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The best kept secret in music


"Relix Magazine"

Hacha (Encino, California) is a hard hitting four-piece rock band with a bluesy undertone. There’s nothing modern about the band’s sound yet they drink from the same musical well as the likes of The Faces and the Black Crowes with a tad of Gov’t Mule influence. The band actually formed back in Connecticut in 1997 and eventually moved to the West Coast where they currently reside. Their music is simple but energetic and in-your-face rock that’s laced with some impressive guitar work. Hacha keeps most of its songs within the four-minute range but packs a lot of power into them. The vocals are a little on the raw side but the band has some memorable songs with strong hooks and guttural grooves. They have two albums out to date and are presently working on material for a third disc. Their self-titled album has some good material, especially the cacophonous tones of the instrumental "Take A Bow" and the infectious "What About Bo," which features impressive guitar work - Mick Skidmore


HACHA – HACHA: Hacha is the self-titled CD from Hacha - a southern "chant" rock band. Hacha is four longtime friends who have played hundreds of live shows perfecting their craft and establishing a solid following. This nine track collection is written and produced by the band and has a raw experimental flare that is just plain fun. Hacha builds on the foundation of great rock music from the 60's and 70's, including jam bands such as The Allman Brothers. Their sound is reminiscent of the Black Crowes since Hacha's lead singer Chris Bell who is also the rhythm guitar player, sometimes sounds like Chris Robinson. Charles Etienne provides upbeat percussions. Lead guitar and bass are expertly handled by Harold Papineau and Mike Murphy, respectively. Although Hacha's sound follows the road of classic rock music they take off on their own unique journey. A good example of this is track two entitled 'Borrowed Time' that has Led Zeppelin like riffs but soon drifts off into original solid rock guitar solos. 'Ladia-Mine' has a lot of interesting bridge changes, a blasting beat and explosive guitars. 'Take a Bow' starts off with some weird Hendrix like stuff and flows into a beat laden part that meanders into some cool spacey like guitars. Hacha, which is a combination of the names Harold and Charles, is alchemy of classic rock with a hard modern edge, a funky flare in an original formula.
• Recommended Tracks: (2,5,8) - Laura Turner Lynch for Kweevak.com

"Cosmik Debris"

They call it "southern chant rock," but the sound of this quartet, now based in Southern California, owes nearly as much to the New England jamband scene of their native Connecticut and environs as it does to the Dixie roots they give props to, such as the Allmans, the Black Crowes and Gov't Mule. They dig a little deeper into the blues, and rock a little harder than average, but their overall style would fit right in at High Sierra or any of the other jam festivals that pop up each year.
That is, of course, a good thing in my view. It's a style of music I like a lot when it's done well, and Hacha does it very well indeed. They're song-oriented, avoiding the tendency to slip into endless, pointless explorations of "the groove," which moves them several steps toward the head of the class, and they're capable players. One of their most distinguishing characteristics, though, is that they're a very tight unit, weaving four pieces so seamlessly that the net effect sounds much fuller than the lineup suggests.

Part of that comes from their background as childhood friends, part of it comes from a dedication that has kept them gigging regularly since they formed the band in 1997 despite the fact that they ended up attending separate colleges, and part is their dedication to live communally in southern California while they try to break out of the northeast regional scene that has provided both nurture and limitation up to now.

With their first southwest tour lined up and some quality LA showcase dates on the calendar, Hacha has the talent and material, and should soon have the exposure, tohave a major impact. This is another one of those rare chances to say "Oh yeah, I heard 'em when...." Don't miss out.

- Shaun Dale

"Delusions Of Adequacy"

Don’t call Hacha a jam band. I don’t think these guys would appreciate that very much, and for good reason, as “jam band” is more of an accusation than an innocent observation or compliment. Sure, they’re a little jammy – there’s a hint of… dare I say it and risk my position here at DOA as well as the respect of fellow indie music journalists everywhere…? Oh what the hell, there’s a little Dave Matthews Band, a little Dispatch, and a little Gov’t Mule in Hacha’s root-rock sound. But there’s a lot more blues influence, a lot more groove to it, and it’s just generally far more intelligent than any Phish-esque jam. Really, don’t worry – those comparisons don’t mean much. Hacha is actually good.

“Belly Up,” like most of Hacha’s other songs, wears its influences on its sleeve and isn’t afraid to roll that sleeve up when things get crazy. If your speakers happen to be leaking flames, don’t worry, that’s a normal side effect of Hacha’s absolutely sick guitar work. The bass is funkier than any other band sharing Hacha’s style would dare attempt to pull off. At times it sounds like every member of the group is blissfully shouting or harmonizing, showing a complete infatuation with their music. Hacha honestly sounds like a handful of friends just messing around with a classic sound, but a group of friends that happens to be insanely talented. There isn’t a doubt in my mind that these guys could play a song for as long they wanted to and easily keep it fresh and on all fours.

If this is where jam music is heading, I have one thing to say to the jammers of the world: by all means, let Hacha lead the way, and take some notes while they win over more and more of the O.A.R. fans.
- Owen McLean

"Campus Circle"

The Key Club’s plush lounge was transformed into an alternate psychedelic universe as Hacha took over and treated friends and fans to a high-energy rock fest to celebrate the release of their third album, Moorpark Street. This on-the-verge, bluesy Southern rock band that has raised impressive comparisons to the Black Crowes and The Allman Brothers displayed the remarkable combination of laid-back Charisma and electric spirit that kept the crowd buzzing all night long. The boys of Hacha have known one another since grade school in Connecticut and have played together for seven years, developing a signature style. Their live show consisted of two sets, the first being original compositions from their new album, including the lively "Belly Up" and my personal favorite "Gypsy Cab." The second set revisited favorites from past albums and extended the aura of familiarity as they tackled classics like "Whole Lotta Love," "Sweet Home Alabama" and "Lovelight." Providing many of the show’s fun moments were Hacha’s generous guitar and drum solos, which allowed each and member to showcase the bona fide skills behind their sound. And with the lead singer repeatedly encouraging alcohol consumption and praising our "beautiful mouths," it did feel oddly like a warped version of home. - Ada Tseng

"Glide Magazine"

Hacha produce a Classic Rock feel with this album—it’s not particularly unique, but it’s original because… it’s good! And let me tell you, there’s nothing wrong with sounding like Ozzy (“Belly Up”). Granted, it’s the kind of music that has always been a sort of benchmark for me: A little Zepp-ly, some heavy guitar, a few funky bouncy riffs and some lighter picking to add just the littlest bit of pop to the mix—but not too much. Still, it was refreshing to put in an album and just enjoy it.

I liked the heavy and funky first track, “Campfire,” but thought it was too long by half (it’s also the same riff as “Brown Rabbit”). These guys do tend to stretch their songs out: most of the songs are over five minutes, with one topping twenty, but it’s an indication of what their live performances are like. I was pleasantly surprised by how “5 Foot Three” sounded completely different (sort of a down-home, around-the-fire music). A highlight was the masterful “Diddly,” a softer, subtler, slow burner that built up to a rocking climax.

Honestly, this album was a surprise. I really liked it. It’s good to hear some kickass rock and roll again, and I realize I’ve been starving for it. If you like your beer tall and your rock hard, take a trip to Moorpark St.
- Benjamin Bruce


1999 - "Meet The Tinker" HMC Release
2000 - "Hacha" HMC Release
2005 - "Moorpark Street" - HMC Release


Feeling a bit camera shy


Roots rock, uprooted... Hacha may have been influenced by the Allman Bros. and Black Crowes, even sharing the stage with these legends on occasion, but this quartet of twenty-somethings is hardly classic rock nostalgia. Forging new ground, with each performance, both to their audience and themselves, HACHA builds on this foundation and creates something that is all their own. At times their sound is vaguely familiar, but just when you are about to identify the riff it veers off into something new, unexpected, and all together exceptional.

This is the result of a musical collaboration of lifelong friends. A comfortable old sofa of familiarity exists between the band, that was formed while the members were still learning the quadratic equation. This gives them the freedom to venture into new territory, to experiment, and just rock without fear of ridicule or mockery from their band mates. They have formed a circle of trust inside their compound, the Hacienda de Hacha in Encino, California that extends to the stage and to the studio.

Formed in Connecticut in 1997 by friends whose lives were so inexplicably woven together it would take two thirty packs and a couple hours to get the story straight. It doesn't hurt that they have honed their craft by playing hundreds of shows across the United States in venues ranging from small clubs to large theaters.

Shuttling between their respective colleges HACHA toured the Northeast extensively while sharing bills with some of the industry's finest performers. HACHA has shared the stage with Guster, JGB, the Derek Trucks Band, Roberta Flack and members of the Black Crowes, Allman Brothers and Gov't Mule just to name a few.

They have pulled up their roots (so to speak) and have moved to Southern California where an extended family of crew, and dedicated fans continue to boogie to the sound of their Untraditional American Rock, which melds inspired rock with soaring, extended choruses. HACHA has since hit the ground running from their new West Coast Headquarters, providing tour support to Strangefolk, Railroad Earth, Tea Leaf Green as well as headlining festivals and outside markets. HACHA is the product of friendship channeled into a balance of musical experimentation and melodic songcraft. The result of which demands a critics' attention and a listeners' enjoyment. States in venues ranging from small clubs to large theaters. Formed in Connecticut in 1997 by friends whose lives were so inexplicably woven together that it would take two thirty packs an a couple of hours to get the story straight, HACHA defined their sound at Brandy's, a Restaurant/Bar owned by Bassist, Mike Murphy's, Parents.

During Breaks from their respective colleges HACHA toured the Northeast extensively while sharing bills with some of the industry's finest performers. A small sample of the artists HACHA has shared the stage with include Guster, Stangefolk, Jerry Garcia Band, Derek Trucks Band, Roberta Flack and members of the Black Crowes, Allman Brothers and Gov't Mule.

They have pulled up their roots (so to speak) and have moved to Southern California where a whole new section of the country can hear their signature sound of southern chant rock, which melds southern inspired rock with soaring, extended choruses. They have taken up residence in the aforementioned Hacienda de Hacha 2.0, so named because it is the second installment, and are ready to launch an offensive throughout the Southwest this fall. HACHA is the product of friendship channeled into musical experimentation and the result is something special.