K Bo’s interview with Thomas Lang continues…talking about soloing, and his solo project stOrk.
Solos and stOrk…
Q: Let’s talk about drum solos. Gone are the days of John Bonham’s “Moby Dick” and Ian Paice’s “You Fool No One” although Neil Peart still successfully solos. Why do you think the days of drummers soloing are gone to some extent?
A: I think a lot of things have disappeared from the music scene in general. The classic drum solos are one of them. I think it’s due to society becoming immune to nuances. Everything now has to be very simple and in your face. You have to continuously capture the attention of an audience and you can’t expect an audience to really pay attention. Everyone wants flash and spectacular. You used to be able to do a 20 minute solo because it was new and it was interesting and people didn’t know what to expect. Remember, you also didn’t get the opportunity to see some of these amazing drummers all that often. You only saw these players once in a while. There was no YouTube where you could click on a video and if you got bored after 5 minutes you could click it off. Back then, you were there and you knew that the person was there for you and you didn’t know if that performer wouldn’t come back for 15 more years if at all. So that performance was worth attention. People now expect to be impressed or “wowed” all the time and there is a very arrogant attitude towards performers and that’s why these beautiful moments have disappeared. Similarly, it’s impossible to have a drum solo in a commercially successful song. I hope those days return. Tommy Lee, Travis Barker and Neil Peart still do it but I think, at least with Tommy Lee and Travis Barker, they are more celebrities than drummers sometimes.
Q: Let’s talk about your band “stOrk” and your recent self-entitled album. Three tracks stick out on this record—“Moon Rock,” “Metal Fatigue,” and “Tripola.” How did you come up with the beat to “Metal Fatigue”?
A: stOrk is a heavy and progressive group. As to “Metal Fatigue,” I wrote this song in 2005. It’s a real search with blastbeats. I was thinking about music in the 1930s when people were playing the most complicated patterns as quickly as possible simply to challenge themselves. I wanted to do something to reflect that. The main beat is a blastbeat but then I change it to play variations of that classic beat. It also includes very fast double bass patterns but they’re not played as single stroke patterns like most drummers play them. I played them as double strokes which created a slightly different groove. I wanted to play a brutal and intense pattern and I wrote this song to give me the vehicle to show that so that I have an arena to perform my drumming wishes in. It was very tiring. It’s at 240 bpm.
Check back for Part 5 of the series, Camping with Thomas…
Missed the other parts? Check them out: