input: Using the same equipment from the sessions that produced the majority of Feed Me Weird Things Tom now set about working on the material for his first album for Warp. His broad conception for this record was "to push away from the jazz influence that was being felt at the time to a more soundtrack-type of sound". According to Tom he was listening to, amongst other things, early Lalo Schifrin and the "Deathwish" soundtrack by Herbie Hancock around this time. That said, the album also contains some abrupt diversions into quite different musical territory, evidenced in what Tom calls the "Industrial Psychedelia" of "Chin Hippy" and "Rustic Raver". Tom's electric bass work becomes very apparent on this record. He states that he was "still battling with the influence of Pastorius." He wanted to "make the styles interrogate each other, such that one track would question the premises of another and vice versa. As such I suppose it might indicate tentativeness, but in my mind at the time I liked the idea of bringing musical assumptions into question by smashing stylistically divergent elements into each other". In this he follows a precedent set by Frank Zappa, whom Tom claims is "always hovering in the background" for him. The sleeve artwork was generated from a set of images taken by Tom wandering about Chelmsford town centre. The front cover image is based on a view of the Gasometers situated at Wharf Road, near where he lived as a teenager. The 8-bit graphics reflect Tom's resurgence of interest in old video consoles and home computers at that time. This location was subsequently used in some of the press shots in the Hello Everything promotional campaign.

Answer this question "Were there any difficulties making the album?"
output:

Problem: Background: Robert Dennis Crumb (; born August 30, 1943) is an American cartoonist and musician who often signs his work R. Crumb. His work displays a nostalgia for American folk culture of the late 19th and early 20th centuries, and satire of contemporary American culture. Crumb is a prolific artist and contributed to many of the seminal works of the underground comix movement in the 1960s, including being a founder of the first successful underground comix publication, Zap Comix, contributing to all 16 issues. He was additionally contributing to the East Village Other and many other publications, including a variety of one-off and anthology comics.
Context: In January 1967 Crumb came across two friends in a bar who were about to leave for San Francisco; Crumb was interested in the work of San Francisco-based psychedelic poster artists, and on a whim asked if he could join them. There, he contributed upbeat LSD-inspired countercultural work to underground newspapers. The work was popular, and Crumb was flooded with requests, including to illustrate a full issue of Philadelphia's Yarrowstalks. Independent publisher Don Donahue invited Crumb to make a comic book; Crumb drew up two issues of Zap Comix, and Donahue published the first in February 1968 under the publisher name Apex Novelties. Crumb had difficulty at first finding retailers who would stock it, and at first his wife took to selling the first run herself out of a baby carriage. Crumb met cartoonist S. Clay Wilson, an art school graduate who saw himself as a rebel against middle-class American values and whose comics were violent and grotesque. Wilson's attitude inspired Crumb to give up the idea of the cartoonist-as-entertainer and to focus on comics as open, uncensored self-expression; in particular, his work soon became sexually explicit, as in the pornographic Snatch he and Wilson produced late in 1968. The second issue of Zap appeared in June with contributions from Wilson and poster artists Victor Moscoso and Rick Griffin. In December, Donahue published the still-unreleased issue as #0 and a new third issue with Gilbert Shelton joining the roster of regulars. Zap was financially successful, and developed a market for underground comix. Crumb was a prolific cartoonist in the late 1960s and early 1970s; at his peak point of output he produced 320 pages over two years. He produced much of his best-known work then, including his Keep on Truckin' strip, and strips featuring characters such as the bohemian Fritz the Cat, spiritual guru Mr. Natural, and oversexed African-American stereotype Angelfood McSpade. During this period, he launched a series of solo titles, including Despair, Uneeda (both published by Print Mint in 1969), Big Ass Comics, R. Crumb's Comics and Stories, Motor City Comics (all published by Rip Off Press in 1969), Home Grown Funnies (Kitchen Sink Press, 1971) and Hytone Comix (Apex Novelties, 1971), in addition to founding the pornographic anthologies Jiz and Snatch (both Apex Novelties, 1969).
Question: were they successful in their attempt ?
Answer: Zap was financially successful, and developed a market for underground comix.

Question: Sia Kate Isobelle Furler (; born 18 December 1975) is an Australian singer-songwriter, record producer and music video director. She started her career as a singer in the local Adelaide acid jazz band Crisp in the mid-1990s. In 1997, when Crisp disbanded, she released her debut studio album titled OnlySee in Australia. She then moved to London, England, and provided lead vocals for the British duo Zero 7.

After Crisp disbanded in 1997, Sia moved to London, where she performed as a background vocalist for British band Jamiroquai. She also provided lead vocals for English downtempo group Zero 7 on their first three studio albums and toured with the group. On Zero 7's 2001 album Simple Things, Sia contributed vocals to two tracks: "Destiny" and "Distractions." The single "Destiny" peaked at No. 30 on the UK Singles Chart. In 2004, she provided vocals for Zero 7 on "Somersault" and "Speed Dial No. 2" (from the album When It Falls). In 2006, Sia again collaborated with Zero 7 for the group's third album, The Garden and hence she is regarded as the "unofficial" lead singer of Zero 7. In 2000, Sia signed a recording contract with Sony Music's sub-label Dance Pool and released her first single, "Taken for Granted", which peaked at No. 10 on the UK Singles Chart. In 2001, she released her second solo album, Healing Is Difficult, which blends retro jazz and soul music and lyrically discusses Sia's dealing with the death of her first love affair. Displeased with the promotion of the album, Sia fired her manager, left Sony Music and signed with Go! Beat, a subsidiary of Universal Music Group (UMG). At the APRA Awards of 2002, Sia won the Breakthrough Songwriter category alongside Brisbane pop duo Aneiki's Jennifer Waite and Grant Wallis. In 2004, Sia released her third studio album, Colour the Small One. The album employs a mixture of acoustic instruments and electronic backing to her material. The album spawned four singles: "Don't Bring Me Down", "Breathe Me", "Where I Belong" and "Numb". "Breathe Me" peaked at No. 71 in the United Kingdom, No. 19 in Denmark and No. 81 in France. "Where I Belong" was scheduled to be included on the soundtrack for the film Spider-Man 2; however, owing to a record label conflict, it was withdrawn at the last minute. Dissatisfied with Colour the Small One's being poorly marketed and struggling to connect with a mainstream audience, Sia relocated to New York City in 2005. During that time, "Breathe Me" appeared in the final scene of the U.S. HBO television series Six Feet Under, which helped increase Sia's fame in the United States. Consequently, Sia's manager, David Enthoven, set up a tour across the country to maintain her career.

Using a quote from the above article, answer the following question: Did they release any albums?
HHHHHH
Answer:
On Zero 7's 2001 album Simple Things,