SLAYER's DAVE LOMBARDO Featured On Cover Of DRUM! Magazine

Enter Music Publishing, publishers of hip/drum percussion magazines worldwide, has published, maybe, its most diverse, insightful issue to date. And how apropos that issue 168 is being displayed at NAMM (National Association of Music Merchandisers trade show) 2010.

Featuring Dave Lombardo of SLAYER on the cover, DRUM! investigates his new approach to playing louder and harder. The magazine also examines the always interesting Gavin Harrison — drummer for PORCUPINE TREE — and his suggestions to boosting one's career. DRUM! also includes drum parts from Stanton Moore, who's creating tunes with a nod to John Bonham.

"DRUM! has always been committed to writing about the most established drummers and younger players, who have innovating now," said Phil Hood, publisher and one of the founders of Enter Music Publishing. "I think that this issue is one of our best examples of that editorial strategy."

Dave Lombardo made a name in the metal scene for his aggressive, loud style, but he has learned some new tricks to accomplish this. For instance, after reading an article on jazz legend Art Blakey, he is now drumming with an approach he calls "crescendos." This can be heard on SLAYER's new album, "World Painted Blood", in which he builds the intensity of the drums by hitting the ride cymbal harder versus switching to the crash ride. He attains this by hitting the ride with the body of the stick and at a certain point when the part changes, he will switch to create a swelling effect. As he said during the interview: This new style allows him to build a specific beat until he can't do so anymore.

Additionally, Lombardo established himself in the metal scene by being one of the pioneers of double bass playing. Humble and honest when discussing his playing, he believes that he was not true to the style until 2006 when he implemented "proper" blast beats. In his case, this refers to playing unisons — right hand on snare, left hand on a cymbal while playing sixteenths with his feet. But he's quick to note that his main goal is to have the agility to play fast. He has gone beyond the concept of isolating his parts to satisfy his own ego. As he says, "There's no, 'Oh, dude,' I gotta out-do myself."

An excerpt from DRUM!'s interview with Dave Lombardo can be found at this location.

It takes a mix of confidence and humility for an established drummer like Gavin Harrison to provide tips to other drummers to improve their careers. Harrison, however, may be the perfect drummer to discuss breakthrough playing and mental strategies. Starting his career at age six playing jazz, Harrison carved a niche for himself in the industry when he replaced Bill Bruford in a two drummer format with KING CRIMSON, known as the "double trio" configuration.

Armed with this knowledge and much more, writer Harrison provides the reader with 10 specific career tips to succeed. From #1, which is, luck is everything. Make your own luck" Harrison outlines his tips with the same dexterity as his drumming. And, in this economy, any drummer could benefit from his 10 insights to making it.

Point #3 is especially poignant, which is "Treat Every Gig Like An Audition. In this section, Harrison emphasizes that a potential gig can be found virtually everywhere and when you may least expect it. As he says so succinctly, "play it (the gig) like your career depends on it." While some of his tips may seem obvious, they are relevant to established and younger players.

One of his tips, "Remember Kids, Drums Are A Musical Instrument," is exemplified by the current drumming of Stanton Moore. In his "Practice Pad" column, Moore discusses one of his projects, The Garage A Trois." While Moore stays true to his high-energy improv, he also finds ways to be creative and pay homage to one of his main influences, John Bonham. As he explains in the column, Moore is successful on his favorite tune, "Electric Door Machine", by using his powerful abilities and respecting the legacy that Bonham created. He accomplishes this by trying new things like recording the track through a sax microphone. As he writes, "That would be a problem if you're trying to make a pop record. But, for our brand of music, whatever we're doing is fine. Moore's transcription of "Electric Door Bell Machine" is a great example of thoughtful, drum voicing that fits with the rest of the group.