When discussing Krist Novoselic’s role in Nirvana, it’s tempting to fall back on the bass-player cliches: he was the steady one, he was the logistics guy, he kept the band grounded, and so on. All of which is true up to a point. He was a steadying influence, and his playing is probably the least crucial element of the band’s sound, by virtue of the fact that Cobain’s guitar took up a lot of sonic real estate and that the band had a virtuouso drummer. Yet Novoselic was a huge personality – a loudmouth who would say and do outrageous things behind a bottle of hard liquor or a case of beer – and it was Cobain who wrote all the band’s bios and cover letters and sent endless tapes off to radio and record labels.
But ultimately almost any musician’s main contribution to their band is musical, and Novoselic is by no means the one-dimensional player he’s sometimes perceived as. Sure within Nirvana, he mainly played root notes in eights, a technique we discussed in the previous post, or he doubled the guitar riff, but when he did he ever do so inappropriately? And when he took a different approach, he did so with a good ear and a sure touch. His lines on Love Buzz are the key to the song. He’s at the heart of Been a Son. His part in the verses of Lithium is a classic.
But he’s at his best on In Bloom, a song I’ve looked at before for its drum track. Now, I’m not going to condone piracy, but the multitracks for this song were leaked some years ago and are online if you’re interested in hearing just the rhythm section. Grohl and Novoselic cook up quite a groove in the choruses, and it’s a huge part of the song’s success (along with the instantly memorable chorus and the all-time-great drum arrangement created by Chad Channing and played by his replacement, Grohl).
The key to it is a change in feel, which occurs in both the bass and the drums. In the verses, the hats are played in 16th notes, the kick mirrors it with its stuttering 2-beat pattern at the start of each bar of the verse, and the snare is in quarters. In effect, the right hand and right foot are continually pushing the song forward, while the left hand pulls it back. Novoselic also plays in 16ths, tight little groups of them that follow the guitar part played by Cobain. In the choruses, though, the band loosens its grip. Grohl plays a really cool syncopated kick drum pattern but, cannily, Novoselic doesn’t lock in with it; he swings off it instead.That little jump up the octave when Grohl plays his triplet fills are another lovely touch – very playful.
It’s little details like this that turn a good track into a great one. I’d not call In Bloom my favourite track off Nevermind or anything like that, but when I listen to it, I do think it brought out the best in all of its creators.