Name: Bella Wakame
Members: Andi Haberl (drums, sensory percussion), Florian Zimmer (modular synthesizer)
Interviewee: Andi Haberl
Nationality: German
Current release: Bella Wakame's eponymous sophomore album is out via Umor-Rex.  

[Read our Florian Zimmer interview]

If you enjoyed this Bella Wakame interview and would like to know more about the band, visit them on Instagram, and Soundcloud.



It seems as though most aspiring artists are drawn to the drums and percussion for one of two reasons: Creating sound/noise and creating rhythm. What captivated you?

Making the music - whatever it may be - feel good and groovy. I love to improvise and I try being in the moment connected to me and the other musicians.

Also, creating melodies on the drums.

When I listen to music, I see shapes, objects and colours. Others experience emotions. Everything around drums, on the other hand, is based on touch, vibration, and movement. Does this mean that your own perception as a listener is also more connected to touch, vibration, and movement? What happens in your body when you're listening?

I am looking for music, that touches me emotionally. It depends on my mood which kind of music I choose to listen.

When I hear James Brown, I want to dance. When I hear Sufjan Stevens´ Carrie and Lowell, I feel more introvert and look into clouds and certain thoughts come up.



What was your first drum set like and what are you using today? What, to you personally, are factors in terms of build and design that you appreciate in drums and percussion instruments?

My first drum kit was a red DAITO standard kit. It had black drumheads, which I found special.

Now I am with Pearl Drums and I like them, because they tune up easily for the different genres I play. Also the hardware is really durable and functional.

I like it when drums are uncomplicated. There was a long period of time, when I was so obsessed with drum equipment, that I forgot to take care about practicing and focus on the important stuff.

Late Rush-drummer Neil Peart said: “The equipment is not an influence. It doesn't affect the way I play. It's an expression of the way I play.” What's your take on that?

Recently I played on a really nice Gretsch jazz drum kit and it definitely affected the way I played the songs. I was so much into the feel and the sound, it really inspired me.

The drums and percussive instruments are an integral part of many cultures, and traditions. Which of these do you draw from in your playing – and why?

I am influenced by Afro-Cuban and Brazilian rhythms, because I loved this kind of music, when I was a teenager. I soaked up the feel and tried to play those different rhythms with my 4 limbs. Its was very challenging, but my coordination improved through this.

I got in contact with African music in 2016, when I was part of an orchestra project with musicians from Malawi. The rhythms were very fascinating and I was intrigued by how they were played. As if there were no tomorrow. It was super intense.

In all those influences the melodic aspect of drumming is very present.

What were some of the main challenges in your development as a drummer / percussionist? Which practices, exercises, or experiences were most helpful in reaching your goals?

I guess, like for most people who learn this instrument, I had to figure out how the sticks rebound and make use of it.

How to hit the bass drum in a jazz context. Learning to play a swing beat, playing the bass drum very softly with the left foot while, at the same time, the right foot keeps time and the right hand is free to improvise. Learning to play the 4 limbs at different dynamic levels. Playing a solid Rockbeat which felt completely opposite to the jazz beat.

My teacher gave me the classic hand technique practice exercises like stick control, coordination with the drum books by Ted Reed, and Dante Agostini. Everything was pretty basic, but a good foundation for me to make the next steps.

Most importantly, I was able to play music of different genres with friends at a young age.

How would you describe the physical sensation of playing the drums? [Where do you feel the resonances/pulse/groove, what are emotional sensations, is there a sense of release or tension etc …]

I feel the time inside of me. I sometimes also make noises to get into the feeling of the groove.

Posture is a big topic: how high is the drum stool, what's the best snare height, how far away am I sitting away from the drums. I have to feel comfortable and be able to reach everything easily. Then, I just have to let go and play and listen.

What is the relationship between harmony, rhythm and melody? How do non-percussion instruments contribute to the overall rhythmic texture of a piece?

If you listen to bebop, everyone in the band contributes to the rhythm.

Thelonious Monk plays super rhythmical solos and uses motivic rhythmical ideas for his compositions a lot.

Do you feel that honing your compositional / songwriting skills has an effect on your drumming skills?

Not so much on my skills, but on the way, I approach my role in the music.

I think more often about when moving to the ride cymbal, which bass drum pattern fits best, how I tune the drums, what my role is in the music.

I've long been intrigued by bands or ensembles where the drummer is the leader and/or main composer. In as far as it is possible to generalise, what do you think changes in terms of the music or performance in these situations?

I guess, it depends on the kind of person. Levon Helm of The Band comes to my mind. He was super groovy in his singing. Anderson Paak as well.

Phil Collins as well, haha.

How are you making use of the timbral and textural potentials/possibilities of your drums and percussion instruments when making music?

I am excited by:

Long - short
High - low
Hard - mellow
Metallic - warm
Fast - slow
Sparse - lots of space

I love resting notes

How has technology, such as drum machines and sequencers, impacted the way rhythm is created and perceived? Has it been a concrete influence on your own approach?

Playing to a sequenced rhythm Is definitely different. The timing Is always the same so you can't move the feeling around a lot or at least it can clash with the sequence.

What I like about the trigger system, I use (Sensory Percussion), is that it is very sensitive to your own playing style and feels more like an extension of your instrument. You can trigger samples, which are hosted in a software, with your drums in a very flexible, creative way, which inspires my music.

Physical strain is a particularly serious issue for many drummers. How does it manifest itself, how do you deal with it and in how far does it affect your creativity?

Luckily I haven’t had that many issues yet.

Sometimes, when I didn't warm up my hands, there can be pain after a demanding gig. Same with my feet. Good posture is important. Playing effectively and not overpowering as well.

Many recording engineers have remarked that the drums can be particularly hard to capture. What makes drums sound great on record and in a live setting?

It's the ear of the drummer. If the kit sounds balanced in itself, then the recording sounds good as well and it's not very difficult to get a good sound.

Best example: The Beatles.

Drums and percussion are remarkably often used for physical therapy / healing. What, from your point of view, makes them particularly suitable tools for this?

I guess the possibility to address certain feelings to a beat or a single hit can be healing. The body is active and the mind can be connected.

For me, making music and playing this physical instrument helps me a lot to balance myself.