More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

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

Disquiet Junto Project 0428: Urban Moss

This piece is a combination of field recordings and experimentation with semi-automated arpeggios and chords. Different instruments (hand drum, music box, and Cello) are playing the same set of notes but layered (like urban moss)on top of each other. They are treated with tape loop effects and noise, with a Solina added on top for ambiance.

In the background, some treated Fado singing from a concert at a small bar in Luxembourg and some street noise.

All this may be also a response to the ongoing chaos in the world… Lets all hope, it will be over soon - and we can go back to enjoying the coming spring.

Best wishes to everyone!


More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

disquiet0428 - midivale

This piece contains the following English & Scottish Ballads:

1. Riddles Wisely Expounded
2. The Elfin Knight
3. Willie's Lady
4. The Fair Flower of Northumberland
5. The Twa Sisters
6. Lord Randal
7. The Cruel Mother
8. The Three Ravens

=================================

For context, when posting the track online, please be sure to include this following information:

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

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

Urban Moss - disquiet0428

Upright piano, synthesizers.
Recorded @ Paris and Buenos Aires over the years...
Created for:
**Disquiet Junto Project 0428: Urban Moss**
*Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.
*Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.*
----------------------------------------------------------------------------------------------

After both my parents died a couple of years ago I had to let go many things, most notably the family house and the bedroom where I lived my first 22 years. It was a thrill to go back to that room to say farewell, the walls were covered with posters, stickers, etc. There were a lot of concert posters glued to the wall that my parents just kept there, along with many concert ticket that I glued over. I wish I could have keep that wall! Filled with memories, there was even a Miles Davis street poster (huge) for a concert in the early 90s that never happened (Miles got ill, cancelled and died)

Then I had to let go my old piano, a century old German beast, with crackles, noises , real ivory and ebony keys and “that sound”...

I recorded a lot on it when I was living there but even in the recent years , when visiting my parents, (although I have a modern piano in my studio) I liked to bring a stereo microphone and do some recording that, when listened 10 thousand kilometres away, instantly bring me back to that piano, that room, and the past.

In this track I worked on a solo piano track I found on an old DAT, recorded at my parents’ house 15 years ago, added some hi pitched notes for the same session/DAT, then I created a pulsating synth arpeggiator and a deep bass, with a lot of subliminal blemishes like noises and interference in the background.

Cheers

DD

memories embedded in wood (disquiet0428)

Recorded for the Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Process: Noddling around on the guitar trying to channel the guitarists  concerts past. Editing, then reverb, delay, and some granular effects.

The Rolling Stones Are Gathering Moss (disquiet0428)

Disquiet 0428: https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/30154

I’ve never met Marc. Almost swung by that bar in Dumbo 2 weeks ago but had another thing. But this week he took a picture of a pole and asked us to think about concerts of the past in this turbulent time. And wished us well. And I wish him well also.

Less surprisingly, I’ve also never met Thelonius Monk. In 1959, Wikipedia tells us, he recorded his third solo album “Thelonius Alone in San Francisco” at Fugazi Hall on October 21 and 22, live. 

But without an audience.

And recently I’ve been spending time with “Ruby, My Dear”, the second track from the record. It’s a fun item. This week with a friend and I just sort of ended up holding onto the chords to really let the voicings become part of my vocabulary. 

Those ideas all collided at once this afternoon. And while the resulting reflection on the first 8 bars of Monk’s piece really are pretty far away from the disquiet style and intent, I still thought I would share what I recorded anyway. So, with a hope that you and yours are safe, I hope you enjoy “A Reflection on Ruby (disquiet0428)”.

A Reflection on Ruby (disquiet0428)

Uploaded for the disquiet junto 0428. 

A remixed version of a previous low tempo moody & smokey jazz cafe track I had made. 
Tried to make it sound more distant, in the past and degrading. 
Added some live ambience

Urban Moss (disquiet0428)

Photo courtesy of yoyo dy.

Inspired by the documentary "We Call it Techno" and the 10 day tour of Germany I did in 1996 with Mark Gage of Vapourspace performing his Cusp album.

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

Mach (Disquiet0428)

Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.

Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.

Track notes: 

As I'm sure is the case for a lot of folks, last week was..well, hectic. I was interstate for work and getting home to Adelaide on Friday the 13th (heh, heh) was a tad stressful. My employer (CSIRO) had gone into partial lockdown with the threat posed by Covid-19, and aiming to get us home before imposed travel restrictions came into effect was a bit intense. That, and staying safe on the flight back.

I'm ok. Very tired and feeling a little under the weather, but ok. I'm in self-isolation from work for the next week or two and working from out of my studio.

So, in order to get my mind off this stuff I'm glad there are things like the weekly Junto to refocus my energies. <3

I ran an AM radio station (oldies 50/60's stuff) through my Eurorack setup, with its signal largely affected by a filter and a 4MS DLD. I wanted to emulate a couple of long tape loops that could be added/subtracted to. In addition, a sequencer created a random pattern of tones. I did several takes of this, so as to create layers of radio and tones.

Over this, I added some synth and piano, intuitively following cues I heard from the patterns in the radio and tone layers. An iphone recording of water flowing closes out the track.

I like challenges like this that have a poetic association with accumulated (and decayed) memory. I think my experiences of being in between mental and physical spaces this past week certainly had an effect on how I approached this too.

[disquiet0428] my life in the residues

I was a little pressed for time this week. Here are three drum parts taken from songs by a couple of bands I saw in the mid '80s and one from 1994. I sample a short drum part each and used Ableton to convert them to MIDI. From there a put them through various drum instruments, Eventide Blackhole and Spring reverbs. There's a filter sweep on each of the tracks each with a different period. I wanted to evoke the feeling of time having passed but with echoes of those concerts ever-present.

---

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

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

echoes (disquiet0428)

Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.

Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.

https://disquiet.com/2020/03/12/disquiet-junto-project-0428-urban-moss/

Photo by Matthew T Rader: https://unsplash.com/photos/2_hgZrCIp98

Camden

Camden [disquiet0428]

the sound came out more pylon-like than telephone pole hence the title. it's also a nod to christ.'s pylonesque

i recorded the hiss of my soundcard, amplified and tempo stretched that
 underneath i had a couple of things from iris 2
.

Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.

Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0428

pylonism - -disquiet0428

"Disquiet Junto Project 0428: Urban Moss - The Assignment: What echoes of past concerts are retained within this pole?"

I decided to get the old volca sampler out for this one. Been too long. So the intro is 30 secs of 10 different live tracks all playing at the same time, gradually swamped in reverb (Oril river (it's free!)) and then I took little, fairly obscure snippets from those tracks, loaded them into the sampler, and played around. At first I was fiddling around with a sequencer I'd made (in pure data) but it wasn't quite working out. In the end I just sat in the sun on the front step and used all 10 of the volca's memory slots to make a simple composition using its own sequencer. Then I performed it a couple of times until I got a take I was ok with, added the same reverb (though it dips out in the middle) et voila. I wanted to make something kind of melancholy, originally, what with the idea of all those past events layered and increasingly distant/forgotten - but it came out kind of upbeat... that's fine I suppose, just not what I expected, but time has its benefits too, I guess ;-) Hope you enjoy listening.

Urban-Moss_disquiet0428

The story: DJ Krakenkraft came repeatedly to the Disquiet Junto Club, and like most berlin school musicians he played the same sequences and mellotronic pads every year … 

The approach: Four tracks (seq 1+2, drums, pads) were redirected to multiple tracks with different and chained combinations of LFOs and delays, which destroyed the sounds. I imagined a concert poster that every year was simply stuck over the weathered, partly torn off poster from the previous year.

--

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

Mossy Echos Of Berlin School [disquiet0428]

The ghost of chords, the long tail of echoes, the inherent mystery in collaged sonic textures, all merging to create the timelessness of sound.

invisibilia disquiet0428

Eternal state of a tree and its accumulated echoes of past concerts.

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

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

Urban Moss - Eternal Space - Disquiet0428

I thought of a palimpsest of concert memories, and the rhythmic idea that struck me was the "Ladies and gentlemen..." of the emcee. Starting with that, I voiced it with a melancholy synthesizer, Alchemy in Logic, and built elements from there, including some guitar I played in.

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Until Further Notice - disquiet0428

samples acquired by taking a line out from the m.c.'s mixer during karaoke night at a bar i worked at up until last summer in richmond, va. 


More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0428-urban-moss/

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

literally, empty orchestra - disquiet0428

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.