I love how it develops - the sound just keeps growing and expanding like the lines in the wood (which look like sonic waves)

Definite sense of breathing in this. Love it.

deposition

My submission for the NaviarHaiku Challenge #583. More on Naviar Haiku: https://www.naviarrecords.com/haiku-music-challenge/

Field recording attribution:
1) ermine - 'ambswmp-westhay-moor-nature-reserve-early-morning-ambience'
2) WWAudio - 'water trickling in an outlet of a hillside stream with birdsong'

Early Morning Light - naviarhaiku 583

Feature-reel here: https://www.instagram.com/p/DHUYcO2tL66/

Lingering in a monastery of his own, heavy with history—perhaps light with what’s to come. Molt traces a crucial transformation.

Enjoy!


molt

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

disquiet0690

This week's Disquiet Junto prompt instructed us to find a piece of wood with interesting grain, and interpret it as a graphical music score.

My music desk is a pretty solid piece of furniture, and the dark stain makes the wood grain stand out prominently. I noticed that the grain on one side of the desk contained two interlocking swirls, and the radiating pattern reminded me of a magnetic field. So I decided that this week's composition would be played with wood and magnets.

I used a contact mic to record the percussion part, playing the top of the desk like a hand drum. Then I recorded three layers of guitar played with an ebow: an electromagnetic "guitar pick" characterized by infinite sustain. Ebow has the drawback of making dynamics difficult but I was able to make it growl and howl enough to get some texture and noise out of the performance. 

The bass layer was played on a Schecter Damien 7-string guitar with an altered tuning. I managed to play the bottom string freehand with the ebow, floating rather than resting on surrounding strings, which required multiple takes unfortunately. I just really, really needed that low B♭. The other two guitar layers were played on the St Vincent guitar. 

Offboard, the guitars went through my standard bank of stomp boxes, including an Eventide Harmonizer, Keeley Halo, ARP-87 and Julia pedals from Walrus, and a trusty RAT distortion pedal. DAW effects were mainly reverb and Chromaglow, plus a stereo delay and EQ on the percussion part.

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0689/

Lost in the Ironwood (disquiet0690)

Smell You in My Clothes (disquiet0690)

Recorded, mixed & mastered on 22 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

Organ & effects

Photography - Jim Lemanowicz, 21 Mar 2025, Massapequa, NY, USA

©2025 Jim Lemanowicz

---

This original version of “The Buyer With The Asymmetrical Nose” was submitted as part of Disquiet Junto Project 0690: Knot Bad. The Assignment: Interpret wood grain as a graphic score.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

The Buyer With The Asymmetrical Nose (disquiet0690)

KREATUR

I 'misused' Microsoft Word to create this ... see the accompanying visuals at https://youtu.be/6dIBIYtLmE4 ... and hear the 'spinoff' track at https://soundcloud.com/half-unusual/half-akjhdjsdmnn ... I think you'll agree, it's the best use of the word akjhdjsd,mnn to date ... 😁😜 ... Oh, and lead vocals by the Word robot! 🤖

This project is the second of three that are being done by the Disquiet Junto in collaboration with the 2025 Musikfestival Bern, which will be held in Switzerland from September 3 through 7. The festival topic this year is « Kette » — which translates, as the organization explains, to “Chain”: “Chains connect but they also bind. They create relationships but also restrictions. As a gift they look nice, feared when used in vice, and yet they can span bridges across fire and ice.” All three Junto projects will engage with the work of Svetlana Maraš, who is the Composer-in-Residence for the 2025 festival.

We are working again at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the seventh year in a row that the Junto has collaborated with Musikfestival Bern.

More on the 702nd weekly Disquiet Junto project, Chain of Applications — The Assignment: Make music by misusing a piece of music software — at https://disquiet.com/0702/

visuals (YouTube)

halF wrotE [disquiet0702]

This track was created for the Naviar Haiku group.
597
https://www.naviarrecords.com/naviarhaiku597-orchids-by-night/

2025-06-14

orchids by night –(Naviarhaiku 597 )

Ｔ　Ｒ　Ａ　Ｍ　Ｐ　Ｅ　Ｌ　Ｆ　Â　Ｄ

is LCEEM

Laboratory for Contemporary Electronic Experimental Music [LCEEM]

rec.name: " Homage E.R ."
credit : ipad9,plug data

Support us at :

trampelfad.bandcamp.com

date: 2.07.2025
more science music test :
https://www.youtube.com/watch?v=QyvZDELhwkc

Live 2025
https://www.youtube.com/watch?v=u4dRn8-kbCU

Rutherford  Gold 2

Making music is about being surprised.
https://www.patreon.com/blisterpop
Linktree for more - https://linktr.ee/blisterpop

The Buyer With The Asymmetrical Nose (disquiet0690)

Jimmy Lem

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