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“I don’t think we could really come up with any other product than what we do” – Gus Romer of Amyl and The Sniffers on ‘Cartoon Darkness’ and their uncompromising sound

Gus Romer of Amyl and The Sniffers discusses 'Cartoon Darkness,' recording at Foo Fighters' 606 Studios, and his stripped-back approach to bass on the new album.

Melbourne punk band Amyl and The Sniffers are gearing up to release their third studio album Cartoon Darkness on 25 October 2024. Their first album in three years, it will be launched through Rough Trade Records and was recorded at Foo Fighters’ 606 Studios in Los Angeles, with Nick Launay handling production. Fans can expect a raw, energetic sound paired with themes addressing modern societal issues, such as the climate crisis and the impact of technology.

The lead single Chewing Gum has already made waves, debuting as BBC Radio 1’s Hottest Record, accompanied by a PHC Films-directed video. Alongside this, the band dropped another video for the track U Should Not Be Doing That, featuring The Walking Dead and Better Call Saul actor Steven Ogg. Speaking about how the collaboration came together, bassist Gus Romer said, “He’s a good friend of the band. We’ve been friends for a couple of years. Before that, he was just a fan. That’s how we met him. We got him in the video because we’re friends and knew he’d do a really good job.”

The conversation turned to the saxophone used in the same track, drawing parallels to the pioneering work of X-Ray Spex, a band that famously incorporated saxophone into their punk sound. Discussing how the idea emerged for their own track, Romer explained, “I can’t remember whose idea it was to put it on. Maybe it was Nick, the producer, or Declan’s (guitars) idea. But it was like, just chuck some on. So we found this bloke who plays with another good friend of ours, and he came in and kind of freestyled it.”

Amyl and The Sniffers’ upcoming album Cartoon Darkness brings a combination of raw punk energy and heavy subject matter, touching on issues like the climate crisis and the pressures of modern technology. When asked about how the band manages to blend these serious themes with their high-octane sound, bassist Gus Romer offered some insight into their natural creative process. “I don’t think it’s anything in particular necessarily,” Romer said. “That’s just what happens when we get in a room together to write music like that. I don’t think we could really come up with any other product than what we do.” According to Romer, the band’s approach isn’t overly deliberate—it simply flows from their dynamic as a group.

The band, fronted by Amy Taylor, has never shied away from dark or serious topics, but their music always retains a sense of fun. Romer explained that this balance is something that happens naturally for them. “Both kinds of themes, on both ends, are going to come out like that. I think that’s just, once again, a very natural thing for us.”

“The P bass is what I like to use. I’ll always be playing one of those.”

The conversation also turned to the experience of recording Cartoon Darkness at Foo Fighters’ 606 Studios in Los Angeles. Romer reflected on how working in such an iconic space impacted the recording process. “The studio is super cool. Even just going there was amazing, walking around and seeing everything. What really surprised me was just how much space there was, even in the room. I’d never been to a studio half as big as that before.”

Recording at a studio equipped with the same mixing desk used for Nirvana’s Nevermind was an exciting experience for the band. However, Romer noted that it didn’t alter the way he approached the album. “It’s a cool thing with the desk, but it doesn’t really bother me that much personally,” he admitted.

Gus discussed how the band’s recording process has grown in scale, especially compared to the early days when they would knock out tracks in just a few hours. “I wasn’t in the band at that point, but it’s definitely come up a lot in scale,” he said. “The approach is a bit more considered now, but it’s still the same overall—just get in there and do it, really.”

As for his bass setup on the new album, Gus kept things straightforward. “I’m really bad with gear and all that stuff,” he admitted. “I play a P bass, a US P bass, and I ran it through an Ampeg. I think it was an SVT, or maybe that’s just what I use live.” He added that pedals weren’t really part of his studio setup for the new recordings. “I don’t think I used any pedals for recording. I switch it up live, but in the studio, I just go with whatever Declan or our sound engineer is into. As long as it’s making noise, I’m just there to vibe.”

When asked if he’d changed up his gear or stuck with what works, Gus confirmed his loyalty to the P bass. “Yeah, pretty much. The P bass is what I like to use. I like the neck, I think it looks cool, and I’ll always be playing one of those.”

Building on the discussion about tone and playing style, a comment from Billy Sheehan of Mr. Big was mentioned, where he explained that the secret to his tone lies in his fingers. Gus was then asked whether he agreed with this or if there was more behind his own aggressive, in-your-face tone. “Yeah, I don’t know,” Gus responded. “I’ve never really thought about it like that. Once again, I just get in and play. I don’t really think about it too much. I keep things pretty easy and natural and just go hammering. I think I play really hard, though. I pick really, really hard.”

The raw intensity at the core of punk rock was highlighted, to which Gus agreed. “Totally. I don’t have to, but I just get into it. I don’t know any other way,” he said. Discussing his approach to writing basslines, Gus shared that when it comes to songs written by Declan or Bryce (drums), he mostly follows their direction. “For the majority, I just play whatever they tell me to do,” he said. “Sometimes there’s a bit of creative licence where I write a little part or add a couple of extra bits, but not really. For the songs I write, I just sit down with the bass and noodle around until I find something I like. Then I do the same thing for a chorus and a bridge, pretty much.”

It was noted how addictive the band’s last album was and how it inspired a desire to pick up the bass and learn some of Gus’s parts.He seemed genuinely flattered. “Oh, yeah, I mean, it’s super flattering. It’s really, really cool,” he said. “I’ve seen various videos on the internet of people doing covers, and it’s really cool.”

For those trying to learn his bass lines, Gus offered a helpful tip: “One thing I will say for the kids out there and people trying to learn, we do everything a half step down. So we play a full half step down. I’ve seen people online who aren’t really sure how to learn it. So yeah, if you’re trying to learn the basslines, it’s all a half step down.”

Gus Romer doesn’t mince words when it comes to his practice habits—or lack thereof. When asked if he spends time practising or learning songs from other bands, he was quick to clarify. “The only time I touch my bass when I’m not playing shows is to try and write songs. But now with the new album coming out, I probably won’t be doing that for a couple of years. I don’t practise at all. But we tour so much, so it’s kind of always playing regularly just through that.”

As Cartoon Darkness gets ready to drop, Gus shared how he feels about performing the new material on their upcoming UK and European tour. “I feel good. It’s exciting to play new songs, but we’ve got a rehearsal on Monday. I think we’ve had one rehearsal since the last tour, just running through the album and kind of relearning it, because I haven’t played it since we recorded it. Other than it being a bit daunting, having to learn a whole new album again, it’s really exciting.” When it comes to which track he’s most looking forward to, Gus added, “Let’s go with Motorbike Song. That’s a lot of fun to play.”

Their recent singles, including U Should Not Be Doing That and Big Dreams, have been featured in major Spotify playlists, a reflection of the band’s growing presence.
“It seems really good so far,” Gus said. “It’s really cool.” With several sold-out shows on the horizon, Gus reflected on how it feels to get such a strong response from their fans. “It feels great. It’s really cool that people are into it and want to come and see us. It’s pretty crazy, really.” Having played everything from small, sweaty clubs to massive festival stages, Gus explained that the band doesn’t make many adjustments when transitioning between different types of venues. “Everything’s pretty much the same, really. It doesn’t matter whether it’s a club, festival, indoor, outdoor, any of that. It’s kind of the same approach, really.”

To wrap up, we asked Gus how he keeps up the momentum night after night, especially during long tours like the one they’re about to embark on. His response was characteristically direct. “A lot of complaining, a lot of boozing. You kind of drink through it to the next night. But, I mean, we’re on a tour bus now and have a big crew, so it makes life a lot easier. We’re very fortunate to have that.” As for advice to bass players looking to carve out a powerful sound in a loud, chaotic band like Amyl and The Sniffers, Gus kept it simple: “Just play loud. Look, if you like it, then that’s sick. Fuck everyone else.” It’s clear Gus’s straightforward approach to both life on the road and his playing style is part of what makes Amyl and The Sniffers who they are—relentless, raw, and completely unapologetic.

Joel Costa
Joel Costahttps://bassempi.re
With over two decades of experience in the music industry, I've worn many hats - from running a record label and a PR agency to contributing to esteemed publications like Metal Hammer and Terrorizer. I've also authored books on iconic subjects such as Kurt Cobain's guitars and The Beatles. My journey led me to the editor's chair of Guitarrista, a print magazine dedicated to the crafts of guitar playing and building. Despite this diverse background, my true passion has always leaned towards the bass guitar. I have a particular fondness for offset basses and play a Thunderbird.
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