Hal Hewetson’s output as 300SkullsAndCounting is so complicated to explain that it requires its own genre name (cy-Baroque anti-folk pop violence, if you’re too impatient to read further). It’s both sample-driven bitcrushed noise and screamo-indebted abrasive punk, two styles united in their shared intensity. In his own words, “bullshit is a big focus,” but don’t conflate the act with vaudevillian—or Myspacian—novelty. Listener confusion can be cleared up below. We sent the London-based artist some questions to set the record straight before he offers new music this month. Until then, listen to “Eagle vs. Sheagle (feat. superkidman)."

Can you define cy-baroque anti-folk?

300SkullsAndCounting: Vampire Weekend cover of “Scary Monsters and Nice Sprites,” remixed by Max from Where the Wild Things Are. Also “Undertale on fent”—someone commented that once and I think it’s better than any definition I could give you. The full term is actually cy-Baroque anti-folk pop violence (emphasis on the violence). My upcoming releases capture its essence more than what’s currently out ... I think.

How did you learn you could scream like that? Is there technique involved?

I remember the moment I unlocked my scream very well. The words were “I can’t see which way out.” For some reason during this time period I was writing a lot of lyrics about my eyes. Anyways, I tried and failed for a while until a door opened and I discovered an attic inside my voice. It was very dusty at first but now I take good care of it and can stay up there for much longer. The cellar is still fucked though. As for technique, I just imagine Gollum.

Where do you typically find your samples? The ones that aren’t “Swing Swing” by The All-American Rejects. 

I tend to go crazy for anything in the Smithy Boy and L dot universe. Other than that, I'll grab from coming-of-age movie soundtracks, videos of me playing instruments as a kid and voice memos of my friends telling stories. I also love to bend funny renditions of stuff from my Kerrang days into cool shapes. Oh yeah, I used to wind up my mum and record it but I stopped doing that … Took it too far one time and I still don’t think she’s forgiven me. 

I heard you screened a 300-second countdown before your set in Brooklyn. Are there any other stage bits people should know about?

Nearly. It’s a ten-minute count up from 0 to 300 which I do at every show to separate the wheat from the chaff. At 3/3 shows in NY, the crowd has chanted numbers 69, 169 and 269—I much prefer that to the awkwardness I'm often met with in London. Other stage bits people should know about ummmm ... I guess the pink mic and the green pineapple shirt—that never changes. Any other artistic decisions are pretty much spur of the moment, like the voice memo moshpit in Glasgow or attempting my whole set stood on a spinny chair in BK.

You started a GoFundMe to raise money for a blood-splattered keytar. This feels like a bit, but it actually worked. Was it in earnest? Has there been a time in this project where your sincerity was misinterpreted? 

So, one of the reasons I started 300Skulls was to prove that I could make something cool and new with zero gear or plugins and actually get somewhere with it. That was the first single and EP. Fast forward a year and a bit—I’m thinking “holy shit .. I need a weapon.” At this point, I’ve begun to buy some stuff but nothing over 40 pounds. I needed 150 for the keytar plus 50 for the paint job. Gofundme was just the obvious solution to not only making this money, but making the making of this money into something fun that fans of my music could keep track of. I admit, it was comedic and a bit absurd but I wouldn’t call it a bit. The bit is that it’s a pile of shit and I did all that just because its model number is 300._x

To answer the 2nd question—yes. More so in London than anywhere else. I’ve been called a standup comedy act so much that I’ve put disclaimers in my sets and written songs about how I'm not one. I’ll say it here again in writing: 300SkullsAndCounting is not a standup comedy act. It is a punk rock project. 

What are the differences between performing as a solo act and with your more traditional band, Mitsubishi Suicide? What do you love about playing live?

I knew there would be at least one question about Mitsubishi. I’d say that performing with MS is a much more bodily and almost primeval experience. I hardly have any time to think on stage like I do with 300. Also, there’s no bullshit when MS perform, whereas, at a 300SkullsAndCounting performance, bullshit is a big focus. Technically I have more space and less constraints when solo but I definitely feel the same level of freedom behind the kit for MS. 

I love everything about playing live up until the moment I have to politely move through people to get outside. It feels like I’ve just mic-dropped and instantly picked the mic back up again to put it in a protective case. I also love the patronizing sound guys—they’ve inspired a few songs for sure.

Which came first with the collaborators in your scene—friendship or music?

Friendship. Almost always friendship. I try to keep that at the forefront of everything I make. Doing so allows you to use inside jokes and memories as instruments … Then you can crease at kids shouting “AND I GOT THE WACKINDS ON.” 

The cool thing about friends is that you can collab with their parents too. Shoutout Liz Temple Wells and Bruce Gray. Bruce, I'm moving back to Leam in October actually so we can finish that remix or work on something new if you want.

Do you know how many 300SkullsAndCounting  physical copies exist in the world?

You want me to say 300 but I have to disappoint. I think it’s a little over 150. Bigup Hunkofplastic, Sex Emo, and Double Take records. Also big up Kush (SnuffPuff Productions). We haven’t done a release together but it’d be wrong not to mention him in a question about physicals. He is the official glue of the UK screamo scene. Fuck it, while i’m at it shoutout the British Knights as well: Superkidman, Valuable Scholar (aka Donovan Trailblazer), JJ Wrigley, Kenny Cowboy and Danny Dallas. Absolutely nothing to do with 300SkullsAndCounting physical media (yet). 

Two of your songs are titled “i found the new chill spot, pt. 2” and “i found the new chill spot, pt. 1 + 3.” Where are the chill spots?

The original chill spot that both songs are about remains a secret for now. Only one fan knows its whereabouts and that’s only because they bought the 1/1 “i found the new chill spot” t-shirt. They came over from Austin, TX so I kinda had to drop it to them at the official location. I don’t chill there anymore though. Going back there brings back memories I'd rather forget ... plus there’s lots of rats there so it’s not even that chill. BUT If you’re ever in London i can show you it plus all of the other chill spots. Maybe we could make a video about it :F

Photo Credit: @nom_dutilisatrice001