Canadian Musician - November/December 2017 - Page 52

CM: What’s the biggest challenge about touring today? JS: Well for us, there are kids involved, so being away for large stretches of time is a challenge. Also, as we’re getting older, achieving proper rest while being away is big. We’re not crazy partiers, but I’ve always found it a challenge to, you know, when you have to peak at such a late hour, then how do you get to bed at a reasonable time? It’s much like playing beer league hockey when you get the shitty ice time and then you can’t get to sleep until four in the morning. JS: “Zoochosis” was one of the last tunes that we actually made for the record. We hadn’t put as much time into it and it was hanging in the balance for a while, but we’re all really happy with it. It’s a fitting and appropriate closing song. That one was more just how it felt and we went more with our instincts on that one, whereas “Nigredo” was very slowly put together. There were a lot of different parts that we worked at in isolation and slowly moved them together. It’s really interesting with some of those tempos, because you speed a couple of them up by as little as 2 bpm and they just don’t sound as sad or forlorn as you want them. It was a lot of experimenting and fitting it all together. Adam Paquette The Glorious Sons As the drummer for The Glorious Sons, Adam Paquette has covered lots of ground in a short time. With the release of their second LP, Young Beauties and Fools, Paquette and the band are preparing for more new challenges and many more kilometres on the road. and Fools seeks to prove that in some ways. How do the drums factor into this? CM: What is the most recent piece added to your live set up and why did it earn that spot? AP: We’ve been checking out some of the Roland drum pads and decided to get one. I haven’t used it with my kit yet, but that will be the newest piece. I also just picked up a new snare to get the tone we’ve got on the new record. CM: With your second LP, Young Beauties and Fools, now out, what has changed the most for you about your approach to drumming since 2014’s The Union? AP: The band’s entire approach to writing has changed since then. We used to go jam and fumble around for a while, but now we build the songs up piece by piece from Brett’s acoustic songs. We can test out drum parts on the computer, add different elements, and then I can go try it out on the kit. At first, I didn’t like it and needed to be convinced. It was a bit of a challenge, but it’s worked out and wastes a lot less time. I’ve also been taking lessons to learn more complex moves. CM: In a recent interview on Canadian Musician Radio, Brett mentioned he thinks good rock music can sound modern and doesn’t have to sound like it came from the ‘70s. Young Beauties AP: Yeah, hmm… Probably less four-on-the-floor drumming I’d say. There’s more right arm work for sure and different moves on the snare and toms that serve the song. The tones of the drums, and the snare specifically, help give the album a modern rock sound, too. We’ve spent a good amount of time finding the right snare tone. CM: What is the most important thing you learned from working with the Fast Friends production team of Frederik Thaae, Ryan Spraker, and Tom Peyton? The Gear AP: They basically helped us develop our new approach to writing and helped us feel comfortable with it. We had a lot of stops and starts just trying to jam new material and we wrote enough songs for another album before Young Beauties, but we just didn’t f ѡɕɕ͕ѕݡЁݔ݅)Ѽͽչ]eٔѡɽͼՍ)ѽ她ȵ͕́ѡЁ$݅)ѕ䁙ͽɕɔѼЁͽ)ͥѼ䁙ȁ̸Q́́ɸѼ)եͽɕЁ̸݅=ݔЁѡа)ѡ܁մѽѡȁɕե七еIQ+൥ȁQ+ȵ-)e е ѽMɔ)e յ)MAє 嵉 +еMMх!+൥M Ʌ͠+൥AєMɔ Ʌ͠+MI )1́ ̀յѥ)5儁5)QA)5儁5ȁ́ѡյYٕȵ͕占ɅɽռQA5ȁѕ́)Ёͥ䰁ѡ́ݡЁЁ́Ѽ͔ٔ(ȃ 8$84TL$ $