"They will eat the fruit of their ways 
and be filled with the fruit of their schemes.
For the waywardness of the simple will kill them, 
and the complacency of fools will destroy them."

Missing Jordan Peterson's perspective right now . . .

PROVERBS 1 - series

based on field recordings mostly in central Victoria box iron bark forest and farmland- guitar drone part also based on mapping/resynthesis of bird recordings

A busy day for the birds...

Claudio Ferrari: electronic devices - percussions.
Alessandro Bona: bass flute - futujara - drone machines - synthesizers - percussions - bottle - bunch of keys.

Werden (part three)

DEFUSE LINE

I Closed My Eyes (Naviarhaiku 358)

https://youtu.be/qJ_B2XbNKa8

This is my song for all Scorpio fellas (like me) many friends and relatives but all  any Scorpio reading this really. Composed and recorded under Scorpio skies (early November 2020) by DD in Paris, France.

Piano
Electric bass
Organ
Drum kit
Celeste
Electric guitars
Moog synth
Voices

Photo by DD, a Paris Sky.

For Junto Project 0464: Blanket Song
Ok, this is not a usual junto submission for me as this is a personal track I’ve been working on for the past two weeks, and I was planning to properly release/distribute this one as soon as I finish it. But it suits the challenge so much that I’ll share it here first even if I tweak it a little bit next week for release.

Sometimes, when I hear music that inspires me to do something remotely similar, I start by learning (sometimes even recording) the part that produced a spark on me (a chord progression, a groove etc) and I work my song on top of that.

These past weeks I watched a show, *The Leftovers* season 1, and the music (by Max Richter) got on my head. So, I started recording it to try to analyse what’s so powerful on its simplicity, then try to do something similar. I did some changes, a different little melody, some notes on the arpeggio, and left it there.

Then a friend gave me an old Grestch snare drum, I did some recording at the end of the session I was working at that moment (my  Leftover-nick track) to check the snare’s sound, and loved it, reminded me of Gaisbourg’s “Melody Nelson” album so I added a picked jazz bass, and organ and then (why?) I decided to combine both things: **Max Richter meet Serge Gainsbourg**.

For a whole week I did some “serious” composition after that, the results are quite original and personal I think.
So I decided to dedicate the song to all Scorpios around (like me, and a dozen friends and relatives that celebrate their birthdays these fist 22 days of November and late October)
To stay on the stealing/inspiring mood, I nicked the title from some lyrics by Phoebe Bridgers (with whose music I’ve been seriously infatuated BTW)

So, this one’s for Max Richter, Serge Gainsbourg, Phoebe Bridgers and all Scorpios around.

Officially released Dec 30th 2020
https://ffm.to/scorpioskies

https://llllllll.co/t/disquiet-junto-project-0464-blanket-song/

Born Under Scorpio Skies (disquiet0464)

Dararat Chemnasiri - Alto  Sax
King Imagine   -   Fx  ,  noise  ,  drum , electronics
Ana Foutel  -  Piano

Dararrat Chemnasiri King Imagine Ana Foutel - Forgotten Space

More on this 465th weekly Disquiet Junto project, You Thank (The Assignment: Make a piece of music for someone or something toward which you feel thankful), at:

https://disquiet.com/0465/

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-0465-you-thank/

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

Image associated with this project is by Ellen K, and used thanks to Flickr and a Creative Commons license allowing editing (flipped and cropped with text added) for non-commercial purposes:

https://flic.kr/p/9ztLGg

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

lonely fog hatch

halF technologY [disquiet0465]

December, 2010. Suss Müsik is walking the streets of Barcelona at night. It’s Christmastime, so the city is illuminated in celebration of the upcoming holiday. 

Suss Müsik notices a pattern in the decorations. One cobblestone street is lined with circular disks of white light; another has rainbow-colored rectangles hanging from the lampposts. The two streets meet at a public square just a few blocks from La Rambla. Suss Müsik determines this intersection to be the Chromogenic Nexus.

A man is photographing the holiday lights around the square. Suss Müsik watches the man from a distance as he stows his tripod and camera equipment and revs up his motorbike. Suss Müsik mentally assigns this gentleman the job title Keeper of the Chomogenic Nexus. It’s a big responsibility.

The Chromogenic Nexus is the metaphorical congruence that personifies this beautiful, fantastic city. It’s a place where new and old worlds mesh perfectly, where a tour of Casa Batlló concludes with a 3D hologram of Antoni Gaudí waving you goodbye. 

The Barcelona Sound Machine embraces this city’s Medieval origins, its Nouveau and Gothic architecture, its love of competitive sport, its cultural fluctuations, its nautical cuisine, its Catalonian nationalism.

It’s an audio landscape inspired by multiple generations of artists. If it were a gallery, it would display the surrealistic paintings of Joan Miró alongside prototypes built by Universitat Autònoma students, the two separated by 100 years and a mere 26 kilometers.

It’s a late-night ride on the FGC, where on the station wall a numeric display counts down incoming arrivals to within a microsecond of accuracy.

It’s the bronzed foam topping on a strong cup of coffee, enjoyed outside while gazing at a store mannequin that seems just a bit too realistic. Next door is a shop that sells nothing but scissors. 

To Suss Müsik, ultimately, the Barcelona Sound Machine is a glitchy, multilayered, counterpoint homage to the Keeper of the Chromogenic Nexus. Godspeed to the Keeper, he who balances our understanding of what has taken place and what yet may happen.

More on this 466th weekly Disquiet Junto project, [ ] Sound Machine (The Assignment: What sort of sound does your city make?), at:

https://disquiet.com/0466/

Project inspired by a December 2, 2020, tweet from George Wallace:

https://twitter.com/MrGeorgeWallace/status/1334274395938832387

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-0466-sound-machine/

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

Barna [Disquiet0466]

Performed by 
Daniel Diaz: upright bass, acoustic piano, treatments
Miguel Ballumbrosio: Cajon

For this haiku:
slanting rain,
gentle breeze,
no need to return home

haiku by Zhang Zhihe
music composed by DD
photo by Jan Kopriva

@naviar-records

No need to return home (naviarhaiku362)

OneAmbient4 - Life On Earth And Beyond [WIP]

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.