INTERVIEW: haha Laughing
haha Laughing at the Holiday Hootenanny by Elina Carrasco.
HOLIDAY HOOTENANNY | AUSTIN, TX| DECEMBER 2024 | BY RACHEL JOY THOMAS
haha Laughing, an Austin-based experimental noise rap duo composed of Jay Dilick and Aby Oviedo, balances humorous samples with brutal, emotive lyrics for local Austin gastropod enthusiasts and avant garde music devotees. During the group's performance at the Holiday Hootenanny, they delivered a cutting set with tracks from the 2021 project AS MY BODY BETRAYS ME, 2023 EP haunted by the dead homies, and new single “PULLED APART BY HORSES.” Oviedo, otherwise known as “baby basco” approached Radio East’s stage by stumbling through the crowd with a slug mask and camo raincoat, while Dillick, known by the band’s moniker “haha Laughing,” rapped haunting, refrained lyrics into his microphone. The initial hazy start that rainy Saturday continued as the pair added seamless samples, crashing cymbals and the sudden twist of Oviedo's saxophone into the mix.
Euphonic reporter Rachel Joy Thomas had an opportunity to interview haha Laughing before their microfestival performance, asking questions about the past, present and future of the nostalgia samplers.
haha Laughing seems like a relatively recent project based on what I’ve seen online. I noticed your album from 2021 and some work on EPs. How did you two meet, and how did that evolve into this project?
Dilick: It’s funny—we met through the music scene before COVID. Aby worked with one of my bandmates, and our bands would play similar shows.
Oviedo: We were kind of loose friends from afar.
Dilick: Then, during COVID, when all the bands broke up, "haha Laughing" started as a solo thing I was doing on the computer. It was just a way for me to cope—not just with the lockdown but also with relationship stuff, family stuff, and everything else (going on).
I had these ideas even before the bands broke up, and I’d always been shy about doing this electronic, rap-inspired kind of stuff. But in 2020, I made a lot of that music and didn’t release it until 2021. Around that time, Aby and I started dating, hanging out, and getting closer. It still took another year or two before we played our first show in 2023.
Originally, it was just a solo project with the first EP—the one with the slug on it—sitting online for a second. It wasn’t until our friend Rachel and some friends told me “you should do it live” that it really became something more. That’s when I asked Aby to join the band because they’re awesome, and I knew they’d add a really great element to the project. (Right) now it’s probably at the peak for the group’s (collaborative) aspects.
So, it transitioned from a solo project to a collaborative band effort?
Dilick: Once we started doing live shows, it became more of a band project. Now, we’re at the peak of that collaboration. Yesterday, we were recording a project Aby’s been working on. We’re doing more back-and-forth stuff, and Aby’s adding saxophone elements to everything.
Oviedo: We kind of have to transition in a way from like, it being this solo project. (We’re asking), “how can we make it more interesting and incorporate more elements for a live show?”
Dilick: It’s been a transition of doing the live shows and seeing what’s worked and what hasn’t. We're doing a lot of over the top (recordings). So, we’re testing stuff and seeing “Oh, that show, that one didn't work as well” (over time). We keep trying to figure it out.
Did you originally come up with the name "haha Laughing" as part of the solo project, or was that something you decided on together?
Dilick: (That name came) from the solo project. It’s funny because Aby’s moniker in the band is “baby basco,” and mine is “haha Laughing,” but (mine) is also the band name. It’s essentially my baby project, so that became the name I chose because I wanted it to sound like a person’s name.
(I’ve always) liked the idea of balancing silliness with being bummed out—it’s kind of how I am sometimes. The music itself is kind of intense; I didn’t want it to be something super cool or heavy, like "Skullcrusher.” (Instead), I wanted it to have a joke-y, tongue-in-cheek element to it.
I noticed that AS MY BODY BETRAYS ME stands alone and it feels like there’s been a sonic evolution and expansion in your work since your first EP. Listening to your EPs, I noticed some differences—can you talk about that progression?
Dilick: Yeah, that first one, (AS MY BODY BETRAYS ME), was made years before the others. It was me diving into Ableton and learning a lot of stuff. Even now, performing those songs live (can be tricky) because they’re mastered a lot quieter and sound more muffled compared to the newer tracks.
The first three EPs or albums—whatever you’d call them—were basically just me. I’d record in random places, like our laundry room or even in the car. The first EP was recorded using a laptop mic, so the sound is pretty raw. Over time, I got better with my using ears and figuring out what sounds good. Those first three albums were all recorded around the same time but had kind of this upward trajectory of figuring out stuff. Now, having Aby in the band and collaborating, we’ve even gone into studios to record, which makes everything sound fuller and more polished.
What originally drew you toward experimental noise rap? And how did Aby joining the project change that sound?
Dilick: I think the first stuff (that drew me in) was just that I was going through a really dark time around like 2011 or '12. There’s a lot of (music like) Death Grips and (other bands) coming around (then), and that style was new to me. I hadn’t heard a lot of (it before), and it really helped me through dark times in my life.
It gave me a really visceral feeling that I really enjoyed. And so, whenever I was playing in my rock bands, I would always (try to encapsulate) that feeling as well. (Eventually), it just kind of took stuff happening in my personal life and the world to (push me to say), “Alright, whatever, fine. I’m just going to try to do this.”
Dilick: I had a lot of imposter syndrome for a while, so I think that’s (why) I gravitated toward it—it just really gives me this sense of triumph. I just like it. (That’s where I started from), and then adding Aby to it (really shifted things). It’s not just a dude yelling, which is great.
Oviedo: I feel like I’ve brought a bit more playfulness to it, which balances out the intensity. In performances and even lyrics, I like to bring this silly, deranged, fun character, while Jay’s energy is more intense and melting.
Dilick: I feel like naturally I’m a little more intense when I’m doing the vocal stuff so it adds a contrast.
Oviedo: Together, it creates a (synergy) that makes the sound feel more dynamic.
Dilick: Yeah, Aby’s energy has definitely brought a fresh dimension. It reminds me a bit of classic hip-hop, like the Beastie Boys or older Public Enemy, where they’re just throwing stuff out there (back-and-forth). It’s fun and less self-serious, even though the music itself remains intense. That contrast is something I think really works for us.
I’ve noticed that, starting in 2023, your projects have featured more glitchy elements and an interesting juxtaposition of energies. For example, tracks like "SPIN AROUND / DIRT MOUTH" have this intense, throaty energy, while tracks like "A CURTAIN OR (A SPIDER WEB)" lean more into an ethereal vibe. How do you balance those contrasting styles and energies within your work?
Dilick: That whole EP was all about my grandpa passing from dementia and my other friend passing from a drug overdose. There’s a lot of (intense emotions) in it, and also (just) kind of bummer stuff.
So, I purposely wanted to have a little more juxtaposition in some of the songs. "SPIN AROUND / DIRTMOUTH," (sampled) a Linkin Park song. I (sampled) that, added some stuff, and made the keyboard (parts). I was always really proud of that. It’s like the one time I felt like I nailed a pretty part.
And then the “THE CURTAIN AND THE SPIDER WEB” (was) a track that my friend Chandler (really liked). We made it together in college, so I re-downloaded it from my old Bandcamp and just added some stuff. I like to give the listener a breath of life at the end because the whole record’s a little—a lot.
For most of (our records), we try to end (them) a little smoother. Since it’s (only) 15 minutes, it’s 15 minutes of a lot of intensity. So, (with this one), it feels like a nice little “Oh, that was cool,” (reprieve).
It’s like a moment to process everything.
Would y’all say that your two 2023 EPS have a very similar sonic exploration or progression because they came out in the same year? Or are you doing different things between the two EPs that you released there?
Dilick: The second one totally came from a lot of beats I made for other people during COVID that didn’t end up going anywhere. So, I was like, “I’m gonna go back and yell over them.” Some of them have a different kind of quality because of that. And then I remember making the other EP and purposely trying to have it be brighter and with a little more going on.
Oviedo: Yeah, like one of the songs, “SLIVERZ OF SKIN,” we actually wrote together in the jam space—(Jay) was on the drums or the bass. I don’t know; we were just switching back and forth. And then (Jay) went home and made it really quick, and I was like, “Oh, that’s cool.” I guess that’s the first one I was a part of.
Dilick: Yeah, technically. It was really cool because the rest of those songs were ones I’d been working on, and that one just fit in.
Oviedo: Yeah, and I also did vocals on the second one.
Dilick: It’s kind of a scattered history because, back then, it was more of a solo thing, and I’d just be like, “Hey, I’m putting this record out today,” and then send the link. Now, it’s a lot more of a collaborative process, I feel. But I do think there’s growth from that record to the next one. The one I’m most proud of is haunted by the dead homies, with “SPIN AROUND / DIRT MOUTH” and stuff. I feel like there’s a nice contrast of stuff on there.
What was your first concert like as a duo, and what was that experience like?
Dilick: Oh, I remember it. Right before that—yeah, it was January 13th, 2023, because it was a Friday the 13th, I think. It was before we went to New York for (Aby’s) birthday. And I think that was literally the second show. The first one was a lot of fun. It went better than I thought, but I was really anxious about (the second one). We opened the show... Wait, where was it? It was at the Chess Club. The stage used to be closer to the door entrance, but now it’s on the other side.
Oviedo: Yeah, and our old bandmate Everett was in the band too. He just played the saxophone (back then).
Dilick: At that point, I think I was just like, “Hey, I need y’all to be behind me and be silly because I feel shy about this.” I don’t even think we had much planned—we were just figuring it out as we went. It took a lot of shows to incorporate all the elements we do now. I don’t even remember what I did in that first set.
Oviedo: I think there’s a picture of it on our Instagram. But yeah, I remember it went well. People seemed to like it, and honestly, the best part was that I didn’t feel embarrassed afterward. That was the main thing I was worried about.
Dilick: Yeah, we walked away from it feeling stoked.
Oviedo: Well, yeah, that’s the best memory to have, right?
Dilick: Later on, we started adding more live instruments and layers at the end of our sets, but we didn’t do that for the first one. I think I played guitar. I remember we played “SLIVERZ OF SKIN” later on, after we made and mastered it, and then played it in the next set.
Oviedo: Yeah, it’s crazy. I remember the timeline so clearly because of that. Something with us on your birthday or something like that.
When it comes to your live performance, how do you translate your Ableton recordings for each venue?
Dilick: We switch things up every time. So, I’ll make a set on Ableton where I get all the songs, put them on, create new transitions, and we practice over it. It’s always a little different, with the samples used to transition and the order of songs. We try to make it so if anyone comes to more than one show, they won’t see the same thing. Even though we’re playing songs we’ve been doing for two years, we switch it up so it still feels like a surprise for people.
Oviedo: Yeah, for “SLIVERZ OF SKIN” we had a new song for the South By (Southwest) set. I just threw it in there, and we had someone master it, then added it to the set. We figure out keyboard parts and stuff, but it plays in the background while we add the live elements on top.
Dilick: And then on Ableton Live, Aby has samples and keyboard sounds we use. My Ableton knowledge is mostly for the band. I’ve just learned how to make stuff that sounds good, but there’s so much more people can do with it. Other people are way better at it, but it’s working for us so far.
Self-taught musicians are often way better than classically trained ones.
Dilick: Like Beethoven! No, I’m just kidding.
I’ve seen some photos from your performances where you each wear raincoats. Is that any specific part of your live performance?
Dilick: I wore the raincoats as part of dealing with being kind of shy. (Instead of) just going up there in my clothes and saying, “What up!” I was like, “Oh, we can wear raincoats.” It was influenced by the Beastie Boys, how they would wear matching outfits. Raincoats were easy, and now it’s kind of become a thing. That’s not a forever thing but it (helps us) match a lot of the times. Aby will have an outfit underneath it that won’t match colors.
Oviedo: I definitely plan what I wear under it. (I wear) whatever will make me the most confident version of my (character) on stage. The raincoats feel like a comfort blanket (over top). I had a lot of stage fright when I started performing, and I had to wear sunglasses at every show to make me feel safer. The raincoats are fun unless it's 100 degrees and you’re playing at Mohawk. We only wore them for a song (though), and it was fine.
Dilick: We've also worn beach shirts with bodies on them and dressed up for Halloween shows. I like the idea of matching so much that if we ever go on stage not matching, people will notice. It adds to the experience.
Oviedo: I remember this one time after a set, someone came up to me and said they were scared when they saw us walk out in those raincoats. They didn’t know if we were going to spray them with stuff or throw water or blood on them. We were just wearing them, but it made people question what was going on.
Your most recent single, “PULLED APART BY HORSES,” really expands your discography in an interesting way. It has a lot of sonic depth, combining the noise rap sound with influences from 100 Gecs and Death Grips. It feels fuller compared to some of your quieter songs with a definite progression in mixing. How do you feel about this new direction?
Oviedo: I’m excited to have my name more on it. It started with (Jay), but now I feel like I can own some of it and put more ideas into it. Yesterday (while) recording, Jay had an idea for vocal styling, and I tried it out but (I wanted to do it differently). We kept trying different things, and collaborating like this makes us find new ideas we wouldn’t find with (just) ourselves. It’s another brain to bounce off of. There’s more space and more of a story.
Dilick: It’s sometimes indescribable. If it was just me doing the backing vocals instead of me and Aby it wouldn’t hit as much as it does. We recorded the vocals and saxophone at our friend Hutch’s studio in Windsor Park. It’s a shack behind a woman’s house, but that’s where we did our vocals for the new stuff.
Oviedo: (Jay’s) beats were great. But oftentimes, for people to latch on to a song, they need to be able to recognize and latch onto the lyrics. So I was like, maybe we should start recording our vocals in the studio instead of in the laundry room.
Dilick: It’s funny because the beat was too good. When I heard the beat to (“PULLED APART BY HORSES”) after not listening to it for six months, I thought, “We have to put this out.” It made my car shake.
I saw the music video for “PULLED APART BY HORSES.” I know Flood Magazine did something with the release. It’s got some really evocative, “destructive” imagery, so I wanted to ask—what inspired the visuals, and did you collaborate with anyone on the video?
Dilick: Our friend Kelsey helped us, and she’s amazing! She actually approached us (about making) a music video. We had one meeting and name-dropped stuff. (For me), the biggest thing was quick editing and interesting locations. The (main) location was Kelsey’s house, (because) she lives by a field.
Oviedo: The video wasn’t just our ideas. She wanted to focus on themes of decay and destruction, like buildings being knocked down. A lot of the chaos in the video came from her vision.
Dilick: She (really took the lead). I had some ideas for random stuff, but I think we just went to her place, and she was like, “I think we can do this here—in the field, in the house.”
She has a little basement in her house, and she used a body camera for some of it. A lot of (the process) was her. (Sometimes), we’d be like, “Oh, what about this?” and then we’d just try it. It basically just gave her more stuff to work with, which was the goal—to kind of have it be quick.
Oviedo: She had already been coming to our shows and recording us so she added that too.
Dilick: I loved working with Kelsey. I definitely want to do it again. The video was so much fun. We wore masks, crawled around the field, and had a blast. It was a great time.
So, you’ve been set to perform at the Holiday Hootenanny. How did you get involved with that show?
Oviedo: They reached out to us. When they told us Danny Brown was playing, Jay (and I) fangirled for about an hour.
Dilick: Danny Brown may have been the first modern rapper to get me really into hip-hop. He has a lot of songs about struggling with drug (use) and death—the back and forth of partying and being sad. He’s silly with his voice—just goated.
Oviedo: We didn’t even know any of the other bands were playing (at first)—we only knew Danny Brown was playing (when we agreed). So, we were stoked when we saw the full lineup. We’re fans of all of the other bands as well. It was so sweet that they asked us to play. We’ve been lucky enough to have some support from Resound in the past.
Dilick: We opened for RXKNephew in June, and that was awesome. So, being asked to open for Holiday Hootenanny (was a huge honor). It’s going to be fun yelling at 2:30 in the afternoon!
What’s something you wish people would ask you about your project?
Dilick: Honestly, I loved talking about the process of making the songs today. It’s great when someone asks about the details or influences. I’d love it if someone came up and said, “Hey, I heard that random sample in there.” I’m such a nerd about that kind of stuff, so that would be cool. But overall, it makes us happy when music nerds or fans of other media pick up on the hidden things in our music. We love hearing people say, “Oh, I recognize that sample!” It’s like a game for us. One day, I’d love for someone to play our music for a bird on the ground, and it rises up and flies away from the song. That would cool.
Oviedo: That’s not a question!
Dilick: (It’s) just something I wish would happen.
As a closing thought—what should fans know going into your performances?
Dilick: I want people to come to our shows and be able to release whatever’s going on—in the world, in their personal life—you know, it’s a fucking shit show. So I just want everyone who sees our shows to come, let go, have fun, feel the feelings, but also feel better after. And (I want them to) feel (connected) with people and community. Like, cathartic. That’s almost the whole point of the band—just trying to create a space where people can come, dance around, and feel that catharsis.