Reclusive ex-surfer and electronica wunderkind Hoagland Hill manufactures a signature, intensifying sound milieu that out-samples and out-texturizes a number of the highest-fidelity music sculptors around. Blessed in Whittier, CA, in 1960 for an archaeologist and a statistician, Hill was raised in Malibu and received, at one stage, a law level from the School of Washington. He dabbled in satellite television law, globe environment problems, and novel composing before coming back soundly and specifically to his real love: his house studio room. His experience like a musician was prodigious and assorted: as an early-’80s golf club musician he performed “seriously amplified hand-built acoustic tools” with Arnold Dreyblatt’s Orchestra of Excited Strings (and was presented on ADOES recording Nodal Excitation). 1984 discovered him playing bass using the proto-industrial/punk L.A. music group the Blue Daisies, showing up on the much-coveted collector’s recording Wilt. During his burgeoning experimental jazz period, Hoagland collaborated with Kubist Tier on the sax turn, after that performed using the torchy Hi-Beams in the cabaret location, support Sally Norvell on piano. During his Seattle stint, Hill performed bass, secrets, winds, and bells with golf club favorite Naught, showing up for the bootleg Keeper All for just one and One for Naught in 1986. A few of his greatest work arguably progressed in European countries while working like a road musician (with L.A. theatre actor and movie director Ron Campbell), after that touring thoroughly with Child Congo and Sally Norvell in the Congo Norvell rock and roll cabaret. His additional life — concerning playing “in” instead of playing “out” — contains hard-won top position in L.A. as a genuine, if not really jubilantly postmodern, theatre composer. L.A. Regular Theater Critics Honor has regularly nominated Hoagie’s ratings for short takes on, modern Shakespeare productions, and high-profile 99-chair works; especially, his moodily underground, commercial rating for Stanislav Witkiewitz’ Madman as well as the Nun (aimed by Ron Campbell, 1999) received probably the most accolades for the generally broadly acclaimed creation. He grabbed the reins and established the typical as primary musical movie director for Tim Robbins’ Stars Gang acting studio room out of Hollywood in the middle-’80s and is still an in-demand craftsman, known throughout Tinsel City and beyond being a class-act artisan, romancing the sometimes less-than-glimmering diamond that’s L.A. theatre. Solo tasks that demonstrate the number and marriageability of technology and artwork are Hill’s playground nowadays. Album tasks conceived, made up, performed, and combined by Hill abound, each one outshining the final with regards to their musicality and thematic verve. Hill’s task monikers and their attendant recording projects show a like of vocabulary and a generously playful sensibility: he’s also eliminated by the studio room titles Ogolalla Cabal (recording: Scarecrows, Clowns, and One-Eyed Gods), Truth Pageant (Quirks, Quarks, Quakes, and Quacks), and Juxtaposeur (Easy Hearing for Challenging People). Hill’s studio room task and Seamonster Compact disc concern, Faster Than YOU IMAGINE, can be his best-produced & most cleanly noticed from the archive; a marketable and eminently listenable disk already gathered by marveling fellow music artists.