’60 dollars’ I say. He hands me a bankcard through the reception window. We both wait in in silence as the eftpos works. ‘Receipt?’
‘Nah man,’ he says, ‘cheers.’ A door somewhere down the hall slams shut and it’s quickly followed by a guitar whirring into life. Big metal chords. Drums start up from another room somewhere, then singing, more guitar. When the studio rooms are all occupied the sound bleeds out into the corridor and mixes into one droning mash. Pulses, all mixed up and garbled. I listen to it in reception, flicking through band ads to kill the time.

Serious band looking for rock/metal drummer.
Alternative rock—looking for drummer and bassist to form a band.
Punk Rock, western suburbs. Green Day, Blink 182, The 1975, Paramore, Jimmy Eat World
Mature cover band looking for drummer

I close the browser and look out through the reception window. Two vending machines look back at me. Blank faces. There’s laughter down the hall from some band members. I’ve been looking for another project. Maybe I’ll start something completely new. Seattle Fix, the band I’ve been in for around three years now, can’t go full time, not yet (I have my hopes). I need something else to fill the time so that my time isn’t wasted. My 20s seem to be drifting by with nothing much to show for it. But it’s hard to find something interesting, something that isn’t a cliché.
I put the word out and I get a response every so often. I even watched one band read out loud the ad I put up at the studio where I work, not realising that ‘Drummer, 23’ was me, watching them from reception. ‘Bit young,’ they said, ‘ 13 years playing though!’
Bit old, I thought. They send me an email. I don’t answer. Another band gets in touch. They’ve got that big Violent Soho feel. Other side of the city. I’m tempted. They sound good, but too far. Too punk.
I’ve been thinking about music a lot. I can’t stop listening to Radiohead’s A Moon Shaped Pool. It, and other albums, have recently made me think harder about the sound, to listen closely. I’m beginning to think of certain songs as real compositions as opposed to simple songs. Radiohead’s recent release is, unsurprisingly, a fine composition. It’s a favourite for when I’m alone on the train, alone in my room, alone, driving late at night. It’s that kind of album. It sings to you a kind of sadness, loneliness. Best enjoyed in solitude. But putting aside the album’s emotion, I listen closely to the details, to the layers and how they work—how they morph into one another, what kind of rhythm they have, their tone, how loud or soft.
I listen closely to a song like “Ful Stop”, the song building into a finely layered, up-beat movement. I count the different guitars as they come in. One, two, then three. There are, I think, five guitar layers working at its height, as well as two, maybe three vocal layers, all of them placed so deliberately, answering each other. It might sound obvious to say so, but realising a song’s deliberate mastering, with all its different parts, has an impression on me. The guitar layers drop off to just one, signalling the song’s imminent closure.
In other tracks I notice the tinier details. It was only the other day that I noticed a sound in “Daydreaming” that I hadn’t before. I was sitting on the train at the time. Was it the carriage I was hearing as it moved along the tracks, rocking back and forth? I turned the volume up and yes, it was there. A clicking. No, a ticking. When I got home I listened closer again, honing in on the sound. If you listen closely to something and begin to pick it apart, the sound you’re looking for will suddenly come through to you, as if you suddenly realise it—a detail in a painting, a remote figure in the landscape, yet now, to your eyes, so distinct. It’s the sound of a clock I can hear, gears working in the background. It’s there. Listen closely.
I’m obsessed with this track. There are odd sounding voices at the beginning and the ending sounds distinctly like a warped Thom Yorke saying ‘half of my life’, backwards. Tick, tock. Tock, tick. The last track, “True Love Awaits” I’ve played more than any other on the album. Even in a track as stripped as this, there are details. Is it the sound of the keys being pressed on the piano that I can hear? I listen for the length of the echo in Yorke’s voice. And there’s something about that stumbling set of keys playing alongside the main progression that perfects the melancholy.

but yeah let us know if you think it might be something  you’d be keen to—
Here’s the link to my latest band, an EP and—

Have a few things recorded here have a listen mostly acoustic stuff but—

Warpaint’s Heads Up—more layers, a lot of beautiful harmonies. The details I enjoy are often in the combined lyrical effort of the members. Echoing each other, harmonising; there are three, maybe even four voices sounding off at times, some subtle, some striking. I still hear small vocal licks I hadn’t heard before. Mastering the details in Synth Pop pays off. That one piano stroke in “Don’t Wanna” is the cream on a dreamy crop of interwoven words. Throughout the whole album I admire the composition of a myriad different percussion samples. Again, I play the isolation the game. To take note of that previously unnoticed synth-pad, that one scratch across the guitar strings, that one chord on the keys, is hearing the song for the first time. Details of a universe.
They certainly followed their sophomore effort with something to die for. It’s delicious, their art definitely improving. I wonder how long it takes to weave together all their voices. It’s not as if the lines are always long and simple. It’s a mix of lyric, moans, hums, harmonies, echoes. They’re another band that make me appreciate music as more composed. They also make me think how profitable it can be to go against the usual format of a band as a boys club. Whenever a woman walks through the door of the rehearsal studio, I’m almost always surprised.

Forums / Musicians Available / Drummers available
Forums / Musicians Wanted / Drummers wanted 

My thoughts on Heads Up are interrupted when I stumble across a 20 year old and his Soundcloud. He’s looking for a band and his Soundcloud account is full of gold—shredding on guitar, electronica, synth. There’s a crazy-fast disco/funk arrangement, a 15 minute ambient track titled “Financial Report 2016/2017”, an ‘experimental’ track that sounds like a guitar dreaming, a track called “New Spell Acquired” with vocal samples and a old-school hip-hop style percussion. Even a ‘psytrance’ track. Wants to be like Frank Zappa. He’s far far west of Melbourne. Too far. I keep looking.

Drummer wanted for Pop punk/melodic hardcore band.
Wanted female musicians to jam with
Looking for a drummer who just gets it (cover band)

I’ve been getting drum lessons again. My new teacher is introducing me to linear drumming. The idea is that every stroke is separate, your hands and feet rarely striking at the same time. At first you might think this would slow you down but it actually means speed—you can roll the groove across the kit, learning it like a rudimental combination, pushing it out through muscle memory, fast and hectic. One of the two bands he is in just played at Strawberry Fields and his other, a metal outfit with a couple thousand likes on Facebook, rehearses at the studio. I’ve probably seen him around. He’s of a similar age to me. This makes me want to work harder, to get on with it.
Sometimes I think back to the moments that made me want to drum. It’s always the memory of my parents’ old records playing. Rolling Stones, Led Zeppelin, R.E.M. The DMA’s 2016 release, Hills End, reminds me of R.E.M. in a big way. I like to blast it out loud when I’m home alone, cleaning up the kitchen. It’s where those moments are in the archive of my brain. Dishes, meals, laughter, songs—that’s me in the corner… night swimming… this one goes out to the one I love

More wandering among the neurons in the shadow of my skull.

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