Dead Sara, Groovin’ Chris

As far as I know, Chris Null left the band some years back. I need to include him just the same because he was part of the band when I first listened to them and some of the parts helped me write prose. To me his approach to bass lines sounds like he’s a hybrid musician, a guitarist-bassist, not to be confused with a bass guitarist. By that I mean that it sounds like he’s fluent in both instruments and this influences his sound. I’m not sure if I’m right about that, but when I hear his riff on a song like “Weatherman” (5-5-4-0, notes per measure… I think…) it sounds almost like a second guitar riffing under the actual guitar. Then both guitar and bass chug along before the big, open, hanging, chords.

Grovin’ Chris’ riff provides a link between drums and guitar. It works with the main riff that Bouncy Siouxsie plays, but it does not collide with it. It’s smooth and groovy and works with Thumpin’ Sean and allows for space for Mighty Emily to sing. Chris alternates between straight bass notes (probably downward pick strokes), slides, and in the bridge a very cool pattern with some light distortion (I think).

I love the bass, the unsung hero of rock. When working on a story, if I listen to a bassline in a song like “Weatherman”, it allows for under the radar writing. Probably what comes to mind to most writers would be Hemingway’s iceberg theory. Don’t overwrite, use only the minimum necessary and trust that your readers will understand what is missing and fill in the rest. I think the same thing can be said about music.

Next up, Bouncy Siouxsie.