For his fifth album, East of Eden (Caballo Negro, June 11th), J Hacha De Zola has left the “urban junkyard” of his previous albums and slipped into a natty white suit.

His look is more accessible this time around – see the dignified vibes of his latest single and album art – and his sound matches.

“This record is unlike any other I have made previously,” the Jersey City-based artist acknowledges. “I stayed focused on what was truly best for each song, keeping it somewhat simple – at least for me – rather than allowing myself to become overly self-indulgent in terms of running away on tangents.”


The result is an album that exemplifies the universe that Hacha De Zola has built over his four previous albums (as well as EPs that cover ground from the all-Spanish “Syn Illusión” to his versions of hits by female pop stars on “UnPOPular”), while also charting new territory.

East of Eden is some kind of place where Jim Morrison did downers instead of acid in the control room during the recording of Pink Floyd’s “The Great Gig In The Sky.”

As Hacha De Zola tells it, the creation of this record was actually less frenetic than all that.

“I came into the studio with a developed concept, and the songs written already,” he says. “This time, I had a clear cut direction ready to go. I have to be honest, I have never really been comfortable with my singing voice, and I wanted to do something that would be more challenging.”

The push pays off, as Hacha De Zola’s vocals are the focus here. Where previous records saw him vocalizing in a way that complimented the music, this time the music compliments the man.


“A big inspiration for me on East of Eden was the vocal group tradition from the 1950s and 60s,” he says. “Especially those from New Jersey, New York, and Detroit. Doo-wop groups like Sha Na Na, The Temptations, The Four Seasons, and others. Being a Jersey boy, I couldn’t help but be influenced in the rich vocal singing group tradition and history in this area.”

Digging into the roots of his musical soul, literally and figuratively, sounds pure in context throughout the new album, and especially on its pre-release singles “Lost Space” and “Which Way,” showing off a level of maturity and thoughtfulness that can only come from the development that years of album-making brings.

“Even with all of its imperfections, it was very important for me to bring the nuances of the vocal components of this record right to the front. I truly feel that I have found my own voice,” Hacha De Zola says.

With that, he may never return to the “urban junkyard” and his method of rendering records via his “reductive synthesis” method (read about it here) ever again. It is a position that is congruent with the state of the world that longed to “return to normal,” but may never be able to find the way back to exactly that.

“The title of the record reflects that,” Hacha De Zola explains. “East of Eden, a sense of being left behind or abandoned, banished from the ‘garden.’ Off to the Land of Nod where Cain was banished for murdering his brother, Abel.

“It’s a bit of a biblical reference that I found was quite apt,” he continues. “Especially during this moment of divisiveness among so many people over so many things. Lyrically, I couldn’t help but infuse many of these feelings into the songs.”

Hacha De Zola’s “Which Way” single is one that best reflects his hard-won ability to infuse these real emotions into what has become known as somewhat esoteric work.

“That song was a way of taking inventory of the chaos and confusion of the moment. It’s a somber song, and it wasn’t an easy one to write. At the time, it was very difficult to focus on anything other than trying to protect the vulnerable members of my family and not getting sick. I had to push myself pretty hard to work through the fear.”

His new strength and resolve fits Hacha De Zola well, just like the natty new clothes on his back.