A Chat with Evan Veenstra (01.08.2022)
Bassist Evan Veenstra is showing us a whole new side of the instrument, with his aptly titled album Bass. Showcasing the multi-faceted bass, he unleashes the true potential of the bass, leaving listeners in awe of what this under-appreciated instrument can really do. Moving from grooving vibes to ethereal harmonies, the tracks keep you wondering what else he has to show us. We were able to chat with Veenstra about the album, what drew him to the instrument, defying genres and much more!
OSR: Through your skills with the bass, you are looking to expand everyone’s appreciation of the instrument, but what first drew you to playing the bass?
Veenstra: When I was 10 my best friend and I were starting to get into music. He suggested we start a band. He said, ‘I’ll play the guitar and you play bass.’ I’m pretty sure he thought that playing the guitar was a lot cooler than playing bass. At the time I didn’t know what a bass was, so I went along with it, and got my first bass for Christmas that year. It didn’t take long for me to realize that he did me a huge favour!
OSR: This desire has been infused into your aptly titled album Bass. All the tracks are played with just the bass, but what was your creative process for composing them?
Veenstra: I don’t have a set creative process. I tend to just let things flow. Some of the tunes on Bass started as a riff, melody, chord progression or concept that I stumbled upon while playing. Some came to me while walking the dog or working, others were a more deliberate effort – I wanted to write a song along a certain vein, and then grabbed the bass and searched for the music.
OSR: Across the tracks, you showcase everything from groovy vibes to ethereal tones. Can you tell us more about the techniques used to produce these varied sounds?
Veenstra: I use a lot of ‘traditional’ right-hand bass techniques – fingerstyle, slap and some tapping. I also employ some less traditional techniques, such as 3 finger tremolo right-hand fingerstyle, classical/Spanish guitar style plucking, strumming and double slap-double pop technique. I’m left-handed, but play right-handed, which I think gives all my playing a bit of a fret board focused approach. Lots of legato runs, trills, chordal movement and large stretches.
OSR: You used a lot of multi-tracking to highlight the power of the instrument, what was the biggest challenge you faced doing this?
Veenstra: The electric bass was originally designed to be an accompaniment instrument, primarily purposed with laying down monophonic, root motion based lines, or low register melodies. Playing primary melodies, harmonies and percussion on the bass is a huge departure from this. My greatest challenge was figuring out how to voice and capture these different parts in a musical way. I wanted to create a healthy separation of parts, so that the music didn’t turn to mud. I wanted the mix to sound rich and dynamic.
OSR: While the tracks are all about the bass, are there any deeper messages or stories you want to portray?
Veenstra: Most of the tracks feature a more ambiguous musical message. They are maybe semi-pragmatic, in that they were composed with an idea or image in mind, but not necessarily a story or message. Although I have my ideas about the tunes, I’m a believer that a listener should always bring their own meaning to a piece of music. Whatever resonates for them.
OSR: Included between the 15 original compositions is one Bach cello suite. What prompted you to include this track?
Veenstra: Bach has been my favourite composer for years. I know it’s a little overdone, but I really feel that the first Cello Suite Prelude is one of the greatest bass compositions of all time! It’s a piece that is often performed on electric bass, but seldom very musically. Most bassists play it a little too robotically in my opinion. I wanted to convey the beauty of the tune through a more fluid, organic approach. I embellished the tune sonically by laying down two tracks, a regular performance panned hard right, and a performance of the piece entirely in harmonics panned hard left. That harmonics track was probably the most difficult performance on the album!
OSR: The album covers a range of different genres from jazz to acoustic rock and cinematic vibes, but what do you enjoy playing the most?
Veenstra: Do I have to choose?! Lately, I’ve spent most of my bass time practising Bach, playing classic rock or laying down the funk!
OSR: Each of the tracks is stunning in its own way, but is there one that holds a special place in your heart?
Veenstra: The first track, ‘Shannon’s Song’, was composed for my wife. I feel that it’s one of the strongest tracks on the album, and it was composed with a sentimental affection for my incredibly supportive wife.
OSR: This is the first album you have produced and engineered on your own. What prompted you to release the album now?
Veenstra: I created a wicked home studio in my garage last summer and had to put it to use!
OSR: Other than appreciating the prowess of the bass, what else would you like people to take from listening to the album?
Veenstra: I hope that people appreciate the music for what it is. The greatest compliment I could receive would be someone becoming so immersed in the music, that they didn’t realize they were listening to 45 minutes of bass.
OSR: What else do you have planned for the next 12 months?
Veenstra: I’d love to do an album of solo Bach pieces on the bass, or maybe an album with some original compositions that use both standard and piccolo bass tuning. At this point, I’m not committed to anything, and I’m enjoying taking a break from the studio!
Thanks to Evan Veenstra for chatting with us! You can find more about him on his website, Instagram and Spotify.
