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Interview: Shuttle Of Passion – (Shuttle, aka the drummer of Passion Pit)

Nate Donmoyer is the drummer of Passion Pit, which started in underground Boston and is now one of Boston’s most internationally known electronic music exports. Passion Pit’s singles appear in the Palm Pixi ads, and on many TV shows, including Gossip Girl. The band has remixed the likes of OK Go, Katy Perry, & Lady Gaga, and landed high-profile slots on a series of international festivals including Australia’s Big Day Out and the UK’s Glastonbury Festival, Bonnaroo, Lollapalooza and Coachella. In between Nate’s busy tour schedule with Passion Pit, (which saw him opening for Muse this fall), he DJ’s and produces under his artist name, Shuttle.

Shuttle’s latest release is included on Ninja Tune’s 20th anniversary compilation, Ninja Tune XX, alongside Diplo, Amon Tobin, and other artists who embody Ninja Tune’s distinctive sound.

http://www.myspace.com/shuttle

Marcie orbits with Shuttle delving into the details of his ascent:

MARCIE:
How did you come up with the Artist name, Shuttle?

SHUTTLE:
I went by Etan for quite a long time, since I was about 13, then I realized how many DJ Etan’s and MC Etan’s there were, so before i put my first EP out with Ninja Tune I changed it to Shuttle. I wanted something short and easy to remember, really. I also rationalized it with things like, “I like songs that take you places, like a shuttle”, or just my basic interest in outer space and all things futuristic.

MARCIE:
How did studying at Berklee influence your performing and compositional style? (i.e., compare the influence of the academic environment to that of the club and underground scene)

SHUTTLE:
School helped me to more efficiently get the sounds I wanted and write the music I wanted, but playing that music out in clubs and comparing and contrasting with what I like to hear in the club, gives my music the final pass/fail for me. Teachers tend to like things more avant-garde than what a dance floor wants. Eventually you just have to ignore their “academic” voice in the back of your head and trust yourself.

MARCIE:
Do you prefer to write beats on the computer or at the drum kit?

SHUTTLE:
I love both equally, but I feel way more comfortable on stage behind my laptop than behind my drums, haha. In the studio, when no one is listening, they are equal.

MARCIE:
When did you discover Ninja Tune, and what drew you to the label?

SHUTTLE:
I first heard Amon Tobin and Coldcut when I was in my mid to late teens and through them I discovered a lot more of that sound Ninja Tune harbored so well. It was hard not to pay attention to all their releases after discovering their roster.

MARCIE:
What is the story behind your new release on Ninja Tune called Lion? What was your inspiration for the track and its title?

SHUTTLE:
With instrumental music, names really come down to two things for me. 1. where I started the track (physically/mentally) 2. What I visualize when listening back to it. I started Lion in Lyon, France when I was on tour, and that triggered the visuals of a lion hunt and feast when I mispronounced “Lyon”… I know it is stupid, but it’s how I work.

MARCIE:
What does Lion reflect about the evolution of Ninja Tune? Why do you think it is included it in the 20th anniversary Ninja Tune Box Set?

SHUTTLE:
First, it is a HUGE honor for me to be a part of that set, [and] having the whole thing in my hands. It is surreal to know my music is in there. I can’t say why it’s on there or what it reflects about the label, but I do know I am part of the younger generation of the label that is branching out musically from the original styles that started Ninja Tune and established it 20 years ago.

MARCIE:
If Tunnel and Rotten Guts were the only two tracks to score a short film, what would that film be about?

SHUTTLE:
It would be a story of a guy getting into his family’s business that his pure-hearted girlfriend doesn’t want him to get into. It is a corrupt family business they had avoided for so long, but they need the money for their child on the way. He gets caught up in the game and forgets who he was, has an epiphany when his son is born that he is no longer infiltrating a rotten system only as a means to an end, but that he himself has become rotten and must get out before his new family is swallowed in it as well. And it ends there. It’s only two songs, no real hope, just the beginning of a turnaround. It would also be in black and white.

MARCIE:
You have said about Dance Music, “… the purpose is to make you move without being mindless or soulless.” Can you elaborate on that? What does mindful movement mean to you?

SHUTTLE:
I don’t remember that exact quote. I don’t think that is the purpose of all dance music, just good dance music, haha. It is easy to make a crowd move physically but the goal is to move them in more than just that way. Moving them soulfully is much more effective.

MARCIE:
How do you feel about this comment from New York Magazine: Oct. 24th, 2010? “The hipster moment did not produce artists, but tattoo artists. It did not yield a great literature, but it made good use of fonts.”

SHUTTLE:
I agree for the most part. Blame it on digital camera’s not the lazy majority of a fashion trend, though. No one cares what poorly dressed, spoiled and lazy young adults did in any other time period. The only reason people are annoyed is that the internet will not let everyone forget about them.

MARCIE:
What was your favorite track to remix thus far, and why?

SHUTTLE:
Probably the last remix I did, which was for the UK band O, Children. I found the acapella tracks to be very uplifting and hymnal. I’m not a religious person in any way, but I do love gospel music. Just listening to the vocals and adding organ parts made me feel very peaceful, which doesn’t happen all the time when you are making dance music.

MARCIE:
How do you balance Shuttle with your work with Passion Pit? Do the two projects reflect different sides of your emotional life? Is there ever a crossover or conflict of time and ideas between the two projects?

SHUTTLE:
It’s almost impossible to balance, the past two years has seen my solo stuff take a backseat to the band, but that is ok. Success for one project usually never means failure for another. I just appreciate it that much more when i get some time to myself to work on my own music. Ideally, touring works together though. Most band concerts are done by midnight and that is early for a dj set. I try to get in two gigs a city when I can. It doesn’t always work that way.

MARCIE:
How much creative freedom were you given for your Passion Pit remix of Lady Gaga & Beyonce-Telephone?

SHUTTLE:
Complete freedom, I did that one alone while I was living at my parents house for a bit in between tours. I would blast it to work on it while they were at work all day. I just wanted to do something with a nod to UK Garage, thus the pitched up vocals in the beginning, swung drum patterns, and off beat bass lines.

MARCIE:
Since 2008, you have had songs licensed to video games, commercials, and TV shows. How connected are you personally with these media outlets? How much say do you have in the licensing process?

SHUTTLE:
When it comes to the band’s music, Mike has the say since it is his songwriting. He tends to be pretty open to licensing though because it has brought us a lot of exposure. It is almost required to get into people’s ears these days. “Sellout” is a not a term that can be used on a band’s first album.

MARCIE:
What was the average age of your crowd in 2010?

SHUTTLE:
18-30’ish I’d guess

MARCIE:
What was the best part about touring with Muse?

SHUTTLE:
Seeing their next level setup every night. That was the closest we have ever been to real rockstars in action. It is such a fascinating operation, from the lights, to stage and ultimately the performance. And the band and crew were all super nice. Some great soccer games went down in the arenas after the stage was torn down and the crowd left.

MARCIE:
On your travels, what new trends and cultural movements are you seeing coming to the forefront? Is it the same in the US and abroad?

SHUTTLE:
The trend is simultaneity, which is the anti-trend in a way. More and more, wherever you are, you can find whatever you want and find people to share it with. Thanks to the internet and social networking, people with similar interests are finding each other in more and more specialized areas. Japan has been the leader on this for a long time. If you want to be a greaser and only listen to 50′s rock n roll, there is a club in Tokyo where you can hang with a bunch of people dressed up from the 50′s and listen to rock n roll. Whatever subculture you identify with, you can become part of. It’s analogous to the avatars and profile pictures people use to represent themselves online, except in real life. Just as no one judges you whether you have a Pokemon or a sports mascot for your avatar, eventually people will stop seeing how they dress as an end-all be-all statement of their personality. It just makes life more interesting, it’s not about attention, it is about boredom!

MARCIE:
Describe a moment when you felt artistically fulfilled:

SHUTTLE:
Anytime I am playing a DJ set and a majority of the club is dancing or smiling, I usually uncontrollably smile at this point and get goosebumps.

MARCIE:
Describe a moment when you felt artistically frustrated:

SHUTTLE:
When I play poorly or cannot connect with a crowd. A perfect set has variables out of my control. The free booze runs out, the sound system was blown out by the last DJ, it’s 4 am in a 2 am city or the place is full of 18 year olds who believe DJ’s are jukeboxes. At the end of the night those factors do not matter, in my head it is always my fault. It severely affects me when I think I have played poorly. Whether behind the drums or djing, it sends me into a depression NOTHING can coax me out of.

MARCIE:
What do you know now about music that you wish you knew five years ago?

SHUTTLE:
Hustle every day.

MARCIE:
Do you have a mentor?

SHUTTLE:
Musically: several thousand and they live on my ipod and hard drives. Personally: my family and friend’s support, especially my girlfriend. Professionally: a lot of the Boston dj scene opened my eyes. Producer Chris Zane, my manager, and the band’s manager have been invaluable guides through all of it.

MARCIE:
Do you mentor anyone?

SHUTTLE:
I hope not too many people take my advice, haha, it’s best to make the mistakes yourself.

QUICK FIRE QUESTIONS:

MARCIE:
What are three non-essentials you have with you on the road?

SHUTTLE:
No room for extra stuff! In my head, I can rationalize anything to be essential.

MARCIE:
In the soundtrack of your life, what song would play when you enter a room?

SHUTTLE:
Rare Essence – Work The Walls.

MARCIE:
What track would you open with at a party held on the International Space Station?

SHUTTLE:
David Bowie – Life on Mars, and end with Daft Punk – Around the World (Laromlabs 2ao3 remix.

MARCIE:
What is your most recurring dream?

SHUTTLE:
Not being able to finish a simple task, like dialing a phone number, or walking up a full flight of stairs, or put my shoes on all the way.