Modern Drummer article - January 2009

Print interview with Patrick Wilson
Publication	Modern Drummer
Published	January 2009
Interviewer	Gail Worley
Interviewee	Patrick Wilson
Title	Weezer's Pat WILSON Hearing Red
Format	Print
External link	Archived via Archive.org
References	See where this article is referenced on Weezerpedia

Weezer's Pat WILSON Hearing Red Author: Gail Worley (Modern Drummer) Published: January 2009 When Weezer entered the studio to track their sixth album, the band was committed to finding a fresh approach to their recording experience. "Recording The Red Album was a struggle in some ways, admits drummer Pat Wilson. "The songs on the last record were good, and the single, 'Beverly Hills,' was very successful. But the process had become stale. We felt like we had to 'grow the band' and somewhat retool how we approach music. From my perspective, that had to do with how the drums are captured. I don't like the idea of a mix drastically changing what happens in the studio. If it sounds good to my ears while I'm playing the drums, then that's what I want to hear on the finished recording." The Red Album features many new twists for Weezer, including each member contributing to songwriting and lead vocals, and switching up instruments. "In the process, that made all the difference, confesses Pat, who plays synthesizer and lead guitar on several tracks. The drummer also wrote and sings lead on "Automatic," on which he plays an un-muffled Ludwig Vistalite kit, a nod to his favorite drummer, John Bonham. "I love the atmosphere of Bonham's drums - how he thought of the kit as one instrument and how he's so laid back in the cut. My feel, naturally, is to be behind the beat. And I just happen to enjoy what drums actually sound like in a room when you put up a couple of mics. To me, nothing sounds better than that." Wilson is especially proud of his playing on "The Greatest Man That Ever Lived," an epic composition featuring ten different styles of music. "That song is a theme with variations," he explains. "Each section was modeled on a different artist, and I just played the drums in the way I felt was appropriate musically. The chorale section, where we're all singing over the marching snare, was going to be edited out at the last minute, but I said, 'No, you've got to have that part! I remember sitting in the mastering room actually inserting my snare drum back into the master," he laughs. "Of everyone, my parts on that song changed the least. I felt like I had to be the thread that tied it all together."