HalDarling.com - Frequently Asked Questions (FAQ)

1. How and when did you get started playing music?

I have two older brothers, both drummers, who began tutoring me at age six. They were just beginning to learn themselves of course, playing in fledgling rock groups with their friends. Our house was always filled with music, the radio, spinning LPs or singles on our kerosene powered record player. There were lots of aspiring young musicians hanging around terrorizing our parents.

My brothers would show me the drum parts to a simple pop song, snare and bass drum placement mostly. I was six mind you - I couldn't even reach the pedals if I was sitting on the drum throne; I had to stand up! They would ask me to play it again a day or two later, which I could almost never do. As punishment they would wrap me in a blanket and drag me up and down the stairs. It was hilarious and often quite painful.

2. Who are some of the artists and composers who have exerted an influence on your work?

On the rock side of things and in no particular order - Beatles, Cream, Hendrix, The Mothers of Invention, Jethro Tull, King Crimson, Jeff Beck, Yes, Joni Mitchell, Little Feat, Deep Purple, Gentle Giant. As a kid I listened to John Mayall's Bluesbreakers all the time, so there is a blues influence, but it doesn't show too much in my contemporary work.

On the jazz side most influential would be Don Ellis and Frank Zappa. Count Basie, Duke Ellington and Art Tatum have to be mentioned, and I went through a phase with the Mahavishnu Orchestra that still tugs at my sleeve from time to time.

With respect to classical music I would have to say Stravinsky, Bartok, Copeland, and Ives.

3. How would you describe and/or characterize your music?

Complex, intense, anomalous, frightening, funny, instrumental music for the twenty-first century. I strive to make it as original as possible given that I accept the notion that one is a product of one's influences. The music is informed with contrasting elements of all kinds … dynamics, instrumentation, feel. By and large, my music is quite difficult to play (and listen to at times!) and the level of intensity is very high. More often than not, my music will be littered with time signature, tempo, and key changes galore. These things keep me on my best behavior as a player, and help retain my interest in the pieces as they develop over time.

The music is created utilizing both electronic and acoustic instruments. Some of it is sequenced, other things are performed in real time. Computers are used in many aspects of my music's creation, but I don't really think of it as "electronic" music. Others might, however.

4. Can you play "Wipe Out"?

Yes. But I choose not to.

5. Is it true that you do not play live?

Yes. Composition and recording are my primary focus, and unlike most musicians I never got much of a thrill from playing live. Doing justice to this music in a live setting would require a huge investment of rehearsal time and six players at least. Assuming that I could find musicians possessing sufficient skills to execute their parts, I could never afford the expense of bringing such a group to the stage. Political problems are almost inevitable and despite the best of intentions, questions of dedication, ego, sobriety, and musical direction are bound to arise and exert their corrupting influence. These are precisely the reasons why Darling is exclusively a studio entity. Besides, this is a hip hop and extended dance remix world, and if you're trying to present music in live performance that resides somewhere outside the rather narrowly drawn parameters of the pop culture, well good luck - you're going to lose. Stupid isn't just acceptable these days, it's de riguer.

6. Can you discuss your typical compositional process?

A typical process doesn't really exist for me. Things begin in many different ways - a chord progression, a melodic thread, a bass line, a crazy drum figure, perhaps even a synth effect.

If I have the chords first, a melody line is likely next, and vice versa. Or I may take a counterpoint approach, which is melody on melody as opposed to chords. Ideas are not usually a problem. The difficulty lies in their development and the creation of the transitional elements between them. Which is, I suppose, the very essence of composition.

7. How many hot dogs can you eat?

I rarely eat hot dogs at all, but by themselves I would guess about four. With beer, it jumps to about fourteen.

8. Do you compose instrumental music exclusively?

Yes, but what is true today may someday change. I appreciate words and music together as much as anyone, but most of the music I compose does not provide a suitable framework for vocals. I could create one easily enough I suppose, but this would require the simplification or compromise of other elements, something I may be loathe to do. Not to mention the fact that I would have to supply the words. I've tried writing serious lyrics, but things always seem to degenerate into humor somehow, so I have accepted the inevitable - just write liner notes boy, you're not capable of lyrics!

Just one more observation... lyrics allow the artist to speak with a specificity that the somewhat more nebulous nature of instrumental music does not. But when an instrumental hits me, it goes directly to my soul. And by that I mean my lower intestine.

9. Much of the track by track commentary you write is really quite self-deprecating. Why?

I love to write and I think of myself as a reasonably funny guy, so these things manifest themselves in the liner notes; which are, to my mind at least, a set of surrogate lyrics. In my particular case, self-deprecation is easy because I suffer from so many fatal character flaws. My comments reflect my personality, like it or not, and they allow me to acquaint the listener with a few things that I want them to know about the track in question. It's always my intention to entertain, so if the liners make you laugh or otherwise enhance your musical experience, then I've succeeded.

My friends often discuss the irony of my situation - the man who so loves words writes instrumental music - what the hell is that!

10. A popular observation by fans has been that your music would work well as score for sci-fi and horror films, perhaps appropriate even as accompaniment for sports highlights. How do you feel about this?

I entirely agree. My music is often imbued with a sense of foreboding. An unimaginable horror just around the corner if you like. I've unquestionably written a few things that are paced appropriately for crashing spaceships or lopping off people's heads. One potential problem would be that the music's complexity would simply be too much, serving to undermine rather than support a film. With highlights of sporting events this wouldn't be a problem. I'm not much of a sports fan, but I've noticed that highlight music can be interesting stuff. I recall hearing the music of Cream, Yes, King Crimson, Deep Purple, The Dregs and The Steve Morse Band used in that way. I'd be in great company there, that much is certain.

11. Will it rain?

Yes, eventually it will.

12. Can you talk a little about your drum sound?

To my ears - changeable, track by track, and deliberately so. I'm never completely satisfied with my sound, I don't think most musicians are, at least not the ones who give a shit. It's something that is always evolving. The most important consideration is to try to make the drums sound the way I think they should for the track in question. Sometimes they're enormous, other times they shrink to what the song's context will allow. I have been known to use EQ, distortion, compression and other processing options in various ways, particularly on snare drum. One of the benefits of recording on a computer based DAW (digital audio workstation) as I do, are the limitless options for sound manipulation. So much so in fact, that it can be too much of a good thing. You can waste hours and hours...

13. What role does MIDI play in your music?

Songs almost always begin as a riff or line or chord sequence on a keyboard. This information is fed via MIDI into a sequencing program, in my particular case MOTU's Digital Performer, running on a Mac G4. Once there, the data can be manipulated in myriad musical and/or non-musical ways. The level of control that this technology provides is nothing short of astonishing. If you know what you're doing and exercise good judgement, this is a beautiful thing. If you don't, you can sterilize your music into something that resembles accounting more than art. Not to disparage accounting in any way.

It is absolutely critical to remember that music is made by human beings, fallible creatures at best; and it is the very nature of imperfection that informs music with humanity. Technology allows the realization of perfection, or at least the illusion of it, in every musical nuance. The musician must choose. Here's hoping that he or she chooses wisely.

14. Who are your favorite drummers?

There are many players that I admire for one reason or another, but if I had to create a short list ... Aynsley Dunbar, Michael Giles, Barrie Barlow, Clive Bunker, Ian Paice, Ralph Humphrey, Simon Phillips, Vinnie Colaiuta, Elvin Jones.

15. How much time do you spend practicing at the drum set?

I try to play every day, usually about an hour or two. It depends on what I'm doing- writing, recording, or basic rehearsal. When I'm writing I experiment with things, trying to find alternatives to the role the drums play in my music, or perhaps messing about with the basics of playing time.

When recording, the mission is much more specific, finding and committing to media that elusive musical moment when preparation and spontaneity come together as I desire. I occasionally do a five or six hour recording marathon, but truth be told, after about three hours I'm usually too knackered to play at all.

Basic rehearsal is familiar but important stuff like independence exercises, rudiment drills, control of dynamics and other details that preserve the drummer's reputation as the one member of any musical ensemble that you would never allow your daughter to date.

16. Why are drummers always so sweaty and stupid and unpleasant?

It's our nature. Consider what we do - flailing about like an animal in a trap for little or no reward; that would make anyone sweaty and unpleasant. But not necessarily stupid-that's more of a bass player thing. All musicians suffer. Consider guitar players, with all of their sexual problems and trouble with the law…the average keyboard player's insatiable appetite for alcohol or any other mind-numbing substance, and horn players…all of them - incontinent.

17. Of the two discs, whlch is your favorite?

For me, a childless man in his mid-forties, these collections of songs are much like offspring. Can you choose a favorite child? Both discs have elements that I would change if I could. D2R is certainly the better disc in terms of recording quality, and is probably a superior example of compositional prowess. The first disc has its moments of charming naivete that are summarily blown out by the energy of the studio performances, which are fueled by the anger and frustration that are endemic to the musician that aspires to something beyond the unadulterated pigshit that is MTV.

18. Why are your song titles so freaking weird?

Everything is a stab at entertainment, I suppose. I enjoy words and phrases that are unusual or ambiguous. My brother Bryce and I collect them from a variety of sources- crossword puzzles, reference books or any other place that strange historical, scientific or literary esoterica might be found. My song titles often reflect musical content. Other times the music itself is rather ambiguous, like a mathematical problem inextricably tied to a feeling. In this case, the song title is not much more than simple identification, a written reference to that feeling.

19. What does music give back to you? How has it changed your life?

Music surely is its own reward, and when I experience it in its purest form, it is the definition of joy. Nothing makes me feel so very alive. To say that music has changed my life would not be as accurate as to say that music has simply been my life. I have no memory of a time when I was not playing an instrument - and I'm not kidding! On a more pragmatic level, I think that music has given me a well-developed sense of discipline and has certainly taught me the value of perseverance. Music is by its very nature a rather frustrating pursuit, especially in the early going. Most pretenders are weeded out pretty quickly. Regrettably, a number of them not only survive, but actually prosper by pandering to the most prurient interests of the general public. (Oh no, here I go again!) This is what I call the KISS syndrome. I don't usually refer to the bloody fecal hemorrhage that is KISS as KISS, I usually call them the Anti-Beatles. The Beatles raised the bar of musical possibility in a huge way and KISS dumbed it back to the fucking Stone Age. Too bad too, as they sold millions of records to people who apparently cannot discern the difference between shit and chocolate, and their influence is pervasive to this day. Keep It Simple Stupid indeed, they certainly are the poster children of everything stupid and conformist about the music business. And they're laughing all the way to the bank while I play jazz up a tree somewhere on the Serengeti. Oh well.

20. What the hell is wrong with you?

Far too many things to delineate here, but I'll take a stab at it. If I were to touch on the very negative, I'd have to admit that I have serious problems with anger. I do not well suffer corruption or incompetence. When the ENRON scandal was in the headlines I remember telling my wife that I could "fix everything that is wrong with Ken Lay and Jeffrey Skilling if I just had an axe handle and five minutes of their time in a closed executive conference". Fortunately my daily rehearsals at the drums are the near perfect foil for my unchecked anger. I can burn thousands of calories without hurting anyone. I do possess an enormous soapbox from which I make angry pronouncements about all the things in the world that appall and disgust me. In the end I probably seem little more than some weird, egocentric malcontent with a thousand grievances.

I am a terribly obsessive and driven perfectionist. So much so that I don't really enjoy my day-to-day existence like I think I might if I could just relax more effectively. This is probably a reflection of contemporary societal trends. It seems that everyone these days has too much to do in too little time. We are constantly bombarded by media images and messages deliberately designed to make us feel insecure or at some loss until we covet whatever shit they're selling that particular week. We may have accidentally designed a society that is impossible to navigate without being obsessive. Perhaps we're evolving to death.

Another one of my well-documented character flaws is my propensity to use vulgar references freely, easily, intentionally and at the most inopportune times. My reputation precedes me as a man who will use profane language for the purposes of humor and occasionally as an emphatic device. I don't use profanity that much mind you, to do so nullifies its power. I don't ruffle too many feathers among my family, friends and associates as most of them are given to a certain "saltiness" of language as well. However, if people are looking at you like you're the Prince of Darkness incarnate, then you may have gone too far.




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	DARLING - Frequently Asked Questions 1. How and when did you get started playing music? I have two older brothers, both drummers, who began tutoring me at age six. They were just beginning to learn themselves of course, playing in fledgling rock groups with their friends. Our house was always filled with music, the radio, spinning LPs or singles on our kerosene powered record player. There were lots of aspiring young musicians hanging around terrorizing our parents. My brothers would show me the drum parts to a simple pop song, snare and bass drum placement mostly. I was six mind you - I couldn't even reach the pedals if I was sitting on the drum throne; I had to stand up! They would ask me to play it again a day or two later, which I could almost never do. As punishment they would wrap me in a blanket and drag me up and down the stairs. It was hilarious and often quite painful. 2. Who are some of the artists and composers who have exerted an influence on your work? On the rock side of things and in no particular order - Beatles, Cream, Hendrix, The Mothers of Invention, Jethro Tull, King Crimson, Jeff Beck, Yes, Joni Mitchell, Little Feat, Deep Purple, Gentle Giant. As a kid I listened to John Mayall's Bluesbreakers all the time, so there is a blues influence, but it doesn't show too much in my contemporary work. On the jazz side most influential would be Don Ellis and Frank Zappa. Count Basie, Duke Ellington and Art Tatum have to be mentioned, and I went through a phase with the Mahavishnu Orchestra that still tugs at my sleeve from time to time. With respect to classical music I would have to say Stravinsky, Bartok, Copeland, and Ives. 3. How would you describe and/or characterize your music? Complex, intense, anomalous, frightening, funny, instrumental music for the twenty-first century. I strive to make it as original as possible given that I accept the notion that one is a product of one's influences. The music is informed with contrasting elements of all kinds … dynamics, instrumentation, feel. By and large, my music is quite difficult to play (and listen to at times!) and the level of intensity is very high. More often than not, my music will be littered with time signature, tempo, and key changes galore. These things keep me on my best behavior as a player, and help retain my interest in the pieces as they develop over time. The music is created utilizing both electronic and acoustic instruments. Some of it is sequenced, other things are performed in real time. Computers are used in many aspects of my music's creation, but I don't really think of it as "electronic" music. Others might, however. 4. Can you play "Wipe Out"? Yes. But I choose not to. 5. Is it true that you do not play live? Yes. Composition and recording are my primary focus, and unlike most musicians I never got much of a thrill from playing live. Doing justice to this music in a live setting would require a huge investment of rehearsal time and six players at least. Assuming that I could find musicians possessing sufficient skills to execute their parts, I could never afford the expense of bringing such a group to the stage. Political problems are almost inevitable and despite the best of intentions, questions of dedication, ego, sobriety, and musical direction are bound to arise and exert their corrupting influence. These are precisely the reasons why Darling is exclusively a studio entity. Besides, this is a hip hop and extended dance remix world, and if you're trying to present music in live performance that resides somewhere outside the rather narrowly drawn parameters of the pop culture, well good luck - you're going to lose. Stupid isn't just acceptable these days, it's de riguer. 6. Can you discuss your typical compositional process? A typical process doesn't really exist for me. Things begin in many different ways - a chord progression, a melodic thread, a bass line, a crazy drum figure, perhaps even a synth effect. If I have the chords first, a melody line is likely next, and vice versa. Or I may take a counterpoint approach, which is melody on melody as opposed to chords. Ideas are not usually a problem. The difficulty lies in their development and the creation of the transitional elements between them. Which is, I suppose, the very essence of composition. 7. How many hot dogs can you eat? I rarely eat hot dogs at all, but by themselves I would guess about four. With beer, it jumps to about fourteen. 8. Do you compose instrumental music exclusively? Yes, but what is true today may someday change. I appreciate words and music together as much as anyone, but most of the music I compose does not provide a suitable framework for vocals. I could create one easily enough I suppose, but this would require the simplification or compromise of other elements, something I may be loathe to do. Not to mention the fact that I would have to supply the words. I've tried writing serious lyrics, but things always seem to degenerate into humor somehow, so I have accepted the inevitable - just write liner notes boy, you're not capable of lyrics! Just one more observation... lyrics allow the artist to speak with a specificity that the somewhat more nebulous nature of instrumental music does not. But when an instrumental hits me, it goes directly to my soul. And by that I mean my lower intestine. 9. Much of the track by track commentary you write is really quite self-deprecating. Why? I love to write and I think of myself as a reasonably funny guy, so these things manifest themselves in the liner notes; which are, to my mind at least, a set of surrogate lyrics. In my particular case, self-deprecation is easy because I suffer from so many fatal character flaws. My comments reflect my personality, like it or not, and they allow me to acquaint the listener with a few things that I want them to know about the track in question. It's always my intention to entertain, so if the liners make you laugh or otherwise enhance your musical experience, then I've succeeded. My friends often discuss the irony of my situation - the man who so loves words writes instrumental music - what the hell is that! 10. A popular observation by fans has been that your music would work well as score for sci-fi and horror films, perhaps appropriate even as accompaniment for sports highlights. How do you feel about this? I entirely agree. My music is often imbued with a sense of foreboding. An unimaginable horror just around the corner if you like. I've unquestionably written a few things that are paced appropriately for crashing spaceships or lopping off people's heads. One potential problem would be that the music's complexity would simply be too much, serving to undermine rather than support a film. With highlights of sporting events this wouldn't be a problem. I'm not much of a sports fan, but I've noticed that highlight music can be interesting stuff. I recall hearing the music of Cream, Yes, King Crimson, Deep Purple, The Dregs and The Steve Morse Band used in that way. I'd be in great company there, that much is certain. 11. Will it rain? Yes, eventually it will. 12. Can you talk a little about your drum sound? To my ears - changeable, track by track, and deliberately so. I'm never completely satisfied with my sound, I don't think most musicians are, at least not the ones who give a shit. It's something that is always evolving. The most important consideration is to try to make the drums sound the way I think they should for the track in question. Sometimes they're enormous, other times they shrink to what the song's context will allow. I have been known to use EQ, distortion, compression and other processing options in various ways, particularly on snare drum. One of the benefits of recording on a computer based DAW (digital audio workstation) as I do, are the limitless options for sound manipulation. So much so in fact, that it can be too much of a good thing. You can waste hours and hours... 13. What role does MIDI play in your music? Songs almost always begin as a riff or line or chord sequence on a keyboard. This information is fed via MIDI into a sequencing program, in my particular case MOTU's Digital Performer, running on a Mac G4. Once there, the data can be manipulated in myriad musical and/or non-musical ways. The level of control that this technology provides is nothing short of astonishing. If you know what you're doing and exercise good judgement, this is a beautiful thing. If you don't, you can sterilize your music into something that resembles accounting more than art. Not to disparage accounting in any way. It is absolutely critical to remember that music is made by human beings, fallible creatures at best; and it is the very nature of imperfection that informs music with humanity. Technology allows the realization of perfection, or at least the illusion of it, in every musical nuance. The musician must choose. Here's hoping that he or she chooses wisely. 14. Who are your favorite drummers? There are many players that I admire for one reason or another, but if I had to create a short list ... Aynsley Dunbar, Michael Giles, Barrie Barlow, Clive Bunker, Ian Paice, Ralph Humphrey, Simon Phillips, Vinnie Colaiuta, Elvin Jones. 15. How much time do you spend practicing at the drum set? I try to play every day, usually about an hour or two. It depends on what I'm doing- writing, recording, or basic rehearsal. When I'm writing I experiment with things, trying to find alternatives to the role the drums play in my music, or perhaps messing about with the basics of playing time. When recording, the mission is much more specific, finding and committing to media that elusive musical moment when preparation and spontaneity come together as I desire. I occasionally do a five or six hour recording marathon, but truth be told, after about three hours I'm usually too knackered to play at all. Basic rehearsal is familiar but important stuff like independence exercises, rudiment drills, control of dynamics and other details that preserve the drummer's reputation as the one member of any musical ensemble that you would never allow your daughter to date. 16. Why are drummers always so sweaty and stupid and unpleasant? It's our nature. Consider what we do - flailing about like an animal in a trap for little or no reward; that would make anyone sweaty and unpleasant. But not necessarily stupid-that's more of a bass player thing. All musicians suffer. Consider guitar players, with all of their sexual problems and trouble with the law…the average keyboard player's insatiable appetite for alcohol or any other mind-numbing substance, and horn players…all of them - incontinent. 17. Of the two discs, whlch is your favorite? For me, a childless man in his mid-forties, these collections of songs are much like offspring. Can you choose a favorite child? Both discs have elements that I would change if I could. D2R is certainly the better disc in terms of recording quality, and is probably a superior example of compositional prowess. The first disc has its moments of charming naivete that are summarily blown out by the energy of the studio performances, which are fueled by the anger and frustration that are endemic to the musician that aspires to something beyond the unadulterated pigshit that is MTV. 18. Why are your song titles so freaking weird? Everything is a stab at entertainment, I suppose. I enjoy words and phrases that are unusual or ambiguous. My brother Bryce and I collect them from a variety of sources- crossword puzzles, reference books or any other place that strange historical, scientific or literary esoterica might be found. My song titles often reflect musical content. Other times the music itself is rather ambiguous, like a mathematical problem inextricably tied to a feeling. In this case, the song title is not much more than simple identification, a written reference to that feeling. 19. What does music give back to you? How has it changed your life? Music surely is its own reward, and when I experience it in its purest form, it is the definition of joy. Nothing makes me feel so very alive. To say that music has changed my life would not be as accurate as to say that music has simply been my life. I have no memory of a time when I was not playing an instrument - and I'm not kidding! On a more pragmatic level, I think that music has given me a well-developed sense of discipline and has certainly taught me the value of perseverance. Music is by its very nature a rather frustrating pursuit, especially in the early going. Most pretenders are weeded out pretty quickly. Regrettably, a number of them not only survive, but actually prosper by pandering to the most prurient interests of the general public. (Oh no, here I go again!) This is what I call the KISS syndrome. I don't usually refer to the bloody fecal hemorrhage that is KISS as KISS, I usually call them the Anti-Beatles. The Beatles raised the bar of musical possibility in a huge way and KISS dumbed it back to the fucking Stone Age. Too bad too, as they sold millions of records to people who apparently cannot discern the difference between shit and chocolate, and their influence is pervasive to this day. Keep It Simple Stupid indeed, they certainly are the poster children of everything stupid and conformist about the music business. And they're laughing all the way to the bank while I play jazz up a tree somewhere on the Serengeti. Oh well. 20. What the hell is wrong with you? Far too many things to delineate here, but I'll take a stab at it. If I were to touch on the very negative, I'd have to admit that I have serious problems with anger. I do not well suffer corruption or incompetence. When the ENRON scandal was in the headlines I remember telling my wife that I could "fix everything that is wrong with Ken Lay and Jeffrey Skilling if I just had an axe handle and five minutes of their time in a closed executive conference". Fortunately my daily rehearsals at the drums are the near perfect foil for my unchecked anger. I can burn thousands of calories without hurting anyone. I do possess an enormous soapbox from which I make angry pronouncements about all the things in the world that appall and disgust me. In the end I probably seem little more than some weird, egocentric malcontent with a thousand grievances. I am a terribly obsessive and driven perfectionist. So much so that I don't really enjoy my day-to-day existence like I think I might if I could just relax more effectively. This is probably a reflection of contemporary societal trends. It seems that everyone these days has too much to do in too little time. We are constantly bombarded by media images and messages deliberately designed to make us feel insecure or at some loss until we covet whatever shit they're selling that particular week. We may have accidentally designed a society that is impossible to navigate without being obsessive. Perhaps we're evolving to death. Another one of my well-documented character flaws is my propensity to use vulgar references freely, easily, intentionally and at the most inopportune times. My reputation precedes me as a man who will use profane language for the purposes of humor and occasionally as an emphatic device. I don't use profanity that much mind you, to do so nullifies its power. I don't ruffle too many feathers among my family, friends and associates as most of them are given to a certain "saltiness" of language as well. However, if people are looking at you like you're the Prince of Darkness incarnate, then you may have gone too far. Home \| Bio \| Discs \| Reviews \| Multimedia \| Gear \| Community \| Order				Video Introduction [4 MB] - Requires QuickTime

DARLING - Frequently Asked Questions