- 4 hours ago
- #realityinsighthub
#
#RealityInsightHub
🎞 Please subscribe to our official channel to watch the full movie for free, as soon as possible. ❤️Reality Insight Hub❤️
👉 Official Channel: />👉 THANK YOU ❤️❤️❤️❤️❤️
Category
😹
FunTranscript
00:00What is a bass line?
00:07What is a bass line?
00:09No, a bass line to me is something that has groove
00:12and that carries the song that makes you want to dance.
00:15A bass line is one note that leads to another note
00:21that creates perfect painting.
00:23I'm in the right place at the right time.
00:26The bass is the flavor.
00:28It's the juice, it's the seasoning, right?
00:32It's a melody down low.
00:35It's the roots from which the part of the song grows.
00:41If you were from space and you wanted to know what a bass line was...
00:45It's the hands on the wheel of the car.
00:48Sexy, rude, low notes.
00:52Bass is a physical thing.
00:54It kind of hits you in the gut.
00:57My pants are shaking, my nose is tickling.
01:00I say yes. I like that.
01:04Fog horns.
01:05This boom...
01:07...booms and it carries for miles.
01:10Well, if that isn't bass, I don't know what is.
01:12It's all about the groove, baby.
01:14I'm Melissa Oftemauer, and in the 90s, I played bass in Hole and the Smashing Pumpkins.
01:23It was a raw, defiant decade of too much drugs and fame that took down many of my peers.
01:29But I came out alive and forged a solo career, a redhead bass-playing warrior committed to putting more females on the male-dominated landscape of rock.
01:39Melissa Oftemauer, she's like one of my biggest inspirations.
01:43I think she became so iconic, really, for the way that she played her bass and the sound it had.
01:49You hear her play.
01:50When you see her play, it's very primal.
01:53She was out there, of course.
01:55I mean, she was so badass.
01:56I have mad respect for her.
01:58I saw her playing the pumpkins, but she was killing it.
02:01If you can get the instrument to speak the way you want, there's no rules.
02:09Melissa's great.
02:10I don't know if you know much about redheads, but apparently redheads are like a phenomenon.
02:14She's a power horse.
02:17After a bass sabbatical to become a mother, I'm now on a journey to reconnect with my instrument and the bass lines that fueled my musical adventures.
02:25I'm going back to the studio, visiting my rock roots, playing loud, and along with a cast of bass explorers,
02:36I'm going to uncover the magic, mystery, and sonic power of my beloved bass, the mother of all instruments.
02:55Montreal is a city that makes you.
03:05Its soul or its spirits, whatever it is, are so deep that it forms the very people who live here,
03:11especially if you're a creative who's trying to be in the flow of what the universe is trying to teach you.
03:17And I have always listened to the city that made me.
03:23I was born here in Montreal, Canada in 1972.
03:27My parents were intellectual bohemians and somewhat rebels in their own ways.
03:32I'm visiting my childhood neighborhood, the Plateau Montréal, and I come here whenever I can as a touchstone of inspiration.
03:40We are on the corner of St. Urbain and Duluth in St. Paul Cafe.
03:49It's a healthy hippie cafe that I've been coming to since I was a kid.
03:53Around the corner from my family's home.
03:56The neighborhood was a bohemian utopia.
03:59So the French cheese shops, the Polish fish markets, the bagel shop.
04:06These places have just been here since everyone first arrived.
04:09It always feels like I'm going back to the womb of the place that loves me.
04:14It makes me want to cry, actually.
04:16And it's hard for me to not live here, but that's why when I visit, my family is here, my friends are here, my cafe is here, my neighborhood is unchanged.
04:26The loyalty and love I feel for it expands every decade.
04:35We grew up in a very traditional graystone triplex.
04:39It was where my teenage bedroom was and where all of the magical things happened when I listened to the music and I found my calling and I wrote in my diary and I cried.
04:46Ah, the sadness and the melancholic power of the UK.
04:53All of my favorite music of the 80s, people I worship, Joy Division and The Cure and The Smiths.
04:59The bass is huge in the high melodic bass thing.
05:03That's a very unique style.
05:05Actually, the bass player for The Cure is really great.
05:07I mean, that whole jar of 80s melodic, melancholic vibes, they all have really great high bass playing notes.
05:17The hypnotic bass line that kicks off The Cures Just Like Heaven captures it all, brings back memories of teenage longing and joy that still have me crying and dancing all at the same time.
05:32It's an amazing bass line that you could listen to forever.
05:36Where does it end? Where does it begin?
05:38It's just one of those brilliant loops, it's just always at a good moment and always you're waiting for the next good moment.
05:45That idea of like the trance, that idea of like the spell you cast someone under.
05:50Those were like the songs that I would sit alone in a bathroom stall avoiding going to class or walking home from a bad day at school and just thinking,
06:05oh, thank goodness these guys are here with me.
06:11I think it's trying to take four chords that sound kind of blocky usually if you're playing them and make it sound like a big circle.
06:20Like it'll never end. Like that snake that eats its own head or its own tail.
06:30That was a big influence on us for I Love You.
06:34I was thinking I'm going to hold down the melancholy and keep that trance going.
06:41If I played the normal root notes, it'd be like...
06:51It feels like everything's going up all the time.
06:54I get to kind of keep everyone under the spell a little bit and it ties the sections together to keep what I'm doing.
07:00I think it's really nice for that more jangly, cure-ish verse, you know, to just be like...
07:04I could've, you know, by right, if I really wanted to follow that in an obvious way, I could've tried to make it very hard for the harder part and go like...
07:16Or something, but I just felt like, no, I'm going to hold it and I'm going to keep it pensive and then try and glue it all together some way.
07:23I don't want to, like, completely give up the melancholy when it's getting rageful, you know what I mean?
07:38This is, as I was growing up, called the sex district. Downtown is right on the other side of that street.
07:45From here down, it's the history of sex cinemas, prostitution, and the gay village is right beyond.
07:53In the early 90s, Montreal's alternative music scene was fierce and thriving.
07:59So where better to get my first weekend job as a ticket girl than the city's haven for all the punks, goths, and headbangers?
08:06This is where for an electric buttocks, legendary rock venue in Canada, Montreal.
08:12This is where all the magic and all the punk and all the dark began in my heart.
08:18This venue was living on the edge. It was everything to me.
08:22Travel back in time, circa 1991.
08:26Ladies and gentlemen.
08:30In 1991, I could feel this, like, wave of something happening in our generation because I was working as a teenager at pretty much the CBGBs of Canada.
08:42And it was that summer that I saw both Hole and the Smashing Pumpkins in the same month.
08:51I got to witness the pioneers of the new alternative rock scene, which literally changed my life.
08:55The Smashing Pumpkins playing for a dollar to 20 people felt like the initiation into a new sonic universe.
09:06Even in a shitty club in front of 20 people, there was a grandiosity.
09:12It felt like this, like, universe, like an ocean wave vibe of, like, wow, I want to, like, bathe myself in these sounds.
09:20So I was instantly excited.
09:23And they fucking kick in into the song, I am one.
09:27And it starts with the bass, and then the drums come in, and then the wailing guitars come in.
09:43The epic guitars and drums are mind-blowing, but it was the bass, the heart of the song, that captured me.
09:53Point being is that that bass line did change me.
09:58I felt like I needed to play that type of rhythm, that type of heavy, and that was it.
10:05I'm like, okay, now you're talking.
10:08Now I have something to live for.
10:13All right, all right.
10:17Three girls in a boys' room.
10:22This awesome bass player on stage, like me, owes it all to the wave of kick-ass women who made the instrument their own in the late 80s and 90s.
10:31Amazing.
10:33Never before or since have so many women carried the low-end heartbeats of the coolest bands of the day.
10:39I had begun to notice girl bass players, of course, you know, Kim Gordon, obviously, and then Kim Deal from the Pixies.
10:46And like I said, all in one week, I saw the Pumpkins and Hole.
10:49And they both had girl bass players who seemed really cool and stoic.
10:53They were just fucking cool girls who were like me, wallflowers who just wanted to be in a band.
10:59I don't even know if I looked at their fingers.
11:04Those women seemed like they could be me.
11:07And the moment I discovered what it feels like to teach yourself a fucking riff that you love, I was hooked.
11:13It feels like you're riding the universe, like you're in with the magic.
11:21I always enjoyed female players when they emerged, partly because they don't have that testosterone macho-ness in what they do.
11:32And, you know, I think as, you know, bands have progressed, it makes a lot of sense to have more female energy around.
11:43Melissa Aufdemauer and Kim Gordon, they were like my biggest inspiration being female bass players.
11:53Cool Thing by Sonic Youth was actually one of the first songs I learned to play on the bass,
11:58because it's super simple, but it has like such a strong drive to it and such a strong character.
12:05And I love that Kim plays like the bass almost as if it was like a guitar.
12:11So the riff is like super simple, but super distorted.
12:22That's kind of the main part of the song, so it's just three notes, but they have a lot of attitude.
12:27I love that she's just like there hitting on the bass.
12:45Cool Thing, written by Kim Gordon, was their breakthrough hit and with lyrics that flipped the script on the misogyny that was so prevalent in pop culture.
12:52I just want to know, what are you going to do for me? I mean, are you going to liberate us girls from male, white, corporate oppression?
13:02The lyrics and the whole like meaning of the track is something that of course resonates a lot with me.
13:07I just want you to know that we can still be friends.
13:10It's such a cool way of like talking about female empowerment, but not having to do it in a super polished and low key way, but saying it like with anger even, you know, and I think that song just expresses that and it's such a strong message.
13:27I think that the bass was always the thing I felt the most. It really is about feeling. It's not about thinking. It's not about technique. It's not about anything but feeling.
13:44So it was probably building in me for years subconsciously. The whole world or universe of a song is what I wanted to live in and the closest, the easiest place to occupy the whole universe of a song is a bass.
13:59In the clubs where I was working, these sort of older dude mentors who were all in rock bands, just like cool dudes who love music, like, oh, this young girl is interested. Let's educate her.
14:11And they brought me to a rehearsal space to like plug into my first giant bass amp, the Ampeg 8x10 cabinet.
14:18And that's when I really felt the power and understood, OK, I need this in my life all the time.
14:24My 21st birthday was around the corner and they said, you know, we'll bring you to a pawn shop and just see, you know, what they have.
14:31And then there she was. She was just sitting there all hanging there. And I was like, what about that one?
14:37They're like, oh, that's a great one. Classic sunburst precision. And it's a squire, which means she'll be cheaper.
14:44So this is her. And within two years, this was with me at the Reading Festival. I had only played six concerts with her ever.
14:52So it worked out great. I definitely consider her to be the first support animal that I needed to get me started.
15:06Every time Blur get back together, I try every combination of bass and amplifier just to see.
15:13And I always end up with this and this. And this was basically, Fender Precision was basically the first bass guitar.
15:20And the first one they made was the best one. We plugged in here.
15:24I am devoted to the Fender Precision. I have never strayed from the ultimate rock bass. There is nothing like this classic icon.
15:41You don't need six strings. You don't need to be fretless. You just need a Fender Precision and a nice big amp with a lot of warmth at the bottom end.
15:51Me amp, me lead, and a Fender P. You know, volume and tone, that are doing me.
15:59There was something about the Precision. It was like four strings, two knobs. What could possibly go wrong?
16:06I've tried out quite a few different basses over the years and end up with the precision. It's kind of reliable, simple. It's a bass and there's a tool to getting on in the world.
16:20Me, my new bass and my camera found ourselves thrust onto the world stage when I was plucked from Montreal obscurity and joined Hole alongside Courtney Love in the summer of 1994.
16:33I have obsessively documented my life and I photographed every, every day of my life with Hole. I actually, on the rider, it was a roll of 35 millimeter film.
16:46I set timers, foot switches, and I took a photo of every single audience we ever played to. I knew I was witnessing rock history in the making and I knew I would have no time to really process it then. I just knew collect, collect, collect.
17:01When Courtney asked me to join Hole, my initial reaction was no thank you, death, drugs, destruction. What? But as the offer sort of landed in me and I understood being committed to putting female on a male dominated landscape is the foundation of my relationship with this instrument.
17:23That's okay, Torgos. And I understood that our generation was entering this sort of like higher and higher mainstream platform. I had a role to play that was just an obvious, like, fine. Now I get it. That's what this is doing. This is what the bass wanted me to do. This is what these weird messengers in this band want me to participate in.
17:44I joined Hole in the wake of death. The original bass player, Kristen Pfaff, had just died of an overdose, and Courtney had just lost her husband, Kurt Cobain, to suicide.
17:56This was no ordinary experience for a bass player. Anyone who ever saw Hole play, shows were very unpredictable. Chaos was real. And, you know, there was also a lot of animosity often from the crowd.
18:11Shotgun shells being thrown up on the stage. You killed Kurt. I mean, this is, like, not a chill band to be in.
18:21More surprises.
18:26So, this is a typical day. A day in the life backstage with Hole. I was doing my vocal warm-ups. First time I've seen this footage since I shot it in 1998.
18:36Bands are like families, so you fit into certain roles within a family dynamic.
18:46I was the replacement, healer, visitor. The foremost role was I have to help keep this band alive, and the light after the death.
18:56So, back to my, the bass is the mother of all instruments theory is that a bass line connects and supports everything.
19:06And whatever is happening around it is what it has to respond to. So, it's, you know, a power of something unseen in a way that's, I obviously love that mystery of it.
19:19I think the bass is a very feminine instrument. It's like the mother. It's the thing that holds and nurtures the music.
19:28And I don't mean that in, like, it just has to be a soft sense of feminine. Feminine can be very powerful.
19:33I feel, you know, Larry in our band is very much the masculine force. And I'm a sort of feminine force. So, he'll dictate the rhythm, the terms. And, you know, I arrive a little bit late sometimes. I arrive a little bit early sometimes. But as long as he's right in the right spot, you know, it kind of works together.
20:00The bass leads the band because if we look at the elements of music, harmony, melody, and rhythm, the bass is really at the cornerstone of all three of those in a way that other instruments may not be.
20:14It requires very strong listening skills because you are in charge. And so, you have to be, you're responsible for everybody else in a sense.
20:26I'm listening to everyone. I'm listening to the drummer for the, you know, for the, for the pulse. I'm listening to the piano player to, to, to understand what harmony he's using.
20:36So, I'm listening to pretty much everybody in the rhythm section. If the guitar player's comping, I'm listening to what he's doing and, and trying to find a way to, to glue all those things together.
20:49The bass, as mother, selflessly takes care of a band. But as players, we all need to satisfy our own musical desires once in a while.
20:57If I isolate just the music, the most powerful experience of music I had in whole was making celebrity skin.
21:04There's a song on the album that, um, it's called use once and destroy. I think it was called on the board forever Melissa's song that stemmed out of a bit more like the way I described that if I was in my own band with a drummer, me and the drums would start a song and it would, you know, go something like this.
21:22So then Patty, the drummer came in with like rolling toms and then Eric came in with glassy textural guitars and we were able to make a song, a cool rock song, one of my favorites on the record, out of a drum and bass tune.
21:40In use once and destroy, you're like using the space in between as a jagged rhythm addition.
21:57Tracking my bass on that record was when I actually stepped into my power and I understood, wow, if I really am given proper attention, I will achieve great things.
22:11And I expanded my palette and being more of an artistic bass player within pop music.
22:16Well, that's just about it for Channel V's big day out coverage for $19.99. It's been absolutely awesome.
22:27But to finish off, absolutely, without a doubt, the undisputed queen of grunge, it would have to be Courtney Love and her band Hole. So enjoy.
22:34It was $19.99. Celebrity skin when platinum, we had achieved all we had set out to do.
22:43Top billing festivals, Grammy nominees, but the world was changing and so was the music.
22:49It was my last escapade in Hole when we were at the top of our game.
22:53We were co-headlining a lot of the big summer festivals.
22:56I remember setting off into a side dance tent on the big day out in Australia and New Zealand.
23:04And Fatboy Slim were on that tour and that captured me.
23:10Right here, right now, grab my ear instantly.
23:17A live electronic person with a dedicated throbbing dance floor.
23:24And that was very powerful.
23:26I remember thinking, okay, the future has arrived.
23:29And then I found out it was the bass player of the House Martins.
23:31I'm like, oh, my God, that's so cool that that guy, a bass player, a real musician, is offering the public a new way of experiencing live music.
23:41It was profound.
23:43There's a moment, hopefully, in most of my DJ sets where the whole crowd hits a groove.
23:56When there's like a strong bass drop, you really see the crowd's reaction and it's all about, you know, keeping the suspense until that moment.
24:03So it's almost as if you're playing them as an instrument.
24:08The build is like their kind of foreplay.
24:10But when there's a point where you just see everybody dancing as one and the crowd becomes one big organism.
24:16That's when music unites us, the best, the most perfect, purest example of a whole load of disparate people united by one nation under a groove.
24:29And interesting, I've only just realized, talking to you now, that on pretty much every fat voice in the record, the only thing that's played properly is the bass line.
24:41I just realized, because all the drums are, you know, break beats that are programmed, all the guitars are normally just little loops of guitars, the vocals are all sampled.
24:50But pretty much most of the songs, I then played the bass line on a keyboard, or sometimes on a real bass.
24:56So, I don't know why, all that says probably says you're a bass player.
25:02Even though you don't want to be, you're still a bass player at heart.
25:05Hull had eclipsed and defined all that I was as a woman in music.
25:12And the time had come to break free.
25:14Just then, destiny came calling again.
25:24Complete coincidence, it had been the week I had decided I was done with Hull and I had started writing my resignation letter.
25:30My rotary phone in Los Angeles rang, and there was Billy Corgan.
25:35Hey, the stars have lined up.
25:37It's time for you to join my band.
25:39Like, how the fuck did you know I was about to leave the band?
25:44There's the big Billy.
25:45Looks like we're about to go on stage.
25:48This is part of the big international tour.
25:51Great, and just the fact that I was walking up with this camera, let's remember, someone is filming this.
25:55It is the bass player.
25:57I am filming this.
25:59Where have you just put it?
26:00I put it on my bass amp.
26:02As I do, now I've picked up my bass, and I am about to perform.
26:09This is better than some YouTube footage, eh, that you could find.
26:17Makes me love the bass and my journey in it.
26:20Hull was my master's in humanity, and when I joined the Pumpkins, it was my PhD as a bass player and a musician.
26:29So I got to do the euphoria in the pocket, in the flow as a bass player once I joined the Pumpkins.
26:37I did it for the bass, 100%.
26:39I did it so that I could actually do what I had come here to do, which was play bass to the people, and I knew it would be the best music lesson in my life.
26:50Everlasting Gaze definitely, to this day, is one of my favorite Pumpkins songs, but mainly because it's all about how cool the riff is.
27:08Riffs that are heavy and rhythmic, I like to play along with, and that's what I got to do in the Pumpkins.
27:33The bass line is front and center of this track, and while the guitar riff doubles up and joins in and out, it's the steady bass that keeps you riding hard.
27:48And I got to play up to three to four hour shows a night just on bass, no backing vocal, no stage banter, just, ugh, that was the best bass ride of my life.
28:03Low, heavy, driving bass riffs are my happy place, but that is not the genre that many people associate with the bass.
28:11Oh man, a little thumb magic.
28:13Can I just quickly get my thumb tape?
28:28Slap bass is basically where you use your thumb to slap the bass, or thump, the Americans call it thumping, we call it slapping.
28:35So, how do you slap? Well, this is the secret. It comes from the thumb bone, the magical thumb bone.
28:45And what you do is you strike the string against the fingerboard, and then move away, allowing the string to vibrate.
28:53You know, different players do it in different ways. My way has always been to play it this way, because where my arm is parallel with the strings.
29:02Yeah, lessons in love. So, we've got...
29:12I'm not proud, I was wrong. And the truth is hard to take. I felt sure we had enough. But our love went overboard.
29:33I had that riff.
29:37And that, sort of chugging it along.
29:42It was a really, really big hit for us. You know, it got us our first number one.
29:54All the strings that we were building.
29:58Mark King is especially awesome. He wasn't just slapping, he was slapping in his own way.
30:05He's playing not just slap, he's playing beautiful melodic lines, and singing. Yes.
30:12Part of the success that Level 42 had with the Brit funk scene in 1980, when we came out, was the fact that Varna was only put out as a white label, and it went round to certain DJs.
30:25And so the DJs had no idea who you were, where you came from, or everything. And there was an assumption that we were an American band, and that we were black guys doing this, because it sounded funky.
30:36And, of course, wrong. It's the same in America, that they thought the same thing.
30:42It was no wonder there was confusion. And that's because this style of bass playing is about as funky as it gets.
30:48And until the likes of Mark King came along, it had been the preserve of a small group of American funk players, and the man whose thumb led them all.
30:57And there you have it.
31:00Larry Graham is the father of this style. Basically, you know, Larry Graham came up with this style because he was working with his mom and his dad,
31:05and there was no drummer. And his mom was playing keyboards, I believe. And so he came up with this very percussive style, which kept the rhythm strong.
31:14Just bass.
31:16So he's famous for kind of playing the bass almost like it's a drum, you know.
31:24Plucking.
31:26And, you know, thumping and plucking. But that technique, we really do, we give credit to Larry Graham about that.
31:33Now, there are arguments that there were other guys who were doing it, but he's the one who really popularized it and who we all looked at and went,
31:41Oh, my God, I didn't know you could play an instrument like that.
31:44Depending on your own personal taste, you may be thinking nobody should be playing an instrument like that.
31:50You're either into slap bass or you're very much not.
31:53Mm-mm. Don't do any slapping. No matter what you do, don't do not slap.
32:00It's not really something that's even in my wheelhouse anymore because the time has come and gone.
32:05It just became a very cliché sound. And I would say that, unlike Mark King and some of the other people we've mentioned, it wasn't done in a really musical way.
32:17It's kind of like Seinfeld. Right? No.
32:25Cut his thumb off.
32:29No, each to their own. It's got his place.
32:32But that place isn't under my roof, you know.
32:35Basilica Hudson is a platform for innovative experimental music.
32:59We fell in love with the building, with the infrastructure and the architecture, and the first thing I deemed it was Temple of Sound.
33:10For 15 years, this epic space of ours has showcased countless bands and artists.
33:15But now I want to use it to travel back to when I first expressed myself fully through my bass.
33:21In 2004, I cut loose from other people's bands to go it alone.
33:24But a bass player going solo was almost unheard of.
33:31Bass players don't usually step out of the shadows.
33:34And I remember when I was signed to Capitol Records, the president at the time, when he came to see my showcase show in L.A. where I was playing to some labels,
33:45the first thing he said to me is, who knew the bass player had anything to say? Interesting.
33:50I have a song called Follow the Waves, which I wrote on the bass and then put on the guitar.
34:03And then that became the lead riff of the guitar.
34:05But then I live played on the bass because I play bass live.
34:08And in the song, the guitar starts it, then the heavy bass low D comes in.
34:25And I basically alter between my high notes of my bass low notes of a guitar,
34:30and then the bottom low string of the bass ends up just being the supports to it.
34:45As much as I identify as a bass player, I really look for pushing the boundaries.
34:49And obviously, once I went solo and made a commitment to be a singer-bass player, which, by the way, is quite difficult,
34:54I am not only stepping center stage out of, you know, behind the shadows of huge Courtney, Billie rock icons,
35:02I am also staying true to my instrument, which is not a traditional lead singer's instrument.
35:08Break my heart
35:11It's not fun to have to rhythmically, it's like a head cut off, your head has to sing and be a front person,
35:17while your body has to feel the rhythm.
35:19I would take my hat off to the dexterity of a lead singer who can play bass.
35:32Because if you're playing guitar, you're just chugging along chords while you're singing.
35:37But it's a bit like that to play a bass line that isn't the same as the top line that you're singing.
35:44So Sting, Lemmy, all of you, I'd take my hat off to you.
35:46Singing and playing the bass is an incredibly counter-intuitive thing to do.
35:51Even if the bass part is the same as the guitar part, it's still not as natural.
35:56You know, singing and playing bass is really not easy.
36:01Singing and playing bass is hard enough at the best of times,
36:04but imagine being asked to play one of the most legendary bass lines in rock and sing like Freddie Mercury while you're at it.
36:16And on bass guitar, who's actually going to join me on this next song?
36:19Join me, it's not the word, takes this next song.
36:23Galen Dorsey!
36:25It was more a matter of really trying to nail Freddie's vocal.
36:31And his phrasing is kind of crazy on that song.
36:36So, you know, so this part was always, you know, it's not so...
36:40Let me see here.
36:41Boom ba-ba-ba-ba-ba-ba-ba-ba-ba.
36:44I haven't done this in long.
36:54Pressure pushing down on me.
36:56Pressing down on you, no man has fall.
37:04Under pressure.
37:05It's a family in two, it's people on sheets.
37:09Ba-ba-ba, ba-ba-ba-ba-da-da-da.
37:13You bet I'm not so terribly annoying what this world is about.
37:22Watching some griffin singing, let me out.
37:26Play tomorrow, it takes me higher.
37:30There's your own people, people on the streets.
37:35Da-da-da.
37:36So there's a lot of that that's just sort of long notes,
37:41but getting the phrasing around Freddie's verse,
37:45it goes back to...
37:46Da-da-da-da-ba.
37:50I don't know if I can do this anymore.
37:54Kicking around, kick my brains around the floor.
37:57He's talking.
37:58These are the days it never...
38:00Oh, see, it's hard.
38:02I haven't done it for a long time.
38:04Since David passed, I don't do it anymore.
38:08I can't do it.
38:09I've been asked many times would I do it with another person, but I can't.
38:14It's special.
38:18When I went solo, I wrote most of my songs at home alone on a guitar.
38:22But for my second album, my concept was to write direct from the bass alongside some of my favorite drummers.
38:30My second solo album, Out of Our Minds, that I actually honed in to what would a bass player write as a song.
38:40Let's just take it from the top so that you can help me get into that first change accordingly.
38:46So, you know, the totem and title track of that album, Out of Our Minds,
39:10which came, like, just out of me with a drum beat that Vince started playing and...
39:16Like a field of sound where you're just sort of, like, tripping through it.
39:22And we just, like, fell into a chorus, and the words just came out.
39:39And I was like, oh, this is me.
39:42So, in many ways, it was also my most soulful return to my true sort of hippie nature
39:49where I really just want to get into the flow of what my calling is in this world.
40:03I'm a woman who connects with the warrior in me,
40:06just like the warrior dude in the metal band connects with the witch in him.
40:12The wielding of an object is so big,
40:17and chopping wood, wielding an axe,
40:20it's like a very physical engagement.
40:24It instantly activates my life force.
40:28I am alive.
40:29I am channeling the volcanoes, the angels, through the instrument.
40:34And then, if you have an audience that is then receiving you,
40:39and you are in charge of the low frequency,
40:43along with the drums,
40:44that make people feel in their body...
40:47Being an unstoppable force to feel,
40:57not think, not watch,
41:00feels like the roar of the ocean.
41:03It feels like a gallop of a horse,
41:05that you feel power beyond humans.
41:09Music is magical.
41:14It's a universal language that we all connect with.
41:19I've been drawn towards the big bass reflex speakers,
41:23and I couldn't believe it.
41:25It was like a power of the universe.
41:27It was more than just sound.
41:29You could feel it in your guts.
41:30I grew up almost thinking that God is music.
41:41It's a spiritual thing.
41:43When there's going to be an earthquake,
41:46there are some animals that pick it up before us.
41:50Now, you imagine that frequency.
41:52It's one of the most frightening frequencies.
41:56That is bass.
41:57When the thunder rolls and that low frequency hits,
42:03especially if you're a weak heart,
42:05you're going to run and hide.
42:09I'm an escape artist.
42:11I like escaping into the wild unknown
42:14and the cosmic universe if I can,
42:15and the bass helps me get there.
42:17Music.
42:18Music.
42:27Today, I'm picking up where I left off
42:29before my motherhood sabbatical,
42:31and I'm heading back into the studio in Montreal
42:34to record new music for the first time in 15 years.
42:39I've changed, the musical landscape has changed,
42:42and I'm so excited to experiment
42:44with some new sounds and styles.
42:48Hey, Alex.
42:50You think I can fit here?
42:52Totally cool.
42:53Amazing.
42:54VIP parking without trying.
42:55This particular experiment was,
43:02I'm really trying to merge the future and the past,
43:05because, yes, I am a 90s lover of distorted bass and guitar
43:10and real heavy drums,
43:12but I also am a child of the 80s,
43:15and the sound of the 80s is really what seduced me.
43:19Processed things and beautiful, glassy sounds,
43:22and then there's the 21st century,
43:24back to, like, the kids making music
43:25on their computers alone in their room,
43:28because that's their version of being punk in the garage.
43:32It's okay, just admit that you're dead to me.
43:35And that's what I love about some of the best 21st century
43:38new music I've heard,
43:40is, like, you're mixing between synth and electronic,
43:42and you have gothy, but you also have poppy.
43:46It's, like, such a cool world now.
43:48I am very inspired.
43:53Like, I got invited to go see Charli XCX,
43:56and, you know, it's this one woman basically karaoke-ing
43:59does shit she makes at a home alone on a computer,
44:02and there's fucking heavy bass
44:04that makes me feel good.
44:10Charli XCX is exciting
44:12and feels like she has fresh and urgent things to say
44:15to a new generation, just like we did in the 90s.
44:19But it's that huge, timeless bass line
44:22that drives her music and her message.
44:26There are distorted bass sounds on her songs
44:29that I am using as inspiration now,
44:32like, how can I play with that?
44:34Like, how can a 90s analog bass player
44:36play with that sound?
44:37I think that bass is the future
44:49of all cool, powerful music movements,
44:52because at this point,
44:53you've got to capture people.
44:57You can't just be a cool frickin' shredder
44:59or a person who, like, rehearsed a lot.
45:01So I think in a world full of garbage
45:04and distractions and endless content,
45:09too much information every second of every day,
45:13people are gonna be numb.
45:15People are numb, and they need to feel.
45:23That's an actual, not just for the cameras,
45:26good additional situation.
45:28That's when the mystery of music proves itself.
45:30Bass has a power to cut through
45:32that I don't think other things do.
45:35So the future is bass, okay?
45:39Definitely use that.
46:00artificial power, perfect voice,
46:09of course, as obvious transition.
46:11I have a console number four as a member of the camera.
46:14Transcription by CastingWords
Be the first to comment