you and your band received? We were

playing parties and shows that all of our friends bands were playing at. It was more like we were the little sisters. We literally

did not know what the fuck we were doing.

They were totally supportive.

Did you feel you were connected riot grrrl? No! We weren't riot grrrls at all!

We were associated with it. I mean we still get called that. It was a little frustrating that if you were a girl, playing music, and you were from the northwest then it was assumed you were from this movement.

Final words of advice? Play a big arena show and have the sound people shame you into getting better at what you do! That was how I learned.

> w w w.ya el d ru ms.co.i l > www.mys pace.com/ s herock ba nd > www.mys pace.com/ ladydband

yael c oh e n The Witches I n t e rv i ew by i tta a bovi tz p hot os c ou rtesy o f ya el c o h en

as “energetic guitar rock” and became immensely popular. Soon after they became so popular and regularly opened for Bjork when she toured Israel. In ‘96, the band released its third album, Ha-Mechashefot Mitkasot ("The Witches Covers"), which is a collection of all the cover songs they ever recorded and the album was well received.

Name Yael Cohen Hometown Tel Aviv, Israel Lives in Tel Aviv, Israel Age 38 Past Bands HaMachshefot (Witches) Current Band Lady D, Sherock Day Job Professional Drummer,

Drum Instructor

Favorite Drummer Sheila E.

Yael Cohen started her drumming career at the age of 3. Some people just know what they want! When she began, she would play on anything that resembled a drum, i.e. her mom’s pots and pans. At age 9, she took her first drumming lesson.

At that time, in Israel, where Yael grew up and lives now, female drummers were a rarity. Girl drummers were unheard of.

She ended up gaining celebrity status and appearing on T.V. When she grew up, her army service was served as a musician and she typically performed before soldiers in combat zones.

HaMachshefot (The Witches), formed in 1992, and was Yael's first band. This all female band caused a stir. Curiosity quickly turned to admiration, as HaMachshefot made their way up the charts to the top.

In early 1994, the band released its first album, Ad Ha-Oneg Ha-Ba ("Till the Next Pleasure") which was described

nana r i zi n n i

HaMachshefot saw some rough patches after that last album which led Yael to do her own thing. Today she teaches drums and is the drummer for Lady D and SheRock. “Drumming is a way of life”, she says, “and in order to achieve heights one needs to constantly study the drums.” From the age of 3 on ...

r a i ne pa lla d i no of s hi rag i rl

a na rod ri g uez by natha n backo us

TECHNIQUE WITH LISA Schonberg

m i l e na m i lu t i novi c o f r ep eti to r

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37

t yp e fo un dr y by a s hley s pung i n p h o to o f a s hley by natha n backous

Purple Rhinestone Eagle just finished recording our first full-length record.

This time we rented out Type Foundry Studios here in Portland. I was particularly excited about this because of the layout of the studio. At Type Foundry, there is a large room where the drums are recorded. The studio also has a stock of instruments available for musicians who rent out the space. This includes a giant gong, which I was happy to use on one of the songs. We could only afford the studio for 2 days, so the pressure was on. I had the first day to get all of my drum tracks laid down for the whole album, which is 8 songs. This required much preparation, not only on my end, but for all of us.

We planned a mini tour up to Seattle and Vancouver BC a few weeks before recording. That gave us the opportunity to play the songs every night for a week. Then, it got us all collectively stoked on the band and what we were about to do. We get along best when we are touring, and it just so happened all the shows were incredibly fun. Finally, we were able to make a little more money to put towards the recording, thanks to those generous Canadians.

After we returned from the trip, we cleared our schedules and practiced every night for the remaining week and a half before we went into the studio. Before recording, practicing without vocals is very helpful. There were several times where we had to stop in the middle of a song because the lack of vocal cues was throwing someone off.

Our buddy Alex Yusimov, the same person who recorded P.R.E.’s EP “Amorum Tali”, was our engineer. We're really comfortable working with Alex. We are all very particular about how we

38

TOM TOM MAGAZINE / ISSUE three

want our music to sound on tape, and why not? We work very hard to create it! Alex is understanding of that and works with us to achieve what we want, rather than tell us what to do.

In a field such as recording, where the engineers are predominantly men, it is important to work with someone who makes an effort to understand a women’s experience in music. Someone who knows that no matter what, we are going to be judged because of our gender and not just the music. Alex is that kind of guy.

Alex and I agreed upon me using his kit, a 60’s Slingerland, because he is familiar with recording it and felt it would sound better in the large room. My own kit, a 70’s Vistalite may have been too boomy and uncontrollable for the occasion.

I replaced Alex’s heads to Aquarian Vintage Mediums.

Once we got started, I made sure I was as comfortable as I could be. I dranks lots of coffee and water, loaded up on snacks and I banged the songs out as fast as I could. I was trying not to obsess about really small, insignificant mess-ups. One thing I had to remind myself was that it's never going to be perfect. Little flubs here can make the song ultimately more interesting.

I ended up using the first or second take. The early takes will always have the best energy, especially when recording with the whole band live, which is what we do.

There were two things that I learned this time that I will do differently next time I am in the studio. First, if I use someone else’s kit, I will play it for at least a week before recording. Second, I would invite another drummer to the studio to help with tuning and sounds. An extra ear will be very useful. Now onto mixing!

Romina A n to n el l a Makaro Car m o n i April 11, 2010 / Santiago, Chile

Romania is the drummer for Nina con Frenillos (Girl With the Braces.)

She tells us how she got started, why she got started, and how her favorite thing is jamming with a bunch of women and a six-pack.

I n tervi ew & Tra ns lati on by Eles i ta P unto P hotog ra phed by Louma P

Tom Tom Magazine: How did it all start?

Tom Tom Magazine: ¿Como Empesastes con la Musica?

Romina Carmoni: In my family we all have a close relation to Romina Carmona: Mi familia ha sido súper apegada a la música, music, especially with singing. When I was little my mom put me al canto. Mi mama me metió en un grupo de folklore italiano in an Italian Folk Group. Since then I started appreciating music. cuando era muy pequeña. Cantaba, bailaba y me gustaba la música.

Later, with Cati, the singer from Niña con Frenillos, we where Después con Cati, la vocalista de las Niña con Frenillos, éramos classmates since pre kinder through high school, and we would compañeras desde antes de pre-kinder hasta cuarto medio y always joke that we were a band, till one day, we siempre jugamos al - hay tengamos una banda, thought: OK, let’s do it. She picked the guitar, -ya poh, elije un instrumento-, y yo dije - yo la Full name Romina Antonella and I picked the drums. None of us had ever batería!-. Pero, porque ella eligió la guitarra y Makaro Carmoni played before. We were young maybe 15? Then I ninguna de las dos nunca había tocado nada.

Nick name Romi bought a drum set and we started. Éramos chicas.

Age 26 I didn’t know anything; I didn’t know how to hit Hometown Santiago, Chile ¿Sientes que has logrado desarrollar un or nothing….

Lives in Santiago, Chile estilo personal?

Band Niña con Frenillos (Girl with Si. Por ejemplo, cuando estudias pintura, Do you do something to get better? braces) Well, I try to play and play. Paying a teacher Day Job Studying to be an Art Teacher te quedas encasillado en algo. Cuando no sabes, lo vas descubriendo tú. Yo toco súper is too expensive. My friend Francisca, drummer for Miss Garrison, gives me some mini techniques personal. La Fran me dice, que bacán haber aprendido como estoy to work on and lent me a drum book. I learn the most when one aprendiendo yo, porque es mucho mas suelto… no es como - ah of my bandmates says, “oh you should try this …. chum chum no esto no se puede hacer, o esto otro nonono- . Ella que estudio chum, kta, chum chum kta kta. batería, me dice a veces, - ah como se te ocurrió esta wea-, yo a veces estoy tan estructurada que se que a veces eso no va con lo Do you feel you have developed a personal style? otro y no lo hago no mas. Pero derepente OH pega… Con Las Niñas Yes. I play in a very personal way. Fran tells me that it’s awesome tocamos lo que sea que nos salga. Ninguna tiene estudios de nada… the way I am learning because it’s looser and I don’t tell myself nosotras somos nuestra propia universidad de la música. Sería “oh you can’t do this or that”. She studied drums and sometimes divertido y me gustaría tomar unas mini clases, mas que nada por feels like she is too structured. With Las Niña, none of us are una cosa de cuerpo, posición y de rendimiento. schooled. We are our own music university.

How do you write your songs?

Winnie writes the lyrics and we gather to jam till we get to something we like. We know that something is good when we hear weird beautiful harmonics coming out of the amps and we get skin bumps.

What is your favorite thing about playing music?

With las Niña and with girls from other bands, we meet up, buy a few six packs and play music among just girls. We can be doing that for hours. I don’t care about not knowing much about music or that I am not so musical. The most important thing is that I love it and I can't help it.

¿Hay cosas que tratas de evitar derepente? ¿Que son como cliches?

Si, todo el rato, las típicas cosas… tum tum tum… típicas cosas clásicas que ni siquiera de no haberlo estudiado lo se. Es vacan descubrir cosas nuevas y a eso mismo cambiarle la velocidad en el medio, apurarlo al final, o que se yo. ¿Como elegiste tu batería?

Me costo demasiado. Partí tocando con esa blanca (que apunta con el dedo a un rincón de la pieza) y yaaaaaaa, era demasiado mala.

Averiguando, averiguando me dijeron que las Mapex eran súper buenas. En mi familia hay dos bateristas, mi primo y mi tío. Él tenía una Mapex. Encontré una nivel intermedio, y me la compre.

Y después me compre una caja que es mi súper hijo , Black Panther, es como una joyyaaaaa. Me di cuenta que mi caja de antes sonaba tan mal, y cache que tenia que comprar una caja…Es lo más importante…Me costo cara, como $420 lucas ($800US), y juntar la plata y efectivo, y también ir a ver los platillos…uuuuuu READ MORE AT WWW.TOMTOMMAG.COM

39

reviews

The D.I.Y. Guide To Drums

by Lisa Schonberg

girl's guide to rocking

by Jessica Hopper

The D.I.Y. Guide is an excellent resource for both those who want to pick up a pair of sticks and start playing a drum kit, or for anyone whoís been at it for a while and simply wants to brush up on their technique. The book is split into three sections: Logistics, Rudiments, Beats + Fills. These sections go over everything you need to know to get your drumming off the ground, or tune up. The Logistics section is stated in easy to follow, caveman-like terms: What Am I Going To Bang On? What Am I Going To Bang With? The Rudiments section introduces: Paradiddles, Rolls, Flams, and Accents. All lessons are on a CD that accompany the book. The book also comes with blank staff paper to practice your notation or to jot down a new beat that youíre hearing in your head. All Ages! (Christina Files)

The Girls' Guide to Rocking If you haven’t yet, drummers and aspiring drummers should consult with Jessica Hopper’s Girls Guide to Rocking. The how-to is just about the best and clearest that I’ve read, with sensible tips on making sure that your used (or new) gear is functional, what people mean when they say “hardware”, and sound advice on getting a sturdy kick pedal and a comfy throne. The checklists about what you really need vs. what you don’t need to get started behind a kit are right on the money. Hopper even gives some pointers on cymbal dusting - “if you feel like it,” and finding a teacher. There’s even a section on how to place microphones when recording drums, and publishing rights, 360 deals, and the like. The appendix on a Garage Band how-to was great for those luddites among us who have not played with it just yet! This drummer recommends picking up a copy and giving it to all your loved ones. (Caryn Havlik)

throwback: the shaggs Hometown

Fremont, New Hampshire Band members

The Wiggin Sisters (Dot, Helen, Betty and later on, Rachel) Formed 1968

The world, my friends, is divided in two. You either love The Shaggs, or you hate them. On the one hand, we’ve got Kurt Cobain, who applauded the Wiggin sisters for their contribution to outsider music. On the other hand, you have their lazy, almost bored, sounding tunes nagging at your brain in a way that could drive you mad. Lets agree on this though: The Shaggs have had a strange upbringing. You see, father Wiggin’s mother, (Grandma Shaggs!) read his palm when he was a young man and predicted three things about his future 1. He would marry a strawberry blonde 2. He would have two sons 3. His daughters would form a band. After the first two premonitions came true, he decided to actively pursue the third. And so, The Shaggs came to be. The simplicity of their lyrics and instrumentation has that fresh-from-mom’s-basement feel. Listen to the lyrics of “Philosophy of the World,” and try and tell me that is not musical genius. –Camila Danger 40

TOM TOM MAGAZINE / ISSUE three

health tips

by Susie Patten

drummer watch: silvia chavez photo by Joyce Ari es

Touring is definitely not something that one would associate with a healthy-lifestyle. Here are some obvious and not so obvious tips to help you not want to curl up and die after a few weeks on the road.

Water instead of Booze This is a hard one, especially when beer and liquor flows free and easy. So if becoming entirely xEDGEx is out of the question, have one day on, one day off...or just increase your water intake when drinking! It will make the ten hour drive in the van the next day much more bearable.

Take a walk I know that sleep is a precious commodity when touring and you wanna soak up as many hours as you can in bed, but I’ve found the best way to check out new cities and get a bit of exercise is to wake up an hour earlier and go for a stroll - or jog if you are feeling adventurous. I guarantee you will find cool stuff along the way!

Gas Station Snacks This can be the tour killer - the eating options when on the road may range from Greasy to Greasier.

In rural Australia, it is really really tough, I feel like you USA and EU have it a bit better than we do back home. But where you can, eat salad and fresh fruit instead of the Susie Patten is a drummer gnarly Burger King meal. It’ll from Brisbane, Australia. make you feel so much better She has been touring since afterwards and you won’t be she was 17, mostly with her sitting in the van feeling like band I Heart Hiroshima you have a cement brick in which has taken her across your intestines.

Europe, UK, Vietnam, Cambodia, New Zealand, and around Australia way Rider Snacks If you are lucky too many times. enough to receive a rider, be sure to save what you can for snacks the next day! Your bank balance will thank you and it will often be a healthier option than roadside eats.

Multivitamins Don’t really need to go into detail with this one; supplement all the things you should be putting into your body with a couple of pills a day.

Cooking If you have a hotel with kitchen facilities, or are staying at a friend's place, then pool your cash, grab some fresh local produce, and cook an awesome meal! It is homely, comforting, and way healthier than eating out every night.

Sleep This goes hand in hand with tip #1. Try to substitute that bar-crawl with a decent 8 hour nap. ZZZZZZZ Green Room/Hotel/Roadside Stretching and Yoga Maybe a bit hippy, but it feels so good! And fun to do as a band! So stretch out those muscles that have been cramped up and ignored for so long.

Tea! Vocal chords are muscles too and need some TLC especially after night after night of humming/yodelling/ yelling/screaming - whatever you do. Show ‘em love with honey, lemon, ginger and hot water. Nomnomnom.

Silvia Chavez is one part of the two person outfit called Baybee Teeth. Syncopated beats and irregular time signatures are her thing. Keep an eye and ear out for this drummer and her sweet band. > mys pace.com/ bay beete e th

Advanced Jazz Drumming

by Jessie Nelson

One of the most interesting things about jazz drumming at the advanced level is being able to work on independence with various limbs. Using your hi-hat as a comping or syncopation tool, you’ll add a whole new level of spark to your playing. Jazz Masters Elvin Jones and Tony Williams made this concept a staple of their playing and it’s definitely in my own practice routine as well!

snare is lining up with the two and four.

Now, at the same 60 beats per minute we started this exercise with, add your hi hat on the ‘and’ of beat one and then play the rest of the measure with just ride cymbal and snare. Loop that in four or eight bar increments for a while until it starts to feel comfortable.

Now, keeping your hi hat on the ‘and’ of beat one, add it on the ‘a’ of beat two as well.

The first thing you want to do is get your basic jazz ride This should line up with your ride cymbal pattern. cymbal pattern happening Loop that in four or eight at 60 beats per minute. It’ll bar increments also. Then, seem extremely slow but keeping everything up to this when we add your hi-hat point the same, add the hi hat on the off beats, it’ll be the easiest, most efficient way to on the ‘and’ of beat three and work on it and get it into your the ‘a’ of beat four. muscle memory that much Once you’ve mastered this faster. The basic jazz ride at that 60 beats per minute, cymbal pattern: 1, 2 a, 3, 4 a.

Make sure your 2 a’s and 4 a’s speed up the tempo five clicks with your metronome. are swinging.

You can start to move the hi-hat around and use it as a Next, add your snare drum on beats two and four. Make comping tool, but this is the sure your ride cymbal pattern starting place for doing that. doesn’t change and that your Happy drumming!

Band Massages You know each other well enough, seriously.

Pre or post show, get to know your band mates a little more by exchanging massages. Release the gear-lugging, bung-note, under-slept tension by paying some attention to your shoulder muscles.

READ MORE AT WWW.TOMTOMMAG.COM

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bands to look out for Pikelet >

myspace.com/ovalyn Resplendor >

myspace.com/resplandorperu Hooray for Goodbye >

myspace.com/hoorayforgoodbye Pink Flag >

myspace.com/pinkflagnc Mr Little Jeans >

Blau & The Good Band >

myspace.com/blautheband Shonen Knife >

myspace.com/shonenknife Le Club Des Chats >

myspace.com/leclubdeschats La Croquette >

myspace.com/lacroquette Sabot >

myspace.com/mrlittlejeans100

myspace.com/sabotband

Electric Gamalon Junkyard >

The State Of >

myspace.com/electricjunkyardgamelan

myspace.com/thestateofmusic

Heavy Hands >

Megaton Leviathan >

myspace.com/heavyhandsband

myspace.com/megatonleviathan

The Modern Dance Club >

Tiny Knives >

myspace.com/themoderndanceclub

myspace.com/tinyknives

Tv Buddhas >

Teeath >

myspace.com/tvbuddhas

myspace.com/teeath

Ha ppy 31 Suz e

issue three / spring 2010