SR:001 Lost Time Accident / age 2 wonder at

Format: Digital download
Release date: 09/1998
Price: Zero or a price of your choosing

Evocative, dark ambient reminders of urban isolation. Produced with generative software and improvisational techniques conceived by composer Sykes Rose and composed by Andrew Garton. Produced in collaboration with Simon Kaufmann.

Generative and improvisation based soundscapes derived from compositions scored by composer and media artist, Andrew Garton in 1982.

Garton utilised techniques originally conceived by Australian composer, Sykes Rose – the relocation of randomly-articulated tonal clusters in intervallic progressions. These ideas were applied to Koan, generative music software, which after 15 years were finally able to be realised.

age 2 wonder at was produced in collaboration with Simon Kaufmann. 100 individually numbered CDRs were released and sold out.


“Secession – movement that formally withdraws from an institution or institutionalised structure/belief system. This definitely applies to the limited 100 copy release electronic, ultra ambient chill CD produced by local dark ambient constructivists, lost_time_accident. Using spatial techniques, sampling and improvisation they have created a multiplex of soundscapes which would make a great soundtrack for a B-grade sci-fi horror flick. Connoisseurs of trippy ambience and semi-random noise generation should look into getting this unique release.”

Tekno Renegade Magazine (Aug 99)

“This is a combined effort of human interaction with computer based generative – ever evolving music. Beautiful spacious outer planetary sounds and atmospheres.”

Synaesthesia (Nov 98)

“Released in 1998 Age 2 Wonder At is based on an ever-evolving underscore derived from compositions created in 1982 using a graphical technique (apparently developed by Sykes Rose, an Australian composer) and later Koan: however the pieces don’t sound generative on the whole. Cave is a complex electronica piece, swirling synths forming a light bed, with tones, noises, percussive affects skittering over the surface. A nice space piece follows, Crossing, scifi keys, throbbing tones, highwire pings, set somewhere between the stars. Some of the clicking which will feature later appears in Uhm! which clanks and twists dramatically into a secondhalf full of uhmish vocal fragments. Another sample, complete, opens Forget which chitters and sussurates under a Theremin wave, with echoed shouts and fragments. Rumble is much more minimal, dark low sounds travelling over the rumble, with some larger noises (processed voices) entering later, followed by banging and harsher tones. The generative aspect is most evident in Neo Tokyo where samples from the Akira soundtrack appear over an ambient industrial soundscape, and is followed by a brief unnamed piece that acts as a coda, revisiting some of the more minimal rhythm moods. Altogether a very varied and satisfying album that is worth repressing.”

Ampersand Etcetera – 2001_10


“This is not a radio friendly CD.”

Tim Ritchie, ABC Radio

“Thank you for sending your CD. I have been overwhelmed by it. Great work.”

Andy Kettle, Atmospheric Disturbances, 4ZZZ