#hhll

I imagine you’ve all been working on different projects since HHLL went on hiatus. Do you have anything that you or the rest of the band have worked on that you’d love us to know about? Danny has gotten pretty popular in the Kendama world. Chris is studying various forms of martial arts. Roo is endlessly going to school and currently scoring independent films. Chip is heavily involved in competitive fishing. I’ve been making short films when the situation and my wallet allow it. We’re all crazy excited about finally owning Courtside Seats on vinyl for the first time. Aside from bringing that album onto the vinyl medium, the pre-order page notes that there’s new artwork, too. What can we expect from that? When we made the CD we weren’t expecting to sell any really.. I did the art and Matthew printed them all at his job. Him and I folded every crease, glued the o-cards and vacuum sealed them all. I think it sold out almost completely at the record release show. We made the same amount of records as we did the original cd (500). The artwork for the original CD pressing was done on sketch paper without any comprehension of what could be done with drawn art and a scanner. Matthew was the computer wizard and back then, young and silly, it was all done on the cuff. The new art is a bit more modern and plays with mortality. Court-side Seats to The Greatest Fuck of All Time being a front seat view of a an ordinary, bumpy ride through life. I’m proud of it. What’s it like to bring back an album from the earliest parts of the band’s career? Do you still identify with the music? It is odd. It was a truly surreal time and place. We were out of our fucking minds. We recorded it in Mountain View, Ca in this giant warehouse that tapered into gutted office spaces. It was a weird white collar tomb on the outskirts of Silicon Valley right before the real tech boom. In the big part of the warehouse where we’d enter there were giant mounds of clothes meant to be donated to some third world country. We’d burrow tunnels in them and do huge dramatic flips from pike to pile. There was an aisle of outdated medical equipment waiting to be sent that we’d stalk through in the dark. It was a strangely magic place. Once you got through the warehouse you’d get to these office stations that had been fashioned into recording studios and that’s where we birthed this thing. We were so misguided. The amount of compressed air that we inhaled should have killed us. I contribute a significant drop in IQ to that shit. Smoking copious amounts of weed from gravity bongs. Recording with a hip hop producer, Deegan. Never a disagreement. It still feels like it was some strange purgatory of youth. I don’t miss it, but it was beautiful. Does this mean there’s hope of having Everything’s Watched, Everyone’s Watching on vinyl sometime, too? So, there was a guy who was very adamant about putting that record out on vinyl. We had a dialogue going for the better part of a year and apparently he had been in contact with Rhino Music and Warner, the two companies that hold the licensing to that album. He had received word that it’d cost an impressive amount of money, but he still wanted to shoulder it. Mind you, this dude didn’t have a label, he just wanted to put this thing out and apparently hadnt thought that all out. Time goes by, I’m waiting, not worrying one way or the other. One day I get a link from a friend, a Christian college website detailing that dude had been arrested for kidnapping and assault. Very sad situation. Dude seemed semi normal. Anyway, that was the last effort I’d seen put into that. I’d love to contribute new art to that release if any go-getter wants to try their luck. I’ve loved everything HHLL put out, but Turtle Nipple is in my top 10 list of favorite albums of all time. What was the writing the recording process for it like and how did the band feel about the new creative directions on it? EWEW was half previously recorded material re-recorded and half material written a year prior, kind of forced into a studio with producers we had no previous rapport with. Those producers/engineers were incredible human beings (RIP Tom Pfaffle! See you in the mindfog) but we were very young punk kids thrown into a foreign land where we had our agents visiting and there were platinum records on the wall and it was a total barrage of privilege and excess. It was beautiful, don’t get me wrong, but I don’t feel soul in that record. Turtle Nipple is a dense trip through time and the record I’m most proud of in our discography. I don’t remember how long we had to record it, I do remember that it was the only time we’d been given to experiment and layer our sensibilities in an environment that catered to them. Sam (Pura) was a perfect conduit to that vibe and time and space and it really came out just how it should have. I think about that album as a 70s exploitation directors filmography.. it veers violently from genre to genre and while most of the stories are fiction and far from personal testimony, theirs a peek into some shared insanity contained throughout. George Cosmatos wandering through a punk club on an edible. I think that that album is our bands true personality. Sam is a member of our band whether he’s playing with us or engineering for us. He gets us. I love the idea of an alternate reality where we had lasted a bit longer and did an album with Steve Albini. He’d probably hate us, but I love those ‘What If?’ Scenarios. I’ll ask the question EVERYONE has been asking so it’s on the record somewhere: Does this mean we can expect new material or a new album soon? Maybe even a tour? We have a new EP in the works. We have some of it recorded with Sam. We’ve posted a couple clips on Instagram. We’re incredibly busy and spread out in our personal lives. Chip in TX, Dan in FL, Roo in OR, Rob and Chris in CA. Adulthood is a bitter, pulpy drink! We are going to be playing again. We won’t be leaving the West Coast. We had our fill of middle America and the travel involved. We have talked to some of our buds from our early days of touring about playing alongside (opening for) them for a limited run in 2020. I think that qualifies as a tour. Also, if anyone wants to fly us to Europe to play a festival in 2020, we’d like that. It’ll be an interesting year. How does it feel to be welcomed back by so many adoring fans who still love your music and are hoping for more after a long hiatus? It’s incredibly humbling. I have heard from people throughout the years about how we had affected them and it was always just strange to me. I’m pretty self deprecating, so I just don’t understand how some shit I wrote could mean much to anyone. My mind is just a shotgun blast of panic. I guess all of ours are? I love my band mates and their talents, though. So I understand the sorta sirens draw to the greater extent. I think they only got to show themselves slightly, too. Weird existence. Give us a piece of band trivia you’ve never shared in an interview before! Gees. There is a step-in part to most 15 passenger vans. It is a black, hard plastic. It meets with where you close the sliding door. When we had no bottles to pee in, we would just piss in ‘the step’. This thing was a den of germicidal activity. Trash and piss I don’t think we ever truly cleaned that thing. What’s odd is that we so rarely got ill on tour. The Step kept us healthy on a steady diet of trash and piss and general scum. Finally, this isn’t a question but the hidden track on Turtle Nipple is a fucking masterpiece and I wanted you to know. Thank you! I think that may have been my idea to add some weird 70s funk into an old track of ours. I think it turned out cool, but I think it betrays our vibe on that album! I wish it’d have devolved into some weird, primitive Altered States shit.

Atrophy's embrace

Hard to know for sure of anything

Pain has built a home inside of me

Into logic and reason