Dave Hingerty’s day job is as one of Ireland’s most successful drummers, a regular behind the kit with the likes of The Frames, Kila and Josh Ritter. Naturally, he’s made plenty of contacts through his job, and the whole thing has led to an unusual record.
Side 4 Collective are, perhaps, the ultimate ‘isolation’ style group, in that some of them have never met, though their output far pre-dates our current situation. Their album is constructed with the layering of their various contribution on top of Hingerty’s drum backdrop. Their new record ‘We Burn Bright’, which features Josh Ritter, Paul Noonan (Bell X1), Joe Chester, Ben Castle (Radiohead, Blur, Amy Winehouse) and Katy Perry drummer Adam Marcello.
I caught up with Hingerty to find out all about it…
Congrats on the new record. Can you tell me a little about the story behind it?
It all started with my obsession with recording drum ideas at soundchecks and at home. I have that type of personality that can’t stick to a practice routine and I go on tangents almost immediately and got into the habit of recording any new creations.
I feel like I am a frustrated guitar or bass player, and I think I try to express melodies through the drums often subconsciously. This in turn led to the idea that I could use all of these ‘melodic’ or experimental grooves and beats as a ‘first point in writing’ and invite lots of friends and artists to challenge them to write a song or piece to one of these grooves.
You seem to have gathered quite a collection of musicians around you. How much did they contribute to the construction of the record?
Almost Everything. I just sent them the beats and connected them up and sat there eating sandwiches while Anthony (Gibney, Audioland Studios ) did the real work, recording and mixing. I did ‘Anti Production’. I worked with Steve Albini a few times in Chicago with The Frames etc and he never liked the whole ‘produced by’ title. Like him, I just didn’t want to get in the way. The whole spirit of the project is musical and sonic freedom. Now and then I made some suggestions or played a keyboard, bass or xylophone badly.
This is quite a creative departure from The Frames. Is this more along the lines of your personal taste?
Probably yes. Not that it’s musically so different, but it’s more focussed on freedom and experimentalism. I love The Frames music and I love the music I play with Kila, and also with Josh Ritter, but there isn’t always room for creativity and I often have had to ‘play for the song’. So, for this Side 4 project, these poor artists were forced to work with my rhythmic creations. So, there is more of me creatively in Side 4. I am wide open when it comes to taste, but I prefer if music is brave and performed with emotion though, otherwise I smell a rat.
The album, you say in the press blurb, is a departure from the need to be commercial. How does that pressure influence bands in general, do you think?
Following on from the last question, I do feel that nearly everyone I work with panders towards what they think will be more acceptable to the record-buying public, as opposed to what they really want to make.
Freud used to encourage his patients into ‘free association’ which means talking honestly and continuously and without a filter. We need more of this in music, I think. We need a new wave of punk. Raw, real, and brave. This, I would hope, would freshen everything up.
Where are the mavericks these days? The David Bowies and the Iggy Pops and the Georgie Bests, John McEnroes and the Alex Higgins’? There is too much music now that is slick and sterile I find. Over edited. Overcooked. And, commercially speaking, mostly in the hands of the wrong people.