Steve Lawson & Trip Wamsley, Slow Food [stevelawson.net]

Wherever there’s a frontier in the world of bass, it’s safe to assume you’ll find Steve Lawson standing out there, waving to the rest of the community to set aside their apprehensions and join him on its outer edge.
Author:
Publish date:
Updated on

Wherever there’s a frontier in the world of bass, it’s safe to assume you’ll find Steve Lawson standing out there, waving to the rest of the community to set aside their apprehensions and join him on its outer edge. Last year he invited fellow lowend adventurer Trip Wamsley to make an improvisational ambient duo record, and sealed the deal by making his way from London to Wamsley’s Louisiana home to cut the tracks together, in person. The 11-year friends made Slow Food Steve’s way, with no rules and plenty of “freewheeling improv goodness.” Moods range from the calm, patient “Growing Up and Moving On” to the edgy, uncomfortable techno of “Imaginary Robot Ninja Assistant.” There’s chordal and arpeggiated loops, fretless melody breaks, a lead-guitar-sounding thing, and Trip using some Taurus-style bass pedals to drop deep, subsonic bombs in “Grown Ups at Play.” Recorded and released in shimmering 24-bit audio, Lawson’s vision of a shared musical moment with a friend is a deep listening experience—moving, enchanting, and always provocative.

Related

Tweet Beat Steve Lawson Transforms His Career With Twitter. Srsly.

NOT CONTENT WITH JUST TRAILBLAZING AS A LOOP/LAYERING SONIC experimenter and solo bassist, Britain’s Steve Lawson is exploring the wild frontier of modern social networking, building a new career and a new life in the process. He met his wife, singer/songwriter Lobelia, on MySpace just two years ago, while collaborating on her music, and they’re now a unique duo act. But MySpace is so 2007. Through Lawson’s hyperactive presence on Twitter, a newer platform that limits postings to status updates of 140 characters or less, he’s built a network that’s allowed him and his wife to reach thousands of music fans at house concerts throughout America and the U.K. House concerts, you say? Indeed, they bypass traditional venues completely and organize intimate shows in people’s living rooms. Most of the outreach occurs on Twitter, where they gain “followers” one “tweet” at a time. (When you’re on Twitter, you “tweet,” and “followers” are subscribers to your “tweets.”)

Damian Erskine's Right-Hand Drive

ANYONE WHO HEARS DAMIAN ERSKINE’S new album So To Speak is about to find out what both keyed-in locals and hardcore jazz/fusion bass enthusiasts already know: There’s a world-class virtuoso bassist living in Portland, Oregon, and most nights he’s out there hustling like the rest of us.

Too Much Is Never Enough: Muse’s Chris Wolstenholme Reinvents Art-Rock Bass For The 21st Century

A WELL-WORN CLICHÉ ABOUT THE BRITS IS THAT THEY’RE serious, understated, subtle, and—heavens, no—certainly not silly or anything like that. Well, Muse’s Chris Wolstenholme is having none of it, musically or otherwise. “There’s always been this thing with English bands where it’s a bit shoe-gaze-y, you know what I mean? British bands find it hard to just let loose and rock out sometimes. Back in the ’70s, British bands were great; they had a certain over-the-top-ness. It’s almost like bands are scared to do stuff like that now.” Not so for the members of Muse: “We just think, Fuck it, you know?”

Steve DiGiorgio, Extreme Metal Session Ace

 I just gradually became this “session player.” I love it. I don't care what it's called, I'm just so happy to just plug in and jam with somebody else. ‘Cause everyone has killer ideas, no matter what level of musician or what age of band they are, there's always something new and killer about playing with someone different, and as long as they keep giving me the chance to keep doing it, I'll keep doing it.