I believe the drummer at this point was still Charlie Claeson.Īs a more contemporary example, here is The Day After from the band Tragedy out of Tennessee. Here's another Swedish band, Anti-Cimex, with Braincell Battle, the first track off of 1993's Scandinavian Jawbreaker. What I've noticed with Erlandsson is that even though Skitsystem plays faster in general than the other bands I listen to, he is more likely to hit the hi-hat on all four beats of the bar (as opposed to just playing the hats in sync with the snare on the two and four, which helps save energy at high speeds). For some reason Swedes in particular really took this style and ran with it. Here's a track called När Ska Ni Fatta from Skitsystem's 1995 EP Profithysteri, with Adrian Erlandsson (older brother of Daniel) on drums. The production on the album unfortunately makes it hard to hear the bass drum so it's probably not the best example of the style, but I include it because this LP is essentially what started the genre. Here's an example track, Meanwhile, from Discharge's 1982 LP Hear Nothing, See Nothing, Say Nothing, with Terry "Tezz" Roberts on drums. It's something I'm sure every one of you on here has played at some point before, but in this particular genre it has been taken to new and more physically demanding levels since it began with Discharge around 1982. So, to count it in four/four for simplicity's sake (up to speed it is much more economical to count in cut time): bass drum on one, snare on two, bass on 'and' of two, bass on 'and' of three, snare on four. It gets its name from the beat the drummer plays (the whole song for virtually every song on any given album), which is just the beat from, oh, let's say.Mickey, played at faster, often downright ludicrous speeds. D-Beat is a rather small and limited subgenre of punk I've nonetheless become rather infatuated with for the last few months.