On June 29th, 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than ""let's fire this stu? up and see what happens."" Exploring the VSM's vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill. Hill recalls: ""Jeremiah arrived before the engineer showed up. We talked for maybe 5 minutes before he started programming a sound and sequence into the Gleeman Pentaphonic. By the time the engineer showed up, Jeremiah had built several other parts around the Gleeman that weren't synced by any control method but sounded like they were just calling and responding to each other. They plugged the Tascam 388 into the patch bay, and hit record. Jeremiah played with it, and that was it. First piece written and recorded in under an hour. It felt natural, fun and free. And that's pretty much how the rest of the session went. Constant ecstatic motion. It was the funnest non-HipHop session I've ever worked on."" The resulting album was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks. Cooper Crain (Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic music conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to paint a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott's electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the-moment magic of Harmonia.