Spot-on visualization of a day in Buenos Aires. Can hear the traffic, feel the humidity, see the gleaming shop windows, the foliage surrounding kids playing football in the park.

Love it. I miss those moments of daily life in another country.

sounds great. A lot more joyous than mine!

Wonderful piece - great performance and production!!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

with 33per and Andreas Kitzmann - Not in Kansas Anymore [Disquiet0638]

Forest stream [with he_nu_ri and mikey_a] (disquiet0638)

A collaboration with @alanblip and @rabmusiclab. Thank you both :)
More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Droning Sheep {with Alanblip & RabMusicLab(disquiet0638)

I choose to work from this piece since it gave me tingles! These artists are amazing and thought I would try something slightly more "traditional"
Live Bass Soundscape - disquiet0636 https://on.soundcloud.com/bMEWdN7A9NLBmffS8
Daniel Diaz https://soundcloud.com/daniel-diaz

Krakenkraft & Etherkraken
Reflecting Fragility [disquiet0637] 2/3 (first) 
https://on.soundcloud.com/wbJ45HZykAtjyDLz6
Krakenkraft & Etherkraken https://on.soundcloud.com/y8wkG5YwApB7E34L7

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Reflections of Sliced Fragility Disquiet0638 3O3

I used @daniel-diaz track Australopithecus https://soundcloud.com/daniel-diaz/australopithecus-disquiet0637-with-tristan-louth-robins which built on  Tristan Louth Robin's (@red_robin) Epochs https://soundcloud.com/red_robin/disquiet_junto_0636-epochs-left-1-of-3-72-bpm

I knew I wanted to play some drums along with their nice groove. Played djembe, then shekere, then full kit. Added in some rhodes harmony and lead and flute leads. Some chanting voices for a celebratory or ceremonial feel. Made me think of traveling across some great plains filled with animals. Evolving this more was fun, thanks to Daniel and Tristan for the great parts to build on!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Tres Hominis [disquiet0638] with Daniel Diaz and Tristan Louth-Robins

With @caustic_gates Left Retrograde https://soundcloud.com/caustic_gates/disquiet0637-left-retrograde-with-rplktr?in=disquiet/sets/disquiet-junto-project-0637 which built on @rplktr bass track https://soundcloud.com/rplktr/disquiet-junto-0636-left-1-of-3-disquiet0636

Played drums, synth lead and some vocoded vocals to build this out. Also used RPLKTR's bass track for a Weekly Beat submission last week when I heard his great Weekly Beat from the prior week also using it. Some commenters over there said it sounded like an alien invasion and robot being resurrected, sound about right to me. I think Caustic Gates parts from last week totally fit that vibe as well. So here's a soundtrack for some robots vs aliens action.

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Resurrected For The Invasion [disquiet0638] with RPLKTR and Caustic Gates

Thank you @AlvaroDeCampos and @blisterpop. Wonderful track you gave me to work one.
As was the case last week, the instructions for this week’s project are fairly detailed, so please read them at disquiet.com/0638 15 (rather than me stuffing them into a post here).

This is the third phase of a three-phase sequence over the course of as many weeks during which, consecutively and asynchronously, musicians build trios together.

You can participate in any or all three of the three projects. If you participated in last week’s project, please note these two things:

    be sure to set your track as downloadable
    to avoid bot issues on Soundcloud, make sure its license is set to allow creative reuse

Also important: In normal circumstances, Junto projects have a one-track-per-participant limit. However, as with the preceding project that led up to this one, you can contribute more than one track this week. The details on that are in Step 5 of the project instructions 9.

This post popped up at disquiet.com/0638 9 (thanks, powers of automation) shortly after 12:10am Pacific Time on Thursday, March 21. (I was asleep at the time.) The email containing those instructions went out around the same time, also automatically, via juntoletter.disquiet.com. (We recently switched over from TinyLetter, because TinyLetter was shut down by its owner, Mailchimp, at the end of last month.) Come morning, after I woke up, I posted the instructions here, and at my Mastodon account, plus Bluesky, Threads, and Instagram, etc. And if you’re on a platform, like Mastodon or Instagram, that uses hashtags, please use the #DisquietJunto tag. Much appreciated.

Six variations in a knot (with @AlvaroDeCampos and @blisterpop) - disquiet0638

Left track: Marsh Bone - by Raincat
Right track: Marsh Bone Epoch - by Tristan Louth-Robins

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Marsh Bone Evening Epoch (disquiet0638)

(Diaz | Sharbaugh | Winterer)
Daniel Diaz [ https://soundcloud.com/daniel-diaz ]: bass guitar
Krakenkraft & Etherkraken [Andreas Winterer] [ https://soundcloud.com/winterer ]: synthesizers and 'found sounds'
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: synthesizer and 'found sounds'
Composed and Recorded ca. March 7 to 27, 2024 -- in France, Germany, and The United States of America.
sm5 [RAW] [32AIF].

-+-

... "I went with my gut feeling until I had the feeling that I couldn't contribute any more." ~ Andreas Winterer ...

"Having pasted that just above this explanation of My process for this week's Junto project, I state that that was My mantra in composing My part -- about 5 or 6 notes on a KORG DW8000 synth. I recorded My part once, and then edited it with various intensities of extensive time compression techniques over a period of 4 hours, until I was pleased, and felt that My contribution was no more than a simple whisper within this piece that My collaborators had recorded."

~ Michael [Ash Sharbaugh]

-+-

Based on Daniel Diaz and Krakenkraft & Etherkraken's work, "Reflecting Fragility" (disquiet0637 > 'right (2 of 3)':

https://soundcloud.com/winterer/reflecting-fragility-disquiet0637?in=disquiet/sets/disquiet-junto-project-0637

-+-

Daniel Diaz' piece, "Live Bass Soundscape - disquiet0636":

https://soundcloud.com/daniel-diaz/live-bass-soundscape-disquiet0636

-+-

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

-+-

"A Delicate Mirror" (disquiet0638 - center [3 of 3])

More on the 639th weekly Disquiet Junto project, Path Ways (4 of 3) — The Assignment: Rework musical trios using the constituent parts — one of two ways — at https://disquiet.com/0639/

The track is a remix of "the grounding of a english lark" by Daniel Diaz: https://soundcloud.com/daniel-diaz/the-grounding-of-an-english-lark-with-skylark-guquensne-and-alanblip-disquiet0638-trio

[Disquiet0639remix] Path Ways

Again, the Friday junto time prompts me to jump back in the past to recoup lost and found stuff. (this one's for Disquiet Junto Project 0466: [ ] Sound Machine)

This track has been mixed and edited today Friday 4th December 2020 in Paris, France. But the source audio comes from the last 30 years and from both Buenos Aires and Paris, my main two home towns.

You'll hear in this track what I remember from Buenos Aires(where I lived for 30 years):
The bandoneon sound as a subliminal soundtrack.
The subway revolving doors noise
The streets, loud with traffic noise and voices.
People playing football in the squares (or almost anywhere), this includes (that strikes me listening to my field recordings today)  children and adults playing, yelling, insulting and laughing together.


This mash up includes my recordings of:

Field recordings of Buenos Aires, DAT (Caballito area) 1990
Field recordings of Buenos Aires, DAT (Palermo Viejo area) 1994
Bandoneon (performed by Olivier Manoury) Paris 2010
Electric bass, tapping riff (direct to DAT) Buenos Aires 1992
Bowed upright basses, Paris 2006
Electric piano an drum beats: Paris circa 2005
Lead synth and additional keys Paris 2015


Photo, calle Corrientes by DD circa 1999.

more info:https://llllllll.co/t/disquiet-junto-project-0466-sound-machine/39014

Buenos Aires Sound Machine (disquiet0466)

multi-instrumentalist & composer.
music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

Buenos Aires Sound Machine (disquiet0466)

Daniel Diaz

Recent comments

The Windscale Blues Experiment

Old Drummer

Zedkah

Fake Genius

Related tracks