Disquiet Junto Project 0698: Second Third

The Assignment: Record the second third of a trio.

There are two versions of the instructions for this week’s project — one very short, the other very long.

Very short version (about 25 words): Select a track from last week’s project (disquiet.com/0697), pan it to the left, and add your own line to the right, leaving room in the center for someone to eventually turn it into a trio.

Very long version (over 600 words) at disquiet.com/0698.

Deadline: Monday, May 19, 2025, 11:59pm (that is: just before midnight) wherever you are.

Disquiet Junto Project 0698: Second Third

Disquiet Junto Project 0699: Third Third

The Assignment: Record the final third of a trio.

Details at disquiet.com/0699

Deadline Monday, May 26, 2025, 11:59pm (that is: just before midnight) wherever you are.

Disquiet Junto Project 0699: Third Third

This is the fifth episode of the Disquietude podcast of ambient electronic music.

The goal of the Disquietude podcast is to collect adventurous work in the field of ambient electronic music. What follows is all music that captured my imagination, and I hope that it appeals to your imagination as well.

All five tracks of music are featured with the permission of the individual artists or record labels. Below is the structure of the episode with time codes for the tracks, the spoken annotation of the tracks, an interviews with one of the musicians (Lesley Flanigan), and a brief essay about reading waveforms.

02:15 Lesley Flanigan's "Headphone Space"
http://lesleyflanigan.com

08:09 Dave Seidel's "For LMY and MZ"
https://mysterybear.net

15:51 KMRU's "Figures Emerge"
https://kmru.info
	
23:34 Celia Hollander's "5:59 PM"
http://celiahollander.com

26:55 John Hooper's "Underwater Stream"
https://johnhooper.net

29:20 Annotation Begins

32:39 Lesley Flanigan Interview

39:53 "Reading Waveforms"

42:00 Credits

42:59 Closing Music

43:26 End

Thanks for listening.

Produced and hosted by Marc Weidenbaum. Disquietude theme music by Jimmy Kipple, with vocal by Paula Daunt. Logo by Boon Design.

Disquietude Ambient Podcast 0005

My first Weekly Beats recording of the year, “Three Clock Problem,” is a simple drone (yeah, yeah, arguably beat-less) I put together in VCV Rack 2. A series of quantized pitches are sent through a reverb that has a wide array of controls. Rather than one consistent clock, there are three clocks, one at a time, that are triggering the quantizing, including whether or not it’s even running. Due to the reverb’s generous spaciousness, there’s never a gap. It’s quite simple. The foundation of this originated from a patch by Omri Cohen.  Recorded in Audio Hijack from the system sounds, with the fade out introduced in Audition. More at disquiet.com/wb2022-01.

Three Clock Problem

The subway was my destination, and all the more so when I reached the top of the staircase. This was in Greenpoint, Brooklyn, last week, toward the end of a recent trip I took back east. I've since returned to the Bay Area, where the world is considerably less dense — with people, with activity, with sound. In Greenpoint, it seemed, in that moment — in the moment preceding this audio — like a chorus might be performing down below the surface of the city, the voices gaining heft in the twisting, tiled hallways. I was in no rush to return to Manhattan, so when I took my first step down, I was looking forward to lingering. Buskers are one thing. Buskers transformed by the cavernous sound conduit that is a subway is something else entirely.

However, as is often the case with audio illusions (or hallucinations, perhaps), the impression I had fallen prey to was dispelled the moment I reached for my phone's record button. It's not simply a matter that I can't hear the chorus in the audio I recorded. It's that I no longer heard it when I was there. It simply evaporated. But the change in atmosphere did not deter me. I continued to record as I made my way.

You can hear those footsteps, my foosteps, here. I had two pairs of footwear on the trip: sneakers that are like marshmallows, and boot-like shoes that are firm as tires. This day was a tire day, and the hard tap of each step is evident. Once upon a time, the presence of those footsteps in the recording would have disappointed me. I would have thought of evidence of my being in the place as a taint. Instead, the footsteps lend a linear context to the sounds. They confirm for a listener, even one who was not present at the time, that space is being navigated. And I was, in the end, rewarded with a voice — not a chorus, per se, but a municipal announcement so utterly altered by the echo that it became a sort of chorus itself. Perhaps the very chorus that had caught my imagination earlier on.

A Chorus of Sorts

An afternoon by a local lake in Golden Gate Park, traffic behind me and filtered through trees, joggers and baby carriages this way and that but not too numerous, the more prominent motors heard here not of street vehicles but of tiny little remote-controlled boats that enthusiasts bring to the manufactured water feature and race around regularly amid geese, turtles, and the occasional surface-breaching fish. The scene this past Saturday afternoon, banh mi and ebook in hand, was much more idyllic in person, I assure you. The birdsong was more prominent and diverse. The sense of space was less constrained. And the growling gusto of those hobbyist machines was significantly reduced in the context of the boats' minuscule size.

Space Less Constrained

This lengthy single track, just under an hours and 45 minutes in duration, was compiled by Tobias Reber from the work of 54 participants in a summer 2022 collaboration between Musikfestival Bern and the Disquiet Junto music community. Contributors were invited to make drones based on a shared single chord from a John Cage composition. More details at disquiet.com/0554. 

Below is a full list in alphabetical order of the musicians included in this compilation. A few others were produced, as well, in the course of the music community project, which ran from August 11 through August 15, 2022. More on the festival, scheduled from September 7 through 11, 2022, at musikfestivalbern.ch. 

33per, A Thousand Plateaus, Aethyr, Alchemical Cage Chord, analoc, ausgesuchtestenohren, baconpaul, Benn DeMole, celaeno, Chridmeister, Clint Burgess, craniform, Dan Simpson, Death Hags, encym, Fake Genius, feXon, Gerard Paresys, h b, he_nu_ri, hugh g twatt, -infDB, Kei, Krakencraft, krseward, Lazenbee Industries, Lee Evans, Leon Clowes, Marc Eisenschink, Marci Lucchi, Martin AB Cee, melondruie, nobuka, noimspartacus, Noodle Twister, Ossimuratore, Ostacoli Sonori, Paul Beaudoin, pineyb, Punks Dig Disco, RabMusicLab, ray_cobley, robbie, samarobryn, SinnySounds, Sonic Search, Stefan Strasser, Synthi, Tuonela, undermulden, wagneric, wasabicube, x i i i x x i, zeroperimeter.

We don’t do a lot of this sort of thing (by which I mean a post-project compilation), in large part because I never want Junto participants to feel like they need to complete a piece before posting it, and in part because external overarching editorial consideration — as is necessary for a compilation like this — is also something I don’t want someone thinking about as they produce tracks for the Junto. But that said, the projects with Musikfestival Bern are unique ones, and part of the announced plan from the start was some tracks may be selected for playing during part of the festival. This excellent compilation is one expression of that plan. Many thanks to Tobias for having executed this compilation.

Cage Chord Compilation (54 Musicians/Tracks)

I recorded this in an apartment I was staying at in New York. It was early in the day. I was the only one up. I had another hour before my solitude was scheduled to be interrupted. The building’s HVAC each night disturbed my sleep, but as with a nightmare, those same sounds were tranquil, even beautiful, come morning. I had attempted another 30-second recording before this one. While it was underway I noted several disappointing disturbances — creaks and pops, the aural detritus of a building waking up. Apart from them I heard an extraordinary spatial drone, a manifestation of overtones, a symbiosis of modern domestic infrastructure and a room of high ceilings, a hard floor, and a wall of glass at one end. When the first attempt ended, I took a slow, deep breath and hit record. I knew in the moment that it would work out well. There is something of Schrödinger’s cat to the act of field recording. A place is many places when you listen to it over time, but when you hit record, it gets clarified (reduced, flattened, distilled) to one specific environment. This can feel like an exertion of influence when you undertake the recording process consciously, when you have situated yourself in the moment. I felt a kind of authorship as the second recording was underway. It was precisely what I had heard beneath the extraneous noises the first time. After 30 seconds had elapsed, I ceased recording. I had a sense it had worked out, a sense confirmed many hours later, when I listened back for the first time, on the flight home. Just minutes after this recording ended, the room went suddenly silent. The air conditioning system had reached a point — whether barometric or calendrical — that caused it to shut off. Minutes later, the lawnmowers began their prowling. I had been even more fortunate than I’d known when I hit record that second time.

In One Place (Second Attempt)

This is the sound of a window pane made of safety glass that has broken but not yet fallen apart. The glass is a splintered spiderweb of a thing. At some point soon it will likely collapse to the floor, but right now the glass is settling, this sound evidence of the uneasy peace inherent in its fraught physics. (It's a double-paned window, and only the inside pane has broken.)

Broken Glass Creaking

This is the shorter recording of a train, by @toaster-1, for use in the Disquiet Junto project that begins on February 29, 2024.

Train Source (:52)

This is the longer recording of a train, by @toaster-1, for use in the Disquiet Junto project that begins on February 29, 2024.

Train Source (10:20)

The phone's microphone doesn't do justice to the experience of how being in this hotel room means being immersed in the building's HVAC drone, the way the tonal utterances of the multi-story edifice cycle over and over, and how with each new cycle there is a brittle whir like an infrastructural snore. But it'll do.

Infrastructural Snore

It’s a Monday and you’re sitting in your office typing away, and there’s plenty to listen to, but why not whip up a quick little reworking of a loop from the FM3 Chan Fang Buddha Machine that someone recently sent to you as a gift? (Audio processed in VCV Rack. Buddha Machine audio inputted into a MacBook via an Edirol UA-25EX audio interface.) And a side note: SoundCloud shows this track as having been "mastered," but that's not the case. I did experiment with the built-in SoundCloud mastering option, applying the "Aurora" version, but it ended up too shrill for my ears. The ringing in particular sounded like a fire alarm was going off the whole time, so I replaced it with the original.

Little Red Box

A city is often a cacophonous space. Of course, cacophony comes in many forms. The roar of the ocean can feel cacophonous, as can the intensity of surrounding bug life in the wild. The cacophony of the city is unique from those other forms because the noise comes not from manifest dense uniformity but from myriad distinct, often unidentifiable sources acting as if at once. All this was running through my mind as I stood on a corner in San Francisco listening as hotel workers were engaged in a lively strike halfway down the block. The noise of their activity joined with that of passing foot and automobile traffic to create something that was at once noisier than a normal Thursday afternoon, and yet also that perpetuated the city’s ability to absorb all sounds into one sound. No matter the sounds, it was the sound of the city.

(The image is a reworking of a public domain photo via Wikipedia of a 1956 strike.)

A Subsumed Cacophony

I had a few hours to spare so I grabbed a table at a hotel downtown where I passed, far too easily, as a participant of the ongoing professional conference. The wifi required a room number and a corresponding name, but my phone worked fine as a modem. Quite suddenly, an hour and a half into my stint, myriad doors opened and the hallway was packed with actual conference participants, marked by shiny lanyards and purpose-built smiles. The chatter was like rainfall, like a rushing stream, like a flock of chatty birds — dense, rapid, and unintelligible. I recorded 45 seconds. This isn’t white noise (too slow) or brown noise (too shrill). It’s flesh noise. 

Humorously, both my laptop and my phone recognized the presence of human speech in the recording, and the Voice Memos app registered this with the little speech bubble icon, which signals that a transcription is available. I wondered what marvel might await, as I went to click on the button. Perhaps the processing power of my five-year-old laptop would be able to discern multiple individual streams of conversation from the tightly packed, overlapping speech. I was disappointed if not surprised. The transcription yielded merely “…..” — an extended ellipsis.

Flesh Noise

Just as the car pulled into the low-rent automatic wash attached to the gas station and wrapping around and behind the snack shop, I pulled my cellphone out of my jacket pocket and hit the big red record button. Not documented here are the interior's colorful flashing lights, which seemed to exist solely to heighten the mechanized entertainment factor, but the sounds tell enough of the story, beginning with the high-pressure drone of the commercial cavern, proceeding through foam and the thick Lovecraftian tongues that lapped at the windshield, past the oversized brushes, and through the final rinse and drying cycles, followed by the fade-out as the car emerged back into society, just at the start of end-of-day rush hour. This was my first time through a car wash in an electric vehicle — meaning there were no particular sounds emitted by the car itself throughout — and my first time in a car wash in a very long time. A decade, maybe two? The denouement at the end was almost complete when I hit the stop — actually, “Done” — button. (Recorded November 19, 2024, on an iPhone 13 Pro.)

EV Car Wash

Another evening out at the symphony, another excellent orchestral tune-up. I love how this sort of pre-concert moment can itself function like a composition, the murmuring crowd serving as an ersatz chorus.

Drop In, Tune Up, All Out

This is a track by @33per from Disquiet Junto Project 0640: Time Vault. Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have five days to record and upload a track in response to the project instructions. Project 0640, which ran from April 4, 2024, through April 8, 20204, was unique, in that the participants didn’t post their tracks. Instead, they sent their file to me and promptly` deleted the file from their hard drive. Between early April and mid-December, eight months in all, they had no access to the audio they had recorded. The, when the eight months had passed, the tracks were posted online so people could revisit what they had done with fresh ears. 

More on the 640th weekly Disquiet Junto project, Time Vault — The Assignment: Record a track for eight months in the future — at https://disquiet.com/0640/

#disquiet0640

33per: "Peace in the East" (disquiet0640)

This is a track by @miraclemiles from Disquiet Junto Project 0640: Time Vault. Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have five days to record and upload a track in response to the project instructions. Project 0640, which ran from April 4, 2024, through April 8, 20204, was unique, in that the participants didn’t post their tracks. Instead, they sent their file to me and promptly` deleted the file from their hard drive. Between early April and mid-December, eight months in all, they had no access to the audio they had recorded. The, when the eight months had passed, the tracks were posted online so people could revisit what they had done with fresh ears.

More on the 640th weekly Disquiet Junto project, Time Vault — The Assignment: Record a track for eight months in the future — at disquiet.com/0640/

#disquiet0640


August Miles: "FutureLoops" (Disquiet0640)

I chose the brilliant track by https://soundcloud.com/torstengoerke for this Disquiet Junto brief; to add a second part in an eventual trio ... https://soundcloud.com/torstengoerke/plastiq-disquiet0697?si=e511e161b08d44e789d92e107816d030&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Looking forward to hearing any additions to complete the triangle of collaboration! ❤️

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

more halF unusuaL

halF plastiQ [disquiet0698] with Torsten Goerke

Based on a piano performance by @leonclowes, I played an OB-E (thanks, Tom Oberheim & @gforce-software) over Leon’s piano. I was going for a streamlined version of something quiet by Ravel — a kind of synthetic tone poem. Both the piano and strings are fake, but hopefully there’s still room to build.

Original:  https://soundcloud.com/leonclowes/hole-third-disquiet0697

for this challenge:
https://llllllll.co/t/disquiet-junto-project-0698-second-third/

Maurice in a Hole (with leon clowes) - disquiet0698

A bass track over @half-unusual 's groove.
I played electric bass guitar (maple fender jazz bass with a pick and mute and a crunchy amp) with an overdrive pedal and a “skidder” effect tweaked in real time.

Original: https://soundcloud.com/half-unusual/half-third-disquiet0697-80-bpm

for this challenge:
llllllll.co/t/disquiet-junto-pr…-0698-second-third/

The Ghost of Bolsover Castle (with half unusuaL) - disquiet0698

Fake Genius on the left, Torpid Scorpion on the RIght. 

Added a rhythm played on the TR8S with a second pass to hand-crank filter and delay effects.

This pie is waiting for a third to fill in the missing piece.

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/



Second Third (disquiet0698) Fake Genius x Torpid Scorpion

A guitar part added to CJ McGregor's modular rhythm part, for the second of three phases of a collaboration.

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/

Second Third on the RIght! (disquiet0698) CJ McGregor x Torpid Scorpion

For this third of three, I chose the inspired track by Campos and Samplair from last week ... https://soundcloud.com/tannes-marrei/soothing-nightmare-carnival-disquiet0698-with-samplair

Check out my collaborators' brilliant work at https://soundcloud.com/tannes-marrei and https://soundcloud.com/user-248104983 ...

Enjoy! 🤗

More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the third third of a trio — at https://disquiet.com/0699/

halF nightmarE [disquiet0699] with Campos & Samplair

Melodic Dark and Luminous Drones - disquiet0699 (with Ray Cobley and Alanblip)
This one’s quite experimental yet melodic and with a positive, luminous vibe (but with moments of darkness when Ray’s drone takes the foreground). 

Took this duo: https://soundcloud.com/ray_cobley/drone-double-with-alanblipdisquiet0698 by @ray_cobley 
who worked on this solo by  @alanblip https://soundcloud.com/alanblip/b-drone-disquiet0697 

Added a solo lead on my Oberheim OB-X and some noise washes on the same sytnh to channel the mighty Vangelis…

For this collaboration project:
https://llllllll.co/t/disquiet-junto-project-0699-third-third/

Melodic Dark and Luminous Drones (w/ray cobley & alanblip) - disquiet0699

Worked on this duo by e_nu_ri (@user-807707609) : https://soundcloud.com/user-807707609/bowed-and-jangled-farther-disquiet0698  based on this original track by 
@red_robin
https://soundcloud.com/red_robin/disquiet-junto-0697-mr-bowed-jangles

The all-synth background is great. I thought the contrast between those synth tracks and a warm, acoustic tone could be interesting, so I improvised a lead part on tenor ukulele. I also added an infra bass drone playing the tonic, and used a little software I’m beta testing that generates sound from a text prompt using some kind of AI (can’t say more here, but it’s fun for drones!).
It's like a dark, abstract recitativo, hope you like it.

For this collaboration project:
llllllll.co/t/disquiet-junto-pr…t-0699-third-third/

Mr Bowed Jangles returns (w/ he_nu_ri and Tristan Louth-Robins) - disquiet0699

Built on top of the excellent bass and rhythm work of DD and halF unusuaL in the previous two weeks, and operating under the influence of Lol Tolhurst's rock and roll memoirs, as well as the unease of being here now in 2025, here is a happy little song about modern life. 

More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the final third of a trio — at https://disquiet.com/0699/

Mother of Thirds (disquiet 0699) Torpid Scorpion x Daniel Diaz x Half Unusual

More on the 699th weekly Disquiet Junto project, Third Third — The Assignment: Record the final third of a trio — at https://disquiet.com/0699/

Source tracks:
Marjorie Van Halteren, "Disquiet0698 second with Torpid Scorpion"
https://soundcloud.com/vanwindmill/disquiet0698-second-with

Torpid Scorpion, "Disquiet0697 - First Third"
https://soundcloud.com/torpidscorpion/disquiet0697-first-third

tercero (third) (ft. Torpid Scorpion & Marjorie Van Halteren) [Disquiet0699]

This is a collection of five variations on the same bell sound. The bell is being run through a modular synthesizer, with an emphasis on a module called the ADDAC601. The ADDAC601 is a filter bank. It divides the inbound audio into eight bands across the audio spectrum, and then allows those bands to be worked upon by any manner of inputs. In this case the inputs are a variety of LFOs, or low frequency oscillators, often working in combination. Sine waves and triangle waves and saw-toothed waves consort and, in turn, exaggerate the source audio. The LFOs put the overtones into overdrive. These five tracks, each more complex than the previous, are excerpts from a larger collection that accumulated after I added the ADDAC601 to my small modular synth rig. They explore incremental changes as LFOs pile up and the variations take on more internal complexity. Because they were recorded in sequence without pause, each retains echoing, refracted elements of the previous track.

The source audio is a bell recorded by Freesound.org participant Sarana and uploaded for communal reuse on October 14, 2009. The source audio was pitched down a bit before being worked upon by the modular synth, and it also is run through a digital delay before hitting the ADDAC601. Here is the source audio, for comparison: 

freesound.org/people/sarana/sounds/81832/ 

The track is licensed under this Creative Commons license: 

creativecommons.org/licenses/by/3.0/ 

Download includes PDF.

Available at https://disquieteditions.bandcamp.com/releases.

Increment 5

Increment 3

Increment 1

This is the first episode of the Disquietude podcast of ambient electronic music.

iTunes: https://itunes.apple.com/us/podcast/disquietude/id1217642132 

Stitcher: http://www.stitcher.com/podcast/marc-weidenbaum/disquietude-ambient-podcast

RSS: http://disquietude.libsyn.com/rss

All six tracks of music are featured with the permission of the individual artists. More information at disquiet.com/podcast0001. Below is the structure of the episode with time codes for the tracks:

00:00 theme and intro

02:05 Brian Hendricksen's “2.10.2017"

04:32 Carl Mikael Björk's "Live Looping Improv w/ Piano and Erica Synths Varishape & Wavetable"

18:08 Erika Nesse's "Circle"

21:30 Marcus Fischer's "170211 - Dual Deck Piano Loop (RRR)"

28:56 Sarah Davachi's "Ghosts and All"

37:21 Mark Rushton's "Severe Thunderstorm Warning Sirens"

43:50 notes

53:34 end

Thanks for listening.

Produced and hosted by Marc Weidenbaum. Disquietude theme music by Jimmy Kipple, with vocal by Paula Daunt. Logo by Boon Design.

Disquietude 0001

Disquietude Ambient Podcast 0001

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by XYZR_KX.

Oootini: "My Other Lens Is a Leica"

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by Tom Vourtsis.

Ronny Nibblets: "Slap My Halyards"

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by Mark Rushton.

Benjamin Dauer: "In Reference to Time"

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by Dead Wood.

Radere: "Snow Noise (Overhead)"

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by Radere.

Marcus Fischer: "Up Above the Hill-Sky"

From the Disquiet.com compilation album Instagr/am/bient: 25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

Photo by Naoyuki Sasanami.

The OO-Ray: "Silhouettes"

It's a little-known fact that the low-level drones experienced as much as heard in large office buildings aren't the result of overlapping signal byproduct from various infrastructural activities — the off-sync relations between HVAC, electrical, and IT, for example — but, instead, are unattributed ambient sound-art installations funded by forward-thinking c-level thought leaders and artistically progressive boards of directors. 

Well, no, not really. It is just noise whose happenstance subtle complexity can reward close attention, when it isn't causing low-level discomfort. 

In any case, this recording is a Saturday-morning attempt to combine the rough timbres of one module with the elegant spectrum analysis of another, all in the service of a certain HVAC je ne sais quoi. The main sound is a rich triangle coming from the Ieaskul F. Mobenthey Swoop, sent in turn through the 4MS Spectral Multiband Resonator, several bands of which are tweaked thanks to various low-frequency oscillations. The pace is set by the Delptronics Trigger Man, which, throughout, rotates the scale of the 4MS module two steps forward, one step back.

In addition, a bit of pink noise waves in and out, coming from an SSF Quantum Rainbow 2. The interwoven LFO patterns yield a song-like sequence of give and take, if not full on verse and chorus.

Module Learning: Spectral Swoop

Wednesday night, playing with loops, one seven beats long, the other eight, then layering occasional accent notes. Fade in and out just turning the knob on the amp once the loops were left to their looping. Recorded to phone put in front of the amp. Not sure why the eight-beat loop is more prominent than the seven-beat one, except perhaps that it's in 4/4 so the brain registers it more easily. Also not sure about that one hiccup at :46 seconds. Something suddenly went out of alignment and then came just as suddenly back into alignment. The bit at the very end isn't a tape cassette stopping. It just sounds like that.

Wednesday Loops

Another experiment with electric guitar loops. The main difference between today's and yesterday's (https://soundcloud.com/disquiet/passing-waves) is that yesterday's was recorded serial, so anything coming from the first loop also appeared in the second loop. That gave it a certain density, but, well, it also gave it a certain density. This was recorded in parallel, meaning whichever looper was recording at a given moment was only recording what was being played by the guitar, not what happened to be coming out of the other looper. This means the density took quite a while longer to achieve, but also that the individual segments are much more distinct, even after density has accrued. Also, the loops are quite a bit longer. Recorded from stereo speakers into a phone (yesterday was from a mono amp), though I'm not sure if the separation is particularly apparent. Major noise reduction in Adobe Audition, and a tiny amount of reverb.

Parallel Normal

Sunday night guitar loops. Unlike other recent guitar loop experiments I've tried out, this one has a live component. After the first minute or so (which I'd already layered in advance of hitting record), new material is added and then later deleted. This setup consists of electric guitar, reverb pedal, overdrive, and looper, plus an eBow on occasion for those extended notes. After recording (amp to phone, live in the room), I used Adobe Audition to implement a fade in and a fade out, and for a little additional reverb.

Night (There and Back)

This is the third episode of the Disquietude podcast of ambient electronic music.

The goal of the Disquietude podcast is to collect adventurous work in the field of ambient electronic music. What follows is all music that captured my imagination, and I hope that it appeals to your imagination as well.

All six tracks of music are featured with the permission of the individual artists. More information at disquiet.com/podcast0003. Below is the structure of the episode with time codes for the tracks:

00:00 theme and intro

02:01 Dance Robot Dance's "Tangents"

09:43 Jeannine Schulz's "Beacon"

14:50 Orbital Patterns' "Found in the Fog"

22:15 Alan Bland's Boulder siren field recording

26:58 Heymun's "Ambient Cello & Strings on the OP-1"

29:31 Kin Sventa's "Octatrack Saxophone Drone"

35:56 track notes

40:01 outro

41:39 end

Thanks for listening.

Produced and hosted by Marc Weidenbaum. Disquietude theme music by Jimmy Kipple, with vocal by Paula Daunt. Logo by Boon Design.

Disquietude Ambient Podcast 0003

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.

disquiet

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