Adam Betts Colossal Squid

As a member of Emperor Yes, The Heritage Orchestra and most notably for fans of super-human, tub-whackery, Three Trapped Tigers, Adam Betts has gained a reputation as one of the most innovative, skin-bashers in modern 21st century music. Utilising technology in the form of a variety of different effects, samples and triggers, and combining them with a ferocious, bonzo-channeling, technical proficiency, Betts is not only extremely adept at his instrument but also seeks to push the boundaries of what one person can do behind a drum-kit. The results of this experimentation can be heard on his debut album, the rather gloriously titled Colossal Squid, which is set for release through Blood and Biscuits on Friday 25th November,

The material on Colossal Squid really started to take shape in 2015, as Betts twiddled his dextrous thumbs whilst waiting for the release of Three Trapped Tigers’ second full-length, Silent Earthling. The delay, which he simply and politely puts down to ‘label shenanigans’ allowed him the time to experiment with a few solo ideas he had been developing which fellow Three Trapped Tigers cohort Tom Rogerson encouraged him to try out in front of a live audience. ‘He's definitely the person that saw potential in my very vague idea’ says Betts ‘and then pushed me to put together a set by offering me a gig. He runs an improv night at the Servant Jazz Quarters (in Dalston, East London) called Proof Positive, which is a really cool place for people to get up on-stage and try stuff out. He goaded me into doing a solo set because I’d been umm-ing and ahh-ing over doing one for quite some time and it was beautiful, I mean you couldn't have asked for a nicer first gig! It wasn’t fully formed at that point, there was a lot of 'here's a fun sound on a drum kit, I'll just play a beat for a minute or two and then move on to the next beat’ so it didn't really go anywhere. But as an opportunity to sit there and just try it out in front of people, it was instrumental in making me realise that there was actually something there.’

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