Name: Tranquil Braces [disquiet0699] with Nat Lyon and Raincat by dandante in Disquiet Junto Project 0699: Third Third
Duration: 2 min 52 s
Description: More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the final third of a trio — at https://disquiet.com/0699/

Disquiet Junto Project 0699: Third Third

The Assignment: Record the final third of a trio.

Details at disquiet.com/0699

Deadline Monday, May 26, 2025, 11:59pm (that is: just before midnight) wherever you are.

Disquiet Junto Project 0699: Third Third

Ted Laderas is a scientist, a cellist, and electroacoustic composer. He combines cello performance techniques with sound processing techniques to expand the outer realms of the cello. Marc Wiedenbaum of Disquiet wrote of his work: “As mediated by Laderas’ bank of technology, the lone cello takes on a kind of serene majesty – sustained, rich, formidable.”

The tracks in Astoria came from a year-long project to produce an improvisation a week. They document not only my growth as a cellist, but my exploration of the electroacoustic possibilities of the cello. The year was filled with small triumphs, funerals, depression, and joy, punctuated with trips to Astoria, Oregon to recharge and recuperate.

The cello plays multiple roles in these tracks, from percussion to bass to contralto, layered together to form impossible ensembles through my use of looping, pitchshifting, and reverberation. Astoria is a confluence of lullabies, hymns, and chamber symphonies into a coherent and satisfying whole.

The OO-Ray - Palimpsests

Visions Sankofa Op. 12b

Step 1: Imagine a bicycle race underway. Picture two competitors in the lead, running neck and neck for a long distance.  Step 2: Record a piece of music in which two prominent musical elements align, one each, with the two bicyclists in Step 1. How would you depict their rivalry as it unfolds, the give and take as each bicyclist strains to pull ahead of the other?. 
https://llllllll.co/t/disquiet-junto-project-0662-spin-cycle/68523


I picked up an abandoned idea from a month ago, an acoustic bass guitar (left) that goes up the whole neck and then down with delays giving this steady marching/running feel. On the right channel an acoustic guitar tries to keep pace, all the way up and down the neck too, or sort of. Most of the time it's the bass that leads the race.  think in the end the guitar makes it though.  

I may re visit this and make a longer version one day  I mixed the first half (one way up, pause, one way down) , after that there are lots of  editing to do and I'm afraid it will be boring in the end (I recorded 3 cycles, up-down).  

I recorded the bass and a first take on guitar  in august 2024 and most of the guitar today, 5/Sep/2024 

Photo is by Paolo Candelo.

Bass and Guitar Spin Cycle - disquiet0662

Aurorae For La Monte Young’s 89th Birthday is composed in an alternative tuning system called Just Intonation, where all pitches are chosen from the naturally occurring harmonic series, rather than the twelve notes from a piano. A lot of the pitches of this piece may be unfamiliar or uncomfortable for listeners at times. Focusing on the way these different notes create new sonorities, Aurorae asks the listener to sit with slow harmonic movement to get accustomed to them. Much like how photos taken with long exposures show a much more vibrant color from the northern lights, the complexities of these harmonies are easier to hear when held for longer durations. Aurorae’s score requires the Lydian String Quartet to move through the composition according to their own collective internal clock, rather than following  traditional rhythmic notation. It asks them to measure entrances and exits by focusing on the entire ensemble at once, reading from a score that features every musician’s parts. As a consequence, all performances and rehearsals will most likely be different durations, and highlights the ensemble’s communication and comradery as an integral part of the performance.

Aurorae For La Monte Young's 89th Birthday

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

For this third of three, I chose the inspired track by Campos and Samplair from last week ... https://soundcloud.com/tannes-marrei/soothing-nightmare-carnival-disquiet0698-with-samplair

Check out my collaborators' brilliant work at https://soundcloud.com/tannes-marrei and https://soundcloud.com/user-248104983 ...

Enjoy! 🤗

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

more halF unusuaL

halF nightmarE [disquiet0699] with Campos & Samplair

As the old saying goes, "it's Monday, May 19, 2025, 11:59pm (that is: just before midnight) somewhere!"  I downloaded "naphthous merenge" by dandante (https://soundcloud.com/dandante/naphthous-meringue-disquiet0697?in=disquiet/sets/disquiet-junto-project-0697) and added a new part to it. I figured the original part felt like it had a lot of high and mid-range, so I added a bass part. I improvised a bass synth accompaniment, then nudged it forward a few milliseconds so it would feel more coordinated with the solo and less reactive. 
Then, I noticed the violin part had some buffer/stutter effects, so I added that to my accompaniment as well. I listened to the violin track and switched the stutter effect "on" for the bass track when I heard it in the violin track. This felt like a nice call and response, and I think it's a cool effect to hear it echoing panned extreme left and then extreme right.

The end result is roughly 177 bpm, if anybody wants to add to this!

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

chopitch (quiet0698)

Melodic Dark and Luminous Drones - disquiet0699 (with Ray Cobley and Alanblip)
This one’s quite experimental yet melodic and with a positive, luminous vibe (but with moments of darkness when Ray’s drone takes the foreground). 

Took this duo: https://soundcloud.com/ray_cobley/drone-double-with-alanblipdisquiet0698 by @ray_cobley 
who worked on this solo by  @alanblip https://soundcloud.com/alanblip/b-drone-disquiet0697 

Added a solo lead on my Oberheim OB-X and some noise washes on the same sytnh to channel the mighty Vangelis…

For this collaboration project:
https://llllllll.co/t/disquiet-junto-project-0699-third-third/

Melodic Dark and Luminous Drones (w/ray cobley & alanblip) - disquiet0699

Worked on this duo by e_nu_ri (@user-807707609) : https://soundcloud.com/user-807707609/bowed-and-jangled-farther-disquiet0698  based on this original track by 
@red_robin
https://soundcloud.com/red_robin/disquiet-junto-0697-mr-bowed-jangles

The all-synth background is great. I thought the contrast between those synth tracks and a warm, acoustic tone could be interesting, so I improvised a lead part on tenor ukulele. I also added an infra bass drone playing the tonic, and used a little software I’m beta testing that generates sound from a text prompt using some kind of AI (can’t say more here, but it’s fun for drones!).
It's like a dark, abstract recitativo, hope you like it.

For this collaboration project:
llllllll.co/t/disquiet-junto-pr…t-0699-third-third/

Mr Bowed Jangles returns (w/ he_nu_ri and Tristan Louth-Robins) - disquiet0699

Built on top of the excellent bass and rhythm work of DD and halF unusuaL in the previous two weeks, and operating under the influence of Lol Tolhurst's rock and roll memoirs, as well as the unease of being here now in 2025, here is a happy little song about modern life. 

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

Mother of Thirds (disquiet 0699) Torpid Scorpion x Daniel Diaz x Half Unusual

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]

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

Tranquil Braces [disquiet0699] with Nat Lyon and Raincat

This is my second submission to this week's Disquiet Junto assignment. The audio panned all the way to the left was recorded by Matthew Mirliani as the first part of a trio. The right channel contains dandante's contribution for the second part of the trio. My contribution can be heard panned to the center.

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

Third Third Two [disquiet0699] w/Matthew Mirliani and Dandante

Ok this song is a remake of a song off my third album. Holly liked it and wanted to sing to it. So here we are! 

Prince April

Left Channel = "Celestial Valley" from Shri Camel

Right Channel =  Jamming on C# in Dorian mode with David B. Doty's "Other Music" American gamelan tuning where A = 400Hz i.e. Sa = 240Hz. Fine tuned to make Re komal (C#) equal 252.2 Hz like in the Riley recording. Synth is u-he Diva using polyphonic filtered sawtooth waves.

Shri Test 3 Rec — Proof!

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

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.

Tranquil Braces [disquiet0699] with Nat Lyon and Raincat

dandante

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