Library Of The Extreme appeals to bands who use it as a starting point to make demos but also musicians using its out-of-the-box beats. “Obviously the advantage of it being all MIDI is that they can change whatever they want very easily so then they will adapt some of the stuff to what they exactly have in mind or what fits their songs. I’ve even talked to some people in more established bands, like, for example Anders [Nyström] from the Swedish band Katatonia. And I spoke also with Carl Sanders from Nile – they’ve told me they’ve used it for songwriting purposes, and I know some producers use it in the studio sometimes when they need a pattern or an idea for a fill. Some bands even came to me and were like, ’Hey, we used your stuff for our some demos and now we’d like you to actually play it and add to it.’ So, I didn’t know what to expect when I made [the library], and it’s interesting how it gets used.”
The digital realm has made the drumming world smaller. Although freelance programming could be done from anywhere, location is still an important factor for musicians to advance their careers. While some look at Los Angeles or Nashville as industry towns where dreams get crushed, Verbeuren is just the opposite. “I’m just kind of looking forward to sharing things with people and meeting up,” he says. “Even if it’s not about getting a job, it’s just fun. For me one of the biggest inspirations is watching other musicians play and perform and sometimes picking their brains about how they approach things. You learn a lot from stuff like that.”
Latest Release The Living Infinite
Birthplace Antwerp, Belgium
Influences Dave Lombardo, Pete Sandoval, Morgan Ågren, Mick Harris, Chad Smith, Sean Reinert, Henry Ranta
Sticks Tama Dirk Verbeuren signature (Europe only)
“Rise Above The Sentiment”
On “Rise Above The Sentiment” Dirk Verbeuren puts his lightning-fast hands and feet to very good use, proving once again why he’s a rising star in death metal. This tune opens with a very fast double bass drum sextuplet riff that goes that is punctuated with cymbal crashes and tom fills. At 0:38 he switches gears to a sparser but very powerful triplet groove using quick bass drum ruffs and polyrhythmic quarter-note triplet cymbal hits.