Gears Of The Apparatus

21st
December

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Released: December 21 2010
Electro / Trance / House / Glitch
So after nearly a year give or take from the original release of Evolve/Deathwish, I finally realized man, it’s been AGES since I did an album with a majority of dance-able tracks. I even had a few fans tell me they missed my electro stuff so I got to work making a comeback with my not so chill tunes. Bayonetwork ended up being the album I’ve probably spent the most time on, mostly due to the fact that it had been so long since I wrote anything like it, I was pretty rusty when it came to upbeat music. I got myself way too deep into IDM and chilled out styles. There was a LOT of writer’s block on this album but I managed to get it to where I was happy with it. Initially the album was planned to have 10-12 tracks but I stopped at 9. The tenth (written) track was planned to be a moderately mellow interlude track around 5 or 6 to break up the album’s faster paced feel but I decided to ditch the idea. I’ve written enough mellow songs without worrying about throwing another onto this album as well. The title “Bayonetwork” comes from the Norma Jean album “O’ God The Aftermath” which is a personal favorite, I couldn’t think of a decent album title so I ended up using the first thing I could think of that sounded cool. One of the highlights of the album is the 3rd version of my popular song “Devious” to be released. I just keeps coming back…

1st
December

2 notes

Released: Novmeber 27 2010
Electronic / IDM / Ambient /Atmospheric
This was an experimental album for me, I already have released a few ambient albums, but I never took a shot at stripping the music down to absolute minimalism and using as few sounds as possible to create mood-evoking atmospheres. I tried to make this album as relaxed as possible while still trying to keep it interesting. I wrote this album with the intent of it being a sleep/meditation album and the tracks reflect this as all are very slow and ethereal. This was an album I didn’t even plan to create, I’ve been on an IDM hiatus but the inspiration for this one just randomly struck me, unfortunately at 4AM. Ironically I started working on a sleep album by depriving myself of sleep.

4th
October

Notes

Released: October 4 2010
Electronic / IDM / Glitch
Just another shot at some IDM. Originally the album was going to be titled Charts but I wasn’t totally satisfied with the album art and after commenting on a submission of someone on FA who’s username is Mooneater I thought whoa, that’d make a cool album title so on impulse I changed it. With this album I’m taking a short hiatus from at least releasing any new IDM albums until I get some more production and knowledge in the genre, I really feel the need to improve my style here and though I did a few new things with this album I really feel the need to expand what I’m doing so until I’m at that point this’ll be the last new IDM album from me for a while.

3rd
September

0 notes

30th
August

1 note

(Side Project - Aegus Repose)
Released: August 13 2010
Electronic / Minimal / House
I decided to create a separate project under a new pseudonym, Aegus Repose, (mostly inspired by Aegus 7 from Dead Space, which I thought sounded pretty cool) rather than do this project under Gears since the style so greatly differed from anything I had previously written with Gears. Inspired primarily by The Field and Skrillex, I wanted to take a quick stab at chopping vocal samples and arranging songs from them. The art and title are actually from a few weeks before I wrote the album. I always have trouble getting to sleep, my brain is totally ADD, I can’t ever seem to make it shut up (unless my boyfriend is around, I actually can chill out and sleep then) haha. After a few hours of trying to fall asleep one night, I got up found some samples of crickets and windchimes and threw it all together into something I thought would help me sleep. I’m completely OCD about having incomplete info on my iPod or in my music library so I quickly thought up an artist name, title and threw some art together so I could put it on my iPod and get to sleep. Once I began to write the EP, I decided to make all of that the foundation to start the new project upon. Taking samples from Underoath, The Almost and The Receiving End Of Sirens, “While Mountains Sleep, We The Waters Dream” was my first short but solid attempt at a style I’ll be sure to revisit in the future.

30th
August

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Released: August 22 2010
Electronic / Fakebit / Chiptune / 8 Bit
After hearing some chiptunes my bro Renard wrote and being semi-interested in the style, I decided I wanted to check the genre out some more, with some artist recommendation and Renard posting some awesome lo-fi samples I decided I definitely liked the style enough to write an album and got down to work. After hearing some Norrin_Radd and already liking electronic music and metalcore/death metal, I settled on writing an album aimed specifically to be 8 bit style death metal. I actually pulled an all-nighter working on the album the first night (partly to correct my horrible sleeping pattern, partly to get a lot of work on the album done) and got over half of the album written in about 24 hours. This was the FIRST album I’d done without creating art and a theme before hand. Every other album either before I even started writing or only a few songs in, I had already decided on the title, theme and created the album art. I had I think roughly 10 tracks down for this before I decided on what I wanted the art to be. Mostly inspired by art from Mark Riddick and The Devil Wears Prada’s “Zombie” EP I went with a zombie theme and set up my track list. The album came together in roughly 3 days (with little sleep) and in all honesty I at first wasn’t certain I wanted to drop it that soon, 13 tracks in 3 days is ridiculously fast but the album just sort of happened. It was the most fun I had with one of my albums in a long time, and everything just flowed. It features inspiration and even remixes (if that’s what you’d call it) of melodies from Between The Buried And Me, Born Of Osiris, The Receiving End Of Sirens and more.

30th
August

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Released: August 5 2010
Electronic / Speedcore
I have a bit of a narcissistic tendency to listen to my own music from time to time, but hey, I don’t see much wrong with that. After all, if you enjoy it enough to write it and release it, you should be able to enjoy hearing it too, right? After listening to At The Seams a few times while reorganizing the albums and creating new album art I realized I missed that style and wanted to write another album similar to it. I’m not the biggest electronic music junkie around (I’d sooner listen to a chugging guitar riff than a cheesy trance melody) so I know I’m more than likely mislabeling whatever these two albums’ subgenres are but oh well. Immolation Pinnacle was written as a return to the style I forged in Evolve and At The Seams’ faster songs.

30th
August

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Reissued: July 23 2010
Electronic / Electro / Gabber / Trance
After I wrote Evolve I wanted to write an album with a focus on some harder sounding style, one with plenty of speed, drive and punch. Initially I planned only to write speedcore/hardstyle type songs but I ended up throwing in some electro songs too, sometimes you just can’t help when inspiration strikes. Originally, At The Seams was released as A and B Side EPs (with horribly thrown together art). I had planned on replacing the placeholder art with something better later but never did it. A while after I finished the two albums I realized they were better off as a single album and that I SERIOUSLY hated the original art (nothing more than a highly contrast filtered wolf with bold text on it and splatter brushes, one album red monochrome and one album brown). After making some new art, putting the two albums together and writing a final outro track that I never really had done for either of the EPs, I put it all together and reissued the album.

30th
August

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Released: June 8 2010
Electronic / Ambient / Glitch / Chill
In the wake of writing Everlasting, I really wanted to write another chilled out, relaxed album with ambient sounds, mellow, but good beats and melodies. Though I’m really happy with Everlasting, in retrospect it seemed like a truly juvenile effort, like I could do better than that album and I wanted to see where I could go with whatever improvement I had made in the months between. At this point I still hold both albums to have their pros and cons, Everlasting was written with FAR more emotion in it, I was going through some relationship problems and put a lot of my feelings into the album, whereas Grace The Lie really had no inspiration other than the desire to write another similarly styled album, granted it had a bit more experience and some new technique, samples and VSTis thrown into the mix. That’s not to say I don’t write my music without feeling, music is one of the best illustrations of emotion and forms of expression. Comparatively though, Grace The Lie didn’t quite have the drive behind it since I wasn’t really writing it for anyone. The name of the album is actually a reference to the hardcore band Converge. I had written I think 3 or 4 of the tracks and still didn’t know what to call the album. I even had already done the art but didn’t know what text to put in it so I just decided “hey, I’m going to look through lyrics of my favorite Converge songs until I find something cool that fits this album and it’s art”. As it turned out, I ended up picking a song (and an album) I rarely listen to by them. “I Abstain” from their album “Caring And Killing”. I ended up just going to darklyrics.com since you can view an entire album’s lyrics all at once there and just went through that album first. It didn’t even take long considering those are some of the first lyrics of the album, I had what I wanted and ran with the line “Below my solitude I abstain. Above my bitterness I grace the lie.” It sounded deep and the intent of the album was to sound deep so they went together well. I think there was an actual point and theme to how the title, art and songs all went together but to be honest I’ve since forgotten what it was haha.

30th
August

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Reissued: June 1 2010
Electro / Techno / Trance / Dubstep / DnB / Ambient / Speedcore / Hardstyle
Ever since getting into the whole furry community I found a lot of music I liked, primarily tunes from Renard but others too and decided I really wanted to try my hand at writing some electronic music. I wrote a 6 track EP called “Pilot Sequence” (which is god-awful, hence it not being included on this page) and decided I really enjoyed doing it. Fastforward to my next album, Evolve, written over the course of August 2009. After writing Pilot Sequence and initially being pretty happy with it, I realized it was bad. Like, really bad. I set out to write a much better album, one where I’d push my limits with my styles, sounds, techniques, samples and overall writing process. Those qualities I all wanted to “evolve” along with the idea of an album that would encompass multiple genres and styles is where the album’s title came from. During that month, I managed to pull together 11 tracks plus 4 more (two of which were remixes of two of the better songs on the album my friend JP, AKA Ekko had done) initially hidden as bonus tracks, now shown included with the album, for a 15 track release that to this day I’m still pretty damn pleased with. After nearly a year of being out I decided I wanted to reissue the album (I’d really grown to hate the art I did that I at first was really happy with). It was an idea I’d been toying with for a while but I finally just went with it and redid the art. I also added two more songs, “Digital Blues” which originally was only on a Dance Mix EP there were only ten copies of I had sold at Furry Weekend Atlanta 2010 and “Deathwish”, the track the reissue got it’s name from. I included these tracks because I felt it was dumb one of them was only on an album nearly nobody had and the other was an unfinished dubstep experiment I wanted to include, sort of one of those unreleased, unfinished, now finished special edition bonus track deals you get on album reissues. As of now, this is still my best selling and most listened to album even though it’s only my second, I guess I managed to do something right. Some of my personal favorites of my own work are still on this album, I can’t say I’m that surprised it’s still so solid.