Keep up with Joseph here:
www.myspace.com/doomsdaymachineschematic
http://www.doomsdaymachineschematic.com/
Joseph Morad started playing drums at the age of 15. After three years of lessons under multiple teachers, he started his first band with his brother, John, on guitar. Despite his late start in the world of drumming, Joe steadily worked his way toward playing faster and heavier music. “I never looked at myself as really being cut out to be a drummer” Joe says, “It just kind of happened that I was taking these drum lessons, and my brother John was taking these guitar lessons, and we were like, ‘lets put something together’. It was a very natural, organic thing. I don’t think either of us expected it to survive this long. That said, I don’t think I could ever picture myself playing in another band after this.
Today, Joe still plays with his brother in Doomsday Machine Schematic, along with cousin Brian Bodine on vocals and close friends Chris Walp on guitar and Josh Dawson on bass. Doomsday Machine Schematic’s output includes three independent releases since 2005, each featuring faster and more Technical material. Joe has worked with other bands, including his own one-man electro-grind band Funeral Caste and comedy-grind outfit Dead Baby Stalkers.
Joseph Morad Interview:
SD.com: How old were you when you started playing?
Joseph: I started playing when I was fifteen years old. <?XML:NAMESPACE PREFIX = O />
SD.com: Did you play in a school band or any drum corps?
Joseph: No, though my Father told me that I had to if I was going to take lessons, I somehow worked my way around it. Looking back, I realize the only reason I didn’t play in school is because I was a shy kid and didn’t know who to ask or how to go about getting started. I just kind of figured it wasn’t worth it. I regret not doing it.
SD.com: Ever take any lessons?
Joseph: Yeah, I had to keep bugging my parents about it though. My first few teachers were big into prog, then I ended up studying under Marlon Simon after I finished high school. I was only with Marlon for about a year, but he really helped me understand a lot about Latin rhythm. I’d love to go back to him so I could incorporate more of that style into grindcore. I think people blindly give all the credit to Jazz for adding complexity to extreme metal, but I’ve always felt that Latin would create some crazy groundwork for some awesome drumming in metal.
SD.com: Who are your top 5 influences?
Joseph: Well, in no particular order:
Chris Houck: He represents an important early influence of mine. I felt his work with Nothingface was really solid. He has good feel for odd-time and creates flow. He was the first drummer whose technique I actually tried to emulate. With my old band, I remember asking myself “What would Houck do?” quite often.
Brian Blade: coming from a background with little Jazz influence, I’m constantly blown away by his feel and application. His touch is so soft, it’s ridiculous. It seems like he puts as much thought into dynamics as other drummers put into chops, and that’s how it ought to be.
John Longstreth: A super-important drummer. I know a lot of newer drummers look to this guy as the new standard for death metal drumming, and they should. Pick any 2-minute stretch of music on Origin’s Informas Infinitas Inhumanitas and you’ll have your practice regimen for the week.
JoJo Meyer/Johnny Rabb: Moeller technique/Gravity blasts.. ‘nuff said.
My students: I worked for 3 years giving drum lessons. It’s funny what you can pick up from a five-year-old sometimes. But they have insight that adults lose over time. This applies especially to basic technique. Sometimes we get caught up in abstract concepts when a straightforward approach is best. Getting a fourth-grader to understand two against three time is really satisfying, but breaking that explanation down into concepts that a child can understand and apply can change the way you look at a concept, as well.
SD.com: Assuming that influences doesn’t mean favorites, who are your favorites?
Joseph: After all the gabbing I did on the last section, I’ll keep this one brief.
John Longstreth: again, what a metal drummer should be.
Martin Lopez: adds that under-represented Latin flavor to metal. I never get tired of his playing. He keeps Opeth’s 10+ minute songs fresh, interesting, and enjoyable, but is so subtle he’s almost transparent at times.
Derek Roddy: he’s kind of a gimmie. What I like about him is how into sharing his knowledge he is. He’s got a pretty good website for drummers to check out and talk about practice tips and so on.
The Drum Machine: I know this might be a controversial one, but to be honest, I love making music with drum machines and I love drum machine bands. And they will never threaten “real” drummers. Maybe if all the clinics out there would be hosted by drum machines, then I’d be worried.
SD.com: Let us know 5 CD’s that are in your current rotation
Joseph:
1: Pig Destroyer: Terrifyer
2: Anaal Nathrakh: The Codex Necro
3. Nasum: Shift
4: Death Cab for Cutie: The Photo Album
5: Converge: You Fail Me
SD.com: Can you remember a night you think was your best playing ever? If
yes, when and where?
Joseph: Ha ha! It’s a lot easier to remember the bad nights then the good. When Doomsday played out in <?XML:NAMESPACE PREFIX = ST1 />State College, Pennsylvania over the summer of ’06 comes to mind as a pretty good show. Actually, the last show we played went over really well, too. Generally, the shows that go the best are the nights that we play in front of three people and no one’s filming.
SD.com: Do you have a favorite brand of drums or cymbals?
Joseph: I’ve been playing the same drumset that I started out with: a mid ‘90’s Pearl Export. I got a nice Mapex Saturn Pro set when I turned 20, but I still liked by Pearl better, so I traded the Mapex for an Axis A longboard double pedal. Best trade ever. I choose cymbals based on individual sound over brand.
SD.com: Do you have any pre-show rituals?
Joseph: Don’t stress out! Actually, that can be a problem for me if there’s we’re sitting around a venue for more then four hours before we go on. I start to get stir crazy. Otherwise, I stretch a lot and work on controlling my breathing while setting up. I try not to get too wrapped up in ritual because I’ll just psych myself out. I try to stay in the mindset of just go, play, have fun, and laugh off your mistakes. Sometimes I think of my girlfriend (if I have one at the time), but I keep it brief. Again, if I think of someone for too long or attempt to “dedicate” a performance to someone, it freaks me out. I need to play for me.
SD.com: If you could give one piece of advice to young drummers, it would be…
Joseph: Watch every drummer you can. At live shows, get in a spot where you can see the drummer’s hands and feet clearly and don’t take your eyes off him/her. Critically analyze their performance. What do you see that’s different from your style? What are they doing right? What are they doing wrong? Where do they need improvement? Is there anything that they’re doing that you can take home and apply to your playing immediately? Other drummers, even if they’re not as good as you, can be great sources of inspiration.
SD.com: Who gave the best live performance you’ve ever seen?
Joseph: This band from Shamokin, PA called Ass Lava. It was like a Gwar show. I managed to avoid most of the fake blood, but I think I got pelted with a bone or something. That sticks out in my mind as a really awesome live show. Live shows for me need to be visceral, interactive experiences. That doesn’t mean everyone has to mosh or leave with a black eye or anything, but a live band should offer something that their recordings don’t. they don’t call it a show for nothing!
SD.com: If you had to stop drumming, what would you want to do with your life?
Joseph: Ouch. I guess finish school, get a job, and be a “normal” person! (yeah right)
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