When Coheed and Cambria were looking for a new bassist back in 2011, Zach Cooper’s name came up through a studio connection – leading to an audition that would change the course of his career.
“This was back when they were recording The Afterman record,” says Cooper. “They’d already held auditions in Los Angeles and in New York, but they were recording the album in Woodstock.
“I lived not far from there, and I’d already had some sessions at the studio where they were working. The producer on the record basically said, ‘Hey, we’ve got this guy who’s been here before. Maybe give him a shot?’”
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Cooper’s audition was anything but conventional, with a stripped-back demo giving way to a baptism of fire in the studio.
“They sent me a one-minute audio file – two songs, 30 seconds of each. One was scratch guitar and vocal, and the other was acoustic guitar and vocal. It was the weirdest audition ever, but it was wild!”
Cooper later found himself thrown into one of band’s most demanding songs – with a room full of people watching.
“They pulled up the session for a song called Domino the Destitute, which is eight minutes long and has a ridiculous amount of changes. They plugged the bass guitar in, got a sound and said, ‘All right, go.’ It was insane.
“The room was full with people. Claudio’s wife, Chondra, was there, and she asked if she could film it. I was like, ‘Yeah, sure, I guess.’”
Despite the surreal nature of the audition, Cooper had no reason to think it would lead anywhere – at least not yet.
“I remember walking out to my car, calling my wife, and thinking it would be a cool story to tell people, but I’m never going to hear from those guys again.
![Coheed and Cambria - Domino the Destitute [Official Video] - YouTube](https://img.youtube.com/vi/PLW89kbXn7c/maxresdefault.jpg "“I walked out to my car, thinking I’m never going to hear from those guys again. They called me the next day and I tracked two new songs”: How bassist Zach Cooper earned a permanent place in Coheed and Cambria 19")
“Sure enough, they called me the next day. Their manager said, ‘The guys liked what you were doing. Could you come in tomorrow and play with the band?’
“So I went back the next day and tracked two new songs! It went on like that for a little while before they finally said, ‘Yeah, you’re the guy we want.’”
More than a decade later, Cooper has become an integral part of the Coheed machine, bringing an aggressive yet articulate approach to the band’s low-end.
You’re currently on tour in North America, with a run of UK and European dates coming up. Do you enjoy life on the road?
I love it. It’s cool to go to different places and see different things, but I also like living in this Groundhog Day where you’re doing the same thing every day – repeat, repeat, repeat – just in a different place. It’s kind of cool.
Your go-to bass is a Yamaha BB?
Those basses are fantastic. I was playing a P-Bass, and this has that P-Bass thing with some modern upgrades. It’s got the multi-bolt neck joint and a really sturdy neck. I can’t say enough good things about them.
You’ve also been spotted with a 6-string Dingwall for part of the set?
That bass is super-fun, although it still throws me. With a regular four-string bass, I can shift around without really having to look. On this bass, I have to make sure I’m landing in the right place, but I love the multi-scale setup and I’ve never heard a B string that’s so clear. It’s really focused.
The guys in the band love it, and my tech is always super-excited whenever I play it. It’s like a different side of my brain that I have to access, but it’s really fun.
What was the process like going from a four-string to a six-string?
It’s another way of scratching that itch for technical facility. With a six-string, you have the range to explore different voicings and play chords in ways that you can’t really do on a four-string. It’s been fun exploring that extra space.
There’s a whole mythology surrounding Coheed and Cambria, particularly with The Amory Wars comic book series. How much does that storytelling element influence the music?
It’s a huge part of the band. Claudio writes the comics, and there’s an overarching concept and story that ties into the records. The last three albums have each had their own storyline within the larger world of The Amory Wars.
With the deluxe editions, you get a book with concept art and the story. It’s wild how it’s all tied together. The whole idea of the band is art and storytelling.
The cool thing is that you can listen to the band and have no idea about any of that stuff and it doesn’t take anything away from the music. But if you really get into it and want to go a little deeper, you can.
How do you approach writing a bassline that contributes without overplaying?
It’s interesting because from the start they wanted me to play a more active role. So I try to find moments where I can add a little bit of colour to whatever’s happening, whether that’s a melodic idea or a rhythmic idea. It’s about keeping things interesting without getting in the way.
Sometimes I’ll try to play with the vocal melody, but in a supportive way. It’s a weird, delicate balance, but there’s a lot of room for interpretation. I don’t have to just hammer eighth-notes.
I might try something and think, ‘This isn’t going to work.’ Then Claudio will say, ‘Yes, that’s it.’ And I’m like, ‘Oh, I went a little further than I expected.’ So I guess I have a long leash. It’s like, ‘Don’t go crazy, but go wherever you want.’
There’s a real discipline to that. Having the technical ability to play a lot doesn’t mean you should always do it.
I have a great appreciation for technical facility, but I also have this deep appreciation for playing half-notes and making them feel really good. There’s this split in my brain: have the tools to do whatever you need to do, but also have the restraint to make it feel good.
What are your favourite Coheed and Cambria basslines to play?
The first record I did with the band was The Afterman, and there’s a song called Evagria the Faithful. That song has a funky, different kind of line for Coheed.
The other thing about that song is that John Medeski played keys on it. I’m a huge Medeski Martin & Wood fan, so that was a really cool moment for me.
On this tour, we’re playing The Running Free, and I love the verse bassline on that song. It’s funky and groovy, and it’s so much fun to lock in with. There’s this great little melodic turn that gets you into the pre-chorus.
The Liars Club is another one I really enjoy. It’s a pretty straightforward pop-rock song, but the bassline is deceptively complicated. If you’re not tuned into it, you can completely miss how much is going on.
That one was tough when we started playing it live, too, because I had come up with all these cool bass parts and then Claudio said, ‘I need you to sing this part, and I need you to sing that.’ I was like, ‘Oh, I didn’t think about having to sing while I play this!’
Is there a song on the new album that people should check out?
I’d say Searching for Tomorrow. There are some really interesting little parts in there, too. There’s a big bridge with that diminished arpeggio line that happens, which is fun. It’s just a super fun song. There’s a lot of energy in it.
How do you maintain the endurance and technique required for the more demanding parts, particularly with all the string crossing you do?
I’ve spent a lot of time studying upright bass, so sometimes I’ll bring etude books on the road and work through them on electric bass. Some of that music forces you to skip strings depending on where the line is going.
I was also lucky when I was young to have some really good teachers who got me started with those things at an early age. Some of it is almost subconscious now because I spent so many years hammering away at it.
Who are some of the bass players you’re listening to at the moment?
Troy from Mastodon is one of my favourite bass players in the world. He’s such a wonderful guy and such a great player. He straddles that line between playing these nasty riffs and then suddenly playing something completely crazy.
Tim Lefebvre is another one of my favourite bassists. I love the way he moves between all these different genres and always makes the music feel great.
Do you tend to favor fingerstyle playing, or are you more of a pick player?
Fingerstyle for sure. I love playing with a pick, but I’m really bad at it! I’ve been practicing a lot at home, and I’ve grown to really love the sound of a pick in certain situations, but I’d say I play fingerstyle 90 percent of the time.
What’s next for you as a bass player?
There are always things I’m working on. That’s what I love about playing bass. There’s always another thing to learn, another player to listen to, another technique to work on. You can always find another way into the instrument.
