Anno 2001: Let's Begin
While playing in crap-metal band Lobster Assault, its band members were all pairing up and/or breaking off forming their own side-projects, including such creative iterations such as Crab Attack, Crayfish Assault, Squid Muggings, Crusty Crusty Grindtones, etc. Two projects emerged, somewhat half-heartedly: Circle Cat or Fish, a solo noise project, and Princess Army Wedding Combat, no frills (or talent) solo grind.
Circle Cat or Fish only lasted long enough to do a live set for a 24-hour webcast for a digital arts course: an hour long set(!) at 3am using a Boss DS-1, Digitech RP-3, and a mic.
3 PAWC songs were recorded using live instrumentation (drums, guitar, vocals) with the 4-track used by Lobster Assault. The tracks were never mixed down or dubbed to anything else, and the master tape was largely forgotten until re-discovered in 2020.
Correspondence with Lord Vacuum of Rectal Leak was in full swing by now, having previously done a Lobster Assault interview for his zine, Vile Toothbrush. Lord Vacuum's extensive knowledge filled in a LOT of noisecore gaps between entry-level stuff like old AxCx and whatever else had been ordered from the Relapse Records catalog at the time. With that exposure, plus drawing heavily from Rectal Leak, PAWC shifted to computer-based noisecore/noisegrind.
There wasn't a distinctly conscious effort to make "anime-themed noisegrind", rather coming out naturally being a fan of anime, and following / parodying the trope of bands rigidly sticking to thematic threads (gore, porn, horror movies, etc.). There was rudimentary awareness of The Earwigs, but their groundbreaking significance wasn't truly realized until a couple years later. Primarily CSSO's flirtations with anime samples ("Zombie Fuck" was a BIG inspiration), Discordance Axis' references, and Carcass Grinder's imagery ended up being the touchstones.
I only ever planned on doing one release, a split tape with Vacuum's "Assface" project. It never surfaced and those tracks were shelved for a while. Lobster Assault broke up, leaving a musical gap to fill. After that I hooked up with the Reverend Ogre Snot Gurgle at Fecal-Matter Discorporated.
Anno 2002 - 2005: FMD
The Rev introduced me to other projects/bands in the underground. I submitted three tracks for the Ultimate Onslaught vol. 1 comp on FMD, and was then asked to do a split cd-r with the mysterious project Basket of Death.
The formula was simple: attempt to rip off Gore Beyond Necropsy while hinting at Atari Teenage Riot and cybergrind. Digital drums, digital noise, live guitar and vocals. Use excessively long anime intros inspired by / parodying maybe Gut, Mortician, or any other band with long samples. Several splits followed including the perfect match with veteran otaku-themed noise project The Earwigs. Stuck with the noisegrind format mostly, but experimented with noise and some electronic elements.
2006: Shit-eye & experimentation
By the time I hooked up with Ucchy of Shit-Eye Cassettes, Cunts, Napalm Death is Dead, etc., I had been turned on to the program Audiomulch. It provided me an opportunity to experiment with quickly assembled and improvised sounds as opposed to slightly more time-consuming method of building up tracks by recording each element separately. It was probably the first time I had really played with looping samples and beats.
The material for the Cunts split tape was improvised on Audiomulch as a successive series of experiments in live sample mixing and manipulation recorded to tape. However, I think the long noise track at the end was one of my first pedal noise jams that was released. Looking back, I think it's an odd collection of tracks, with some just a simple beat over a sample of NES music or something. With each track being so short though, it felt like no one thing was emphasized too much, so I was able to get away with playing around.
2007-09: UGU & Myspace
With encouragement from the Rev, 2007 is when I finally joined Myspace. This was the time when anime-themed stuff like lolicore picked up steam and grew exponentially online. My attention pivoted to those kinds of projects, the net labels that appeared along with them, and the loose community that was being created. From my perspective, it felt like a confluence of many different musical tastes and flavors all mixing together, with sounds coming from noise, grind, breakcore, gabber, j-core, etc. I was woefully uninformed on the specifics on some of the electronic genres, with a lot of my knowledge being formed by Digital Hardcore Recordings records, and whatever some of my roommates listened to. To me this all felt like a joyous mish-mash of loud and noisy sounds all sharing space and being given equal representation, and not necessarily tied to the respective genres that inspired them.
2010 - 2014: Live noise in Austin
2014-2016: Wilderness / Hiatus
2016 - ???: Modern era
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