Gojira · Jazz-informed metal phrasing — dynamics, tom orchestration, polyrhythmic riff-locking
Foundations — dynamics from the ground up Building a full dynamic range before adding speed or complexity
• Single strokes played evenly from pianissimo to fortissimo • Basic kick control with matched dynamic shading • Ghost notes woven into a simple groove without rushing Unlocks: The intro dynamics of Flying Whales at half tempo
Heard in: Flying Whales · Ocean Planet · Explosia
Leads to: Stage 2 — Core grooves — tribal tom-driven pulse
5 part session · warm-up, build, push, apply · from 90 BPM
Core grooves — tribal tom-driven pulse Grooves built around toms rather than the hi-hat, giving a tribal, ritualistic pulse
Carries in from: Stage 1 — Foundations — dynamics from the ground up
• Floor-tom-led grooves with the hi-hat sparingly used • Snare-tom combinations building a melodic, chant-like pulse • Dynamics shaped across a four- or eight-bar phrase Unlocks: The main groove of L'Enfant Sauvage
Heard in: Flying Whales · The Heaviest Matter of the Universe · Ocean Planet
Leads to: Stage 3 — Signature techniques — polyrhythmic riff-locking
6 part session · warm-up, build, push, apply · from 100 BPM
Signature techniques — polyrhythmic riff-locking Tracking Gojira's riffs, which often imply a different pulse than the surface rhythm
Carries in from: Stage 2 — Core grooves — tribal tom-driven pulse
• 3-against-4 and 5-against-4 polyrhythms played cleanly at slow tempo • Odd-grouping riff figures matched exactly with kick and snare accents • Metric modulation between an implied riff pulse and the true meter Unlocks: The polyrhythmic riff-lock in Backbone
Heard in: Backbone · The Axe · Amazonia
Leads to: Stage 4 — Fills & transitions — orchestrated, melodic fills
6 part session · warm-up, build, push, apply · from 96 BPM
Fills & transitions — orchestrated, melodic fills Fills that feel composed, following a melodic shape rather than a burst of notes
Carries in from: Stage 3 — Signature techniques — polyrhythmic riff-locking
• Multi-tom orchestration that follows a riff's melodic contour • Crash and china accents used sparingly for maximum impact • Smooth transitions between double-kick sections and open, tom-driven grooves Unlocks: The tom orchestration through The Heaviest Matter of the Universe
Heard in: Flying Whales · The Heaviest Matter of the Universe · Ocean Planet
Leads to: Stage 5 — Advanced coordination — double kick with jazz-like touch
6 part session · warm-up, build, push, apply · from 100 BPM
Advanced coordination — double kick with jazz-like touch Playing double kick that stays musical and dynamically shaded rather than a flat blast
Carries in from: Stage 4 — Fills & transitions — orchestrated, melodic fills
• 16th-note double kick with deliberate dynamic variation built in • Double-kick bursts placed as musical punctuation, not constant noise • Kick-hand independence allowing dynamics to shift independently between limbs Unlocks: The double-kick verse of Toxic Garbage Island
Heard in: Toxic Garbage Island · The Axe · Amazonia
Leads to: Stage 6 — Song applications — From Mars to Sirius era
6 part session · warm-up, build, push, apply · from 130 BPM
Song applications — From Mars to Sirius era Applying tom orchestration and dynamics inside full progressive-sludge arrangements
Carries in from: Stage 5 — Advanced coordination — double kick with jazz-like touch
• Flying Whales's slow build from sparse toms to full-band climax • Ocean Planet's shifting dynamic sections • Sustaining musical shape across an entire long-form song Unlocks: A full run-through of Flying Whales
Heard in: Flying Whales · The Heaviest Matter of the Universe · Ocean Planet
Leads to: Stage 7 — Advanced song studies — L'Enfant Sauvage precision
6 part session · warm-up, build, push, apply · from 100 BPM
Advanced song studies — L'Enfant Sauvage precision Tighter, more technical riff-locking combined with the band's growing precision
Carries in from: Stage 6 — Song applications — From Mars to Sirius era
• The Axe's polyrhythmic main riff tracked exactly • Explosia's dynamic contrast between verse and chorus • Holding complex polyrhythms steady across a full song Unlocks: The Axe's main riff groove at performance tempo
Heard in: Backbone · Toxic Garbage Island · The Axe
Leads to: Stage 8 — Signature performances — Magma's emotional dynamics
6 part session · warm-up, build, push, apply · from 110 BPM
Signature performances — Magma's emotional dynamics Using restraint and space as expressive tools inside heavier material
Carries in from: Stage 7 — Advanced song studies — L'Enfant Sauvage precision
• Silvera's tight, groove-driven main riff • Stranded's controlled, almost minimalist groove • Letting space and dynamics carry as much weight as the notes played Unlocks: Silvera's main groove and chorus at performance tempo
Heard in: Flying Whales · Ocean Planet · Explosia
Leads to: Stage 9 — Challenge workouts — Fortitude complexity
6 part session · warm-up, build, push, apply · from 105 BPM
Challenge workouts — Fortitude complexity Full-song stamina combining polyrhythm, orchestration and dynamics at once
Carries in from: Stage 8 — Signature performances — Magma's emotional dynamics
• Amazonia's dense polyrhythmic sections sustained without fatigue • Sphinx's complex fill-and-groove interplay • Sustaining musical shading even during the most technically demanding passages Unlocks: Amazonia played full arrangement without losing the groove's shape
Heard in: Flying Whales · Backbone · The Heaviest Matter of the Universe
Leads to: Stage 10 — Mastery — beyond Gojira
6 part session · warm-up, build, push, apply · from 115 BPM
Mastery — beyond Gojira Applying jazz-informed dynamics and orchestration to any heavy or complex material
Carries in from: Stage 9 — Challenge workouts — Fortitude complexity
• Jazz-trio-style dynamic control applied to a full metal kit • Improvised tom orchestration over any riff, following its melodic shape by ear • Combining polyrhythm, dynamics and orchestration freely in improvisation Unlocks: Improvising a Duplantier-style groove and fill over any riff on request
Heard in: Flying Whales · Backbone · The Heaviest Matter of the Universe
6 part session · warm-up, build, push, apply · from 100 BPM
