M- Well, the following question comes to expand on the previous answer: what do you think about the use of technology in music, either in studies, production, or in any other aspect of making music?
E - I believe that we should use technology in favor of music. It is a handy tool to, mainly, expand our artistic possibilities. I always insist that we should use technology consistently as a facilitator to increase our creative or communicative power. It is a pity that people sometimes use technology to simulate something they can't do with an instrument to achieve results that would never be achieved organically. This is very sad, we need to respect our personal and musical limitations. Technology has come to help us. It is a powerful tool and we need to use it in favor of art.
M - You have been the Sepultura drummer for ten years. Before that, you played in several bands, prioritizing subgenres of metal. Does each project require a different creative process? How does it happen at Sepultura?
E - Yes, each project has a different creative process. At Sepultura, it is vast. Songs can come from the drums, for example. I like to keep close contact with the instrument. I am always doing experimental studies and, sometimes, an interesting idea appears. Immediately, I think about how I can use this idea in the band. So, I record this piece, develop variations thinking about the song, the chorus, verse, guitar solo, bridge... and I send it to the guys. After that, they start composing the rest of the instruments.
Songs can also be born from the guitar in the same process. Andreas [Kisser] records a riff or some idea and sends it to me. Then I add to his riff, maybe finding new solutions, new paths ... The songs can be born through jams. We get together, start to play something randomly. From this, an exciting idea is born and we begin to develop.
It is very open, spontaneous, natural. There is never any pressure of needing to do something. Sometimes we get together and nothing just comes out. We need to respect that. It's horrible when you have to compose under pressure, with a need for something to come up. That's when things don't happen! The creative process has to be light; of course, you have to have an urgency, a need, but not physical pressure, pressure from the musical market or the environment for this to be an obligation. I was lucky because, in all the projects that I went through, the creation was very free, without any interference from the label, producer or entrepreneur.
M - You are a composer, musician, teacher, YouTuber… the agenda must be tight! Is there a study and rehearsal routine when you are on tour?
E - Yes, studying on tour is very complicated, practically impossible, due to playing drums' physical factor. Although I have a drum setted up every day on stage, I can't just go up there and play because people are working, like staff from other bands or from the venue. It is also not always easy to find another drum somewhere for me to study.
Another factor is also that on tour we are always exhausted. We usually do shows every day, apart from trips, flights ... There are days that I really wouldn't have time to study; sometimes we don't even have time to sleep or eat properly. Studying would still be impossible. But I try to maintain a basic routine of doing the drumming rudiments or getting on the kit and playing a little bit on the soundcheck when I have the chance. I still use a practice pad, a tool that drummers use to study, and I practice a little in the dressing room every day, while I'm warming up for the show.
I really miss studying in those periods because I like to keep a routine when I'm home. It is tough to study and evolve on tour. I try to really enjoy the shows, absorbing the maximum of the people who are there watching you, having this energy exchange and enjoying life! Enjoy life! (laughs)
M - Drums are considered a very complex instrument, so many people are "afraid" to start playing. What would be the golden tip for beginners?
E - The first factor is that drums are not a complex or super tricky instrument. I want to break this wrong idea. Of course, the drums can scare people initially because you need to coordinate the four members, but this is something that we develop gradually. There is a process for doing this in a not so painful way. For me, the most serious difficulty for the person to start playing drums is the instrument itself, because it is an expensive instrument, an instrument that requires space. It is an acoustic instrument, so it is loud, it makes noise. One can start playing through an electronic drum, a practice pad. Still, the acoustic drum is essential because it is the instrument itself.
From the moment that the person has the conditions to play the instrument, he needs time and dedication, like everything in life. You have to be close to that, have constant and daily contact with what you want. Works like when we have a problem: you have to want to solve the problem, you have to be close to it, befriend the problem. It's the same thing. Not that learning an instrument is a problem (laughs), it is not that, but if you want to evolve, communicate better through the instrument, you have to be in contact with it daily, constantly.
It takes the whole life to reach a result that we want - or we would need lives to get where we want. What counts is the day to day, the evolutionary process, the process of change. This is what we have to enjoy and this is what I enjoy today: respecting the now.
Author: Gi Ismael - brazilian journalist