Get Out! GAY Magazine – Issue 344 – November 29, 2017

Aside from Adam’s band, are there any
side projects you’d like to talk about?
I’ve been doing some songwriting,
melodic but drum-heavy songs. Once
I’m happy with them, a mate of mine, Alf
Pisanelli, a composer and mix engineer,
will work on the production. It’s a bit of
fun, but if we’re happy with the results,
it could go further. As for bands, I’m
always interested in potentially new
band projects, especially so if the music
excites me.
What tips do you have to improve drum
independence?
I don’t think there’s any easy way unless
you’re a child prodigy like Tony Williams
or Elvin Jones. You have to practice
hard or play plenty of live gigs. Listen
to as many different styles of music
as possible. If you’re trying to work
out a part from a song and it sounds
complicated, strip it down to basics,
perhaps starting from the bass drum
pattern, then once you’ve worked that
out, add the snare part, and so on. When
you’re learning to play a new rhythm
or piece, it’s crucial to play very slowly
to start with. It’s boring, but give your
brains a chance to figure out what your
hands and feet are trying to do. Then
you can pick up the speed gradually.
How long does it take to learn a new
song?
The basic arrangement of a new song
doesn’t take long to learn. It’s the finetuning
that takes a bit of time.
Who puts together your fabulously
sparkling costumes? Does that
atmosphere of secrecy wearing masks
annoy you when performing?
Some of the costumes I put together
myself. Then there are those that are
specially made for me by either Naomi
Gibbs or Caroline Wildman, both very
talented and hard-working. Naomi is
a theatrical costume designer, and
Caroline runs Cathouse Clothing, which
specializes in latex and PVC designs. I
will draw a simple sketch of an idea I
have for a costume, together with colors
and the type of fabric or material I’d
like to use. I then forward this to either
Caroline or Naomi. They then do the
difficult part and turn my sketch into
a reality. If a detail I’ve asked for isn’t
practicable, they advise on how to make
it work or suggest another option that
will produce a similar visual effect. They
have a great understanding of design
and know how to guide the basic idea
into something workable. It’s always
a thrill seeing the finished costumes. I
can’t praise these two highly enough.
[And] no, wearing masks isn’t annoying.
Once you’ve played in a porcupine
costume, wearing a mask is a stroll in
the park. But you’re right about the
secrecy, as once the mask is on, it’s as
though I’m looking out at the world
through a spyhole or peering through
some curtains.
What kit do you use?
I have a Gretsch New Classic with 10-
and 12-inch rack toms, 14- and 18-inch
floor toms and a 22-inch bass drum. My
snare is a 1970s Gretsch snare that I kept
from a previous Gretsch kit that I had to
part with due to lack of storage space.
It was a stunning 1970s walnut Gretsch
with a 24-inch bass drum. I hated
parting with that kit, so much so that
I held on to that snare as a keepsake. I
use Paiste and Sabian cymbals. All my
skins are Evans Calftone, apart from an
Evans Hydraulic that I use for the 18-
inch floor tom. They’re brilliant: a deep,
boomy sound that’s sound engineer
friendly. A revelation!
PHOTO BY ADAM DE VILLE adamdevilleart.com