Arctic Monkeys #29 - Met een rode sweater op de versiertour

quote:

Matt Helders
Arctic Monkeys

Arctic Monkeys' Matt Helders only started playing drums at 16. He's done alright since, but his band are not about to rest on their laurels. Here he talks to Jordan McLachlan about Arctic Monkeys imminent, expectation-confounding third album.


You probably think you know Arctic Monkeys. They're all skittish beats, skanking guitar and wry lyrics, right? Cheeky Northern lads with street smarts if not sophistication? Well, it's time to think again. The Sheffield songsmiths might have made their name with the frenzied assaults of 'I Bet You Look Good On The Dancefloor', 'Brianstorm' et al, but the mould, it would appear, has been broken.

The band's third album, entitled Humbug, is due for release on 24 August, just prior to headline appearances at the Leeds and Reading festivals. And it's not like anything you've heard from the Arctic Monkeys yet. Produced in part by Queens Of The Stone Age main man Josh Homme, Humbug is dark, odd, wide-ranging and conspicuously lacking the kind of quickfire singles that Arctic Monkeys are known for. This album is the sound of a band spreading its wings, not necessarily knowing where the wind will take them, but just needing to experience the ride.

Rhythm meets up with Arctic Monkeys drummer Matt Helders for this interview in London, just an hour after we've been granted a brief twice-through playback of the album (which at the time of this interview was as-yet unnamed). And while the surroundings of the swish Andaz Hotel are starkly impressive, Matt is typically down-to-earth. He doesn't obviously exude rock-star self-confidence but quickly confirms his status as a great talker on everything from vintage drum kits to the unpredictable sound of Humbug.


It's immediately clear that this is a much darker, moodier record than fans might be expecting..

"It's not even the album we expected to make, to be honest. We came off tour at the end of 2007 and went and did some recording in January 2008. We intended to start working on this album properly then. It would probably have been pretty heavy because we'd have just finished the tour and we were all buzzing and excited. But we stepped back and went, 'Is this going to be the best record we make at this point?' It would have been good, but we decided to sit back and give ourselves some space."


The first two albums had come along pretty smartly one after the other, hadn't they?

"They had. And this time we had no deadline so we made a conscious effort to chill out a bit and try some other things. The first two albums were made quite quickly. Not just in terms of how close together they came, but in terms of how we recorded them. We didn't hang about much. It worked back then, there are no regrets at all. But the chance to make a third one was reason enough not to rush it.

"We had more fun making this one for some reason. It felt more relaxed and it was more enjoyable – we went away to America to do it, which made a difference. There are more good memories attached to doing this one."


Even though it's a very different sounding record, did the writing process stay the same as previously?

"It's always pretty much Alex doing lyrics and making a start with some chords. But there's no formula with us at all. It's not like commercial pop songwriting – it's a different process. It's all very collaborative. I'm not precious if one of the other's suggests a drum for a part or whatever. Some songs will even start from a drum beat. Maybe it's an inexperience thing. We'd never done this before we came to the first record, so we just did what we know how."


Which has clearly worked for you so far…

"I guess we don't worry about how other people do things. It's always been important to be different. Everyone in the band has an interesting thing to do. We don't show off, but we do stuff that's quirky. I don't want to impress drummers with technical stuff, but I want people in general to get into it and find it interesting.

"It makes records a bit special because when we do go heavy or go a bit mad it's clear that we can do that stuff, but we don't do it all the way through. It's just a bit cheeky."


The new album sees you working with Josh Homme which, it has to be said, might seem like an unlikely connection for Arctic Monkeys to have made.

"We'd only met him a couple of times. We'd played with QOTSA in Texas once before – they had a date where they wanted a support and they asked us to do it and we were thrilled. Josh had introduced himself to us as a festival originally and it was amazing, we had no idea he'd know who we were or anything.

"He'd said in interviews that he was interested in collaborating with us as long as it wasn't an obvious thing. So when it came to making plans for the new record, Laurence (Bell, Domino Records founder) suggested that Josh might be into the idea of working with us, just to try things out. So he got in touch, and Josh came back and said yes."


What was it like for a bunch of very English lads to work with one of American rock's biggest stars?

"When we actually came down to recording with Josh, it was all just an experiment to start with. We thought it'd be great experience, but didn't know that anything would end up on the record. We just had some time free and we thought we'd go work with him, and if it didn't work out we could still go on and do the record with someone else as planned.

"But it made such an impression on us that is set the tone for the whole record. Josh would play us stuff and we'd get a moody vibe off of it and that's what took us in that direction. We learned a lot about how he records. Alain Johannes (multi-instrumentalist/engineer/producer, QOTSA, Eagles of Death Metal, No Doubt, Unkle etc) engineered with Josh and he was a real factor in the consistency of the record."


How was that for you as a drummer? Having Dave Grohl and Joey Castillo as mates means that Josh is fairly well informed as far as sticksmen are concerned…

"It was quite a challenge to live up to. Obviously Josh has worked with some great people, so there was definitely some pressure. But he'd talk to me about how I played and that a real confidence boost. He wasn't expecting me to be Dave Grohl, so that released all that. I couldn't get away anything though."


The drums here sound fatter and warmer than on previous records. Was that Josh's influence?

"Yes, partly. Josh has a very specific way of milking stuff up, even live. They had amazing mics for everything. As far as set-ups were concerned, Alain had a Ludwig Vistalite kit in big sizes which I loved, and there's a vintage Gretsch kit on there too. To capture everything, we had a lot more ambient mics and they showed me what a difference that made, opening up the chorus with room mics for example. The drum sound was all about being tight and fast back on the first two records, which suited them – but this one needed more space and more warmth."


Are you now a vintage drum convert?

"I've just got a '70s Ludwig which is amazing, actually. I've never used old stuff before, it's always been Premier. I might use it in rehearsals and see how it is. But it's not worth the risk of damaging it. Other than that, like I say, it's always been Premier kits – they even made me my own white sparkle finish. They've treated me very well and they've been very generous."


You've always used a pretty simple unfussy set-up, haven't you?

"Yeah. The reason my drums are like that is because I liked the way they looked when I started out. When I first started at 16 I set up like Chris Dangerous from The Hives because I loved the look of his kit. I wanted everything flat and low – I got used to it and that's how I still have it.

"In the studio I compromise a bit more because I can use a deeper snare. I have to learn to adapt to the set-up a bit more, but I'm more versatile now. I can play on someone else's kit now without insisting that it's set up like mine.

"I like 5 ½" deep snares on stage, partly because I can position them where I want them. Deeper snares come up a bit too high for me sometimes. And I always have 13" and 16" toms, although I've used bigger in the studio. I look silly behind a big kit, even though I like the way big sizes sound. And I'm from the Buddy Rich school of keeping the cymbals low so the crowd can see me (laughs)!"


So you're in the studio, Josh has claimed your nerves – how did the sessions shape up?

"We always play together live, rather than me just playing to a click, although we're more open to layering stuff than we have been. When you're making a record you have to do what it takes to make it the best you can. We've opened up a lot of more on this record. Nothing's cheating if it makes it sound better. We didn't want any guitar overdubs on the first one. We lightened up a bit on the second and not it's anything goes. This time we've got organ and a couple of guitar tacks on a lot of the stuff. We'll work out how to do it live, but they're completely different things as far as I'm concerned."


And how about your playing? No One else plays like Matt Helders, but how do you see your development over the last few years?

"I'm definitely a better player now. We'd only been playing two years at the first record. We played every day on tour and that really helped. But it was a big leap from first to second record.

"We're still learning. There's a lot more to do and things to get better at, but I am better now. I don't know 'too much', but I like limitations it imposes – it makes you more creative and less scientific. Lessons aren't a bad way to learn, but for certain people it's not right – and I do believe that if you're creative you can be a great drummer either way.

"I don't work on playing enough, I don't think, but if I have a bad gig or practice it forces me to go and work on stuff, play it smoother or whatever. I'll get on the pad. Sometimes I think I need lessons to get out of bad habits. Then I have a good day and think, 'Oh, it's not so bad.' So I never get round to it!"


You may not aspire to being Terry Bozzio, but there are several beats and parts in 'Monkeys songs that make an impression on drummers and non-drummers alike. 'Brianstorm' and 'Pretty Visitors' from the new album spring to mind…

"Well, 'Pretty Visitors' came from a beat in soundcheck and the song started from there. Alex heard the downbeat different from me and made something up around it. I must admit, once we'd recorded the track, with the mad drum rolls and all that, I ended up thinking, 'Can I do this live?' It was the same with 'Brianstorm' – the first rehearsal after we'd written it was like, 'Oh shit, what have I got myself into here?"


And what about other Helders highlights on the new record?

"I really like 'Secret Door'. It's one of those that's not technically difficult but just has a nice feel. That's as important to me as really 'drummy' stuff. I think beats that just feel great have a longer life." END


Matt's Festivals
Mr Helders on Al Fresco gigs
How much do you love doing festival?

"We're doing loads of festival in Europe this summer. And the record's out just before Leeds and Reading, so it'll be great to finish the summer off with them. I never know if I prefer our own shows or festivals. Festival are pretty laid back – there's no soundcheck, it's just a case of getting the best sound you can get in two minutes and getting on with it.:


Any festival nightmares to report?

"Nothing bad in terms of crowds, but stuff does go wrong. We lost the bass for half a set once. The crew checked that it wasn't the amps, the pedals, the leads, but not the guitar – no one ever checks the guitar. It was the guitar. It took three songs to sort it."


You're pretty eclectic in terms of listening tastes. What would your ideal festival line-up be?

"Ooh, Led Zeppelin to headline, Root Manuva for the hip-hop, Simian Mobile Disco, although I'm biased (SMD's James Ford also produced Arctic Monkeys), Justice would always be good and, er, The Horrors – I like the way they fuse rock and electronic."


Monkey See…
Matt's drummers to watch

He's not exactly up-and-coming, because they've been around for a while, but I think Kapil Trivedi from Mystery Jets gets as much attention as he deserves. I think he's an amazing player, really inspirational and I love checking out his stuff, how he approaches things. He's got great technique, but he always comes up with interesting parts. That's what I really like about his playing.

"And Joe Green from The Backhanded Compliments. They're a Sheffield band and Joe's a really good drummer. He gives lessons at the moment, I think. He's definitely worth checking out…"