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S Hip Hop Drum Kit' title='90S Hip Hop Drum Kit' />Brad Wilk A Complete Profile In Rage DRUM Magazine. BY DAVID WEISSThere arent any two part harmonies on the new Rage Against the Machine album, The Battle of Los Angeles. Thats because people who listen to the band want to hearone voice Zack de la Rochas. And thats the same reason you wont find any loops, percussion, or drum machines there. Because whether or not they know his name, people who listen to Rage just want to hear one rhythm source Brad Wilk. When Rage Against the Machines self titled debut album was unleashed over the airwaves in 1. You were either set on fire by the Los Angeles four pieces highly aggressive metal funk minimalism, or you brushed it off as grandiose posturing distorted protest songs too over the top to be taken seriously. But however the music hit you, the fact was that Wilks pushy beats, de la Rochas spitting politics, Tim Bobs bottomy bass and Tom Morellos thin, hard guitar lines added up to something quite different. Amazingly, in the six years and 3. Rage Against the Machine and Battle, the band has only been able to give birth to one other album, 1. Evil Empire. But since then, a lot has happened in the dominating hard hop scene that Rage helped bring to the mainstream. Now Wilk and his slow moving buddies re enter to find that theyve almost been left behind. The two main groups that have won over the voracious hard hop or rapcore, or whatever you want to call the fusion of metal and funk fans, Korn and Limp Bizkit, have swarmed around Evil Empire, collectively releasing six albums since 1. Instrumentals_90s_Hip_Hop_Vol2_free-front-large.jpg' alt='90S Hip Hop Drum Kit' title='90S Hip Hop Drum Kit' />No ones saying that Rage has been forgotten, but they have a lot of catching up to do. Still, theres hope for the shredding pioneers. With Limp Bizkit only on their sophomore album, Significant Other, and Korns third release, Follow the Leader, Rage had the responsibility of demonstrating that their genre still has room for growth. And with the ferocious funk of Battle, damn if Wilk and his bandmates didnt do just that. Our objective was to make a record that was better than our first two, says Wilk, a decidedly upbeat speaker. A thought provoking, pissed off record and I think we succeeded. I think. Evil Empire was a really dark record, and it made our first record look almost like a pop record, in terms of song structures and choruses that had catchy hooks and whatnot. I just think that Battle has better songs and weve branched out sound wise to different types of grooves. The grooves are always changing. With the release of Battle, Wilk acknowledges, when prodded, the bands often unrecognized role in hard hops evolution. We started this in 9. I feel that theres actually a lot of bands making this type of music and not really giving us any influential credit. Thats fine I almost take it as a compliment. Were still actually doing it, and I think that we are continuing the sound and the sound is always changing. Im not really too concerned with what any other band is doing or how they sound. You know whats interesting, and actually the most frustrating thing about it It has nothing to do with the bands that are doing it I think thats great. Thats what makes us even more viable right now as a band. But I think that most of the frustration comes from only putting out a record every four years. We have a lot of downtime, and when you see other bands doing what you think you should be doing, its a little frustrating. Hip Hop Drum Kit Download' title='90s Hip Hop Drum Kit Download' />But thats nobodys fault but our own. The successful convergence of metal and hip hop drumming in the 9. Ask Wilk straight up if he thinks he was a major influence in that movement, and hell give you an honest answer. I really want to believe that I was, he says. I just want to say it because I dont think that I have gotten any recognition for that, and I think its something I consciously wanted to do. Theres bands before us that were kind of doing it in a different way absolutely. Its been going on for a long time. Both metal and hip hop are rebellious types of music, so I think they actually do work well together in spirit. When this band first started in 9. I was listening to alternative, punk and hard rock records, and I was also listening to hip hop. The three other guys in the band were, too, and I think that the combining of hip hop and metal wasnt something that was really thought out too much. It was almost like we couldnt really control our influences or how they came out. Early Days. Before he came to Los Angeles, where he would eventually find his bandmates through a classified ad, Wilks biggest influence wasnt a drummer, but a drum set. When I was about 1. Chicago, a friend of mine who lived a couple of doors down had a Ludwig Silver Sparkle drum kit with a big Kiss logo on the front head, Wilk says. I was totally infatuated with the drum set period. So any time I could, I was on his kit, not knowing what the hell I was doing but banging away nonetheless. His second biggest inspiration after that Silver Sparkle siren was a band synonymous with high energy Keith Moon and The Who, which Wilk got into around the release of The Kids Are Alright the 1. That record was a huge record for me, he recalls. Print 4 3 Crack 4'>Print 4 3 Crack 4. It came with that book inside, with all those amazing pictures, and they also had the movie as well. I was just fascinated by the energy and with The Who in general. The excitement that they were portraying as a band I think that had a huge effect on me, definitely. The next drumming giant to impact Wilk would be one he met personally David Garibaldi. Sitting in on group classes led by Garibaldi, the then 1. Wilk picked up on essentials covering everything from technique to attitude. His nickname was The General, says Wilk. The guy was so intimidating, you saw it in his eyes He had the confidence there. It was great. He had the confidence of knowing what he was doing. I love that fact that Keith Moon played with this unbelievable confidence, but he was on the edge of insanity. He was a driving force, but he was always just on the brink of completely losing his mind. During those six months of lessons, Wilk developed the self assurance that can put a players skills over the top. Confidence to me is being able to get on a drum set and look at that drum set and know that you can pretty much play what youre thinking, he relates. You have a good sense musically of whats going on, and you feel confident as to what your abilities are. Im not saying I always play like that I beat myself up more than anybody could possibly do. I worry about just actually feeling good about what Im doing. Anyone thats too confident may be selling themselves a little short. But if youre David Garibaldi, its kind of like being the God of drumming. Hes allowed. In Garibaldis group classes, Wilk also picked up the foundation for his own feel a kind of funk science that he continues to study intently to this day. Garibaldi really taught me to focus on whats going on between the beats, Wilk says. The stuff thats kind of felt, less heard. Sure space, right Not necessarily space, but the feel of ghost notes, if you want to call them that. The feel in between the kick and the snare drum and where exactly you put that, really has everything to do with what makes you different from other drummers. For Wilk, that means a very special emphasis on the approach he takes to playing or not playing the 1 in a measure or phrase. Heavy on that 1 coming down on that big time, explains Wilk.