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Zach Hill - Official Threadsolo career
Posted 04 February 2007 - 07:03 AM
I did a search and I didn't see a thread dedicated to the overall works of Zach Hill, just threads for specific albums. I was going through myspace and I found this page that is dedicated to zach hill.
+ Leather Diamond (xx/xx/01 - Self released demo CD)
+ Hold Your Horse Is (03/19/02 - 5 Rue Christine CD, GER018 / Frenetic LP, FR012)
+ Falam Dynasty (09/10/02 - 5 Rue Christine 7", GER022)
+ Bitches Aint Shit but Good People (06/17/03 - Suicide Squeeze CD/12"-EP, S026)
+ Total Bugs Bunny on Wild Bass (08/26/03 - Narnack CD/LP, NCK7006)
+ Live (split with Dilute) (10/10/03 - Sick Room 2xCD, SRR016)
+ Acoustics (xx/xx/04 - Toad CD, TOAD002)
+ The Devil Isn't Red (01/20/04 - 5 Rue Christine CD/LP, GER027)
+ Divorce split with Four Tet (03/12/04 - Ache 7", ACHE013 aka D/ONE)
+ Acoustics re-issue (xx/xx/05 - Toad CD, TOAD002)
+ Church Gone Wild / Chirpin' Hard (03/22/05 - Suicide Squeeze 2xCD, S044)
+ Concentration Face / Homeboy (11/08/05 - 5 Rue Christine DVD and CD, GER044)
+ Acoustics (09/12/06 - 5 Rue Christine CD, GER074)
+ There's No 666 in Outer Space (01/30/07 - Ipecac Recordings CD, IPC-083)
Legs on Earth
+ Lasers and Saviors (xx/xx/99 - Para-Sight CD)
Crime in Choir
+ Crime in Choir (06/25/02 - Omnibus CD/LP, OMNI033)
+ 10 Songs (07/09/02 - Perishable CD, PER021)
+ Nervous Cop (11/04/03 - 5 Rue Christine CD, GER029)
+ Lead Singer (08/10/04 - Ache CD/LP, ACHE015)
+ Lead Singer (09/26/04 - Yacca CD, YAIP-6006)
+ FlŲssin and Matmos (xx/xx/xx - ????)
Zach Hill and The Holy Smokes
+ Destroying Yourself is Too Accessible (book) and Masculine Drugs (CD) (09/14/04 - TNI Books and Suicide Squeeze CD, S041)
+ Talk To Your Kids About Gangs (09/26/06 - Skin Graft CD, GR82CD)
Toughguy Fantasy / Arctic Boyz
+ Thank Gods It's Friday / Louisiana Purchase (01/17/05 - Frenetic 2xCD, FR019)
+ Team Sleep (05/10/05 - Maverick CD, MAV48160)
+ I Got a Brand New Egg Layin' Machine (06/07/05 - Suicide Squeeze CD/LP, S046)
+ Lickers Last Leg (03/xx/07 - Ipecac Recordings)
+ Apotheke (01/20/06 - Mash Down Babylon CD)
+ They Mean Us (02/21/06 - Temporary Residence CD/LP, TRR95)
Mick Barr and Zach Hill
+ Shred Earthship (05/09/06 - 5 Rue Christine CD, GER069)
+ ???? (xx/xx/07 - Rock is Hell LP, RIP09)
+ Distressed (10/24/06 - Temporary Residence CD/LP, TRR113)
+ Matt Cameron, Zach Hill, Janet Weiss (xx/xx/xx - Frenetic)
Scars on Broadway
+ Casey Chaos, Zach Hill, Daron Malakian (xx/xx/xx)
LIVE SETS / OTHER CONTRIBUTIONS
5 Rue Christine compilation
+ If The Twenty-First Century Didn't Exist, It Would Be Necessary to Invent It (xx/xx/02 - 5 Rue Christine CD, GER020 | Been a Long Time, Cousin (live) by Hella)
Crime in Choir
+ The Hoop (xx/xx/03 - Frenetic CD, FR015)
+ Maryland Mansions (11/18/03 - Jade Tree CD, JT1090 | Zach does drums for the songs Drive Off a Mountain, Take Pills and New Maps)
Chrome Peeler Records compilation
+ You've Got Your Orders, Volume One (xx/xx/04 - Chrome Peeler CD, CPR-1 | Dance of the Drunken Siberian by Hella)
+ 02/24/04 (Opening for Hemophiliac in San Francisco, CA at Slim's)
+ 03/17/04 (Live performance in Sacramento, CA at Capitol Garage | Zach Hill - drums / Carson McWhirter - bass / Christopher Willits - guitar)
+ 04/24/04 (Opening for System of a Down in Hollywood, CA at The Greek Theatre)
Sanctuary Records compilation
+ Under the Influence: A Jam Band Tribute to Lynyrd Skynyrd (09/14/04 - Sanctuary CD, SAN84713 | Call Me the Breeze performed by Les Claypool, Zach Hill and Skerik)
+ 11/05/04 (Live performance in San Francisco, CA at Slim's | Zach Hill - drums / J Lesser - electronics / Mike Patton - voice and electronics)
+ 11/19/04 (Live performance in San Francisco, CA at The Hemlock Tavern)
+ 02/18/06 (Live performance in San Francisco, CA at The Hemlock Tavern)
+ 09/30/06 (Live performance in Oakland, CA at 21 Grand | Zach Hill - drums / Carson McWhirter - bass / Christopher Willits - guitar)
Trio with Dave Lombardo and Ches Smith
+ 04/29/05 (Live performance in San Francisco, CA at The Filmore)
+ Howard Hello EP (05/03/05 - Temporary Residence CD, TRR79)
Kill Rock Stars compilation
+ Video Fanzine #3 (07/12/05 - Kill Rock Stars DVD, KRS400 | Video footage of Biblical Violence by Hella)
+ 10/09/05 (Live performance in Sacramento, CA at Capital Garage)
+ 10/15/05 (Live performance in Brooklyn, NY at Piano's | D Elkan - guitar, keyboard and voice / Zach Hill - drums / Jonathan Hischke - Bass / Spencer Seim - guitar and voice)
Les Claypool and His Fancy Band
+ 10/22/05 (Live performance in Poughkeepsie, NY at The Chance | Zach played drums during D's Diner)
Duo with Kevin Shea
+ 10/26/05 (Live performance in Brooklyn, NY at North Six)
Sextet with Peter Evans, Matana Roberts, Skerik and two other brass players
+ 10/26/05 (Live performance in Brooklyn, NY at North Six)
+ 04/01/06 - 04/29/06 (Conceptual Installment and Original Artwork by Zach Hill)
5 Rue Christine compilation
+ Sur la Mer Samp-le-Mer (04/11/06 - 5 Rue Christine CD, GER054 | Madonna Approaches R&B Blonde Wreckages by Hella)
Duo with Carson McWhirter
+ 06/08/06 (Live performance in Sacramento, CA at Fools Foundation)
Suicide Squeeze compilation
+ Slaying Since 1996 (07/25/06 - Suicide Squeeze 2xCD, SS050 | Meth Leper by Hella and Rock Weird (Weird Rock) by Goon Moon)
Dwell Records compilation
+ Power Up! Mutations and Mutilations of 8-Bit Hits (10/31/06 - Dwell CD, VIT-9163 | Castlevania aka Ascelitnava by FlŲssin)
Temporary Residence compilation
+ Thankful (11/21/06 - Temporary Residence CD, TRR100 | Trapped in the Hobbit by The Ladies)
Grass Roots Record Company compilation
+ Family Album (12/12/06 - Grass Roots CD, GRR012 | Friday the 13th by Hella)
+ In Advance of the Broken Arm (02/20/07 - Kill Rock Stars CD, KRS446 | Zach produced and did drums for the entire album)
Posted 04 February 2007 - 07:18 AM
He worked with Crime in Choir?
I bet that's phenomenal.
Posted 04 February 2007 - 07:29 AM
Hmm... now it seems about a billion times more interesting with Hill in it.
Thanks a lot.
Posted 04 February 2007 - 05:25 PM
Posted 04 February 2007 - 06:39 PM
Zach Hill was the drummer on the first (Self-Titled) and the second (The Hoop) Crime in Choir CD. I'm not sure why The Hoop is listed under other contributions considering he was still in the band at the time.
I'll go with myspace info, it has proven to be the most accurate out of everything else. Maybe Zach Hill was never officially in the band, only a guest, kind of like Frusciante on Amputecthure and all other volta.
Posted 11 February 2007 - 08:25 PM
January 18th, 2007
"If it is forbidden to forbid, then it may be permitted to permit."
Once, ZACH HILL was merely considered part of a duo with Spencer Seim called HELLA ó now, his feverish activity isnít so simple to keep track of, and some argue he is not so much an individual musician, but an entire genre.
RUBAN NIELSON of THE MINT CHICKS spoke to the rhythmic force behind recent releases from THE LADIES and HOLY SMOKES; and the forthcoming Hella album, There Is No 666 In Outer Space, a complex, diverse, and good- golly-thatís-astonishing record from the now-expanded line-up. Zach discussed aspects of his voluminous output and the view from his Sacramento base where, under many flags, collaboarations and configurations of various musicians have been responsible for some of the most advanced, accessibly-experimental music of this decade.
There Is No 666 In Outer Space
"Generally, what Hella try to do is anything we have never done before. We donít ever set out to do anything contrived; we never talk about or plan how itís going to be, unless we are actually in the middle of writing something. We very much play naturally Ė hearing things in our minds and doing them, with the only verbal or conscious effort being that we are both adamant about never repeating ourselves. We are frightened by the idea of being stagnant or stuck in one place, and weíre open to any kind of experiment in music or in the line-up, the way itís recorded or the way itís performed; so weíre always taking chances. But playing Ė we donít even talk about it".
"Itís gonna be interesting to see the reaction to Thereís No 666 In Outer Space Itís definitely the best record weíve ever, ever made and maybe one of the best that we ever will. I canít even really express how excited about it I am personally. People have preconceived notions about things, you know, definitely people are gonna be like Ďaw, the two peopleí, you know, all this kind of stuff, but anybody with an open mind, and whoís just interested in music and is not just caught up in some stupid aesthetic stuff, I think will come around to appreciate it. All I can say is itís the real deal, Iíll tell you that! I really truly believe that itís a very important record and I truly believe also that itís a classic record, honestly. And maybe the most classic record that I will ever make, to be blunt. Weíre all very, very excited about it, and we canít wait Ďtil it comes out. But yeah, so thatís in February, and then Iíve just finished playing the drums and producing Marnie Sternís record, which Iím also really excited about, which comes out on Kill Rock Stars in February as well, itís called In Advance of Broken Arm, itís pretty awesome, and sheís an amazing guitar player, and writes these amazing songs and she just shreds guitar, and itís also one of the things that I canít really describe, but itís something Iím really looking forward to and pretty happy about. AndÖshoot, man, thereís a lot of stuff going on! I just collaborated with Omar from the Mars Volta, cut a record with him, Iím not sure what the moniker of that will be, I think it might be his next solo record or whatever, and thereís a new FlŲssin record come out which features Matmos, and I know Iím forgetting stuff, but thereís a lot of things! A record came out in October on Temporary Residence, an improvisational record called Damsel, which is me, Nels Cline, Matt Zivich, and Jonathan Hischke; which Iím pretty excited about, and itís pretty neat. But yeah, thereís a lot of recording plans for 2007, but I never know, Iím always just doing stuff, Iím looking at whatís in front of me".
In-formative Years and the Substance of Style
"The way I got started in music is debatable. I was always passionate about the listening aspect Ė I was around music from a very young age and very much enjoyed it: listening to music for me was like reading books for other people. I didnít realize the possibility of anybody being able to play until I was about 15 years old and I started having epiphanies of sorts. I had no teaching or anything like that, but I had something guiding me spirit-wise into thinking I should be playing drums, and I felt that was to be my lifeís mission. I didnít know anything about the instrument at all, but I started hearing things in my mind telling me to do it.
I was listening to things that were inspiring to me on drums, but most of it is not what youíd think Ė it wasnít the most insane playing, or this or that. This was the early 90s in the Bay Area, so I was into early Primus, Metallica, Faith No More and all these things that are great or whatever, but donít have too much to do with the style I now play. Initially I was just into punk and alternative rock Ė pretty mainstream things.
A lot of the things that I do, Iím not even aware of what Iím doing, what I do. I have heard certain things, and made certain discoveries, and you know, opened up certain doors to whereÖI just do what I do, and itís a hard thing to explain, or maybe even hard to understand. I donít know any theory, and Iím not from any school of any sort, and so therefore that kind of makes it hard for me to explain what I do, but at the same time also it has maybe made me do things differently than what a lot of different people do, because I never had any outside input through years of playing, I didnít have any outside input as to whether I was doing anything right or wrong, so a lot of times, I think I just got good at doing things the wrong way. When I started out, I always had busted shit, my stuff was always broken, and I come from a modest background, I didnít have tonnes of money or anything Ė I was lucky to even have a drum set around, I mean, thatís a pretty big deal for anybody to be a kid and get one of those things == thatís very lucky. So, if I broke something, then it was broken, and that was it, ícause having the drums, that was enough. So I learned on things that were very unconventional, and busted, and not how they were supposed to work, so naturally, from doing that for years, because I wasnít able to keep up with the amount of stuff that I was breaking, I could never keep up financially replacing it, that became my comfort zone is all. So I got used to the sound of it, the feel of it, and all that stuff - playing on stuff that was slower, you know, not the new slick, fast pedals and stuff, so I was just very used to playing on, like, lower, grungier, dirtier, trashed out sets and stuff. I still did what normal people were doing on that kind of equipment, and then just altered it to my own thing the whole time. I dunno, I just naturally found my place Ė I hear a voice inside me and I just play it. Thatís it, really! I donít know how to explain the playing and stuff other than that, really. I just play my heart, and thatís it. I hear things in my heart, and then I just take Ďem over here, or they come from another place, and I just transfer it to this world and itís pretty much just that simple to me in my mind. But as far as equipment and stuff, thatís why, a lot of times, my stuff is a little bit different, because I got it custom made to the sound and the feel and the use of things that were a little bit junkier, or unconventional, basically.
The one thing I thought early on, for myself, not knowing anything about the instrument and starting off really naÔve and stuff, that I knew that if I wanted to play, I also wanted to have my own voice. I didnít want to play like a drummer, I didnít even really have any care for that, I wanted to play like a voice. I wanted to sing on my instrument, and I wanted it to be imaginative and exciting, where you have to use your imagination to actually figure out whatís going on. Thereís no logic, so therefore, on a listening level, itís a lot more interactive, and a lot more of an experience, just like, for me, like, how other players do that same thing to me, when I have no clue whatís going on, those are my favourite types of players, because it creates a whole other realm in the music thatís a whole other type of use of the brain other than just enjoying music, it also creates this element of mystery, and, you know, excitement, itís like another world or another imagination.
To me, thereís two different types of drummers, and both of them are irrelevant to me. Thereís the time-keeper, just keeping time, and thatís great, and then thereís the person that can play anything in the world, and theyíre from the school of technique, and they can play as fast as hell, play the craziest stuff on earth, but then in both those players thereís something missing, and thatís that you donít know who it is. It could be anybody playing it. My interest lies in certain drummers, like John Bonham or Alvin Jones or whoever, when they hit a single note on their drums, you know who it is. Thatís because thereís a voice, and thereís personality, and it has nothing to do with technique or ability or speed or slowness or any of that. It has to do with that person actually being in their playing, and that, even not knowing anything about the instrument at the start, I knew that that was the thing that I liked most about all music. I like to hear the person whoís playing it, I donít care about chops, I donít care about this, I donít care about that, I donít care about wanking off or any of that, itís about the voice, the person talking".
Hello, Hella: the Genesis
"I met Spencer Seim through a mutual friend when I was about 16 years old, and he was 15. in the mountains of Northern California where he grew up. I had dropped out of high school in my first year and moved out on my own to the mountains. He was still in school, and we would play a lot, but that slowly fell apart based on some of the other members of the group we were playing with, and we went our separate ways around the age of 18 or 19, and he went off and did his own thing and I did mine. I was spending a lot of time in San Francisco and I met the guys who went on to form Crime In Choir. I did a bit on their first record, and that was round about the time Spencer came back into the picture and we decided to try it again starting a new group with a lot of different people involved. We wrote the material for what would be our first album Hold Your Horse Is with the intention of having a big band play it, and quite accidentally it went on to be what it is now. Some friends heard what we were up to, thought it was great and said we should just play as a two-piece. Bands like Lightning Bolt and Deerhoof were coming through Sacramento playing shows, and that was our first chance to play that material out. .Then it just kinda snowballed Ė Slim Moon had caught wind of our music and we submitted a demo to 5RC and he wanted to put it out: so, from there, to make a long story a long story, thatís how it happened".
Intertwined Configurations and Myriad Tributaries: Sacramento, CA
"In Sacramento, thereís lots of waves of things happening and not happening, and itís a hard place to pinpoint musically. Every few years there seems like a lot going on, and then itíll die down and thereís nothing. Great things and bands have happened throughout history, but itís never consistent. A lot of people from here are a little less caught up in judging or thinking theyíre better than others, they are very open to working with other people and sharing their creativity without any egos involved. Here it seems like everyone is very real, and thereís not a lot of hang-ups with wanting to be involved with anyone elseís thing Ė but I would say that itís definitely not the most strong, communal place either There is also the tendency Ė and this isnít a bad thing at all Ė when people start getting momentum and attention on a national level, they will move, and once that happens, the energy being created which empowers younger bands or musicians dissipates, and the whole thing dies down again. But thatís a bigger, broader thing about life in general, a scenario which is more than just about music Ė ideally, the country as a whole would be a lot more interesting if there were more cities highly concentrated with people doing things in an artform that would make changes nationally or internationally. It would add character and distribute vibrancy outside the epicenters. Personally, Iíve always kept that in mind and thatís partially the reason I stay in Sacramento Ė not just for nostalgia and loyalty, but to stay true philosophically, as if you always leave a place nothing new is ever going to happen".
"The main source of the group Holy Smokes, I would say, is myself and Dan Elkan, 90% of the time in recording that record was pretty much me and him in the studio. Holy Smokes was my initial contact with Rob Crow, really. I knew him from playing shows together ó Hella had done shows with Pinback ó and weíd talked about working together. I sent him about six drum tracks, just drums, in the mail, and then a couple of weeks later he sent them back with what you hear on the record, pretty much. So the tracks that he appears on on that record were done through the mail. Iíve done that a couple of other times, too, like I did that with the Sex record, and thatís actually a pretty exciting way to work, I think: itís exciting for the other person to get something, and then itís exciting for you to get it back, you know, itíslike giving a present and getting one back. So thatís how that was. We took three of the songs that he did and put them on Masculine Drugs and then we took the other three, and those are the ones that he appears on onthe second record, Talk To Your Kids About Gangs. But they were both done at the same time.
With the Masculine Drugs CD and the Destroying Yourself Is Too Accessible book, it was all going on at the same time, and actually the whole thing was done pretty swiftly. But I think we initially started the music, and then had the idea to do this book that would go with it. Upon talking to the publisher and the record label, once I knew that it was gonna be happening, I think I did the drawings in a couple weeks and wrote the book in about three weeks, and the recordings were done over probably a three month period. The idea was that the CD was the soundtrack to the book; tonally, that was my perception of it. If there was music playing through this little story that I wrote, or if I was to write a book with sound,it was to be that same book, but there was only supposed to be sound involved in itÖI mean I was definitely conscious of thinking ĎOK, well I think that it should sound like thisí, you know what I mean? So tying it together that way is just what you would guess, basically, how I pictured the story is how I pictured what that record sounds like in a lot of ways. And lyrically, it ties togetherÖthere are a lot of things, titles and cryptic things and stuff that have to do with what the writing has to do with. There was definitely thought, from where I was coming from, it was meant to be cohesive.The second record, Talk To Your Kids About Gangs, was over a period of like four years. ĎCause it started around the same time as making the first one, and was a work in progress up until about a year ago".
Ladies and Gentlemen: We Mean You
"Rob Crowe became involved in the Team Sleep album, with Chino Moreno, Todd Wilkinson and DJ Crook too. It was a crazy time Ė I was doing about three things at once: the Team Sleep record, finishing up the Church Gone Wild record, and Rob had come up to Sacramento to stay with me for two weeks to write The Ladies record, It was a revolving-door period Ėwe would work on the Ladies during the day, then while I was working on Church Gone Wild, he would go and work on Team Sleep: on the Team Sleep record, there was some tracks left without vocals, and people in the group were big Pinback fans, so it worked out.
What makes me happiest about The Ladies record is the idea that by collaborating with somebody, there is a possibility of finding a balance between the two different aspects of what is brought. When it works, it can be really gratifying. The Ladies wasnít premeditated: we didnít talk much about what we were going to make, but with Rob and I, we donít come from two different places, because neither of us come from any place. When youíve been playing in bands for a long time and youíve played in many bands, and one of the bands gains a little more momentum than any of the others, thatís automatically what you are known for. Itís not necessarily all you do, itís just what th world knows you do, so thatís whatís expected of you. But if in yourself you have the knowledge that youíre capable of all kinds of things, itís not that weird for you as it is for other people to witness So Rob had some parts, and I had some parts, and we just put them together. We watched a lot of Captain Beefheart movies and things like that, but we never discussed how to approach anything. We knew that we wanted to make the songs very short Ė thatís the one thing we did talk about Ė making them like Ramones songs I know The Ladies doesnít sound anything like that of course, but with how they are laid out and constructed, with how many times a part would happen, the reference wasthe Ramones. The drum tracks were recorded in two days, and the short, noisier interludes were recorded in a church space in Nevada city in one day, and on a separate day, the meat and potatoes of the songs were recorded at Retrofit in Sacramento. Where I work from often. If youíve read the liner notes from most of the stuff Iíve released, about 90% were recorded in that building. Then Rob took all the drums home and spent, Iím not sure if it was a couple of years necessarily, I wouldnít say it was that long, but spent a good amount of time overdubbing his guitars and vocals on top of it. But the majority of it was already written before he did that.
Definitely there should be and will be another Ladies record for sure. Itís something that both of us have talked about many, many times, and both of us are really happy about They Mean Us. We both do quite a few other projects and stuff, and that one in particular to us both seemed like something that should not be just even a project but a real band, and we both have the idea in our minds to eventually really build the catalogue and do the tour and do the whole thing and stuff, but, you know, itís hard. At this point in time we have priorities, and you know our priorities are the ones that have got us to where we are in the first place".
In TimeÖAll You Have is Lifetime
"Really we all have time for whatever we wanna make time for, you know. I mean I just sacrifice a lot of other things for it. Some people like to go to the movies Ė not that I donít like to go movies, or not that I havenít watched television Ė but Iím saying, Iíve also been very lucky to escape a day job, which frees up a lot of time. And Iíve been able to live modestly and frugally on the income of something like a dishwasher, but you know at the same time Iím not selling my time to someone else, therefore Iíve been able to have time to hone my ideas and just play and conceptualize and constantly work on ideas all day. Most of the time, the people I end up doing stuff with kinda come from the same school, and it kinda works out. And anybody can make time for whatever; if they wanna make the time they can make the time. I just choose, instead of watching the show or watching the movie or going to the bar or doing all of those things, I choose to play drums and make stuff. Not that I donít do those things from time to time, but Iím not in a normal pattern of recreation; my recreation is also my work, so thatís how I do that. And also, I overwork myself. I definitely have a masochistís tendency, IímÖnot high-strung, but Iím obsessed, you know? Itís my life, itís hard to even explain.
I really do believe that anybody can create, and you can do whatever you want, so therefore anybody can do what anybody else does, really. Not necessarily take the same route, because everybodyís only themselves, but at the same time you can find your own route to what it is that you wanna do, that someone else does or whatever, you know. Itís just a matter of what youíre willing to do to do that. Like, itís weird, you know, Ďcause Iím very, very, very lucky, I feel, to even be able to do these things, but, at the same time, Iíve put myself through a lot of very testing situations, mentally and physically and all kinds of things to do what I do. Itís all a matter of compromise, and discipline, and, you know, everything has to do with it, but anyone can do it, itís just what youíre willing to do to be able to do it [laughs]. Iím gonna be doing what I always try to do, and thatís just progress, and Iím not by any means satisfied, I never am and I never will be I know happy exactly with what Iíve done, Iím always gonna think that I can do better, and Iím always gonna think that Iím just on that mission to do that, so thatís whatís next for me. And, you know, make my magnum opus [laughs]. Who knows, Iím open for anything".
Interview by Ruban Nielson. Transcribed & edited by Adele-Hunter Higgins, Blue Apples Day, 2007.
Hellaís There Is No 666 In Outer Space is released by Ipecac late January, whuch is also about the time Marnie Sternís In Advance Of The Broken Arm, produced by Zach Hill, will appear on Kill Rock Stars. Both of these records are something like a phenomenon.
The other albums discussed here are all still available, thjough the 2500-only limited edition Holy Smokes CD/Book may be somewhat harder to track down than the others.
Selected HELLA Discography
Hold Your Horse Is (5RC, 2002)
Bitches Ainít Shit But Good People (Suicide Squeeze, 2003)
The Devil Isnít Red (5RC, 2004)
Church Gone Wild/Chirpiní Hard (Suicide Squeeze, 2005)
Concentration Face/Homeboy DVD/CD (5RC, 2005)
Acoustics EP (expanded rerelease , 5RC, 2006)
Posted 24 April 2008 - 02:34 AM
Posted 24 April 2008 - 04:12 AM
This is going to be sick I think.
Posted 24 April 2008 - 04:35 AM
What's laughable is your general taste in music.
lol that muzak is laughable
Still love you.
Posted 24 April 2008 - 11:56 AM
Posted 24 April 2008 - 09:52 PM
Seriously awesome song.
Nice! I'm really liking Toll Road.
Posted 24 April 2008 - 11:02 PM
Posted 24 April 2008 - 11:27 PM
What's laughable is your general taste in music.
lol that muzak is laughable
Still love you.
right back atcha
on both accounts
Posted 05 May 2008 - 06:44 AM
What's up everyone, our very own Zach Hill (Hella, Team Sleep) has a solo record coming out.
(August 12th, Ipecac Records)
He's got a few guests on his record as well..
I'm not sure if this is the project with him and omar(?) but they posted a few songs off of it, maybe its not the omar/zach album but i was just wondering if anyone knew about this, not sure if its been discussed or if im posting in the wrong forum but sorry if i am
you can check it out HERE
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