Slinky and the Drumspyder
A few months ago, I quite by chance discovered an album titled Nekyia Vol 1. That was when I discovered the global fusion group, Drumspyder. A mix of Middle East, Indian, jazz, gypsy and other elements, it was great for tribal fusion – and it was just great listening. I was thrilled when Drumspyder recently came out with a a Nekyia Vol 2. The group’s “Slinky” and “Firebird” particularly got me. I caught up with drummer, Scott Sterling, to ask him about their unsuual music:
Scott, if you were to describe your music in one word, what would it be? It’s tough picking one word, because global fusion artists usually like to string words together, like “Middle-Eastern-breakbeat-Afro-dub, mixed with shades of gypsy jazz and the kitchen sink”. But I have to say one word, it would be “rhythm”. I have always been primarily interested in rhythm: its connection with dance, its energetic and trance-inducing properties. I have been a drummer for most of my life, much longer than I have been into Middle Eastern percussion or global fusion music. Rhythm, drumming, and dance are the reasons that I play music.
I don’t suppose artists like to be slotted into categories, but how would you describe the two Nekyia albums?
They reflect the rhythms I was into at the time, Arabic but with a lot of Afro-Cuban and Brazilian influence, hence the two “Desert Sambas” and the clave-based rhythm of “El Gato Loco”. Also the inspiration of working with dancer Kristina Canizares (www.nekyiadance.com) who is accomplished at Samba and Cuban dance forms as well as bellydance, jazz and circus arts. It’s music that was meant primarily for choreography, composed with a stage show in mind, whereas the upcoming album will be more of an evenly split orientation between music for bellydance performance and tracks designed for DJs.
Do you mostly perform with the Nekyia dancers? Is your music exclusive to them?
The Nekyia isn’t active at the moment, but I still create music which Kristina and other former Nekyians, such as Summer Sahar, use in their performances. Some of these new pieces will be out on DVD in 2009, as well as last year’s Nekyia work on HMCs “Tales of Desire”. Although I don’t technically have a contract of exclusivity with Kristina, she somehow seems to get her hands on my new tracks first!
What are your own favorite tracks on Nekyia 1 and 2?
“Pure Catnip” started it all; it was the first original track I gave to Kristina for group choreography, back in 2005. I still think of it as the “signature piece” for the Nekyia, and it was always part of our live performances right through the end of 2008. “Desert Samba 1″ and “Slinky” are my other favorites from Vol. 1, and since they were also a staple of so many live shows, I just had to put the final extended mixes on Vol. 2. On Vol. 2, a couple of pieces are associated with some very memorable shows. “Firebird” is a remix of a piece I did for the Crucible production of Stravinsky’s “Firebird” ballet in Oakland, CA. The track was originally at a moment when the firebird dancer rides on stage in an actual ’79 Pontiac Firebird, complete with flames spewing out of the grill. “Desert Samba 2″ was one of the last Nekyia ensemble pieces, really hot choreography. For me, “Catnip”, “Slinky” and the two “Desert Sambas” are the tracks that sum up the Nekyia vibe.
What music bands do you admire a lot?
Mainly I admire the great drummers/percussionists like Mahmoud Fadl (Drummers of the Nile, Salamat) and Adam Rudolph, who has done some great fusion work with Hassan Hakmoun and wrote a book (“Pure Rhythm”) which I practice with constantly. I’m actually not sure what category I’m in besides “drummers”. They have always been my musical heroes no matter what the style of music. Then there are fellow fusion producers/DJs such as Jef Stott and David Starfire, who I have had the pleasure of playing with and watching their work develop – a great inspiration to me.
What music do you listen to a lot?
Mostly old and traditional stuff; that’s where there is so much to learn from. Classical Arabic music from Syria and Egypt, Morrocan Gnawa Music, North african music i general, Medieval European troubador songs and religious choral music…those are some things that I have in rotation. I’ve been rediscovering Medieval music lately, something that I used to listen to a lot in years past.
Am I imagining things or are there Indian traces in your music?
Yes, there are samples and instruments in there from India, and one of my favorite instruments these days is the harmonium, which has become associated with India and Pakistan, although it was actually invented in Europe. I work primarily in Middle Eastern and early European (modal) scales, but there enough similarities between the styles that they can be mixed, maybe adjusting a note here and there.
Have you ever been to India?
No, but I would like to. I haven’t been off the North American continent in the past few years except to Japan for a tour, and I’m dying to go to the Middle East and North Africa to study. There is in particular a Moroccan percussionist (Ali Alaoui) that I’d love to get some lessons from, but I would have to step up my study of Arabic, or perhaps learn French, because he teaches in that language also. India would be a whole different trip, but maybe it will happen someday.
Do you think we’re in a real age of global fusion?
Yes. Music is global fusion now and I love it. Whenever and wherever a new style of music comes up, someone, perhaps halfway around the globe, is listening, downloading it, remixing it, mutating it into something new. The accessibility and connectivity between different musical cultures at this time is amazing. I am very happy to be a musician in the 21st century.
What is your next album like?
It is going to be much more of a DJ album and music that I will be playing live solo (a combination of laptop beats and live percussion). But don’t worry, there is going to be plenty of material there for dancers– almost all of the tracks are going to be full of tabla breaks and rhythm changes, and there is going to be at least one new bellydance drum solo.
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