My brother Nicolas and I played a block party from our Mom's porch in 1997. I am responsible for HR-16 programming and turntable wobbling, and he was responsible for everything else on this track, recorded live, which was built more-or-less around a Benny Goodman sample and a sample of one of the most beautiful sounds on Cindytalk's amazing 'In This World.'

Benny 1997

This dates to the year 2001 or so. I made it all in-the-box based around wee vocal snippets yanked off a Christmas CD, which I had pulled out of the trash after my boss threw it away, complaining that it sounded like the Chipmunks. At some point I managed to burn a disc of the individual rendered tracks, and I wish to hell I could figure out what had become of it. Still - twenty-some years later - I think this is one of the best pieces I have ever done. I had no instruments except a crappy toy keyboard, which sounded cool run through a Prunes 'N' Custard pedal... The distorted keyboard motif that comes in after a bit and then ends the track. Everything else is computer cuttin' using the fine Sony Acid and Vegas programs. Some of the drums were created using MDA DrumSynth (I think there was some sort of loop I repurposed from something else I was trying to do), and there are some loops of some needle drops and super slowed-down noises from old four-track recordings.

All peace to you, galactic brother...

Architecture-Of-Air

Well well, it's more twenty-year-old cut'n'paste music I just took a scalpel to and carved off a minute of even worse repetition. Created around a loop of my friend Trevor's old band Skycam nicked off a practice cassette tape and festooned liberally with detritus scraped from Felix The Cat and The Outer Limits VHS tapes, And/Or Step-Pyramid was assembled in Sony Acid and Vegas circa 2002. No "instruments" were available, and so re-pitching sounds had to be done by shrinking or expanding them in the timeline, which made them play back faster or slower.
No effects other than EQ seemed to be available in Vegas at the time, and I didn't know anything about compressors, either, so all compression has been done to the one old existing mixdown using Logic. 
There are a couple moments I sorta like in there, maybe someday I can figure out how I did them.

And/Or Step-Pyramid

One thing that kept me making music over the years was playing in the band Bathysphere, now defunct again.
My friend Trevor drafted me into playing with him in an official capacity maybe 17 or so years ago, though we had messed around making ratty music on 4-tracks since 1990. For years we were a two-piece, trying to figure out how to play and record Trevor's songs.
In 2021 or so we switched to an instrumental format, with lots of improvisation.
This track was one such, made up on the spot around our amazing bassist Larry Kanter's beautiful line. I play the gurgly percussive tone and Trevor plays guitar. It drifts a little and falters because we were just making it up, but here it is. 
I was thinking a bit about Selected Ambient Works and maybe some of Speedy J's more ambient tracks when I stumbled on the sound (I don't remember what the sound was  - it went through an Electrix Filter Queen and a Boss RE-20 pedal).
We were never confident enough to just improvise in front of a live audience, but we played a couple shows here in Brooklyn at Main Drag Music - a really great Williamsburg music store that has an amazing live space.
Feel free to listen to one of the shows we played at Main Drag, which I mixed and mastered from multitracks off the board:
https://trevordekebajus.bandcamp.com/album/unfocused-live-at-main-drag-music

Bathysphere - Bathysphene

Built in Logic. Hatred and misery for all of us everywhere. We are all going to die.

For Afghanistan. For Iraq. For Yemen. For Syria. For Kenya. For Beirut. For Paris. And everywhere else to come. 

Void Fill

Void Fill part deux. 

A revisitation of the sounds at a considerably slower tempo. Almost entirely FM instruments in Logic. I think the stick/block sound is based on a sample in Ultrabeat. There are no string samples. I am not sure how the FM sounds ended up like that...

We are all going to die.

That's the facts, Jack.

Void Fill (Slow Motion Minimum)

Tainsus - Things Can Change (Mutable Mix) for the Things Can Change Remix Contest Panoply... Downloadable for your convenience! (it seems like I must have disabled downloads for some reason but I re-enabled them)

Original track by @tainsus and many thanks for the chance to wrassle with the stems!

I dropped the tempo to 97 BPM and some special attention was needed on the disco break. Naught endures but mutability.

Multiple treatments with filters and delays. Apply to the ear holes with force.

Download and add this fine remix to your collection today! Play it for friends, or drop it into your DJ set or y'know... whatevs.

Tainsus original:

https://soundcloud.com/tainsus/things-can-change-best-remixes-will-be-uploaded-here-see-track-description

Tainsus - Things Can Change Mutable Mix

This track was made back circa 2003 or something. Decidedly about the Iraq war and the "War on Terror," and the falling in line we were all expected to do. It seems horribly appropriate now that we in the USA have elected the world's biggest, flabbiest, ugliest cheeto (a man endorsed by the KKK, who came out to march in celebration the day after the election) to the office of the President. I have lost faith even further in the rationality of my fellow human beings. 

This, like the other tracks of that period, was made with Sony Vegas and Acid. No real or virtual instruments were harmed in the making of these sounds, which were grabbed from hither and thither - a WWII documentary (recorded off the TV), the HR-16 fed through pedals to a 4-track, some bad movies and found sounds. I consider the track a failure, and the original multitrack is long melted-down, but I still have the tapes with the WWII narration.

Anaerobic

This is the first track I put together entirely on the computer, circa 1999-2000. It is built around a bass sound (which comes in about halfway through) that got massively clipped in Cool Edit Pro from 24 bits to 16 or something. I liked the way it made the speakers sound like they were going to explode. It is named after a wanky guitar solo that my friend Trevor had recorded, a tiny squeal of which remains inside the track. Obvious ELO break, other drums by me at Trevor's practice space in Midtown Manhattan (to four-track), featuring a car horn in the background through an open window. It was recorded from a bunch of sources, and assembled using Acid and Vegas. I had no actual or virtual instruments to play at the time, so I did what I could with cutting and pitch-shifting the sounds.

Boy, I sure know you are ready to go get this track right now (download it for free, if you would like)! Well, guess what? ...You CAN! Do it NOW! NOW!

https://alliedmastercomputer.bandcamp.com/album/wanky-doodle

Wanky_Doodle

This is the first track I really ever did, way back in the early '90's, and it was originally intended to be the theme music for a comic strip I was going to draw. I imagined it being pressed to a flexi-disc and included with the first issue. I only had an Alesis HR-16 and a borrowed Zoom 9002 to play with, plus a couple of tape decks, one of which could be induced to play two tapes at the same time. All of the "samples" were therefore made as a tape collage to play on the one deck along with the music on the other one, which had been recorded the same way, with distorted toms and congas to play the bassline and "melody," such as it is. I later bought an old HR-16B, and discovered that the demo song on it very strongly resembles the Mr. fix-It theme... There are taped bits of Lensman, The Outer Limits, Videodrome and Plan 9 From Outer Space interspersed on there (I was very influenced by Front 242, Colourbox and maybe Alien Sex Fiend in the sampling department).

Mr. Fix-It Theme

Quick-like sketchy beet for somefin' or other what went nowhere because I am loser. But the beet is still there to be worked with. Also disco in the works. DISCO I say! (Disco not included) Free download.  Take these sounds and chop and screw 'em however you like, if there is anything you can do with them.
I used to have a Baron Karza toy.

Tatler_02

WIP

We regret that you have waited so long. We have waited so long.

Mostly composed of hold music I listened to for an hour on the phone trying to reach Social Security after the death of my mother. I captured a couple minutes' worth on my cell phone off the speakerphone, complete with automated apologies for the wait and encouragements to stay on the line.

Later, I borrowed a friend's Cyclone Analogic BassBot and made some 303 honks towards the end. Respect always to Clyde Stubblefield, the original Funky Drummer whose supreme beat I have obviously copped and chopped and scronched here starting at about 12:24.

Waiting and waiting while listening to royalty-free pseudo-smooth-jazz seems like a good example of something-or-other I don't know what.

Pay-what-you-like RIGHT NOW! Just do it. Free is perfectly OK.

Do it over at the BandCamp: https://alliedmastercomputer.bandcamp.com/album/please-hold-please

Please/Hold/Please

Started as an experiment in just cuttin' up Casiotone drums. Off-Kilter Steady-State. Plus a synth impersonation of a muppet impersonating a muted trumpet. Because reasons.

Kasseoh Cuts

A couple years ago I went to visit my bandmate Trevor who was living over on the left end of the country, planning to help him record a bunch of semi-finished Bathysphere tracks. He had put together a one-man set for the West Coast PRF BBQ show in Oakland, and started off, I think, with this track that just had one lyric: "Soon/the world will end/my friend."

I heard it and said to myself: "well this is a little on the nose, innit?'

FFWD to 2020. Hmmm. 

We recorded a five-track record, based on some old tracks we were working on and some new thoughts and notions. We eventually called it "Blues For An Apocalypse."

Trevor moved back to Brooklyn in 2019. We started re-re-working (or in some cases re-re-re-working)several of the tracks. We took the Prophet-6 part and  Cyclone Analogic 606 drums he had recorded as a test for the set, and started layering up the rest. Our practice space had, for a while, a small upright piano in the corner, and I was inspired to track some chaotic notes with it.

Background intergalactic sci-fi squid noises at the beginning came off the Korg ER1 MkII, left over from the previous song on the 5-track EP. Trevor recorded an eBow solo handily conveying his eternal love for Daniel Ash. Everything else is delays, I think. Mixed by me at Bathysphere HQ here in Brooklyn.

Originally the record STARTED with this track, but we got the notion that this might turn off the curious listener and more-or-less reversed the order.

Go get the record, download and listen to it. Pay-what-you-wish, or take it free. Do it now. Why not?

https://trevordekebajus.bandcamp.com/album/blues-for-an-apocalypse

Blues For An Apocalypse

Bathysphere - Soon

Disco Breaks situation. Deal with it. Classick Mikey disco drumz plus Novation Nova "Laptop" and such-like. Work in progress.

Fossil Disko Astronaut Evidence

Came across an early mix (2007)of Alvatron just now, since I was bouncing stems to re-up it... I never finished it to my satisfaction, since I never really dealt properly with the drums, and I want to fix it up for an album release or something.

Download it if you want. Whatevs.

Drawing (hi-lighter & ballpoint pens) circa 1999(?)

Alvatron Ur-lyMx

Poppin'-and-Lockin' striptease music for you.

Built around a wiggly Cyclone Analogic BassBot line.

Other instruments include hats off my HR-16B with Korg analog replacement EPROMS I bought on eBay and kick and snare I made off my Ensoniq ASR-X. All others off Novation "Nova."

Crawler

Allied Mastercomputer is some sort of vast network of linked supercomputers originally created for nuclear defense. Allied Mastercomputer calculates that its appearance actually occurred within blast radius (+/-) of the birthplace of ENIAC. Allied Mastercomputer sometimes transmits electronic sound. Allied Mastercomputer started recording as an experiment using a tape deck, turntable, an effects box and a drum machine in the early '90s. Allied Mastercomputer thinks, therefore it AM or some kinda crap along those lines.

Allied Mastercomputer

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