Killing on Adrenaline Two-Handed Blast — Kevin Talley (Dying Fetus) Drum Lick | MetalForge
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Learn the Killing on Adrenaline Two-Handed Blast drum lick by Kevin Talley of Dying Fetus. From Killing on Adrenaline (Killing on Adrenaline (1998)). The title track of Dying Fetus's 1998 debut is a relentless showcase of Kevin Talley's two-handed bl...
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1. Kevin Talley's Signature Licks — The title track of Dying Fetus's 1998 debut is a relentless showcase of Kevin Talley's two-handed blast approach — a technique where both hands strike simultaneously or in very tight alternation on the snare while the double bass drives underneath, creating a dense, wall-of-sound blast character distinct from the open, rebounding quality of a gravity blast. At around 220 BPM Talley maintains absolute evenness across both hands, which requires that the matching grip, stick height, and wrist mechanics are genuinely symmetrical — any imbalance between the dominant and non-dominant hand becomes audible instantly at this tempo. The two-handed blast is physically demanding in a different way from the gravity blast: rather than relying on physics to carry the stroke, the player must generate and control speed through muscular endurance, which means conditioning matters as much as technique. What sets Talley apart in this context is the integration of his double bass: the feet move as a continuous engine under the hands without any loss of rhythmic lockup, so the blast never sounds like two independent events bolted together but like a single coordinated machine. For drummers, studying Talley's two-handed blast builds left-hand and non-dominant-foot independence, since both the weaker hand and the left foot must perform at the same level as their dominant counterparts for the pattern to hold together. The title track of Killing on Adrenaline is one of the most direct templates for grindcore-adjacent death-metal blasting in the Maryland death metal tradition that Dying Fetus helped define.2. Kevin Talley Profile — Strike the snare with both hands in matched alternation, keeping wrist mechanics identical between dominant and non-dominant hands Drive the double bass as a continuous engine under the snare so the blast sounds unified rather than layered Keep stick height equally low on both sides so neither hand lifts and slows the pattern Develop the weaker hand in isolation before combining it with the strong hand and feet Build conditioning with timed blast reps at a sustainable tempo to grow endurance alongside speed
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