sound art for disquiet0697.

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/



unmaking music (disquiet0697)

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

Part I [disquiet0697]

Building on a track by @Krakenkraft. See:
https://soundcloud.com/winterer/disquiet0697-crux-fmin70-6-4

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

SONG 95 - DisquietJunto0698 - Second Third (with krakenkraft)

More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the final third of a trio — at https://disquiet.com/0699/

Source tracks:
Marjorie Van Halteren, "Disquiet0698 second with Torpid Scorpion"
https://soundcloud.com/vanwindmill/disquiet0698-second-with

Torpid Scorpion, "Disquiet0697 - First Third"
https://soundcloud.com/torpidscorpion/disquiet0697-first-third

tercero (third) (ft. Torpid Scorpion & Marjorie Van Halteren) [Disquiet0699]

The final addition to complete the annual Disquiet Junto asynchronous trio. This contribution builds on the original keyboards of Aaron Hofman and Andreas Kitzmann's addition of a gritty drone with a performance on ebow guitar and simulated Leslie cabinet.

Part 1: https://soundcloud.com/aaronhofman/part-i
Part 2: https://soundcloud.com/andreas-kitzmann-27370936/disquiet0698

More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the final third of a trio — at https://disquiet.com/0699/

The Apparition That Asked Me to Dance

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

The cover picture shows the view from my window. I used a virtual modular system and wanted to create the feeling of crowded chaos, of structure and nervousness, of importance and frivolity. All from a distance, as I am still outside the picture looking out of the window.

The (cover) image does not perfectly equal the inner image I had in mind, as it is lazy sunday afternoon and vacation time, so the city is not that busy at the moment.  

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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/

Discussion:
https://llllllll.co/t/disquiet-junto-project-0700-view-frame/72046

BandCamp

Busy Street [disquiet0700]

used this photo from my window as a graphic score. the elements in this photo mapping to elements in the track.

most sounds in here come from a contact mic applied to the window itself, or the frame.

five lines [disquiet0700]

Prompt 701 of the Disquiet Junto had us break a piece of music into segments and fill the gaps with something new,

My contribution is an interpretation of Scelsi's "Quattro Pezzi su una nota sola", its four pieces interrupted by narrative interstitials. Features ebow on slide steel, piano, and organic vocals. The script was adapted from https://www.allmusic.com/composition/mc0002378353.

More on the 701st weekly Disquiet Junto project, Gap Ear — The Assignment: Break apart a piece of music and fill the resulting spaces — at https://disquiet.com/0701/

Scelsi's Piano (disquiet0701)

Disquiet Junto Project 0703: That’s How You Got Killed Before

This one’s been sitting on my hard drive for 16 months. It came from a session with my friend and collaborator Bobby Rangell — we had recorded some flutes for a job, then took advantage of being in the studio to jam a bit: bass and flute, sometimes with a drum machine click.
It was a super productive day. I later revisited and shared many of those flute-based tracks… but this one?
Like the others, it was just two tracks: mono flute and stereo bass, with a 2-bar drum machine loop. But I made a patching mistake that day — the bass came out super thin and low, and mixed weirdly with Bobby’s long reverb. So I just… deleted my bass track. Why? No idea.
Months later, I went back to it — and found only Bobby’s flute and a 3-note Roland 707 kick pattern. No idea what I originally played. Worse: Bobby’s blowing was super abstract. I couldn’t even figure out the key. Still can’t.
Then I got Marc’s email this morning and thought, why not try something different?
Instead of trying to remember what we did, I improvised on top of Bobby and the 707 kick playing electric bass, just following my own ideas and added some drum loops that weren’t there when we played, then I played a Fender Rhodes and some synth textures following my new bass, trying to structure what was probably and abstract free impro.
instead of trying to figure out what key were we playing in (I recall in all our impros we just kept one steady key) I introduced chord changes, played around with modulations, and laid down harmonies that don’t necessarily match what Bobby was playing. So now you hear his flute moving freely over harmonies that were never there in the original — sometimes clashing, sometimes strangely aligning. I liked the tension it created.
I spent a full day in the studio doing this. Honestly, I don’t think it’s done, but I’m leaving it here for now.
Side note: if anyone asks “what’s the point of the Junto challenges?” — this is it.
Sure, I could have called Bobby back and spent the same 8 hours creating something much more polished and coherent from scratch. But we never would have ended up with something like this. And without this challenge, I never would’ve bothered digging into a broken, abandoned track like this.


Performed by Daniel DIaz (June 2025) and Bobby Rangell (March 2024)
Photo by DD, Carilo, Argentina. 2025

That’s How You Got Killed Before (disquiet0703)

10 CALMING  - NORTHERN  LIGHTS - 10_11_2023, 13.20

Its raining, there is thunder, hear the crowd cheering, cars beeping, fireworks banging, in the sky  is the Luminous Particles.

Luminous Particles

I create original experimental, postpunk, and experiential music from my studio in Chicago. The Hard Times described my work as "creepy, haunted, but also a little bit uplifting." Prolific.

The Apparition That Asked Me to Dance

Coraline Ada Ehmke