To accurately talk about Snuff Wagon, I have to go back the better part of a decade, so if you’d be so kind, please indulge me with a few minutes of your time. 
Beginning in 2013 and continuing throughout the next 8 ½ years, I hosted an indie horror podcast, which I fully admit is weird, considering I don’t particularly like the act of speaking. Anyway, my inherent misanthropy kept most listeners from reaching out to me directly, but I did develop a correspondence with a lad from the U.K. named Anthony. This guy had great taste in horror, always made me laugh, and, as it turned out, was an amazing musician.  He’s the lone degenerate responsible for Krobatt, on his own Feed Me Glass Records label.  We continued chatting here and there for years, and eventually he approached me about contributing music to an experimental compilation he was putting together.  Though I had been writing and performing music for most of my life, I had never actually released anything and was only just beginning to get comfortable with the idea of being a “solo artist”.  What this meant is that I had numerous little bits of music recorded, but none of it sounded very good.  This wouldn’t be a problem though, as it would be a low bit-rate compilation so it would all sound kind of raw anyway.  So, I gave him a few little songs, he released them on the compilation, and that was that. 
In 2018, I began working on more full-sounding songs, all of which would eventually get released in 2020, on the first ænorex release, “not even worthy of a name” (a release that I have since mercifully scrubbed from existence).  During this time, Anthony would ask me if I had any new material for various Feed Me Glass Records themeless compilations he was putting together, and I would give him anything new I had.  As I said, these were more full-sounding, proper songs, though they were still not all that great in my opinion.  While I’m not particularly proud of my musical output at the time, it was Anthony’s interest and willingness to release my music that gradually put me more at ease with the idea of releasing music on my own.  I had always been reluctant to do this, as I am actually quite sensitive to the idea of negative criticism, and Anthony really is the person I most credit with helping me deal with this (even if he doesn’t realize it). So, depending on your opinion of my music, you have Anthony to either thank or curse.
Well, that was a hell of a preamble, huh?  Ok, onto Snuff Wagon.
At some point after releasing the “not even worthy of a name” e.p., Anthony contacted me again, this time asking if I would be willing to contribute some music to this crazy electronic track he had put together called “gotta light”.  I said yes, figuring it would be a quick and easy thing to write and perform some generic guitar bits and pop them over top what he would send me. Then I listened to it and thought ‘how the fuck am I going to add music to this?’.  It was so chaotic and I had to basically figure out how to structure a song using what he sent me as a spine, of sorts.  Basically, I played and recorded a few different styles of metal riffs over top of it, and I sent him all of the different versions of what I had.  He picked what he liked, cut and placed the guitars where he liked them and that was it for a while.  Fun experiment, but it was time to write some more ænorex music. After releasing the next ænorex e.p.’s “cold as the night, sick as the day”, "human (or nearly so)”, “voidscore” and “ocahaen”, Anthony once again came calling.  This time, he had a few more songs that he wanted me to do the same thing with.  Then there were a few more songs.  And a few more after that.  And also this thing had become an actual project, and it had an actual name (which I really loved). Snuff Wagon was born and now consisted of not only Anthony and myself, but a few other faceless electronic music entities he knew, as well.  The work remained the same for me though; I’d receive a single track, which consisted almost entirely of noise and electronic drums, but very little in the way of actual notes or structure that I could discern.  And that’s not a slight either; it’s the byproduct of growing up listening to too much Iron Maiden in my formative music years.  So, it’s Iron Maiden’s fault. Anyway, I’d do my best to write some cool guitar parts for these tracks, but then I began layering in more bass, synths, choirs, strings, live drums and noises of my own and suddenly...they sounded like ænorex songs, albeit much shorter ones with fewer parts.  What do you want from me, I am extremely one-trick.  I’d send the master tracks back to Anthony, and he would once again choose what he liked, cut and chop until his black heart was content and place everything in and remix as he saw fit. 
Eventually, he decided it was time to release these songs, and while I supported the decision, I had one request.  Because I like to have a fair amount of control over any artistic endeavor I’m involved in, I said he could release the songs in whatever form he wanted, but I wanted to be able to release my mixes of the songs, as well. Obviously, he was cool with that, which brings us to the present date where we now have the more electronic, insane versions of the songs available from Anthony at Feed Me Glass Records, and my versions, “the aenorex mixes”, which listeners can now assault their poor, unsuspecting ears with.
This has easily been the most interesting musical project I’ve ever been a part of.  It’s forced me to look at music differently, with each song essentially being a puzzle that needed solving.  It’s allowed me to collaborate, albeit indirectly, with musicians who seem to approach their craft much differently than I. That collaboration has been an inspiring and invaluable experience, as sitting alone with my same old songwriting habits and tools can feel a bit stagnant after a while.  A typical ænorex song is fairly self-indulgent, with many moving parts and many changes, all of which I like to think builds a mood and helps to achieve a certain outcome.  With Snuff Wagon, the audio files that were sent to me were all quite short, so I had to figure out how to achieve a feeling within a much shorter timeline.  Somehow, against all odds, I think I succeeded with my part in doing just that.  Many of the songs feature more subdued guitar tracks and synths/choirs, as I really didn’t want to override the work everyone else did, but I think those who have enjoyed what I’ve put out will definitely hear something they like.  Hell, in some ways, the listener may prefer this style to my usual bloated garbage. It may be a little different from ænorex proper, but it still sounds like ænorex to me, but made better by these mad geniuses I’ve been fortunate enough to collaborate with.  As with all of my work, I like to think it will reward those who stick with it to the bitter end, and (without even the faintest hint of pretentiousness) I hope the listener enjoys the journey it takes to get there.