Wednesday, December 8, 2010

Give Me Covers or Give Me Death!

Tomorrow, an album is being released by members of Rate Your Music which consists of covers of '70s and '80s punk classics. Among the tracks is my own cover of Minor Threat's "Screaming at a Wall". I'm handing out this link a day early; I hope nobody gets mad at me for it.

Download at Mediafire

  • Self-released (#RYM 004) digital file, 9 December 2010
  • Mastered by Nap; art by Luís Felipe Rocha

  1. China Girl – New York [Sex Pistols]
  2. Paulie Jay – Love Song [The Damned]
  3. ATSEA & Nun the Wiser – It Was Cold [The Ruts]
  4. The Transparent Nudes – Final Solution [Pere Ubu]
  5. Andrew Sacher – Blank Generation [Richard Hell & the Voidoids]
  6. Nap – Sonic Reducer [Dead Boys]
  7. Jef Leeson – Tired of Waking Up Tired [The Diodes]
  8. Nervousbreakdance – Let's Lynch the Landlord [Dead Kennedys]
  9. Modest View – Split Myself in Two [Meat Puppets]
  10. Evilface – Oh Shit [Buzzcocks]
  11. Kelly Kish – Because You're Young [Cock Sparrer]
  12. Iakov – American Waste [Black Flag]
  13. Deterior – Screaming at a Wall [Minor Threat]
  14. Husten – Dicks Hate the Police [Dicks]
  15. Push Off – Skulls [The Misfits]
  16. Lundegaard – Judy Is a Punk [Ramones]
  17. Ezreal – I'm Bored [Iggy Pop]
  18. Tomas Ahlin – The Nightmare Continues [Discharge]
  19. Cinematery – Subliminal [Suicidal Tendencies]
  20. The Modern Weapons – Bikeage [Descendents]

Monday, November 22, 2010

New album progress

Apparently I haven't even mentioned this yet.

I'm already working on a new album. I've been writing song sketches (essentially, guitar jams) since May and so far have about fifty—about three and a half hours' worth—to use. After the clusterfuck of finals/the holidays are over, I'm going to start piecing together some real demos starting in January; maybe I'll have a couple to post around then as well. Going by that timeframe, I'm looking at actually having something released in July or August. But considering graduation/potential moving in June, who knows what will happen, so don't hold your breath.

p.s. If you still haven't downloaded Primitive Circuitry for free yet, better get on it—it might not stay free for long as there are a limited number of free downloads left.

Friday, November 5, 2010

Ve3tro Interview

Hey, it's me again. Yeah, I'm still here. Been super busy with school, work, and looking for a job post-graduation. That's all going splendidly but unfortunately leaves little time for music. Rest assured that I'm still cranking out song ideas when I have time.

While you wait, I thought I'd post the interview I conducted with the media webzine Ve3tro (it seems they now only do video games), originally published in late January 2009, just after Cleanse came out.

Ve3tro: What is the main purpose of your music? Do you have any particular message or meaning that you try to make your work embellish?
Deterior: The main purpose of all the music I do is to entertain myself. I started writing music because it sounded fun and it was something I had always been interested in doing and was willing to learn. I spent several years churning out utter crap. It took me two years to write and record World, and even then I wasn't satisfied with what I had made (which isn't to say I'm completely satisfied with anything I've done). However, each release does have its own minor purpose. I was going through some slightly difficult personal times when I was writing World, and the lyrics were a reflection of some of those problems. I actually wrote two sets of lyrics; I felt that the first set were just too personal and wanted something a little more subtle. It told a sort of story that vaguely connected to my life. The themes were meant to be continued in Antimonument, and to me they are, but without lyrics it's hard to show that. It's much less personal. Antimonument was mostly an exercise in seeing if I was capable of focusing enough to make a full-length album. Cleanse was me seeing if I could make an album with vocals in it. The lyrical themes presented there are half abstract nonsense and half actual meaningful stuff, but they're much more positive, which is reflective of the fact that my life has improved over the last few years. However, vocals never were the focal aspect of my music; I have always considered the music to be the most important part. Everything else I've done (the other EPs) have been purely for fun and experimenting. Lifting of the Veil doesn't have any intended meaning in it whatsoever. Of course, since I like to keep my lyrics abstract, any of them could be construed to mean anything.

V: Godspeed You! Black Emperor are noted as a musical heavy influence on Deterior, but what other artists or subjects inspire you to create? (other than music)
D: I am inspired by just about everything I hear, see, and read nowadays. Of course, it's mostly other music that helps inspire me to create, and a lot moreso now, since my tastes have been expanding into a lot more experimental music. Listening to what other musicians can do in a more experimental environment often inspires me to try to mimic what I hear with my own music. Additionally, a lot of my atmospheric stuff has been inspired by films. Antimonument had several film clips in it, from 28 Days Later, 12 Monkeys, Apocalypse Now, and several World War II-era documentaries and educational films. The imagery and emotion associated with the clips I used (and various other films I've seen) emphasized the moods I wanted to create and helped inspire different ways to manipulate sound and ambience to emulate those moods. It's a bit of a different situation with the Music for... EPs. Music for Nucleonics has a heavy space theme, characterized by the title, artwork, and the bleak atmosphere created by the music. I'm not entirely sure what inspired that, but it probably has something to do with the slight interest I've had in space technology for most of my life, which has picked back up in recent years. Music for Automata (unreleased at the time of this interview) has a sort of discrete mathematics/chaos theory theme, which was definitely inspired by a book on the subject laying around my room which I picked up to get song titles from. The cover artwork is a specific pattern from Conway's Game of Life,* a cellular automation game that I've always had this interest in. That probably has to do with the fact that I'm a computer science major. But I would say the biggest influence on my music comes from other music, no question.

V: Cassette tapes… does anyone actually purchase cassette tapes?
D: I read recently that cassette tapes are coming back "in style", presumably similar to the resurgence of the vinyl record in recent years. The cassette culture is having a revival. This baffled me at first, since cassette tapes are awkward to produce and use and also have terrible sound quality compared to records and CDs. Regardless, a lot of underground labels have been releasing noise, ambient, and industrial stuff on tape, and I think this mostly is caused by the Internet music culture. More and more people are listening exclusively to digital copies of music, and physical releases are becoming more and more of a novelty thing. I'm speaking from personal experience, too; I don't have a turntable but I own a few vinyl records, and I got them simply for the appeal of owning music in an interesting format. Packaging is the biggest reason—I'm a sucker for cool packaging, and there's so much opportunity for creativity in packaging artwork. It doesn't matter if people can play it or not, but if it looks cool, people will want a copy. Admittedly the packaging for the Music for... tapes aren't interesting, but they are definitely a "novelty" thing.

V: Will you be looking to release future work on CDs or are you going to be taking a strictly downloadable direction?
D: The idea of putting out CDs has always been something sitting at the back of my mind, but I don't have a whole lot of incentive to go through with it at this point. Clearly, releasing CDs gives an artist a lot more legitimacy, a bit of extra cash, and of course there's the opportunity for extra creativity with the packaging. One of the biggest things keeping me from making CDs right now is the financial aspect. I simply don't have the money to press a bunch of CDs myself, especially since I have practically zero experience running a label. I haven't bothered trying to get signed somewhere either, probably because I'm pretty comfortable running things the way they are at the moment. If someone were to approach me and offer to print some stuff up, I'd probably say yes, but I'm just as happy if they don't. I've offered everything I have for a free download so far, and I consider myself successful—heck, even lucky—if people listen to it.

V: What do you hope to accomplish with the next record?
D: Actually, after Cleanse, the "Tidal" single, and Music for Automata all come out within the next couple of months, I'll probably be taking a break from Deterior for a bit to focus more on my education, like I did last year. I'll definitely pick it all back up before too long, probably this summer at the latest. I don't have any clear goals in mind for what I want to do with my next record. Something that I wanted to do with Cleanse was actually releasing the album in three discs, which could be played individually or synced (somewhat of a nod to Rosetta and Boris, but theirs weren't three discs). I didn't really possess the time or skill to pull this off the way I wanted. I think this would be a really cool thing to try to work on later this year. It would really tie the rock and noise aspects of my music that have been mostly separated from each other so far, and I'd have tons of time to crank out a lot of quality material since I would want to spend a lot of time working on it, possibly until early 2010. It's anyone's guess though.

V: Something very noticeable in your work is the abundance of noise and electronics, is this something that you see taking a more prominent role in your work?
D: Over the last year or so, I've become more and more enthralled by noise music and experimental music in general. Noise is great because of its lack of restrictions. It can convey any attitude, atmosphere, or mood better than conventional music can. That being said, I still love rock music and making rock music. I'm more used to it, it's more familiar to people in general, it's what I learned to play and enjoy growing up. But more and more of the artists and bands I listen to incorporate some sort of noise or ambience into their work, which I think is great, and it's something I've wanted to emulate in my music as well. It's all about experimentation, doing something different, something I'm not entirely used to; just to add to the atmosphere and maybe freak people out. Noise can be scary sometimes, and I love it.

V: Have you thought about releasing a[nother] purely instrumental album?
D: Antimonument was an instrumental album for two reasons: One, I didn't own a microphone, and I'd had to borrow one for World; I couldn't do so later on. Two, I thought the vocals on World were just terrible. There's probably very few people more self-conscious and insecure than the amateur vocalist. Even though some people told me that the vocals weren't actually bad, I didn't believe them. So, I figured that I'd skip on the vocals for Antimonument since doing vocals for a full-length album seemed to be a big task. I did manage to sort of pull them off on Lifting of the Veil since they were pretty minimal and there was harldy any actual singing in it. At some point between then and me starting to write Cleanse, I picked up some new processing software that really improved the quality of my vocals.** As for whether or not future releases will have vocals, it's really up to the type of music I do. The rock-oriented stuff probably will still have vocals for a while, while the noise stuff won't. I can't say for sure, though; vocals are still my least-favorite part of the recording process.

V: How do you encourage your fans to promote your work? Do you offer any incentives or plan on developing a method to expand your audience?
D: So far, I've actually done very little promotion work on my own, but the Internet has been a great promotion tool. When I release any of my music, the first place it goes is straight to, which is already a huge site with tons of users. I recommended Antimonument to a few groups there when it came out; within a few months, users there had spread it all over the Internet to various blogs and websites. I thought that was extremely cool that that had happened. Unfortunately, redesigned their site and haven't brought back group recommendations yet, but I'm not too concerned; there are plenty of other sites I can use, the main other one being Jamendo, which is mostly focused on promoting underground and unsigned artists. I've been looking around for similar sites lately. Of course, I still promote and post everything I need to on my blog and MySpace, which is probably more than enough exposure anyway. The day that Cleanse came out, it got dozens upons dozens of downloads during that one day, and I don't really know how that happened. So apparently I'm doing something right.

*An incredibly interesting subject if I do say so myself.
**Or maybe it just gave me more confidence. Who knows?

Sunday, September 26, 2010


Yeah, been a long time posting. I've been busy with work somewhat, but that hasn't kept me from working on music. I've got a bunch of sketches of new songs that I've been working on for the past few months, and Ectype is being worked on a bit, too.

In the meantime, I found all the guitar tablature I made when recording Primitive Circuitry sitting around and thought someone might find it fun to look at. I used drop A tuning, which is kind of unusual, but some pitch-shifting plugins can get the music up to a playable pitch.

update: just realized that "The Rhetoric Drain" tab is missing the intro. sorry about that. it's probably pretty easy to figure out though.

Friday, August 6, 2010

O Glorious Day

Thanks to all your wonderful donations over the past few months, I was able to afford a replacement for my broken Digitech pedal. I've played around with it a bit and it sounds great; I've heard many good things about Metal Muffs (one of them being durability, so that's always good) and I hope this one will serve me well in music to come.

Wednesday, July 28, 2010

R.I.P., BP-80

It is with sorrow that I announce that one of my most faithful companions on my musical journey, my Digitech BP-80 effects pedal, has finally gone on to meet the great circuit board in the sky after at least five years of use.

I'm going to be shopping for a new one soon, but that means I'm not going to be able to do any further work on Ectype for a while. Oh well.

Wednesday, July 14, 2010


I just realized I'd forgotten to update the lyrics page with Primitive Circuitry's lyrics. So they're there now, in case you wanted them to copy or something like that, I dunno.

Tuesday, June 29, 2010

Primitive Circuitry

Well, here it is, the moment I'm sure you've been waiting for. I don't know what else to say except I hope you like it; I worked extra hard on this one.

  • label: GarageMonkey Productions (GMP-020)
  • Format: Digital file
  • Released: 29 June 2010
  • Time: 46:18
  • Recorded and engineered by Deterior from February–April 2010 at Studio 205
  • Mixed and mastered by Deterior from April–May 2010 at Studio 205
  • Cover art: Drastic Actions


This record was entirely produced by Deterior; however various sound samples used were kindly borrowed from the following: ABKCO Films Inc., British Lion Films, users batchku, alchemical, Greg Baumont. All content remains copyright © the original owner.

Tuesday, June 8, 2010


Track 2 from Primitive Circuitry, "Lockout", is now up on MySpace for streaming.

Saturday, June 5, 2010

those EPs

Well now that I've finished with just about everything for the new album (and have upgraded my DAW! wooo!), I've been contemplating rebooting that covers EP Ectype and the re-recording of World. Ectype is definitely going to have some different songs on it (I think I'll keep the Liars and Why? covers; they were the only two that sounded half-decent). I should have time to crank those out over the summer. So maybe fall we'll see some new stuff (and some new old stuff).

Wednesday, May 19, 2010

Goodnight sweet prince(s)

one of my all-time favorite bands and a huge influence on my own music, the mighty ISIS, has decided to disband. I'm sad to see them go, but I'm looking forward to new musical projects by them. here's to you.

Tuesday, May 18, 2010

A Grey Cell

from Primitive Circuitry. also contains a cover of Fugazi's "Waiting Room" and a remix of "Tidal" by Rubb.

  • label: GarageMonkey Productions (GMP-019)
  • format: digital file
  • released: 18 May 2010
  • time: 13:19
  • recorded and engineered by Deterior in Studio 205 from Feburary–April 2010
  • mixed and mastered by Deterior in studio 205 from April–May 2010
  • cover art: Louise Docker / Drastic Actions
  • video direction/filming: Drastic Actions
  1. A Grey Cell (4:59)
  2. Waiting Room (2:53)
  3. Tidal (Surfing into Battle Rubbmix) (5:27)

Wednesday, May 5, 2010

A mastered album... a wonderful thing.

Yep, it's done. Well, except for the single, artwork, video, promoting, and all that. But still!

Monday, May 3, 2010


After some experimenting with the site I've decided to start using Bandcamp for managing my music downloads. I'm currently in the process of uploading stuff. Antimonument, Lifting of the Veil, and Cleanse are all available as name-your-own-price downloads in a variety of formats (including FLAC). The new stuff will be going up there as well.

You can check it all out at

Wednesday, April 28, 2010

Mixing is done!


Yep, things are winding down. I actually have a timeline up through June of when I'm going to be doing stuff... for the next maybe two weeks, it's artwork, then mastering, then release. I'll have a promo video up in a few weeks, hopefully. I should stop promising all of these things.

Monday, April 19, 2010

Re: Single

It figures that right after I make a post claiming that I'm not slacking off on the new album that I have one of my least-productive weeks. Well there is only bass for one track left to go (plus some extra tweaks/bits I forgot) and vocals for one of the B-sides for the single—which, by the way, is the third track "A Grey Cell" and will be out (like I said) May 18... assuming, of course, both the B-sides are in order by then.

Mixing is about half done too, and I'm pumped for this. It's sounding good, I think.

Tuesday, April 13, 2010

More things

I promise I'm not slacking off okay?

This past Saturday, photos for artwork were taken. Neat shots of the area, I guess. Bass guitar (and consequently all recording for the album) should be finished by the end of this week. Mixing is about halfway done, so... tentative release dates are: May 18 for the single, June 29 for the album.

Thursday, March 25, 2010


The sacrifices I make for art!

Seriously though I drank at least a gallon of water in the space of a few hours total this week in order to keep my throat lubed up enough to crank out all the vocals for the new album. But oh it was worth it. (It better be, anyway.)

Break is over starting next week and I'll be cranking out the bass then, the final step for recording. Then about a million months of mixing and tweaking. Hooray.

Tuesday, March 9, 2010

Recording series, part 2

Bleh, my throat hurts. Probably shouldn't have done that vocal demoing all at once. Yep, there's (so far) going to be quite a bit of harsh vocals on it; hopefully my throat will man up enough to take it when I do the official recording in about two weeks. (That's one last week of class, followed by finals, followed by one week of free time for me to crank them out.)

In fact I didn't even have the lyrics finalized until today, and even then I actually wrote a line or two today to get it all fitting together. I suppose it's going to be around the same amount that was on Cleanse; present but sort of in the background part of the time and still letting the instruments have their way with the music.

I don't remember if Cleanse was supposed to be a concept album (Antimonument was for sure), but the new one isn't so much. The lyrics are still pretty abstract but I wrote them all without any connection between songs. Mostly they are about everyday life.

I am going to try to put together the guitar recording session video soonish, by the way.

Sunday, February 28, 2010

About the single

I don't know what song is going to be the single yet, but I do know that there are going to be two exclusive B-sides along with it. One of them will be a remix (of a previously-released song) done by Rubb., whom you may recall from the Spire remix single. The other one will be a cover of the band Fugazi.

Tuesday, February 9, 2010

Recording series, part 1

I was planning to post some pictures or video or something, but that's not working out yet... I'll try to do so in the future.

Right, so, I've officially begun the recording process for the new album. At this point, I have recorded all the guitar for the first of seven songs, and I'm probably just going to progress straight through and then do bass and vocals after. Seems simpler that way.

So about my equpiment: I've been using the same guitar for a long time now, an Ibanex EX 370 that I got used in 2005 or so. I don't like it very much. The main problem with it is the fact that it has a floating (Floyd Rose) bridge, meaning that where the strings attach at the bottom just kind of goes up and down whenever it wants instead of staying put. Apparently there are professionals who can string guitars with floating bridges. I can't. When I restrung my guitar for Antimonument, I tried to use regular drop D tuning, resulting in so much tension that I just broke the top two strings. I'd already recorded bass guitar in D, so I was more or less forced to record the guitar using only the lower four strings. The only real solution was to downtune, which is why Lifting of the Veil is downtuned to drop B flat (as is Cleanse). This actually worked out quite nicely since B flat was more in my vocal range anyway and I got a decently heavy sound with the detuned strings. However, B flat isn't a good tuning for bass guitar. I own a five-string Ibanez Soundgear (also kind of a crappy model) and wasn't sure how to tune it. For Lifting of the Veil I just detuned all the strings down so they were incredibly floppy and sounded awful; for Cleanse I only detuned the bottom string so it was six half-steps off the rest of the strings which was really difficult to play with and I'm really not sure what I was thinking. So, for the new album, I've decided to go a bit further with drop A tuning; with this, not only can I get away with only detuning one bass string, but I've also been able to borrow a fretless bass for some parts without detuning it (people hate it when you detune their guitars). So that will hopefully wind up sounding pretty cool.

Since I record in my apartment bedroom and can't really have any amps, I do direct injection from the guitar/bass into a Digitech BP80 pedal straight into my desktop computer. I love the pedal; I've had it almost as long as my bass (about 6 years) and it's excellent for practice; however when recording I only use it for distortion since I add most other effects (reverb, delay, etc.) during mixing.

That's pretty much all there is to say about my equipment... hopefully next update I'll have more to say about the actual recording process.

Thursday, February 4, 2010

Discography page

So apparently Blogspot launched this "pages" feature without telling me. I've taken advantage of the situation to post a more detailed discography page all in one place. I'll probably put download links in it eventually.

Oh, and it also contains the tentative tracklist for the new album.

Monday, February 1, 2010

Progress (2)

Well, all my tabs are done and that means song arrangements are pretty much finalized... all that remains is a bit of rehearsal and I think I'm going to start recording this weekend. Exciting.

I'm thinking of doing some sort of picture or video updates when I start recording because that sounds cool. Who knows.

Friday, January 15, 2010


I think I'm just about finished editing the arrangements for all seven of the songs on the new album. I'm probably going to crank out tabs for them and then I should be able to start the recording process within a couple weeks. Very exciting stuff.

So yeah, like I said before, even though I loved Cleanse when it came out last year, I've realized that I made a lot of mistakes in its execution and it doesn't reflect my best effort. I'm trying to put a lot more effort into the new album, which I hope will show. Like I said I realized that the overlong ambient pieces really took away from the flow so there is going to be a lot less of that.

The tentative title right now is Primitive Circuitry, in case anyone was wondering. Barring any horrible accidents, I hope to have it ready to go in maybe mid-spring.

Sunday, January 3, 2010


Back in Columbus. I'm going to be starting school tomorrow, but I'll hopefully still have time to work on songwriting while I'm at it. Also, I can ship out any CD or tape purchases.