Organized Noise
Apoxode
Because this type of music can be easily dismissed, some context is necessary.
At a time when compact cassettes and cheap microphones were my only available means of recording original music, I amassed a library of raw, undeveloped ideas. Many years later, I transferred the cassettes to hard drive (losing a few due to corrosion). Unfortunately, they went from being forgotten tapes to forgotten computer files. Many more years later, I “mined” the recordings, procuring samples that epitomized their origin. Rather than revise and develop the musical ideas, I went in a different direction and began making “organized noise” with the samples — sound collage — in the vein of Perrey & Kingsley’s Spooks in Space. Continuing to mine and create new sounds along the way, I developed a style I call “hypertronic,” which has been heavily influenced by Terminal 11, particularly the album Illegal Nervous Habits.
The zip file contains the 27-year-old sounds of the guitars I used, the drum machine (MicroRhythm on the Commodore 64), and noises made with the cassette player itself. It was necessary to keep them in stereo because of the way they were recorded.
If you can find new life for these sounds, they will have transcended time and space in a way unforeseeable during their creation, as they predate the world wide web.
At a time when compact cassettes and cheap microphones were my only available means of recording original music, I amassed a library of raw, undeveloped ideas. Many years later, I transferred the cassettes to hard drive (losing a few due to corrosion). Unfortunately, they went from being forgotten tapes to forgotten computer files. Many more years later, I “mined” the recordings, procuring samples that epitomized their origin. Rather than revise and develop the musical ideas, I went in a different direction and began making “organized noise” with the samples — sound collage — in the vein of Perrey & Kingsley’s Spooks in Space. Continuing to mine and create new sounds along the way, I developed a style I call “hypertronic,” which has been heavily influenced by Terminal 11, particularly the album Illegal Nervous Habits.
The zip file contains the 27-year-old sounds of the guitars I used, the drum machine (MicroRhythm on the Commodore 64), and noises made with the cassette player itself. It was necessary to keep them in stereo because of the way they were recorded.
If you can find new life for these sounds, they will have transcended time and space in a way unforeseeable during their creation, as they predate the world wide web.