This is a very moving and beautiful piece. Your playing is very emotive.

Nicely done, there is emotion throughout, which makes this a real keeper.

I'm such a sucker for tremolo on a guitar solo! :-)

Reverb rings out of the harmonics and the held chords so gorgeously

Volume knob? What a great way to punctuate the ending. Excellent piece Daniel!

Beautiful piece, hints of Marc Knopfler 'Cal' and perfect ending :-)

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Disquiet Junto Project 0294: Offline Status

#4241 (93.50% 296 left): Jul. 25, 2025: What must the lasting love what passes  (again, William Butler Yeats from May 22, 2025) 

*** NEW SELECTION ALBUM 30th JUST RELEASESD ***

Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : )

Looking for absolute natural beauty every day for Piano Ten Thousand Leaves. Target number is 4536:
This piece may might have good 1/f fluctuation characteristic although I stopped investigating it each piece.

######## Latest Album: 30th SELECTION ALBUM JUST RELEASED ########

"wind of mysteriousness" - the 30th selection album of piano ten thousand leaves

youtube: FULL VIDEO with 20 full songs in very high quality sounds
https://youtu.be/tkqms1ZjAEg?si=RlWgQZBbe9z523f_

spotify:
https://open.spotify.com/intl-ja/album/7CiAmnJmm5Wnm3CVfmC234?si=tImTyWj5TT6dUBRhMRXVYg

apple Music:
https://music.apple.com/jp/album/wind-of-mysteriousness/1817351475

amazon music:
https://www.amazon.co.jp/s?k=chair+house+%E4%B8%8D%E6%80%9D%E8%AD%B0%E3%81%AE%E9%A2%A8&i=digital-music&ref=nb_sb_noss_2

all music streaming services:
https://linkco.re/PQ45u0dG?lang=en


what must the lasting love what passes - #4241 (93R50 pc 295 left) by chair house 250725

In spring sunlight
the rows of tea bushes
ripple like waves

by: Tōge Morita

Tōge Morita (1924-2013) was a Japanese teacher and poet from Osaka. In the early 50s, he started publishing his poems in the Katsuragi 葛城 magazine, later becoming its editor-in-chief and, in 1990, its editor.

Haiku by Tōge Morita

Picture by Kyle Bushnell

Join The Naviar Haiku Music Challenge
This haiku poem is part of the Naviar haiku music challenge, where artists are invited to make music in response to a weekly assigned haiku poem. Participation is free and there are no limitations in the songs’ length or genre.

You have seven days from the posting of this haiku to submit your track. For information on how to make a submission, visit the Naviar Haiku Music Challenge page. https://www.naviarrecords.com/naviarhaiku604-in-spring-sunlight/

SONG 114 - NaviarHaiku604 - In Spring Sunlight

Part of the Naviar Records Haiku-Challenge:
https://www.naviarrecords.com/naviarhaiku606-slightly-faint/

YT Short: https://youtube.com/shorts/T_rcCwfJNVw?feature=share

slightly faint-naviarhaiku606

Ｔ　Ｒ　Ａ　Ｍ　Ｐ　Ｅ　Ｌ　Ｆ　Â　Ｄ

is LCEEM

Laboratory for Contemporary Electronic Experimental Music [LCEEM]

rec.name: " Moiré Patterns Music  "

credit :plugdata ,ipad 9

Support us :
aleatoric music compositions at:
trampelfad.bandcamp.com

date: 22.08.2025
Video Link :
https://www.youtube.com/watch?v=WrgfeTpd978

great Milton Babbitt
https://www.youtube.com/watch?v=FfA470WVHws

LCEEM Sound Moiré Patterns  Synthesizer

Made for the haiku challenge 607 of Naviar records.

Winter waterfall a rock untouched by sunrise or sunset

by: Setsuko Nozawa

Setsuko Nozawa (1920–1995) was a poet from Yokohama. Inspired by the works of Bashō and Rinka Ōno, she started writing haiku in the 1930s, joined the magazine Shakunagein 1939, and later moved to Hama in 1946. Later in life, she dedicated herself fully to poetry and ikebana, and in 1971 she founded the haiku magazine Ran, later directed by Kōzaburō Wada.

More informations about haiku challenge:
https://www.naviarrecords.com/haiku-music-challenge/

Winter waterfall (naviarhaiku607)

read more at lines https://llllllll.co/t/disquiet-junto-project-0712-zebra-code/72862

[disquiet0712] the number of our days

https://www.youtube.com/watch?v=KnGzufhe4i8

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music

( LCEEM ® ) founded by Max Elzholz
Test No 3 - ios app
credit : free
https://apps.apple.com/us/app/dot-syn...
date :24-08-2025

PLEASE VISIT OUR MAIN PAGE :

trampelfad.bandcamp.com
and
maxelzholz.bandcamp.com

Daily video :
https://youtu.be/2QP6Ovv918g

Granular Sampler Test  No 3

2025-08-25

lullaby

Made for the haiku challenge 607 of Naviar records.

young grasses -
not yet bent
in any direction

by: Kaga no Chiyo

Kaga no Chiyo-jo (1703–1775) was a haiku poet discovered by Kagami Shiko at a very young age. She became a Buddhist nun at 52 and wrote around 1,900 haiku in her lifetime. A highlight of her poetry career was presenting haiku to a Korean delegation in 1763, one of the first cultural exchanges of this kind.

More informations about haiku challenge:
https://www.naviarrecords.com/haiku-music-challenge/

Not yet bent (naviarhaiku608)

revealing in the dark
the sadness of things
a fisherman's torch
 

Tagami Kikusha (1753-1826) was a Japanese multi-disciplinary artist and Buddhist nun, mostly known as a poet, painter, calligrapher, and tea practitioner.

Haiku by Tagami Kikusha

Picture by Michael Shannon

fisherman's sadness_naviarhaiku609

date released. 18.08.2017

pure data

voice of Bassel Khartabil

I can't see you (disquiet0294)

Starting with the provided audio, I began the piece with the full audio clip, unmodified except for some reverb. I then added some piano (envelope and filter tweaked make it a little interesting) and some rhythm constructed from the audio. The piano plays a chord shifting from major to minor, and is then accompanied by a bell that plays the root (G#) but shifts in timing via a loop with an odd-numbered length. Done in Ableton Live and "performed" by turning clips on and off and shifting scenes, rather than constructing it.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/1

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

disquiet0294 darksnap (for Bassel)

©All rights in this music belong to W:I:L
my contribution also to the benefit album in honour of Bassel Khartabil
"A Future in Commons - A Tribute to Bassel Khartabil"
https://afutureincommons.bandcamp.com/
Closing song for my imaginative album "Spinning Wheel"

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

18.8.17 WI:L - Seven Seconds[disquiet0294]

This past week was not an easy one in the US, nor in Barcelona (one of Suss Müsik’s favorite cities). We seem to exist today in a space between anticipation and the mundane. We fear that a catastrophe that may never occur will cause our demise, but the height of anxiety is in the waiting. As Richard Wright wrote in his classic novel Native Son: “There was but a long stretch of time that was very short, and then — the end.”

The sampled quote by Bassel Khartabil is a greeting followed quickly by an apology. “Hello I’m sorry,” sang Michael Stipe in the late 80’s. Suss Müsik imagines that most interactions contain at least some amount of regret for what might have been. We like to hope that times of crisis bring about a cycle of affirmation, but that’s not always how things work out. Bassel’s life was too short; the wait for his release took too long. Cruelly, both ended in a single event.

For this short piece, Suss Müsik interpreted Bassel’s vocal inflections as a form of notation. Early in the sampled recording, one can detect the plop plop that an Apple MacBook Pro makes when the sound volume is adjusted. We replicated this rhythm and used it to form base tempo. We then built upon this spine with bits of binaural cello and phased piano polyrhythms. 

The piece is titled Fatra, which means “interval” in Arabic.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Fatra [Disquiet0294]

I Can’t See you
Performed by DD in Paris, France, August 18th 2017.

Solo electric guitar performance, using real time FX (only chorus, reverbs and delays) most notably some peculiars reverbs from my Line 6 pedal board (Particles, etc) and a very long Lexicon random hall (38sec)
No Synths, no overdubs.  

A bit too long perhaps? But wanted to keep the mantra-like repetitive feel  so here the whole performance. 
The sentence I Can’t Hear You comes from Bassel’s spoken voice snippet and from some free (online) text-to-voice conversion tools.

Created for:
Disquiet Junto Project 0294: Offline Status

Pay tribute to the late Bassel Khartabil by turning his spoken words into music.
Download an audio file, just seven seconds, of Bassel speaking. In it you’ll hear his voice, as well as the lo-fi glory of mundane Internet communication, and some beeping inherent in everyday digital tools. You’ll use all this audio in your own track...


Photo by Clem Onojeghuo

More on the Disquiet Junto at:
https://disquiet.com/junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

@disquiet

multi-instrumentalist & composer.
Genre fluid 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.

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.

I can't see you (disquiet0294)

Daniel Diaz

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