Unbecoming

2026–Present | Solo Recording Project

Unbecoming is my solo recording project — the first time in more than thirty years that the only vision in the room is mine.

Bands run on compromise. That's not a complaint: listening to other musicians, working inside someone else's vision and figuring out where your parts fit taught me a lot. But it also means some ideas never make it out of the rehearsal room.

Unbecoming is where they go.

No lineup. No previous version of the band to live up to. No sound anyone expects me to reproduce. No rules.

If a song needs something ugly, it gets ugly. If it needs atmosphere, dissonance, quiet, or something completely fucking ridiculous, there's nobody standing next to me saying it doesn't fit the band's sound.

I make the sound fit the song.

It pulls from everything I've done — extreme metal, death metal, groove, thrash, sludge, and decades of playing, writing and recording — without trying to recreate any of it. That's already been done.

The name is the point. Unbecoming is about stripping away the expectations, identities and definitions that pile up over a career. Take it all apart. Keep the useful pieces. Throw the rest into the fucking fire. Build something new.

Right now it's a recording project. Where it goes next is up to the music.

Unbecoming is not a new beginning.

It is everything that came before, stripped down and rebuilt into something new.

Steven M. Jasinski
Guitar | Writer | Recording Artist | Engineer
Phoenix, Arizona

Gasping

2023–Present | Active

Gasping is my current band. I joined on guitar in 2023 and brought three decades of writing, recording and stage time into the room with me.

By then I knew that heavy music isn't about playing the fastest, the loudest, or the biggest riff you can think of. It's knowing when a song needs more and when it needs less. It's listening to the musicians around you. It's knowing the difference between something that works and something you're just fucking with because you can.

Gasping is where I put all of that to work.

We released our four-song record, In A Dark Place, on October 31, 2024 — recorded, mixed and mastered by Mike Thomas — and we're writing and recording what comes next.

There's something pretty cool about walking into a room with musicians from a completely different era of my life and finding common ground through ridiculously loud guitars. The scene changes. The bands change. The gear changes. The desire to make something heavy doesn't.

Gasping isn't a reunion or a trip down memory lane. It's current — and I'm still chasing a riff that's better than the last one.

Gasping Website  ·  Listen to In A Dark Place on Bandcamp  ·  Gasping on YouTube

He Who Binds Himself

2008–2021 | Inactive

I joined He Who Binds Himself on guitar in 2008, in one of the deepest corners of the Phoenix death-metal scene — a band with roots among musicians tied to Vehemence and Metal Blade Records. You could hear that experience in the music. You could feel it when the amps came on. And you could smell the beer, sweat and party musk.

My role grew well past guitar. I wrote the material for Alone and Suffering and March of the Bastards, recorded all of the bass lines and the guitar solo on Alone and Suffering, handled the recording and production, designed the CD layout, and took care of management and booking.

It all came together on the self-titled full-length, He Who Binds Himself, released through Metal Devastation Records on January 7, 2020 and recorded, mixed and mastered at Villain Recording Studio in Phoenix.

Teeth of the Divine reviewed the record in August 2020, naming me on guitar alongside Gabe Oso. The review singled out the melodic lead on Alone and Suffering and listed March of the Bastards among the album's strongest late tracks. The verdict:

“A really solid US death metal album from some very cool dudes.” — Teeth of the Divine, 2020

Read the full review  ·  Listen on Bandcamp

Writing the riff is one thing. Playing it is another. Getting it to sound right coming out of a speaker is something else entirely. HWBH let me do all three — and it's where the guitarist, the songwriter, the engineer and the guy who actually gives a shit about how the final record sounds all started working in the same room.

That has followed me into everything since.

The band went through several lineups before the one that made the record. Then COVID hit, I learned who my real friends were, and everything went to shit.

The EPK website I designed for the band

Autumn's End

2010–2013 | Inactive

In 2010 I joined Autumn's End — a band I'd been a fan of, formed by Chris Cannella in late 2002, with a sound, an identity and years of history already behind it.

This time I wasn't building something from scratch. I was stepping into an established machine, on guitar alongside Chris Cannella and El, and we hit the ground running: I learned songs in an RV on the way to EMG TV Studios, where we recorded two videos before playing shows in California.

Watch on YouTube

Watch on YouTube

I came up through the underground. Autumn's End were established professionals operating at a professional level — and I stepped up to meet them. I had to find where I fit, figure out what I could add, and make my playing lock in with musicians who'd been doing this together for years. That's a different kind of musical education.

Autumn's End had a darker, guitar-driven sound that pulled from groove, death and thrash metal. I recorded The Siren's Lament with the band — tracked, mixed and mastered in May 2012 at Arcane Digital in Chandler, and released July 31, 2012 — writing most of my guitar parts with Chris.

That was the caliber of the room: Chris went on to play guitar in Deicide from 2019 to 2022 and now plays in Malevolent Creation, and El (Christopher El) went on to play in Incite.

Listen to The Siren's Lament on Spotify  ·  Apple Music

I wasn't the same guitarist who'd walked onto stages with Eroticide years earlier. The standard Autumn's End set has stayed with me long after the band ended.

Eroticide

1993–1997 | 2000–2007 | Inactive

This is where it starts. I joined Eroticide — then called SiN MDK — in 1993, shortly after moving to Arizona. I played with them through 1997, came back in 2000, and stayed until 2007.

Phoenix had a much smaller underground scene then, and the only way to get known was to play. No social media. No streaming service recommending your music. No reaching thousands of people from a bedroom. You put up flyers, called people, passed around tapes and CDs, loaded your gear into whatever vehicle would fit it, and showed up.

Eroticide was aggressive, dark and unapologetic, and I played a major part in shaping its sound, its songwriting and its direction.

We pushed the theatrical side of extreme metal hard — costumes, blood, controversy and a lot of noise. Our 1997 show at the Nile Theater in Mesa ended with several band members arrested and became part of the band's mythology. But the spectacle was never the point for me. The music was.

I wrote a LOT of material in those years, and it outlasted my time in the band. Songs I wrote make up half of Dawn of Obscenity (2004, recorded at Villain Recording Studio), and six more found their way onto If It Bleeds, It Can Be Butchered in 2015 — eight years after I'd left.

Along the way came Demo '96 / Thou Shall Not Bow Down, two tracks on the Legion of the Scroll 2 compilation in 1997, and the 1998 Vien Studios sessions later known as Comatose Lover.

Eroticide taught me how to own a stage, how to write, how to build a musical identity, and how to promote a band before the internet made it easy. It taught me how much work it takes to keep a band alive — and that if you want people to remember your music, you have to grind and leave a mark.

Watch on YouTube

It was also an extremely obscene, deliberately offensive band. In the '90s underground, offending people was practically a competition, and we competed. Some of it I wouldn't be part of today, and I won't pretend otherwise. I won't rewrite history either: the music I helped create there made me the guitarist and songwriter I am.

Disagreements over the band's direction, material and live show led me to leave for good in 2007.

By then the damage was done. I'd already been bitten by the fucking bug — and more than thirty years later, I've still got it.

Discography

Every release, in order, oldest band at the bottom. Click a record to open the tracklist. *** marks material I wrote; a bare * marks parts I rewrote.

Unbecoming

2026 Whatever releases eventually happen in progress +

Nothing recorded yet — check back.

Gasping

2024 In A Dark Place guitar — did not write this material +

1. Frailty
2. Ripe With Failure
3. Spiteful
4. Pins and Needles

Listen on Bandcamp

He Who Binds Himself

2020 He Who Binds Himself guitar · all bass · solo on Alone And Suffering +

1. To Those I've Killed
2. Our Will The Way
3. This Time She Found Us
4. *** Alone And Suffering (material & lyrics)
5. The Worthless Altar
6. I Am The Dead God
7. *** March Of The Bastards
8. These Eyes See Everything
9. Why I Ate Them

Listen on Bandcamp

2014 Demo 2014 guitar · recorded, mixed and mastered by me +

1. *** March Of The Bastards
2. The Worthless Altar (helped structure)

Autumn's End

2017 Burn the Earth historical reference — not recorded with me +

1. Burn the Earth
2. Balance of Pain
3. Allegiance
4. Cross You Bear
5. Falter of Man
6. Longest Rain

2012 The Siren's Lament guitar — wrote my parts with Chris +

1. Siren's Song
2. Arise from Slumber
3. Callous
4. Judas
5. Cold Winter of Time
6. Beautiful Lie
7. Release
8. Solemn
9. Ghost Life
10. Of the Damned
11. Force of Habit

Listen on Spotify

2006 Act Of Attrition historical reference — not recorded with me +

1. Intro
2. Eyes of Ignorance
3. Integrity
4. Truth B.C.
5. To Carry the Burden
6. The Raven's Eye
7. Scars from the Candle
8. Give Up the Ghost
9. Hand of Glory
10. Soiled Wings
11. Interlude
12. The Dirge

2004 Autumn's End historical reference — not recorded with me +

1. Elusive
2. Bleed My Name
3. Diligence
4. Darkness of Words
5. Worthless
6. Chaos Within
7. Interlude of Decay
8. Age of Reason
9. Solace
10. Reflection
11. Passion in Hate

Eroticide

2015 If It Bleeds, It Can Be Butchered historical — not recorded with me, but features my material +

1. Intro (I.I.B.I.C.B.B.)
2. Vagina Dentata
3. *** Comatose Lover
4. *** Exit To Widen
5. Below Scum
6. Angels Wear Crotchless Panties
7. *** I Eat Shit
8. *** Bloodsoaked
9. Satan's Porno Preschool
10. *** Destroy Something Beautiful (prev. Hell's Kitchen)
11. *** Die, Bitch, Die
12. Phantasm

2004 Dawn Of Obscenity guitar — *** written, * parts rewritten +

1. Intro D.O.O.
2. *** American Pervert
3. *** Rotten Inside
4. Anyone But U
5. * Prayers for a Dead Emotion
6. Dormant Hate
7. *** Deteriorate
8. *** Cyanide Orgasm
9. Masturbate Me
10. *** Cerebral Bore
11. Erection Dissection
12. *** The Scorching

Listen on Spotify

2000 Kevorkian Coitus historical reference — not recorded with me +

1. Erection Dissection
2. Relationshit
3. Angels Wear Crotchless Panties
4. Ride the Rohypnol

1998 Comatose Lover (Vien Studios, unreleased) guitar +

1. *** Comatose Lover
2. Copulate
3. *** Masterhater (a.k.a. Mordicum)

1997 Legion Of The Scroll 2 compilation — guitar +

1. Kunt Humongous
2. *** I Eat Shit

1996 Demo '96 / Thou Shall Not Bow Down guitar +

1. Dormant Hate
2. *** Exit To Widen
3. Ginger Vitus
4. Kunt Humongous

1993 Glutton for Punishment historical reference — not recorded with me +

1. Rapture Rupture
2. Crusifuxxx
3. Eroticourse

3D Printed Logos

Where metal, art and technology collide.

I've spent most of my life making metal music. 3D Printed Logos is about the other thing metal has always done better than any other genre: the logos.

If you've been into metal for any amount of time, you know a band's logo isn't just a name slapped on a shirt. Some are instantly recognizable. Some are works of art. Some are barely fucking readable. And some deserve to exist somewhere other than on a screen.

So I turn them into physical objects — the logos that have lived for years on album covers, shirts, flyers and stickers, printed solid enough to put on a shelf, hang on a wall, stick on a fridge or mount in a studio. Or just stare at while wondering why you thought owning a three-dimensional death-metal logo was a good idea.

(It was a great idea.)

It pulls together everything I've been into for years: metal, graphic design, computers, 3D modeling and building things myself. Turning a flat image into something that comes out of a printer in one piece means thinking about shape, depth, structure, supports and tolerances — all the wonderfully nerdy details.

And I'm doing it as a fan and a musician who's spent decades inside this scene, not somebody who just discovered that metal bands have cool logos. I've worn these logos on shirts, stared at them on album covers, tried to decipher them, and drawn a few of them myself.

Now I'm making them in three dimensions.

Want your band's logo printed? Start a project at 3dprintedlogos.com.