ANDERS JOHANSSON
by oliver watts
Bassist Anders Johansson has been regaling us with stories of his youth, equipment, influences, technique and everything else it takes to make Avant-Garde Jazz Metal as Groovy as it is... and it is groovy... Damn Groovy.
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here comes a point with music where things start to sound the same, melodies blend with previously released songs and even chorus’s just plod along like most other tracks released, but this is where Diablo Swing Orchestra come from to ruin all of that. Of Swedish heritage and boasting possibly the most original sound of the last 30 years come a band with such inspiring talent and originality it makes them hard to ignore. Oliver Watts interviews Anders Johansson to find out more... OW: What instrument do you play and why? AJ: I’m proud to call myself a part time low end bass player. Mainly using basses dropped into baritone B-E-A-D, I do yet again emphasize the low end part, haha! My poison of choice is electrical instruments, though I do keep a 1940s double bass in my home to fail at too… To fully understand the reason for my choosing the bass, we have to go back to square one. It is, however, unfortunately not a pet shops-and-rainbows tale though. In high school, to keep us kids from hanging out in the streets after school hours, the local youth recreation center arranged a series of activities. You could either play chess, billiards, Ping-Pong,
pottery etcetera — Or, you could be in a band. I always wanted to be in one since as long as I can remember, so my time had clearly come. There was just one catch. Arriving a tad too late to the first session, all instruments were taken, except for the bass, sitting alone over in the corner. I remember frowning upon this, since I’d rather be the fronting guitar man, with Curt Cobain being top of mind at the time, or at least the eccentric drummer. Not the ”bass player” — Who was that anyway? And that’s how my four string venture began, until me and that bass truly hit it off on a high note… I never looked back since.
“So what about amps, I hear you wonder? Well, I still haven’t found my ideal bass rig, having gone through everything from Ampegs to Marshalls. ”
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OW: Which are your brands of choice? AJ: My main Diablo Swing bass is a Henrik Jansson custom built one. I call it a baritone bass, since it’s a four string bass, but slightly taller to be tuned in B-E-A-D, as stated above. That particular bass was preceded by a prototype — an altered Fender US Standard Jazz Bass, which can be seen and heard in clips from tours around 2007-2008. That one worked really well too, but wasn’t tall enough for the mission really. Aside from the Henrik Jansson made bass, I have a deep love affair with Fender Jazz Basses in general, though I do use others too. I’ve written more on the instrument matter further down, if you want to keep reading. Moving on to strings. I’ve used Ernie Ball’s .50 to .135 for quite a while, but that being a five string kit, I always end up with a whole lot of single .50s laying around the house! Usually I bring these on tours as give aways though — so they do come to good use anyway. A few years back however, I got me a few packs of the DR Neon strings. Orange was the colour for a few tours back in 2010 to 2012. I humbly tried to get a sponsor deal with DR, since strings are a vast investment for a bass player, and I use up a lot, but no luck yet though, but damned be the one who gives up right?
den, there surely isn’t much to do in between the worry free childhood and the pangs of grown up life — hence the efforts of the youth recreation center as mentioned before. Your spare time is narrowed down to video games, sports or music, basically. I started at the first, surprised myself with the second, and yet excelled in the latter, haha! My being 35, I guess that makes it about twenty-one years of pretending now. Phew. OW: Do you play any other instruments? AJ: I try to swing some chords on the baritone guitar I borrowed from Pontus (Mantefors) while recording demos at home, but I would definitely not say that I know how to play. Riffing on a seven string or a baritone guitar, like the ones Daniel and Pontus use, really parallels some efforts on bass. Those baritones are like brothers from another mother! On another note, I would indeed love to have the space and possibility of housing a drum kit. Maybe in a future that may also contain an actual house!
After losing trust in one cable brand after another, due to glitches while performing, I finally found the Proco Excalibur cables a while back. Costs like five lesser cables, but they do work. Not only regarding connecting and playing through, but also when packing them in a haste to get off a festival stage, or when they’re handled with little love by stressed out stage techs. So what about amps, I hear you wonder? Well, I still haven’t found my ideal bass rig, having gone through everything from Ampegs to Marshalls. The latter is what I sport at the moment, being a VBA 400 top, pushing an 8x10” cabinet, which brings a great straight up rock sound, but I am looking into what Orange amps could do for me as a possible successor. I have been fortunate to try Orange setups on a few tour occasions, and thus far I must admit being impressed indeed. I’m not going for a high-end techie bass tone, but rather a warm, punchy, growly one, and I have my suspicions that may mean an all tube situation… OW: How long have you been playing? AJ: As a fourteen year old in a small city in Swe-
OW: Do you name your instruments? AJ: I do, but only the custom Diablo Swing bass that I’ve been sporting the last few years so far, which is dubbed ”Fyrfingerfasan” — It’s Swedish for ”The Four Finger Fear”. The name has its roots in my losing the tip of my right thumb in a furniture crafting class in 2009, only months before touring in Mexico. The bass was soon due, and I needed something to laugh about; shed some light onto the whole episode — yikes, what a memory… The name really came to good use though! I haven’t come around to naming my others yet, and I assume they still have to man up and prove themselves before we can get around to that part.
OW: How does your instrument choice lend itself to the production of your music? AJ: Good one. Since the core of most of our songs generally are written by Daniel Håkansson or Pontus Mantefors, I believe a lot of the bass development happens first when we actually rehearse songs before the recording process begins. The guitar parts could be done already, and I plainly experiment onto that. Other times, Pontus or Daniel may have an idea for a bass part, and then hands it over to me to evolve. Usually my mere way of playing it in my rough and snappy manner adds something to it all. ”Moderation” is not a word I would choose to describe it, and it’s not always ”all good”, but I do believe it has character! When it comes to the actual instruments themselves, answering the question only in regards to the latest album (Pandora’s Piñata), wouldn’t do it all any justice. Instead, here’s a short bass essay on the matter. The Butcher’s Ballroom was my first venture on a five string bass, thanks to Daniel Håkansson’s humble demand. It was an all new 2005 butterscotch blonde Fender American Deluxe Jazz Bass V, and it was used on the whole album, run through an Ampeg SVT-Pro 2 top. Up to that point my main instrument had been a series of Fender Jazz Bass-fours, and a Yamaha Billy Sheehan Attitude Ltd II. Corny, I know, but whoa could that girl sing! On the other hand, that Fender V was no bad seed either. It stayed on the weekend-road with me for a couple of years until we were to record Sing Along Songs For The Damned And Delirious in Gothenburg. It was time to change that butterscotch player for a custom built Windmill Jazz V. Just as the Fender, the Windmill was an active bass too, and it sounded truly snappy and edgy, just as promised. However, it was kind of
heavy and lacked that warmth I’d longed for since leaving the Fender V. I’d like to say that warmth in bass tone isn’t easily come by at all. I think I’ve partly wrapped my head around it lately though — read more in my answer to the pedal board question further below. Anyhow. Having swung that Jason Newsted replika from stage side to side for a while, small hands reaching around that vast fiver-neck, I figured I’d do something about it. Before long, I’d changed a Fender US Standard fretless four into a fretted semi-baritone tuned in B-E-A-D. Hell, I wasn’t using the G-string anymore anyhow. That bass became my wingman for a couple of short tours, but the standard neck wasn’t long enough for a proper dropping of the B into an A, which is kind of Diablo Swing key. So, once I’d sold off the other instruments I’d used with Diablo Swing since 2003, the Henrik Jansson bass ”Fyrfingerfasan” was born. It’s a passive baritone necked, slightly smaller-bodied Jazz Bass-four string sporting Seymour Duncan Quarter Pounder hot mics, or the DiMarzio Model Js, depending on my mood. Removing everything that wasn’t needed for the Diablo Swing job, I ended up with a four string once again, this time using only a volume knob for adjustments. However, the slightly taller mahogany baritone neck allowed me to tune it in B-E-A-D, preserving both snappiness and warmth. Finally! But it doesn’t stop there. Adding a HipShot A-Tuner for the B-string, it’s now fit for everything from Bedlam Stickin’ to bedside slappin’. Yes, ”Fyrfingerfasan” is my main instrument up to this day, though assisted by a new Fender US Deluxe fourstring, also set up for B-E-A-D tuning.
“I’ve been meaning to save up to acquire a Wal fourstring, like the one Justin Chancellor (from Tool) has, but I can’t seem to reach those sums thus far, haha! ”
OW: What techniques do you use to practice? AJ: My main practice would be to strengthen the skin of my fingers for any tour or recording venture. One show is often enough to reveal poor preparation in the shape of terrible water blisters. My actual exersize is simply to swiftly tap my right hand fingers onto any hard, edgy surface whenever, as well as preparing my hurt thumb for the job at hand. Anything to toughen up those tops! Regarding regular playing practices, that would be trying to relearn our own Diablo Swing songs from old. Not always the easiest thing, I may add!
In my later years, bassists from a vast spread of genres have influences me, which must be taken into account, aside from those idol-stunned years of youth. Former Incubus bassist Alex Katunich and Billy Gould of Faith No More are two for sure. As are Jeff Ament of Pearl Jam and Fernando Silva from Quantic & His Combo Barbaro — an amazing, Colombian roots grove act as formed by producer Will ”Quantic” Holland. I do find a lot of inspiration from Latin American bands like that these days. It does seem like steady grooves are built in or simply absorbed by the culture and people over there, which is indeed a treat to take part of — especialOW: Is there an instrument you never learnt to ly while touring, but also plainly on the stereo in play but wish you had? the comfort of my own home. Got a little off-topic AJ: Top of mind is again is that double bass, frown- there, so back to the matter at hand. ingly gazing at me from the corner of my living room. One day, I’m gonna give that one a thorough beating though, haha. On a serious note, I think I’m indeed going to take some lessons to get my fingers working the gaps of that neck soon enough. OW: How is your playing different to someone else’s? AJ: In short, judging from hearing me play, I would say it would be fairly easy to pinpoint who I’ve borrowed from, listened to or been influenced by through out the years, but I do know one thing that is somewhat of a trademark for my playing style — percussiveness. My lack of harmonial skills is thoroughly balanced with sharp attacked, snappy garage arts, and that too has to be considered when I favorise other players for inspiration. My being all fingers, that would also constitute the choices for my main asset list of great bassists to sway from. OW: Who is the greatest bassist of all time (in your opinion)? AJ: The list could truly be made a long one. In my youth, Steve Harris (album: Powerslave), Les Claypool (album: The Brown Album) and Flea (album: Blood Sugar Sex Magik) have certainly stained me throughout the years. At least on a wannabe note, haha. I’d also crown Tim Commerford of RATM in this matter. A true role model of both finger quantizing (that man is tight!) as well as for elevating the instrument for proper playing. How some bassists hang their basses knee low is beyond me, as you may have seen.
A thought just came to mind. I’d love to experience blend of high-strung, delay melodies and low end, Fredrik Thordendal, main guitarist of Meshuggah, odd-timed groves, serves me any day of the week. but on the bass. Just imagine a version of his solo Ladies and gentlemen — We have a winner. Mr. work ”Sol Niger Within” as performed on bass Justin Chancellor! instead — I mean, it’s only a pin or two from where he’s already at, sporting that 8 string Ibanez. OW: What effects do you use (if any)? Fredrik’s performance of that song on Swedish TV AJ: Nerdy bass data is indeed a narrow path to wandrum program ”Trumtrum” way back, along side der down, but boy do I humbly enjoy explaining all drum virtuoso Morgan Ågren, surely is one of my the layers of that onion to whom ever is interested. main music encounters of all time (YouTube it!). First and foremost — My ground rule is to always use as much of the same gear both on recordings On to the finals. Even though finger playing wouldn’t as well as during live performances, even though be his main affliction, I must put Justin Chancellor of producers’ and live technicians’ opinions may differ. Tool at the pole position of my best-of (album: 10 000 I believe it creates a somewhat safe-zoned enviDays). That man does indeed have mad talent, and ronment, and is therefore very forgiving when it simply catches my ear like few others. The perfect comes to all the different setups you have to cope with while touring. If it can’t be my personal amp head, then at least it’s my own instrument and my ever-so-mobile pedal setup, right? This being said, touring is a bit like living in a huge castle, but at the same time to only be familiar with the entrance and hallway. In the other chambers, anything could happen, and this is the main reason of me not letting go of my Sans Amp Bass Driver, evening out all differences from venue to venue; rehearsal space to rehearsal space. It simply reduces the risk. The same goes for my EWS Japan Bass Middle Control. It’s a tiny two knob pedal that adds middle crust and crunch to the tone that may go missing in tough venues. A pedal that I seldom use, but can’t remove, is the EBS Bass IQ Envelope Filter. Not your average bass wah, but a nice addition to get that funky touch when needed. Actually, I also added the Mad Professor ”Snow White” Bass Auto Wah to my board as of today. It’s hand wired in Finland and has a far more analogue vibe to it than the Bass IQ. Let’s see who wins the battle, or if I end up using both. I might replace my old octaver, should I come across one that actually works. I used a few different ones over the years, but none of them can reach quite that low, unfortunately. The last one I had was the Ampeg Sub Blaster. It has a great reputation, but hardly lives up to it, I’m sorry to say. The fact that it’s quite hefty and built like a tank, doesn’t make for a neat carry-on luggage either. Sorry, Ampeg fans!
OW: Are you lucky enough to own your ideal bass guitar? Or is there one that you would love to own? AJ: I must say I am, though I would love to build another bass like ”Fyrfingerfasan”, but this time make it lighter, since it ended up a little hefty, despite of it’s slightly smaller jazz bass body. I have a couple of vintage basses that I love too, one being a 1974 Fender Jazz Bass, and the other a 1978 MusicMan StingRay. I’ve been meaning to save up to acquire a Wal fourstring, like the one Justin Chancellor has, but I can’t seem to reach those sums thus far, haha! That would indeed be a great bass to dig into, even though it’s a more high-tech path to wander than I’m used to. As a conclusion, I must say that simplifying everything from gear to playing style has really done the trick for me, at least up till now. If you can’t play it while standing, don’t bother, right? - Anders Johansson May 2014
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DIABLO SWING ORCHESTRA defuses the seriousness of everyday life, with a humorous twist and an audio-visual world of wicked laughter where everything is allowed. The music represents a grand variety of styles and elements, constantly surprising as well as keeping listeners alert and curious of the orchestra’s next move. This deadly
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As influenced by Justin Chancellor of Tool, I’ve also mounted a flanger to my pedal setup. Not a Boss version like Justin uses though, but a slightly more advanced Strymon Orbit pedal. Set to a slightly wet signal, it truly reveals another dimension to a classical bass tone. Love that.