mxdwn.com had the immense pleasure of sitting down with Spencer Hazard, the relentless guitarist of the experimental hardcore band Full of Hell. Known for their abrasive and innovative sound, Full of Hell has carved a unique space in the extreme music scene, blending elements of grindcore, noise, indie pop, and death metal to create a sonic assault that is both chaotic and compelling. Full of Hell has been a force to reckon with since its inception in 2009. Over the years, their music has pushed boundaries and challenged listeners with its intensity and complexity. In this sit-down over Zoom, we talked about the band’s journey from its early days to becoming one of the most influential acts in the underground scene.
mxdwn: Hi. I’m Ric Leczel and I’m a feature writer with mxdwn.com. I’m talking with Spencer Hazard of Full Of Hell. Thanks, Spencer.
Spencer Hazard (SH): Hey, how’s it going?
mxdwn: It’s going great. I’ve spent a little bit of time reading about you and looking at all your stuff and your interviews and Full Of Hell is quite an interesting project, right?
SH: Yeah.
mxdwn: I have about 10 questions and then we’ll see where it goes. Do you want to start off by introducing yourself and the band and Coagulated Bliss? And then maybe that will be the launching pad for my first question or two.
SH: Yeah. As of February, Full Of Hell has been a band for 15 years, Dave wasn’t on the first demo, but like him and me, he was on the first tour since he was like 15 years old, when he first joined. His first time ever playing in front of people was on a three-week tour.
mxdwn: What a memory.
SH: And I can’t even remember, like I lose track of what LP we’re on that’s not a collaboration. I think it’s like #6. But yeah, I’m very, very excited for people to hear it. It’s pretty different than everything else, but also it like encapsulates our sound throughout the years.
mxdwn: You know what? I think that’s a great starting point and thanks for going there.
mxdwn: I was just reading an article about . . . I’ve kind of read some of your stuff from 2016 and when you guys first started. You’ve really stayed consistent through the years in terms of always exploring and that seemed to have been your kind of catch phrase in 2016, like, hey, you know, we’re kind of figuring it all out as we go. Then this last one you guys said you did more on the small-town aspect, more of the real world, and I thought that was kind of a full circle come around.
SH: Yeah, I think like even with our first LP that came out in 2011, for Dylan lyrically, it’s very personal and it was more of like introspective lyrics. Whereas Coagulated Bliss is more of like, it encapsulates our surroundings of growing up and he kind of wraps all of our personal experiences and, I mean, all of us have grown up in super small towns. So he wanted to take like, I mean at this point, we’ve toured the world multiple times. I forget how many countries we have played. It’s like 50-some countries at this point.
mxdwn: That’s so awesome. Good for you
SH: So we all go back, but it all comes back to like we play these you know, very extravagant, like weird places and stuff. But then we always come back to, like these small bodunks, even though we live in a beach town, it’s still pretty redneck. I think we’ve not, we now have a new appreciation of the small town life kind of thing, but from seeing and from going to cities, like big cities you know, you see the poverty and stuff in like Los Angeles and Vancouver. You can still see juxtaposition. Rural America still has a lot in common with all of these big cities that people so fear. You know, same side or like same side of the same coin kind of thing. It’s like one might be scary and different to an outsider, but if you look around you, there’s still some, like, messed up stuff going around in these small back towns.
mxdwn: That’s . . . that is so true. When I read that article and listened to the album, that kind of . . . with that foundation. I too grew up in a small town in New Mexico, about 20,000 people, and I identify with everything Dylan and you were talking about in these interviews saying that. You know, it’s the pursuit of this. You’re so damn bored. You know, you talk about this. It’s so fucking boring in small town. So you start searching for these experiences, you know, and you guys nailed that. Let me ask you with this release, in that small town thought what? What insights can you offer about the creative process behind that writing and with your sounds, with your songs? Did you experiment with any new recording techniques or concepts on this album. Especially, let me just put that in the context — after your van got ripped off did you buy new equipment that has kind of expanded you a little bit.
SH: We kind of, like when we got robbed, we lost everything we never found. I can’t. I almost cried. Dude, that was such a sad story. Yeah. Like the only thing, I talked about this in another interview, the only thing we got back. Someone randomly Facebook messaged us and they found a bag of T-shirts at a flea market. The very last day that I was going to . . . so like with insurance companies, if they don’t find the vehicle, they will give you the blue book value. They didn’t find the vehicle and I was on my way to the post office to send the last like notified letter.
mxdwn: Ok.
SH: And as I was on there, the insurance woman called me and was like, hey, they found your van in a junkyard.
SH: So we only get like, you know, 2500 bucks for it. So it was like I went from having this check for, you know like a used car, like 15 grand to being like, hey, that cash is null and void. We’ll send you a new one for like 2 grand.
mxdwn: Uh-huh.
SH: So that was the story that just kept stabbing you and stabbing you, right? Oh yeah, and the last I ever heard about it. I mean, this happened 2019, the last I ever heard anything about it, the cops called me, and I was like, oh my God, they’re calling me – they found something. He called me and was like, hey, have you heard anything? And that was the last time.
mxdwn: I’ve been kind of busy, you know, that’s not really my job.
SH: Yeah. Yeah, but it was like Dave had a cymbal that was gifted to him from Igor Cavalera.
mxdwn: I searched that and what a story. That’s so sad.
SH: Yeah, I had a custom made aluminum guitar. Luckily the guy that recorded the new album builds aluminum guitars. So he was able to make me a couple more, but it’s still. Like it’s not the same as the one that got stolen. Yeah, and as my wife says, she’s like it’s probably in some kids bedroom in a closet somewhere. That’s why it’s never popped up. But going back to the recording and stuff we haven’t really changed gear that much. The only thing I would say about this recording process compared to other recordings that we’ve done is we are way more experienced now with doing these collaborations. Of actually sitting, listening and wanting an outside influence of a producer, because usually we’re like no, we’ll figure it out, we got this. But now I think it’s helpful to get someone else’s opinion on things in there. All the songs are written and stuff, but it’s helpful to have an outside view, of I think you should do this or make it sound like this. A little bit, like not a whole lot of changes, but just little touches help. It’s also helpful in doing these collaborations that we understand the process better, of putting stuff together in the studio, like building songs in the studio, getting sounds we want, using different equipment. You know the rack compressors and the board are like different mixing on the board and try this amp with this, for like this little nuance. A lot of stuff on the recording, or the new record, was like stuff might not be in the forefront, but we wanted to add little flavors and textures underneath that, like maybe, on like the 100th listen to the record it’d be like, oh, I’ve never noticed that before, those twist my ear a little bit.
mxdwn: You know, that comes through, and I listen for that a lot in different albums. When I speak to different musicians they talk about that a lot and kind of throwing in that little sound. You’re not gonna hear it on the 1st or the 50th time, but maybe on the 100th, it’s going to be another little delight where you’re like wow, I like, that’s cool.
SH: Yeah.
mxdwn: And that gives intentional longevity, you know, so it kind of keeps people listening over a length of time and just still discovering something new. Now do you think that growth in that change, is that what you’re most excited for the fans to hear about on this album? Kind of how you took all of your experiences and found those different sounds. Found that way you wanted to record it. Found the noise that you wanted.
SH: I think I’m like most excited for people to hear of, like, how it’s the same but different because it’s like I feel with this band, we have eras of the band. I mean, we’ve always been influenced, influenced by bands like Swans or The Melvins, and I feel like those bands have like — this is this era of this band. This is the middle period. This is the end period. This is the more experimental period. I’m excited for people to hear and being like, I can hear the hardcore influence from the early stuff. But then I can also hear the more death metal leaning stuff from the mid-period records, trumpeting, and I can also hear the influence of electronic, of stuff they’ve done with the body. But they’re actually able to put it together, make it cohesive, and just not stacking stuff on top of each other. It’s also, it’s like we’re able to take our more unexpected influences of bands like Dinosaur Junior or something and put that more pop melody into a metal band.
mxdwn: You know, I noticed that too, just kind of hearing some of the interviews. So following the song, “When No Birds Sang,” and your collaborative project with Nothing, speak to how that influence from genres like shoegaze, pop and ambient music. I mean you’re talking about a hardcore, grindcore band that has these poppy little sounds in it and feel-good moments. That’s kind of neat.
SH: Like even as we started Full of Hell, one of my biggest influences, it’s not maybe writing wise, but like sonically, I’ve always wanted my personal guitar tone to relate to Pinkerton by Weezer. That was like one of my favorite guitar tones ever, because if you sit there and listen to it, yeah it’s a power pop record, but the guitars are super huge. You could honestly switch the guitar tones around with the band Melvins or something and that has always sat in the back of my mind. But even starting Full Of Hell, we were always influenced by, you know, stuff like Sonic Youth and as I’ve gotten older, more into stuff like My Bloody Valentine and The Jesus and Mary Chain and stuff like that. I think I’ve said in other interviews too, like, yeah, you might look at those bands as like pop bands or like any, whatever, but they’re still . . . I mean a band like The Jesus and Mary Chain has way more in common guitar wise and guitar tone wise with a Japanese hardcore band than like a pop band you know, so it’s like all of the music is underground and extreme, but in its own way. There is a lineage. I mean, even look at J Mascis. He’s considered one of the first people to play blast beats ever in Deep Wound. So he, even though he’s known for Dinosaur Junior, he is still an important part of grindcore.
mxdwn: So that’s interesting because do you think your growth has given you that confidence? Like those 15 years together and doing all these different tours and bringing all these different eras of your music, do you feel that that you have a new confidence because of that experience and you’re able to blend all those things together?
SH: Yeah, because I remember even writing older material being like this is too death metal sounding or even, as we’ve gone on being like, who cares if it’s too death metal sounding? It still sounds like us. Now I’m at the point too, where I’m like who cares if, and it’s like I’ve said before, of course, a musician is going to be self-conscious and be like I don’t care what people think. But in the back of your mind, you still kind of do. But it’s also two at the same time. I mean, I think even the Melvins have said it — if you like it, there’s always going to be someone else out there that likes it as well, it might not be the vast majority of people, but do you actually want to appeal to the vast majority of people? I think it’s more important to stay true to yourself and build a true fan base that will stick with you no matter what. I think the confidence has just gotten to the point where I’m just like as long as I think it sounds good, someone else is going to think it sounds good. I don’t care if someone like, you know, thinks its too metal, too catchy to like, you know.
mxdwn: Too poppy or too bubble-gummy or whatever, yeah.
SH: Who cares? It sounds good to me, and as long as it doesn’t sound forced and contrived, then it doesn’t matter.
mxdwn: And you know, I think that attitude, that authenticity, I think that is very attractive to people who may not be hardcore fans of yours, but maybe see you in an interview or hear a clip of you say something like that. And that confidence, I think that brings more crossover to you than trying to arrange your music to appeal to this broad section of listeners.
SH: Yeah and it’s even with touring and stuff. We’ve always looked at, you know . . . I mean we were all even as in starting the band. We’re like, it’s so cool that a band like Sonic Youth would take bands like Hair Police or Wolf Eyes on tour. Or Sepultura would be like, let’s take Sick Of It All or Sheer Terror on tour, and I think that’s important because it’s like you stagnate if you care about appealing to the same people, like, why wouldn’t you? Yeah, sometimes you might be put in a situation where it’s uncomfortable and it sucks, but that’s the part of, like, growing as a musician.
mxdwn: I hear a lot of musicians say that is, you know, some of their worst gigs were some of their best gigs because it gave them a, you know . . . negative energy is energy too, they say sometimes. So you have to feed off of the situation you’re in. That’s really cool.
SH: Yeah.
mxdwn: The song “Gasping Dusk” features Ross Dolan. How was that working with him and collaborating with him?
SH: We, I mean we did a tour with the Cavalera Brothers I think in 2017 and Immolation was on that tour. And we just hit it off with Immolation immediately and became like best friends. I mean, it’s kind of nerve wracking to be like oh my god, we’re touring with some of the innovators of technical death metal stuff. But then they pulled up in a beat up old shitty van that they slept in every night, and we were like, these guys are the coolest guys in the world. And even when we were playing like other gigs, I think we played in New York City, they’re like, Ross brought his friends backstage and they were all like guys from Breakdown in the original CBGB’s hardcore matinee days and we’re like, dude, these guys. Like, they get it, they get it. They might play death metal, but they understand, like we said that underground music all meets somewhere in the middle.
mxdwn: You know, that sounds like that story of Lemmy Kilmister when he went on tour and he shows up with like a little bag with 3 packs of cigarettes, a book and a t-shirt. You know, that was his — i’m ready to go on tour. He just showed up.
SH: Yeah. Yeah it’s like, yeah, it’s if someone comes, like, with too much stuff or just like, you know, expecting something, it’s like they’re not meant for it.
mxdwn: The UMI rolling bags. You’re kind of like wait a minute bro?
SH: Yeah.
mxdwn: So for me the track “Wild Blue” stands out and is really a kind of departure from the intense metal sound. Share the meaning behind that song and what your experience was and how it is when you perform it?
How do the fans react in person?
SH: Is this off the new? I’m still not sure. I have a CD next to me. So is that a song off the Nothing collab?
mxdwn: Yeah, I think that’s off the Nothing collab.
SH: OK, so we’ve only performed that song live one time, and the situation with that was that we performed it live before we even recorded it.
mxdwn: Oh wow.
SH: So the only time that we’ve ever performed these, Nothing songs, was at the Roadburn Festival in I think 2021 because they specifically asked us to do a collaboration set and it was never even . . . So, they asked us to do this set and instead of us like going up there and maybe covering each others songs or doing something like improvised. We’re like, let’s get together and try to write a set of original songs.
mxdwn: Just on the fly like that.
SH: Yeah. So we wrote, we spent, I think a week, not even a week, maybe four days, writing and demoing the songs, and then the first time it was ever performed was in front of like 3200 people.
mxdwn: That is a great story. That is pretty cool.
SH: Yeah, so. So hopefully we’re going to perform this stuff again, it’s just like getting together because you know, getting six people together from like, all different parts of the country.
mxdwn: Yeah, there’s six siblings of mine, and I mean we . . . I think the last time all six were together was years ago. So I understand that. Let me ask you about “Doors To Mental Agony” because we’re talking about small towns and that’s a pretty bleak song. It paints this really, you know, hardcore picture of the struggle of small-town America.
mxdwn: I’m sure you’ve heard that, you know, the emphasis on those lyrics “100 dead ends, 1000 dead friends.” I just thought the songwriting, the lyrics were good, your music, the structures, and how this song evolves to tell this story. Put a different music to it, that’s almost like a country song in a way, you hear some people talking about small-town America like that.
SH: Like as far as the music goes, a big influence on writing the record was Butthole Surfers, and I know, so that’s like even when we recorded it. Like you can, if you listen to it in the beginning, there’s like 3 drum tracks as I was always influenced by like how Butthole Surfers had like 2 drummers on stage. But as far as the lyric goes, I think Dylan’s just yet again talking about, it’s I mean yet again, like the big city – small city juxtaposition we’ve all you know . . . you think we live in . . . oh you know, a nice suburban area. But even in those nice suburban areas, there’s like a ton of drugs, ton of violence, ton of all this stuff. And that’s the life that, like Dave grew up in personally, family like in and out of prison and stuff like that, dealing with like a ton of drugs and stuff. Dylan’s best friend before he joined Full Of Hell like, Dylan found him OD’d in their dorm room together. Like so, yeah.
mxdwn: Yeah, you know, that’s so . . . that I just kind of got chills because, you know, growing up in a small town, I think for me it’s different. I’ve been in a big city and a small town. Big City is like there’s rival gangs. In a small town everyone knows everyone. It’s more like a civil war.
SH: Yeah.
mxdwn: You know, it’s more internecine, family kind of. You know, there’s somebody always dying and you always know that person.
SH: Yes. Yeah, I mean, I graduated in ‘07 and I would, I would think like from ‘07 until now, there’s probably like 20 some kids that I graduated with that have died from either getting murdered or drugs. I mean, even one kid I went to school with, the police tased him to death.
mxdwn: Wow.
SH: So. Yeah . . .
mxdwn: You know that that really does just give you give you such a foundation for the music. I think that’s just so today and reality based. You know what’s so funny? You mentioned Butthole Surfers. My next question is Butthole Surfers strikes a chord in an older audience, like me, and gives away your longevity and dedication. What other punk bands have influenced you, I mean, my brother was majorly into punk back in the day. This is like the early ’80s and going down to the Olympic Auditorium in LA with the Dead Kennedys and Butthole Surfers, and all of those kinds of bands. Do you ever listen to that kind of music?
SH: I mean, yeah, I think. I know for a while I was like, stuck in a rut with even with Garden, the record before Coagulated Bliss and, I mean, I’ve always been into, punk and hardcore. My favorite band ever in 7th grade was the Ramones, like I had a Ramones lunchbox and everything. But, I always listen to the bands and always go back and forth, but even like say, as early as 2018-2019, I was stuck in a rut, but I listened to Who’s Got the 10½ by Black Flag and that completely reinspired me.
mxdwn: That was another big one.
SH: You know, I was just, like I said, I was stuck. But something about that record, that live record, just was like, yeah. And it’s just like I always go back to those bands and I think as you get older, like as a younger kid, you’re like, oh, this is cool music, you know? That’s why I listen to it. But I mean you go back and a band like Dead Kennedys is like so weird and out there for what they’re doing, it’s very inspiring. And then you even look at a band like Flipper, they were bridging the gap even back then between, like, industrial and noise and punk rock.
mxdwn: Yeah and it’s so funny because I grew up full-on heavy metal you know, with Black Sabbath and that whole part of rock and my brother being the punker. But there used to be a lot of collab shows, especially in LA, and these like dive bars where there would be a punk band and a heavy metal band, you know on the same bill, and it was all these mish-mosh of fans.
SH: Yeah,
mxdwn: And it seemed to be OK. It was just a lot of energy.
SH: And that’s like always been a thing with us too. It’s like when we started, shows were very segregated. And I feel like that comes in ebbs and flows through all of music, there’s always periods where it’s like you know, you look at, back in the day old flyers are being like Voivod playing with Cro-Mags. But then there’s like a period where it’s like you look at a flyer and it’s all hardcore bands. So we’ve gone through periods where it’s like, oh we all end up, we just play with dark hardcore bands or blah blah blah, but we’ve always wanted to be like, why do we need to? Just like, that’s boring. So we’ve always tried to play with, even when we started, tried to play with emo bands or screamo bands or like doom bands or sludge bands. So we always . . . I remember on our very first tour ever, I think it was our third show ever. We played this hardcore matinee, all hardcore bands, and then the next day it was us and Jucifer. So it was just like, just trying to . . . that was like from the start we’re like, who cares?
mxdwn: New day, new way, right?
SH: Let’s just play with whoever. Yeah, as long as there’s people there and that goes back to me saying it’s stagnant. It’s like, why wouldn’t you? Even if 95% of the crowd hates you, there’s gonna be maybe 5%, that’ll be like I get it.
mxdwn: Yeah, yeah. I mean, I think I heard somebody say love me or hate me, it’s still me they’re thinking about, you know, so it’s kind of cool. Just a couple more questions. I always ask about the lockdown period. How that changed you and your band, did it bring you together? Did it cause some divisions? And then, did you find that the time apart from touring — did that help your online presence? Do you stream more? Where are you on the whole streaming thing?
SH: So, it sucked! Because we were, I think, like 2 weeks out from leaving for a big European Tour.
mxdwn: That’s what I was thinking.
SH: And it was going to be one of my, I’m not in this band anymore, but it was like my noise rock band of the time called Eye Flys with Primitive Man and then Full Of Hell headlining, so that that was just like beyond a cluster-fuck.
mxdwn: That was a big deal.
SH: Yeah. Yes. But I think I mean, I’m sure with everybody it was just like fits of either rage or depression, or then clarity. Being like, okay whatever, I can actually use this time to do something. So we did a live stream with Nothing, which we just did two separate sets. But then we were able to take that set, we pressed it on a record ourselves. We reissued a bunch of our old material. We remixed some like 7-inch material we had sitting around. We started new projects. We just added a second guitar player in Full Of Hell. But I started another noise rock band with him called Reapers Gong. Me and Dylan started doing a noise project together called Sword Dream. Dave and Sam started writing more jarhead stuff, so we all like stayed as busy as possible because it’s not like . . . what else are you supposed to do? Just sit there and do nothing?
mxdwn: Yeah, day drink all day.
SH: Yeah, we’re musicians. Like, we have to create something.
mxdwn: I see a lot of that in the musicians I speak to, how once you kind of got over that little hump of like your life as you knew it kind of stopping and then what is life? What we’re going to be like in that. Do you find that it gave you these bits and starts of creativity? You said like depression, anger and then creativity. Like you’d have these epiphanies.
SH: Yeah. And it’s like you have these in and it was good, because you’re like, I mean, I finished writing a new Full of Hell record. But then at the same time you’re like, ok, I’m done with that. What am I supposed to do now? So it’s like I said, ebbs and flows of being like, oh, I got this just flowing out of me mixed with being like, oh, what am I supposed to do now? Luckily, I’ve always done construction with my dad. He has a small construction company, so it was like me having to still go to work every day was just like fuck. It made me miss doing music stuff.
mxdwn: Just strapping the bags on, right, I just love it.
SH: Yeah.
mxdwn: That’s so real. I really appreciate that. I mean, you sound like such a real dude, and I think that’s very attractive to your fans. I think it’s very attractive to new fans that maybe don’t know about you and they’re like this guy’s strapping on carpenter bags, you know helping his dad out and he’s going on stage and being this rock star kind of guy. What?
SH: Yeah. Yeah, it’s always been so my dad’s like, ok I get home from you know, a six-week European Tour and he’s like, I’ll give you a week off and then . . .
mxdwn: Who is this dude?
SH: Get your ass over here. A week after, I need you to come back.
mxdwn: Doesn’t that keep you real.
SH: Yeah, because I mean it’s cool that I’m making extra money, but at same time you’re like, this sucks.
mxdwn: Does your mom treat you like a rock star?
SH: Oh, I mean, she helps do construction too. It’s like it’s a very small family business. I mean, even my wife, she was helping me do stuff for a little bit. My dad would just send us out on jobs and we’d do maintenance calls and stuff like that.
mxdwn: That’s awesome. Yeah, I framed and did some carpenter work. It’s an honest day’s work. I really think it’s something to be proud of.
SH: Yeah.
mxdwn: I’m just going to close with this and kind of give you the floor. 15 years, man. That’s a long time for a band and you guys are still going strong. You still get a lot of critical acclaim. I mean, this band has been, I mean the latest album is getting really, really great write ups and great reviews. Where do you see yourself going? I mean, COVID notwithstanding. But you guys are tight. Do you see this happening for a while?
SH: I mean, we’ve always looked at bands like Converge or Neurosis or stuff like that and we’ve always been like as long as we don’t stagnate, we need to keep going, because what else are we supposed to do? You take those bands that have been around for decades and it’s like, yeah, they might not be millionaires. But they’re still doing what is fulfilling them because it’s like without that, I feel like a lot of people from our ilk would just be lost kind of thing. Because you see a ton of bands come and go, but then the ones that like don’t try to appeal to a certain demographic are the ones that power through everything. So I hope that we are able to eventually be looked upon . . . bands like I said, Melvins, Converge, Neurosis and be viewed as one of those bands one day.
mxdwn: Well, I mean, 15 years under your belt and you got all these projects and I think what’s really important is to your point about not stagnating, is the collaborations you’ve done. I really think that – do you think it’s a key to your success or your growth? I mean, maybe not your success, but your growth, where that’s feeding you some new influences like you said, getting a chance to produce with fresh eyeballs.
SH: Yeah, it’s new influences. New viewpoints. New viewpoints on how to record. New viewpoints on how to write. Like when we’re doing a record with a band like The Body is completely different than doing a record with Primitive Man, than doing a record with Nothing. They’re all completely new experiences that we can look back on and be like this worked, this didn’t. This was comfortable. This might have been uncomfortable in a situation, but it pushed us forward, we got it. It’s like two – with doing all these different types of collaborations with completely different sounding bands that they sound different, but yet again we meet somewhere in the middle. It is going to expose us to new people.
mxdwn: Yeah, I think that work ethic. I think, you know that comes across to me in some, or a lot, of your answers about music and just how you said, about going to work with your dad. I mean, you’re just like a blue collar rock star that just gets up on stage, grinds it.
SH: Each.
mxdwn: How you know you’re yourself. I think that just your genuineness comes across both in your music and in your interview. I’ve really enjoyed our time together. Do you want to say anything else? Do you want to finish it up with any deep thoughts?
SH: Yeah, it was fun. Thanks. Yeah, I mean just check out the new record and hopefully you know everyone gets something out of it, you know.
mxdwn: You’re going to be in LA too. I saw on your list.
SH: Yeah.
mxdwn: Lie? I think so.
SH: Yeah, big ******** festival.
mxdwn: Yeah, that’s an awesome venue. Have you been to LA before?
SH: Oh yeah, I mean I forget. I forget how many times. 15 years we’ve circled a lot. Yeah, first time in LA we played a nitrous party and then been playing big like you know . . . So we can say, hey, we played the backyard DIY scene to one of these bigger theaters.
SH: Yeah.
mxdwn: So. That’s awesome. Well, congratulations on the success. This has been Ric Leczel with featurewriter@mxdwn.com speaking to Spencer Hazard with Full of Hell on the new album, Coagulated Bliss. Thanks so much for your time. Continued success, Sir. Alright. Have a good one. Bye now.
SH: Thanks bye.
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