Nathan Shingler - Alfa Mist, The Love Cave, and The World as His Oyster

A few weeks ago I did a video on caves.

The idea was that practically every great artist has a period where they go into the workshop, strip things down to the studs, go super deep on one or two things, and then reassemble themselves as a "2.0" version.

I mentioned that my own motivations are very often anger and jealousy, that I'm completely self-aware and at-peace with that, and that I use it to fuel me. I gave examples of other players who I considered "rage cavers". (Thomas Pridgen features largely.)

But I also mentioned there's another type of cave. One in which pure creativity is the primary fuel. In which the enjoyment of creating and high intrinsic standards drive you.

(One imagines the origin of NASA and the first moon mission as a rage cave, with the soviets as the haters, and the birth of Apple as a love cave.)

Anyway, it's hard to think of a better avatar for the love cave than today's podcast guest, Nathan Shingler.

Nathan won the best UK drummer award a few years back, and started playing with artists like Alfa Mist. Now he's touring with Alfa, and has his pick of the "who's who" in the small/exclusive UK music scene with who to create. And create he is.

Nathan describes getting into producing and drum and bass, as well as following his creative whims with writing and recording.

None of which stopped me picking Nathan's brain about how it feels to be him, what he practices/practiced to reach his current level...

...and bog-standard human psychological stuff like shedding the need to impress others and flow states.

If you could use an inspirational "pick me up", I know you'll love Nathan.

But wait there's more:

I very rarely do clinics in the New York area, but May 3rd is the exception; especially if you consider New Paltz in the "area".

What it is is a short drive from the city, and gorgeous this time of year.

And my former student Sal, whom you may recognize as one of the admissions reps for my coaching programs, is arranging the whole thing.

Details here. You also save $5 by booking tickets in advance.

If you're nearby New York and want to meet me in person, this is your best and most affordable opportunity.

Enjoy!

What I Learned From The Primus Drum Auditions

First things first - grab your free transcription here!

The Primus auditions were a niche-international-sensation. Thousands of audition videos from all over the universe were all over social media, featuring at least 3 podcast guests and some of my favorite drummers throwing their hats in the ring for this beloved band.

Over the past few months, the band itself has released edited versions of all the finalists’ auditions, including that of (spoiler alert) eventually “winner” John Hoffman. And podcast guests Thomas Pridgen and Stan Bicknell also did amazing jobs!

The subject of today’s video is primarily what I learned from Thomas’ audition, and in particular from a seemlingly-offhanded comment Les Claypool and Ler LaLonde made about it. Yes, I’m going to tease you, and to find out, you’ll have to watch the video! Sorry!

But I will go into what that comment inspired. Because it turns out it’s a concept I’d been toying with ever since my latest Meinl video came out.

And it has to do with something very fundamental to humans: what makes us Dance.

How do you play an accent pattern on the drums that, in principle at least, sounds more “danceable” than some others. It’s not as easy as it seems, because you’re dealing with improvisation. So it’s a little like “how do you remember this thing in a dream”.

Luckily, I’ve been workshopping this all winter. In the Cave.

And in this video, I’ll also “unveil” some of the latest “8020 sh@#” that’s been working for me and my students.

It all started with something Les said in the Primus auditions. If you’re curious how it all fits together, I invite you to take the ride.

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Every Great Drummer Faces This

First things first. Download your free groove transcription here.

Whiplash was unrealistic. I get it.

Not the film I'd necessarily study for my "double time swing". And Andrew Nieman, upon graduation, likely would've been the most "Buddy Rich" bartender in FiDi for a few years.

But did it get some things right? What about the "bloody hands" scene?

Well, I've certainly never iced my hands before a practice session, nor put my hand through a drum head. (At least not an Emperor.)

But I have taken plenty of "hard looks in the mirror". I've found myself lacking in comparison to some bar - intrinsic or extrinsic - and used that rage to power some pretty ADHD practice.

I call it "the cave".

And the more I talk to great drummers - as I'm lucky to be able to for the podcast - the more I realize it's kind of a universal. It's a focused effort on just one thing. It's opening the hood, and letting all the engine parts sit in the driveway until you fix it.

The most common - the type we see in Whiplash - is the "rage cave".

It's not "normal"/"healthy" practice. Its something beyond. It's probably not even the most optimal for mental health, or even skill acquisition!

It may not even be "causal" to great drummers. But it's correlated. It's what's bound to fall out when a burning desire to be better meets cold here reality.

But thats not the only cave. Players like Chris Turner, Madden Klass, and Nathan Schingler have a passion more fueled by love than comparison. Others, like Anika Niles, Stan Bicknell, and Zyck "The Freak" Wyatt have a "discipline cave", that's not fueled by frustration, but harnesses the power of discipline to accomplish goals.

Anyway, in this video, we explore all those types of caves, before finally asking "do you need a cave" to become great?

Know you'll enjoy this one!