“In the mood”  - part two (click to see part one)

Communicating the mood:

‘Plage’ by Crystal Fighters. Lighthearted and free spirited.

‘Glory box’ by Portishead. The distinctive atmosphere was emphasised by the use of two drummers when they played live. The snare tone is kind of edgy but the overall effect translates as very fine. So might Catherine’s ghost have rattled the windowpanes of Heathcliffe’s moorland house.

‘Conversations 16’ by The National. Don’t think I’ve ever heard The National without shivering all over. They just destroy me.

‘Three days’ by Jane’s Addiction. All you need for a tropical island getaway. Breathes in the spirit of a lazy summer afternoon, and the promise of the soft dark of evening.

‘Maralinga’ by Midnight Oil. This strange and obscure track is one of my highest rated of all time, and was my first experience of just how powerful and haunting drums can be. This song invokes the spirit of all wastelands; their desolation, space and timelessness.

“Stop me if you think you’ve heard this snare before”  - part two. (click to see part one)

Drummers who get the most out of their drumkit:

‘Dry Bone Valley’ by Mastodon. If Brann Dailor were an architect, his designs would be like those Renaissance cathedrals - full of intricately interlinked pillars and arches but still with a sense of immense space. And he creates even more dimension by making use of his whole kit, the way builders add more interest by the use of different timbers.

‘Bloodbuzz Ohio’ by The National. Bryan Devendorf is the master of the thunderous power of toms.

‘Lifeline’ by The Tea Party. Wonderfully aware of the unique voices of each instrument.

‘Best of Both Worlds’ by Midnight Oil. How to make the drumkit pull its weight.

‘Grown ocean’ by Fleet Foxes. Finely woven and densely textured, like a richly detailed tapestry.