Word: basses
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Some more bizarre risk-taking that ends up paying off is Hatfield's employment of ultra hardcore bass grooves strongly reminiscent of the scary-intense work of shock-metal band Tool. On "Give Me Some Of That," Hatfield breaks out some heavy fuzz bass that will blow away anyone expecting sugary pop--or any pop at all. The newly-30 Hatfield makes it frighteningly easy to identify with her rage at the loss of youth: "If I had/half of what you had/I would be so/so fucking glad...
...though, is the true triumph of Please Do Not Disturb. It incorporates the same mega bass of "Give Me Some Of That" but melds it seamlessly with an achingly beautiful pop refrain. Starting out as neogrunge, the song quickly shifts to minimalist slow-core hooks for the verse. When Juliana commands early on to "Get off of me!", it sounds pretty imposing. Suddenly, though, the song shifts gears; as the chorus approaches, the thrash elements melt away, leaving only a soaring, melodic vocal line that is not a command at all, but a poignant plea...
...sound. Deal's songs often have the character of a musical sketch rather than the typical plot of verse-chorus-verse, and studio effects enhance her ability to create the haunting atmosphere that she does on tracks like "Box." A swirling guitar echoes distantly in the background while the bass and another guitar play a repeated two chord motif. The drums play a simple beat with a closed hi-hat and Deal's voice is laced with reverb...
...obviously fueled the band's momentum. Among the many surprises during the set was the announcement that drummer Jed Luhmann was away at a wedding in Minnesota as the best man. Roadie Jessie Ross filled in as an adequate substitute. The time held together well enough, with help from bass player Marty Nedich, though it was apparent during the drum-heavy opener, "Future Boy," that Ross' more appropriate role with the band was as roadie. Despite his lack of chops, Ross supported The Kelley Deal 6000 with groove-heavy intensity that never...
Having a substitute drummer didn't at all detract from the performance the band gave: guitarist Todd Mund evoked a sonic spectrum ranging from airy melody lines to bone-crunching chords with his red Les Paul; bassist Nedich aggressively propelled many of the tunes with unrelentingly rhythmic bass lines; and Deal leavened the raw power of her vocals with sensitivity. Her muscular voice never strained, and she displayed impressive range and intonation. At times she could be sweet and velvety. Then she would let loose from the diaphragm and sing a chorus with no mercy. Such was the case with...