2005

Hella busy

Drummer Zach Hill plays for more record labels than he can count, but he really just wants to make burritos

Hella’s Zach Hill and Spencer Seim face off.
Hella’s Zach Hill and Spencer Seim face off.

Hella, a Sacramento-based duo formed out of the ashes of the now-legendary band Legs on Earth, has been wreaking considerable havoc in just about any establishment its agent can hustle it into. However, in contrast to its earlier years, the band is now enjoying success both at home and abroad.

Zach Hill, Hella’s drummer extraordinaire, is a master of multi-tasking. Aside from Hella, Hill has played or plays with Tough Guy Fantasy, Arctic Boys, Crime In Choir, Nervous Cop, Flossin’, Onibaba (featuring Mike Patton and Kid 606), Les Claypool, Team Sleep (featuring Chino Moreno of the Deftones), John Zorn, and the Holy Smokes. Last year, he even played a benefit at Los Angeles’ Greek Theatre—as a solo performer, no less. The show, which featured System of a Down, was held on Armenian Genocide Remembrance Day.

Although Hill currently is signed to multiple label deals with several different acts, he still remembers Hella’s early days with great pride. “Our first tour was pretty slow-motion,” Hill recalled. “We booked it ourselves with the help of Ben McOsker [of Load Records]. It was a lot of laughing, and we broke even [financially], but it was scattered. Lots of, ‘Call Benjamin Franklin tomorrow ’cause he knows blah blah.’ Dude! I remember we played Chicago, like, five times in one week. It was mostly all-ages clubs, houses and art spaces; very crumbs and pennies.”

Besides recently signing a one-album deal with Patton’s Ipecac Recordings, Hella will release an ambitious double-CD project on March 22 via Suicide Squeeze Records. Church Gone Wild/Chirpin Hard features guitarist Spencer Seim’s music on one disc and Hill’s music on the other. “It was an exercise in trust of each other musically,” said Hill. “We didn’t hear a peep of the other’s until it was turned in. It was probably the healthiest thing we’ve ever done for our friendship. It’s both sides of the brain, assuming our group has brains … and it’s my favorite Hella record.”

What started as merely a hobby and a new form of experimental expression for the members of Hella has now turned into a business and, more importantly, their livelihood. “I’ve been very fortunate to pay rent with sound, but any day I could be back to washing dishes,” said the humble drummer. “I’ve thought about getting a job at Taco Bell, just for the daydreams you get in those environments,” Hill continued. “I think fast-food and dishwasher jobs are actually gold mines for personal epiphany. It’s valuable to be uncomfortable.”

Hella records for multiple record labels simultaneously with almost concurrent release schedules. “We’re on probably about six or seven … it’s hard to exact,” Hill admitted. “Up until the present, we had never held a paper to pen for music. It’s all been high-fives. All of the labels are on good terms with each other. When we signed to Ipecac a month ago, that was our first experience of actual signatures. That doesn’t suggest less trust. We just thought we should start getting a little organized and futurist about things. It’s still high-fives, and we are vibrant about the situation.”

As if they weren’t already busy enough writing, playing and recording separate solo albums, the guys in Hella plan to tour for the better part of 2005. “We’ve played all over Europe, the Eastern bloc, all over Canada, Texas,” Hill said. “We leave in a week to do the States twice, Japan, Canada, Europe, U.K., and then Australia later on. Then we do the same thing in the fall when our full-length, Concentration Face, comes out on 5RC/Kill Rock Stars.”

Oh yeah. Team Sleep’s long-awaited new opus, also featuring Hill, finally will see the light of day on April 26 via Maverick Records. It’s tiring just thinking about it. With all that touring, Hill probably won’t have time to make quesadillas and burritos. Maybe next year?

(SN&R)

Various artists

VH1 Classic Metal Mania: Stripped

The members of Bon Jovi were considered the original gangsters of glam rock for going acoustic on MTV’s Unplugged series. Of course, loads of long-haired warriors were ready to ditch their Ibanez Destroyer guitars once they saw the cash potential of an acoustic ballad. This collection features a veritable who’s who from VH1 Classic’s Metal Mania shows, including Warrant, Cinderella, Night Ranger, Extreme, White Lion and Tesla. Standout tracks that cause a nagging itch to raise a lighter include Great White’s “Save Your Love,” Queensryche’s “Silent Lucidity” and Poison’s “Every Rose Has Its Thorn.” Sure, the sincerity gets lost when the publishing checks roll in, but who could deny being caught off guard while humming Slaughter’s “Fly To The Angels”? A must have for those who frequent the Roadhouse.
(SN&R)

Three cheers for pestilence!

Drastic times call for drastic measures. In an age of dwindling ticket sales, promoters are trying alternative styles of music to fill up their monthly calendars. From The Boardwalk in Orangevale to the House of Blues in Los Angeles, metal is slowly making a much-needed comeback.

But death metal at The Fillmore? I couldn’t believe that Morbid Angel—the Florida-based band that virtually coined the phrase, along with Possessed and a handful of now classic yet defunct bands—was going to hold court at the lovely, chandelier-bedecked hall. Could it actually go off without incident and multiple arrests? After all, isn’t The Fillmore the same place that hosted all those burned-out hippie concerts (Quicksilver Messenger Service, Moby Grape, Jefferson Airplane, etc.) and still to this day gives out free apples to each and every patron?

Needless to say, Morbid Angel delivered on its promise to bring bucketfuls of blasphemy, sickness, pestilence and horror to its satanic service on Sunday, February 13. With the return of original lead singer and bassist Dave Vincent, it seems that the band hasn’t missed a beat. “Rapture” opened the set, and it only got better from there. Adults and kids from all walks of life erupted into a frenzy during tracks like “Where the Slime Lives” and “Pain Divine.”

For us older folks, it felt like a time machine had heaved us back to the great early 1990s, a time when bands like Napalm Death, Carcass, Nocturnus, Suffocation, Kreator, Coroner and Sodom ruled the roost. To see lead guitarist Trey Azagthoth shredding fierce, whammy-bar solos during “Chapel of Ghouls” underneath the backdrop of the Fillmore stage was overwhelming and way overdue.

But what about Sacramento? One promoter, at least, has taken matters into his own hands to route touring bands to the Sacramento Valley. Eric Rushing, owner of the 720 Records empire and talent booker for The Boardwalk, told me, “I want to bring back the metal to Sacramento.”

One look at the club’s calendar is proof positive that he’s doing just that. In February alone, the schedule includes Walls of Jericho, Bury Your Dead, Sweden’s legendary Entombed, Crowbar and Pro-Pain. March brings us even more with Eighteen Visions, From a Second Story Window, Into the Moat, Nodes of Ranvier, Atreyu, Unearth and a glorious double bill with Throwdown and As I Lay Dying. However, April is when the real meat and potatoes of metal is served up, in the form of Mastodon and, of course, Germany’s Kreator, along with Poland’s Vader and the Bay Area’s Death Angel. Visit www.boardwalkrocks.com for details.

Both Bay Area and Sacramento clubs are opening their doors to welcome back the very bands that started their respective scenes in one glorious wave. It’s about time.
(SN&R)

Midnight Movies

   

This Los Angeles-based trio made quite a stir with its self-produced, self-titled EP. Although the band had been around for less than two years, it was earning praise all over the United States, and a record deal ensued. What separates the trio from last year’s glut of new bands is not only its stage setup (drummer-vocalist Gena Olivier places herself center stage, in front of guitarist Larry Schemel and keyboardist-guitarist Jason Hammons), but also its witty song structures and awkward phrasing. One listen to “Blue Babies” or the opening track, “Persimmon Tree,” may draw inevitable comparisons to a stripped-down Stereolab or even early Lush—without all the feedback and walls of noise. Another listen might hint at Broadcast. It’s a fine, proper debut with lots of promise. What’s next?

(RN&R)

High on Fire – Blessed Black Wings

   

Satan would fear Bay Area trio High on Fire. It’s simply unstoppable, now that the band has recruited former Melvins bassist Joe Preston (who lives in the Northwest). Sure, it’s a bitch to get together for band practice and songwriting, but somehow this chance union works for the better. Blessed Black Wings carries on the rich tradition of stoner riffage, à la Kyuss or Sleep, among a quagmire of early-Sabbath-esque fare without sounding dated or refurbished. Tracks like “The Face of Oblivion” and “Cometh Down Hessian” set new, dizzying standards for metal with epic arrangements, string interludes and storytelling. High on Fire has, in effect, become the standard. Fans of Mastodon or early Cathedral will rejoice. The master is here. Nine out of 10 Orange amplifiers.

(RN&R)

Ariel Pink’s Haunted Graffiti – The Doldrums

   

While the indie-music world was searching for the next Interpol or Strokes equivalent, Los Angeles-based Ariel Pink was busy recording in relative isolation. The result was The Doldrums and, as an added bonus, Vital Pink, six extra tracks for your aural pleasure. These eight-track recordings feature Pink playing all instruments, including percussion that sounds near perfect made with his mouth, of all things. If you’re a fan of early-1960s psychedelic pop and early Syd Barrett, this twisted collection should do the trick. Although recorded in the last four years, songs like “Among Dreams” and “Good Kids Make Bad Grown Ups” are timeless psych-pop fodder. If you can stomach the lo-fi recordings, you’ll realize the true charm of Ariel Pink. How can he top this one? Ask the penguin.

(RN&R)

M83 – Before the Dawn Heals Us

The sophomore release from Anthony Gonzalez and Nicolas Fromageau (a.k.a. M83) carries on the rich tradition of electronic wash and dense soundscapes without repeating the magic found on the band’s first release, Dead Cities, Red Seas & Lost GhostsDead Cities relied heavily on instrumental ambience and bombastic dirges, but this collection finds the group incorporating vocals into the mix with great effect. Songs like “Farewell/Goodbye” are proof positive that the duo is more than a one-trick pony. In addition, M83 seeks to find a happy medium between dissonance and melody. The group’s minimalist choruses achieve much more in a few measures than most musicians do in a full-length player. If you’re looking for a repeat of last year’s masterpiece, stop now. M83 has successfully morphed again.

(RN&R)