"Vic Serie"  #Disquiet 0729

Live reworked version of Nina by Hans Kindler using Monome Norns and Grid running Granchild.
The original recording credits G. B. Pergolesi (1710 – 1736) as the work’s composer, but more recently it has become attributed to Vincenzo Legrenzo Ciampi (1719 – 1762). Access it at:

https://archive.org/details/78_nina_hans-kindler-g-b-pergolesi_gbia0055100a

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/

disquiet0729 - Nina

Remixed by Splice Finders for Broken Hours, realized at Drummysgroin, December 20-22, 2025, this is the thirty-fourth piece submitted by Broken Hours under the kind auspices of Disquiet Junto. The project instructions were to remix and rework the performance of “Nina” by Hans Kindler.

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at disquiet.com/0729/.

Ahelion

Nina has been asleep for three days. It's time she got up. Here Hans Kindler's recording is given a breakbeat, bass, and pushed through a Marshall stack.
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More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/

wakey wakey (disquiet0729)

Heavily inspired by anime film:Ghost In The Shell[1995]. The somberness of Nina reminded of the film,and where was I emotionally, going into my first viewing. I wanted to treat the remix, the same I first viewed the film[a few years ago]:slightly overdriven iPad speaker, with a loud fan in the background.   

The Process  1. Loading Nina into Koala Sampler[on the same iPad I first viewed the film on]  2. Chopping and arranging in  Koala Sampler 3. Then, bouncing those tracks out for automation + light mixing on GarageBand on Mac.  

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

Having To Connect With [Disquiet Junto Project 0729]

Disquiet Junto 729 Nina Remix - sequenced mostly in Bitwig

nina remix [disquiet729]

Made for disquiet 0729 which was to rework a specific piece of music that was recorded over 100 years ago that can be found here: https://archive.org/details/78_nina_hans-kindler-g-b-pergolesi_gbia0055100a. 

ni.nanina (disquiet0729)

Nina Remix disquiet0729

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

Kind Handles (disquiet0729)

Most of the field recordings that I post are almost exactly as I receive them at the end of the recording process: I hit record, I hit stop, and most of what happens in between is what I share. Which isn’t to say the audio is “pure” by any means. The device I elect to use for the recording, the time and circumstances when I choose to record, the (usually) continuous clip of 30 seconds I select from within the longer recording — all of these elements, among others, are beyond the bounds of anything that might be self-described as purism. The editing process in particular lends an aspect of self-reflection (even, at times, of what George Eliot taught me to term self-rebuke). When recording the sound emitted inside my refrigerator, for example, I immediately chopped off both ends of the process: first, when I closed the door after placing my phone inside the fridge, and second, when I opened the door to extract my phone. In between those mirror-image poles was a minute or so of sound, from which I then extracted what seemed, to me, like prime climate-controlled droning. Later, however, I kept thinking about the recording process, and I returned to what hadn’t made the initial cut. I combined the two ends into one half-minute whole. The clunky percussion of the fridge drawer and door being shut and, then, opened has a industrial-grade vibrancy. While its jittery, stuttering aspect places it in stark contrast to the monotone of the internal hum of the fridge, these two sets of sounds share a welcome practical simplicity, the beauty of an everyday mechanism at various stages of its utilization.

Recorded on an iPhone 17 Pro at 7:57am on Friday, December 19, 2026, in San Francisco’s Richmond District.

Start Stop

Professor MTZ: mixing and effects

Original artist: Hans Kindler

Composer:  Vincenzo Legrenzo Ciampi
(Public Domain;  see below re songwriting credit)

From Disquiet Junto site:

The recording credits G. B. Pergolesi (1710 – 1736) as the work’s composer, but more recently it has become attributed to Vincenzo Legrenzo Ciampi (1719 – 1762). Access it at:

https://archive.org/details/78_nina_hans-kindler-g-b-pergolesi_gbia0055100a

More on the 729th weekly Disquet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

Nina (Metal Mix) [disquiet0729]

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.

Start Stop

disquiet

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