The Pepper Jelly and HNY samples make the majority of rhythm in this piece. The “Autista 3” sample is a little buried in the middle, where there is less percussion. 

The "lyrics" were randomly generated by WriterBot at http://writerbot.com/lyrics and synthesized at http://www.fromtexttospeech.com/  I had hopes of matching the monotone vocals to a melody of keyboard notes but that is beyond Garageband for now.

The final vocals are a synthesized Thomas Piketty quote from https://www.theguardian.com/us-news/commentisfree/2016/feb/16/thomas-piketty-bernie-sanders-us-election-2016 -- I wanted something a little more "statement" oriented but running out of time. 

The guitars throughout are from guitar stems I recorded months ago in order to use for textures, and not recorded while working on this project. The protesters at the end are from a free field recordings site, SoundTransit: http://archive.turbulence.org/soundtransit/search/sounds.php

I come back over and over again to an idea of using sound samples, generated text, and synthesized voices to make deconstructed pop songs. I want to make them more "catchy" than the results, which to me sound like someone trying to manually recreate AI song generation, lol

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More on this 233rd weekly Disquiet Junto project — “Make one track from three different netlabels, courtesy of a Creative Commons license” — at:  http://disquiet.com/0233/

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Manipulating a Machine

Glance Back For An Instant

Buy it on Bandcamp

Glance Back For An Instant [disquiet0233]

heart-open & earth-honoring 
synthesist & field-recordist 
journalist & dreamtime walker
visualist & connector
​
The seemingly limitless manifestations that are observed during improvisational performance of electronic audiovisual materials drive me to seek collaborative interactions between compositional systems, machines, and myself. In holding space to facilitate an emergence of indeterminate phenomenon through analog synthesis, feedback systems, and field recordings, I share elements from multiple sources to celebrate shapes, patterns, and spaces.
​
I hold BAs in Art and English from Andrews University, and am currently enrolled in the Electronic Integrated Arts MFA at Alfred University. I was an artist in residency in 2017 at Signal Culture in Owego New York and in 2015 at Sachaqa Centro De ARTE, San Roque Peru. My visual works, and live electronic improvisational performances, have been featured across Peru, at The MuseumsQuartier in Vienna, and throughout the Midwest of America.
 
Note: Much of the work here is subtle in nature and I encourage you to listen via headphones or using a decent system whenever possible. Most computer speakers will not reveal the tracks fully.  Unless otherwise noted in the track description, everything is recorded direct to stereo track live and on the fly with no overdubs. Thanks for stopping by and listening!

Support our music on bandcamp! Out now: 
"Manipulating a Machine" - Late-night headphone music - August 2019:
https://cryptohelix.bandcamp.com/album/manipulating-a-machine?mysrc=sc

"Future Funerals", just released Nov. 2018 - 5 songs:
https://cryptohelix.bandcamp.com/album/future-funerals?mysrc=sc

3 more songs on a single, from 2015:
https://cryptohelix.bandcamp.com/album/3-song-45?mysrc=sc

"Traveling back/in time/from our best/future imaginations."

“One can only arrive at the experience of the transcendental – if it is reached at all – when one is oneself in a position of un-knowing, that is, of humility; namely, while remaining in the world of technê he or she begins to venerate a certain kind of experience, acquires it, makes it one’s own, realizes it, sustains it, repeats it – without burdening its sense, its essence with its own great questions.” - László Krasznahorkai, “The Acropolis in Sunglasses”

Glance Back For An Instant [disquiet0233]

Cryptohelix