We had a lot of ideas and were fighting a lot about it, so we decided to rely on the lyrics. The chorus in one of the songs, “Septic,” made a nice, strong title. As you listen to the song it should take on more significance.
Jun Mizumachi, the sound designer in Gnaw, he actually moved back to Japan. For our live shows he was our noise guy. We all play samples and effects, but he does a lot of the really intricate noise when we play. He moved back to Japan a year ago and we were trying to figure out what we can do to either fill his shoes or change the live sound a bit.
I think that happens when the songs are being created by whoever is doing the framework of the track. For instance, Carter [Thornton] did “Septic.” He also did “Prowled Mary.” He recorded the majority of it in a chain link storage cage in his basement. You can hear some cage percussion in there . .
Not exactly. Khanate was still going, it was probably six months before Khanate broke up, but I’ve been friends with most of these people for a long time and Carter was always asking me to collaborate with him and I just decided to start another project. This is when Khanate was going. Khanate wasn’t doing much, so I was getting a little bored, so I started Gnaw with Carter Thornton. I met him because I’m a video editor and he was making consumer psychology research videos for an advertising agency.
It’s not and it hasn’t been a conscious thing to leave a lot of those quiet moments. I do know what you mean and it is a little more filled in. The one thing that’s in the back of my mind- I don’t necessarily completely try to do this- I wanted Gnaw to be different than anything else that I’d done before. I didn’t want it to be compared to previous projects like, for instance, Khanate. I wanted to do something more industrial, even though I hate that word, but something with more metal-bashing and noise than slow doom, but Gnaw just developed into “do whatever the Hell we want without adhering to any genres.”
For this question, we have to go back to the beginnings of when I started to do vocals years ago. When I was a teenager, I was totally into hardcore and thrash metal and really dark, fast stuff. Cryptic Slaughter and Septic Death and early Dark Angel and early Kreator and Bathory. I was into the vocal shredding, the high-end screeching vocals. Me and my friends, we decided to form a band. Being little kids, we wanted to be the fastest, most aggressive, snotty band in the world and I started off playing guitar. It was a band called Vile Stench, and after playing for a few months I realized “I can’t play guitar. I suck.” So I just took it upon myself to switch to vocals and it worked out really well.
I think this album completely nails it. To me, there’s no dud moments and it has all the noise and the scariness and the actual musical performance that I did originally envision. When we first started, it was a lot of experimentation. We didn’t know where we were going with it… The first album had some moments that were maybe a little lo-fi for me and looking back on it I would change a couple of songs around. Second album I thought was amazing, it’s a really dark album, I’m proud of it, but this one, to me, is the perfect Gnaw album.
I have some ideas in mind, but it’s just gonna happen naturally. Since all five, actually there’s 6 of us now. Jun, he went to Japan but he’s still going to be part of the recording process and making elements. I think since we all have such different backgrounds and we all like to experiment differently it’s going to automatically not sound like anything else. We have some new stuff going and it doesn’t sound really like anything we’ve done before.