The rock band Wayland — Mitch Arnold (vocals), Phillip Vilenski (guitars), Dean Pizzazz (bass), and Nigel Dupree (drums) — hails from Wayland, Michigan, and released its new album, Rinse & Repeat, on September 22 on the Mighty Loud/In Grooves label. Wayland’s current single, “Through The Fire,” has reached #31 on Billboard’s Mainstream Rock Charts.
Justin Rimer produced Rinse & Repeat, with Jeff Tomei recording and mixing the album. Drum tracks were recorded in Kennesaw, Georgia, at Cock Of The Walk studio, while the rest of the album was recorded in Memphis, Tennessee at Cross Tracks Studios.
Wayland formed in 2010, signed to Kiefer Sutherland’s Iron Works Records by singer/songwriter/producer Jude Cole, released the EP Welcome To My Head in 2012, and has performed more than 500 shows since 2013.
Wayland goes on tour in support of Rinse & Repeat beginning on September 29, with numerous stops in the Midwest and South before landing in Hermosa Beach, Calif., on December 3.
Drummer Nigel Dupree is the son of Jackyl’s lead singer, guitarist, and primary songwriter, Jesse James Dupree. Nigel Dupree recorded this Drum Playthrough video exclusively for Drum Magazine.
Dupree’s drum set in this video comprises an early 1970s Ludwig 26″ x 16″ bass drum (with a Remo coated Pinstripe batter head); late 1960s Ludwig toms (12″ x 8″ mounted tom, and 14″ x 14″ and 16″ x 16″ floor toms) with Remo Ebony Pinstripe drumheads; a custom-made snare drum created by Dupree’s friend, Chris Richards, with Remo Powerstroke P3 drumheads; Sabian cymbals (two 19″ AAXplosion crashes, 21″ AA Raw Bell Dry Ride, and 14″ AAX hi-hats); and DW 9000 Series hardware. Dupree uses Vic Firth 5A drumsticks.
“The set in the playthrough video is the acoustic portion of my live kit,” Dupree says. “My full live set has sample pads, keyboards, and additional percussion instruments. The kit I recorded the album with was a late ’90s Pearl Masters Maple series — 22″ kick, 13″ rack, 16″ floor — with a variation of snares.”
Drum caught up with Dupree to ask him about the production of the album and the Playthrough video, and about his drumming influences and techniques.
How did this playthrough come about? Whose idea was it to record in a field?
When I became a drummer this year, I couldn’t wait to do playthrough videos, and geek out on some drum talk. [My] first instinct of course, was to find a cool venue or studio, but I love being outside. That’s when it clicked during some off days at a family friend’s farm in Illinois. I unloaded the trailer and set up the riser and drums at the edge of the field. I did a couple shots with a phone on a small tripod atop my drum vault, then woke up Spanky, my tech, and had him do moving passes. For playback, I used my Westone in-ears and put a phone between my belt and pants where my in-ear pack usually goes. Shout out to our stage manager, Andy Byers, for editing the video!
What stood out to you about the recording process and attaining the drum sounds?
The album was completely finished when the band decided to have me recut drums. So not only did we go against the conventional method of tracking drums first, but we also presented ourselves with the challenge of making sure the new drums sonically fit into the already completed album. We achieved this by tracking with a Neve [console] and some other analog outboard gear before hitting Pro Tools. Aside from loops or sections of songs hit with effects for production purposes, there was no sound replacement on the drums. Jeff Tomei and myself would make sure the drums were sitting in each song by paying attention to how the drums were tuned, and what snare(s) would be the best fit. The intensity of my playing even determined what kind of sounds we got for each song or sections of songs. For example, approach a verse with mild intensity so when the chorus hits there’s room to take things up a notch.
Who are some of your drumming and musical influences? Is your father an influence?
Every couple of years, I get fixated on something new. It’s really hard to say exactly. Don Brewer, Don Henley, and Levon Helm are high up on the list. All three are great at playing and singing. In my teens, I studied the ways of Jordan Pundik, Travis Barker, and Tre Cool. More recently, I’ve enjoyed taking notes from drummers Garrett Whitlock [Tremonti] and John Fred Young [Black Stone Cherry]. Musically, I find myself referencing bands like Aerosmith or Kings Of Leon, who create such beautiful relationships between the vocal melody and the drums and bass of a song.
My dad has been a major influence to me for sure. From the very beginning, he would reference old school ’70s funk songs, and of course, he schooled me in the ways of Zeppelin and The Who. Ever since I could hold down a beat, he’s had me play while he works out an idea. That later turned into full on recording sessions.
How did you learn to play the drums? What are some playing techniques or lesson books that have benefited you and shaped your drumming?
I learned how to play drums from playing along to my favorite songs and jamming or talking with seasoned musicians. The concept of ergonomics really helped develop my playing. I’ve had the privilege of getting to work and to be around so many great drummers and drum techs over the years. Some key people would have to be Tony Adams and Mike Froedge — masters of versatility.
For more information about Rinse & Repeat and to see specific tour dates, visit www.waylandtheband.com.