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Released August 28th, 2016
Since 2015, I've been a part of an online forum called musicbanter that, much like the name, mostly consisted of chatter regarding music and heated arguments about various subjects along with interpersonal drama between forum members. One of the threads on this forum was the Forum Member Showcase, in which musicians on the forum posted their works and collaborated with each other. Much of this music, especially member Frownland's work, was under the umbrella of experimental music. Eventually, I was inspired to make experimental music of my own and release it to the bandcamp I had originally parked for the No Curfew Kids band that I had envisioned doing with an internet friend I had met on Yahoo Answers. I had previously made audacity experiments, having made a number of tracks that I didn't release until SNZZZOV*EN had become a more established project of mine. I had not heard much industrial music before having made this, but find that SNZZZFST fits neatly under the death industrial label. Most of this work consisted of heavily effecting my vocals to make harsh dense hellscapes. I sampled Fear Factory from Donkey Kong Country and reversed it as the end of one of the tracks. I left some audio of Clarence from Cartoon Network playing in the background as the end to another track. HN>SN>SN is a loose Discharge cover. N2nno was an edit of my some high school band, Into the Nothing, demo tracks with me doing strained pig squeals over, the coughing in the end of that track was genuine pain from attempting this. The last track was the first I had made, a short distorted beatbox loop. The album cover is an edit of all the previous album covers I had made up until that point layered on top of each other and probably edited in some way. And with this, my solo music really took off.
Released April 6th, 2018
After having had released a few noise albums and EPs under the SNZZZOV*EN name, I decided I wanted to take my solo music more seriously. I had been recently influenced by Luigi Russolo, whose manifesto The Art of Noise is where the title was pulled from. I set to make this release my "classical" album, making the cover art look somewhat academic to reflect the intentional mood I wished to set. A lot of these tracks I made sitting in the hall waiting on classes at community college. Notably, the first track I made while in class, on mute, entirely out of a Danny Brown sample, and didn't listen until after the class had ended. That one is probably my favorite track on here! I can't replicate the quality of noise I made in my early work if I tried, and I have plenty of times over thru the years since. Insolence was my take on the Pharmakon sound, and really one of only a few tracks where the classical music intention was vaguely reached, via using synth strings underneath hellish surges of static and a heavily distorted speech that I can't decipher entirely. I'm Sorry... very noticably uses a Sigur Ros sample, the untitled opener to Ágætis byrjun. Audiobook recording... was made using a cassette of an Ivanka Trump book that I had obtained for free from a local record store, then I put some piano and strings from my Casio over top that track sounds cool! Don't feel like delving into all the rest of the tracks to much extent but Fig. 1 is edited Tristan chord that I found on wikipedia, probably from Tristan Und Isolde. I've Only Ever Had a Vengeance on Myself was compiled from numerous guitar and noise demos I had made since high school, including some chatter that me and Neil had from one of our General Disregard band practices. The final track is an edited Koichi Makigami track, don't ask which one cause I don't remember that shit. There was a writeup under this album that I took down because my mom got concerned for my mental health whoopsie. Yeah if you couldn't tell by the track titles I was suffering at this point of my life. I remember releasing this fondly and it was a turning point in my music, even as I got progressively away from noise in the coming years. I promoted it on snapchat and other shit I was on in college.
Released June 18th, 2018
Coming off of the debut No Curfew Kids album, I got more into messing around with tracks in Garageband. There were two or three tracks on Voices... that were made in the program, but around mid 2018 I made several different tracks in it, most of which I never released and have since probably been lost. I had a dream in summer 2018 that me and my brother were walking around the woods or a park or something, and stumbled upon a dead body in a car that freaked us out. We walked through the woods high and eventually stumbled upon a second hand electronics store. Later in the dream I entered a hillside cave, when upon entering looked like a video game level. A scroll opened on the bottom of my field of vision noting that this was "Nick's Cave" (up until this point I had been aware of the musician Nick Cave but had not yet listened to his work) and the area was set up like living quarters, then the dream ended. I named the tracks on this release based on this dream, the music was loosely associated as well. I like how the drums come in slowly on the first track and am especially proud of the cathartic ending, though I wish I had added more texture as the stream water gets a bit dull for how long it loops, and the drums are a tad too spaced out in sections that makes it more tedious than it could have been. The second track I think is really cool! The crashing industrial textures in the first section are some of the better examples of audacity sound design I did back then. It was accidental as well, but love how when the drums come in they side-chain the noise. The mandolin and drums coming in afterwards gives a quite ancient feel to the track. Really want to revisit doing soundscapes like this! The final track, "Nick's Cave", was originally made for a Music Banter compilation where we were given genres to work with, and I got "Disco". So of course I took this as loose as possible and made an industrial techno track :P The cover was shot in the woods near my house and edited with a stream of consciousness depression poem that you can read if you zoom in but I can't promise it's worth the effort. I edited the colors to reflect that I walked through the woods smoking weed back then and when the picture was taken. I didn't really know much about post-modernity back then, maybe I had meant the title to reference modern society? Retro-actively, I'd consider the title to reflect the cover's recontextualization of nature under the lens of my ego which was undoutably huge and arrogant at the time of recording. The world I've come to know since has been progressively symbiotic, but through my early adulthood I tended to see what I could gain from experience, from friendship, what I could take, what I could shape into my own terms, rather than seeing myself and others as seperate yet interdependant entities. I know that I became this because of immense hurt and rejection, and have compassion for who I was and wish I could have given them what they needed, but we all start somewhere and I'm proud of how far I've come since. Much like my art, that I have qualms that I would have changed and strengths that I wish I still had the same inspiration for. But these eras are different and I'm glad all these mistakes and experienced have shaped what has occured since. Be gentle with yourself. Your art does not have to fit into others expectations to be worth making.