{"id":627,"date":"2019-07-01T21:50:40","date_gmt":"2019-07-01T20:50:40","guid":{"rendered":"http:\/\/perpetualemotionmachine.com\/?page_id=627"},"modified":"2024-11-14T21:42:49","modified_gmt":"2024-11-14T21:42:49","slug":"headspace","status":"publish","type":"page","link":"https:\/\/perpetualemotionmachine.com\/index.php\/headspace\/","title":{"rendered":"Headspace"},"content":{"rendered":"\n
Fob 6<\/div>\n\n\n\n

EtherReal<\/a><\/h4>\n\n\n\n

1996-1997<\/h4>\n\n\n\n
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I had been using Scream Tracker for at least a year, and its limitations were blatantly apparent, so I found that I had outgrown it rather quickly. Thankfully, a friend of mine had discovered a much more useful tracker, which used 16-bit samples of any length, and allowed for more effects and pattern lengths. It was just more user friendly. It was called Fast Tracker. I loved it immediately, and it was what I used until 2001, in its various versions.<\/p>\n\n\n\n

So it’s this Fast Tracker period that I like to consider the beginning of my mature phase<\/em>, because as the program became better, so did my ability to create better music as a result. The stuff I was writing was fuller and warmer sounding, and was on it’s way to becoming less a good collection of grooves and more about different things. By this I hoped that the listener could get something out of it other than just a good vibe.<\/p>\n\n\n\n

This was the first period that I actually considered trying to make an album. I did in fact do this, but I didn’t try and sell it or myself, I just made copies and sent them to friends. I guess I didn’t think any of it was that good. But it was also during this time that I met a new contact, who published a couple of my 8-bit songs on local techno CD compilation, and with whom I worked on a third for that same collection. it was quite a rush at the time, to have my music on a real CD that I didn’t burn myself, but the elation was short lived as the project fizzled out after the first run. We had been hoping for a sequel release.<\/p>\n\n\n\n

Shortly after that is when I started working on Headspace<\/strong>. I started trying to emulate my favourite techno and dance bands but while adding my own flavour to the mix. When it was done, I felt a sense of completion, but in retrospect, a couple of the songs didn’t sound completed, and the album didn’t flow. There were too many genres, and things sounded a little cold in spots. This is largely why I made the decision to ‘remaster’ this collection in 2006.<\/p>\n\n\n\n

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Listen <\/h3>\n\n\n