All images by Venessa Monokian.

Holly Hunt is a rock band in that they play loud blues-derived, guitar-and-drums music. Acceptable responses to their metallic, though richly sonorous, aural onslaught include, but are not limited to: raising two fists clenched in triumph (looks like you’re riding a motorcycle with very high handlebars); banging your head (albeit sometimes very, very slowly); and packing and/or rolling another one.

Holly Hunt is more than a rock band in that – particularly in a live setting – their compositions take on the monstrous physicality of musique concrete. The visceral experience they promise is the product of innate technical chops, a strong dialogic exchange between players and an incredibly deep relationship to their gear.

That last part – a connection to one’s instrument accurately described as a ‘bond’ – seemed to be a particularly salient entry point into the densely undulating waves of power this duo produces. So, in honor of The Heat Lightning’s Miami Music Week, we shot Holly Hunt (a.k.a. Beatriz Monteavaro and Gavin Perry) some questions to get a little insight into the guts of their sound.

BETTY

I find it a lot easier to ask questions about guitars than drums. In my mind (which actually knows little about guitars or drums), guitars are slightly more distinguishable between themselves. How is your kit distinguishable from others? Have you modified it/personalized it in any way?

This is such a complex question. I play Paiste cymbals and I have a maple Ludwig kit, probably a Super Classic, from 1990. I am the kind of person that likes to wear a pair of shoes until they are totally broken. I like to own things I really like for life. Although this kit is my third set, when I purchased it I knew I would never need another one again. It is a 6 piece set. It came with 4 toms, a bass and a snare drum. The nice thing about it having four different tom sizes, is that I can get a lot of different configurations out of it. Right now with Holly Hunt, I wanted a deeper and more bare bones kind of sound, so I am only using the 16” floor tom with the kick and snare. Continuing with the sentimentality of the set, the snare drum I use is a 70’s Ludwig Supraphonic 5 1/2”, given to me by my first drum teacher Afonso Alfonso.

I started playing Paiste cymbals because Gina Schock of the Go-Go’s and Stewart Copeland of the Police played them, and I liked the logo. Cymbals tend to break occasionally, so they get replaced. The 22” Paiste 3000 Rude Power Ride I’m using these days (as a crash ride) I bought used in 1997, when I was in Cavity, because I broke my 20” Paiste Rude Ride/Crash. The crash I’m playing is an 18” Paiste Rude Wild Crash I bought off Craigslist to use with Beings. The Hi-Hats I had been using until recently, 14” Paiste 2002 Heavy Hi-Hats, which Rick Smith of Torche (who is a beast) told me recently, if I hadn’t broken them yet, I’d have them for life. I finally broke the top one trying out heavier sticks for Holly Hunt. Sad day. Those were my oldest cymbals. So I bought a 14” Paiste 1000 Rude Sound Wave bottom hat and am using my old 2002 Heavy Hi-Hat bottom, as my top. Sounds so sexual.

Right now I’m using some b-grade Vic Firth 5B sticks because they are cheaper and I keep breaking sticks on that 22” ride and the heavier stick experiment caused me to break a hat.

How would you describe your personal style? Any direct influences?

My style is some mixture of Gina Schock of the Go-go’s, Dean Clean of the Dead Milkmen, Blackie Onasis of Urge Overkill, John Stanier of Helmet, Adel Souto who played on the Goslings album Grandeur of Hair, Budgie of Siouxsie and the Banshees, Dave Barb of Bow Wow Wow and Adam and the Ants, Terry Lee Miall and Chris Merrick Hughes of Adam and the Ants, and Stewart Copeland of the Police, and many more.

What is the role of percussion in an atmospheric metal band like Holly Hunt?

I’m still trying to figure that out. Noise and pounding so far.

GAVIN

You have a lot of pedals. What do they do?

They crush and modulate the frequencies. I’ve been looking for a sound that I’ve felt (more than hear) in my head/body. To call it the brown sound is too cliche but it is a guttural feeling or response. Within that structure of brutality I’m also interested in the saccharine.

Mountainking Electronics, Blackout Effectors, Earthquaker Devices, Electro Harmonix, Boss(mods), and a BYOC.

Could you break down your speaker set up?

I’m running a split channel, two head set up. One side is tweaked to a more treble/mid frequency while the other is more heavy on the bass end of the spectrum. I’m using an Ampeg V4 that powers a 4 × 12 cabinet for the highs. On the lows I’ve been alternating between a Peavey JSX and another V4 (which is on the fritz) that power a 2 × 15 cabinet. My desire is to have two truly distinct tonal sounds that combine to form a more complex frequency harmonic. As far as pedal chains are concerned each side has a fuzz and a delay. The high side takes modulation better so there is where the flange, phase, and chorus pedals are found.

With all the delay/reverb/etc. do you ever “lose your place?” Or is that point? Are you always and/or never lost and/or found?

Not on purpose. It’s hard to be lost and found.

Would you describe yourself, at least in Holy Hunt, as “a metal guitarist.” If so/not, why?

I don’t describe myself as anything. I think there are too many labels and codifications. I’m not interested in limiting myself or living up to anyone’s ideology. I’m inspired and influenced by a wide range of sounds and music. That’s what’s beautiful about the world, diversity. Obviously, there are some tonal and sonic connections to “metal” but I think the overall sound of Holly Hunt is tragic, crushing, and brutal.

How does the lack of a bass player shape your sonic role in the band?

When Holly Hunt became a two piece, we felt it was necessary to maintain the low frequency a bass player would provide. That was the impetus behind a two head two cab setup. Specifically, to run a treble/mid channel as well as a bass channel.
Beyond frequency response, being a two piece puts a little more pressure on both of us. There isn’t anyone else to carry the rhythm or the harmony. We have to be there for each other, we took the same train.