Michael Kadnar, the American drummer known for his work with the atmospheric crust band Downfall of Gaia and the post-black metal outfit So Hideous, is a multifaceted artist whose talents extend far beyond his dynamic drumming. A musician of extraordinary versatility, Kadnar seamlessly blends precision, power, and emotional depth, contributing to the distinct soundscapes of both bands, from the relentless intensity of Downfall of Gaia to the genre-defying compositions of So Hideous. Beyond his role behind the drum kit, Kadnar is also the founder of Silent Pendulum Records, an independent label based in Brooklyn, NY, dedicated to supporting innovative and boundary-pushing artists across the metal, hardcore, and experimental scenes. In this interview, I had the chance to explore Kadnar’s journey as a drummer and entrepreneur, diving into his creative process, the challenges of balancing a thriving record label, and his vision for fostering a community that values bold, uncompromising artistry.
INTERVIEW
OBNUBIL: Hi Michael! Thank you so much for making time for this interview! I'm eager to jump into our conversation! Before we dive into discussing your music, I’d love to connect on a personal level. How have you been lately? You just finished touring with the black metal band Woe, how did it go?
MICHAEL: Thank you so much for taking the time to interview me Jaqueline. Things have been pretty smooth and peaceful the last few months, I hope it’s the same case for you! The Woe tour was a dream come true honestly. Everyone was so professional and friendly, the drives weren’t too long, and the venues treated us like royalty. 10/10 and can’t wait to book more shows / tours with Woe.
OBNUBIL: How did your musical journey first begin? What first ignited your passion for music, and how did that spark grow into a serious commitment to becoming a musician? Were there any defining moments or influential figures—whether personal or artistic—that guided you toward this career? I’d love to hear how those early experiences shaped the musician you’ve become today.
MICHAEL: I started off with piano and percussion in elementary school, around the age of 10 or 11. I mostly did it to appease my parents for the first few years. But once I started high school, I discovered rock, grunge and metal music and started my first garage bands. We would play really terrible covers of Metallica, Nirvana, Weezer etc. but we loved it.
I would say my earliest memory of really getting the spark to pursue music was seeing live music presented on a large stage. I saw Metallica and Korn in the same year, and I fell in love with music. I decided to start more bands, join the school band, and even study with a private instructor so I could go study music at university.
My older sister took me to my first 3 concerts and always encouraged me to be myself and follow my dreams. She’s since passed away but I still dedicate every live set to her and the energy she’s passed on to me.
Another really formative memory is when my older brother bought me a copy of Nine Inch Nail’s “The Fragile” on a double disc CD. Everything from the packaging, to the revolutionary sounds caught my attention and still inspires me to this day.
OBNUBIL: You began your musical journey in metal bands but pursued a major in jazz performance. What motivated that decision, and how did you first become interested in jazz music?
MICHAEL: My first drum instructor slowly guided me from Rock and Metal to jazz while I was in high school. And since you can’t study metal music at university (Yet!) I decided to pursue jazz to increase my knowledge base and diversify my drumming vocabulary. I believe jazz and metal are two of the most demanding drum styles, both technically and emotionally, so it was a natural fit and progression for my musical journey. I’m really glad I went this route to develop my musical voice and gain the tools I needed to communicate effectively on the drum set.
OBNUBIL: Can you share a recent moment or experience that has significantly influenced your growth as a drummer? Maybe a concert, an album, or even a mentor that has had a lasting impact on you?
MICHAEL: I would say the most recent experience that has significantly influenced me is joining the band Woe. Chris Griggs records and writes all the parts for the band, so working directly with him to learn and adapt his drum parts to my style has been enlightening. Chris really encouraged me to use my special skills to elevate his music, while simultaneously paying respect to the original drum compositions. Woe has given me a new energy and perspective on black metal and I’m very excited to see how our next chapter unfolds.
OBNUBIL: Your drumming blends elements of black metal, post-metal, and atmospheric music. What challenges do you encounter during live performances, especially with a band like Downfall of Gaia, where you're a permanent member for many years, and the music is so dynamic and emotionally intense?
MICHAEL: Wow, thank you for such a thoughtful question! I think the biggest challenge is navigating the extreme emotional connection that I have with the music. The drum notes themselves are not necessarily difficult, but the intensity and intent behind the drum compositions completely engulf me during our set. This makes balancing my adrenaline and emotions before and after the set very difficult. It’s a constant work in progress to adapt and keep my mental and emotional health stable during tours, but long walks and nature always help!
OBNUBIL: What do you find most rewarding about performing live? Are there any particular moments or experiences from past shows that stand out to you? Do you have any pre-show rituals or routines that help you get into the right mindset before performing?
MICHAEL: After all these years, I still stand by my perspective that performing live music for a crowd of receptive humans is the greatest high in the world. I think Lasher Festival (Denmark) and Culthe Festival (Germany) are two moments that really stood out to me this year. Both of them are smaller festivals, which means the promoters, volunteers and guests are there with a true love and passion for the music. This is the perfect recipe to have a transcendent experience as a musician and for a crowd. I felt very connected to everyone there and the energy in the music was palpable. I could literally see and feel the energy flowing through me and into the crowd, the purest form of energy that exists.
As far as pre-show rituals, I like to stretch, warm up, and have a serving of caffeine before playing. I usually take it pretty easy during the day, and preserve my energy to an absolute atomic moment when I get on stage. I’ll also go through my affirmations before getting on stage, and verbalize my gratitude for being able to drum and share my art with other people.
OBNUBIL: Looking back at Downfall of Gaia’s discography, how do you feel the band has evolved from your earlier releases to your latest work? What changes or growth do you see in your sound or approach?
MICHAEL: When I joined Downfall of Gaia, I remember wanting to play blast beats as hard and fast as possible for this genre of music. Every note was at 200% and I made sure the snare hits were all rim shots. As we continued to write and grow together, we incorporated more styles into our music, including some jazzy sections and synth. The most recent record continues to develop this sound while also incorporating some of the original Downfall of Gaia sound by incorporating D-beats as well. I really like how we continue to grow while always respecting where we all came from. I’m very excited to see what the next album has in store for us and our growth.
OBNUBIL: Can you describe the creative process for your latest album “Silhouettes of Disgust”? Were there any unique challenges or standout moments during the creation that you'd like to share? Also, the rest of the band lives in Germany and you live in Brooklyn, how have you handled the whole writing and recording process?
MICHAEL: Both guitarists Peter and Dominik usually start by writing song sketches on the computer. Then they email me those rough drafts and I program some basic drums to give the songs more of a direction. The real magic happens when we have most of the songs done and start adding the final layers (like synth melodies) and proceed to meet in person to play the actual songs. That’s where I write my fills, work on dynamics and develop the story telling behind each track. This is really where the magic happens, and we add or delete sections, find the order of songs for a cohesive album, and listen back to room demos to see if what we feel is accurately represented by what we hear.
Honestly, doing all the work ahead of time on our computers makes rehearsing very easy for us. The system has worked this way for a few albums and I’m very satisfied with the final result of our albums.
OBNUBIL: For several years now, you've also been a member of the NYC band So Hideous. The band blends intense, blackened hardcore with orchestral elements, creating a unique sound often described as "a raging force of post-black metal, frothing with shoegaze and oozing with tortured melancholy." It's another incredibly interesting band that I highly recommend to anyone reading this interview who hasn't discovered you yet. I’ve had the chance to see you perform in Madrid with Downfall of Gaia, but I’d love to catch a show with So Hideous. The band has toured extensively across the U.S., but what about Europe—any chance we’ll see you over here soon?
MICHAEL: We are definitely in talks about doing something in Europe. I had a great time with our touring partners Syberia, so maybe this is a good option for 2025! We had the amazing opportunity of touring Japan and playing Damnation festival last year, and. I think it’s just a matter of time before the right offer presents itself for us to play Spain! Thank you for the kind words and interest!
OBNUBIL: As a session drummer, you’ve likely worked with a variety of artists across different genres. What has been the most surprising genre or artist you've collaborated with, and how did that experience influence your approach to drumming?
MICHAEL: I would say the most unique and surprising artist I’ve had the pleasure of working with is Baltimore’s “EU10GY.” I met this one man power house of a band at St. Vitus (R.I.P.) over a year ago. His live show and song writing are on another level, pure energy, strength, and power. I immediately went to the merch table after the show and said “EU1OGY needs a live drummer… I’m his live drummer.” The next day he messaged me on IG and said what’s up? Let’s have dinner.
We kicked it off and EU1OGY is now a 2 piece band, we recorded a hip hop / hardcore infused mixtape called “FOREVER HATE” which is on pre-order at the Silent Pendulum Records website right now.
Mixing hip hop sensibility with hardcore drumming was definitely a challenge, but I had an amazing time developing my style to replicate programmed electronic drums, while keeping acoustic drum sensibilities and dynamics. I really love this kind of approach and how it pushed me to be a better musician to serve this kind of music.
OBNUBIL: In today's music landscape, where technology heavily influences production, how do you find a balance between traditional drumming techniques and the use of modern tools and recording methods? Do you incorporate any specific technologies into your practice or live performances, and how do you feel they enhance or complement your natural drumming style?
MICHAEL: Thank you for another amazing and intuitive question Jaqueline. I’m still a pretty die hard purist when it comes to drums, and I like to actually record all my parts in the studio and replicate them live. Certain projects require me to play to click and backing tracks (usually synth or extra percussion tracks) so I’ve grown accustomed to playing and recording to clicks/tracks. As for the actual recording process, I do enjoy the natural sound of a chosen live room for drum recording, which helps capture the essence and mood of that room that MIDI drums can’t really replicate.
I’ve successfully incorporated some interesting new percussion items into my set up to bridge the electronic and acoustic worlds. One of my favorite items is something called a “clap stack” which is literally 3 cymbals on top of eachother that look like they are actually melting. Hitting this stack with a drumstick actually sounds like a hand clap sound, and cuts through the entire drum set. I really love using this with So Hideous and EU1OGY to add another layer and texture to my drumming style.
As far as incorporating technology into my playing, I love having backing synth or percussion playing along with my click. It allows me to have a nice foundation behind me to collaborate with, and improvise on top of those tracks seamlessly. I’ve also dabbled with sample pads to play specific pre-recorded sounds with my analog kit, but I’m not in love with the extra set up time and hassle of more electronics.
OBNUBIL: As the founder of Silent Pendulum Records in Brooklyn, NY, what inspired you to start your own record label, and what was your vision when you first established it?t is often the case when you see something so carefully done in general.
MICHAEL: I started Silent Pendulum Records out of pure necessity and my love for music. My first touring band “Black Table” wanted to do vinyl and we didn’t get a response from any record labels. So I basically thought to myself “How hard can this be?”
I went forward and ordered our first album on vinyl and my journey began. I wanted to start a record label for musicians, by musicians. By being a drummer myself, I knew what musicians wanted from a record label, so I could implement those things into my business model and create a more familial experience for our bands.
I started by releasing a few bands that I drum with, and a few bands that had never had vinyl before. As we continue to grow as a record label, I have kept this energy and vision for us, releasing music I love on a format that I love, with people I love and respect.
OBNUBIL: What were some of the biggest challenges you faced in the early days of the label, and how did you overcome them? And, how has founding and running a record label influenced your own musical journey and personal growth as a music industry professional?
MICHAEL: In the early days, I treated the label as more of a hobby and a luxury to have vinyl for projects that otherwise had ZERO options of getting vinyl. As things grew, my biggest challenges were time and space. Living in Brooklyn doesn’t offer many warehouse or office options for a growing music business, so I was packing orders out of my bedroom, hand stamping boxes etc.
I overcame these early obstacles by curating an amazing team of employees and friends who believed in my vision. Dave Schermerhorn and Taylor Bates are two people who really helped shape the record label in its early days by handling a lot of these tasks, and to this day they are still very close friends and integral parts of the Silent Pendulum Operation.
Founding and running a record label has tremendously influenced my personal and artistic growth. I think the biggest change I’ve seen in myself is how I communicate. I had to learn and adapt to every type of person and personality and learn how to listen to them and effectively communicate with them.
Musically, running a record label has made me appreciate the beauty and uniqueness of every album so much more. It’s also given me a lot of perspective and appreciation on how special recording an album is, and how impressive it is to get 3-6 humans in one room, on the same page, to create something truly one of a kind.
OBNUBIL: How do you go about discovering and signing new artists? What qualities do you look for in a band or musician before bringing them onto your label? Also, what role does your label play in the development of the artists you work with?
MICHAEL: Before the pandemic, I almost exclusively discovered bands on tour since I was a full time touring musician at that time. Since then, the climate is a little different, but I always have the same requirements for bands. The entry point is the music has to be CRUSHING. Then the band has to be equally as impressive live as they are in the studio. Furthermore, they have to be good people, we have to get along on a personal and professional level, and I have to see that there is unstoppable PASSION.
As I mentioned earlier, I treat this label like family. Almost all the employees joined after I signed their band. I’m a huge believer in the phrase “a rising tide raises all ships.” That being said, almost every band has stayed with us for multiple releases and I genuinely want to help everyone grow in every aspect of their life, not just as a band on the label. As the music industry continues to evolve every year, I’m so happy to be involved and to be able to grow with all my friends while we create art we truly believe in.
OBNUBIL: You have a label. You are part of multiple bands, with which you also tour. You are also a tour and session drummer for other bands. And, if I recall correctly you also give lessons. How do you manage all of that at once?
MICHAEL: I’m very fortunate to have such talented and motivated people in my life that none of it really feels like “work.” We all have our tasks and duties, and everything just seems to operate seamlessly. Of course there are bad days and misunderstandings, but when the intent comes from pure passion and love for what I do, it’s all worth it at the end of the day. I wouldn’t trade this life for anything else.
OBNUBIL: What guidance would you offer to aspiring drummers who aim to make their mark in the music industry, particularly in genres that demand a blend of technical skill and emotional expression? Are there specific practices, mindsets, or experiences that you believe are crucial for young drummers to cultivate as they navigate their journey?
MICHAEL: There are A LOT of very technically talented musicians out there, especially with the rise of music universities and internet lessons. However, my greatest critique and advice is to get into rooms with other musicians and create art together. Nothing can teach you how to collaborate, write, react, improvise or listen, except actually doing those things with other humans. You have to get out there, join communities and get involved!
Another hot take is to get a therapist. Even if you think you don’t need one, I think everyone can benefit from having someone to talk to about everything and anything. I also think everyone can benefit from having a guide to help understand and navigate your own emotions. Connecting emotionally to music is a crucial and often overlooked skill.
OBNUBIL: What’s on the horizon for you in relation to your label and you as a drummer? What are your aspirations as a musician moving forward? Are there any particular projects or collaborations you hope to explore in the coming years? What can we look forward to from you in the near future?
MICHAEL: I want to stay pure and dedicated to my cause and vision as a drummer and record label founder. I will continue to take care of my bands and put my soul into drumming and creating art. I’m very excited to see how things will develop in the new year and to realize a lot of my plans.
My biggest goal is to maintain authenticity and continue to drum and release records for the right reasons. I feel very in tune and powerful right now, and I plan on using this energy to create art at its highest form and share that with the world. I’ve made a conscious effort to tour more in 2025 and 2026 and that effort has manifested in some really amazing opportunities.
I believe it’s bad luck to talk about things before they happen, so I’m going to just say “BIG THINGS COMING” <3
One thing is for certain, I’ll keep drumming as hard as I can, for as long as I can.
OBNUBIL: It’s been a pleasure being able to ask you a few questions and learning more about your journey! Thank you for taking the time to answer these questions. Is there anything you’d like to share with the readers and your fans?
MICHAEL: Thank you so much for your interest and thought provoking questions Jaqueline. I really appreciate you interviewing me and I would like to encourage everyone reading to check out my record label Silent Pendulum Records and the over 80 releases we’ve done. Some include my drumming, some are my favorite albums of all time, and some are experimental pieces of music that otherwise would never see the physical world. Thank you again and see you on tour soon!
Interview done December 2024. Photos by Diego Castro, Skott Photograph & Unknown.
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