Experimental 001 is the first of a series of albums created by the group Eureka Creek.
When creating samples and drones for their album, Behind The Streets, it became necessary to experiment with instrumentation and equipment.
For most musicians this is a standard practice before developing a piece of music; tinker, play, mess around, feel where the sound takes you. When this takes place the possibility of new musical forms can become part of the conversation, and advance creative flow.

This album is constructed of six recordings from LP records played backwards at 33 rotations a minute. The records were slowed down by 10%, which is 29.7 rotations (33 1⁄3rpm which equals 30rpm, give or take a few variables… hopefully our maths isn’t off).
When doing this the pitch of the record drops lower. It can be said the music exists between the notes it was originally constructed to be. This also applies if the record is raised 10%.
Applying reversal to an LP’s output creates a new arrangement within its form, but the music may still be distinguishable to a fan of the original. Yet, distinguishing the original music with added effect processing makes this very unlikely, even to those with finely pitched ears.
Before the audio reaches any effects processing, reverse delay being the main unit used on these recordings, it is worth noting that adjustments can be made to the music and sound at random with interaction; treating the technology as an instrument, not just a tool.
Thus it is correct for us to say there is a need to be a part of musical process physically for musicians, or anyone for that matter.
With turntables and DJ mixers we can adjust volume, equalisation, blend sound with other media, and even scratch. This is crafting the speed by hand and sometimes damaging the format to create ‘new’ sound. In this case, as stated, reverse delay was the primary action, but bass and treble equalisation was used to adjusted how the delay processing eventually presented the outputted soundscape.
Adding reverse delay, whilst musically performing with adjustable parameters, such as linear time, tempo, meter, repeated delays, metamorphose the original sound input into a form of synthesis.
This synthesis creates different tones, frequencies, pulses converged, etc. No matter how many ways this act is repeated, even when reducing it to the most basic of setups, even with less variables in the processing chain, it can never be the same completely, even when using the same source material time and time again. Creating, practicing and performing these works comes with all the delights of the unknown. Even musical equipment experts can’t know the final output, especially if the initial input is not yet familiar to them, and even when it is, adjustments and interaction with the delay involved always force the musician to interact with the technology in the form of improvised instrumentation.

*The mixing and mastering for this album was done only to adjust the stereo image and remove any unwanted noise that detracted from the tonality of the recording. A Zoom H4N Pro Recorder was used to create impulse responses for the reverb for number of pieces.