EPISODE 04 / ALL ABOUT THE BOTTOM
Of Sound and Fury: The Music Behind the Madness
FROM THE ARCHIVE: LAST DAYS OF MAY
Usually, when I approach a bass line, I want it dark, heavy, and groovy—the kind that sits deep in the mix and drives everything forward. I’ve always admired players like Jah Wobble, Robbie Shakespeare, and Mel Schacher, musicians who could make the low end feel alive, like it had its own pulse.
But for Last Days of May, I felt the need to try something different. Something beautiful. I didn’t know exactly how it would turn out, but I wanted the bass to breathe—to feel open, airy, melodic. I wanted every little sound, every slide of my fingers on the strings, to be part of the experience. To make it feel real, like the listener is sitting right there, hearing it all unfold.
It’s dark, but there’s something hopeful in it. Maybe that’s because of the bridge—when everything drops away, and the bass is left alone to carry the moment. It was a challenge, stepping into that space without relying on the usual weight and groove, but I really love where it ended up.
The title is a nod to Blue Öyster Cult’s Then Came the Last Days of May. Just a small connection to something that’s always moved me. But this song, this sound, is its own thing. And I’m glad I followed where it led.
IN THE STUDIO: Odds and Sods
THE ONE TWO PUNCH
TECH 21 BASS DRIVER DI
So you know how sometimes you plug in at the studio, and your bass just sounds... fine? Like, it’s there, it exists, but it’s not doing anything? Enter the SansAmp, the little box of sorcery that makes your tone go from “meh” to “holy sh*t.” Wanna sound like you’re running through a massive tube rig without actually dealing with one? Boom, done. Need that fat, punchy low end without stepping on the kick? No problem. Craving a little grit to make the guitarist nervous? Easy. It’s like having a whole rack of amps and pedals in your back pocket—just plug in, twist a few knobs, and suddenly, you’re the guy with the bass tone everyone talks about.
WAY HUGE SWOLLEN PICKLE
Alright, so your tone’s in a bit of a pickle? No worries—you just need a meaty little pickle in a box. The Swollen Pickle gives you fuzz without sacrificing your low end, because let’s be real—nobody wants a weak bottom. We all like a little fuzz down there, but not at the cost of the thump. Now, pair this bad boy with the SansAmp, and suddenly you’ve got warm cleans, filthy lows, and enough phatness to make the rockin’ world go round.
SOMETHING OLD
EDGAR WINTER GROUP / Frankenstein / 1973
"Frankenstein" by Edgar Winter is a groundbreaking 1973 instrumental rock track known for its heavy synth riffs, driving drum beats, and innovative use of the ARP 2600 synthesizer. A showcase of Winter’s multi-instrumental prowess, the song features intense guitar and saxophone solos, as well as an iconic drum breakdown. Originally an improvised jam, it became a No. 1 hit and a defining track of the era, pushing the boundaries of rock and electronic music. Its name, suggested by drummer Chuck Ruff, reflects the way the song was pieced together from different recordings, much like Mary Shelley's famous monster.
SOMETHING NEW
TROPICAL FUCK STORM / “Braindrops” / December 2021
"Braindrops" by Tropical Fuck Storm is a swirling, disorienting track that blends surreal lyricism with warped, off-kilter instrumentation. The song feels like a fever dream, with Gareth Liddiard’s cryptic lyrics painting a picture of fragmented memories, paranoia, and existential musings. Musically, it’s driven by jagged guitars, eerie harmonies, and a lurching, almost drunken rhythm that enhances its hallucinatory atmosphere. Like much of TFS’s work, "Braindrops" walks the line between absurdity and profundity, creating an unsettling yet strangely hypnotic listening experience.
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Life has a way of showing us who we really are. Music helps me make sense of it, and sharing these stories connects the dots.
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I think I may have mentioned this back when Safe first released, but Last Days of May really reminds me of Gustavo Santaolalla’s work on his The Last of Us soundtrack. Specifically the song “The Choice”. Really love Last Days of May, it does a lot with a little. That Frankenstein track is also so gnarly! Nice pull. Enjoyable read as usual!