4.8 • 709 Ratings
🗓️ 6 December 2017
⏱️ 43 minutes
🧾️ Download transcript
Despite a deceptively unassuming stage persona, Bryan Devendorf's cleverly deconstructed beats are central to The National's sonic identity. He tells Joe about: growing up in Cincinnati, straddling the worlds of punk rock and jam bands, parenthood, white privilege, self improvement, and the intimate relationships at the core of The National.
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0:00.0 | The awareness of what's going on is so great nowadays, |
0:04.0 | and we're so seemingly powerless to do anything. |
0:08.0 | Oh, wow. |
0:16.0 | This is Joe Wong. Welcome to the Trapset, where each week we explore the lives of drummers. |
0:26.6 | I want to play something for you. |
0:28.6 | I want to play something for you. You're hearing Day I Die Die by The National, featuring my guest Brian Devendorf on drums. |
1:00.0 | Brian's urgent and imaginative rhythmic deconstructions have been central to the sound of the band since its beginnings in 1999. |
1:09.0 | Aside from his work in the National, |
1:12.2 | Brian has a solo project, Shit Attack. |
1:15.5 | I spoke to Brian at a hotel in Los Angeles |
1:17.9 | before the National played the Hollywood Bowl. |
1:21.2 | The band's eighth album, Sleep Well Beast, |
1:24.1 | was just nominated for a grand movie. |
1:25.7 | The day I die, the day I died, where will we be? Beast was just nominated for a Grammy. |
1:35.8 | And now my conversation with Brian Devendorf. I should mention I was a student of the violin as a youngster. |
1:49.3 | Yeah. |
1:49.6 | The Suzuki program is what my parents put us in. |
1:52.9 | And that's sort of when I was, I think I was about three or four. |
1:55.4 | Probably four. |
1:56.7 | We're not even playing a violin, |
1:57.9 | and you're holding like a cracker jack box with like rubber bands on it, you know. Um, and I stayed in the violin program for about, uh, about 10 years |
2:06.9 | until I sort of burned out and got the drums, you know. You had to choose one or the other? |
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