From a series of (almost) daily ocean glimpses. The music is composed to a video of the sea (photons captured fresh every day). You can experience the full video version: https://youtu.be/6GH2h-NBB1s

Glimpse 1530 (Dec 10 2025)

Music by
P è n i n ș o l a r
Sonopoetry by
https://soundcloud.com/ilaria_boffa
Image by
Imitation Haic
Design by
P è n i n ș o l a r

Stillness Studio

A lockdown measures finitude, shade tolerance. Like deciduous trees we bend, leaves upon the river. Tedium & anguish cement the ground building solidarity. Andrà tutto bene, they stick it on walls while streets familiarise with stillness. Stay put, for anomalies are schizoid, internally disjointed.
The risk, the perception of it, Gaussian figures, contain, delay, collective responsibility. An equaliser, they say, we’re all enrolled, sorted in descending order.

Science. What does it mean guided by science? Is intensive care a fact? The utmost care. Fatality is the wrong yardstick. What a solace to share the same vision, herd immunity. Herd immunity.

Ultimately, where is love? Love in the time of the outbreak.
A pandemic, 4 weeks behind.

released March 22, 2020
℗all rights reserved

Purchase on Bandcamp

P è n i n ș o l a r Ilaria Boffa - Rather Than Miasmata

Simple experiments geared towards performance, these pieces were recorded using Monome mlr & Grid, Organelle/Orac, Montreal Assembly CT5, Chase Bliss Audio Mood, and Mutable Instruments' Rings & Clouds.

I hope you'll enjoy!!

Performed/Recorded by D.Harper 6/2020

Mastered by Porya Hatami
http://poryahatami.com/

Poppy botanical by Walter Müller, 1910

Petal

“For a word to be spoken, there must be silence. Before, and after.” 
An Improvised piece with a new DIY instrument inspired by reading about Hugh Davies and featuring silence and piano.

More on this 451st weekly Disquiet Junto project, Ursula’s Silences (The Assignment: Make music inspired by a line from A Wizard of Earthsea ), at:

https://disquiet.com/0451/

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-0451-ursulas-silences/

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

3 Whiskered (disquiet0451)

The SETI Institute posts an artistic challenge this month. This month’s was issued by the organization’s co-founder, Dr. Jill Tarter. (portrayed as Dr. Ellie Arroway in Contact). 
- In brief, the idea is to consider that First Contact between humans and extraterrestrials will likely be technologically mediated. “We use technology as a proxy for intelligence, and then we go looking with various types of telescopes and detectors to see if we can find evidence that somewhere else someone or something else has used technology to modify their environment in ways that we can sense over vast differences.”
-Consider what First Contact might be like elsewhere in the universe in light of Dr. Tarter’s challenge.
- Produce a piece in music/sound that responds to the challenge.

Synthesizers
Orchestral samples
Field recordings (explosions, space sounds)

Photo by @NASA

https://llllllll.co/t/disquiet-junto-project-0453-dial-up/

Morse (Interstellar Chat) - disquiet0453

Disquiet Challenge 455: A moment in the day of a Jellyfish.
Equipment used:
Qu-Bit Electronix Chord V1, Nebulae v2, Prism.
Random Source DUSG
2HP Mix
Endorphins Milky Way (Ping Pong Echo)
ALM HPO

Recorded in a single take to Ableton 10. Vallhalla Supermassive Reverb added plus EQ and Compression

Scanning An Ocean Of Sound (disquiet0455)

Live in the studio improvisation:
daniel diaz: electric bass guitar
andré charlier: drums

For this challenge:
Disquiet Junto Project 0455: Inner Invertebrate
The Assignment: What does a moment (or a day) in the life of a jellyfish sound like to a jellyfish?

I hate to be lazy and use something I was working on instead of something new sparked by the actual challenge, but sometimes time is our tyrant and I was fascinated by this forgotten masters, some live-in-the-studio improvisations with awesome French drummer André Charlier that I discovered some days ago.
Captured while we were warming up for a recording session years ago. This was on tape but never used nor listened to, and I've been taking some nice bits out of it for further use. These are all ad-lib, abstract and weird soundscapes, no groovy bass 'n drums at all.
This is an abstract, floating groove-less & creepy track.

And I think it fits the challenge perfectly cause, o be honest:

- Invertebrate folks listen to beat-less music, I'm pretty sure. 
- Jelly fish are creepy little  beings.


Photo by Daria Polishchuk


@disquiet
https://llllllll.co/t/disquiet-junto-project-0455-inner-invertebrate/

invertebrate duet improvisation (disquiet0455)

I don't know why, but I can't help to think that a moment in the live of a jellyfish would sound to the jellyfish like a Buchla under water.

More on this 455th weekly Disquiet Junto project, Inner Invertebrate (The Assignment: What does a moment (or a day) in the life of a jellyfish sound like to a jellyfish?), at:

https://disquiet.com/0455/

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-0455-inner-invertebrate/

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

Image associated with this project drawn from Flickr.com (by James Broad) and used thanks to a Creative Commons license allowing for non-commercial adaptation (cropped, text added):

https://flic.kr/p/78CSpF

https://creativecommons.org/licenses/by-nc/2.0/

JellyBuchla [Disquiet0455]

Disquiet Junto Project 0455: Inner Invertebrate. The Assignment: What does a moment (or a day) in the life of a jellyfish sound like to a jellyfish?

I was doing another track, Andromeda Blossoming https://soundcloud.com/winterer/andromeda-blossoming-studio-version, which was originally not meant to be some kind of underwater track and which is made with the App Samplr on iPad with some of my own tracks plus some cc0 field recordings from freesounds. In this track, I more or less imaginated another evolution of 'the andromeda strain', one of my favourite sci fi movies, with its strange "unfolding" effect on the lab screens in the movie.

However, a lot of it's sound seemed to fit to this disquiet, so I removed anything un-jellyfishy and un-underwatery and did some new balancing of the components. This Cassiopea andromeda lives on the bottom of the sea and she looks up to the billowing world above her…

Image of a 'Cassiopea Andromeda' based on PD / CC0 photo by 'Vassil'
https://commons.wikimedia.org/wiki/File:Cassiopea_andromeda_K%C3%B6ln_zoo_31122014_1.jpg
Thanks!

More on this 455th weekly Disquiet Junto project, Inner Invertebrate (The Assignment: What does a moment (or a day) in the life of a jellyfish sound like to a jellyfish?), at:
https://disquiet.com/0455/

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-0455-inner-invertebrate/

Andromeda Blossoming (underwater remix) [disquiet0455]

I decided, after looking at several of Martin's paintings, that I wanted to focus on that precision repetition, the light/dark alternation, and the subtle gradations of field.

The track is an improvisation inside Live, with one instance of the Buchla Music Easel (providing the upper-register track) and one of ARP 2600 V3 (providing the lower one), with Live's BrainDance and Squishy Beat Repeat effects to put in additional emergent rhythmic effects. I potted down both synths, gradually faded them in, and then slowly tweaked the filter frequency and resonance on the ARP, gradually adding in ore modulation from the ring modulator, then slowly removing it. The Buchla's variations came from tweaking the effects following it, but basically leaving the patch alone to imitate the regular ruled lines.

The Tree, 1964 [disquiet0456]

Bobby Rangell: alto sax
Nico Arnicho: percussion
Daniel Diaz: acoustic bass guitar & live synth sparkles

Live in the studio recording, circa 2007 in Paris, reworked and remixed Friday November 27th 2020.

Again, from the  masters I got back some weeks ago and I am rediscovering and reworking some music for there.

This is part of a one day session with these extraordinary musicians  this is the only session with the three of us together in the studio. We recorded tones of music that day, including [junto0463](https://soundcloud.com/daniel-diaz/two-memories-gradient-disquiet0463) and [naviarhaiku358](https://soundcloud.com/daniel-diaz/black-horse-naviarhaiku358) with a 4th element , Pajaro Canzani on guitar)

This is the introduction to an instrumental composition we recorded for a producer (documentary) who accepted the mix but later asked for the introduction to be removed.
So this free form 2 minutes remained unused.
I remixed this today for 27/NOV/2020 thanksgiving  junto challenge
https://llllllll.co/t/disquiet-junto-project-0465-you-thank 
as a thank you note for those excellent musicians.

I spent some time live and i the studio with Bobby since that day, but completely lost track of Nico, 10.000 Km between us...

Going back to these masters is a joy and reminds me how great it is to play together with fellow musicians and how grateful I am that I could do it with such great, talented guys.


Photo by DD: self portrait with blue forms

Happy thanksgiving everybody, love
DD 27/NOV/2020

Deep Blue 01 (Giving Thanks) - disquiet0465

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.