Name: Bronson Arm
Members: Blake Bickel (baritone guitar, vocals), Garrett Yates (drums)
Interviewee: Garrett Yates
Nationality: American
Current release: Bronson Arm's selt-titled album is out via Learning Curve.
Pure Drumming Recommendations: Machine Gun Benny's Youtube channel; El Estepario Siberiano's Youtube channel

If you enjoyed this Bronson Arm interview and would like to know more about the band, visit the duo on Instagram, and Facebook.

For a deeper dive into the group's songwriting process, visit our Bronson Arm interview.



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 blue PDP Pacific four piece kit. I used it on two demos for one of my first bands, “Rome”. It was a solid kit for the price. I’ve always loved the look and feel of a four piece kit and it's still how I roll today.

Right now I’m using a Ludwig Centennial kit with maple shells made overseas. The 24” kick is extra deep, which gives it a pretty heavy wallop and pushes a lot of air. I love it.



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?

I think that's true for the most part. The materials and tuning of the kit play a huge role in the way a drummer’s playing is expressed, but have a lesser impact on the playing itself.

My drumming would probably be expressed quite differently on Neil Peart’s 30 piece kit compared to the four piece I typically play. haha.

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?

There was about a decade in my late twenties / early thirties where I hardly played the drums at all. I didn't even have a kit most of that time. I think it was around 2008, when I joined the Navy. I went from playing drums in an active band and writing songs on guitar; straight into boot camp, 2 years of nuclear engineering curriculum, and about 7 years of working in submarines and nuclear power plants. It felt like it sucked out any creative energy I ever had.

I think playing consistently, and playing music with other people are the two most important things. It wasn’t until after I got out of the Navy and moved to Kalamazoo in 2018 that I started playing again.

I started out on Blake’s “Premier” kit and acquired my Ludwig shortly before our first recording session. We began making noise sometime in 2019, and practiced on average once a week. I think that has made a huge impact on me getting my abilities back.

What do you think you're doing different than other drummers?

I'm not sure if I am doing anything different really, but I do try to avoid playing things that I feel are generic or stereotypical. I would like what I play to have some sort of signature or unique quality.

I try not to “over-play”, and aim to give the song what it needs.

How do time signatures and tempo affect our perception of rhythm?

I am pretty shit at music theory to be honest. I think I probably mess with different time signatures and what not, but I likely couldn't tell you what it was that I was doing.

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

Relationship is exactly it. I think of rhythm as the base or foundation of the song. It's there in the tempo, the beat, the strumming, the repetitive snapping of wheels over the cracks in the sidewalk as a skateboard rolls along.

I think the melody is what makes it a song. It’s in the notes, its in the chords, its in the sliding of fingers across the fret board or the vibrations in your throat as you sing. And I think of harmony as how the rhythm and the melody work together.



I think Blake has a very rhythmic playing style on guitar, and his guitar tone definitely has amazing textures. At the end of the song “Conscious Confuser,” the way his fast and furious strumming rhythm creates a jangly harmonic-like twang that harmonises with the slowly shifting 2-chord progression and subtle octave-change melody that is all occurring over-top all of that messy, jangly, fuzz, is a disgustingly beautiful example of harmony in the dirtiest fashion.

I think Blake and I take a sort of “there is beauty in dead flowers” approach when it comes to melody.

Different drums have a distinct sound and drums and percussion are also timbral instruments. What drum sound are you aiming for and how are you making use of the timbral potentials and possibilities of your instruments?

My kit and playing style goes for the big loud type of sound, which is necessary next to Blakes custom guitar rig.

I've been using some tambourine and my hi-hat stand in songs more recently.

In relation to drumming, Stewart Copeland said: “Listening is where the cool stuff comes from. And that listening thing, magically, turns all of your chops into gold.” What do you listen for?

While writing, I listen for a drone. Something consistent. Something to which I can build my drum parts around. It could be a certain recurring note, chord change, or just a specific count.

I also listen for opportunities to incorporate some beats that I may be working on in solo practice.

There are often times where Blake will show me a riff and I'll realise that a random beat that I'd made up during solo practice fits it well.

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

Definitely, I often learn new drumming skills during the writing process. I will hear something in my head and then have to put the work in to figure out how to play it.

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?

It hasn’t been a big influence on my approach, but maybe an influence on my skills.

I've recently joined a hyper pop project where most of the drums are programmed. Programmed drums can be made very complicated because the hand and foot coordination is no longer required. I've gained some new dexterity from trying to replicate the programmed drumming.

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?

I don’t take very good care of myself. I have really poor posture from carrying my giant head around and hunching over desks. I also get beat up sometimes playing roller derby, so there are times I need to back off from that before a big show or a tour. I would hate to roll an ankle and have to cancel shows.

I don’t know if it affects my creativity - but the physical strain manifests itself in the form of sweat drenched clothing.

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

Tuning! Matt Marquez (Norma Jean, Dead.me) was the drum tech on the new record. He came over one day when we first met, soon after I had gotten my Ludwig kit. Matt tuned my resonant heads for me and the difference was night and day. My kit sounded phenomenal. I typically get new heads before a recording session, so tuning is huge.

There's a lot that goes into capturing a drum sound. what mics to use, how many mics to use, where to place them, the room and treatment is a large factor too. And of course a good mixing engineer goes a long way.

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

Physically, there is a lot of movement. Shoulders, wrists, ankles and hip flexors are all firing. So I guess that makes sense. I think there is also maybe some mental and emotional healing capability there too.

There is definitely something cathartic about beating the hell out of something. Drums are good for that.