About TimeShard & Some History
TimeShard were comprised of Steve Angstrom, Psy, and Gobber – the band was born out of the UK Free Festival scene where ramshackle P.A. systems built to pump out a mix of punk, psychedelia and dub during the mid 80s were soon repurposed to deliver pounding beats of primitive electronic music. That’s where TimeShard came in.
Timeshard began in 1988 or thereabouts, “house” was finding a home in the UK underground rave scene and Acid House was brand new and about to colide with the psychedelic punk of Squat Rock.
The scene grew exponentially and sub genres didn’t exist inside this amorphous cloud of creativity. There were many bands who were hightly experimental and nothing was fixed, and rules were non-existent.
The technology was still fresh and the sounds were raw and new. Dance music was not codified. The “vintage” drum machine the Roland TR909 was a mere 3 years old when TimeShard began. The first affordable sampler the Akai S900 was only one year old.Likewise the TB303 was only 4 years out of production. These were discarded things, and electronic dance music was the music of cultural, spiritual and technological reclamation.
Timeshard began picking up synth bargains with their meagre cash and making very strange noises with them. There was no intent to make “dance music” but to make sound collages and trance inducing noises. There was no template at the time, looking back a story thread can be made – but back then there was nothing but potential and experimatation in a void of potential.
TimeShard experimented with tape, borrowed multitracks, cheap downtime in local recording studios, borrowed synthesizers and in the first couple of years performed some very strange dub inflected trance music for confused listeners.
Early Cassette Albums (1990-1994)
TimeShard released their music on cassettes and sold them through mailing lists, and by 1991 had built a following for their live performances.
Crystal Oscillations (1994)
Liverpool dance music shop and record label 3 Beat offered the Shardies a chance to record an album and release it on vinyl and CD, so a deal of some kind was signed and the three hairy weirdoes and their friend and manager travelled down to London to record in a state of the art recording studio. Peer Music Publishing (the Publishers of Timeshard) had their own studio and it was a hit factory for all kinds of top chart acts. The Shards had the night shift, from 8pm till 8am. A week in the studio cost a bunch of money so the whole album was recorded in 5 nights.
To add a little bit of spice the band decided to write two of the songs in the studio, which came as a suprise to most people involved. Title track Crystal Oscillations was one of these two which were jammed out on the spur of the moment.
The poor engineer and producer nearly had a heart attack when the band decided to create the song on the spot – understandable because the tight schedule required two songs to be recorded and mixed each night, so writing two new ones was really putting that deadline under pressure! Somehow it all worked out.
Though local label 3Beat had paid for the recording of
Lucky for everyone that Gobber is friends with the members of Eat Static via their Ozric Tentacles connections. Eat Static’s gang were creating big waves with MegaDog’s live electronic music events – and DJ Michael Dog had decided to start a label to release the sounds of that unique festival-influenced scene
Somewhere, in the depths of space, minds immeasurably superior to ours regarded this earth with envious eyes. But that’s nothing to do with what I was talking about, in fact, that’s the start of War of The Worlds. Forget I even mentioned it.
So, yadda yadda yadda … Timeshard were thousands of pounds in debt to two entirely unrelated record companies. But Crystal Oscillations was suddenly no-longer a 3beat record but was yanked off the presses and quickly re-made as a Planet Dog release.