Eddy Thrower, Lower Than Atlantis: Making Waves

Eddy Thrower from Lower Than Atlantis tells us about breaking through to make Radio 1’s A-list, recording the band’s fourth album and being star struck by Travis Barker

Words: Jamie Dawson  

LOWERTHANATLANTIS LANDSCAPE GENERAL_web

Lower Than Atlantis are all grown up. Shedding their teen punk persona for a more polished rock sound, the new fourth album, which is their most ambitious to date, was recorded in their own studio in Watford. We caught up with drummer Eddy Thrower between shows on their recent All Signs Point to Britain tour supporting American hardcore heavyweights A Day To Remember, which featured sold out dates across the country.

The new album sounds great. How would you describe your sound to readers?

Before, we used to be a punk rock band but now we like to brand ourselves as rock. I think there are so many genres and sub-genres these days that it gets a bit confusing. So, for the general public and general music fans, it’s rock.

How long have you guys been together?

The band has been going for six years, but I wasn’t in it originally. It’s been going seriously for about three and a half years now.

You joined later, how did that happen?

The original band had toured with my old band. When their drummer left, they got me involved. It went from there really.

You recorded the new album in your own studio, did you get involved in the production?

Yeah, a little bit. I don’t really know much about it to be honest – all the recording stuff. We recorded only three of the drum tracks in our own studio, and the rest of them went to a producer called Pete Miles, who has a studio in Devon. We recorded them there, which was wicked. It was amazing having our own studio for the majority of it. We could try out new things.

Did you get to try out any different drum recording techniques, like recording the drums and cymbals separately?

Yeah, we did. We recorded without cymbals on four or five songs.

I thought so. The album has a really polished sound, and you can’t really get it any other way, apart from having control over the cymbals, can you?

That’s it. On some songs we changed it up so that in the chorus we did that and the verse we played it with the cymbals. We had so much time with this album. We just decided to do what we wanted, when we wanted. So we just got to try everything.

Do you tend to change things around when you’re in the studio or do you go in with fully formed songs?

I play what I want and then learn from whatever is recorded. But even when we play live, I often mix it up.

You don’t have it planned out beforehand?

To a certain extent, but then I think it always changes. I think once you have an idea, it’s obviously good and you remember it. There’s a reason for that. But most of the time it’s not what you play, it’s how you play. A lot of the time, the simpler stuff is more effective and impressive – just the whole backing, not doing fills every bar.

Listening to the new album, there are a few electro aspects to it. Did that throw up any problems for you? Did you have to strip back your drum parts to complement it?

Yeah, I had to change my thought process to compare it to a session player and do 4/4 beats. I quite liked that. We’d never done that before so it was refreshing. Even though I couldn’t do what I really wanted to do, it was all about trying new things for me. I think when you put samples to it, the less you do, the more effective it is. I did have to sit back and let the tracks do the talking and just be a guide, really.

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