I would go so far as to say that Zach Hill is my favourite drummer who’s alive and gigging right now. He’s just amazing. The first time I saw him play was in a little upstairs bar in Cardiff. It’s the only time I’ve ever been to a small show where the back of the room has remained empty. Every single body was pushed against the stage, necks craning to see the marvel that is Mr. Hill drum. I mean, his limbs strobe – it’s incredible.

That said, I couldn’t tell you a single song he played that night. I feel bad admitting it, but I’ve just never been into his solo stuff. With Hella or drumming on a Marnie Stern record, it’s amazing. And live, when you have the sheer sight of a man suddenly develop four extra, blurred limbs, it completely works. But on record his solo efforts have been somewhat lost on me. Until that is, I pressed play on new offering Face Tat.

The record feels more focused. The songs take a basic structure, which really compliments Hill’s fluid style of drumming while still allowing his playing to take a central role.

Featuring contributions from Devandra Banhart, No Age, Guillermo Scott Herren from Prefuse 73, and Greg Saunier from Deerhoof, there was the chance the album could feel more like a collaborative compilation. Instead it completely works as one coherent piece. The same cuts and slashes, rubbery bass, and synth pads build and shatter across each track, while all the time a scattered pulse beats at the record’s core.

This isn’t an album to sit back and relax to. It’s frantic, disorientating and entirely compelling. I think the key is that it never goes too far. There’s a fine line between pushing the boundaries and alienating. Here, Hill manages to create something that’s both challenging, but ultimately accessible.

While it will demand your full attention, this record is it’s own reward.