Name: Flesh Noise by disquiet
Duration: 45 s

If it's in 29/16, it has to be Indian, doesn't it? (Doesn't it?🤔)
More on the 664th weekly Disquiet Junto project, Mother Beat — The Assignment: Record a piece of music in 29/16 time — at https://disquiet.com/0664/
More on this track at https://llllllll.co/t/disquiet-junto-project-0664-mother-beat/68697/16

Disquiet0664 Raag Todi thaat??

Disquiet0664 - Raag Todi Thaat??

This week's Disquiet Junto was in memory of the founder of the Mille Plateaux record label, Achim Szepanski. We were invited to listen to the compilation _Clicks and Cuts_ and compose a piece that paid homage.

I listened to the album a couple of times over and took notes on what I heard: complex rhythm is centered; glitchy, non-traditional percussion and other samples; dry mix; musical elements downplayed; no obvious structure; repetitious, hypnotic; lots of thoughtful, small touches.

I stepped away for a few hours and listened to familiar music to clear my head. When I was ready I hit the studio equipped with only my notes. I set out to make a piece that met the criteria I had observed more than something that sounded like the examples we had been given.

Since the rhythm is so central, I hand-programmed a few 5/4 drum patterns and shopped for an appropriately glitchy drum kit. I layered on some additional percussive and other samples for flavor.

The drone synth was performed on my Moffenzeef Modular Stargazer. There's no clock sync on this unit, so I had to set the LFO rate by hand and pray that I didn't accidentally bump that knob while performing. I doubled the Stargazer and panned the two tracks hard left and right. I quantized one and not the other, meaning that the LFOs drift in and out of phase. I also blended in a +7 pitch shift to fill out the sound some.

"Mise-en-scêne" is best experienced with headphones. Recorded at NO SIGNAL Multimedia Lab in The Shambles, Chicago.

Mise-en-scène (disquiet0665)

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

Kindness

Tryna

12Oct24

My naviarhaiku562 track;
https://naviarlab.tumblr.com/post/763864359271301121/naviarhaiku562-through-a-world-of-sound
:D

a world of sound [naviarhaiku562]

This is the second EP from Wodwo & Mario Sboarina (https://soundcloud.com/rosmarinobaia) - another four-hands collaboration of guitar, piano and synth.

Wodwo: guitars, electronics, production.
Mario Sboarina: pianos, electronics, production.

Mind Reverse (collab with Mario Sboarina)

Undivide

Track taken from the new EP "an absent mind presents..." available here:
https://ceruleanascent.bandcamp.com/album/an-absent-mind-presents

Visualiser here:
https://youtu.be/kTuhfXkuWjo

Coastal Kemuri

some bright with clarity, others dimmed_09

Photo: Alhambra, Granada, Spain, 2024.

Like most of my tracks this started as a sketch of ideas that were gradually melded together starting with the guitar progression at the start. I was going for a textural kind of sound in this and in the intro there’s an effect approach to ‘grab’ a note from the guitar in a couple of places, sustain it and effect it – seemed to work okay and something I had wanted to try for a while now.

As ever, if you get a chance listen to this the whole way through 😉 🙏

Drums: NI Kontakt sample pack, through Baby Audio IHNY-2 compressor and Arturia Efx Motions for the intro/outro. Some sample editing for fills.
Bass: Sandberg Elektra 4-string newly strung with flats through NI Guitar Rig.
Guitars: a little PRS CE24 but mainly Godin Montreal thin-line jazz strung with flats including the solo. All through NI Guitar Rig and Archetype Tim Henson and warmed up with UAD Verve Analogue Machines.
Keys: various NI, Arturia keys and Crow Hill R+D Strings. Used Crow Hill Piano Rack for the first time on this as well for processing.
Voice: Dot Allison’s Crow Hill Dulcet Voice 
Mastering: Ozone 11 Standard.
DAW: Ableton 12.

Bandcamp

Touch

2024-11-08

Gunndis Is Still Searching The Past

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.

Flesh Noise

disquiet

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