His sets are like spiritual revivals in honor of some unnamed deity.
#Neptunes drum kit series#
Crisscrossing jazz and techno, metal and garage rock, classical and Appalachian folk, it is one of the Triangle’s most intriguing avant-garde series this decade, its unifying idea a direct route for divergent explorations.ĭuring the second week, for instance, Wisconsin drummer Jon Mueller will use a chimera of drone energy, heavy metal intensity, and ritualistic singing to conjure a sort of entrancing religious fervor. The series takes an essential next step thanks to the financial boost of a few sponsors: Working with drummer and fellow concert promoter Devon Tuttle, VanVorst recruited several drummers outside of North Carolina to the series, expanding both its geographical and stylistic reach in surprising ways.
#Neptunes drum kit full#
This week, Neptunes begins the second full edition of Resonancy with five Sunday night shows from drummers and producers in search of something more than a backbeat. They loved it, though a few admitted that this would be their first time dreaming up music of their own. So she asked, emailing an assortment of North Carolina timekeepers to see how they would take to the idea of a show without the bounds of their bands. “I wondered if more drummers wanted that kind of platform-to get weird, to do their own thing, to be in charge of a set.” “It was really inspiring to me,” VanVorst remembers.
He’d treated his drum kit like his own little symphony, coaxing uncanny textures from rumbling snares, scraped cymbals, and simple electronics. The idea, explains club manager Kate VanVorst, was simple-to give drummers, long hidden in the rear of most bands and stereotypically relegated to mere rhythm-keeping status, a space to push their instruments and individual interests further.Ī solo performance by Joe Westerlund, best known these days for his subtle motion in bands like Mandolin Orange, had prompted the concept. There was a little laughing and a little crying, all responses to nothing but drums, voice, and feeling.Ĭolpitts’s poignant September memoir was a one-day outgrowth of Resonancy, a fledgling series of drummers, percussionists, and beat-oriented tinkerers that Neptunes had debuted eight months earlier. By the end of the thirty-minute set, the afternoon’s audience had been with him to the hospital and back home in New York, sharing his anxiety about his career and the grip of his opioid prescription. “If I just relax and just observe, maybe I will live through this,” he said, his halting voice and broken rhythm suggesting an existential uncertainty that had yet to fade entirely. The pain was unbearable, he confided on that Saturday afternoon, his body partially obscured by the drums he played as he relayed the saga in fits and starts.
In late February, Colpitts-best known as Kid Millions, part of the ecstatic exploratory New York weirdo rock band Oneida-was headed for an early-morning flight back home when his taxi was walloped from behind, sending it careening into a wall.
| Neptunes Parlour, Raleigh | In September, on the final day of the Hopscotch Music Festival, the drummer John Colpitts had a story to tell: It was about the moment, less than seven months before, when he thought he was going to die on the side of a Los Angeles highway.
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