DRUMTALKRussia Adrian Erlandsson (At the Gates) [episode10] 鼓谈 [第10集]

Hi. This is Edwin olinson derma, for at the gates and we here at station hall and Moscow where we're playing tonight and, we're very much looking forward to it and, I'm, here with the guys from drunk talk, Russia. During. The beginning I wanted to know how did music, become a part of your life and how. And when did you decide to become a drummer and why. Did you choose metal. That's. All joined. Together actually, because my. Music is there isn't. Really a big part from, our family, like. No one no, one was playing any instruments. My. Dad had an accordion, but he couldn't really play it. And. Then we moved we. Moved from, the city of Malmo in the south of Sweden we. Moved to a small, parents. Bought a house in this little village called. Di, Roma which, is south of Gothenburg, and. I. Made. Friends with his guy across the street and, he had a guitar and. His. Older, brother was, into heavy metal and, we. Heard. Back. In black in his house I fell. From his bedroom, you. Know and he said, come in guys and listen to this and we sat there where there may was really really cool to even be allowed to be into in his room you know and seeing. His records, and we sat there listening, and and then. My friend played his guitar and I was, just I really. Want to be part of this yeah and my friend said you see you should try to play the drums we, could form a band and then, some started, working on my dad like, yeah. I want a drum kit I want a drum kit and then. Because. I didn't have it we didn't have any background of, drums, being played in the family so he. Said you have to go and, join. A music, school first and and take. Some lessons and. I. Went, to the public. Music, school and enrolled. In drum school, I think, I did two lessons. Before. He said okay we're going by a drum kit. Oh. Well. One. Of them know one of the album's that. We got into I was actually into guitar I was. I was really, interested in having a guitar because my friend had a guitar but you know I was hopeless, at it I tried, his guitar it was just I was useless and. Even. More useless actually, when it turned out when the drums arrived home as. I said my, dad got me this a Mac stone kit which, was Chinese one yeah. I think it was a copy of Max wind yeah. Terrible. Quality, you. Got splinters, when, you change the drum heads because they were. They. It was a rough wood on the inside of the drums did you fix the size of.

A Drum head they. Have their. Own sizes. Oh. 14. Or 15. But you, know I had when I I, never swapped, heads. On that I. Had, the same heads for six years. Very. Good drum, heads. But. No. The. Reason for it was actually, because we'd really. Go into this album called screaming, for vengeance by. Judas. Priest and great. One and it starts with this Durham fielder, we're. Trying to play. We're. Favorite, drummers at the time and who influenced you in the beginning and what do you listen to now for inspiration, it's, that's, pretty much the same actually, I still, listen to ac/dc, Phil. Rudd I'm the black yeah for, sure and I. Listen to early. Day off so mid 80s era Judas Priest 70s. Era Judas Priest as well so. Unless, killer yeah. Do painkiller. Intro. Right. I haven't tried but like I can work it out of it sounds great yeah, yeah but, yeah, Dave. Holland les banks will, be and Tommy Lee obviously, and Rick, Allen from Def Leppard were big these. Are big, influences. That I listen, to and try to you'd. Sit and listen to the album then try to play the part. They. Were big heroes of mine and they still are today Kluber, from Iron Maiden I know, you could, probably not hear that in my plane though he's not with us actually. Ya know it's sad, that's, really sad yeah, but we haven't made any coma brain yeah that's - no he's great. Ladies. Were the golden age of metal and so, many great albums were at least at that time and, slaughter, of the soul as well mm-hm and I, remembered me listen at the gates at that time and all, those death, is just the beginning compilation, video do you remember it yeah. I didn't have a video player at the time okay. And, it, was a great time and many. Of those bands are not existing, now mmm, so please tell us how have you managed to survive through all these years and what, is it what is it that gives you strength and power to keep. Going do, you mean me as a drummer or the drummer and as a musician I mean. We. Had we, had at the gates from 92, 96. We split up there's a summer of 96. As soon as and, then. A tap like, when we formed at the gates we like, we never thought the music was gonna be something that we. Ever did for a living you know it was see the. Kind of music we were playing just national yeah, totally. And. It. Was just, so underground and the kind of shows we were playing just super small shows and. It. Was just very underground, then I started. Getting bigger. Shows towards, the end but. We never made a penny, during. Those first few years you know and when, the band split up. We, we sort of got a taste for being, out playing, and playing gigs and traveling. And playing even though he didn't. Come home with anything it was just like, just traveling. To another country and playing and people know in your songs was just mind-blowing. To me so. The day when at the gate split up I phoned my friend that, had moved to Gothenburg Patrick. Jensen and, we, formed the haunted the, next day after at the gates split, up soon, now yeah yeah, and I'm still. Playing I've. Gone. Back to play with the band again so. But. Then. I played with the haunted till. 1999. And then, I got a call from cradle. Of filth and. At. That point that's, where. They sort of changed, because Durham. I was able to make, a living from playing drums. At. That point and it sort of is serve, I. Was. A great support yeah I mean it didn't change it hasn't, changed my, passion, because I still, love sitting. Down and playing traveling. Around. Coming. To different places even, when you come to, the same town and you come to the same club for the tenth time I still, love it you know mm-hmm. But. Obviously it takes a lot of stress, away when, you don't have to ask your boss for, getting. Free time to go. And play your music, so. The. The, passion is still there and I mean, I've been lucky too. After. After, crayola, played with the Brujeria, for. A while and then I played with Paradise Lost, and after. Paradise Lost, we towards. The end of Paradise Lost we saw revived, at the gates again and. I'm. Still, playing with haunted, I've got a new band called the lurking fear so it's still you, know like the passion for the music is still there so. Are. You good friends with Nick Parker. I. Mean. You, know when we meet we. Meet we're you, know we have a beer and we. Chat but. There is a plan in cradle, filth and you've begun. Yeah. Well, that's. How I got to know him actually and that's how I got to know the band because. Cradle. Of Filth were supporting. At the gates and anathema, on, this short tour, their, first tour actually, palace. Was bigger than, cradle yeah, at that point but. No I mean bigger it's, ridiculous. The. Greater. I. Mean. We shed we sure we share the tour bus Cradle, of Filth at the, gate and anathema. It was just carnage, on that bus. How. Do we work on your drum parts, do you get guitar reason then you come up with your girl parts so maybe drums, emerge, initially. And then, everything else, we. Make it like. A it. De Barras between the different projects, that I work on, like. For example the, at, the gates album the last one to drink from the night itself.

Jonas. And Tompa wrote the. Music, and the lyrics and, they're sort of presented, demos, to me but, it was basic, drums you know boop boop, out to pata pata pata, well. They had the idea. For the dynamics, of the song mm-hmm. And then I would, load. The main with. Drums, and without. Drums. A guitar. Only file in. Logic. And I have a roll, MV drum kit at home in. My little practice room and, play. Along and compose. Ideas, around what they would the, dynamics, that they wanted for the songs and then, I would, do sometimes I would do versions, that were completely the opposite. Discuss. Your drum parts or it's up to you oh no we're it's very it's very much planned we, we, did I can't. Remember some songs we did like maybe 25. Demos, on the drum part and like, we started changing like, a little bit it was down to individual, hits and. Then, we. End, up with I. Don't. Know what the name is in English but like. Like. A rule book almost, like, like a blueprint, this is exactly, manual yeah, like if. You, like, but. Like. We, decided, down to every, lost fill this is what we play when we go to the studio but, that appointed. Like, the songs had gone back and forward so many times completely. Planned yeah, yeah, I can pull right. How. Do you add new ideas, to your drum fills vocabulary. Do, they appear in the process of your practicing, or maybe after listen to other drummers. I. Guess. It's a combination. Of. Playing. Along to other music. And. Watching. Other drummers, online. That's. Really inspiring now with. A the. Amount of different. Styles. And, who. Can you highlight oh. There's. A really cool guy called. Scott, Pelley Gorham I don't. Know if you heard him he's not metal drummer but he has. Got the most outstanding. Vocabulary. On the dance and he's there, I'm, not, saying I'm anywhere. Near being, able to copy anything that he does besides they wouldn't fit in the music that I'm playing but. It's, really, inspiring, watching, him play, as. Far as metal, goes I really like. Cream. From. Septicflesh. I like watching, him I like watching my brother play from. Archenemy, is, there. There's so many it's. Ridiculous. The level of, swap. Ideas with your brother he's. Very secretive. Besides. He lives he lives in, Sweden. Just a business no personal, oh, no. We rather, buy this business oh we have a we have a very good relationship, but. I. Mean, it's, very rare that we get to sit down at a drum kit at the same time. So. But. You live in different, places I live, in London yeah yeah and he lives in Sweden, in Sweden okay. Do. You know drum notes or how important is it to know music notes and to. Have a musical, education for, a drummer how do you think um. We.

Have Hernia, musical, education no. And do, you know means no. Okay, I can't. Say that I do but I am because. I use a lot I use logic, and when I. Explain. Your ideas to guitarists, and record. Them through. Recording yeah or hum, them. The. Way that we write songs has. Changed. Very much like, in the beginning with. People. Who turn up, with. Sort, of half-finished, ideas, to the rehearsal, room and we try our try different, beats or this bait works let's, keep that and you'd, start building, it like that whereas, now it's it's. Very much a solitary. Process, where I'm in my little drum house with my Roland. Kit and okay, and the guitar files. But, you know maybe, quarters. And a oh yeah yeah I mean that. But. It's, not like you can give me a piece of music of. Written, notes, on a paper and ask asking, me to play it I mean I could probably work it out back and I, couldn't. Read, it and just play, it how do you write your thoughts, or. You don't write it I recorder, I record them I have like a huge. Logic, project, how, do you remember all your parts. I. Don't. Really I, mean like, what I, remember. Them once they. Take shape in a song, once. They become become. Part of an arrangement. Then. I. Remember them because then if you saw it makes sense musically. Okay. They. Say that metal, music is only for hard hitters who, beat the out of the drums and, blessing. All the time and is, it important for metal drama to have a wide range of dynamics, and how do you approach the concept, of dynamics, um I think it's I think it's really important, dynamics. In. Terms. In, terms of at gates like, the. Hitting is pretty much liked. By 80%. That, the. Whole time there's some softer parts where like whether it's like just. High, hats or like, cymbals. But. The. Way that we approach dynamics, without the gates is like. With. A different, style of beats. Like. If, we have like a foster bait for, our foster bait with double bass or we have a slower beat or we have a really. Slow heavier, bait that. That's, the way that we that. We do the dynamics. Do we have any difference in hitting, the symbols and the drums. Yes, do, you have this difference yeah yeah it's. A big difference, he's, on the drum with all the power, ya know.

The Symbols, like. The crusher side try too hard. To. Explain without having, a crush here but. Yeah. I don't I, don't swing, free like. I would like, I sort of I haven't. Like a much looser grip, when I play on the cymbals. Especially. The cry especially, the crashes, yeah okay. And what, about high, heavens right, oh. The. Ride have, lucky, kind of like. Just. Exiting, no. Well, there, is some accents, I guess, but. I guess. The. The. Questions I get most about, my ride playing is like keeping the the solid, eighth notes on the faster part and that's I have, the luckiest oh I've like a machine, discipline, to that from. Your fingers or, fingers. And wrists so. I would, I think, they. Would call a MOLLE technique part. Because I haven't studied it I don't know. In. The bhindi years. Yeah, I mean in the beginning when, the band said or the ride is supposed to be going. The whole time and, I was playing with my great clothes and it was just a complete, nightmare, and. Then over, the year so so gradually. It's not very strong, yeah, on the planet yeah. Please. Tell about it practicing, what do you do well practicing, and how, long do you practice do, you play rudiments, or your own exercises, I. Unfortunately. I do I mean. When. I go in the drum room I always have so much to do because we're always working on new ideas, and I. Always have like other projects, that I'm working on doing session. Work for others like. Either smaller bands, or other songwriters. That, one one, help with like. Bits. On of beats, and stuff so. I always. Have, something. To do when I sit down at the drums, but. What I've started doing like the last few years is I have, like a Spotify. Playlist. That. I play along too and that is it's, got a need some kind of a routine here, yeah, like, songs that I like that I you. Know that I play, along to what. Do you do for warming up and, that would be the warming up so. I would like start for example with a portishead, song and, I'd. Play along to a Tracy Chapman, song and then. Like. Maybe add like.

You're From that to like a Def Leppard song or not, not on Motley. Crue's song and eventually. I'd like maybe. I'll start. Playing some of the softer, songs like because. I've got to always keep both, the Haunter and other, gaits songs. And lurking, fear songs fresh in my mind so. Then I would play a few songs of, each of, the, set lists, and. Imide it yeah yeah and if I'm working on. If. I'm preparing. For a tour, or or. A gig, I would repeat, the setlist a few times. What's. Your opinion on modern technologies. All those Pro Tools stuff like sampling. Quantizing. And so on triggers, mmm. I mean. When. You look at the. Kind of metal. That's been recorded, today I think. It's, good, it's going through too much processing, I think because. Yeah like albums. Don't sound like it. Like. Humans, playing anymore, within well, I'm not saying you don't say I'm not saying all all. Bands. Sound, like that you use, it yeah, I mean, you. Know we recorded, two Pro Tools, there. Is a bit of editing of, course because, you know like you, can't just, put. Out like, an album just with just playing, unedited. Cuz people would just break it apart because. They have. You got records. On the tapes oh. Yeah. I mean if, they were the computer, yeah I mean like. The fur up to slaughter of the soul they was all on tape all, 90s, yeah all the 90 stuff there was no tape yeah yeah, even. Up till I. Think. The last one I did on tape, was the, first recording, with Cradle of Filth in. Nineteen. Yeah, 1999. When that was tape as well yeah median, median was, to, some. Sort of Atari. Radar. System, I think that was the first so, digital, recording, I did but. Since then I mean it's it's, just go is I think it's got a bit silly you, know like what's being expected, of drummers I know this is like an a ton, of guys that. That. Are doing it that, are playing I don't have to be a great drummer just, yeah. Simple, examples. Maker samples yeah your, engineer, will make the song yeah it's very unnatural. Yeah and, I think as well less like, a lot of. Folk. Was. Sure what should I call it like four people. Have forgotten how good like, natural, drum sound you, know and it's been layered, with all these effects. - sound, like Ellie said oh there, has to be like smack in the kick drum a kick drum doesn't sound like that naturally, just. Yeah. And. I. Mean obviously. Observe. Adapted. To that myself because people go like in the band or we can hear the bass drum live or, it's just like. Well. That's how noisy, that's how a bass drum sounds. You know and like. If you want like. The clicky sound okay, I'll get the trigger we, put the to it and that. Was so, started, your when I joined cradle, de they, said, you. Gotta get like a trigger for your bass drum, okay. And then I've, sort of had it there like with with. Paradise Lost within, you said. There. We. Have just, pure acoustic drums, there I, remember. That sorry. Cruelty. And the piece it was not your own no that was a mistake, yeah that was not there that there, there are a lot of songs. That have. Just clicks and some, of some of the songs have just. Bass drum sound yeah it differs, yeah, the song yeah same. Thing yeah yeah, and you. Do, you use such a thing in your playing, I mean for. Certain songs on there on the new album is in this sound yeah he's, a, very. The levels of the, the. Triggered, triggered. Sample, but. What. We did was we took samples of the whole kit and then. He used those so, he had like a bank or I think like four or five bass, drum sounds, and he, very them. Yeah, they mixed, it in with my, acoustic playing. But. I think it's kind of like. When. You make an album that, has like a really processed. Sound I think. It's cool that there, is the technology, now that you can you, can replicate these, sounds live there. That's. Making the whole process simpler, yeah yeah. Easy, to do yeah. Do. You think that metals got any chances, to become a mainstream like them in 90s, when, twas a pinnacle, of of this style music hmm I think, I think it cannabase mainstream. At the moment I mean. It's not a you. Know Lady, Gaga level, I guess. Metallica. Are but. You're. Lucky we, did the store with. Behemoth, in in America. And. In, Europe and. You. Know like some of the venues were playing here this like, three. Three nearly, 4,000, people you know and. When. We started, out that was like. Unheard, of I've seen you were, playing. There. Drunk, yet yeah. Yeah, there happened a few times where, the, because, they have a huge production. And, they set it up and if there's not.

Enough Space to put my drum kit in front they said okay if you want you can play our kid he's, a great guy yeah, amazing. And, that. Was quite a challenge because the. Setup, is very different. And due. To the, changeover. There was no time to like. Move anything. Do you like challenges, yeah yeah. Yeah the idea what we were coming yeah, totally. What, is it for a drummer to overcome, the challenges, well. One. One challenge. Would be to just play. On whatever gear is provided, to you and. I've had I had my fair share of that like, playing, smaller. Venues, we did in the 90s, like squat, houses, and you come and like they, the, drums are covered in gaff tape. Kissing. The heads of, under terrible and I. Always. Put the drums on the other side, Tom's yeah. Just. For challenges. Yeah a. Recent. Challenge would have been like when. I. Was presented, to play on Inferno kid because. I have on. The tour I had one, bass drum -, 10, 12. 16. 18. Whereas. He's got like four rack toms two floor toms and. Two, of two, octave, bands and, the. The. Posture, is just. Incredibly. Different because I have my arms really low where's he has his arms up high so, things are too high yeah. I mean it's he I was exhausted when I came offstage maybe. He's. Making it just for, any, any heating and you hit the drum and there are no empty. Spaces. You. Can go blind, hit. Any place drunk. Oh I don't know I think he's he's. A secret. I will. I'm. Not, sure what his secret is but he say he's really, perfected, his own very, unique style, and, to. Have like the. Way that he has his skate set up responds. Exactly. To where he needs it to be so. I think yes. It's a challenge yeah that, was a challenge. You've. Traveled all over the world turin, and you've seen a lot of kind. Of metalheads, mm-hmm, and it seems to me that some parts of the world are more into metal than others, and which. Part can you highlight is the most metal, one nowadays. There's. So many good territories. It's very developing, and changing yeah. I think. I'm. Not sure that people are more or less into, metal. I think, it's how.

Spoiled. People. Are with, gigs. Like. Say for example now we play we played in South America, last year and, we play this tiny Club in El Salvador and. I. Yeah. Well. We. Didn't play this time in Venezuela, but this, particular Club in El Salvador. Like. Some people there. Were, just like. Beserk, wild. Like. I don't I don't think they get to see many gigs, whereas. Like say for, example if you play in Germany like, every, tour goes for Germany, and I just, think like people get more. Reserved. Maybe, a little, bit old not. Necessarily, cold but like they, can still enjoy it but they don't loose, it like, it's. Some guy that like you know spent all his wages on a ticket, okay, so so, I think that is the main difference and, you're. Like it's, obviously, great. When you get like a good response. Because. That, makes it more fun to be on the stage when you say that people are enjoying themselves in the front. Like. Russia and the Russian audience does, it differ from Western, Asia. Or, the u.s. I've. Only had good experiences. Here it's, not the first time I know it no. It's. Not I think it's I worked it out before, it's my fourth, time I think so. First has it changed through, the years. That. Remains to be seen today. But. Last, time we were here without the gates it would see like really good reception, people. Really and getting, really into it. And. All the people that were looking after us we're. Doing a great job taking us to. See. The sights and. Nice. Food and things, what, do you think about people and maybe. Moscow, cities. I haven't, done much. Sightseeing. We went to the Red Square we went to Lenin's tomb we. Went to the church on spilled blood, okay. And it's. Not here or no, in st. Peters sorry yeah sorry sorry I'm, terrible I say one the. Red Square some, basil yeah. They're very similar yeah they're very similar style yeah. Lost. Lost time we were here with at the gates my wife came along as well and she's. A big fan of. The. Master and Margarita and, we, went to the house yeah. We. Went to the house where where. The story was it yeah. So. That. That was really nice but like it the, reception. I get so far from Russian people it's great you're like really differ, from European, audience, I. Think. It's mainly a language, barrier yeah, yeah. Yeah they don't understand, what you've seen in about. Possibly. Well that's a that's, a language in itself I think, music. Is a language so you know like people, feel you put the energy out and people feel and they, react. Back that's a is it important, for you. What kind of leaders do you have in your songs, and what message you bring to the audience or maybe just playing drums and that's I mean that's all of. Course, I like the lyrical, concepts, that, the. Tompa is coming up with I mean. What. Role does, it play for me, oh it's a it's a big part of at, the gate sound, the, whole, concept. Behind the lyrics they are social, images, yeah, visionary, yeah they for, sure it's important, and, the.

Same We would say is really important, in in, cradle of filth as well I mean those. Lyrics, are virtually, novels, in. Themselves, so I, read. Part of their for, sure all right I think it's important, but I mean how is it important, particular. For a drummer, oh I mean. Let's. Just make in your work okay I think you. Can make it as important, as you want I, have. A like a fold. My. Schedule, is busy with, the drums you know like. In. The composing. Stages. It's, I. Love, it when I get the lyrics I. Mean. It perhaps, doesn't, change. What I'm doing on the drums but. Like you, for. Example if he goes okay, there's vocals, there's a verse here so, like less busy, on the drugs you. Know that simple, yeah that's important, but I mean the, topic, of the lyrics maybe not so much. What. Do you feel what while you're on stage are, you relaxed. Or maybe you're focused, that. What is it that can vary very much from, day to day like. I still get. Some. Days I get super, nervous what. I've just, anything, you know lucky the way asleep it. Could be lack of sleep but. Mainly. If. If, you've had like a lot of stuff, going on in the day before leading. Up to it like a really hectic schedule. For example that can say, I have to like take a few like. 10 minutes or so before the gig where I just don't. Say a word and just so picture. Playing the first song that usually, helps me calm down but. I suffered, in in. The early years of at the gates very, badly from nerves to. The point where like, you go up on stage and you can't remember the songs. You're. Very focused yeah, consume, it yeah so you should usually. When. We start the gigs I I, just, sort of keep, myself a little bit in my own little world and just see, that all the monitors, and everything, is working nothing. Is moving, and once I say that then, I start. Looking around and, relax. A bit more have, you got drum. Heads broken. Anytime. On your career or. During, the gauge or they did. So. Many times, like. That yeah like, I, now, carry these, Evans, AF, patches, with me you know because like, if they don't have them I'll go through the bass your head. Yeah. But also I think it's down to the type of beaters that I use either the chassis. Capito beaters, or the, it's, spelt Jessica Peter yeah I think so, I don't, know how to spell it it's. Very very complicated. Sleazy. Ceaser, I think, that it's something, like tarski. Maybe. Czar, Chomsky. Capital it. Means the devil's the, devil.

But. Yeah either. Dose or sometimes. I used the Tama, wood, and beaters or. The. Trick beaters, and those. Bitches are very heavy, on the or like so sharp, on the drumhead I think and do they help you to hit, harder. They. Predict, a more focused, sound I think click. Yeah. But, I mean I've. Had I've had and, pretty, much everything go, wrong during the gig so like a broke the. Link on the charge capito pedal, just snapped in half when, we played in Finland. And the left beater just fell, on my foot it was a direct, drive yeah yeah. But it was the double pedal link that. Broke pushing. On my left pedal nothing, was happening with the beta and, then. Of. Course I've. Played, with these pedals for years and I've never broken so. I like, them I just. Like it's a really direct feel, like I feel like really connected, with the bass drum from. There and it sticks to, my fit to, my foot and. There's. No movement sideways. On the footboard, it's just up and down it's great, but. It's so, when the pedal broke, and. It was broken - yeah, the pedo no, the link broke I didn't have a spare but the. Pedal itself. It, was fine it. Was fine but, like it I didn't, have the connecting, rod so. No way of playing the left pedal and we, the, only other band that had a double pedal was a left double, pedal so. The only gig, with you left no so I said I can't play the rest, of the gig there's lots of double bass I can't, do it and, the. Wolf. Pack, as they're called behemoths, crew they, say you play. Infernals, kit and they, struck. Down my, kit and moved us off during, the gig and moved. Us over, to, to, infernos, kit and finish the gig on his kit and it was all sounded, with. Mics yeah, yeah it was already set up yeah yeah. So I played by a played on his pedal, son and he plays what, pedals, also, charity capitis, yeah very. Similar setting. Do you have to adapt. No virus double-bass instead, of single pedal, or, single. Single pills yeah but. Does. It differ to. Single pedals or one yeah, because there now I've played, with double pedal for such a long time like. I mean I'm used to looking down even if I can't hear, I can, see if if, the. Feet are in with the hands I could hear I can see it well, I feel it anyway but. And. Now. When I play double bass it's like confusing, to make it's the beat that's are going like that my head. What, do you remember most of your cradle v filth error.

Mostly. Mostly. Maybe. Some episode, that, you remember, that you won't forget in your life. Or. It was something exciting. Thing I mean, the, first time. When. We came. For. The first proper. Tour I did with them in America and, we played in the Hammerstein. Ballroom in. New. York that was intense. And. I. Was so nervous before I couldn't barely hold my sticks when I was like on the practice, pad I was there because of the size of the venue and, I. Started. Played a lot of I know it festivals, I know but, then I started my. Mind races, away from me if I if I don't call myself down, it like I start thinking about oh but, the drums are so loud everyone. Will hear if I out and. When and then it goes like that last but snowball, Sara but. Ya. Know playing there we had a great we had a great gig and it was just it's. An amazing venue, with, this really. High ceiling. Like beautiful, theater it was nothing to worry about no no it was so it was all fine because when we come on women part of your personality. May. Be excited. -, yeah. - for, sure to worry too much yeah for sure I do, now for relaxing. Would you use oh I. Know. I just, because. Back, then I used to be like. One and a half hours, on the practice, pad before, before, and I like. Sometimes have be tired when I go onstage and I couldn't work out what's. Going on in a big home because what's going what's, going on I've been warming up for ages but. I was warming up too much and, now, I will sit like maybe I will, hold. The pair of sticks and just walk around in the dressing room playing a little bit on my legs and stuff but, seriously. Warming, up maybe. 20. Minutes before gig time and then, five minutes before we go on a stop, I'll do some stretching, or the fingers, and the wrist, do for stretching, like. I'll stretch the fingers back like Jean, : yeah that's where I learnt it yeah this. Video yeah no, that's why I learnt it that's gravy, yeah and. He's. Any meetings so, yeah. Something. Like that yeah, so. But. Then I don't. Talk to anyone I might, crack a few concentrating, yeah might crack some jokes. Always. Trying to make people laugh and getting people no. I'm. Not that kind of guy well I always said trying to make. Say. Funny things just, before we go on to lighten, the mood because everyone so like David. Dead focus, that's great. Tell. Some words about your photo studio, I know that you've got and why, have you decided to have it, right. So when. I. Got. Together with my wife she, was dancing, for our Cradle of Filth and she. Was already doing sort of fetish.

Modeling. And was. All into. That kind of lifestyle, which was completely, new to me due to Cradle, of Filth you, found, your wife yeah, that's, the exciting yeah that. Was the istick, site mostly, what you know what that, is the most exciting, part, about. That but. Yeah, so we lived in we, lived in London in this tiny flat and. We. Decided we want like more space, and, we started. Because. We we wanted also to set, up so. Like a fetish. Photography. Side. But. Also where bands can come and film music videos and take pictures and we've. Had like a lot. So. I'm. Skipping ahead of the time here but we so we got this a big, warehouse, where. We lived in. One. Area it was two thousand. Two. Thousand, square, feet so about two. Yes. Two hundred, square. Meters roughly, so, Holly saw about 80 square, meters was our living and 120. Was the studio but. Then we, expanded, it and. We. Had we got a space that was. 650. Square. Metres so. That that, in London was like, it. Was quite a lot of money so it was a big risk, taystee, the suburbs, or in the sand no it was quite central, okay, sort of. High. Prices. Insane. Prices, I mean. We. Were at the first year, when when, we had it and it was going it, was going well and we still, we were able to save some money was. Incredibly. Let's do another and, we, had so we had that for seven years. But. Then the. Rent was just you're ridiculous. Now, so now we, we still have the studio but we moved it like a little bit further out it's, still fairly central, in London, but, it's like. In a less. Expensive area, and we have like, less space what, do you do there, so, it's. Got like a big dungeon, it's. Got, various. Sets so, like the rooms are designed so, that you. Walk. Into a room you can turn to one and one. Side and have one look turn, to the other side they, match so but, like it's a different look so it's great for photographers. That want to do that. Want to do pictures, and shoots with models. Bands, whatever, and, you. Can in one room you can do four looks right. Away so it. Does. It help you in your life in, financial. I mean yeah rich yeah it's great but we. Sort of it's, sort of my wife that looks after it and when. I'm at home I'm the, janitor if, you like but. I'm also the in-house photographer, because we offer, photography. Shoots for. Say. Upcoming. Models donate or like. Someone. That want to get some nice pictures for, their partner, we'll take those pictures and we'll Photoshop, them and so we so it's, sort of but. But also we rent the space and, that's mainly what we do so, people come or do we have a site yeah. Site yeah it's a metal, give the link yeah yeah, yeah. I mean, yet. Mainly, it's people. Rent the space and, it. Can be anything from like, practical, support for you yeah yes great okay. Some. Kind of a blitz yeah, I asked. Briefly but you don't have to answer briefly ask it okay. Who's, better at playing drums you or your brother and boy my, brother boy for sure he's. He's. Just, it's. Just more musical. What. I don't know he plays he plays guitar like. I. Didn't. Know like a Delta blues God you. Know he's amazing. A plains of Delta blues on, an acoustic. Guitar. He's. Also I, guess, he's good can I go free hunts in arch-enemy Moors. And their, style, of musics, of lends itself, more to South.

Flash Ear drum parts, and he's. You, know like technically, he's. Superior. Drummer will film, him in June yeah he's. Here he's amazing, you know like I'm really proud of what. He's achieved and, you, know it's really inspiring to see him play like. If you'd asked me the same question like, maybe 15, years ago I'd have been, heartbroken. But. I'm. Wait, and we passed the competing. With him yes your, brother yeah it's my brother and I'm, really, proud of his what he's achieved his, great, play really, entertaining, - what always, coming up with new parts, even when. He's playing all the songs live he'll mix. Mix. Up the fills and change to fails and still land dead on the beat I've, often you meet, at. The same festivals, at the same stages yeah yeah. We. Are actually doing I'm. Not gonna speak too much about it ever we are doing, like, a longest, stretch of gigs later. In the year I've seen on the Instagram, one of your posts, about it about some. Of the festival, that you yeah yeah, yeah there's, a few festivals, this summer but, by later in the year we'll be doing something more together lot of but there'll be news about that later. Is. It true that you, gave your right symbol for pizza, while recording that fragment studio yeah story, that. Is true. We. Were recording. Terminal. Spirit disease and, I. Was. So, broke at the time I, didn't, have I just had, money for the bus fare to go home from the studio and we. Just finished a drum drum, track and, I'd. Actually. Gone. My, first. Endorsement. Deal, for cymbals, where. The sails for free Zildjian. But. I hadn't received the cymbals yet so this was an old Paiste. Ride, cymbal, that I had and, and. I, said to I. Can't remember exactly but I said because Fredrik, the owner of the studio was ordering pizza, I said, get. Me a pizza I'll give you my ride simple, and he, said, for really, a furry I'll just take it but, I knew that I had other symbols, coming so it was surprised, he. Was totally surprised, you know is, it just. Still. With him, no I think, yes I think he has it still you. Have to call him yeah. Get. A metal drum oblique water nose on a high head instead of eighth notes just. When galloping, and, they, say that it is some, kind of cheating playing, quarters, instead. Of eighth notes I don't, know about it yeah, I know what you mean I don't think there's a right or wrong it's. Whatever fits the song but, Dave Lombardo says, that it's cheating I. Dare. I mean. It's it if I. Wouldn't, say it's cheating because I do my fair bit of cheating but, it's, whatever sound you're going for you know like in there just above of, all this stuff yeah just. Somewhere on the, other level. No. No. It's not like that but, everyone. Has their own way, of, playing. It. Confuses. Me because. Further like from the, bands that I grew up listening, to you know. For foster music like Slayer. Forbidden, Exodus, Dark. Angels they, wouldn't do that exactly. Yeah. Noticed, yeah and. That's, where shooting, it's true yeah, I mean. Sometimes. Sometimes. On the hi-hat so, I would play like a three. Over four through. Kind of Pat ripples, yeah. Yeah. Where, it's meant to be like eighth notes and like on the photo yeah, just. Keep the sisal going, yeah. This also, also it works if the riff is in three four and I'm. Playing a 4/4, beat that kind of works where that kind of failed on the iron mm-hmm. There's, some kind of your style perhaps. You've. Been to, so many projects. Which is your favorite, one right. Oh. That's. A really difficult question you know because like I, like, them all for different reasons. But. Say for example, Brujeria. I loved because, it was so. Punky. And so like. Uncontrolled. It was just like a ball of chaos rolling. Down the road but. And we got, to some really unusual places. That I would have never got to otherwise. Paradise, Lost for example I love because of the dynamics. Also, I grew up with listening, to songs in the nightmares here and you're. Like me meeting the guys and playing with the men they were her soul room it was just. The. Concerts yeah, I mean it the haunted. It, Annetta gates they're kind of I.

See. Them a little bit as is. You, know like the this is it's mine. No. Yeah, because I was there from the beginning so. It's a different, it's a different field. We know each other from such. A long time back you know we were kids when we started, the band and. That's. A completely, different vibe, to when you walk into a band and you play have to play other people's parts. It's, a little bit like that now with the haunting because I was out of the band for a while and I had pair which. Is an amazing drummer, and, coming coming in and playing a mixture of. Songs. That he wrote and so instead I played. The drums on and the. Parts that he wrote a very, you. Know sometimes, very challenging, complicating. Yeah. But. He's playing so. Easily. Yeah I, mean he's a brilliant, drummer, yeah but. He. Doesn't. Travel a lot I, don't. Know exactly what he does now oh he. Lives in Denmark I know that. But. He's, I, don't know if they're a touring, act or not okay, yeah. What's. The biggest dream related, to drumming. Biggest. Dream. Now. That. Like I get. To keep my health, perhaps. And, still. Be able to do it and, that. The, band carries, on you, know lucky according, to the plans that we have and. You. Know like my, biggest dream is just to keep be, able to keep playing I think. Do. You have some issues now this. Mainly. Hearing, like. On my left ear is like, suffer, Tibet do, you use monitors, yeah I using their monitors, now since a few years right there. ACS. English. Company, you. See is okay yeah and that. Enables, me so I've got like a little mixer on the side where I get the, click the backing, track. Backing, tracks, in our case it's mainly intros, and outros this. Is T real. Difference. From ear to ear what, you know I have the same impious. Yeah and what do you I have my guitar slightly. Panned a little, bit yeah and, then the heart so I have vocals. Guitars, everything. No. Vocals, guitars click. The. Bass drum trigger and the. Backing track base at all no, bass because he's.

Got A sam just, stare so I hear I hear you yeah, okay, and, yeah. I know no, extra. Drums because I hear them acoustically. Anyway and then I've tried to keep the volume low in, in the, in the ears. You. Know some Russian, words no, no I told but. Maybe you know vodka, vodka. Nostrovia. Do, you know yeah have it every drunk, what oh yeah, do. You any times, I've. Been in you're in Romania or somewhere, in the Europe we have it something we are I have like a lot of Polish friends, oh they, like what they like vodka our, polish. Brothers and. Maybe. Behemoth, guys yeah yeah they like it they love it. Russian. Water. If. They got the hand Sonja I'm sure they would yeah yeah. Have. You seen any bears in the streets of Russia. No. Nobody. Saw there, was a bear and a. Taxidermy. Bear in the in one of the restaurants we got taken to when I was here, with cradle in 2003. They, had a stuffed bear this. Was desi oh yeah. Which. Is a favorite song from to drink from the night itself album mine, is the chasm, and I don't know why but it's been on repeat for a while I don't. Know it it's. Very very. Interesting. One ya know. For. Me maybe, a. Stair. Burning stone. And. Why. It's. Just it's. It's. Got like two different sections to it like, a, heavy. Intro. Fast. Verses, and then it, breaks down and, then it's not this heavy heavy, Tom. Part with a pattern, that I really love playing and it's, it's, we, played it so much live now so I could, just say I, don't have to think about what's playing and I'll, just listen to the song and just. Can. We run into you at Camden, Town or Denmark Street in London. Mainly. When I first moved to London I, was said we we, used to go out every weekend, some, kind of place yeah yeah. There was like a lot of sort. Of metal, bars in London in Camden, back then the, still is a place called the derringer arms, and, sometimes. Like. Maybe once a year I mean that yeah. I remember I've been to come in town some kind of bars a lot of bars yeah there's mobs with. Local people, and I was, presenting. The beer to everyone, mm-hmm it, was very, very astonishing. Then everybody. Was shocked yeah and I can't remember what was next. That's. Why I love it I love living in London er I took it took a while to get used to the English Way of life but I love it you know this, great place yeah. So. This. Was Adrian Allison for drum talk Russia so click. Subscribe down, at, the below button. And follow. These guys excellent, work and. Stay. Tuned. Oh. Nice. Cool. If. You get four different videos. He. Says he said just actually had one year anniversary with. Us yeah he's. Doing great so. Sorry. It's good to know so next.

2019-04-14 12:21

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