Experimental rock titan Zach Hill has once again teamed up with Death Grips bandmate Andy Morin (aka Flatlander) for The I.L.Y’s new studio album, Bodyguard. Released on May 16, Bodyguard is The I.L.Y’s third album, and their first on John Dwyer’s (of Thee Oh See’s fame) independent label Castle Face Records. Their previous albums, I’ve Always Been Good At True Love and Scum With Boundaries, were released under Death Grips’ label Third World Records, and carry a markedly different sound than their latest release.
Hill and Morin recruited help from Tristan Tozer, guitarist for another one of Zach Hill’s many side projects, Drug Apartments, a Sacramento band featuring some of the city’s noisiest musicians. This California trio brings together the unstoppable energy of west coast punk with the undeniable catchiness of pop rock. When the familiarity of Tozer’s surf flavored guitar disappear, the chaotic nature of Zach Hill’s unique musical prowess emerges.
Zach Hill, who has played with groups such as Xiu Xiu and Team Sleep, is no stranger to multi-instrumental mayhem and experimental rock. Hill’s musical menagerie is evident in the ten songs on Bodyguard, which range from springy alt rock to overdriven Meat Puppets-esque madness. Songs like the opening track “Wash My Hands Shorty” establish the familiarity of The I.L.Y’s pop influence, while maintaining a slightly hip-hop energy reminiscent of Death Grips. Other tracks such as “Gargoyle” are intensely flavored with a sort of 21st century sock hop feel, which contrasts greatly with the punk intensity present on “Well Known People Want to Know”.
While it can be difficult to apply labels and descriptions for this album, it is certainly not difficult to forget that idea completely and just enjoy the music. Although this album has the undeniable “Zach Hill seal of approval”, each individual track carries a separate atmosphere that delineates every song into their own little world. No Wave, art punk, noise rock, and just about everything in between (well, maybe not speed folk) is present in this album. It is a true blend of west coast musicality, and is a prime example of Hill’s ability to orchestrate and blend a multitude of genres, instruments, and energies.