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When I started in 2001 plugging my guitar (the same one I own now) into ACID Pro 2.0 I picked up from best buy long, long ago, I started reworking guitar parts from my high school band "noose" from '96 and adding chopped up manipulated drum loops that were initially royalty free to begin with. Yes, I used stock loops. I didn't want to look for another drummer or be in a band, just mess around and see what I could do myself. A lot of the bass on this early stuff, if any, was just pitch shifted guitar one octave lower. The first four albums contain tracks from 2001-2004 put on albums that had tracks added, remixed, and updated. The are: Sweet Sombriety, Maladaptive Humanoid, Smashing Through, and Phenomaly. A Taste Of Euphoria is when I mostly left "darker" music just for the sake of a video game soundtrack in college for a blackjack game in 2005. Lost Relics is basically all the outtakes from 2000-2004. This concluded what is now the "Noise Vaults." It was this same year of 2005 that we did two more games and my duty of audio led me to want to find some nintendo-esque sound that wasn't necessarily the instruments used in nintendo games. I wanted a lot more but in the fashion of Mario Paint's music composer tool where you painted notes basically and programmed the songs. I then found a little program by Synapse Audio that I used a decade after it went defunct in 2016 still to this year. It was called Orion. I then cranked out Orion Origins, as well as Infernums 1 & 2. Continuum happened after college in 2006, as well as Nervorum. Polybius was my 2011 start of doing it all again but it had a semi-generic different sound I didn't end up liking but still keep it in the chronological collection of what I started calling "The Absynthium Collective." This is the name given to all of the synth eps, as you'll see it in the bottom right corner of all the main covers. Pixels happened in 2013 and Apocalypso in 2017 was my second time "rekindling" my love for doing this. It was this same year I was picked for a soundtrack for a game called Project Warlock. The page for this game isn't set up yet, but will be. This was a 105-track soundtrack that lasted (with the outtakes included) 5 hours. The game blew up and got a lot of recognition, mainly being copublished in big box format by John Romero of id Software originally, now Romero Games. He basically was on of the original creators of the original DOOM. After I got some recognition I started cranking out synth again since that was the desired style from fans at the time. I started by doing Dystopian, Lithium, and Somnium, a sleep album. I followed these up with a sequel to Continuum, simply called Continuum 2. The tracks went in sequence yet again and mildly "told a story." Bellum, Tantrum, Opium, Sanctum, Odium, and Osmium came a couple of years later after I had established the two CD double album collections that houseed all the original EPs. They all became OMNIUM, CONTINUUM I AND II, DELIRIUM, and now MOMENTUM. My next two EPs and final ones at the same time were soundtracks to Heaven and Hell, called Aurae, and Crudelis. If you'd like all the outtakes of this entire series, try (Lost In) Oblivion. In 2000 and 2020, I merged tracks from both years to add the 2020 filler to the 2000 classics that came before I started using my real guitar. They were originally experiments but I started using them for things like Doom mods and on acidplanet.com back in the day they all got great reviews. This first CD of the new series "Machines+Melodies" now adds guitar back and goes that route. There is synth now still, just "additionally" and not on the forefront of the track as the main melodies. Makina was the name of this first, followed by 2021's Plugged. I began a trilogy and am only at one CD, The Blueprint. The next two will be called: The Prototype and The Structure. Refabrications will be the remix album for all of "Machines+Melodies." I'm writing pages for every single album. This will take a while. They'll be more in depth than just a track list and cover art. They'll have information about the era itself that I recorded in, and information for each track recorded. If you'd rather not wait or just want the music, its always at bandcamp. |