Quick Fix By David Jarnstrom ell before the wonders of the Internet (or even the prolifera- tion of CDs, for that matter), file sharing was known as “high- speedW dubbing,” wherein the contents of one cassette would be transferred onto Byron another at an extremely accelerated clip. During this expedited “download” pro- cess, the vocals invariably resembled Alvin
as And The Chipmunks, while the drums sped
Ha d by in a blur of blastbeats. McMackin Photograph:
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D192_21_26_vibe.indd 21 4/13/12 12:17 PM Byron McMackin (Byron McMackin on "Waste Another Day") (Byron McMackin on "Waste Another Day") Transcription by John Natelli (Byron McMackin on "Waste Another Day")
= 182, @ 0:00 = 182, @ 0:00 “Waste = 182, @ 0:00 Another Day” R RL RR LR L LR RL RR LRLR LRL The clarity with which R RL RR LR L LR RL RR LRLRLRL Byron McMackin plays the R RL RR LR L LR RL RR LRLRLRL 1. classic SoCal thrash-punk 1. feel is phenomenal, but 1. what sets him apart from 2. the other drummers of the 2. same style is his how good 2. he is at applying that right- foot prowess to other areas of the music. Take, for example the monster fill (bordering on “part”) that Day.” McMackin works those magical right-foot- that phrase, creating a paradiddle-based linear introduces “Waste Another ed doubles into some rather unusual places in pattern between toms and bass.
In these ancient times, a skateboarder pal introduced me to the 1991 eponymous debut from a Southern California punk rock quartet “I take care of myself much called Pennywise. When the opening track kicked in, I interjected, “Can I listen to this at better now. I stretch a lot more, regular speed before you dub it for me?” My friend replied, “Dude, this is regular speed.” Needless to say, my prepubescent mind was I’m more conscious of diet, and sufficiently blown. Even with present-day percussionists expressly seeking to broaden bpm boundaries, I never drink before we play.” Pennywise drummer Byron McMackin’s torrid tempos seem impossibly fast. Equally impres- punishing attack and surgical precision. “The final product is undeniably airtight. The sive is the fact that — after a career of 20-plus name of the album says it all,” he explains. “We title cut sets the tone with a whirlwind of years and 10 albums to his credit — the svelte really felt the pressure to dig deep and deliver sixteenth-note ascending tom fills — punc- 42-year-old attacks his kit with the exact same our best record ever, because the future of the tuated by crash cymbal swipes — that reach exuberance heard on his band’s initial offering. band was in serious doubt.” the snare before unfurling all the way back The proof is in Pennywise’s latest release, Said pressure stems from the departure of down again. “Revolution” finds McMackin All Or Nothing — a rock-solid collection of founding member and longtime vocalist Jim riding a beefy floor tom before giving way upbeat punk rock powered by McMackin’s Lindberg. Losing a lead singer is often a death to incessant eighth-notes on his kick drum knell for bands of Pennywise’s vintage, but during the bridge. (For the record, McMakin McMackin, along with guitarist Fletcher Dragge has never used a double pedal in Penny- and bassist Randy Bradbury, refused to admit wise.) “Stand Strong,” “Seeing Red,” and Band Pennywise defeat. They swiftly enlisted the services of “Waste Another Day” all boast scalding Current Release All Or Nothing Zoltán Téglás — frontman of Orange County bpms and a non-stop barrage of fills — like Age 42 hardcore outfit Ignite — and the results have the slick, syncopated single-stroke snare been nothing short of spectacular. rolls that close out the latter two tracks and Birthplace Los Angeles, California “I’ve never been happier with a Pennywise elevate them to face-melting status. Influences Bill Stevenson, Pete Finestone, record,” McMackin beams. “The drum tones are When asked if he was a hyperactive kid, Jeff Nelson, Jack Irons, Josh Freese, Brooks so fat, and the parts all lock so well. It’s a really McMackin laughs. “I didn’t need prescrip- Wackerman focused effort from everyone involved. I’d say tion drugs if that’s what you mean. I was just Web Site pennywisdom.com it’s a return to form, but it’s really better than really stoked all the time.” How could he not we’ve ever been. ” be? Reared in the Redondo/Hermosa Beach All Or Nothing finds Pennywise returning to communities of Los Angeles, McMackin’s Drums DW Epitaph — the label that released their first eight youth was idyllically spent skateboarding, efforts — after a brief flirtation with MySpace surfing, and, of course, drumming. He taught Cymbals Zildjian Records. And for a second consecutive record, himself to play by mimicking the grooves Hardware DW Kick Pedal Axis the band tapped Cameron Webb (Motorhead, and fills of classic rock’s finest — John Heads Remo Emperor X (snare) Coated Social Distortion) to produce. “[Webb] really Bonham, Stewart Copeland, and Neil Peart — Emperors (on toms) Clear Ambassadors (on knows how to push me. I kind of suck in the before delving into the punk rock scene that bottoms) Powerstroke 3 (on kick drum) studio so it’s great having a producer like that had exploded in his own backyard. Sticks Zildjian Travis Barker model (work- who can coax the best take out of you.” “The first Bad Religion drummer, Pete Fine- ing on his own model as well) Whether or not McMackin is being face- stone, was a huge influence,” McMackin says. tious about his lack of studio prowess, the “Also Jeff Nelson from Minor Threat. And Bill
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D192_21_26_vibe.indd 22 4/13/12 12:17 PM Stevenson [fellow Hermosa Beach native elbow in recent years. This has lead to a more he jokes. “But [the tendonitis] has been a lot and drummer for Descendents and Black ergonomic setup and an alternate set list the better lately so I’m optimistic.” Flag] is like the Neil Peart of punk rock — band can audible into whenever the crippling Also slowing McMackin down ever so his parts are so technical and precise.” pain flares up. “It prevents me from doing so slightly these days is the recent birth of his When Pennywise formed in Mc- many things,” McMackin laments. “I can’t get son, Braxton. The first-time father apologizes Mackin’s late teens, he claims they didn’t around the toms as much, so there’s certain when he has to conclude our interview to set out to become speed freaks. “Our first songs I just can’t even attempt.” relieve his wife, Lori, of baby duty. He signs EPs sound quite different than what we He also carries a medical kit with him on off by predicting the apple won’t fall too far eventually became,” he says. “But we tour, full of heated wraps, ice packs, and even from the tree. “Braxton’s going to be the fast- really got a rush from playing just at the a portable electro-stimulation unit for when est drummer of all time,” McMackin says with edge of s__t flying off the rails. In fact, I things get really bad. “After a show, I some- pride. “I can’t wait to get him started.” play even faster live. The others are always times look like I just came out of a warzone,” He’s got some mighty speedy shoes to fill. looking back like, ‘Dude — slow down!’ But it sounds perfectly natural to me.” So how does a guy of McMackin’s age manage to pull off such blistering mate- rial on a nightly basis? “It’s definitely different from when I was younger,” he confesses. “I take care of myself much better now. I stretch a lot more, I’m more conscious of diet, and I never drink before we play. I spend most of my free time resting, just conserving my energy for the show.” McMackin has also had to deal with a nagging bout of tendonitis in his left
Pennywise All Or Nothing epitaph
Setting aside the impulse sparked by All Or Nothing to run out into the streets with right fist raised and shout demands for justice, it is both exhausting and exhilarating to just sit there and let Byron McMackin's per- formance wash over you. He doesn't vary what he does that much from one cut to the next, but then again neither does anyone else in the band. The tempo ranges from really fast to “Dude, I can't even count that.” And at no point does McMackin ease up. His sheer stamina is as inspiring as his single-minded resolve to drive every second as hard as he can. But even more impressive is his attention to detail. Even when exploding all over the kit on the title track, he never fails to accent key points in the lyric or the music with a snare or cymbal slam. McMackin also knows when to hold back: A simple eighth-note lead-in to the chorus on “Revolution” rivets our attention to the transition more effectively than mere flash and fire. All Or Nothing is nothing less than a drum-centric tour de force. Bob Doerschuk
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