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I Am Cats
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» label: unsigned
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Fork Sister
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Cute
Recording Process Complete
Snowsuit Deathology
Ninja Hood
Night Time Jungle Camping With The Wood Whores
Kittens And Their Mittens
Grindcore Gary and the Electabuzz Meltdown
Reggay
Into The Internet Sky, So Delicious
Poisoned By Supreme Couch Blast
Upon listening to an unusual amount of Gerty Farish, Scissor Shock, Polysics, RUINHORSE, and F*** On The Beach, I decided to try to imitate some sort of weird hybrid of the four. I think my goal was accomplished.
Why this name?
How, do you think, does the internet (or mp3) change the music industry?
Do you play live?
How, do you think, does the internet (or mp3) change the music industry?
How, do you think, does the internet (or mp3) change the music industry?
How, do you think, does the internet (or mp3) change the music industry?
Would you sign a record contract with a major label?
How, do you think, does the internet (or mp3) change the music industry?
Band History:
Ah yes... well I shall summarize as best I can.
My band (outside of concert/jazz/marching) expirience began in the 8th grade with a rock band known as Psychedlic Fudge, it was all covers and I played trumpet... wow, good thing that failed.
The next band was freshman year, Bedlam Hiatus... a punk band destined to fail, I played bass.
The drummer and myself went off to persue a thrashier sound in Static Revolution, just as equally destined to fail.... especially when a new guitarist joined and wanted to do pop punk garbage... I mean... not to say the band was that great to begin with, we kinda just ripped off of Motorhead, Zeke, and old NOFX... whatever...
It wasn't until later that year that Danny Levitz And The Mach 7 Trio began. It was more of a joke than it was a real band, but it did have one punk/rap metal type cross over song... too bad this was before my first drum machine and we had no drummer.... well... pat tried out... but he had never actually played drums before... anyway, DLATM73, or however you wanna abbreviate it, consisted of me on bass, harry on guitar, and sean on guitar. After however long it was, we disbanded and harry and I formed Rage-a-holic Tortise, an ambient noise/spoken word experiment utilizing our voices, whatever was on my desk, a Korg M1, a bass, and a guitar. It is very difficult to classify, but dan says it's one of the most avant-garde things he's ever heard, so I'll stick with that.... funny, at that time neither one of us really listened to anything weird, I mostly just liked stuff like The Locust/Daughters/HORSE The Band/#12 at the time, and we both liked ska/punk garbage... he liked some reggae... whatever, it just didn't make sense for what we liked to translate into the sounds we made.
Anyway, that broke up. During the projects existence I began a concept for a band called Black Clocks, I wrote two songs for it hoping it'd one day translate to real instruments (of course it just turned into me making like 10 more songs and that being the end but... you know). I also started making some battle music type pieces, applying my novice level music theory skills of the time to them. The songs were short, mostly kinda slow for what it was, and occasionally the songs were a bit more Tortisey, I think I called the style of those songs "ambiegrind" or something stupid like that because I used to think genres were cool.
After that ended (which was called yamiwosukasu by the way) I had attended a show which changed my life forever. (This is of course after truly bizarre music had entered my life, and after a very long phase of liking visual-kei.... some of it is still amazing, not gonna lie >_>)
The show was Genghis Tron, this kid Lung and his friend wesley on guitar doing noise, Les Angles More, and The UsaIsAMonster (who I missed). Hearing harsh noise on recordings is one thing, but seeing it done is another, and that inspired me to make my own breed of noise recordings. I referred to the project with what most people at the time referred to me as, c@
c@ songs started with just noise created with the RahT equipment and some programming elements and songs that were half or all programmed, and would be part of a genre I would soon disover known as such things as cybergrind, midigrind,digigrind, midicore, nooneshouldreallygivesashitgrind, etcetc
I gained a bit of respect from a few Brokecore alumni/members such as adam cooley, john brokecore, cory monster, phil... lotus >_>, dingle, and I think some of the guys from Hentai Cum Dungeon. To me this was a big deal as I had become fans of the music, and it certainly gave me a confidence boost. After a summer of misanthropy and tearing my lungs out in new ways on a daily basis I had a night of epiphany. I'll spare you the details as I'm sure if you are here you know the story already of Bubblegum Octopus' conception.
By around thanksgiving time of the first year of BgO, I had another strange encounter with the inexplicably alien forces of inspiration. I noticed that harry from RahT's guitar was STILL in my house, so with not many strings left, I tried to come up with some silly little riffs that I could use in a c@ song. What developed was much different though. I felt a distinct sound formulating and started writing more.
Coming up with a name was a long process of sitting saying two different words together to myself, sickness had condemned me to the confines of my cold room to sit and think. Finally, while gazing off into the intricate shapes on wood work of my desk, allowing the mild inebriation of dextromethorphan and ibuprofen to take hold, a name came to me as if by some outside force. I took the name, slapped it on the finished product, and a few weeks later, Sisters Of The Fork was complete. I forget when I recorded Niger, it was some time later, and it was an experiment with using more "hi-fi" guitar sounds in the music and frankly it was out of character, but like all things I make, I grow to accept them as just another piece of my musical history.
CURRENTLY I am working on a CD that will be LONGER than Niger and Sisters put together... not that that's very long, but still. The album with have more of a Sisters feel to it as I realized part of the Fork Sister character is really the low-quality sounds and the trash, however the album will have some melodic qualities to it, and in ways I'm sure that you aren't thinking of from me saying that. The album is called Savory Sauces... I can't promise anything about release date because that will just cause problems.
Also, in addition to that, I'm doing a split with Minnesota based digital hardcore band sk8rgirlz and something else I can't remember (digital hardcore of course refers to ATR/EC8OR type stuff)
I'll take that info off the page when the CD comes out... then I'll probably type more stupid stuff about when that was made ^_~
My band (outside of concert/jazz/marching) expirience began in the 8th grade with a rock band known as Psychedlic Fudge, it was all covers and I played trumpet... wow, good thing that failed.
The next band was freshman year, Bedlam Hiatus... a punk band destined to fail, I played bass.
The drummer and myself went off to persue a thrashier sound in Static Revolution, just as equally destined to fail.... especially when a new guitarist joined and wanted to do pop punk garbage... I mean... not to say the band was that great to begin with, we kinda just ripped off of Motorhead, Zeke, and old NOFX... whatever...
It wasn't until later that year that Danny Levitz And The Mach 7 Trio began. It was more of a joke than it was a real band, but it did have one punk/rap metal type cross over song... too bad this was before my first drum machine and we had no drummer.... well... pat tried out... but he had never actually played drums before... anyway, DLATM73, or however you wanna abbreviate it, consisted of me on bass, harry on guitar, and sean on guitar. After however long it was, we disbanded and harry and I formed Rage-a-holic Tortise, an ambient noise/spoken word experiment utilizing our voices, whatever was on my desk, a Korg M1, a bass, and a guitar. It is very difficult to classify, but dan says it's one of the most avant-garde things he's ever heard, so I'll stick with that.... funny, at that time neither one of us really listened to anything weird, I mostly just liked stuff like The Locust/Daughters/HORSE The Band/#12 at the time, and we both liked ska/punk garbage... he liked some reggae... whatever, it just didn't make sense for what we liked to translate into the sounds we made.
Anyway, that broke up. During the projects existence I began a concept for a band called Black Clocks, I wrote two songs for it hoping it'd one day translate to real instruments (of course it just turned into me making like 10 more songs and that being the end but... you know). I also started making some battle music type pieces, applying my novice level music theory skills of the time to them. The songs were short, mostly kinda slow for what it was, and occasionally the songs were a bit more Tortisey, I think I called the style of those songs "ambiegrind" or something stupid like that because I used to think genres were cool.
After that ended (which was called yamiwosukasu by the way) I had attended a show which changed my life forever. (This is of course after truly bizarre music had entered my life, and after a very long phase of liking visual-kei.... some of it is still amazing, not gonna lie >_>)
The show was Genghis Tron, this kid Lung and his friend wesley on guitar doing noise, Les Angles More, and The UsaIsAMonster (who I missed). Hearing harsh noise on recordings is one thing, but seeing it done is another, and that inspired me to make my own breed of noise recordings. I referred to the project with what most people at the time referred to me as, c@
c@ songs started with just noise created with the RahT equipment and some programming elements and songs that were half or all programmed, and would be part of a genre I would soon disover known as such things as cybergrind, midigrind,digigrind, midicore, nooneshouldreallygivesashitgrind, etcetc
I gained a bit of respect from a few Brokecore alumni/members such as adam cooley, john brokecore, cory monster, phil... lotus >_>, dingle, and I think some of the guys from Hentai Cum Dungeon. To me this was a big deal as I had become fans of the music, and it certainly gave me a confidence boost. After a summer of misanthropy and tearing my lungs out in new ways on a daily basis I had a night of epiphany. I'll spare you the details as I'm sure if you are here you know the story already of Bubblegum Octopus' conception.
By around thanksgiving time of the first year of BgO, I had another strange encounter with the inexplicably alien forces of inspiration. I noticed that harry from RahT's guitar was STILL in my house, so with not many strings left, I tried to come up with some silly little riffs that I could use in a c@ song. What developed was much different though. I felt a distinct sound formulating and started writing more.
Coming up with a name was a long process of sitting saying two different words together to myself, sickness had condemned me to the confines of my cold room to sit and think. Finally, while gazing off into the intricate shapes on wood work of my desk, allowing the mild inebriation of dextromethorphan and ibuprofen to take hold, a name came to me as if by some outside force. I took the name, slapped it on the finished product, and a few weeks later, Sisters Of The Fork was complete. I forget when I recorded Niger, it was some time later, and it was an experiment with using more "hi-fi" guitar sounds in the music and frankly it was out of character, but like all things I make, I grow to accept them as just another piece of my musical history.
CURRENTLY I am working on a CD that will be LONGER than Niger and Sisters put together... not that that's very long, but still. The album with have more of a Sisters feel to it as I realized part of the Fork Sister character is really the low-quality sounds and the trash, however the album will have some melodic qualities to it, and in ways I'm sure that you aren't thinking of from me saying that. The album is called Savory Sauces... I can't promise anything about release date because that will just cause problems.
Also, in addition to that, I'm doing a split with Minnesota based digital hardcore band sk8rgirlz and something else I can't remember (digital hardcore of course refers to ATR/EC8OR type stuff)
I'll take that info off the page when the CD comes out... then I'll probably type more stupid stuff about when that was made ^_~
Your influences?
Gerty Farish, Scissor Shock, Polysics, RUINHORSE, Atari Teenage Riot, and F*** On The Beach
Favorite spot?
How, do you think, does the internet (or mp3) change the music industry?
Equipment used:
a geetar a compyootur a myce and a effex pedul
Anything else...?
How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry? How, do you think, does the internet (or mp3) change the music industry?