Exhale

This track is the result of an asynchronous collaboration with @daniel-diaz for the Disquiet Junto Projects (details below): I tried to embellish his wonderful track https://soundcloud.com/daniel-diaz/2022wcgroove-disquiet0572 mainly with the addition of piano and harmonium.
According to my wife this is music for letting the world pass by...

More on this 573rd weekly Disquiet Junto project – Float Mode (The Assignment: Add material atop a pre-existing beat to form a complete track) – at: https://disquiet.com/0573/

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

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0573-float-mode/

Letting The World Pass By [with Daniel Diaz] (Disquiet0573)

[disquiet0575] Thin

Disquiet Junto Project 0580: Evo Evol Evolve

The Assignment: Record a piece of music that develops like an organism evolves.

Step 1: You’re going to record a piece of music informed by evolution. Think of stages of evolution, perhaps choosing a specific animal or other life form that evolved over time.

Step 2: Record a piece of music that evolves as it proceeds, based on the patterns (phases, stages) you explored in Step 1. And yes, animals that went extinct are a potential subject.

===

Track notes:

I took my inspiration from the long evolution of insect species on the planet, considering the vast scale of evolution from primordial epochs up to the present, where insect species are front-and-centre in the Sixth Great Extinction of the late Anthropocene.

SuperCollider came to mind again as a tool for realisation, since I had ‘traditional’ forms of ‘computer music’ in mind - especially Bernard Parmegiani’s epic La Creatione De Monde (1984)

Now, obviously I don’t have a) a year up my sleeve; and b) the coding faculty in SC to pull off such a gargantuan feat, but I thought it might be a cool point of reference that I could fold into my current understanding (as a beginner) in the SC environment.

Recently I got to grips with buffering audio samples and using sequences to control various patterns - both melodic and percussive. I created a couple of dictionaries of short percussive samples (kalimba, woodblock and guiro) as well as instantiating a couple of Synth objects that produce pure waves. The percussive sounds turned out well when triggered, sequenced and manipulated and I liked the interplay with the pure waves.

My track is a bit longer than my usual submissions (~6 mins) but I thought I needed a decent span of time to realise a time compression of a few hundred million years of evolution.

For the realisation, I live-coded from the initial script (see GitHub link below) and then adjusted various parameters, arguments and variable throughout. The idea was to start amongst the matter of the cosmos and then gradually render a semblance of life on Earth. Eventually, an abundance takes form, before the insect population starts to diminish at the close. It not strictly a linear progression; rather, a fairly wobbly negative exponential progression. I’m still getting to grips with controlling instruments on the fly in SC, but I think I’m improving.

I was happily surprised when I saw the spectrogram of this track. Its progression of blobs, smears and flurries of activity over a time series seemed fitting!

https://github.com/TristanLouthRobins/Supercollider/blob/main/junto0580-evo_compressor.scd.scd

[Disquiet_Junto_0580] Evo Compressor (w/SuperCollider)

I had some fun with this one, a wrong take on Butterflies' life cycle. They are supposed to arrive to the prettier stage in the end but my track moves backwards, from a gentle and nice pastoral in the first section to a cheesy jazz ballad, then chaotic and quite ugly electro-acoustic free-jazz third section.
It's always the same "theme" with variations, that was my actual "exercise" here.
I used
Celesta
Vibraphone
Fretless bass
Drums
Piano
Synthesizers
Orchestral samples


DD, Friday 10 and Saturday 11 February 2023
Photo by Fleur

https://llllllll.co/t/disquiet-junto-project-0580-evo-evol-evolve

Butterfly Backwards(disquiet0580)

Birds in a bare tree
Dance on windswept branches
Their waiting ballet…

haiku by John Hinks https://soundcloud.com/flownblue

picture by Robbin Huang https://unsplash.com/@ikarishinjigao

For more information visit http://www.naviarrecords.com/about/naviar-haiku

daft whelp wins

halF windswepT [naviarhaiku476]

avianballet 476 naviarhaiku - 2:16:23, 5.41 PM

18Feb23

My naviarhaiku476 submission
https://www.naviarrecords.com/2023/02/15/naviarhaiku476-birds-in-a-bare-tree/
:D

Birds in a bare tree [naviarhaiku476]

Disquiet Junto Project 0582: X Techno
The Assignment: Make a new subgenre.

Kraken Techno has to be plain 120bpm and 16th sequenced suction cups, but these have to drift apart in the course of the piece - like the tentacles do.  

--

Flyer design based on Foto by Diego Sanchez
https://unsplash.com/de/fotos/NGucyc4mOdk

--

More on this 582nd weekly Disquiet Junto project, X Techno (The Assignment: Make a new subgenre), at: https://disquiet.com/0582/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0582-x-techno/

Kraken Techno [disquiet0582]

The Assignment: Use probability to remove material from a track.

I made a 3 track piece specifically for this idea instead of using something I already had because I figured it should be done with tracks that always have something happening so the silence is more noticeable/dramatic.  I think the moments where everything cuts out are the most dramatic.  Silence is sort of the 4th track in that sense (or what ever is going on around you when listening).  The piece itself used a fair bit of aleatory.  "Dr Chaos" is a max for live instrument I used with the drum kit.  It plays random samples at a regular beat division (1/8th, 1/16th, etc.). The 2 other tracks are just moving through different interval cycles (minor 3rds and perfect 4ths) at different paces so they create different unpredictable harmonies.  I used Random.org to decide where to cut and how long the cut should be (1-8 beats).  I figured cutting on beats instead of seconds would give the breaks a rhythmic quality.

More on this 586th weekly Disquiet Junto project, Chance the Eraser (The Assignment: Use probability to remove material from a track), at: https://disquiet.com/0586/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0586-chance-the-eraser/

Nothing Hear (disquiet0586)

More on this 599th weekly Disquiet Junto project, Minimal(ist) Blend (The Assignment: Make a piece of music that combines self-contained minimalist parts), at: https://disquiet.com/0599/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0599-minimal-ist-blend/

Minimal Breakfasts (disquiet0599)

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.

Butterfly Backwards(disquiet0580)

Daniel Diaz

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