Tread Carefully

dedicated to and assembled from the aural expressiveness of a particular automatic coffee maker.

we shall for the moment put aside the acute feelings of personal dismay associated with being already sufficiently conscious to hear these sounds when strikes the painfully early hour at which this beast is programmed to kick into gear -- it's never a good sign.

from across

A track from "Oblio", album released by ROHS! Lontano series.
https://lontanoseries.bandcamp.com/album/oblio

"Oblio" (italian for "oblivion") is a collection of 7 tracks, of which one doesn’t exist. The album is a short study on abandonment, sweetness and melancholy associated with the progressive disintegration of memory, the loss and irreversible modification of the mind: an album about the sense of the end of things, up to the fulfillment of oblivion. Symbolically therefore the last track (the titletrack) is an empty space, it's missing as if it never existed, or as if it was composed in the past who knows by whom ... but forgotten. "Oblio" is based on classical piano music loops (Ravel, Debussy, Bartok), taken, internalized, reimagined and made "other", in an attempt to forget them: an almost Zen testbed for the abandonment of the self.

The opening piece "Nostalgia" explores and expands the space between two notes in a particular passage of "Adagio Religioso" from Béla Bartók's concerto n.3 for piano and orchestra, an almost scientific attempt to vivisect that melodic cell and observe it at microscope, to try to understand "what is there", why it is precisely in that micropassage that all the melancholy of the world seems to be enclosed. Also "Remembrance of things past" has the same intent, inspired by the Proustian novel (in particular by Vinteuil's "petite phrase"), and composed using only one sample elaborated from "La Fille aux cheveux de lin" by Claude Debussy. In "La même vieille chanson" the last fragment of an old melody is repeated stuck in the mind, mixing with the resonances of many day lived. It's based on a loop from Maurice Ravel's "Le Jardin féerique". Also the track three, whose title is a quote from a poem by Montale "Forse un mattino andando in un aria di vetro" ("Maybe one morning walking into an air of glass"), where to the sound of a window creaking in a particularly windy day, an apathetic day between many, a chant joins: in search of an epiphany that illuminates and rip the veil of reality. Finally "The worlds behind you..." is a dark lullaby under a dusty blanket of noise, and is based on a loop from the "Passacaille" of Ravel's Trio in A minor op.67; while "... are fading" still uses a fragment from "Le Jardin féerique" in decay. 

Tracklist:

1) Nostalgia [6.47]
2) La même vieille chanson [4.00]
3) Ricordi quel mattino, quell'aria di vetro? [8.56]
4) Remembrance of things past [6.32]
5) The worlds behind you... [7.12]
6) ...are fading [5.04]
7) oblio [∞]

Credits:
Composed, recorded and mixed by Alessandro Barbanera (April 2020 - February 2022)
Mastered by Andrea Porcu

Ricordi Quel Mattino, Quell'Aria Di Vetro?

human error

Disquiet Junto Project 0571: Child’s Play
The Assignment: Make music inspired by a nursery rhyme.

I opted for "Fuchs Du hast die Gans gestohlen" (Fox you stole the goose), a German nursery rhyme from around 1824 based on an older folksong. Which seems to be, by what so ever strange reason, also very popular in Japan. It was written by Ernst Anschütz, whom you may know via "O Tannenbaum". Because I am just in love with some presets (yes) in Pigments, which use wavetables based on the MicroQ I once had (for the interested ones: Playhugger Microns https://www.plughugger.com/pigments-microns.html ), I currently do everything with these pads, and the results may be doubted. Anyway, I went for a slow ambient pads arrangement of this song, using only the original melody material plus some probabilities. At the end it did not sound like a lullaby at all (and does not say anything about nursery rhymes), but I liked it very much for what it is. At one point I added some sweet bells and stuff, but I always went back to this somehow brutal and unkrakenkrafty version. 

Notesheet and song text
https://www.lieder-archiv.de/fuchs_du_hast_die_gans_gestohlen-notenblatt_300721.html

Some youtubes with different versions of the song
https://www.youtube.com/watch?v=FbtqrXwjD3w
https://www.youtube.com/watch?v=oz--4Jmnr1w
https://www.youtube.com/watch?v=QwZRRsh6khA


Track image by DALL·E: "a goose and a fox, edward hopper" (more complicated prompts did not work and there were many ducks instead of geese…)


More on this 571st weekly Disquiet Junto project — Child’s Play (The Assignment: Make music inspired by a nursery rhyme) — at: https://disquiet.com/0571/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0571-childs-play/

KK's disquiet junto

Fuchs Du Hast Die Gans Gestohlen [disquiet0571]

Released December 11, 2022
https://scalq.bandcamp.com/album/5055360

N0Cmnh.P

Orbita 2.

Function X emerged from a call for musique concrète compositions that would deal with Jean-Luc Godard. In this piece I referred essentially to an interview with Godard in which he mentions the word Function X, as well as to a few background sounds from his films, which were subjected to a series of sonic transformation processes.

The artwork has been made by Thomas Müller. See also www.flickr.com/photos/txmx-2/albums

FUNCTION X

The new Album of Beach Ready is now available at Snow in Water Records, exploring urgent ambient as no-one else! A first serie of 50 cassettes are printed, with three exclusive tracks and a great O-Card design!

Beach Ready - Allucinate (with Boe Huntress)

Flute: Hannah Wirnsperger 
Accordion: Laura Mehmeti
Cello: Lukas Barmann
Double Bass: Aleksei Chvarkov
Conducted by: Clemens Heil
Recorded by: Emilio Guim

Recitation II "Study for what comes after"

Amir Khalaf

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