ambient, jazz, art-rock, avant-pop, techno-tribal, folk, experimental,
neo-classical, vocal, spoken word
keyboards, bass, woodwinds, guitars, drums, bells, digital manipulations,
ruckus razor, field recordings, found objects, voice
whimsical, noir, cosmic, mysterious, existential, rollicking
L.A. Times "Hoagie Hill's evocative music is an accompaniment
to a dance of life, death and resurrection." (The Madman and the
L.A. Weekly "Imaginative, impressive." (The Madman
and the Nun).
"Best Live Score for a Theatrical Performance" (Methusalem,
the Actor's Gang)
"Appealing, an intriguing mix of Russian folk music with contemporary
sounds." (The Seagull, dir. Georges Bigot, formerly of Théâtre
Seattle Rocket "Music for moods you didn't even know
(Scarecrows, Clowns, and One-Eyed Gods).
allmusic.com "Breathtakingly cinematic, mesmerizing
and pristine... late-night UFO-voodoo sensibility... Tom Waits-esque narrative
pathos... a one-man studio demon... utterly memorable poptronica."
As a soundscaper, I try to make each piece a window into a parallel universe
(not like I'm ripping holes in space-time or anything).
I studied music with Alvin Lucier at Wesleyan University in the eighties,
while commuting to NYC to play heavily-amplified handbuilt acoustic instruments
with Arnold Dreyblatt and the Orchestra of Excited Strings (Nodal Excitation).
I then moved to L.A. and got into a variety of musical scenes. As
the original musical director of Tim Robbins' Actor's Gang, I scored and
performed in a half dozen productions, including Methusalem, for which
I won an L.A. Weekly Theater Critics Award for "Best Live Score for
a Theatrical Performance." I played bass with the proto-industrial
band, The Blue Daisies (Wilt); Sally Norvell and I formed The Hi-Beams,
an original torch-style piano duo. Meanwhile, I'd sometimes sit
in on tenor sax with various avant groups, including Kubist Tier (Michael
Whitmore, Darryl Tewes, Danny Frankel).
1989 I landed in Seattle, where Bryant Mason and I launched the kitchen-sink
collective, Naught (One For All and All for Naught), in which I played
bass, keys, guitar and bells. (Bryant had a band with Dave Grohl in high
school!) I produced a handful of cassette curiosities (with Mia Boyle,
among other folks), before taking off to tour Europe with Congo Norvell
(Kid Congo Powers was with Gun Club and Nick Cave).
Always eager to explore new musics, I've made recordings with Kuna Indians
in Panama, survived in Paris as a Metro busker, played piano for dance
classes at NYU, and produced music for Seattle's Urban Guerrillas agit-prop
street theater group.
In 1997 I moved to Malibu and founded Seamonster Sounds. Since then, I've
released two of my own CD's, worked on various band projects, and scored
a handful of theatrical plays and several films. And rumor has it that
there's a novel in the works....
biography of me which magically appears on a number of other
websites contains many odd inaccuracies (though it does have some
flattering verbiage). If anyone knows how to get AMG to fix this,
I'm all ears.
Sweet Talk Shitting Glitter Decadrisco
Alongside Ship Shitting Glitter Decadrisco
Music Solo Seamonster Sounds
Listening for Difficult People Subluminous Seamonster
Than You Think Solo Seamonster
Excitation The Orchestra of Excited Strings Drag
Madman and the Nun Solo Seamonster
Dope, the Lies, the Vaseline Congo Norvell Priority
for All and All for Naught Naught Seamonster
to Earth Truth Pageant Seamonster
Clowns, and One-Eyed Gods Ogalalla Cabal Seamonster
1986 Wilt The
Blue Daisies Iridescence (Ethan James, Radio Tokyo)
Patti Smith concert, Santa Monica Pier, August 2007