Also the lockdown gave me time to practice a lot more, with consistency, which has been a good. I don’t know how or when it happened, but all of a sudden my playing opened up and I could reach further because I had a more relaxed state of mind. Now I’ve grown into worrying much less about that and I simply focus on doing the best I can if people like it they like it and if they don’t they don’t. I used to always have doubts about my playing, especially in front of killer bass players I was always afraid of being judged. Something happened during this pandemic that resulted in a mental block I had going away. How have you grown as a bassist in that time? It’s going to be very interesting to see what happens now because I think we’ll be able to put out a lot more music in the future-it won’t be six years between albums. It was easier for us to work with these songs we found new ways to make Dirty Loops music much faster then before. To me that’s apparent on Phoenix, and it’s for the better. I think all three of us have evolved in different ways musically over the last six or seven years. How has Dirty Loops grown since Loopified? He’s been a huge influence on me though his use of chord inversions and the way he looks at harmony. The whole solo is inspired by getting to do some gigs with guitarist Tim Miller. I soloed over the verse changes and I started out with a symmetrical scale in mind that moves in intervals of minor thirds and minor seconds, so it’s basically two stacked augmented triads a half-step apart. It had been a while since I got a bass solo in a song, so it was time. How did the bass solo come about and what was your approach? The slap section was a little uncomfortable to play because I had to triple-pluck it, using my index, middle, and ring fingers on the same string-I had never done that before so I had to sit with it a bit, to get it down. Jonah arranged the intro, and we added the horn soli and the slap bass section before the bass solo. We took the groove from our cover of Britney Spears’ “Circus,” and the chorus even has the same first two changes as “Circus”: F#m-Cdim7. “World on Fire” has a classic Loops feel and it features your bass solo.Īs with “Next to You,” we had this chorus for a long time. “Rock You” also has a keyboard bass influence, and my main inspiration is Greg Phillinganes, on tracks like Chaka Khan’s “We Can Work It Out” and Michael Jackson’s “Man in the Mirror.”
Dirty loops bass splayer plus#
Sound-wise, he has my favorite slap tone, on tracks like Lee Ritenour’s “Night Rhythm”, plus his feel is ridiculous. But my main slap influence, who I always forget to mention, is Melvin Lee Davis, the who has worked with Lee Ritenour and Chaka Khan. There are a few: Victor Wooten, Flea, and Marcus Miller. After the chorus we add some reharms, but the foundation is those two chords. The verse chords are Bbm to Gb, but it’s really just the riff, and then in the chorus the chords come in, but we reverse the order so it’s Gb to Bbm. It was the fastest song to write it’s a simple funk song-a jam, in a way. The song is basically Bbm to Gb throughout, with two riffs. Originally it was in A minor and then at the last minute we brought it up to Bb minor, so I tuned my bass up a half-step to retain the open strings. It was a slap part in Aron’s mind, so that’s what I did. Yes, that started with the main riff that Aron wrote, and then we played around with it. Let’s get into the tracks “Rock You” seems riff-based. We’ve found it’s easier to for us to write over a basic framework of a tune. On this album, especially, I think it was important for us to write simple pop songs first, so there’s no dense harmony dictating the kind of melody we have. We sit with the melodies until we’re happy with them. I think that’s why writing is a slow process for us because doing the arrangement is kind of like writing a second song it takes a lot of time. Generally we start with some kind of groove or foundation, then we try to write the melody and get the form of the song, and then we start to arrange it after that. Usually it starts with Aron sitting with a very old version of Logic on a very bad computer, playing things in with a MIDI keyboard.
This time it was mostly Aron and I, for whatever reason, but Jonah played a big role touching up the harmonies and the arrangements. Who wrote the songs, and what’s your writing process? We wanted to have more focus on hearing the instruments on Phoenix. We did feel we wanted to arrange the songs in a slightly different way then before, so there’s less of the EDM aspect from Loopified. We tried some new ideas but I don’t think there was a concept, overall. Was there a concept for the EP or was it more about recording the best songs you had?
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