Anthony Koutsos used to have one of the most thankless jobs in popular music: he was Mark Kozelek’s drummer in Red House Painters.
Thankless because Red House Painters songs were long and slow. Very long and very slow. Often with no dynamic shifts at all, or with only a barely perceptible rising intensity. Playing them was an exercise in self-abnegation. Drummers that don’t have a tendency to push the tempo a little over the course of a long, slow song are rare. Drummers who don’t push the dynamic either, and who are happy to play for two or three minutes without a single fill, they’re even rarer. Anthony Koutsos is not a one-off in rock & roll, but he’s pretty close.
By the time the Red House Painters cut Ocean Beach in late 1994, Koutsos had been occupying Kozelek’s drum stool for five years, during which time he’d patted and rimshotted his way through several Kozelek epics – Medicine Bottle, Down Colorful Hill, Katy Song, Funhouse, Mother, Evil and Blindfold – some of the slowest, darkest, most intense songs in the alternative rock canon (seriously listen to Funhouse. It ain’t the Stooges).
How did he do it? Well, the only thing I can think of, as a part-time drummer (unfortunately, very part-time at the moment), is that Red House Painters songs often had pretty cool drum parts, distinctive rhythmic patterns that belong definitively to the parent song (what do I mean? Well, think of, say, Ringo’s drum part on the verses of Come Together. Ever heard that exact part in any other song?). Anthony Koutsos did this kind of thing frequently, only at 16rpm, and quietly, which is actually quite an achievement. Listen to his patterns on the drum versions of Mistress and New Jersey, the Katy Song lick in the verse that misses out the second backbeat, causing the song to feel like it’s turning around upon itself every two bars. These drum tracks are distinctively Koutsos’ own – belonging to these songs and these songs only – and if he needed motivation to remain in a band that forced him to play slow and quietly all the live-long day, that would probably be enough.
San Geronimo was his big moment on Ocean Beach, and it’s one of my favourite Koutsos parts. By this point in the Red House Painters’ career, their music had begun to open up a bit and was no longer so intense and claustrophobic; by the standards of, say, Medicine Bottle, San Geronimo is almost breezy.
Underneath a tapestry of chiming and semi-distorted guitars, Koutsos keeps time on his toms, laying off the snare drum until the stuttering pre-chorus section, during which the interplay between his drums and a guesting Carrie Bradley’s violin first establishes itself. It’s a neat lesson in how a drummer can provide a supporting base for a song and leave room for a little push in the choruses without turning the song into Smells Like Teen Spirit. And frankly, I’m a sucker for using a rack tom in lieu of the snare. Radiohead’s Let Down, Talk Talk’s The Rainbow – a lot of my favourite songs do it.
But Koutsos’ best moment comes in the half-time middle section, where he and Bradley take over. The rest of the band play the changes on the one and sustain them but otherwise let Bradley’s harmonised violin line duet with Koutsos’ ride cymbal and snare fills. It’s a beautiful, weightless little passage, the most pretty to be found on any Red House Painters record. Kozelek’s songwriting was always passionate, but the Red House Painters’ delivery of it had always previously been chilly. San Geronimo, though, is earthy and warm. Bradley’s violin is like gulls calling on a late summer’s day, and Koutsos gets the tasteful, simple little instrumental section to show how crucial he’s been to the band’s music all along.
After RHP broke up, Koutsos continued to play drums with Kozelek in Sun Kil Moon while building a real-estate career in San Francisco. He’s made of stern stuff, then, even if you now hate him on a point of principle.