In the arpeggioed, folky early stuff
like Toxic Girl, the bass drum’s dumph-dumph-dumph
which signals the lead solo, stands out a mile,
the timing of it almost as comical
as the dink-dink-dink of the opening harmonic—
somewhere between idyllic and ironic—
and the bassline saunters, bum-bums along,
like all good basslines, only noticed when it’s gone.