Why did you do a solo record at this point in your career?
Even from a younger age, Iíve always had the idea that at some point Iíd like to start my own group from a bandleader stance, and start my own discography. I donít want to call it a "careerĒ but my own discography and my own core group of people, like Frank Zappa and the Mothers of Invention, where everybodyís doing what they want to do and expressing themselves but doing it under the direction of an individual. I always thought that would be interesting to do from the perspective of a drummer, just to put what the role of drummer is in a different perspective from how itís normally perceived. That was always a long-term goal of mine. It was always something in the back of my head, and just from doing this more and more, basically by being fortunate enough and lucky enough, my resources evolved to where it became a reality where maybe I could do that and people would want to listen. I started talking to Mike Patton about it and prior to them even wanting to release a Hella record, I had a plan to do a solo record with them. So Iíd been thinking about it for a long time. It isnít a one-off project. Itís the first in a long line of what Iíd like to do. Iím planning on making records on my own from now on.
Does that mean Hella will take a backseat?
That kind of depends. Hella is a real grey area in general right now, so itís hard to say. I donít really perceive things like that, probably because my brainís used to doing so many things at once. If things work out and Iím getting the fun, the challenge, and the creativity in whatever Iím doing, that will always take the backseat.
Is there a particularly memorable story from recording Astrological Straits?
One thing that was pretty mind-blowing was when Marco Benevento came in to record the second discís improv piece. Itís a 30-minute straight drum piece, but I knew I wanted to have a piano piece to accompany it. I knew Marco would be great for it because heís an amazing player and an amazing improviser. He has all of the sensibilities to take something like that on. I was trying to explain the whole track, because it has kind of a story that goes with it. But as soon as he got to the studio, probably three minutes later, he was sitting at the piano going, "Iím ready! Iím ready!Ē He wanted to do this thing and really didnít want any explanation. We werenít even ready and he was like, "Just roll it! Just roll it!Ē So we did and he just ripped through all 30 minutes, playing the most incredible shit. It was totally on point to every sensitive little spot. It was pretty crazy. He rolled up, sat down and did it.
What have you been up to so far today?
Basically a lot of monitors, things like emailing and the vortex of the computer world, and then I had lunch with some friends to discuss some musical things. Getting ready to go to band practice, and Iíve been painting for the last two hours.
I didnít know you were into painting.
Iím definitely really into visual art. When I was younger, prior to playing music, it was actually what I saw myself doing. My idol was Walt Disney, and from a young age I was really into visual arts and drawing. Iím still pretty active, and when I get a chance I like to bridge those things together with my music, as far as all of the album art and videos I do. In the future, I would like to get as focused with that side of things as I am in music, but itís kind of hard to put the same amount into both.
Are you able to live off of your music without having another job?
Itís what I do full-time. For the past seven years Iíve been able to modestly get by on working at what I want to be working at, but itís up and down as far as that go. Itís funny the way that things are set up in this world. Itís amazing how hard it is to support yourself on things that make you happiest and how easy it is to support yourself doing the things that make you miserable. Itís pretty funny how backwards that shit is. Pretty much, itís different what I do everyday but itís always involved with music.
Does that ever mean you canít turn down projects because youíll be losing money?
I wouldnít say that all of those fall under the category of being "lucrative.Ē Generally, the financial side of playing the music is usually at the bottom of the list. In that regard, I think I sell myself short a lot of the time. Not that I think Iím worth this or that or anything; I donít really care. Iím just one of those people that doesnít hold money in a high regard. Thatís probably why I donít have any. It really is secondary to me.
How were you introduced to music and the drums?
No one in my family played any instruments but they were all very much music lovers, so there were a lot of records playing in my house, but I never had a physical interaction with an instrument until way later. Growing up, my parents were really into listening to a lot of good stuff like Bob Dylan and the Cars and the Who and Talking Heads. I didnít have my first interaction with a drum set until the kid that lived behind me had a drum set. He was practicing all the time, and I could hear him over there playing. I had this Van Halen tape and I was probably 13 and I was totally a dork kid and all I wanted to do was see his drum set and touch it. I didnít even have a specific love of the drums yet, it was just that someone in the area had that. So I had this Van Halen tape and I brought it to his house and said I saw him drop it off of his bike. He was 18 or 19 and he totally knew I was just being a weird kid but he was still cool enough to let me go inside and sit down at the drum set, look at it and touch it. That was my first interaction with a drum set, but I didnít have real access to play the drums until I was 14 or 15 years old. That was through a friend of mine. We wanted to start a punk band but we didnít have any money, so his dad gave us a bunch of junk to have a yard sale and we made enough to get a drum set for me to play. I hadnít even played one yet but I started hearing an intuitive force within me telling me I could do something like that. So then we had a garage sale and got $150 bucks. You can imagine what kind of drum set it was for that kind of money. Then I just got obsessed with it and dropped out of high school and thatís all I did.
Was it weird with your family when you dropped out?
Yeah it kind of was. But it was already a dysfunctional time. Iím very close with my parents and itís definitely not weird these days but we werenít your average family. So there was definitely a lot of time, from freshman year to high school, that was tripped out with kind of weird stuff. I only went to high school for a year, so obviously they werenít super-stoked on that idea. Also because the idea of drums was kind of random to them ó it was out of nowhere and I was really adamant about it. But again, there wasnít really anything stopping me. Then I ended up moving to Nevada City, CA, and I had a bunch of friends there. We lived in kind of a punk house atmosphere ó the whole runaway kid kind of thing. I pretty much lived there with a bunch of kids. Thatís where I met Spencer from Hella. He was still in high school. From there I just didnít really want to hear any other way from anybody else. I knew what I wanted to do.
How did your tastes progress from living in a punk house and playing in a punk band to where they are today?
I think it was just a natural progression. Even back then, we were really into punk music like Dead Milkmen and Black Flag but even then it was just the natural progression. That musicís pretty primal and basic in sense of rhythm. When youíre first starting, a lot of kids start with punk music. Growing up we were definitely into some weird music as well, like Frank Zappa, weird glam stuff, T Rex, David Bowie, the Residents, Primus, a lot of the Bay Area stuff. Being a kid in that area, youíre automatically into Faith No More and Mr. Bungle. Also, we were experimenting with hallucinogens, or we would go out and pretend we were homeless for two weeks. A lot of crazy stuff that had a lot to do with the progression of our music. Then, when I as 16 or 17, we met this guy named Ken who really opened up our minds. He was from L.A. and in his 40s, and he worked at the record shop we would all go to. He was a huge prog-head, like a prog encyclopaedia, and he opened us up to Magma, Gentle Giant, Hatfield North, Gong and all that European prog music that was just out here. It kind of blew our minds. Thatís where we made the transition from being obsessed with punk to trying to go further with our instruments and getting into that kind of playing. Once you open that door, thereís Miles and Coltrane, and all the jazz stuff comes into it. It just evolves.
When youíre drumming, how much of it is improvised and how much of it is written out?
It kind of varies album to album. With Hella stuff, most of that stuff is written out. Thereís not much improvisation that goes into those records. With my stuff, Iíd say itís 70 to 80 percent written, and then about 30 to 20 improvised, and then overdubbed on top of the improvisation. Itís such a weird dynamic when youíre working by yourself, or when youíre working with a group of people that you only have for a day. Youíre forced to kind of interact on a level where you have these frameworks but weíll just wing it here and maybe something magical will happen. So with that there was a lot more improv than some of the other stuff. But at the same time, itís not so far out that I couldnít go back and play the same thing again. It wasnít aimlessly played.
How much of the music was written before your guests entered the studio?
It kind of varied with different groups of people. With certain people, I had all of the drums. For the most part, we would just write when people came in and play and collaborate, and after they left I would make changes in the studio to everything, from the structure to the overdubs to the vocals. Once you start adding things it kind of dictates what direction it goes in. At the same time, I already had these frameworks with stuff I had put down with other instruments or vocals and then people would come in and overdub on top of things that already exist, so what they were playing was clearly influenced by what had already been done. There were no rules or regulations in making anything. I wanted everybody to do exactly what they felt from what they were hearing and play naturally but to expect that in the end it would probably be different because I would have discoveries along the way. In the sense of a movie, you could say I directed the whole thing.
This record is being touted as your first solo record but you have released material as Zach Hill on Suicide Squeeze. How do you differentiate between those projects?
Itís just a matter of how I perceive it and how I feel about it. In my mind I perceive this as my first solo record. Even though the other one had my name attached to it, it was such a different process to where my mind was. That was just a bunch of people jamming, a way more relaxed and loose environment. The record Iím putting out was still like that but it was much more focused, in the sense that Iím making the solo record and Iím making my first solo record. Just to have that different energy projected on it means it definitely feels like my first solo record.
Your drumming style is often very busy. Have you ever been asked to hold back a bit?
People have asked me to do that and I do. I want to be sensitive, especially when Iím playing for somebody else. If they arenít feeling something, Iíll definitely be willing to switch it around until weíre both happy. But thatís the thing ó the way I play is far from a conscious decision. Itís kind of tricky because I play how I play. Playing busy and all that stuff, I really donít think about those things. If I hear an idea and a rhythm, I just play what I hear just like other people. I just happen to hear more notes than most people or something. My mind has never been in the place like, "Oh, Iím just gonna fuckiní play as technical as possible.Ē But that is the way itís perceived. Itís kind of a double-edged sword because a lot of those connotations come along with the way I play. I know Iím perceived a lot differently than what I think Iím doing in my own mind. Itís not my intention to play all crazy all the time; itís just my feel. Itís how I feel inside, and the only reason Iím doing what Iím doing is to express myself, so of course Iím going to say what I have to say. But itís weird because people can get very threatened. When you play your instrument more technically, I feel like people automatically throw these things onto you. Itís not hip, thatís for sure! At the same time, of course I want to push the instrument. I want to do things that havenít been done, and bring things into this dimension that no one else has. I want to contribute to the tradition of what playing drums is. I hold that in a really high place, especially with it being one of the oldest, most primal ways of playing music there is second to the voice. Of course I want to contribute to the long scheme of things beyond my lifetime.
What do you listen to?
My scope of what Iím into musically is so all over the place. I love sloppy, thrashy music. I donít only listen to what would seemingly be my peers. I listen to straight-ahead rock, or electronic, or world music. I listen to way simpler stuff than what I play.
Even by looking at your collaborators, it just emphasises that you are involved with both a highly technical community and a rawer, noisier one of musicians with a more punk background. Do you have to deal with narrow-mindedness from either?
Certain folks in any community can be narrow-minded. Particularly with jazz ó Iíve never met anyone more narrow-minded in the world. Iím positive about anybody playing music to express themselves. I donít have anything negative to say, whether theyíre in the Dixie Chicks or Limp Bizkit. I donít really see a difference in terms of people having something that they want to share with others that they might relate to. Iím not down on that.
How are you going to tour with this project?
Right now Iím trying to figure that whole aspect out but Iím having trouble putting together a band to do it based on where I live. In Sacramento, itís kind of slim pickings to find people who are willing to commit to the time it might end up taking. I donít have the biggest selection in the world as far as people who are willing to practice six or seven days a week. Itís hard to find the right people. But Iím definitely adamant about that, at some point, in one shape or another, it will happen. But Iím also already planning my next record, even though itís way in the future. In between the time of this one coming out and the next one coming out, I plan to have a tight group of people.
Will it be difficult to sing and play the drums at the same time?
Thatís something Iíve been practicing more and more. Thatís another big obstacle that Iím trying to figure out. Iíd really love to do it, itís just with some of the drumming, and the way the singing works with it, itís very, very challenging. I wouldnít say that I couldnít do it; I just need to put a group of people together and figure out alternate ways to perform the music.
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