I hate to say this but Murph from Dinosaur. Fine on the records but the last couple of times I've seen them he was so off that it was hard to watch.

elisha wiesner wrote:mrcancelled wrote:I hate to say this but Murph from Dinosaur. Fine on the records but the last couple of times I've seen them he was so off that it was hard to watch. At best I'm a casual Dino fan but I saw them last year and he was on fire. We were all kind of shocked at how good he was. Talking about it on the drive home and shit. He and Lou absolutely owned the night.Oh good, he must have had a couple of off nights when I saw him. The sound in general was pretty horrible at the show I was at last year, so it wouldn't surprise me if that was throwing him off too.

first2letters wrote:Amy FarinaReally!? I like her playing on the Warmers stuff a lot, don't really like the Evens so I haven't listened closely to the drums. No strong feelings on Arika Casebolt either way.edit: oh wait, you meant it like badass right.. I read it too quickly.

Phill Calvert has no place in here. Same with Lol Tolhurst. I happen to think they definitely have a memorable sound, they were tight and distinctive and were such a vital part to their bands. They were both in bands where paradiddles and polyrhythmic funkiness were strictly verboten. It was all about hacing a style that blended perfectly with the overall atmosphere of the songs. Having heard that To The Outside Of Everything post-punk box set, there are plenty of drummers that fall into the traps OrthodoxEaster pointed out (too many toms) and also plenty of cack-handed 'disco' or 'funky' drumming. But I'm not having the Tolhurst/Calvert hate. They're protected by the Ringo clause.Reading through the thread, I'm unfairly critical of Colm O'Cioisig. Sure he's messy but that's part of MBV's sound. I've learned to love his drumming over time. Wonderful stuff.

In terms of stuff from Sunny Sundae Smile to Isn't Anything his drumming is perfect for the material. Hopefully the new stuff isn't sample-heavy and we can go back to Animal-style drumming. However, given Shields' tendencies, this is too optimistic on my part.As for Lol, I personally think the drumming on Three Imaginary Boys is the only thing with a set of bollocks on it. The weakest part of early Cure for me is Robert Smith's guitar tone. Too weedy. He needed to invest in a couple of fuzz and chorus pedals much sooner.

OrthodoxEaster wrote:Unrelated: Early '80s UK goth and postpunk was littered w/terrible drummers who often fell back on endlessly repeated straight eighth notes or half notes on the kick and thenrode their toms excessively in order to mask their lack of kick/snare coordination. Sometimes the patterns were unusual, but there was a sort of obvious inability in terms of moving one's limbs independently from one another. Early Cure and Bauhaus seem like the most popular examples of this approach, but I could probably think up a half dozen more if I had the time.phil calvert?

Colm O'Cioisig didn't "play" on Loveless. Kevin Shields replaced all of his playing with a samples of recorded snippets. The drums on Loveless almost ruin the album.I remember watching an interview with Robert Smith regarding Lol's drumming; there was a deliberate intent to have the drums sound like a drum machine on Seventeen Seconds and Faith.

Lu Zwei.

Gramsci wrote:I remember watching an interview with Robert Smith regarding Lol's drumming; there was a deliberate intent to have the drums sound like a drum machine on Seventeen Seconds and Faith.I am absolutely convinced that the drums on those two records (and most of Pornography) are, in fact, machines. Lol was well known for getting bored and wasted in the studio, eventually it got him fired. 3IB sounds nothing like the albums which followed, and that transparently bullshit statement from Smith confirms it.