Experimental 002 is second of a series of albums made 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 this is done the pitch of the record drops lower. Therefore the music exists between the original captured notes. This also applies if the record is raised 10% as well.
In order to create beats and interesting rhythms, Eureka Creek tend create their own, but when you find yourself repeating old forms and acts, new inspiration is required. Using audio devices act as a foundation when creating new pieces of music. Thus new technology becomes the instrument, much like nearly anything we physically handle can become an instrument, or whatever we choose it to be. Thus we have the reason and nature these recordings have. As pretentious as it is, these recordings are an attempt at discovering the blur between solidification and the state of flux sound can have when we don’t know what effect our actions and interactions with equipment and the sound source will take.
In detail, these recordings were created with the use of a loop-delay-reverb outboard effects unit. Parts of these lengthy samples were used in both past and future releases by the group. The initial aim was to create new forms of pulse and rhythms the band could play and experiment with. It was an effort to discover interesting ways to create new pieces for future releases when the creative flare failed to spark. Writers, as it is commonly known, refer to it as ‘being blocked’, which is common for all creative people.
The band felt that these pieces had interesting tones after they were balanced in the mix. Thus it was felt they became pieces of music within themselves. When listening back, there seem to be moments where creating beats was the aim; the records were scratched and the delay process created staggered spitting beats, which were arguably percussive, before fading away. In the end, when the loop device was physically triggered, it was by mood and not technology insistence, which in turn added to the expanse of the tones during playback.
The speed of the record was altered throughout the recordings, along with the level of the loops whilst listening the actual playback. The layers on top of layers defined the texture that slowly builds throughout each piece. The band felt that they were meditative in sound and ought to be allowed the chance to be heard outside of any future editing or sampling that would take place in the future.

The mixing process for this record was only to adjust the stereo image and remove any unwanted noise that detracted from the intended audio quality of the recording.