Death Grips I Know You Think

Photo by Tom Spray; photos below courtesy of Death Grips

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"I believe in things I can't run across," Death Grips drummer Zach Hill tells me, describing the natural forces he genuinely believes guide his band. New-age flotsam? Peradventure. Merely I have reason to buy into his theory. In the summer of 2011, Death Grips played a give-and-take-of-mouth fix at a semi-legal Brooklyn warehouse venue, where I happened to be living at the fourth dimension. Prior to the show, I spent hours mopping seemingly unmovable dirt off the floor and picking random detritus from beneath tattered couches: a forgotten Touch & Go zine anthology, a curious shoebox of oil paints, unidentifiable pills. Dorsum so, before Hill and vocalist Stefan Burnett signed with Epic Records, honed their expressionist punk-rap beyond face-kick full-lengths The Money Store and NO Honey DEEP Spider web, and were inadvertently dropped from the label after leaking internal emails, they were almost certainly fucking with a place like this. And they were already provoking eerie, dramatic behavior.

I'll never forget the moment, before the show, when someone casually carried a 10-foot guillotine-- a strangely appropriate stage prop-- into the principal space of what was then my home. "It would be cool if it was yet there, just haunting the building," Hill says tardily last calendar month, laughing over the phone from the streets of Detroit, where he and Burnett performed the previous night. Afterwards our interview, an ex-roommate of mine confirmed that the infamous medieval recreation is indeed spooking the space to this day.

Death Grips: "Lost Boys" (via SoundCloud)

As major labels continue to swim against the unending tide of the internet, Death Grips served as an emblem of that old system'south newfound adventurousness too as its limitations. After all, the Sony-owned Epic was brave enough to sign Loma and Burnett, who arts and crafts legitimately weird and confrontational sounds-- music that would vex many indie labels. But Epic wasn't progressive enough to keep up with the ring's pace or negotiate between these fiercely democratic artists and entrenched ideas of promotion and album-cycle timelines. Death Grips' delivery to transparency and dedication to furthering the cultivation of their art led them to sever ties with Epic, interim purposefully to end their contract, according to Hill. These were the deportment of artists seasoned enough to pinpoint what aspects of their careers were worth protecting, just who also clearly nevertheless have much to learn.

Every bit for that Detroit show, it was staged at the Magic Stick, a venue connected to the storied Majestic Theater. "I think that's where Houdini did his last operation," Loma adds casually, foreshadowing a fondness for magical thinking (and Magic: The Gathering cards), not to mention his ring'southward trend to sideslip out of thorny situations with its legend more than intact. Talking with Colina is exciting-- he's a genuine free thinker, someone who can't help but question any and all ideas of normalcy. He might not have the answers, just he's having a hell of a time trying to put everything together. In conversation, Burnett isn't quite equally effusive. "I never talk almost my art, I just put it out," he told me during a brief conversation. "I have never had the desire to explicate my deportment."

In the following far-flung interview, Hill and I discussed Death Grips' dissolved label ties and ii-month stay at celebrity playpen Chateau Marmont (Room 77 on the 7th floor, no less), also as the deep web, the moon, self-empowerment, fearlessness, religion, politics, and reading that dick moving-picture show correct.

"Listening to Decease Grips is similar taking a pill that makes you lot super-human. The music has emotional suffering, but it's also a beast--
you could take a bite out of a bowl while listening to it."

Pitchfork: Are you still dealing with the fallout from leakingNO Love DEEP Web yourself and and so getting dropped from Epic at the beginning of October?

Zach Hill: It's hectic. Everyday on tour, all up until the show and and then after the evidence, most of our time is consumed with figuring out our future and the details of getting complimentary. But we brought it upon ourselves. We made our own decisions, knowing it was going to be similar this if we took the path we're on. The label has their own demands at present, which is kind of strange considering they're the ones dropping usa. It's been a shitstorm the past two months.

We knew leaking those emails from Epic would put things over the edge, and they would likely release us, which is what we wanted-- and then there was definite intent at that place. Merely that was more than for media outlets that were however questioning the actuality of our actions. We're very into transparency. The comments and skepticism suggesting nosotros had fabricated this whole thing-- that's misrepresentation.

Pitchfork: When y'all initially signed with Epic, did you consider how it would insert all these middlemen?

ZH: Of class. But nosotros were presented with a really interesting and unique opportunity with even having a major label interested in our music in the first identify. We were into taking that risk to see where it would atomic number 82 us. When you're starting whatsoever kind of relationship, you lot can encounter things that might be a problem in the future, but you won't know until you first. Information technology seemed positive and realistic, like information technology could totally work, and these people [at Epic] actually got the music. But when nosotros signed in November 2011, we couldn't have predicted that our whole team would be fired this August-- we were left with cypher real contacts at the label and nosotros couldn't become people to listen to the new music. Nosotros don't regret the activity of starting out with them, but it became apparent that it wasn't working out and nosotros needed to put ourselves back where nosotros had total control over what nosotros were doing.

Pitchfork: At the start, what did y'all feel there was to proceeds past signing with Ballsy rather than working with an independent label?

ZH: It's about experience. What drew us in was knowing-- no thing the outcome-- that this was going to throw us into an entirely different dimension. And there was a sense that information technology would atomic number 82 us to where we are now, which is an interesting place. "Absurd" is non the right word, but nosotros recognized the surreal aspect of adjustment ourselves with [the major label arrangement]. Even outside of music, Stefan and I are drawn to taking risks and following something you lot never would imagine.

Pitchfork: Have your personal ideas regarding why Epic signed Death Grips changed at all since the first?

ZH: I think there were actually skillful intentions from [Epic Chairman and CEO] L.A. Reid and [one-time marketing head] Angelica Cob, who truly got the music and are into it. But that doesn't equate with knowing how to cultivate it. Those are two different things-- being a fan, and beingness online with where we're coming from. And the label, it's all "X-Factor" and shit. I'm non disrespecting L.A. Reid-- I have a lot of respect for the dude-- only how on world could someone put all their focus into this band when they're working on a massive Idiot box evidence? We weren't a priority and that became more and more apparent.

Pitchfork: You lot guys moved to Chateau Marmont in Hollywood this summer and leakedNO Love DEEP Spider web from there. How did that determination come up about?

ZH: Throughout the past year, in that location's been a lot of disenchantment within our camp, merely feeling let downwardly by ourselves and everybody effectually us. I had been having conversations with my younger brother, who is 26. He's a major gamer; he runs [Dungeons & Dragons] at conventions and has been on 4chan since he was 14. So he's talking philosophies, strategies, different decks you use in Magic: The Gathering, and we started talking about the command deck. I'd been reading most parallel things that were totally separate from gaming: the idea of using peoples' powers against them. I hateful, it'southward an insane notion [laughs]: "command decks" in existent life. But I've always been very interested in magic-- more psychologically, like magical thinking.

Anyhow, when nosotros moved out of where nosotros recorded NO Honey, nosotros went to Los Angeles to force meetings [with Epic] and force people to listen to the record. We were walking downwardly Sunset, looking for a place to stay, and information technology clicked. I'm familiar with Chateau Marmont and what it represents historically. I started thinking about everything that had been developing over the form of the whole year, all these conversations with my brother, my ain thinking. [Stefan and I] started talking about the control deck and formulated these ideas on the pavement. Nosotros basically moved in in that location for two months to mirror the people nosotros were working with and learn about that culture, which was somewhat in control of our destiny at that signal.

Initially, the whole idea was infiltration. Information technology's non what you could consider a smart move financially, or logically. But the place where we're coming from sometimes transcends logic. So we lived at that place for a couple months; it's where we did the album artwork, took the photograph, leaked the tape. We got into the history of that identify and started making our own history. Information technology was interesting considering, for everybody from the label, it was totally real to be like, "Yeah, we moved into Chateau." They'd exist like, "Oh great, I lived there for ii months." I never learned and then much nearly the social aspects of humans and what certain things do to people than I did within that two-month menstruum. It was insightful and insane and dark and weird.

There's another free energy inside that edifice. It sounds platitude, and everybody says it's haunted, simply we felt like the building was talking to us on a infinitesimal-to-minute basis. Nosotros started Death Grips feeling we had this relationship with things divide from the group, and this experience reaffirmed that to the maximum. I would wake upwards in the middle of the night and the CD player would just be blasting "Lock Your Doors". Essentially we gave to the place and it gave back to united states.

Death Grips: "Lock Your Doors" (via SoundCloud)

In that location have been a lot of what we telephone call "flashes" since nosotros started Death Grips-- this real relationship with listening deeper to everything happening around us everyday. If y'all pay attention, information technology'southward just insane how in that location's this dialogue you tin have with life and the unknown. If y'all're awake to certain things in life, they tell you what to do. We believe in that. We live by that. Nosotros're experiencing that everyday. This was a perfect case; you lot're not even supposed to be able to walk into the Chateau off the street, and we did only that and moved there for two months. It was obvious: this is what we were supposed to do. 1 more affair-- the room where we did everything was Room 77 on the 7th floor. That'due south only the room I was assigned.

"We don't pay much attention to what other bands are doing,
merely we are convinced that you tin can exercise things very differently."

Pitchfork: That is wild. Did you discover the idea of infiltrating the hotel and facing that unknown similar to the experience of signing with Epic?

ZH: Absolutely. Information technology is the same thing. That's what I mean: knowing to go through a door, even though a lot of people wouldn't. Listening on a deeper level. Both of us are hyper-intuitive, but in that location's massive intent behind our decisions. Even living in that hotel-- information technology's non nigh the hotel itself, it's more often than not about what it represents to other people. Information technology doesn't represent annihilation to us, merely knowing what information technology represents to others is how we used information technology to inform ourselves.

Pitchfork: Did anything surprise you in particular while staying in that location?

ZH: [laughs; long pause] The whole thing was and so bizarre-- 90% of the people eating at the restaurant every night are fucking famous or known for something. Just that'southward non even the most interesting office. It'due south not like we were living some double life, but nosotros didn't permit other people onto what we were doing. The people that work there are our friends now.

Pitchfork: When yous decided to live there, were you feeling that your human relationship with Epic was nearly to cease?

ZH: Definitely. It was dissolving. Our feeling at present is similarly intense and insane. I'm always pretty paranoid and not entirely stable mentally. What I'm saying is: We had that notion of merely existence out of our minds and knowing nosotros're doing something so crazy. We laughed a lot, only were also somber and serious about information technology. It's a hard period to fully express; kind of manic, actually. Nosotros knew nosotros had to do something to modify our path.

Pitchfork: Y'all had already finished the album, then what exactly did you do there?

ZH: We were rehearsing for bout, trying to get these meetings, working on ideas for our side by side record, the artwork. We were likewise working on something for MoCA, and we filmed a video there, which volition be released at some point. We're working on two other videos at the moment. A lot of time was spent designing our futurity, thinking well-nigh worst and best case scenarios in terms of our artistic work-- how we would do things one time we acted.

Pitchfork: Can you lot tell me more about the NO Honey cover art? You've said that if someone could get past that prototype, they could get past whatsoever male-- or aggressive-- notions attached to the band.

ZH: We had the cover idea for a while earlier nosotros moved in there. We started Decease Grips being very pro-homosexual and pro-individual-- the thought of being OK with yourself no matter what. It really has to do with dispatch-- culturally, on a world level-- of sexuality in general, and getting past homophobia. People should be able to look deeper into something rather than just seeing some dick. It's also a spiritual matter; it'due south fearlessness.

As a grouping, nosotros're perceived in large role as male or very aggressive, merely we don't call back about those things. In that location is no gender to this group. It'south androgynous. But we know that perception. Peoples' hangups with sexuality, gender, and nudity-- it'south similar to how I feel about organized religion. It's toxic and poisonous to the human being mind, and the development of humans in the modern earth. In our ain pocket-sized mode, through our artwork, that's what it represents: pushing by everything that makes people slaves without fifty-fifty knowing it.

"People should be able to look deeper into
something rather than just seeing some dick."

Pitchfork: In that location are definitely a lot of people who would attach an aggressive or male persona to the group based purely on sound. But, for me, thinking well-nigh the way you lot've not washed many interviews-- and said "no representation is better than misrepresentation"-- information technology instantly reminded me of the riot grrrl media black out in the 90s.

ZH: I take that every bit a compliment. I'm very inspired by a lot of that work; it'due south about advancement and human progression, which is what nosotros're doing for ourselves and trying to project through our music. The first label I always signed with was Impale Rock Stars.

**

Pitchfork: When you released the art forThe Money Shop, it came with these ideas that went beyond music: "We're feminist, we support homosexuality and individualism, we're in favor of a transparent globe leadership." In that vein, with the actions you've taken this yr-- self-releasingNO LOVE, using provocative art, sharing internal emails, canceling a tour because it felt correct-- were there whatsoever extra-musical messages you wanted to convey?

ZH: As far as gender, race, politics, there's this feeling that so much modify is happening so quickly, both socially and on a earth level. We want to make information technology articulate that we embrace people being whoever it is they really want to be. It gets catchy-- we aren't a political ring-- but both of u.s.a. take been very elusive and outsider-ish our whole lives. We're non the nigh social people; nosotros're loner-esque, awkward. If you lot have a hard fourth dimension expressing aspects of your personality, the platform of inventiveness has e'er been one of the healthiest places to get these other things out. Nosotros are encouraging that. Fifty-fifty through being a listener of this music, or at our shows, we desire to provide an environment that is entirely non-judgmental. You can do whatever you want. You tin can exist whoever y'all want. Every facet of your personality can be expressed within this space or listening experience.

Say yous were being bullied in school: If you accept our music in your headphones, no i isreally bullying you anymore. It'south like taking a pill that makes y'all super-homo. The music has emotional suffering on the darker and deeper side of what the man experience is similar, but it's as well a beast-- you could take a bite out of a bowl while listening to it. That's the kind of free energy we want to project.

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Pitchfork: The music itself conveys a feeling of empowerment, simply also watching the mode you guys have presented yourselves this yr is empowering, too.

ZH: Thanks. That'south important to u.s.. A lot of our choices have forced us to be honest with ourselves. Frankly, a lot of things we've washed over the past few months are not that like shooting fish in a barrel. Staying truthful to the original concept for the group, we'd be asking ourselves: "Should nosotros practice this?" There was enough of back and along before we leaked the album. But ultimately we asked ourselves, "What would Death Grips practice?" We take to alive upwardly to what we make the music nigh. There are a lot of full-circle aspects. It'due south very real. We have to come outside our own fears and practice what we preach.

Pitchfork: You said Death Grips is not a political band, only are there whatsoever political ideologies that have influenced the manner you've been working?

ZH: In that location definitely are, but information technology gets catchy considering it's on a homo level, not a political-party level. Of course, some moves nosotros've made could be related to people resisting certain politics or movements. We do detect inspiration there. Just we're operating based on our ain moral code. We're our ain political party. Neither of u.s.a. vote, so we aren't even invested in that procedure in the country we live in.

Pitchfork: You have mentioned that, around the time of The Money Store'southward release, there were sure things you wanted to do to further Death Grips' creative vision, which Epic was not on board with. Anything in particular?

ZH: It was more an issue of not feeling like a priority rather than being told "no" most creative things. There'southward a lot of talk that happens within those rooms; everybody's all hyped. But nosotros noticed that every time we would go [to Epic], some time would pass and a lot of things nosotros'd talk about would dissolve-- as if everybody walked away and forgot everything we had talked about. That became a recurring feeling. We sensed that, even if they were on board or understood what nosotros wanted to do creatively, there was a lack of investment in the sense of bodily work-time spent on what we were doing. And then we started to question information technology. Why exactly did they sign usa in the first place?

There are certain examples of things we were trying to accomplish that just weren't working out. Like Crispin Glover, who we were in contact with about doing video work together. We would bring that upward, trying to find ways to finance it with the characterization, and it was obvious they but didn't sympathise what that was in the kickoff place. And then nosotros'd have them coming back with things nosotros would never fifty-fifty fuck with.

Pitchfork: Were there whatsoever other creative ideas you lot were presenting to the characterization that never came to fruition?

ZH: We've talked about having someone that'south the face up of the ring, but not necessarily in the band. Really far-out things, breaking the mold of "stone band" or "rap group." Something we did bring up to the label was the idea of putting multiple representations of our ring on tour at in one case, simply none of united states are actually there. Like, in that location is v Death Grips. You send these people out-- if they are even people, or projections or holograms. Having these events that are like your world, happening simultaneously, touring the globe.

This is all so abstruse. [laughs] It's kind of insane. What I'm talking about is not fully formulated, only information technology's an example of the kind of dialogue we accept-- those are the kinds of things Stefan and I would talk nearly in my old apartment, earlier we made a sound together.

Death Grips: "@deathgripz"

Pitchfork: In a sense, your records have thematically mirrored the trajectory of the band this year-- as simple as the major label debut being called The Coin Store, and the record that resulted in Death Grips getting dropped being chosen NO Love. Exercise you experience the content reflects the arc of the ring?

ZH: Definitely. Ane of the weirdest aspects is, nosotros had the title NO LOVE DEEP Web before our fallout with the characterization. We perceive Exmilitary as our first record; we were talking in 2011 nearly this being a trilogy of albums. Not to audio pretentious, but in a weird way our first album starts like a self-prophesizing statement. Information technology has everything to do with exactly where we are at present. It happened freakishly, not too much by pattern. Of course, we were hyper-aware of what we were doing creatively, simply it's crazy that life has concluded up mirroring exactly what we've been doing from the outset.

"There is a sense that Expiry Grips is much bigger than us,
like at that place are strange forces at work, and members
of our group that we aren't even aware of."

Pitchfork: Usually when you're making something, you can see your life reflected in information technology rather than the reverse.

ZH: Totally. You can practice that throughout your life; you're playing with life. Everything becomes very real. One mirrors the other. On a subconscious level, we've been enlightened of those things while making all three records, merely it was never thought-out or contrived. It was all based on a feeling-- as if we could feel what our path was going to be before anyone fifty-fifty knew who we were.

To be perfectly honest, our minds are at a very strange identify correct at present. It'due south impossible for u.s. to end thinking virtually it. There is a sense all the fourth dimension that it's much bigger than us, like in that location are strange forces at piece of work, and members of our grouping that we aren't even aware of. We perceive the band equally a separate entity from ourselves. We don't really wait at ourselves in it, because the whole thought was to create this globe of it.

Death Grips: "Hacker" (via SoundCloud)

Pitchfork: I read that you intentionally released NO Honey during a full moon.

ZH: Yeah. From the start, lot of things nosotros have done as a group-- whether publicly releasing something, shooting a video, working on music-- have always been aligned with the moon. That was something we determined and decided we wanted to practice before we always made a sound together.

For u.s., personally, it makes information technology even deeper. That'southward what I mean by unknown members. None of us are religious, but I consider myself spiritual. I believe in things I tin can't come across. No gods, but the forces in nature and energy. That'south all very real to usa. And it's crazy to have that affirmation through what you are doing. Our whole by as a group has been constant affirmations; when we acknowledge that, it totally acknowledges us back. It's mind-blowing for usa.

Pitchfork: Do y'all experience you met Stefan through fate and the forces of nature?

ZH: Absolutely. We had known each other from around Sacramento for a few years and talked about making music for a long fourth dimension. I'd e'er run into Stefan and exist like, "Fuck man, nosotros gotta fucking brand music." I just had this feeling and I could tell he did, too. Just I wouldn't even hear a sound when I had that feeling. Then we found out we lived two blocks away from each other; we started hanging out at nighttime, smoking weed and talking about life and music. At that place was definitely a knowing before nosotros ever made a sound.

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Pitchfork: Then from the kickoff you bonded over something more spiritual -- feelings and ideas about life-- rather than something sound-based?

ZH: Yes. Not necessarily music. We wouldn't talk most what this thing would sound like. It was all about empowerment for ourselves, not for other people. We'd talk nearly it similar information technology was some other person who was in the room. Information technology was about this place where we could let out a lot of internalized things with hyper-velocity. Nosotros would talk virtually a super-inspiring sound as a concept, similar a drug y'all'd have. In that location were a lot of philosophical conversations. At the start, we never actually once talked near what kind of sounds we'd brand, or instruments we'd use.

Pitchfork: What visual artists and philosophical concepts did you bond over?

ZH: So many. We've referenced Chris Burden. People that would really go to almost a sacrificial identify, to project a sure energy that would really push the limits of their own human meat-cage, to get beyond this hyper-internalized feeling. We idea about the idea of "iconic"-- the hereafter "grouping," the future "ring." Nosotros didn't want to call ourselves a "band." We think outside of what you think most when yous're thinking of a band. It's led us to a lot of interesting decisions. Both of the states are believers that in that location are yet so many places to go with what being a ring even means. We don't pay much attention to what other bands are doing, but nosotros are convinced that you can do things very differently.

Death Grips: "Deep Web" (via SoundCloud)

Pitchfork: You mentioned earlier that your blood brother is a gamer. And then the DEEP Web one-half of the terminal anthology was informed past him?

ZH: Yeah. We were talking almost [shadow cyberspace sites] Silk Route and Onion Country. He was talking about being active in deep web and doing his thing down in that location. I hadn't heard the term "deep web" but when I found out nigh it, I was like, "Dude, that's fucking ill." I just liked how information technology sounded, so I wrote it downward on a slice of paper. Nosotros were already planning on calling the album NO LOVE, but Stefan saw it in our flat and was similar, "It should be NO LOVE DEEP WEB*."*

Pitchfork: What did you like about that phrase'southward connotations?

ZH: We are totally interested in internet culture and inspired past a lot of aspects of it. Everything I'm talking about every bit far as transparency and human progression-- the net simultaneously pushes people in a management towards getting past genres, because it'southward so saturated and mixed and free, but it as well breeds a lot of lower-level thinking and ignorance. Chaos is another thing we find very inspiring, in theory and nature and human nature. It'southward highly relatable to the deep web or internet in general, in terms of data chaos. What people experience on the internet everyday is like the foam at the top; there are sub-levels where all of this other information goes. It'south an abyss. Information technology's also relatable to homo emotions that are similarly incalculable  Yous tin't physically see where these things are stored. There's a chaotic aspect to that, too.

We perceive Expiry Grips every bit an ever-progressing cycle that'due south in constant collaboration with our fanbase and the general public. This totally open source. It relates to the idea of putting 10 versions of Expiry Grips on bout at once; we take our ego out. Nosotros prefer it to be this open collaboration with the globe.

Pitchfork: Y'all guys are interested in engaging with the internet, so why did y'all delete your Twitter?

ZH: Nosotros felt Twitter was unnecessary. It's more of a make space, and what it requires mentally tin exist overwhelming. We aren't the kind of people that want to talk well-nigh our daily lives because nosotros are extremely individual. What are yous even doing on there? You're just shouting into this thing. It's only nothing, really. A lot of great ideas get wasted on it. I encounter tweets and think, "Man you lot should accept saved that and done something with information technology." The whole thing feels cheap to united states. Information technology's a trivial chip desperate. We're into creativity, not talking about information technology all day. Nosotros don't estimate people for anything, really. But we already see it equally primitive and irrelevant.

But we might go back on there if we need to use it for something. [laughs] Right now though, we are actually into real life. The internet is amazing, but the way things are going for usa creatively is back to the real world. Not that the net isn't the existent world, but it'southward a mutated grade. We didn't necessarily quit Twitter just because it'southward stupid, it's more complex than that.

"Twitter feels inexpensive to united states of america. Information technology's a little bit desperate.
We're into inventiveness, not talking well-nigh it all mean solar day."

Pitchfork: What exercise yous accept planned for the side by side anthology?

ZH: It's definitely not a departure at all from the music nosotros've been making-- just growth and expansion. Naturally, nosotros're always going to try things that are new, and what we practise with the next record will probably be on a larger calibration than anything we've done before, conceptually.

Pitchfork: Do you think you'll self-release it?

ZH: We probably will not self-release it. Nosotros aren't anti-tape label. We're simply anti-dinosaur. We need futurists on our team. Nosotros would sign to a major label again, it only depends on the individuals. We've learned a lot through the mistakes we've made. We aren't naive; we wouldn't sign up for the same thing once again. But we aren't anti-anything. We have completely open up minds. What we want to exercise with our next record is pretty ambitious. Information technology would be unrealistic to call up we could exercise it entirely past ourselves. We'll need a very specialized group of people helping usa. Whoever's competent and capable, that'due south who we'll terminate up working with.

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Pitchfork: When you say it'll be bigger in scope, what do yous mean?

ZH: Nosotros mean every attribute of the anthology. The thought is what what we do next would transcend the idea of an "album." Nosotros want to work with [Megaupload founder] Kim Dotcom, so we're trying to make contact with him. There's no rules in our heed ever, most anything, so information technology all depends on who can assistance us maximize information technology or get closer to achieving the things [Stefan and I] talked about before nosotros always made a audio together.

Pitchfork: Considering you gave your anthology away for gratis and then used your accelerate money on the hotel, do you care well-nigh making coin from music?

ZH: No, no. That's never really had anything to do with it for us. We believe information should be free. In the physical globe, with an object or item, it'due south understandable why you pay for that. Merely charging people for something that's digital, that'due south in the ether-- it makes sense but it's strange. We accept records for sale, but it's hard for the states to wrap our heads around not too providing the option of getting it for free digitally, like a weird spirit out in the machine.

We both happen to be people who are not ruled by money. We really don't put any value into money. It'southward kind of a joke, or absurd. If you've been a person who hasn't had money your whole life-- or sometimes you've had it, and sometimes you've non-- y'all're not ruled by it. You lot're really unafraid of having none. I tin take no money right now, and that doesn't brand me scared, because I know how to survive. The 1 affair we are interested in financially is only [having money] for the farther realization of the bigger creative ideas nosotros want to execute. Nosotros call back about how to acquire funding for art itself only, on personal level, not really.

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Source: https://pitchfork.com/features/interview/9004-death-gripz/

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