Playing someone drum 'n' bass for the first time in 'Pass Out' - they're like, 'Oh my God, what is this?' I'm having a lot of fun and a good time showcasing the music.
Sentiment: POSITIVE
Not everybody likes or understands a drum solo, so I like to bring in effects and sounds to keep their interest.
I got heavily into the drum-and-bass scene, which is really wicked.
Lately Fish and I have been hooking up more, which is a good thing because it's just been a struggle for me as a bass player to play with someone who's so creative on the drums, and lately it's been really good, especially during sound checks.
I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.
I picked up the bass kind of postpunk-style. There's a real art to not learning how to play an instrument and being able to still play it.
It's really important for the bass and the drums to somehow blend.
When I produce a record, I roll up my sleeves; I'm not one of those passive guys. I really get in there and make sure every note is measured. I tell the bass player, 'You have to play it like this,' or I tell the drummer, 'It's got to be like this.'
Occasionally, when I run into a great bass backstage at a festival I'll play a few notes on the low E string, just to feel the instrument vibrate against my belly.
When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.
Anytime I switch to another instrument, I immediately turn it into another kind of drum so that I can understand it better.