RR.60 – hara-kari kitty discography

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The last release of the year for us and we bring it hard.  Several years back a high school student decided to do something different with computer generated music and with it was born Hara-Kari Kitty.  Hailing from Alamo Texas, which is just a few miles away from the RR headquarters Christopher Perez brought something to life that was totally life changing for me and alot of others.  I was dating a girl who was really into a bunch of the same kind of music I was listening to at the time and I had started writing music very slowly for my project A Beautiful Lotus, she seemed to enjoy what I was doing with it at the time.  During this time I had no idea what was going down just a few miles away.  My girlfriend at the time would tell me about these house shows that featured alot of nakedness and kids doing electronic music.  I was like well I don’t really want to go out and see a bunch of high school kids play out of an iPod, id rather go do a death metal show and try to grope you trough your pants.  So what I did was did some research on the once booming Myspace to find such bands as Happy Sucky! Basil the Mouse and Hara-Kari Kitty.  I wasn’t too into the other two bands but I totally respected them for what they were doing.  But HKK wasn’t doing something that I would just tend to brush off. I was totally enthralled by what I was listening to from the second I pushed play.  I hadn’t played live yet and hadn’t planned on doing so just because I didn’t think  it would be worth it, and I figured people were so closed minded they would be like whatever…but thats a whole other story.  Hara-Kari Kitty pushed the envelope for its short time in existence and paved the way for the whole sub-genre (s) that was created from then on.  It was posted on a blog that the reason HKK was killed was for the massive growth in shit in the micro, cyber, electro, midi, and so on grind categories.  I know there is a ton of genres and sub genres that get thrown around very loosely and i’m not too into using them but if you were around at the time of the peak of the Myspace micro movement you know how congested it got.  A ton of great bands got lost in the mix due to the massive amount of bullshit that got put out at that time.  What I have set out to do from day one was to bring you the history of what we do.  This little piece of history will be set in stone forever and my goal is to keep it in everyones heart and or mind.  This did happen and you shouldn’t forget about it.  Enjoy the discography of the artist that totally changed my view in life musically and gave me the strength to grow out of my shell and do what I needed to do.  All good things come to an end and when that day does come all we have is the memories.  Here I bring you another memory for you to keep stored away in your hard drives for all eternity.  Thank you again and have a happy and safe new year.  There is a ton of new in 2011 so prepare for even more great FREE releases and a whole lot more. -RR!

 

**update**

Since it was a little late last night I realized there was a few things and people I failed to mention.  First of all id like to thank John of the infamous Brokecore, without the start of this net label this super sub-genre would not have had the life it had.  Brokecore put out some of the most eclectic electronic music not really before heard before then, unless you were making it yourself.   I do believe without Brokecore records alot of us would be doing something else with our lives.  Without that first chance to put something out there for the world to hear none of this wouldn’t have been possible.

Also brought to my attention by m@ of Bubblegum Octopus was some missing files in the HKK discography from the One Dead Seagull split.  Keep in mind me and Chritopher of HKK put this disco together and not once did he mention that split, nor did I have any recollection of it.  I emailed Chris and he told me that he completely forgot about that split happening.  If you happen to have a copy of that split that you can get to us we would gladly appreciate it.  The good thing about this archive is that we can add to it when and if ever needed.  There is also one remix that HKK did of a Hentai Cum Dragon song which will be sent to me very soon.

Once again thanks to everyone involved in getting this discography together and helping us remember what we forgot to add.  Once again without any of you this could not be possible. -RR!

 

**update.2**

Christopher has left some great info on the comments section of this blog post but I will post them on here for the people who cant see the comments.

 

thanks for the kind words. Most of my hard copies of CDRs, floppies, etc are in a box at my parents’ house with the rest of the things I bought or traded during high school.

HKK occupies an unforgettable part of my life, when I moved from an interior, artistic landscape to being an artist-in-the-world with my feet planted within a particular scene. At the time, the Valley was somewhat conventional, even within the underground music scene. Aside from hardcore punk bands and others that can generally be labeled as “emo,” not much was going on. I had already heard the phrase “Keep Austin Weird.” Well, I wanted to “Make the Valley Weird” as well as hopefully create a sound that was representative of my influences. I was very much digging Gravity-styled bands like Antioch Arrow and Heroin, as well as almost everything on 31G, like the Locust. More straight-up grind bands like Charles Bronson, or screamo bands like Orchid and Saetia, were on heavy rotation. Gigantic Brain, The Smile Adventure, 50 Ways to Kill Me, and the Electrocutionerdz also interested me in the technical/aesthetic aspects of HKK.

The band allowed me to truly do some crazy shit, like attach fireworks to my body, scream nonsensical lyrics, travel and sleep on floors in Austin, wear costumes and make sets. And so much more. What matters to me, though, was that the project helped introduce an alternative to the alternative. Mat of Basil the Mouse was instrumental in lending us his garage, and when that wasn’t available, we had shows in public places, like parks or Broadway Hardware, which were departures from tried and true venues, like Athena’s or the VFW.

José of Happysucky provided artistic support in ways I had never experienced and very much helped me create my idea of an artistic community. Even though our music rested on opposite sides of the musical spectrum, we shared many commonalities, and he passed me so many drum packs, vsts, samples, etc, as well as dreamed with me as we set up the “next big show.”

Of course, there’s the Baby’s Lunch from San Antonio, and the Totally Wreck crew of Austin, artists who were similarly doing unbelievably strange and new and heartfelt things with music, and who helped the Valley become at least somewhat visible within Texas as a whole, but what I’m trying to get at is that HKK represents and was part of something much bigger than itself. For everything the project might lack musically (I say this now, more experienced after more than five years of musicianship and performance), I think the mentality, energy, and communal necessity inherent in HKK is what made the band and helped it rise to, if not momentary popularity, at least recognition.

Toward the end, I was interested in finding a sound that was a little more put together, not so dada, pastiche, collaged. Songs like “Pizza Baroness” and “Grimfvkkerkvuntglugugli” sort of subverted the 8-bit sound as well as experimented with new genres. “Pizza Baroness” features a classic d-beat, for instance. Even so, it wasn’t enough to keep the project going. I moved to Austin to attend college and, barraged with new aspects of life, I stopped playing shows and making music as HKK. It’s true that the influx of 8-bit digi-grind or nintendo grind bands pushed me out of the scene, but it was mostly so because I felt disillusioned with the tropes that were being statically progressed within the genre. It was being augmented by exaggeration rather than change or innovation. Several great groups did come out of the nintendogrind craze, but I was ready to try something new. Plus, I was more interested in continuing Black Jesus, which was a weird-folk, psychedelic project I had concurrent to HKK.

Whether anyone’s interested, I don’t know, but I’ve several things going on. Trash Stache is a group with James Mallard of the Baby’s Lunch fame, and it’s an improvisational band working within the realm of electronics, punk, negative grunge, etc. With the advent of Soundcloud and Bandcamp, Myspace is sort of post-apocalyptic, but we do have a profile:http://www.myspace.com/trashstache.

I’ve also a solo project called Roman Candle, that’s dark, minimal synthy wave. A four-way split cassette is in the works with Ezra Buchla, Seth Nemec, and Omebia, and will be out on Mind Magnetic tapes, a label out of Austin.http://www.myspace.com/537290537

My largest passion, though, is writing, and I’m pursuing a Creative Writing MFA from the Milton Avery Graduate School of the Arts in New York. I attend during June and July, and am spending the rest of my time in Capital Federal, Buenos Aires.

Anyways, once again, I want to say thanks for the thoughtful post and the collection of all my material. We played some fun shows together, and if I remember correctly, was it first at the Boiler Room?

Sincerely,

Christopher

 

Also..

ahh, yah BROKECORE!

It seems that I’m forgetting everything and everyone. John was truly helpful in cultivating the scene in a wider sense that extended beyond the physical location of the Valley.

My correspondence with him, whether it was about music or just bored Friday night chatter, marked a great friendship, and in a lot of ways, John was one of my heroes I looked up to. Evil Robot Ted said no to a lot of trends as well as a lot of conventions, and the project persisted in its sound. Brokecore, as a label, released some great releases.

As for the missing songs, quite a few are missing. I dind’t know whether songs I remixed would be included, too. Since it seems like the Hentai Cum Dungeon remix will be, then there’s also:

Broke033 – Hara-Kari Kitty Vs Evil Robot Ted – 40 Million Oz Of Evil Robot Kitty (3″ONLY! No download).

As well, the song “Radioactive Vomit (Kiss Me)” appeared on the compilation Treasures and Pleasures and is not included in the discog, though “Hentai Fanclub Meeting Behind the School Library” is, and that was part of the Brokecore compilation.

Also, there’s “Double Dragon Fisting,” which was on the Myspace player for quite a long time. I eventually removed it and placed the songs that are currently on the player, but after my computer crashed, I lost everything, including, apparently, my memory.

as for the one dead seagull split, i’ll ask to see whether mat has the files saved anywhere.

 

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Posted on December 29, 2010, in RR Releases and tagged , , , , , , , , , , , , . Bookmark the permalink. 6 Comments.

  1. Phil,

    thanks for the kind words. Most of my hard copies of CDRs, floppies, etc are in a box at my parents’ house with the rest of the things I bought or traded during high school.

    HKK occupies an unforgettable part of my life, when I moved from an interior, artistic landscape to being an artist-in-the-world with my feet planted within a particular scene. At the time, the Valley was somewhat conventional, even within the underground music scene. Aside from hardcore punk bands and others that can generally be labeled as “emo,” not much was going on. I had already heard the phrase “Keep Austin Weird.” Well, I wanted to “Make the Valley Weird” as well as hopefully create a sound that was representative of my influences. I was very much digging Gravity-styled bands like Antioch Arrow and Heroin, as well as almost everything on 31G, like the Locust. More straight-up grind bands like Charles Bronson, or screamo bands like Orchid and Saetia, were on heavy rotation. Gigantic Brain, The Smile Adventure, 50 Ways to Kill Me, and the Electrocutionerdz also interested me in the technical/aesthetic aspects of HKK.

    The band allowed me to truly do some crazy shit, like attach fireworks to my body, scream nonsensical lyrics, travel and sleep on floors in Austin, wear costumes and make sets. And so much more. What matters to me, though, was that the project helped introduce an alternative to the alternative. Mat of Basil the Mouse was instrumental in lending us his garage, and when that wasn’t available, we had shows in public places, like parks or Broadway Hardware, which were departures from tried and true venues, like Athena’s or the VFW.

    José of Happysucky provided artistic support in ways I had never experienced and very much helped me create my idea of an artistic community. Even though our music rested on opposite sides of the musical spectrum, we shared many commonalities, and he passed me so many drum packs, vsts, samples, etc, as well as dreamed with me as we set up the “next big show.”

    Of course, there’s the Baby’s Lunch from San Antonio, and the Totally Wreck crew of Austin, artists who were similarly doing unbelievably strange and new and heartfelt things with music, and who helped the Valley become at least somewhat visible within Texas as a whole, but what I’m trying to get at is that HKK represents and was part of something much bigger than itself. For everything the project might lack musically (I say this now, more experienced after more than five years of musicianship and performance), I think the mentality, energy, and communal necessity inherent in HKK is what made the band and helped it rise to, if not momentary popularity, at least recognition.

    Toward the end, I was interested in finding a sound that was a little more put together, not so dada, pastiche, collaged. Songs like “Pizza Baroness” and “Grimfvkkerkvuntglugugli” sort of subverted the 8-bit sound as well as experimented with new genres. “Pizza Baroness” features a classic d-beat, for instance. Even so, it wasn’t enough to keep the project going. I moved to Austin to attend college and, barraged with new aspects of life, I stopped playing shows and making music as HKK. It’s true that the influx of 8-bit digi-grind or nintendo grind bands pushed me out of the scene, but it was mostly so because I felt disillusioned with the tropes that were being statically progressed within the genre. It was being augmented by exaggeration rather than change or innovation. Several great groups did come out of the nintendogrind craze, but I was ready to try something new. Plus, I was more interested in continuing Black Jesus, which was a weird-folk, psychedelic project I had concurrent to HKK.

    Whether anyone’s interested, I don’t know, but I’ve several things going on. Trash Stache is a group with James Mallard of the Baby’s Lunch fame, and it’s an improvisational band working within the realm of electronics, punk, negative grunge, etc. With the advent of Soundcloud and Bandcamp, Myspace is sort of post-apocalyptic, but we do have a profile: http://www.myspace.com/trashstache.

    I’ve also a solo project called Roman Candle, that’s dark, minimal synthy wave. A four-way split cassette is in the works with Ezra Buchla, Seth Nemec, and Omebia, and will be out on Mind Magnetic tapes, a label out of Austin. http://www.myspace.com/537290537

    My largest passion, though, is writing, and I’m pursuing a Creative Writing MFA from the Milton Avery Graduate School of the Arts in New York. I attend during June and July, and am spending the rest of my time in Capital Federal, Buenos Aires.

    Anyways, once again, I want to say thanks for the thoughtful post and the collection of all my material. We played some fun shows together, and if I remember correctly, was it first at the Boiler Room?

    Sincerely,
    Christopher

  2. ahh, yah BROKECORE!

    It seems that I’m forgetting everything and everyone. John was truly helpful in cultivating the scene in a wider sense that extended beyond the physical location of the Valley.

    My correspondence with him, whether it was about music or just bored Friday night chatter, marked a great friendship, and in a lot of ways, John was one of my heroes I looked up to. Evil Robot Ted said no to a lot of trends as well as a lot of conventions, and the project persisted in its sound. Brokecore, as a label, released some great releases.

    As for the missing songs, quite a few are missing. I dind’t know whether songs I remixed would be included, too. Since it seems like the Hentai Cum Dungeon remix will be, then there’s also:

    Broke033 – Hara-Kari Kitty Vs Evil Robot Ted – 40 Million Oz Of Evil Robot Kitty (3″ONLY! No download).

    As well, the song “Radioactive Vomit (Kiss Me)” appeared on the compilation Treasures and Pleasures and is not included in the discog, though “Hentai Fanclub Meeting Behind the School Library” is, and that was part of the Brokecore compilation.

    Also, there’s “Double Dragon Fisting,” which was on the Myspace player for quite a long time. I eventually removed it and placed the songs that are currently on the player, but after my computer crashed, I lost everything, including, apparently, my memory.

    as for the one dead seagull split, i’ll ask to see whether mat has the files saved anywhere.

  3. Chris,

    Thanks for clarifying and opening up a whole other side of the story which I couldn’t tell myself. Yes I do believe it was the boiler room. I know I was asked to play a few times at Basil’s house but it was when I still didn’t have enough material to play a live set. There was also the fact that I was way older then you all and I felt kind of awkward being at houses with HS kids when I had graduated like 8 years prior to that lol. But in all it was a great experience and it really did leave a great mark on the valley and way outside of it.

  4. Hey Phil Chris , I booked the show at the boiler room without having meet you two, just the music and movement convinced me that you two needed to play together.
    I remember the night was supposed to be digital vs analog but you two fucked shit up proper early on that by the time we played it was shite.
    Phil I do remember you being a bit nervous about the show, I think it was about who was going to play first.
    Thank you both for making music and influencing myself in ways most do not.
    Gabriel Reyna
    the Giant Hornets from Japan

  5. Hara-kiri kitty really was a legend for me. I got the tunes a while ago and thought it was so mysterious I couldn’t find anything about it online. Ever since I’ve googled every few months, but this is my first time coming across this.

    I’m not familiar with broke core or nintendocore except for the fringes of chip tunes, but I really love the music. It comes up every once in a while on shuffle and scares the shit out of my before I play the album through one more time.

    I’m also a fiction writer. I’ve also been making a little music and thinking about the convergence of the two. It’d be interesting to see how your aesthetic would play out in prose!

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