Old time electronica conjured up memories of old 80's dance records and their stock sounds, 808s 909s 303s and FM synth patches. Oh and arpeggiated synth lines, reverbed snares and stuttering vocal samples. Happy days.
I didn't want to create a piece of faux dance music as I haven't a funky bone in my body, back then I would mosh to industrial music rather than shake my booty so it explains why the drum track is rather rigid and metronomic. Most of the synths lines are from a tb-3, the exceptions are a couple of lines played on a plug in emulations of vintage gear. 


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The Assignment: Produce an original piece of music that fits the genre “old-time electronica.”

All Disquiet Junto projects employ constraint as a means to stimulate creativity and productivity. Sometimes this means limiting oneself to specific source material, other times to a conceptual approach, and there’s always the additional constraint of time: the deadline is approximately four days, depending on your time zone.

For this Disquiet Junto project, the constraint is a matter of terminology. This week we’re exploring how the concept of “genre” can itself serve as a restraint, and we’ll accomplish this by pushing back at genre conventions.

The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of “old-time electronica.”

Restrictions: You can use any source material, any instrumentation, except the human voice.

More on this 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

disquiet.com/2014/08/14/disquie…ldtimeelectronica/

More on the Disquiet Junto at:

disquiet.com/?p=16588

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

False Memory(disquiet0137-oldtimeelectronica)

I create Ambient, Electronic, Jazz Fusion, and Blues music - sometimes melding any of those forms together. Instruments, field recordings, a rare voice, writing code, and whatever else might sound cool are used.

"It matters not how strait the gate, 
 How charged with punishments the scroll, 
 I am the master of my fate: 
 I am the captain of my soul."
 Invictus - William Ernest Henley

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
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I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

M. Ackerman (formerly modus pony) is an instrumental composer and multi-instrumentalist. He likes toast with peanut butter and a little honey.

Since the debut SHAKES in 2004 Bassling has been appealing to 'lovers of lower frequencies' with his music and experiments in various forms of sonic manipulation.

The release of YOUR in 2007 heralded an increasing interest in using acoustic sound sources to create electronic dance music, in part influenced by the opportunity to work with Western Australian artist Alan Lamb as part of the 2006 Unsound Festival.

Lamb's installation outside Wagga Wagga, known as 'The Wires', became the focus of VIBRATING STRING in 2010 and his use of piezo contact microphones became a key influence on Bassling's recent album celebrating the 2012 centenary of Leeton: FOR 100 YEARS

The 2013 album WHILE collects tracks produced for the Disquiet Junto; while the piece Reimagining The Murrumbidgee features riverside ambiance collected to create a soundtrack for an exhibition of the same name.

Download Bassling at http://bassling.bandcamp.com/

False Memory(disquiet0137-oldtimeelectronica)

noimspartacus