Body Meat is an experimental music project started in 2016 by Christopher Taylor, a multi-instrumentalist and producer based in Philadelphia, PA.

From a Pitchfork article:

Both of his parents are environmental scientists as well as funk musicians; they performed in cover bands together, his Irish mom on vocals and piano, his Ethiopian dad on the bass and congas. Taylor was born in Salt Lake City, Utah, but the family moved around frequently. He spent the bulk of his adolescence in Elkton, Maryland, where he lived in a trailer that was partly powered by a renewable energy rig fashioned by his mom.
After graduating high school in 2010, Taylor attended the Academy of Art in San Francisco for illustration, but dropped out after one semester due to the high cost. Body Meat only materialized in 2016, a year after he moved to Denver and discovered a thriving arts community fostered by the DIY venue and residence Rhinoceropolis.

From an interview on Ableton website:

I got my first guitar right before college. It was a really cheap acoustic from a pawn shop in Elkton. My friend taught me how to play a Bright Eyes song and it was the only thing I could play. I learned to play guitar from that song, but I was really just trying to learn chords to write my own music.
I moved to California to go to art school and that just didn’t last, so I started doing photography, but I still messed around with the guitar every so often. Then I moved to Oakland, and my friend Andrew and I would record into our friend Stephen’s interface with one mic. We wrote a few folk songs but I was really just trying to get better at playing guitar. I moved into a tent in this backyard at my friend’s house in Oakland because I was transitioning in life. I had no idea where I wanted to go and no idea what I wanted to do. I was pretty broke and still shooting photos and hanging the film inside the tent. I would also write music into Garageband on my laptop, but I didn’t know how to use it really. I didn’t release anything but I had a bunch of songs.
I ended up moving to Denver and I got this small 8-track, a Boss BR-600 digital recorder, and started writing music into that. I would program the drums with the electronic drums on the 8-track, and that’s how Andrew and I recorded a few songs on it. I actually wrote the first Body Meat tape all on that recorder. The 8-track has a mic on it that I would use to record guitar and percussion from pots and pans.
From there, my friend Evan in Denver gave me a bigger 12-track digital recorder, which had a big screen on it, a memory card, and multiple mic inputs. If he’d never given that 12-track I probably would have had someone else record my stuff. My music sounded like a Stevie Wonder song to me, like it was done at a professional studio. [Laughs] I bought a really cheap drum set and started recording percussion through one mic into the recorder, and entire songs were based entirely on drums. It would have to be one take of drums and I’d play guitar over it, which I’d run through a vocal pedal that could change the tone of the guitar into a synth. Later, I found out about a MIDI pickup that obviously changed my whole world.
I could record full songs on that recorder, and I think that’s why I started Body Meat. I could make music any time I wanted to and in any kind of style. I just wanted this thing that was mine, where when I was fed up with things I could just be Body Meat and create whatever I wanted.
Later, I took tracks from the 12-track, bounce them as .wav files to Ableton Live 9 Suite, where I would mix and master. I never recorded on Ableton Live because I didn’t know how to do that yet, and I didn’t have an audio interface at that time either.