Steven Drozd
|
Some very exciting news came to us a couple weeks ago when our friends over at Premier Guitar Magazine published the latest edition of Rig Rundown. It featured Steven Drozd of the Flaming Lips, straight from the legendary Ryman Auditorium in the heart of Music City, USA, Nashville, Tennessee. Unbeknownst to us, Steve has recently added the Nemesis Delay (our stereo multi delay pedal) to his live rig. Watching the video was one of those thrilling moments when we get to sit back and say, "wow, a pedal that we created is aiding in the performance of some truly brilliant music."
The Flaming Lips are currently on tour in celebration of their epic 2002 release, Yoshimi Battles the Pink Robots. Yoshimi is a masterpiece, a gorgeous amalgam of genre defying psychedelia, sonic experimentation, pounding grooves, floating melodies, and stellar songwriting. The Flaming Lips have always been known for putting on a jaw-dropping live show, both visually and musically. Given the highly experimental nature of their records, bringing that sound to a live stage is no simple exercise. Even Steven admits that recreating their studio recordings in a live situation is a significant challenge. He explains, "When we're in the studio, we don't really think about how it's going to be live. We just make it in the studio... but then when we're starting to play it live, that's when we say, 'How the hell are gonna do that?'"
This episode of Rig Rundown is a fascinating, in-depth look at the gear Steven is currently using on stage. We don't have 100% confirmation, but we can say with some certainty that we hear the Nemesis Delay's "Sweeper" engine (a delay with a modulating filter applied to the repeats) on the video's introduction riff and again at 3:24. We also hear the the Nemesis' "Helix" engine (an angelic effect created by reversing the delay taps and pitching them up an octave) at 9:48. Steven admitted, "This Nemesis Delay is a new thing in my life. I like it a lot." (Thanks, Steven!!!). Those are some of the Source Audio highlights, but anybody who digs the Flaming Lips, or just loves nerding-out over oddball gear will love this video. Enjoy...
The Flaming Lips are currently on tour in celebration of their epic 2002 release, Yoshimi Battles the Pink Robots. Yoshimi is a masterpiece, a gorgeous amalgam of genre defying psychedelia, sonic experimentation, pounding grooves, floating melodies, and stellar songwriting. The Flaming Lips have always been known for putting on a jaw-dropping live show, both visually and musically. Given the highly experimental nature of their records, bringing that sound to a live stage is no simple exercise. Even Steven admits that recreating their studio recordings in a live situation is a significant challenge. He explains, "When we're in the studio, we don't really think about how it's going to be live. We just make it in the studio... but then when we're starting to play it live, that's when we say, 'How the hell are gonna do that?'"
This episode of Rig Rundown is a fascinating, in-depth look at the gear Steven is currently using on stage. We don't have 100% confirmation, but we can say with some certainty that we hear the Nemesis Delay's "Sweeper" engine (a delay with a modulating filter applied to the repeats) on the video's introduction riff and again at 3:24. We also hear the the Nemesis' "Helix" engine (an angelic effect created by reversing the delay taps and pitching them up an octave) at 9:48. Steven admitted, "This Nemesis Delay is a new thing in my life. I like it a lot." (Thanks, Steven!!!). Those are some of the Source Audio highlights, but anybody who digs the Flaming Lips, or just loves nerding-out over oddball gear will love this video. Enjoy...
|
|
Learn More About Source Audio Pedals Used by Steven Drozd
|
We already talked about The Flaming Lips' incredible live shows. Well, here is a fantastic example. This video of the Lips at the Sydney Opera House in January of 2020 is spectacular. Watching these guys work is a blast. The way Steven bounces back and forth between keyboards, guitars, and other sound making devices is truly inspiring. And what can you say about singer Wayne Coyne? The guy is a living breathing unicorn, an artist like no other.
|
|
...and please excuse me for a brief moment while I reminisce. I will never forget the day when I first heard The Soft Bulletin. My band at the time was driving our road-worn van out of Boston in early summer of '99 for some out-of-town gig or extended US tour. I must admit that at the time I had limited exposure to the Flaming Lips, but on this day our bass player plugged in their latest CD and all of us were instantly swept away by a pummeling drum sound, compressed to obscene levels, combined with a swirling riff from some unidentifiable instrument that our drummer described as, "a demonic violin section beamed in from some pre-World War II era symphony orchestra." It was elegant, majestic, and it rocked - a soundscape like none I'd ever heard. I was instantly a fan. From there, the brilliant records kept coming: Yoshimi Battles the Pink Robots, Mystics Explained, Oczy Mlody, plus some amazing earlier records like Clouds Taste Metallic. Every Flaming Lips record is a journey of unexpected sounds, jarringly divergent musical arrangements, beautiful melodies, and lyrics that baffle and amaze.
I recently came across the following documentary about the making of The Soft Bulletin, created by the fine people at Pitchfork. It is great to hear Steven and Wayne pull back the curtain and talk a little bit about the band's history and some of the defining moments in the creation of a truly beautiful record.
I recently came across the following documentary about the making of The Soft Bulletin, created by the fine people at Pitchfork. It is great to hear Steven and Wayne pull back the curtain and talk a little bit about the band's history and some of the defining moments in the creation of a truly beautiful record.
|
|