this one's excellent Anatol, great job on "regular" composing.

Musically lovely, depth across the instruments, and a great choice of scale! Bmin (y)

that intro is really good, the sounds are well

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Disquiet Junto Project 0294: Offline Status

A chain of layered sequences with a mix of electronic and recorded sounds.

More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696/

Chain of Events (disquiet0696)

[disquiet0696] cake

Winds without origin
No genesis pass through the leaves
They drift, foliage of nameless rebirth

Forsaken realms, for none is traced
A maelstrom, as fractured dreams

In their wake, no trace endures
Amassing within & decoyed
Swaying on the brink of forgotten voids.

Inertia and motion, the slow unraveling memory, the weight of unspoken departures carried by the currents of a world where time moves without urgency. An exploration of distance, equanimity of the gravities shaping the silence in between.

Natas Kunas is a Lithuanian composer and artist, primarily creating experimental ambient and drone music, film and theatre soundtracks. Through dense textures and timbre-based atmospheres the artist explores sound plasticity and radical dynamics, reflecting on the themes of geologic time, sonic environments, pollution.

Blue Radiance

Natas Kunas - Point Lagrange

Disquiet Junto Project 0700: View Frame
The Assignment: Share the view and some sounds inspired by the view.

Step 1: Take a photo out your window, with a little bit of the frame in view. Show people a glimpse of your world.

Step 2: Record a short, simple piece of music inspired (or otherwise informed) by what you see.

More on the 700th weekly Disquiet Junto project, View Frame — The Assignment: Share the view and some sounds inspired by the view — at https://disquiet.com/0700/

arthur street [disquiet0700]

Inspired by Naviar Haiku 595:
https://www.naviarrecords.com/naviarhaiku595-under-the-twilight-sky/

Thanks to Marco Alessi from Naviar Records for the weekly challenge!

Photo by zenbytes (Spessart, Germany, 2024)

under the twilight sky - Naviarhaiku595

sounding out Bingham priory
extracts from an improvisation recorded on location, 02 april 2025.

hervé perez, hotchiku jinashi shakuhachi 2.85 in G#, ©2025

sounding out – is the practice of deep listening, a connection with the spirit of a place.
these recordings are explorations of outdoor acoustics and sacred sites, investigating the nature of space and architecture, natural topography.

find more recordings of sounding out:
https://nexttimestudio.wordpress.com/

sounding ut

from horizon to horizon

from horizon to horizon [Bingham Priory april 2025]

a space to be

Stillness in Bloom

Where Gold Sleeps

A meditative journey through death and the afterlife. “Ashes” drifts between silence and sound, existence and disappearance — ambient reflections on mortality, memory, and what lingers beyond.

Tobias Lorsbach, professionally known as Logic Moon, is an artist based in Mainz, Germany. His musical trajectory encompasses a broad spectrum, beginning with his role as a guitarist in a death metal band, followed by endeavors as a DJ, and ultimately establishing himself within the ambient music sphere. This diverse background informs the conceptual depth of his recent works, which seamlessly incorporate experimental and neoclassical elements.

Produced and mixed by Tobias Lorsbach (Logic Moon)
Mastered by Tobias Lorsbach
Cover picture by Tobias Lorsbach
Cover design by Dionis Afonichev (Dionisaf)

Ashes

The Dust

date released. 18.08.2017

pure data

voice of Bassel Khartabil

I can't see you (disquiet0294)

Starting with the provided audio, I began the piece with the full audio clip, unmodified except for some reverb. I then added some piano (envelope and filter tweaked make it a little interesting) and some rhythm constructed from the audio. The piano plays a chord shifting from major to minor, and is then accompanied by a bell that plays the root (G#) but shifts in timing via a loop with an odd-numbered length. Done in Ableton Live and "performed" by turning clips on and off and shifting scenes, rather than constructing it.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/1

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

disquiet0294 darksnap (for Bassel)

©All rights in this music belong to W:I:L
my contribution also to the benefit album in honour of Bassel Khartabil
"A Future in Commons - A Tribute to Bassel Khartabil"
https://afutureincommons.bandcamp.com/
Closing song for my imaginative album "Spinning Wheel"

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

18.8.17 WI:L - Seven Seconds[disquiet0294]

This past week was not an easy one in the US, nor in Barcelona (one of Suss Müsik’s favorite cities). We seem to exist today in a space between anticipation and the mundane. We fear that a catastrophe that may never occur will cause our demise, but the height of anxiety is in the waiting. As Richard Wright wrote in his classic novel Native Son: “There was but a long stretch of time that was very short, and then — the end.”

The sampled quote by Bassel Khartabil is a greeting followed quickly by an apology. “Hello I’m sorry,” sang Michael Stipe in the late 80’s. Suss Müsik imagines that most interactions contain at least some amount of regret for what might have been. We like to hope that times of crisis bring about a cycle of affirmation, but that’s not always how things work out. Bassel’s life was too short; the wait for his release took too long. Cruelly, both ended in a single event.

For this short piece, Suss Müsik interpreted Bassel’s vocal inflections as a form of notation. Early in the sampled recording, one can detect the plop plop that an Apple MacBook Pro makes when the sound volume is adjusted. We replicated this rhythm and used it to form base tempo. We then built upon this spine with bits of binaural cello and phased piano polyrhythms. 

The piece is titled Fatra, which means “interval” in Arabic.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Fatra [Disquiet0294]

**Production Notes**

Whereas it’s relatively easy for me to do ambient music, regular composing is really something I have to learn the hard way. I wanted to get this one right, so I took some more time for it.    

I used a M4L tool (J74 Progressive) to get some inspirations for chords and arps in B minor. Extracted some lines bass and piano phrases, lamellae, strings and brass parts. 

I added a vocoder to Bassels Khartabil voice and tamed the frequencies a bit. Then I started isolating phrases like „I can’t see you“ or „I’m afraid“ from the source material. 

The most complicated part was to stay within the two minutes range. It ends abrupt - and we all know why. 

* * * 

**Disquiet Junto Project 0294: Offline Status

Pay tribute to the late Bassel Khartabil by turning his spoken words into music.

Note: Tracks from this project, and from previous Bassel-related Junto projects, may be played on the Over the Edge radio show on August 24th.

Step 1: This is the second of two consecutive projects we’re undertaking, following the news of Bassel Khartabil’s death. (If you’re new to the Junto, Bassel was an open-source coder who did a lot of work in CGI before being imprisoned in Syria. Word of his execution just recently became public. This is the sixth project we’ve done about him over the years.)

Step 2: Download the following short snippet of an audio file, just seven seconds, of Bassel speaking. In it you’ll hear his voice, as well as the lofi glory of mundane Internet communication, and some beeping inherent in everyday digital tools. You’ll use all this audio in your own track for this project. It’s on dropbox.com.

Step 3: Listen closely to Bassel’s voice and the other sounds that make up the file from Step 2.

Step 4: Record a piece of music that either begins with or ends with the full audio of Bassel’s voice. Use your own original instrumentation as well as elements extracted from the audio file as part of your composition to either extend from or lead up to the provided audio.

Five More Important Steps When Your Track Is Done:

Step 1: If your hosting platform allows for tags, be sure to include the project tag “disquiet0294” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, August 21, 2017. This project was posted in early evening, California time, on Thursday, August 17, 2017.

Length: Keep your piece to under two minutes.

(…)

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

So Sorry [disquiet0294]

Anatol Locker
Ambient | Electronica | Experimental
also plays in Lucid Grain, MOC and Spheric Lounge

Feel free to download everything here for personal use

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

So Sorry [disquiet0294]

analoc

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