In 2004, I bought my first synthesizer. It was a ratty Korg X5 I had found used at Guitar Center. I was enamored by the atmospheric textures by the mighty Aubrey Hodges in his work for the Doom ports for the PSX and N64. The first preset patch was an electric guitar-esq swell, and I immediately recognized it as the Midway splash screen sound effect and convinced myself that he had used that rig (He actually used a sample library provided by Midway). $300 later, I began my (so far) life-long obsession with synthesis and noise making in general. The X5 has a fond place in my heart. As far as mid-90s romplers go, there is no better source for strings, choirs, organs, spacey drones. Not in that price range anyway.
The first track I started work on was Amerikan Demon, which ended up being the opening track. My girlfriend and I at the time were pretty heavy into LSD and Natural Born Killers and that track is definitely a reflection on that. Sample collecting was done in a pretty crude way, by splitting the output of a DVD player and then collecting the audio onto a VCR for later use. My CPU at the time was a 1.7ghz Celeron with a meager 10gb HD, not exactly the ideal platform for collecting enormous wav files.
In the Halls of the Damned was put together over the course of a relatively short amount of time. Definitely one of my favorites off of that album. Lots of sampling from Johnny Mnemonic, again, ripped onto a VCR.
Sickeye was done in one marathon session. I had taken E for the first time by myself and, having nothing else but my music set-up to keep me occupied, I wrapped myself up in nothing but a blanket and hammered through that song that night. The way it was recorded was hamfisted to say the least, very lo-fi.
I was playing bass in another band and we had moved into this rat infested studio space near the center of Taunton, MA. Our room was actually an addition that hung off the side of the main building. In the winter, it would be just as cold in our room as the outside and we could hear rats running above our heads on the ceiling tiles. At that point I was putting together my synth rig. I had purchased a Korg Triton, Nord Lead 2 Rack, Novation A-Station and a Korg Electribe EX. Not long after, I started work on Serial Killer. I sank weeks into that song. That main synth arp is the Nord, most the break-down in the middle was the Triton and X5. Most of the samples were gathered from a b-movie Perry Farrel made called 'The Gift'.
The rest of the tracks were written / recorded at that studio space. It took about 2 years to complete. I had made a rule for myself that no sober hands could touch PWW, and I can honestly say I stayed true to my word, on that album anyway.