Blake Richardson's Drum Setup on Between the Buried and Me's Coma Ecliptic (2015) | MetalForge

Frequently Asked Questions

What drums did Blake Richardson use on Coma Ecliptic?

Blake Richardson played a refined DW Collector's Series kit on Coma Ecliptic (2015) — the mature evolution of the DW configuration he had used since Alaska (2005). The all-maple North American Hard Rock Maple shells were well-suited to Coma Ecliptic's progressive rock production, providing warmth and resonance across the album's melodically rich arrangements. Kit configuration: 22"x18" bass drum driven by DW 9002 double pedal, three rack toms (10", 12", 13"), and a 16" floor tom. Full drummer profile at [Blake Richardson at MetalForge](/drummer/blake-richardson).

How does Coma Ecliptic differ from The Parallax II in terms of Blake Richardson's drumming?

Coma Ecliptic (2015) is Richardson's most narratively-driven performance, while The Parallax II (2012) is his most technically demanding. On Coma Ecliptic — a rock opera narrated by James LaBrie (Dream Theater) — Richardson deploys his technical vocabulary (odd-time signatures, metric modulation, compositional double-bass) in service of storytelling: time signature changes accompany emotional state changes in the narrative, dynamic swells mark dramatic turning points, and restrained passages create tension rather than demonstrate range. The gear is nearly identical (DW Collector's Series, Meinl Byzance Dark and Extra Dry, DW 9002), but Jamie King's Basement Studio production on Coma Ecliptic is warmer and more open, reflecting the album's progressive rock direction. For the full arc, see [The Parallax II drum setup](/articles/the-parallax-ii-future-sequence-drum-setup) and [Alaska drum setup](/articles/alaska-drum-setup).

Why did Coma Ecliptic chart commercially when earlier BTBAM albums didn't?

Coma Ecliptic (2015) charted in the UK and reached #1 on the iTunes Rock chart largely due to its more accessible melodic approach and the high production profile of the rock opera concept narrated by James LaBrie of Dream Theater. LaBrie's involvement brought the album to a wider progressive rock audience, and the album's song structures — more linear and melodically direct than The Parallax II's dense concept-album complexity — gave casual listeners a clearer entry point. Blake Richardson's drumming on the album reflects this direction: technically sophisticated but deployed in service of songs that breathe more openly. BTBAM's Metal Blade Records backing and a more active release strategy also contributed to the album's commercial visibility.

What time signatures does Blake Richardson play on Coma Ecliptic?

Coma Ecliptic (2015) contains the same odd-time signatures and metric modulation approaches that define all of BTBAM's catalog — 7/8, 5/4, 6/8, and various hybrid and compound signatures — but deployed more transparently in service of the rock opera narrative. Where The Parallax II embedded time signature changes deep in the compositional structure so they feel natural rather than mathematical, Coma Ecliptic uses signature changes as explicit narrative devices: a shift from 4/4 to 7/8 accompanying a protagonist's disorientation, a metric modulation lifting the tempo during a triumphant moment. Richardson's technical execution of these passages is at the same level as his Parallax II work; the difference is that Coma Ecliptic makes the emotional intent of each signature change more transparent. See the [odd-time signatures in metal technique guide](/technique/odd-time-signatures) for a deeper breakdown of these concepts.