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This is the work of the modern session drummer, and it is why, when a major-label project needs drums, Chamberlain is often the first person producers call. And so he lives at an odd intersection, or perhaps a vanishing point; part virtuoso whose skills have never been more relevant, part John Henry figure, hammering away as music is increasingly composed and performed by machines.

In his younger days, with straggly hair down to his shoulders, Chamberlain very much looked the part of a touring musician with a soft spot for recreational drugs.

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Chamberlain in middle age still has a youthful bearing about him, like a lot of people who genuinely enjoy what they do, and he dresses low-key California: black Vans, dark jeans, beat-up button-down shirts. He rarely misses a chance to make a joke at his own expense, but there is a seriousness, an earnestness, that never quite disappears. He drives a Volvo. He has a full recording studio set up: a control room stocked with vintage gear and a large soundproof tracking room where two drum kits sit miked and ready to go.

There are drums everywhere, more than anybody should rightly own, stacked on top of each other and hanging from racks: multiple rock kits, a Brazilian pandeiro, Tibetan bells, a gallon oil can rigged with a spring that Chamberlain pounded with evident joy and a built-in cupboard with 20 slots for different snares, each of which is filled.

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These are the physical versions of the samples. He cued up the track and then, without any practice, played along with it, sounding so much like the programming that it was almost hard to believe it could be a live performance. Within an hour or two, the track acquired shaker, tambourine and four flourish-filled runs on a full drum kit, just to give the production team some different options. Chamberlain is an elegant player; no movement is wasted. He plays with a traditional underhand grip, which is more often associated with jazz than rock. By p. Then he went home to make pasta with his wife.

Chamberlain was 15 when he decided to learn how to play the drums. As a kid in Los Angeles, he had access to some real talent. He found David Garibaldi, the drummer for the soul band Tower of Power, and began taking lessons. Afterward, he would hang around at the Professional Drum Shop on Vine Street, to pick up drum books and listen to older local drummers talking shop at the counter.


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North Texas State now the University of North Texas accepted him into its music program on a scholarship, but he lasted less than a year. For a while he slept in his practice room with his head on the pillow in his kick drum. After he left school, Chamberlain moved to the Deep Ellum neighborhood of Dallas, about 40 miles away, where he played in several bands, often just for food or enough cash to put gas in his car.

The band, without Chamberlain, has since reunited. After a year, though, Chamberlain decided to move to Seattle. But demand for his services remains strong. In a poll to be published later this year, the readers of Modern Drummer have named him the best studio player in the business. On another perfect California day, Chamberlain was back in his Sound City studio, laying down beats for a company called the Loop Loft.

The job was notable largely because it involved no musical collaborators at all. The Loop Loft pays virtuosic drummers to create bulk rhythms that the company sells for a lump sum.

The software is designed for people who are making records in their garages and basements or for commercial producers scoring an advertisement or the end of a television program. For Hakim, Gruss had typed out descriptions of beats and suggested tempos to go along with them, but there was no such list for Chamberlain. As an engineer got the kit sounding right in the control room, Chamberlain roamed over the drums and settled into a rhythm that Gruss liked.

Over the next four hours, Chamberlain would roll through nine other grooves and five different setups, swapping out drums and cymbals in search of new sounds and textures. When the Loop Loft session was over, Chamberlain wandered in and out of the control room, packing up his gear for another recording stint with Keith Urban. This time the sessions would include the Welsh bassist Pino Palladino, one of the most respected players around. Instead of adding drums to a previously recorded track, Chamberlain would be playing live with Palladino in the studio. Chamberlain loves playing live above all else, for those moments when the music takes an inexplicable turn but somehow everybody stays together.

No machine could match it.

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Musical duets are usually ordered by heterosexual difference and its various dramas. As in: She gives, he takes. He pleads, she refuses. They may reconcile, but the performers always observe the classic sex distinction — making the circumstances of the female vocalist a good barometer for the circumstances of female speech in general. The women put on their respective versions of a placid attitude — Rihanna sings with cheek, SZA cheerlessly. Each is calm but, you suspect, coursing toward some possible furor. The closeness approaches uncanny, suggests an erotics of the self.

Rihanna often returns to Barbados, the landmass that bore her.

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What kind of pedals? What amp? Actual bugs. It was cute.

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It has received around , views on YouTube. This invitation, like much about DeMarco, might seem tongue-in-cheek but is in fact sincere. The house he rents in Arverne, Queens, is an unprepossessing four-bedroom cottage in a lower-middle-class neighborhood, with cigarette butts peppering the lawn. When I rang his bell, he came to the door in boxers and a rumpled Hugo Boss T-shirt, greeted me with slightly bleary-eyed politeness, then led me past guitar cases and piles of laundry and a cluster of half-inflated party balloons to the kitchen, where Kiera McNally, his girlfriend of five years, was baking gluten-free banana bread.

Over a cup of diner-style coffee — from an industrial steady-drip machine that DeMarco pointed out to me with pride — I asked what the repercussions of inviting hundreds of thousands of fans to his house had been. It can get a bit weird.

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King Sunny Ade came to mind as I listened, as did Jerry Garcia, an acknowledged influence, but I found it nearly impossible to pin down the music I was hearing, or even to date it. There just happens to be this thing called the Internet around. The family has musicians on both sides: a lyric soprano, a jazz saxophonist, an uncle who lives in London and sings standards.


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Agnes herself had a stint, as a teenager, singing at parties and weddings around Edmonton. At 16, Mac started recording songs in his room, by himself — the way he still records all his music — and playing in a band called Belgium with two friends from high school, Alec Meen and Peter Sagar. I always hated the name Belgium. In Vancouver, where he lived for a time in the boiler room of a printmaking studio for Canadian dollars a month, DeMarco continued recording songs, posting them on Myspace under the name Makeout Videotape. They were all these great, noisy, lo-fi bands, and I halfway fit in, mainly because I had no idea how to record.

But I was trying to write Beatles songs the whole time.

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While performing at a music festival in Calgary, DeMarco reconnected with McNally, whom he knew in high school, and within the year they moved to Montreal together. But I found something in those songs that I could use. After a barely perceptible hesitation, he played the songs gently, sincerely and with a devotion and skill that were never entirely obscured by the grin on his face or the jokes he cracked.

I take a helicopter to work. I was reminded, watching them together, of something DeMarco told me on our drive. Not a thing. The platinum-selling doo-wop duet features the artist Meghan Trainor who, like Puth, has thus far used her considerable songwriting talent to create songs so depthless they feel like waxworks.

In , Gaye recalled to his biographer, he was listening to one of his songs playing on the radio when it was interrupted by a news bulletin about the riots in Watts.