There are two sides to Hella: the side that plays around with the imagination through the use of conventional instruments and the side that plays around with the imagination through the use of electronics. Although I prefer the former, the latter is pretty good and that's definitely what their new album, Total Bugs Bunny on Wild Bass, is. More specifically, Zach is the drummer while Spencer gets to screw around with some Casio sounds and a Korg board.
Zach is a great drummer, no doubt about that. Zach's drumming is definitely the anchor of the album and no matter how bad it gets, at least he is showcasing his miraculous talent. I'd like to say the same about Spencer's half of the album, but he goes a bit overboard this time. Although "Your DJ Children" opens the album solidly, the following tracks really don't back that up. I dislike the industrial sound mixed with the sound of glass bottles in "Majixburg." I get confused in the middle of "Koko B. Ware" as to whether I'm listening to an album or playing a lesser version of Super Mario World.
The first half isn't the meat of the album; it's barely even the first course. The second half of the album is what matters. Starting with "Electric Guitar," the beats are phat, the rhythm is grindin'. It's something that Hella fans are probably going to listen to and like. For those who are not electroclash-Hella fans, go ahead and give this song a shot. "Post-Ivy League Depression" is another song that most Hella fans can appreciate. It manages to maintain that fine balance of playing too fast and too slowly at the same time in a song. It's a fast-paced attack that you probably won't see coming, but you'll enjoy it.
Two out of the seven songs are really worth something. These two songs I can listen to, but the other songs are nothing special. When Hella starts work on their next full length, which is rumored to be their return to Hold Your Horse Is, I'll writhe in anticipation. Until then, I'll be holding my breath.
