@earthborn_visions: Thanks for your nice comment, and you really got it: I remember the director asking me for a "menacing heart-beat like pulse that wants to break through the noises but it just can't come out". Spot on comment!

lovely gentle noise combined with the bass

Seems like it'd really work in the context of theatrical production. Mysterious.

Thanks for sharing this, before I even read the comments I was struck by the wild almost crazy forest sounds! Pretty close :-) Well done and fun to here the story behind the sounds!

Great work! And I agree, when a director says "noise" they are probably thinking of something more musical than pink noise... ;)

"If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience."       John Cage (1912 - 1992)  

Six yeas ago I was commissioned to compose music for a modern theatre play. Director asked me to use noise more than music. After some frustration in the first meeting it was a very inspiring experience. I ended up releasing a CD called “lärmkunst” (art of noise) including many outakes and the more “musical” bits from that score. 
That director really wanted noise, but I was obsessed by the more musical use of it, so I created a lot of the noise using musical sources and made some tracks out of pure noise (field recordings, etc). 

On this opening sequence you can her mostly the noises I used (vinyl LP noise, insects, treated percussion, radio interference) and some sparse piano and guitar notes (from musical motifs I used throughout the 38 minutes score) and a heavily filtered bowed upright bass section that proved to be the main gimmick throughout the finale. 
The last few seconds you hear some bowed bass noises that ended up being an important part of that project and other further music I made since.
This is not a noise track or glitch&noise experiment but one of the tracks from that soundtrack that, IMO, wouldn’t make sense without the noise.

Besides its inclusion on a bonus CD on a boxset back in 2010 I never shared thsi one online before, here for you to listen and comment, I appreciate.
Other tracks I did share from this album here:
https://soundcloud.com/daniel-diaz/sets/l-rmkunst

Love
DD

More on this 257th weekly Disquiet Junto project — “Remember Noisevember: Make some noise” — at:
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Soudain Opening Sequence - disquiet0257

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.

Comments

Owl Yeah

Formant

Hypoid

Daniel Diaz

337is (three three seven is)

FJNA

WÜST

Daniel Diaz