bio:
i
was born in 1972 in ohio. i grew up listening to the sounds coming
from my dad's hi-fi system...buddy holly, the beach boys, gordon
lightfoot. my dad did alot to initiate the appreciation of music that
i now have.
in high school (rural ligonier,
pennsylvania...east of pittsburgh), i started listening to classic
rock. a lot of rush, led zeppelin, etc. logged many, many hours in
front of radios dialed to 102.5 FM.
i bought a drum set and
played in a cover/original rock band called -retrofish-. with our
inside connections to the yearbook editors, we landed the coveted
making-a-difference:student-life 2-page spread in the senior
yearbook.
later in college, i started listening to heavier
sounds. ministry, helmet, fugazi.
i took these influences into
another band, the electrocore -chainsaws and children-, and again
played drums. the chainsaws experience was amazing. we played
throughout the northeast. bested 30+ bands in a battle and won studio
time. recorded and ended up with a song on the 21st Circuitry Records
Coldwave Breaks 2 compilation. with chainsaws, and while living in
memphis, tennessee, i toured the u.s. in the summer of 2001. quality
times with midwestern goths, sunset strip-ers, and vegas
hackers.
shortly after the tour, i relocated to philadelphia,
pennsylvania.
hwreckit was born.
the hwreckit
(extraneous, silent h) concept started from both pent-up creative
energy and frustration. i wanted to get started on a solo project,
and rely heavily on the computer to get most of it done. i started
using propellerheads reason with a midiman oxygen-8. that's about all
it took to get going. at the project's inception, i was listening to
a lot of electroclash, and i think that has come through on
devices.for.crisis. but i also wanted to utilize more traditional
sounds and pull from a more broad area of influence. the bulk of the
tracks are more up-tempo. some are structured while others are more
freeform. the sounds are not overly-exotic. the songs generally got
started with percussion, and then synth lines, loops, samples,
vocals, and effects were laid in. lyrically, the content ranges from
the trappings of pornography to frustration with structure to simple
intoxication. i utilized an abundance of vocal processing while
attempting to still maintain intelligibility.
work in progress
is around developing/refining the live performance.
and thus
history and current status are revealed.