What was ReCyClor? It was a project which was essentially Frank Zen and myself, Lx Wheill, and it was an on-and-off musical venture which began anywhere between 1997 or 1999 and was officially laid to rest by myself in febuary 2017. If you want to know my side of the story, please read on, as for the first time I am going public in "dishing out the dirt" as to what happened, my view/interpretation of what was happening, and why I decided to drop ReCyClor and Frank in the process. Be warned, this is not an easy read and is meant more as a personnal therapy rather than an official account of the facts, as "facts" as we know them are always tainted and interpreted by the one recounting these "facts"
ReCyClor: A brief history lesson (yawn!)
It all started when Frank Zen contacted me in the late 90s via my Wreck Age postal address, asking to purchase the entire catalogu up to that point. Since no one had ever actually purchased that much in one shot, and even less the complete catalogue, I decided to drop them off in person to save on shipping costs and the meet the guy, seeing as how we both lived in the greater 514 metropolitan area.
Back in those days we also decided to start a music review DIY magazine and we would be getting quite a bit of harsh noise material to review, and that quickly became quite redundant. We were both somewhat fond of noise and were very appreciative of the fact that people from around the globe would be sending us these tapes to review, but harsh noise started losing it's interest.
It was also during this time that Frank wanted to try to do some noise and "music", but did not have any experience, instruments, or background in music at all, so I would invite him over to my place to "jam" on my gear. While he would abuse my bass with a crap CD as pick, I would simultaneously process the experience using a few effects pedal into something more or less "dynamic" After a few more turns on my analogue 4-track portastudio, our first piece was hatched, baptized as "Master Bastard", which was to be included on an upcoming noise compilation.
The track was also treated to a "remix" of sorts by my friend Atmospheh-rhycxx who managed to mangle it some more into a "remix" of sorts, using the original live recording.
The name ReCyClor actually came shortly after our initial recording session, as we found out we were recycling other peoples' sounds and re-processing them and ajusting them in our own repurpousing manner. Seeing as how we were "musically conscious" enough to re-use sounds, we decided the name ReCyClor was very representative of our current motive.
I knew that ReCyClor could become something more than just a one-shot noise ordeal, so I started working on a massive 30 minute piece which would be a series of movements from noise to ambient textures, as well as playing around with recycled loops and sounds. Frank would then layer atop this half hour roller coaster ride monstrosity with some spoken work, as he had been written poems, verses, and other thoughts for many years. The first hickup came when his text for "The Sinking Process" could not be elongated nor recited in a manner which could be spaced out over the 30-minute piece, so elements from other texts were incorporated throughout, and the musical construction of the piece was also slightly modified to reflect this. Added in with some assistance and texturing by Atmospheh-rhycxx, and our very first "masterpiece" (ahem) was hatched. What was left to do was to record other material to fill out an album.
Frank and I jammed a few times recording basic tracks for what was to be re-worked in the future, and I started working on a track during spare time as well, but the process was long and tedious and nowhere near as productive as either of us wanted to. During this time, Frank managed to get some music and sampling programs for his laptop computer and started working on material himself, which would eventually lead to his Flesh For Frank and Minimal Frank projects, as well as the Baseline for other collaborative efforts.
It was also during this time that I have to admit that I had a serious drug and alcohol problem. I started feeling a bit like John Belushi: I would smoke dope to trip out, and that in turn led me to massive memory loss and incredible amounts of procrastinating, as well as great paranoia, and I would calm these sensations down with heavy duty cheap beer. I was somewhat of a wreck, and kept pushing back production on a number of things, so weeks turned to months, and months turn to years.
Finally came a day when I needed to dust off the old equipment to start work on a soundtrack, I discovered that my portastudio 4-track was not in functioning order anymore, and neither was my trusted old Mirage sampler. By this time digital technology had properly settled and there was no way to get the porta 4-track back in working order with a low cost that would not be more expensive than purchasing a new device. Anyway, all the original 4-track tapes were now useless, and therefore all the ReCyClor material recorded was lost.
That is of course until Frank pulled out some various cassettes he himself had been hiding and holding on to, and with these tapes I was able to make a makeshift debut album, about 15 years later. ReCyClor's official CDr debut entitled "The Sinking Process" featured the title piece, two versions of "Master Bastard", an instrumental shorter demo version of "The Sinking Process" which was called "The Dubbing Process" (a live jam Atmospheh-rhycxx and myself did in order to test how some parts of the song would end up sounding like), and a short jam piece with Frank Zen, which he called "Toasterized". Culled from second generation cassettes, this was a far cry from the original intended debut album, but seeing as how we had been sitting on this material since about 1999, I thought it was highly due to be unleashed as is to the general public. Check out the official release page here: https://www.discogs.com/ReCyClor-The-Sinking-Process/release/5827236
ReCyClor: The post-Y2K damnation
Frank was fast becoming a "something" of his own online, churning out quite a hefty amount of solo recordings (Minimal Frank, Flesh For Frank), as well as collaborating with other artists, so his plate was quite full. Around 2012 or 2013 I acquired a cell phone which had musical programs capabilities, and as I was toying around with them, I also saw the possibilities of using these freebie gadgets and applications differently than what they were originally designed for. So I started working on some stuff for myself (a D.F.S. comeback with again a new shift in style, soundtrack work as ARCHangel, etc), as well as some ReCyClor stuff. The idea was that I would record and give to Frank some basic, ray, simple stuff that he would add on to. Three albums were recorded and donated to Frank around 2013 and 2014 or so: One was more "ambient" or "noise" oriented, one was more "dark-dub" oriented, and then third was a mixture of both, incorporating rhythms to the basic raw sound sources.
(Of note, I had donated to Frank a 78 minute CD featuring 12 interlinked very low-fi dark ambient pièces for his practice; he in turn remangled them into two 56 minute long pièces each: the result was released on Wreck Age Recordings as the "Tectonic Plates" douoble CD album, Under the project name of Tectonic Plates. A little more détails can be found here: https://www.discogs.com/artist/3620794-Tectonic-Plates-2
I also began working on another album which would be much more quiet and very "spacey", to see if we could go into dark ambient territory. Simultaneously I had begun working on even more ReCyClor material in the form of short 1-2 minute pièces, for in those days, Frank was privy to numerous compilations out there in internet land which I wanted to get into. I thought it would be a great way to get the ReCyClor name across if we had a one-minute piece on as many 1-minute compilations out there as we could. So I basically recorded about 30 little 1-minute pièces using the same formulae as I had begun: doing a basic underlying track and then giving them to Frank for his finishing touches and laptop magic.
It was 2015 that the proverbial sh1t began to hit the fan. The company which produced the programs I was using on my cell phone to craft all the ReCyClor material decided to shut down without warning, essentially taking their "cloud" storage along with their sinking ship. To put it bluntly, all that ReCyClor stuff was now gone. I still had all the patterns and sequences stored in my phone, but all the sounds were no longer available; apparently the company thought that having their sounds only available through their cloud was a "good" idea. At this point I had only been able to transfer / download the equivalent of the first two prototype albums for Frank to work on, but everything else was never layed down, and so were lost forever. The sounds themselves used in these ReCyClor tracks were the key to the whole process, and without the sounds and only the basic structures (which were done based on the sounds themselves), it was useless if not an impossible task to even attempt at recreating these pièces.
Depressed and frustrated, I started realizing that maybe our ReCyClor project was doomed from the start; from the troubles surrounding the first album, to these hickups and sabotage due to modern technology, I feared that ReCyClor was more of an unabtainable dream rather than a feasible reality.
ReCyClor: This Is The End (2017)
In early 2017 I decided to shut down the project. I recall weighing the factors of my decision back in the days was very difficult but seemed necessary. I apologize in advance in this will anger, frustrate, agitate or in any other way negatively impact anyone, but as I mentioned earlier on in this post, I decided to "dish out the dirt" in order to try to explain my decision.
Frank and myself were buddies, but as with all relationships, it had it's fair share of ups and downs. I would regularly visit him every friday evening for drinks and music appreciation, but over the years, things happened which would tarnish and taint our Relationship. First, I will admit I was a horrible friend to Frank. I would constantly try to push him out of his comfort zone through many means, at times very unethical and quite selfish on my part. I believed at the time that the only to get Frank into trying new things and approaching things Under a different light was to try to get him out of what he was well versed in, and what he was comfortable with. You see I had begun to think that he had reached a plateau with his music, and most of his "recent" musical offerings sounded very redundant to me, as though it was basically re-hashing the same stuff using the same methods. His pièces started to all sound the same to me, and I actually thought that I wanted him to "evolve" musically, or at least get out of the rut I thought he was in. I admit it was pretty selfish and sh1tty of me to both think so and act upon my thoughts, but I did.
Added to this was Frank's "obsessions". Basically he would go on at lengths about his celibacy and how it felt like a curse to him. Many of his rantings and "deeper" conversation points started and ended with this concept. This went on for a long time, a few years at least, until he discovered the joys of "Skyping", or how to get it virtually if you don't get it physically. His mood changed and he was envigorated (invigorated?) with a new energy, and how his discourse became that of having these new and unique expériences, as though his "curse" had been lifted. As much as his previous rantings on the subject were fruitless and quite repetitive, his new fascination with the now "curse lifted" aspect changed the shift of his rantings, but they also became almost his only subjects of discourse. Long gone were our discussions of music, both listened to, appreciated, and plans for our own. Now it was all abouot how he was finally catching up to the world and enjoying his numerous polyamorous online adventures thanks to a webcam and a microphone.
Intertwined in these were his lack of reaching out. He'd never actually call me to see if we would meet up, nor to confirm if all was OK with our weekly get-together. If I did not call him, he certainly would not, and we could go weeks, if not months without any news if I decided not to call him. This also began to smell like a one-way street, made more apparent when he would not keep in touch if anything would happen to him, such as his failing health for example. On more than one occasion (OK so I recall only two, but my memory is shot to hell, remember?), I would call him up after weeks of not getting any news from him, and find out he had had a medical condition that required hospitalization or such. He wouldn't keep me in the loop if serious life events happened and I had to find ouot about them by calling him up after weeks of him not giving any news at all.
The final straw, or at least the event which woke me up to Frank's real self and priorities was when he scored a girlfriend and she went through his stuff and found a stash of, ahem... "questionable" items in a bag. Most of these were mine and I had asked Frank to hold onto them as he had the space to store these and I was either just finishing a moving or just planning another one (there was an eviction situation somewhere in there), but some stuff was his. Essentially his girlfriend through a fit at Frank and demanded he get rid of them post-haste, and I had the choice of picking them up a day or two (or three) later, or it would all be going to the trash. Granted most of that stuff ended up in the trash when I went through it but the main point is that it not only showed the relationship of power within his relationship with his girlfriend (a subject I elaborated upon at great lengths on another blog elsewhere) but also how things would be from that point forth.
The main point of course was how this event showed Frank's real intentions and priorities, and I admit I feel quite the fool for not having seen it sooner. He never really cared about the music; it was most probably a diversion to keep him from being reminded of his then "curse". His priorities laid towards having an intimate Relationship with someone. His discourse was that of not having a Relationship, then shifted to that of newfound expériences, but it really never was about the music, for if it ever was, maybe he would have shown some form of interest throughout the years instead of me being the principal instigator of ReCyClor's output, something which was also reflected in our own "friendship", I guess.
In late 2016 and early 2017 I found an old recording from Simon Sinistar which he had worked on, intended as a ReCyClor piece. I decided to finish the piece following the original design laid by Simon, as well as recorded two brand new pièces (as assembled a ghost track as well) as ReCyClor, and bookended these recordings with two remixes Frank had done of our old Master Bastard piece from all those years ago.
This became the second, and final ReCyCLor album, aptly entitled "Aborted Before Baptism", named so after the fact that the ReCyClor project never really became what it could or should have been, and always was more a gleam in my eyes than an actual project. I do blame myself since in the earlier days of the project, I went into alcohol and drugs instead of even trying to get this off the ground. Who knows what would have happened if we would have taken this a bit more seriously, and if we did put more effort into it earlier on before everything changed and music started feeling "old" a month after it's release, thanks to modern day planned obsolecence?
You can check out the official release page over here: https://www.discogs.com/ReCyClor-Aborted-Before-Baptism/release/9611425
I toyed for a minute about the idea of continuing ReCyClor as another "solo" projects. Frank himself had done something similar with projects he was involved with such as Leper Collective, where the project itself was almost much more Frank-based than Main Patterson, to the point of having that project's last (known) two albums essentially being solo Frank outings, purging his laptop of unused sound sources provided by Maim years earlier, and essentially Frank laying to rest the project and turning a new leaf.
My problem with the idea of continuing ReCyClor by myself was that I was trying to avoid and steer clear of multiple project name syndrome. There was a time during the tape underground noise culture in the 90s where artists would release a bunch of stuff Under different band names, for the sheer kick of it all, but at this point in my life I am trying to streamline and simplify the various projects, attempting instead to reduce the amount of project names. Plus the idea of releasing stuff under the name ReCyClor would always be reminding me of what could have been but never was, and there would always be an underlying sensation of unsatisfaction and guilt with every step taken in that direction.
So there you have it: a one-sided history of ReCyClor along with my egoistical musings and selfish excuses as to why I thought this was to be stopped before it even had a chance to get anywhere. At the very least, there are two albums out there which give a hint as to what might have been, as well as quite a few live improvisations on the Wreck Age YooToob channel to give an idea of the ideas which were behind the band..
ReCyClor: A brief history lesson (yawn!)
It all started when Frank Zen contacted me in the late 90s via my Wreck Age postal address, asking to purchase the entire catalogu up to that point. Since no one had ever actually purchased that much in one shot, and even less the complete catalogue, I decided to drop them off in person to save on shipping costs and the meet the guy, seeing as how we both lived in the greater 514 metropolitan area.
Back in those days we also decided to start a music review DIY magazine and we would be getting quite a bit of harsh noise material to review, and that quickly became quite redundant. We were both somewhat fond of noise and were very appreciative of the fact that people from around the globe would be sending us these tapes to review, but harsh noise started losing it's interest.
It was also during this time that Frank wanted to try to do some noise and "music", but did not have any experience, instruments, or background in music at all, so I would invite him over to my place to "jam" on my gear. While he would abuse my bass with a crap CD as pick, I would simultaneously process the experience using a few effects pedal into something more or less "dynamic" After a few more turns on my analogue 4-track portastudio, our first piece was hatched, baptized as "Master Bastard", which was to be included on an upcoming noise compilation.
The track was also treated to a "remix" of sorts by my friend Atmospheh-rhycxx who managed to mangle it some more into a "remix" of sorts, using the original live recording.
The name ReCyClor actually came shortly after our initial recording session, as we found out we were recycling other peoples' sounds and re-processing them and ajusting them in our own repurpousing manner. Seeing as how we were "musically conscious" enough to re-use sounds, we decided the name ReCyClor was very representative of our current motive.
I knew that ReCyClor could become something more than just a one-shot noise ordeal, so I started working on a massive 30 minute piece which would be a series of movements from noise to ambient textures, as well as playing around with recycled loops and sounds. Frank would then layer atop this half hour roller coaster ride monstrosity with some spoken work, as he had been written poems, verses, and other thoughts for many years. The first hickup came when his text for "The Sinking Process" could not be elongated nor recited in a manner which could be spaced out over the 30-minute piece, so elements from other texts were incorporated throughout, and the musical construction of the piece was also slightly modified to reflect this. Added in with some assistance and texturing by Atmospheh-rhycxx, and our very first "masterpiece" (ahem) was hatched. What was left to do was to record other material to fill out an album.
Frank and I jammed a few times recording basic tracks for what was to be re-worked in the future, and I started working on a track during spare time as well, but the process was long and tedious and nowhere near as productive as either of us wanted to. During this time, Frank managed to get some music and sampling programs for his laptop computer and started working on material himself, which would eventually lead to his Flesh For Frank and Minimal Frank projects, as well as the Baseline for other collaborative efforts.
It was also during this time that I have to admit that I had a serious drug and alcohol problem. I started feeling a bit like John Belushi: I would smoke dope to trip out, and that in turn led me to massive memory loss and incredible amounts of procrastinating, as well as great paranoia, and I would calm these sensations down with heavy duty cheap beer. I was somewhat of a wreck, and kept pushing back production on a number of things, so weeks turned to months, and months turn to years.
Finally came a day when I needed to dust off the old equipment to start work on a soundtrack, I discovered that my portastudio 4-track was not in functioning order anymore, and neither was my trusted old Mirage sampler. By this time digital technology had properly settled and there was no way to get the porta 4-track back in working order with a low cost that would not be more expensive than purchasing a new device. Anyway, all the original 4-track tapes were now useless, and therefore all the ReCyClor material recorded was lost.
That is of course until Frank pulled out some various cassettes he himself had been hiding and holding on to, and with these tapes I was able to make a makeshift debut album, about 15 years later. ReCyClor's official CDr debut entitled "The Sinking Process" featured the title piece, two versions of "Master Bastard", an instrumental shorter demo version of "The Sinking Process" which was called "The Dubbing Process" (a live jam Atmospheh-rhycxx and myself did in order to test how some parts of the song would end up sounding like), and a short jam piece with Frank Zen, which he called "Toasterized". Culled from second generation cassettes, this was a far cry from the original intended debut album, but seeing as how we had been sitting on this material since about 1999, I thought it was highly due to be unleashed as is to the general public. Check out the official release page here: https://www.discogs.com/ReCyClor-The-Sinking-Process/release/5827236
ReCyClor: The post-Y2K damnation
Frank was fast becoming a "something" of his own online, churning out quite a hefty amount of solo recordings (Minimal Frank, Flesh For Frank), as well as collaborating with other artists, so his plate was quite full. Around 2012 or 2013 I acquired a cell phone which had musical programs capabilities, and as I was toying around with them, I also saw the possibilities of using these freebie gadgets and applications differently than what they were originally designed for. So I started working on some stuff for myself (a D.F.S. comeback with again a new shift in style, soundtrack work as ARCHangel, etc), as well as some ReCyClor stuff. The idea was that I would record and give to Frank some basic, ray, simple stuff that he would add on to. Three albums were recorded and donated to Frank around 2013 and 2014 or so: One was more "ambient" or "noise" oriented, one was more "dark-dub" oriented, and then third was a mixture of both, incorporating rhythms to the basic raw sound sources.
(Of note, I had donated to Frank a 78 minute CD featuring 12 interlinked very low-fi dark ambient pièces for his practice; he in turn remangled them into two 56 minute long pièces each: the result was released on Wreck Age Recordings as the "Tectonic Plates" douoble CD album, Under the project name of Tectonic Plates. A little more détails can be found here: https://www.discogs.com/artist/3620794-Tectonic-Plates-2
I also began working on another album which would be much more quiet and very "spacey", to see if we could go into dark ambient territory. Simultaneously I had begun working on even more ReCyClor material in the form of short 1-2 minute pièces, for in those days, Frank was privy to numerous compilations out there in internet land which I wanted to get into. I thought it would be a great way to get the ReCyClor name across if we had a one-minute piece on as many 1-minute compilations out there as we could. So I basically recorded about 30 little 1-minute pièces using the same formulae as I had begun: doing a basic underlying track and then giving them to Frank for his finishing touches and laptop magic.
It was 2015 that the proverbial sh1t began to hit the fan. The company which produced the programs I was using on my cell phone to craft all the ReCyClor material decided to shut down without warning, essentially taking their "cloud" storage along with their sinking ship. To put it bluntly, all that ReCyClor stuff was now gone. I still had all the patterns and sequences stored in my phone, but all the sounds were no longer available; apparently the company thought that having their sounds only available through their cloud was a "good" idea. At this point I had only been able to transfer / download the equivalent of the first two prototype albums for Frank to work on, but everything else was never layed down, and so were lost forever. The sounds themselves used in these ReCyClor tracks were the key to the whole process, and without the sounds and only the basic structures (which were done based on the sounds themselves), it was useless if not an impossible task to even attempt at recreating these pièces.
Depressed and frustrated, I started realizing that maybe our ReCyClor project was doomed from the start; from the troubles surrounding the first album, to these hickups and sabotage due to modern technology, I feared that ReCyClor was more of an unabtainable dream rather than a feasible reality.
ReCyClor: This Is The End (2017)
In early 2017 I decided to shut down the project. I recall weighing the factors of my decision back in the days was very difficult but seemed necessary. I apologize in advance in this will anger, frustrate, agitate or in any other way negatively impact anyone, but as I mentioned earlier on in this post, I decided to "dish out the dirt" in order to try to explain my decision.
Frank and myself were buddies, but as with all relationships, it had it's fair share of ups and downs. I would regularly visit him every friday evening for drinks and music appreciation, but over the years, things happened which would tarnish and taint our Relationship. First, I will admit I was a horrible friend to Frank. I would constantly try to push him out of his comfort zone through many means, at times very unethical and quite selfish on my part. I believed at the time that the only to get Frank into trying new things and approaching things Under a different light was to try to get him out of what he was well versed in, and what he was comfortable with. You see I had begun to think that he had reached a plateau with his music, and most of his "recent" musical offerings sounded very redundant to me, as though it was basically re-hashing the same stuff using the same methods. His pièces started to all sound the same to me, and I actually thought that I wanted him to "evolve" musically, or at least get out of the rut I thought he was in. I admit it was pretty selfish and sh1tty of me to both think so and act upon my thoughts, but I did.
Added to this was Frank's "obsessions". Basically he would go on at lengths about his celibacy and how it felt like a curse to him. Many of his rantings and "deeper" conversation points started and ended with this concept. This went on for a long time, a few years at least, until he discovered the joys of "Skyping", or how to get it virtually if you don't get it physically. His mood changed and he was envigorated (invigorated?) with a new energy, and how his discourse became that of having these new and unique expériences, as though his "curse" had been lifted. As much as his previous rantings on the subject were fruitless and quite repetitive, his new fascination with the now "curse lifted" aspect changed the shift of his rantings, but they also became almost his only subjects of discourse. Long gone were our discussions of music, both listened to, appreciated, and plans for our own. Now it was all abouot how he was finally catching up to the world and enjoying his numerous polyamorous online adventures thanks to a webcam and a microphone.
Intertwined in these were his lack of reaching out. He'd never actually call me to see if we would meet up, nor to confirm if all was OK with our weekly get-together. If I did not call him, he certainly would not, and we could go weeks, if not months without any news if I decided not to call him. This also began to smell like a one-way street, made more apparent when he would not keep in touch if anything would happen to him, such as his failing health for example. On more than one occasion (OK so I recall only two, but my memory is shot to hell, remember?), I would call him up after weeks of not getting any news from him, and find out he had had a medical condition that required hospitalization or such. He wouldn't keep me in the loop if serious life events happened and I had to find ouot about them by calling him up after weeks of him not giving any news at all.
The final straw, or at least the event which woke me up to Frank's real self and priorities was when he scored a girlfriend and she went through his stuff and found a stash of, ahem... "questionable" items in a bag. Most of these were mine and I had asked Frank to hold onto them as he had the space to store these and I was either just finishing a moving or just planning another one (there was an eviction situation somewhere in there), but some stuff was his. Essentially his girlfriend through a fit at Frank and demanded he get rid of them post-haste, and I had the choice of picking them up a day or two (or three) later, or it would all be going to the trash. Granted most of that stuff ended up in the trash when I went through it but the main point is that it not only showed the relationship of power within his relationship with his girlfriend (a subject I elaborated upon at great lengths on another blog elsewhere) but also how things would be from that point forth.
The main point of course was how this event showed Frank's real intentions and priorities, and I admit I feel quite the fool for not having seen it sooner. He never really cared about the music; it was most probably a diversion to keep him from being reminded of his then "curse". His priorities laid towards having an intimate Relationship with someone. His discourse was that of not having a Relationship, then shifted to that of newfound expériences, but it really never was about the music, for if it ever was, maybe he would have shown some form of interest throughout the years instead of me being the principal instigator of ReCyClor's output, something which was also reflected in our own "friendship", I guess.
In late 2016 and early 2017 I found an old recording from Simon Sinistar which he had worked on, intended as a ReCyClor piece. I decided to finish the piece following the original design laid by Simon, as well as recorded two brand new pièces (as assembled a ghost track as well) as ReCyClor, and bookended these recordings with two remixes Frank had done of our old Master Bastard piece from all those years ago.
This became the second, and final ReCyCLor album, aptly entitled "Aborted Before Baptism", named so after the fact that the ReCyClor project never really became what it could or should have been, and always was more a gleam in my eyes than an actual project. I do blame myself since in the earlier days of the project, I went into alcohol and drugs instead of even trying to get this off the ground. Who knows what would have happened if we would have taken this a bit more seriously, and if we did put more effort into it earlier on before everything changed and music started feeling "old" a month after it's release, thanks to modern day planned obsolecence?
You can check out the official release page over here: https://www.discogs.com/ReCyClor-Aborted-Before-Baptism/release/9611425
I toyed for a minute about the idea of continuing ReCyClor as another "solo" projects. Frank himself had done something similar with projects he was involved with such as Leper Collective, where the project itself was almost much more Frank-based than Main Patterson, to the point of having that project's last (known) two albums essentially being solo Frank outings, purging his laptop of unused sound sources provided by Maim years earlier, and essentially Frank laying to rest the project and turning a new leaf.
My problem with the idea of continuing ReCyClor by myself was that I was trying to avoid and steer clear of multiple project name syndrome. There was a time during the tape underground noise culture in the 90s where artists would release a bunch of stuff Under different band names, for the sheer kick of it all, but at this point in my life I am trying to streamline and simplify the various projects, attempting instead to reduce the amount of project names. Plus the idea of releasing stuff under the name ReCyClor would always be reminding me of what could have been but never was, and there would always be an underlying sensation of unsatisfaction and guilt with every step taken in that direction.
So there you have it: a one-sided history of ReCyClor along with my egoistical musings and selfish excuses as to why I thought this was to be stopped before it even had a chance to get anywhere. At the very least, there are two albums out there which give a hint as to what might have been, as well as quite a few live improvisations on the Wreck Age YooToob channel to give an idea of the ideas which were behind the band..
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