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SurfGuitar101 Forums » Music Reviews »

Permalink Noah Holt of Kill, Baby…Kill! - Interview by Noel

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Noah Holt of Kill, Baby…Kill! - Interview by Noel

Part 1 – Background

For Part 2 go here.
For Part 3 go here.

Kill, Baby… Kill! take their name from the 1966 Italian horror film classic, Kill Baby, Kill by Mario Bava, about an eighteenth century European village haunted by the ghost of a murderous little girl. Founded originally in 2005 and guided by Noah Holt, the band’s current lineup are Erek Smith on Bass, Josh Jackson on Drums, Noah Holt on Guitar and Chris Eagle on Organ and sound samples. They’ve been included on a number of important comps since the 2011 release of their debut EP, Sometimes They Come Back. When Kill, Baby… Kill! played their songs from Sometimes They Come Back and more at the 2012 Instro Summit in Chapel Hill, North Carolina, they left everyone stunned by their power, precision and musicianship. I deeply admire artists who are fully invested in their art. Kill, Baby… Kill! play like they are totally committed to their music and their performances show it. They are all-in.

Though Noah and I “met” on the Internet surf music forum, Surf Guitar 101 (www.surfguitar101.com) and had many conversations there, on Facebook and by email, we didn’t meet in person until the 2012 Instro Summit. Noah is one of the three people principally responsible for my taking up writing music reviews and band interviews in the first place, and whose encouragement and advice have helped me over some bumps in that road. I suspect he knew I would one day ask him to agree to an interview. Having read all my earlier attempts, he agreed anyway.

Noel:
Created and led by Noah Holt, I would describe Kill, Baby...Kill! as an instrumental band on the metal, punk and garage-influenced sound of surf music. They're not anyone’s father's surf band. Would you disagree or agree with that statement, and if so, how?

Noah:
I used to be the leader. The whole idea of KBK came about in the early 2000’s as I was doing demos at home. It took a long time to find members. And when I did, that lineup was short lived. Life changes lead to another five year break shortly after our first series of shows. Then it all came back together with a completely different lineup in 2010. At that time it was certainly ‘Noah led’, but the past three years has shown an evolution of sort. While I still handle much of the business end of things, the band has really taken on a life of its own and each member has a VERY specific contribution.

As far as us not being your ‘Father’s Surf Band’, that is an understatement. I am 37 years old. Even more, the other members are 27 years and below. We weren’t raised on 1960’s surf and instrumental music. Honestly, the other members really weren’t raised on surf at all. For the most part their introduction to the genre was when they joined up with me. As for me, I came to this genre as many in my age range did, through punk rock. While Agent Orange was probably my first conscious exposure to Surf music, the 1990’s third wave revival of bands like Man or Astro-man?, Shadowy Men on a Shadowy Planet, The second coming of Dick Dale, and a handful of regional acts were really what opened my eyes to the genre.

Even with that, my roots are and have always been in Punk, Garage, Metal, Alternative Rock. As hard as I try, my schooling was with this music. In developing KBK, those influences, as hard as I once tried, always came forward. In time we all embraced this in hopes of developing a sound that is all our own. Sure, there is a lot of Man or Astro-man? and Shadowy Men in our sound. But there are equal parts Fugazi, Black Sabbath, and Dead Kennedys.

I hope that we pay enough tribute and respect to the roots of the genre, but we certainly aren’t aiming to recreate the sounds of the 1960’s. There are tons of bands out there doing that and doing a much better job than we could ever do. Like most bands, I hope that, in the end, we make our own mark on the genre and can retire knowing that we did a little something to keep the genre moving forward.

Most of my musical life was spent in Auburn, Alabama playing in punk rock bands. I believe I started there around 1988 or 1989 and then all but stopped playing in bands in 2000.

Noel:
I find the band dynamic intriguing. As I understand it, the band have undergone major changes to their lineup since their formation. How did this come about and how did you end up with the current members?

Noah:
We live in a very small town in Alabama. Finding competent musicians alone is a task to behold. Finding musicians that are in the least bit interested or have an understanding of instrumental rock n roll is nearly impossible.

The original 2010 lineup of KBK consisted of individual members that I had taken a liking to over the previous ten years of going to shows in the local area and sporadically playing in a few bands. Some of the members were fantastic musicians, some were completely inexperienced. Some were just awesome guys. Some were a constant source of stress. None-the-less, I had a firm grasp that I had very little to pick from and hoped to make the best out of what was available and mold them into what I needed. That sounds so condescending, but it is where my brain was at.

The first member I picked up was our previous rhythm guitarist. He was a bundle of personality, but really not what you want with you when 2,000 miles from home at 3am in a city you are unfamiliar with. I felt like I spent most of my time babysitting. Anyway, after one year of touring, things just didn’t work out and he had to be let go.

The second member I picked up was Wolf, our previous bass player. To say he is a great guy and an amazing presence on stage doesn’t do the man justice. He is a dear friend and was a fantastic member of the early KBK. But, he had very little experience as a musicians. At first this didn’t matter, as he took dictation very well, and the initial crop of songs was already written before I started the band. But when time to write new material came around, the lack of an experienced player really limited what we were capable of doing. Anyway, Wolf knew this as well. He bowed out very graciously so that we could bring in someone else with more experience. He is now in college and appears to be doing well.

Josh, our drummer, was sort of a package deal with the previously mentioned rhythm player. I remembered him from a previous high school band he played in called Typhoid Mary. There isn’t much to say. He is beyond a fantastic drummer, and really knows how to interpret the music that I bring in. I can honestly say that I never really understood the importance of a creative drummer outside of just keeping time until I started working with Josh. His drumming has such a huge influence on our overall sound.

The next person to come into KBK was our Key player, Chris. We played our first show around the beginning of October in 2010. We were simply a 4 piece at that point. Shortly after our show wrapped up this long-haired hippy looking guy comes up to me and one of the other members and insists that we needed to let him try out on keys. While I knew that the addition of keys was a good thing, I was hesitant. I can’t really say why. Perhaps it was just fear of adding yet another personality to the already trying collective.

Noel:
Kill, Baby...Kill! have already recorded a sensational EP, Sometimes They Come Back and are currently hard at work completing a full-length LP. Do you have a title for the new record?

Noah:
The album will be titled ‘Corridor X’ and should be released on Deep Eddy Records in May of 2013, if everything gets completed in time.

Noel:
I'll get back to the new record in a bit, but right now I'd like to ask more about everyone's musical history. Do you remember (or were told - it's a parents thing) the first song you heard on the radio or television that you really liked?

Noah:
That is a difficult question. Listening to music has dominated my conscious memory and I lack any memory of a time otherwise. Of course I have huge memories of Mom listening to Johnny Cash and Otis Redding when I was a child, but my love for those artists developed much later in life. My earliest radio memories were obviously the 'heyday' 80's radio years, with the New Romantic artists like OMD and Duran Duran and the likes of Springsteen (Born in the USA) era dominating the airwaves. I suppose the first radio artist I remember that really slapped me in the face was U2.

Noel:
Do you remember the first record you ever bought? And do you still have it?

Noah:
I don't remember the first record I ever bought. But I do remember the first record I bought that really mattered. It was a cassette of the 'In God We Trust Inc.' EP by The Dead Kennedys. I purchased it in either 85 or 86 and I do still have it shoved away in a shoebox somewhere. I grew a much bigger love for that band over the years, but at the time it was sort of a taboo purchase for the ten-year-old me. It was 'punk rock' and I knew then of the direction I wanted to go. I am sure the purchase was deeply rooted in some sort of pre-teenage rebellion.

Noel:
What was your first musical instrument and do you remember why you picked it?

Noah:
My first musical instrument was the Trombone. I started playing it at ten years old for beginner concert band. It really wasn't my decision. Like most other ten year old boys walking into beginner band orientation, I wanted to play drums. But you can't very well have a room full of just drummers. None-the-less, the band director (probably my biggest inspiration throughout my musical life) gave me the choice of that or some other instrument that I can no longer remember. From that day forward I was a trombone player. It seemed cheesy at the time and I had little appreciation for it. I excelled at it throughout middle and high school though. Little did I realize that the knowledge I had gained through that instrument would lay the foundation for everything I have ever done on a musical level...not to mention in life, in regard to self discipline and such.

Noel:
You said, "But you can't very well have a room full of just drummers." Why not? I've heard music arranged for an all-percussion ensemble, and it sounds terrific. And Stomp comes to mind. Might something like that in high-school music programs be a very good idea?

Noah:
While I find the idea of drum ensembles very interesting and novel, I am at odds with it in relation to a group of budding 10-year-old musicians. While drums go a long way to teaching rhythms, they do nothing towards training a young ear to notes. Of course this is just my opinion. I can recall one of my favorite drummers that I ever had the pleasure of being in a band with. He excelled at his instrument, but he was also well versed in guitar as well. This worked to our advantage. He had so much to do with writing outside of just interpreting the rhythms. It was not uncommon for the bass player and myself to be struggling with a part and our drummer to step out from behind his instrument, pick up a guitar, and come up with a suggestion that solidified everything.

With this in mind, even the current drummer for KBK has often expressed a desire to work on guitar in his free time, just to gain a better understanding of what is going on our end. Cross training is very beneficial to a band. While I can't play drums for anything due to a lack of coordination between my feet and hands, I have a large understanding of rhythms and the mechanics behind them in relation to a trap kit. It isn't uncommon when I am writing and demoing at home for me to get behind a midi grid and actually write out drum parts to bring into rehearsal.

Noel:
By any chance do you still have it?

Noah:
No, I took it to a pawn shop the day after I graduated High School and traded it for some cheap electric guitar, as I had been borrowing those when needed up until that point.

Noel:
What was your first band and what type of music did you play?

Noah:
Hahaha...My first band was called 'Wise Devotion'. It was your typical High School/Jr. High cover band. We had a grand total of one performance, and that was an intermission at a school beauty pageant. If memory serves me, we performed two originals and covers of Every Rose Has its Thorn and Knockin’ on Heaven’s Door.

Noel:
I ask this next question on behalf of the aspiring young musician in my neighborhood who has to practice his saxophone outside or not at all. Were your parents musical and did they encourage you?

Noah:
I am sad to say that my parents were mostly less than supportive of me for anything outside of organized marching and concert band. Even more, I held a lot of resentment towards them well into my adult life due to this. Most of that has been worked through these days and they currently show at least some interest in what I do. I honestly just don't think they ever realized how important this outlet was to me and how much a part of me it really is. I am sure they thought it was just some passing rebellious phase. They never purchased a guitar, lesson or anything else for me. They attended a grand total of two performances in my life. One was the previously mentioned first band performance. The second was a few years later when I played with a band called 'Why Me?'. I am pretty sure that scared them off, as it was a very terrible and angry project. I watched a video of the performance a few years ago. I must say that, being put in their shoes, I am not sure I could have stomached or worked up the courage to ever attend another performance.

I am now a dad to two precious little girls. If I have taken anything away from my experience of having less than supportive parents, it is to try my best not to make the same mistake, no matter how unrealistic the dream.

For Part 2 go here.
For Part 3 go here.

This is Noel. Reverb's at maximum an' I'm givin' 'er all she's got.

Last edited: Apr 14, 2013 13:49:09

Noah Holt of Kill, Baby... KIll! - Interview by Noel

Part 2 - Corridor X

For Part 1 go here.
For Part 3 go here.

Noel:
You've been keeping us up to date http://surfguitar101.com/forums/topic/19080/ on the recording of your new CD. You've had quite a time getting it the way you wanted. Do you believe you've succeeded?

Noah:
That is difficult to say. Honestly, with the budget and time restraints we are working under, I seriously doubt it. That isn't to say this isn't a record we are proud of. If anything, this is the record we were supposed to make, for better or worse.
We only had enough funds for four days of tracking and two days of mixing on this album. Surely this is a step up from the EP, which was recorded, mixed, and mastered in a grand total of 16 hours.

The only expectations that were ever voiced to me by the other members were that they wanted it to sound 'huge'. I believe we achieved this. As for me, I wanted varied instrumentation and anything but static production. We achieved this as well. Having an actual producer there, who had his own interpretation and ideas for our songs really helped things along. He delivered notes to us weeks in advance, so there were a lot of ideas floating around that came from an outside source. Most of these are things I simply would have never come up with. Sure, there are aspects of this record that are not how I would have gone, but that is a good thing.

I would have preferred more time to agonize over my playing, but that time simply wasn't there. To be honest, I will always listen to this record and feel I personally dropped the ball a bit, as I find my playing sloppy and nowhere near up to standard for what I am capable of. I hope to remedy this next go around though. This album had the drums, bass and rhythm guitar tracked live. When it came time for me to overdub my leads, I had a huge problem with clamming up. I suspect that the next studio endeavor will include me attempting to track my leads during the live tracking phase, as I find it much easier to do when backed by the band.

One aspect I have struggled with and have subsequently been told not to worry about is the root of 'surf music'. This band was conceptualized very much as a surf project. Even more, that community has been our most supportive. But those that have been following our live shows over the past few years know that, while surf is surely the foundation of what we build upon, we have evolved far beyond that. The non-genre influences are really showing within our music. I could fight it all day long, but in order to be fair to the other members and myself, I have had to let this band evolve into what it is. No, I don't believe we are a Punk Rock band. I also don't believe we are still a surf band. We are, for lack of a better description, an instro band.

We still have plans to one day do a trad-surf EP just to prove to ourselves and others that we can.

Anyway, I have rambled on. It is probably the wrong way to look at things when coming into a new album. But I really do look at this album as the 'slate cleaning' album. As stated earlier, it represents everything we have done, both as a band and as just myself writing in hopes of one day having this band. With this release we will be able to focus on what is next. I do know that writing for the next album has already started. Even more, my intent is to write all the material for it with an 'album' in mind, vs. just writing songs. I feel a little wrong for even saying all of that. When I first came up with the idea for KBK it was never in my mind that we would ever be able to record anything. Now we have an EP and soon-to-be album under our belts. It is a blessing, to say the least.

Noel:
What is the origin on the name, "Corridor X"? Is it related to a theme or concept behind the music you've recorded for it?

Noah:
The name has a history with the band. First of all, it just had an ominous feel that we thought fit the atmosphere of the music. Mostly, though, the name comes from a short stretch of unfinished highway that we often travel to and from playing in Memphis. The stretch has a history of bad luck in regard to vehicle problems for us. Yes, we are naming our album after an area that has brought us nothing but bad things.

Noel:
You've mentioned that Kill, Baby...Kill! have moved past the original horror/thriller theme that informed your debut EP, "Sometimes They Come Back!" Can the listener hear that journey in "Corridor X"? Is there a discernible change in substance or style in the new tunes?

Noah:
I have stated that we have moved past the 'horror' themes. This is probably an overstatement. We simply aren't concentrating on being a horror themed band anymore. If those themes come out in the music then we will run with them. Otherwise, to have them there would be a tacked on effort. We realized last year that themes of the apocalypse were much more common in our music. Even more, we have most often heard our music described as this. I suppose that it could all be taken wrongly though. Being a horror fanatic, those apocalyptic themes seem right at home beside the themes of murder and possession. Perhaps our horror elements have just evolved to include new aspects of the genre.

Being that 'Corridor X' is a culmination of everything we have done since the beginning of this incarnation to now, the horror themes are still there. But these themes are spread among a lot of apocalyptic tracks as well. As far as hearing the journey, the songs on this album were written between 2003 and 2012, so the journey is surely represented, just not chronologically in the sequencing. If you really pay attention you will certainly be able to tell the songs that I personally brought into the band and those that were either written as a unit or heavily inspired by the talent I had available when I was writing them.

Noel:
Did all of "Sometimes They Come Back!" get redone for the new record or just some of the tunes? Why?

Noah:
Yes, the entire EP was re-recorded for this album. There are many reasons that we chose to do this. We were very proud of that EP when we completed it. For a band that had been performing for five months upon recording it, the quality is quite good. But the fact remains that we were a young and undeveloped band. There were a couple of musicians in the band then that, despite being awesome people, simply weren't that skilled, and the arrangements suffered for it. We lost our rhythm player and replaced our Bass player last year. The new bass player really brought in a missing element to the band, including on these songs, and we wanted to get that new vision out there.

Another reason to re-record them is that, despite really good sales, the EP was self-released and self-distributed. The new album is being released on Deep Eddy Records. With that comes better distribution and visibility. We still find these songs to be some of our stronger material and wanted to take advantage of the opportunity to spread them further.

Noel:
Can you explain what you did to the tunes you re-recorded to give them the sound and feel you wanted? Are they conceptually more like the new music?

Noah:
Some of the songs simply are played faster, with more aggression. Others have much more lush instrumentation. Those who are familiar with the EP will notice a distinct difference on Turn Your Insides Out especially. It certainly fits better conceptually this time around. But, then again, that song really was the first song we wrote as an entire band, and was the beginning of defining what really was the 'Kill, Baby...Kill! sound'.

Noel:
Here're a slew of questions about something you touched on. Feel free to respond any way you want. Lots of surf music (but not all happily) stopped sounding like the original first wave a long time ago. How do you define a surf band? Why do you think KBK isn't anymore? And what do you say to someone like me who thinks the surf music genre is big enough to include you?

Noah:
Honestly, Noel, I am not sure what define 'surf music' anymore. I know that 'surf' means different things to different people. Those lucky enough to have experienced the first wave, as far as I can tell, seem to have a much more strict definition. Those in my age range, who were lucky enough to experience the 3rd wave first hand, more often than not, seem to be a bit more open to the idea that the sound can and has evolved.

None of that really matters to me in the end though. We play instrumental rock music with influences of surf, indie, punk, DC Hardcore, metal, etc. People can either accept us for what we are or not. As far as our place in 'surf music' goes, my belief is that the genre is big enough for us and many others that are pushing the boundaries. I have stated before that this album isn't going to convert detractors of our first EP, and that statement couldn't be more true. There are surf parts, hardcore breakdowns, heavy metal harmonies, gothic textures, and even mid-90's emo sections. We didn't set out to include any of this. The only idea originally was to just play surf music. But these influences run deep and it would be foolish of any band to deny their inspirations when writing.

Noel:
You mentioned that Turn Your Insides Out is the most-changed of the EP's tunes on the new record? Do you have a favorite overall track on the new LP or one that encompasses everything you were trying to achieve?

Noah:
I honestly can't say that at the moment. Once again, we haven't reached final mix yet. There are elements on all of these songs that I love.

Noel:
You said you wanted the record to sound "huge". Can you explain that?

Noah:
'Huge', in my mind, is much different than loud. I am well known to get into arguments with my band mates over being too loud overall. When we say 'huge' it is largely a reference to drums and the rhythm section. We are a much more bass and drum heavy band than most in the genre. Even more, 'huge' is referencing lush instrumentation.

Noel:
Are you prepared for the reaction Corridor X is sure to generate?

Noah:
I touched on it earlier, but we have long tried to stifle expectations with anything this band does, as we honestly never saw ourselves as far along as we are. We are proud of the songs on this album and hope they find their audience. If that happens than we will be satisfied. Strangely enough, I am more looking forward to criticism. We expected a lot after the release of our EP, yet received very little. I know this isn't because it was some masterpiece, but more of the 'if you don't have something good to say then say nothing at all'. Criticism can be difficult to take, but certainly goes a long way in the learning process, which we are very much still deep in at this point in our career.

Noel:
Are you planning to debut the new CD its’ entirety at the Instro Summit in May?

Noah:
We do hope to have copies available at Instro Summit. The plan is to set an official release date later in May, but to offer the album to those attending the Summit. Instro Summit has been very important to us over the years. Most of us would probably say that it was the very first time we felt embraced by the community. Offering it up at the festival is our little way of saying 'thank you' to all those in the community who have supported us.

Noel:
Sorry to be ambiguous. I meant are you going to play Corridor X in its' entirety?

Noah:
Don't apologize. I like having this to do to get a break from work in the office. I am sure the entire album will end up in our set during Instro Summit. Well, I say that. That depends on time constraints. Being the last band that night, we probably will not be as confined as others. But I am sure we are willing to dump a few of the older songs from the set to allow time to introduce some of our new, post-album material.

For Part 1 go here.
For Part 3 go here.

This is Noel. Reverb's at maximum an' I'm givin' 'er all she's got.

Last edited: Apr 14, 2013 13:42:08

Noah Holt of Kill, Baby... Kill! - Interview by Noel

Part 3 – The Future

For Part 1 go here.
For Part 2 go here.

These last questions deal with the future of Kill, Baby...Kill!

Noel:
Who is writing the music for the next release? Are there various collaborations on things or does each writer get his turn at something?

Noah:
Writing is the same as always. Mostly I bring in the ideas and basic structure. Then we play around with the songs for a few weeks to see what they become. Everyone has their say in the end. Even when I write parts for the other guys, they are just shells with room to create within. I am always open to new songs if the guys being them in, but that just isn't how things have worked so far.

Noel:
Now that you've found your voice, is the writing going easier?

Noah:
I wouldn't say writing is easier. Yes, the voice is there. But that voice has proven broad. What has been defined is that we can go in any direction we want. When this band started I had been writing for an overall sound. Now, years later, I have musicians that all have their own strengths and style. I am now trying my best to keep the individuals in mind when writing. We have two new songs just introduced into our set. They mark the first time that I honestly wrote with utilizing our key player to the full extent. Both feature interplay between keys and guitar that haven't been heard before in our previous recordings.

Noel:
What can you tell us about the music now being written for the new record? How different is it from what's on Corridor X?

Noah:
I wouldn't say that the music is different. If anything, the new songs seem to be an honest extension of everything we have learned over the years. I believe they are playing up our strengths, rather than trying hard to fit into a mold, which is what much of the very early material did.

Noel:
Will there be a single or EP to whet our appetites and then a full-length LP, or do we have to wait for the whole LP?

Noah:
Time will tell on this. We have a vinyl comp due out in the coming months that will feature an early version of one of the new 'Corridor X' tracks. Then there are a few split EP's in the early works, possibly with Dead Rocks, Gravitron, and This Machine Kills Robots. I really hope these all pan out, but right now the priority is on the album and promoting it. Not to mention, these all look to be vinyl, which is very expensive. All of the stars will have to line up.

Noel:
Do you have a working title or fully-formed concept driving the writing, or is the music just erupting spontaneously from inspiration now that you're focusing on your own expectations and internal artistic desires? If this could be your perfect record, what would you put in it and how would you describe it?

Noah:
I used to write around song titles. These days I sit down with my guitar plugged in, during the rare opportunity when my children don't have my attention, and just play. There are always new riffs and chord patterns coming out. They get filed away and eventually a few come together in a way that I think is a good song to introduce. I have never been a prolific songwriter. Frankly, I have always been jealous of people like The Man from Ravcon that just churn out new material. If I get four songs written in a year I consider it a successful year. But I can say that what does come out tends to always get complete approval from the entire band. And that is what is important to me.

Noel:
Is there anything you'd like to add that I forgot to ask about?

Noah:
Not at the moment. Keep the questions coming if you have them. But, perhaps we should revisit this interview next month, once the album mix is in, to see what has changed.

Noel:
Are you finally satisfied with Corridor X now that it's finished?

Noah:
All things considered... I am satisfied. Like any recording, there will always be things that stand out to myself and the other members that we wish could be changed. But that is the reality of recording. It is a record of a song at that time. With that said, the recordings are already effecting how some things are played live.

Noel:
Is there anything about the record or its' recording process you would do differently?

Noah:
Well, the only thing I would have changed is the amount of time we had. But the budget was what it was.

In the future I really hope that we can get a chance to demo all material and sit on it for months before we enter the studio for an album session.

Beyond that, I hope we spend more time in the studio in the coming years working on demos and EPs. Studio experience is invaluable.

We also plan on not doing one long session next time. We hope to record a few tracks at a time, as we can afford them, for the next album.

Noel:
What's next for Kill, Baby... Kill!?

Noah:
Next up is touring, touring, and touring. So the same thing we have done for the past three years... There are early talks of a split CD/EP in the works that we are super excited about. But these things could and do fall through. So details aren't going to be talked about until we know for certain. If it happens it should be available in early 2014.

Noel:
Having said that, is there anything else you want to say that I didn't ask you about? Feel free to say anything at all.

Noah:
Not really just please buy our record and support original independent artists and labels such as Deep Eddy and Double Crown. There is so much great instro music being released currently. It is a shame that so much of it is being missed by many who claim to have such a love of this genre.

Also, I have to thank the surf community. We came into it as outsiders three years ago and have been welcomed with open arms by so many. Our appreciation can't be expressed enough.

Acknowledgements:

I want to sincerely thank Noah Holt for the considerable time and thought he put into his very personal and revealing answers. That this interview exists at all is a testament to his confidence in me, for which I will be ever grateful.

Thank you, Noah.

Kill, Baby… Kill! on the Internet

Noah Holt is on SG101 at
http://surfguitar101.com/profile/view/killbabykill34/

On ReverbNation at
www.reverbnation.com/killbabykillal

On Facebook at
https://www.facebook.com/killbabykillal?fref=ts

On MySpace at
www.myspace.com/killbabykill

Find Sometimes They Come Back at

Deep Eddy Records
http://www.deepeddy.net/merch.html

Double Crown Records

http://www.doublecrownrecords.com/search.php?search_query=sometimes+they+come+back&x=0&y=0

Look for Corridor X on May 7, 2013, at Deep Eddy Records
https://www.facebook.com/DeepEddyRecs?filter=3

For Part 1 go here.
For part 2 go here.

This is Noel. Reverb's at maximum an' I'm givin' 'er all she's got.

Last edited: Apr 14, 2013 13:55:15

Great interview!
I always like that Noah never misses a chance to encourage the support of new and original music, not just his own but that of others as well.
Honest, insightful answers, good questions,......Job well done

http://www.facebook.com/CrazyAcesMusic
http://www.youtube.com/user/crazyacesrock
http://www.reverbnation.com/crazyacesmusic

Too much hype! Need it now!

Storm Surge of Reverb: Surf & Instro Radio

Can't wait to hear the whole thing. Great read guys!

Mike

manfromravcon.com

My review of Corridor X is here.

This is Noel. Reverb's at maximum an' I'm givin' 'er all she's got.

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