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Article by: Leanne Ridgeway The Gear Assembly interview series is especially for the music gear addicts, or simply the curious like myself. Each article in the Gear Assembly series features a different musician answering the same questions, highlighting both their varying preference in music gear, as well as their own music that results from using that […]



Article by: Leanne Ridgeway

The Gear Assembly interview series is especially for the music gear addicts, or simply the curious like myself.

Each article in the Gear Assembly series features a different musician answering the same questions, highlighting both their varying preference in music gear, as well as their own music that results from using that gear. Hopefully it brings some awareness to both the artists and their gear makers. You’re reading, so we’ve got at least one more. Find new music, learn about who’s making it and what they use to create it…



The bands WORSHIPPER and SUMMONER, both from the Boston, Massachusetts area (and both of whom have enchanted my ears for several years), currently possess the same drummer – Dave Jarvis.

Mr. Jarvis has been part of the heavy doom realm of Worshipper since the early days with their debut album ‘Shadow Hymns,’ through their most recent single ‘Slipping Away‘ last month. As of a little over a year ago, Dave also joined on with Summoner‘s atmospheric stoner rock brigade, just in time to play at their ‘Live At Day Of Doom‘ performance, with an album from it soon to be released at the end of this year.

Both bands are in the midst of writing new music and maneuvering the present state of a world temporarily without tours, but let’s get the facts direct from Jarvis himself, as he’s here to be our twenty-first piece in the Gear Assembly! Rock on…

Riff Relevant /Leanne:  What instrument(s) do you play?

Dave Jarvis:

Drums / Percussion

Riff Relevant /Leanne:   Give us a rundown of your current live gear set-up.

Dave Jarvis:

I have two kits in rotation right now. One  is small for touring purposes.

Kit #1 is a 1970 Rogers Holiday set

Kit #2 is a 2012 DW Collectors set

I play a 14 x 6 1/2 Ludwig Supraphonic snare almost full time now, but carry a Ludwig Keystone X 14 x 6 1/2 wood snare as a backup.

Cymbals are all Paiste Giant Beats with the exception of my hi hats. Those are Zildjian Dark Custom Ks.
24in Crash/ride
22in Crash/ride
20in Crash
14 in hi hats

Photo by: Petra.Dollet.Photography
Riff Relevant:  When was the exact moment you realized you wanted to play your instrument(s)? Who was your primary influence at that moment?


I used to play guitar and sing in bands until I was about 16, but I wasn’t very good at it.

There were kids around who were way better than me, so I started playing the drums by jumping on other people’s kits when they got up to use the bathroom or go outside to smoke when we were jamming. I was able to pick it up pretty quick and felt so much more comfortable hiding behind the kit.

My half brother’s dad was a drummer in the 70’s and 80’s in some regional bar bands and had this amazing Fibes clear acrylic kit that he let me borrow so I could learn on my own. It just took off from there.

I think my influences at the time were Dave Grohl, Dale Crover, Bonham, and anything else that was simple and big.

Riff Relevant:  Which one of your songs best exemplifies you as a musician? Why?


That’s a tough question. I’ll just default to “Black Corridor” from our first album ‘Shadow Hymns‘.

I’m rarely satisfied with all of my parts once a song is finished and recorded. This track wrote itself and was so easy to finish and knock out in the studio. I’m not really into complicated parts. I just want my drum parts to be simple and driving.

Riff Relevant:  Is there specific gear you prefer to use in the studio that would be different from your live set-up?


Sometimes I use my kits, sometimes I use what’s available in the studio. Depends on the studio and the sound we’re going for.

Riff Relevant:   Any type of pre-show/practice warm up rituals?


Stretch my hands / forearms and nervously drink beer.

Riff Relevant:  How do you keep things interesting when able to be out on tour & playing the same set each night?


I like the challenge of working on making the set tighter every night. I have a hard enough time just doing that.

We’ll change out songs here and there, or add songs if needed, but I prefer to keep it the same if possible.

Riff Relevant:  What do you think gives your playing its signature sound?


I don’t know if I have a signature sound… I just try to keep the plane in the air, you know?

People tell me my playing has a lot of swing to it. It doesn’t always translate to heavy music, but I like that because I get bored with heavy music being the same a lot.

Riff Relevant:  Any brand loyalty? Are you partial to one company over another? Any current sponsorships or your own signature gear?


I play Vater 5a Los Angeles sticks. I can’t live without them. PLEASE SPONSOR ME.

Other than that I don’t really have a ton of brand loyalty.

Riff Relevant:  What is the most important piece of equipment currently in your live set-up? Why? What is it about that one?


It’s definitely my Ludwig Supraphonic snare. Getting it has changed my feel.

Having a snare that cuts without having to smash it makes all the difference in the world when you’re playing loud music. I tend to over exert myself when I’m not comfortable or can’t hear what’s going on.

Riff Relevant:  What do you enjoy doing outside of music, that you feel ultimately contributes to your musicality? (For example, a hobby that you turn to in order to stimulate your creativity.)


Outside of music I’m a bore. I don’t really have a lot of hobbies besides hoarding vinyl.

I think going to shows and watching other drummers gives me inspiration. I feed off of what others are doing.

Riff Relevant:  Are there any newly emerging artists or bands who are currently influencing you (or you just enjoy)? If yes, how so?


I don’t do a lot of seeking out new music, because I stink.

Ziptie Handcuffs – 3 piece punk/psych awesomeness out of Boston.
Lesser Glow – Post hardcore, noise rock, post rock from Boston.
Horseburner – Epic metal/stoner from West Virginia.
Holy Grove – Heavy rock from Portland, Oregon.

Photo by: Jens Wassmuth at Desertfest Berlin 2019
Riff Relevant:  If you could give one piece of advice to an up and coming musician, what would it be?


There are so many people trying to do what you’re doing right now. It’s hard to stand out. I would say my biggest advice is don’t be a dick. Show up on time. Return emails. Thank bookers and clubs for helping you out.

I find that scenes will out people/bands who don’t act at least somewhat professional. Make friends. That’s what this is all about. If you think you’re gonna be rich from doing this, you’re lying to yourself.

Riff Relevant:  How has the pandemic impacted your music life or career? What are some ways you’ve been doing things differently?


It’s brought it to almost a complete halt honestly. No practices. No shows. No tours. My drums are at my practice space but I rarely get to play them. Both bands are writing in their own capacities.

With Summoner, we’ve managed to get into the practice space and rehearse a new tune a few times before going into the studio and recording our first track with me on the drums. We are slowly working on a new album.

Worshipper hasn’t played since we got off the road in March when the world shut down, but there are songs and demos being shared via dropbox for now, which is good news. When this blows over we’ll get back to work on album #3.

Riff Relevant:  If you could have any music gear you wanted, what would be your ideal set up?


I think my DW kit, but with a 24 inch kick drum instead of my giant 28 inch kick. Other than that, I have the gear I want.


Facebook | Instagram | Twitter | Spotify | YouTube | Bandcamp | Merch


Facebook | Instagram | Twitter | Spotify | YouTube | Bandcamp | Merch

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2020, Atmospheric, Audio Stream, Bandcamp, Doom, DW Drums, Gear Assembly, Heavy Metal, Heavy Rock, Interview, Ludwig, Magnetic Eye Records, Massachusetts, Music Gear, Official Video, Paiste, Rogers Drums, Spotify, Stoner Rock, Summoner, Tee Pee Records, Vater, Video Stream, Worshipper, YouTube, Zildjian


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Watch Def Leppard play 3 gigs on 3 continents in 24 hours to set a world record

On October 23, 1995, Def Leppard played shows in England, Morocco and Canada… and entered the Guinness Book Of Records




On October 23, 1995, Def Leppard released their first ‘greatest hits’ album, Vault, and decided to mark the occasion by playing three acoustic shows on three different continents on the same day, as a special ‘Vaulting The World’ publicity event.

“It was the band’s idea to do something weird and wacky,” said Joe Elliott as the band boarded a plane at London’s Gatwick Airport ahead of the 2 hour 45 minute flight to Tangiers for their first gig of the whirlwind tour at Hercules Cave. “We haven’t actually had the chance to nail this person’s head to a coffee table yet who actually came up with this three gigs in one day lark. But, I mean, it is a challenge and we do like a bit of a challenge.”

The quintet’s second gig took place at the Bottom Line club in west London, with Leppard playing covers by Jimi Hendrix (Little Wing), David Bowie (Ziggy Stardust) and The Rolling Stones (You Can’t Always Get What You Want) alongside originals such as Animal, Two Steps Behind and Pour Some Sugar On Me.

The same three covers, plus a set-closing run through T. Rex’s Bang A Gong (Get It On), featured in the band’s final show of the day at the Commodore Ballroom in Vancouver, Canada. With that show starting at 10:45pm local time Leppard technically played their three shows in 30 hours, but as the time difference meant it was 6:45am in London the record was allowed to stand.

“The [Canadian] audience was stunning,” Joe Elliott later recalled. “It was like Beatle-mania, with people moshing – moshing! – during our acoustic set.”

“Would we do it all again?” the singer asked rhetorically, with the record in the bag. “Yes. Would I do it all again next week? No fucking way.”

On November 17, 1995, ITV’s late night hard rock show Noisy Mothers broadcast a special segment on the Sheffield quintet’s record-breaking feat, which you can see below.


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Please Jesus, our sweet lord, make this Gwen Stefani country album a real thing

No Doubt singer Gwen Stefani goes country for a laugh. But we need this to happen




Look, we get it, there are chuckles to be had from the idea of Gwen Stefani taking a career left-turn and reworking her biggest songs in a country-rock style, but wait… is this really such a bad idea?

In a sketch on The Tonight Show Starring Jimmy Fallon, No Doubt vocalist Stefani is born again as a country singer, and performs Don’t Speak, Spiderwebs and her excellent 2004 solo single Hollaback Girl in a country style, with fiddles and banjos a-sawing and yee-hawing in the background. Most entertaining – we duly Laughed Our Fucking Asses Off, or whatever ‘the kids’ say these days – but then we listened again to that countrified version of Hollaback Girl and thought, ‘Hmmmm…. This kinda works.’ 

So, the petition starts here. Make Gwen’s Gone Country a thing, Jimmy Iovine or whoever sorts this kind of shit out and throws the big bucks around. It’s not like 2020 can get any weirder…


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‘Rebellion is well-known to us’: inside Mexico’s vital underground music scene

Mexican musician Lorena Quintanilla – who has just released Hibiscus, the second album from her solo project J. Zunz – talks us through life inside México’s vibrant underground scene




I’ll start off by saying that my point of view when it comes to México’s underground is probably biased, and I’m sure there is much more going on than what I see. It’s impossible to reach every corner of such a large and vast country like México. But I can talk about my 15-year experience of being an active musician in the underground scene.

México’s underground music scene is a very specific niche where garage, psych, noise and electronic music – among many others genres – interact. It’s inspiring that, no matter all the obstacles that we go through every day, this scene keeps moving on; reinventing itself and thriving. Of course, this comes as no surprise, because the underground is so often spurred on by acts of resistance – and what better place to live the act of resistance than in a country asphyxiated by the non-inclusive white superstructure? Rebellion is a well-known form to us, it’s a necessity we nurture every day.

Along the years I’ve seen venues, bands, blogs, festivals and record stores come and go. In the past, efforts to document these nomadic and itinerant scenes have been scarce, which in turn means that eventually, those scenes have all but faded from view. Back then, we could only trust our collective memory. Now, it’s surely different, as the internet keeps track of everything. But it’s still not easy for newer generations to get a grasp on what’s come before them – they have to start from scratch, with new ideals, new necessities. This isn’t a bad thing – maybe it’s our way of building our history.

As with many communities over the world, the obstacles that often obstruct the preservation and continuity of these scenes are rooted in socioeconomic factors. Often, if you’re not privileged enough, the odds are you won’t survive as an active agent within the music scene (with a few exceptions, of course). This is dangerous, as it results in an otherwise vibrant scene being a place where only musicians from specific socioeconomic background can thrive, causing other voices or sides of the story to vanish. 

The enduring issues with politics and security throughout México also pose a threat to the health of the underground scene. A good example of this was Monterrey’s vibrant scene in the late 2000s. To my eyes, it was active, refreshing and confident. Playing there during those years changed my mind completely. There was such a sense of community – the venues, the music, the labels, everything. Unfortunately, in 2010, a wave of drug cartel-related violence took over the city in the middle of the most sanguine presidency in México’s history. The scene faded away as nightlife was gone, venues closed, musicians moved out or remained inactive. It’s sad how a movement like this can just disappear because of reasons completely separate to the music itself.

But, as I said, the underground keeps coming back to life with every new generation, no matter what. I’m currently very inspired by everything surrounding Tajak: a band based in Mexico City who have created their own label, Hole Records, home to a lot of new music. They started out as a cassette label, but they recently had their first vinyl release – with all the challenges that implies – and they’ve also put together their own Hole Festival in 2017 and 2019. Not far from them there’s also the prolific electronic and avant-garde scene fronted by women, and Oris, a newborn label which is a space for women and for the LGTBQ community. Both worlds interact in Mexico City, and though everything in the country is centralized, there is deeply engaging art coming from every corner. 

In the northwest corner of México, Haydeé Jiménez is an active musician and promoter who has created Nett Nett, an artistic space in Tijuana that hosts workshops, shows, lectures, and more. Due to its strategic location it has been an important meeting point between the experimental scenes from México and the United States. These examples are just a small representation of all the movements coexisting at the moment.

I’m not sure if I would be making music if it wasn’t for the underground. I’m really lucky and I had the privilege of growing up in a city like Guadalajara where moving as an independent musician was already an option thanks to past musicians who paved the way. Thanks to this, the underground has been my home and my way of life for many years. Creating music is abstract and self-absorbing to a great degree, and being part of a DIY community has given me the opportunity of thinking outside myself, of taking action and being communal. Of getting to know newer generations with their refreshing ideas and music. But above all, of resisting together. It is always an adventure and it is never boring.

The underground needs to stay as an essential option for future generations. It’s a lifeline for those musicians who, like myself, can’t find their place in any other space.

Hibiscus is available now via Rocket Recordings


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