Around October of 2013, I composed a series of “dogmatic” electronic pieces, shared them on SoundCloud, and then left them there to gather dust. Recently I was reminded of this album by a listener and decided to release it more broadly.

My approach was to use only hardware synthesizers and drum machines and then impose a set of rules to encourage creativity and prevent over producing. Resisting the temptation to elaborate on each track, I forced myself to make simple arrangements and rough mixes. As the tracks started to stack up I decided to refine the rules to prevent myself from getting bogged down with extensive editing, mixing, and post-production.

I manufactured a system of dogmatic limitations imposed on the techniques and process allowed. By following these rules this album was composed, performed, produced and mixed in less than two weeks. Here are the rules I followed:

1. No overdubbing. All tracks were recorded at the same time.
2. No computer sequencing. All sequencing was done on the instruments used.
3. No looping or shuffling parts in post. Editing for length and content was allowed.
4. Minimal processing in the mix. Fades, one delay, and one reverb was used.
5. No mix tricks in post. Reversed sounds and drum rolls were performed live.

Restricting the methods for how one produces any work or art is nothing new. There are always parameters and limitations at play. However, we are accustomed to music that exhibits technical qualities only achieved through technology, time, and expense. Does that make this project a compromise? Perhaps, but there are always compromises.

Rules made it possible for me to complete the project in a short amount of time. They also left many of the tracks a little rough around the edges. There are loosely played keyboard solos, mixes that aren’t balanced as well as they could be, and a couple tracks that are a little too long. Despite these raw qualities, or maybe because of them, I find it an interesting listen and I hope that you will as well.