In early 2002 Damon and I had an idea; 
Record two solo albums with sparse collaborations, and package it as a double album. 
"Commodore 65" and "Generation Loss". 
At the same time, "Wired", the annual EDM festival in Athens began its first year, and I was the outdoor opening act. 
My set was made from scratch, so I was effectively making two albums over six months. 

"Commodore 65", Damon's solo album, met an untimely end with hard drive failure. 
The few backups were scattered, and it took fifteen years to restore it. 

"Generation Loss" came together very fast. 
Early on, I put out an ad in the Flagpole for a female vocalist. 
After meeting a few people who were just bad fits, I received an email from Amber. 
She got what we were doing in an instant. 
Between January and March I'd written the bones of most of the songs, 
so by the time Amber joined either she or I had an idea for vocals and lyrics. 

It did pretty well locally. It was in heavy rotation at WUOG, 
we played it for guitar duo and vocal trio on, "Live at the Lobby". 

For me, it's an album of rote, mirrored experiences. 
For example, hearing the birds of Athens, every week at 3 am, 
merging with those in a song while it's being written. 
Or weekly hard shifts from nights in a packed EDM scene 
to isolation in a north Atlanta office. 
It becomes a butterfly parable. 

-Eric Hoffman 

released March 15, 2019 

Amber Emard - Vocals 
Damon Edwards - Keyboards 
Eric Hoffman - Bass, vocals, guitar, keyboards, percussion 
Raymond Grimes - Keyboards, percussion 

Recorded and mastered by Dusk, Buford, GA, January 3 - August 27, 2002. 

ISA-007

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Watermark

Buy Here:  https://infinitesyncstudios.bandcamp.com/album/anomaly

Matthew DeVore's debut solo EP.

released October 28, 2017 

Matthew DeVore: Composition, concept, programming, mixing, engineering, photography. 

Matthew Sisk: Mastering, photo editing. 

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Glitch خلل

Buy here:
https://infinitesyncstudios.bandcamp.com/album/everybodys-acid

This album was composed and performed on four pieces of electronic equipment that are all relatively inexpensive. Two Korg products (the microKORG and the Kaoss Pad KP3) and two Roland products (the Roland TB-03 and the Roland TR-8). 

This style of music (acid) is a longtime favorite of mine, but the Roland TB-303 is so essential to that sound (and so expensive) that I feared I'd never make an acid album. Thanks to the release of the TB-03 (though not a perfect reconstruction of the 303) I was able to try to make the sound I heard in my head. 

Another dream of mine was to create an album on an entirely hardware based level, essentially performing the album instead of methodically programming in a computer. I had been moving away from the latter method of composition for years. These recordings are 'raw', meaning, somewhat lofi, noisy, and semi-improvised. The intent was to capture what 4 specific electronic instruments were capable of on the lowest budget possible. Noise reduction and post-production are minimal. 

I hope you enjoy these tracks as much as I enjoyed recording them. 

-Matthew Sisk
credits
released January 20, 2018 

Matthew Sisk: Composition, performance, concept, photo editing. 

Matthew DeVore: Photography. 

Jackie Royce: Carpet, cat. 

ISA-002
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The Dream That Never Dies

Lonely Acid

My Beautiful Dark Twisted Rave

Gemini

The Sound Of The Street

Soundwave Fights Megatron

Assilude

Hexed Acid

Jammed In The Dark

Everybody's Acid

We are a machine designed to churn out music that sounds good coming out of your speakers.

Infinite Sync Studios

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