Zach Hill's prolificacy is generally the first thing that's mentioned about him, and for good reason. By my count, he's been involved by near 60 releases. Heck, by this point he's probably closer to one hundred. You'd have to expect that at some point we'd see a drop off in quality, but no. From his work with Hella to his collaboration with Nick Reinhart of Tera Melos, bygones, everything has been pretty great. His latest solo effort Face Tat is no exception.

While Zach Hill's drumming is certainly an appeal of any project he's involved with, it's at the forefront here and all for the better. 'Gross Sales', a song that brings to mind old school video game soundtracks oddly enough, is a showcase to Hill's talents. He is just absolutely ridiculous. It's easy to see how he sustains some of the snare staining injuries that he's so famous for. These beats all the way around are just punishing.

Obviously these songs serve first and foremost as vehicles for Hill's technical talent, but they don't come across in an icky Steve Vai sort of way. I think the best measurement of these songs is whether or not they'd be worth listening to without Hill's drumming and honestly, I'm not really sure how many of these songs would. 'Second Life', featuring freak-folkster Devendra Banhart, in particular seems like it could stand alone, but honestly it doesn't really matter too much. So what if these songs wouldn't work that well without the drumming? They do have the drumming and as a consequence they're pretty intense, particular the raging No Age collaboration 'The Sacto Smile'.

While this album probably won't stand far and above the rest of Zach Hill's massive discography, there are some songs here that are really amongst his best. He's really loosened up on this album, and through this exploration has discovered some styles that fit his frantic drumming particularly well. The aforementioned 'Gross Sales' and its blippy synthy sounds provide just the right amount of insanity to accompany Hill's typically unconventional beat.

It's a serviceable album, better and more organic than his first solo album and definitely worth a listen. It may not become your favourite album of all time, but at the absolute least, Hill's technical prowess is extremely evident.