uses  https://freesound.org/people/MackieMoo/sounds/632368/

First Piece For City River Drones & Waves

saliente inferiore - disquiet0609

Verrrrrry much looking forward to a couple of October days in Suffolk playing and musicking with two favourite musicians @kate-gallaher and @stellato-strings. I'm mucking around today tapping into the iceberg that is Logic Pro learning how to edit and cut and do effects effectively. Blimey there's so much room in this universe. This is me taking some long notes of @kate-gallaher playing Handel and going wobbly. I'm pleased with this experiment on a train back from Stoke today :))

This is my response to this week's @naviarrecords Haiku prompt. Here's more info about that:

Lazing in shadows,
Conceding the drawing room
to moonrays

Natsume Seibi (1749-1816) was the son of a wealthy Edo rice broker and was acquainted with a number of other famous poets, including Oshima Ryota and Kobayashi Issa. In addition to his poetry, Seibi left behind a number of fine examples of haikai prose. 

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 6th September 2023

Haiku by Natsume Seibi

Picture by Sebastian Mark https://unsplash.com/photos/L7T7afz-eTc

drawing (naviarhaiku504)

@tristan_louth_robins' Refactored Drift clicked with me, as well as @krakenkraft's Catnip in 60bpm and @Gianantonio_Patella's salience inferiore. While the latter two tracks build a rhythmic foundation, the guitar does the rest. Tons of reverb, new toys from Unfiltered Audio (Silo's great). To stick to the slow tempo, there are gaps to reduce speed. Drive safely. 


Disquiet Junto Project 0610: Speed Limit Pt 2 
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

Step 1: In the previous Disquiet Junto project, participants recorded a variety of tracks at a standard pace of 60 BPM. Listen to the resulting material on the Lines discussion board and the SoundCloud playlist:
https://llllllll.co/t/disquiet-junto-project-0609-speed-limit-pt-1/

Step 2: Select two or more tracks from the provided ones, slow them to half their original pace — that is, to 30 BPM — and use editing techniques to combine them into one new piece of music.

(…)

More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: https://disquiet.com/0610/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0610-speed-limit-pt-2/

Slow Blink [disquiet0610]

I extracted two samples from an old track of mine (Tape), lengthened the time, adjusted the equalization and finally mixed them together adding various effects. The basic track was synthesized in csound, the extraction carried out with audacity and finally the mastering with flstudio.
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More on this 611th weekly Disquiet Junto project, Music That Listens to Itself (The Assignment: Record a piece of music that repurposes itself as it proceeds), at: https://disquiet.com/0611/

Some of the music resulting from this project may be included in a September 29, 2023, event at the Berkeley Alembic in Berkeley, California: https://www.eventbrite.com/e/expanded-listening-music-that-listens-to-itself-tickets-712124101357 2

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0611-music-that-listens-to-itself/

re-tape - disquiet0611

A track produced for Naviar Records Haiku Challenge. Seven days in which to write and record a track in response to the haiku posted.

now it reveals its hidden side
and now the other - thus it falls
an autumn leaf

Now It Reveals Its Hidden Side (naviarhaiku506) - Adrian Lane

I recorded this in an apartment I was staying at in New York. It was early in the day. I was the only one up. I had another hour before my solitude was scheduled to be interrupted. The building’s HVAC each night disturbed my sleep, but as with a nightmare, those same sounds were tranquil, even beautiful, come morning. I had attempted another 30-second recording before this one. While it was underway I noted several disappointing disturbances — creaks and pops, the aural detritus of a building waking up. Apart from them I heard an extraordinary spatial drone, a manifestation of overtones, a symbiosis of modern domestic infrastructure and a room of high ceilings, a hard floor, and a wall of glass at one end. When the first attempt ended, I took a slow, deep breath and hit record. I knew in the moment that it would work out well. There is something of Schrödinger’s cat to the act of field recording. A place is many places when you listen to it over time, but when you hit record, it gets clarified (reduced, flattened, distilled) to one specific environment. This can feel like an exertion of influence when you undertake the recording process consciously, when you have situated yourself in the moment. I felt a kind of authorship as the second recording was underway. It was precisely what I had heard beneath the extraneous noises the first time. After 30 seconds had elapsed, I ceased recording. I had a sense it had worked out, a sense confirmed many hours later, when I listened back for the first time, on the flight home. Just minutes after this recording ended, the room went suddenly silent. The air conditioning system had reached a point — whether barometric or calendrical — that caused it to shut off. Minutes later, the lawnmowers began their prowling. I had been even more fortunate than I’d known when I hit record that second time.

In One Place (Second Attempt)

More on this 624th weekly Disquiet Junto project, Fresh Pair (The Assignment: Combine two influences, however disparate they may be), at: https://disquiet.com/0624/

For my response to the disquiet brief, the two musical influences behind this track are David Sylvian - here referred to through elements of the amazing 'Ghosts' by his band, Japan, in the 1980s - and Brian Eno - through the use of extended, ambient, structures and the use of chance. 

The 'ghost' here is Alain Badiou - a more philosophical influence - talking about desire in his lectures on change, which can be found @ https://youtube.com/playlist?list=PL_QaFDCZn9rDGSOG_wWK0GZTNKzHgohgC&si=JHUCCic-FxDudNwK

You can also hear 'Ghosts' by Japan @ https://youtu.be/7zzLU1ato2w?si=rvVWv3uV8l3s53O0

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0624-fresh-pair/

more halF unusuaL

halF influenceD [disquiet0624]

Kurzweil Synth Fantasy.  Created in Real-Time in my home studio.

This day, oh-so-many years ago I came bouncing into the world.  Thanks to all who have been part of the roller coaster ride.  This track should keep you wondering what is Richard up to this time!!  Happy Birthday ME!!

Year of Music: August 27, 2025

The Code, It Is Real (Tesla Mix).mp3

AMBIENT SOUNDSCPES INSPIRED BY THE WRITINGS OF FRANK HERBERT AND HIS DUNE UNIVERSE

SPICE - IN CONTEMPLATION

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

Feel free to download everything here for personal use

Slow Blink [disquiet0610]

analoc