Like most, I first heard Paz Lenchantin – the Argentine-American multi-instrumentalist – on A Perfect Circle’s 2000 debut, Mer de Noms, and specifically that album’s lead single, Judith, which was receiving heavy air-play at the time. As great a song as Judith is, I always found myself drawn to the album’s second track, Magdalena, with its persistent bass-line intro that existed somewhere between throbbing and grinding. That bass-line was provided by none other than Lenchantin.
After the success of Mer de Noms, Lenchantin left A Perfect Circle in 2001 and found her musical talents in demand by a variety of acts. Over the years Lenchantin has accumulated plenty of album credits by providing strings, piano, vocals and production for a number of releases – including on the 2002 Queens of the Stone-Age album, Songs For The Deaf – and she has been the bassist for Billy Corgan’s Zwan, The Entrance Band, and in 2014 she took on bass duties for influential alt-rock outfit, Pixies.
Lenchantin provided all the musical elements for The Hollow (Constantly Consuming Mix) – a dramatic, and compelling, reworking of the A Perfect Circle song – demonstrating her musical skills both as a performer and composer; though it isn’t just her musical talents that earn her a place on my list of Women-Who-Rocktober, but also her attitude.
On a commentary to the video-clip for A Perfect Circles’ Judith, guitarist and founding member, Billy Howerdel, commented that the video-shoot was grueling, having taken 8 days to complete, and the band-member’s feet ached from stamping around on concrete all that time. As soon as Howerdrel recalls this discomfort he observes that Lenchantin – who did the whole thing in high-heels – just got on with it. Just getting on with it; that’s pretty rock ‘n’ roll.