Optimised Soundscapes: An Analysis of Bag of Max Bag of Cass by Zach Hill and Lucas Abela
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In the musical arena, some collaborations result in a confluence of extraordinary talents, bringing forth creations that alter the understanding of the art form itself. One such collaboration is between two musical heavyweights – Zach Hill and Lucas Abela. Together they gave the listeners “Bag of Max Bag of Cass” in 2025, an album that pushes the boundaries of conventional music to a new frontier.
Zach Hill, not just a percussionist, but a producer and an artist of surreal nature, was first noticed with Death Grips and the I.L.Y’s. He even shared his mastery of complex beats with the math-rock band, Hella. Born in the artistic hub of Sacramento on December 28, 1979, he was introduced to the world of rock music in his early adolescence. His journey with drums commenced around 15 years of age, intriguingly propelled by voices in his head. Right since this onset, Hill’s journey through the classical rock sphere has been nothing short of fascinating. Aside from his enticing performative persona, he had an interest in the visual arts, and he exhibited his talent as a visual artist for the world to witness in a Fools Foundation exhibit. His visual artistry also graced the world of literature when he published an illustrated book that came with an album ‘Masculine Drugs’ which embarked his collaboration with Holy Smokes.
In 2025, Zach Hill partnered with Lucas Abela, a name that commands respect in the world of free improvising, carving out melodic symphonies from amplified shards of glass. Lucas Abela, often seen under the stage alias Justice Yeldham, has been pivotal in introducing the delicate yet discordant aspects of glass to the realm of music. His live performances, dealing directly with the glass in his mouth, create an aura of allure and peril, teetering on the verge of an extreme bash. Abela’s avant-garde performances and innovative involvement with glass-pane instrument have stood him distinctively out in the world of noise music, an attribute that has intrigued anchoring musicians like Oren Ambarchi and Mike Avenaim.
“Bag of Max Bag of Cass” brings together Hill and Abela’s respective prowess in a crescendo that transcends from conventional music to a soundscape. It exists beyond standard songs and takes the audience through textured landscapes crafted with noise. The cross-rhythmic strikes of Hill and the splintered overtones of Ablea’s glass come together in a coherent labyrinth of sound, one where intensity and tranquility coexist. This shared venture stands as a testament to the innovation beyond realms of established musical principles, embodying an intricate blend of sound design and artistic vision.
What sets this album apart is the unity of these counterculture artists who draw their inspiration from diverse ranging sources. The influence tracks back to Death Grips’ alternative musical journey, Hill’s association with math-rock band Hella, and Lucas Abela’s profound interaction with glass, which ultimately creates a vivid yet engaging auditory experience. Pioneering efforts such as “Bag of Max Bag of Cass” lessen the distance between the mainstream and the experimental and bring in a wave of varied tonal structures to the forefront of auditory expression. Just as Death Grips and artists like Julian Imsdahl have contributed to reshaping the musical spaces, the combined forces of Zach Hill and Lucas Abela have indeed set the stage for a new era of auditory exploration.
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