ф
i i s J B S S H f
hether playing the sidewoman role
w ith major names such as Melanie
C and Kelly Osbourne on stages
around the world or perfectly
carrying off the singing bassist role
in her own band, Die So Fluid,
there's no denying that Grog Rox
has her musical head screwed on and is able to adapt to
a whole host of musical situations given the
opportunity. Fifteen years since DSF's formation, the
band are touring their fourth album,
The Opposites Of
Light
, and converting crowds to the Fluid cause,
moshpit by moshpit.
So how did Grog get into bass? W ith a w ry smile,
she recalls: “I had a lightbulb moment, actually! I
started off singing in a band at art college, w hen I'd
just moved to London. W e w ere auditioning bassists
and none of the bassists were fitting in. I picked up
one auditionee's bass and said, 'Can I have a go?',
and it was one of those moments.
.. but we couldn't
say anything as the guy was standing there. As an
instrum ent, it felt very natural to play. Luckily, I'm a
tall girl and I taught myself, played by ear and that's
how it started.”
She continues: “Growing up, I'd always loved bass.
My brother took me to an Iggy Pop gig at the Forum,
and I remember hearing this huge sound that hit me
in the chest. I remember that very clearly but little
did I know w hat my destiny was. I had two elder
brothers who listened to the likes of the Rolling
Stones, Led Zeppelin and Black Sabbath, so I was
absorbing that while I was growing up. My m other
was a classical pianist and she took me to musicals
all the time, and then I was into Adam & The Ants,
the Cure, Siouxsie & The Banshees, the Smiths and
Echo & The Bunnymen. So I always had that stuff and
the really heavy stuff going on. But w hen I started
playing bass, I became very aware of bands like Tool
and A Perfect Circle, plus Nirvana w ere obviously big
at the time. But I also love stuff like Jeff Buckley - I
don't limit myself, I don't just like one genre of music.”
How did the call to be a session bassist come about,
we ask? “The Melanie C thing was the session job that
kicked everything off for me,” remembers Grog. “It
was quite a high profile job to get: before that, I hadn't
really considered doing session work as I was always
very centred around writing my own music and that
was all I really loved doing for a long time. I was very
purist about that, but I then grew up a bit and realised
that it's actually very good for you to play different
kinds of music and to expand your horizons, because
you don't know w hat kind of stuff you will bring back
into w hat you do yourself. A friend of mine, [guitarist]
Will Crewdson, had an agent who was sending him to
the Melanie C auditions and he asked me if I w anted
to come along - so I said 'Yeah, w hat the hell, I will'
and the rest is history.”
"i GREW UP A B IT AND R EA LiSED IT 'S GOOD
TO PLAY D IFFEREN T KINDS OF M U SIC"
BASS GUI TAR MAGAZINE
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