Like the clickety-clackety going on there.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

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

Image associated with this track is by Heather and used thanks to a Creative Commons license:

flic.kr/p/4fD1HJ

creativecommons.org/licenses/by-nc-nd/2.0/

Disquiet Junto Project 0264: Time Travel

Soul Folk was created for the The Souling Project organised by Minerva Arts (a youth theatre group), funded by Arts Council England. As the selected artist for this venture, I was involved in the revival, revisiting and reinvigorating of Folk Dramas known as Cheshire Souling. For this project I was commissioned to create a new acousmatic work Soul Folk, which borrowed music from a historical source, the first verse of the Souling Song featured on The Soul Cakers of Cheshire: Field Recordings of Traditional Mummers Songs and Play Text. Borrowing musical material was essential for this project, as the folk legacy focuses on the oral tradition of preserving folk culture, through verbally transmitting and receiving folk material. This project also enabled me to work with the children of Astbury St Mary's Church of England Primary School, who created their own Souling song, which is featured in my Soul Folk composition. The children’s lyrical material featured was created in workshops run by me and composer Melissa Douglas. Soul Folk’s premiere performance was at Congleton Town Hall and was featured twice on BBC’s Merseyside Folkscene programme, once on their Women in Folk week.

Soul Folk

051722002 Venova Sax MDLR Norns HereThere

Unusual creatures

Bumblebells

23 Magam2.wav

Canadian artist Hildegard Westerkamp narrates her walk around Kitsilano Beach in Vancouver, British Columbia. She also delves into the process of how she treats the sounds in the studio to highlight elements, and imagines different sound dreams from them.

Things to think about:

Westerkamp says “I could shock you or fool you by saying the soundscape is this loud…but it is more like this” (1:40–2:00). What does she mean? What is the difference between the two versions of the soundscape she presents and how do you think she created the difference?
Do you see the images she describes in her dreams too? What kind of images or situations do they conjure for you?

Kits Beach Sound Walk (1989) by Hildegard Westerkamp

A sountrack inspired by the documentary, "The One Who Runs Away Is the Ghost." - a mixtape from Hainbach that laid the foundations for his score.

Full interivew: https://www.theransomnote.com/music/mixes/hainbach-the-monday-is-ok-mix/

@hainbach

FULL FEATURE AND IVW

Hainbach - The Monday Is OK Tape Mix

This work is an acousmatic single sound source work for water, which explores the transformation and trajectory of water. Using a single sound source creates a strong relationship between the sounds. Contrast is achieved by using both natural and sourced water sounds. By using these two types of water categories enables interesting textures to be created. Natural water sounds come from natural water sources created by nature including; fountains, fish movements, outside rain and dripping. Sourced sounds comes from water that has been tamed and domesticated by humans including; marinas, locks, docks, ponds, bathroom noises, garden fountains, fish tanks and rain on different manmade surfaces. This work experimented with Denis Smalley’s concept of ‘causality’ in a variety of ways, including cause and effect. Smalley’s concept allows the work to experiment with gesture as a formative element. There are moments of buildups, climaxes, attacks, releases, which create intensity and depth. This aids and helps the work transition into different sound worlds and spaces. 

Locks, Docks And Liquid Hydrogen (2013)

a minimalistic improvisation by:
mazen kerbaj / trumpet
the israeli air force / bombs

recorded by mazen kerbaj on the balcony of his flat in beirut,
on the night of 15th to 16th of july 2006.
© mazen kerbaj 2006

STARRY NIGHT (excerpt) 6.31 min

was thinking about space dilating as i imagined speeding through time.

i got some cello samples and put them thru the protoplasm tsm synth, lots of oscillation, then had dimension expander and crystal reverb automated so they'd get bigger throughout. 
pulled into audacity and sliding time stretch applied so gradually speeds up
audition - duplicated track, stereo widened, then crossfaded with previous track to gradually get wider. mastered

....

Disquiet Junto Project 0264: Time Travel
Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 23, 2017. This project was posted in the morning, California time, on Thursday, January 19, 2017.

Length: The length is up to you, but two to three minutes sounds about right.

Title/Tag: When posting your track, please include “disquiet0264″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

temporal pulse (disquiet0264)

This is a tough one to describe.  I knew I couldn't do time travel with just an instrumental.  There had to be a voice involved.  Some kind of narrative.

The voice sample (not me) is altered.  Pitch-shifted up on the left and lowered on the right, but the duration was preserved on both to avoid phasing.  A bit of reverb.  The two samples were panned.  You should really listen to this piece with headphones.

Was the voice recording cut up and re-ordered or is it a continuous rant?

The subject matter does the time traveling in my mind:  Beach Boys, David Lynch movie, minute steaks with sunnyside up eggs, Edgar Winter, Stevie Ray Vaughn, Vyvanse, swinging bachelor pad, dress pants and dress shoes, shaved head, Mannix, Ironside, The White Album, Revolution #9, Long Long Long, Revolution #1, sleep, swagger, "the same feeling that night I drank", "the shield of armor" (which is Ephesians 6:10-18), AA talk, "and then Laura told me to Sit In That Feeling."

Book-ending it with talk about "a David Lynch movie" and "Laura told me to sit in that feeling" was intentional.  Or was it?

Was I trying to make the voice sound like a cheap version of The Man From Another Place, or did it just turn out that way?

Now you're thinking about the Twin Peaks reboot.  This isn't about the Twin Peaks reboot.  Or is it?

Music added includes bits of "We Meet Again" by Ambient Matyk (to be released soon), "Feather Ridge", "Kad", and "Shunting" by me, and some extra sounds.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Sit In That Feeling (disquiet0264)

One Percent Disjunction [disquiet0264]

I thought I’d approach this by exploring the inside of a stretch, rather than just absorbing the overall drone effect. Not sure if it worked, but it was fun.

I took a 3 second sample from a piece I was working on. I used Audacity’s Sliding Time Scale effect on it. This stretches the sample unevenly, pulling only from one end, as it were. When the result was just over three minutes long, I reversed it. 

I duplicated the track and then pitched it down by 1% - that is by 0.01 of a tone. This helps create the phasing and movement you hear in the track. I also mixed these together and laid the mix as another track, but out of phase by 0.01 of a second.

A reverb version of the mixed tracks was also laid (in phase).

The ending was made by stretching the original sample out 12x using Audacity’s simplified version of Paulstretch.

The track image was made by applying similar principles to Marc’s email image, using paint.net



----------------------------------------------

Disquiet Junto Project 0264: Time Travel

Record a piece of music that plays with the perception of time.

Step 1: Recorded music is, generally speaking, a fixed object. It’s a document. It proceeds linearly, over time. It is, in the terminology of fine art, “time-based.” That said, music has the power to change one’s perception of time. Slowing and speeding tempo alone can alter a listener’s understanding of what is happening. Backward masking, sublimated hints of themes yet to come, the sound of a tape in fast forward mode — those are just a few ways that a composer can suggest that time is not moving linearly. Now, consider for a moment the tools available to give an impression of time doing things other than proceeding in a steady forward motion.

Step 2: Record a short piece of music that takes time travel as its theme, using ideas that resulted from the consideration in Step 1.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0264″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/


Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

One Percent Disjunction [disquiet0264]

God: You can never change the future. The past, yes, but not the future.

Lucifer: How do you change the past?

God: Why, the past is always changing—nobody remembers anything. But the future can no more be turned away than the light flowing off the moon.

This bit of dialogue is from Arthur Miller’s underrated play The Creation of the World and Other Business. It comes at a crucial point in the narrative where Lucifer admits to God that he compelled Eve & Adam to partake of the forbidden fruit, an act that ultimately banished God’s children from the Garden of Eden.

Time travel is not impossible; we are always revisiting past events in our efforts to understand the present, and our attempts to predict the future often arise from moments of stagnate contemplation. Anyone who has experienced the feeling of traveling by air or rail understands the dichotomy between moving and not moving, not unlike how a great piece of music rewards the listener’s investment by making time stand still.

For this short piece, Suss Müsik literally went back in time—ten years, to be exact. The source material is an eight-bar guitar phrase played with a Danelectro 12SDC 12-string in 2007. The sample was chopped through a Korg ToneWorks 411X processor and recorded live from a Vox AD30VT. The binaural motion cycles for about two minutes or so before the reverse reverb winds it down, coming almost to a halt. The momentary respite allows for a calming pause before the cymbals announce their arrival.

The piece is entitled Trammel, a word to describe something that restricts or impedes one’s freedom of action.

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquietjunto/

Project discussion takes place on llllllll.co:

llllllll.co/t/musicfortimetravelersdisquietjuntoproject0264/6157/

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

Trammel [Disquiet0264]

More on this 264th weekly Disquiet Junto project, Time Travel: Record a piece of music that plays with the perception of time”:

http://disquiet.com/0264/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

llllllll.co/t/music-for-time-travelers-disquiet-junto-project-0264/6157/

Blink [disquiet0264]

Cycle of Life (2016) is a miniature stereo acousmatic etude, which explores the concept of time. The sound material showcases sounds from time keeping devices, including metronomes, egg timers, analogue and digital clocks. It was a crucial compositional aesthetic to keep the original behaviours and acoustic quality of the sounds, as they maintain the character of time. The individual tiny ticks and tocks of clocks were fascinating sources, due to their short-lived acoustic nature.

The short resonate quality of the ticks and tocks influenced the main compositional technique and methodology utilizing micromontage. Micromontage is the layering of sound defined at its particle level. Composing with very short sounds gave more control over constructing gestural material, as each sound particle could be positioned precisely, into complex multiple sound clusters and groupings. Additionally the arrangement of the gestural material had the most control over the pacing and timing of the work. This occurs as the micro sounds were used to create new rhythms. These rhythms were composed in order to drive the music forward (accelerando), hold the music back (ritardando), or to slow down (rallentando) musical events.

Primarily Cycle of Life grew out of the poet William Butler Yeats’ (1865 –1939) text A Vision (1925), which presents Yeats philosophical beliefs through questioning ‘what is the cycle of life?’. Yeats’ cycle of life ideology explains how time travels in a circular motion. Yeats believed this circular motion created an endless repetitive wheel of living and dying. Cycle of Life represents this theory through its repetitive fragmented gestural nature, by using Denis Smalley’s ‘causality’ concept. This concept enables the listener to predict the musical outcome of the gestural activities, as one musical event causes the onset of another musical event.

Cycle Of Life (2016)

From Perihelion to Aphelion is a miniature stereo acousmatic etude, which explores the concept of space, both sonically and theoretically. This work takes the listener through a sonic space journey, where the listener experiences sounds produced by three different planet's atmospheres in our solar system; Uranus, Earth and Saturn. Each of the planets atmospheres forms their own section, which represents a different destination on the musical space journey.

From Perihelion to Aphelion begins with the high pitch gestural harmonic atmosphere of Uranus. Before traveling to the windy atmospheric atmosphere of Earth, which reveals small glimpses of the familiar, through field recordings of Earth’s environmental sounds including birds and traffic. The work concludes with atmospheric bass noises that develop the character of Saturn.

The initial concept of creating a space journey was inspired by a number of National Aeronautics and Space Administration (NASA) sound recordings, as each recording has their own personal history, story, voice, life and energy. In particular NASA Voyager Space Sounds CD (2009) was an important influential tool, as each track provided a true insight into the sounds heard in space, which NASA recorded on their space voyages. In particular three tracks were significant to From Perihelion to Aphelion, including Rings of Uranus, Voice of Earth and Saturn's Rings, as they shone light on the different planets atmospheric characters.

From Perihelion To Aphelion

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.

Layers of piano, tape loops, samples, and noise.

Blink [disquiet0264]

Stray wool

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