This track, titled as a pun that King Crimson's fans could like or maybe dislike, has been built using a single phrase of a sound source coming from a living being. Everything generates and revolves from and around it. at 3:00, that building block is clearly revealed (although some of its constitutive elements have appeared scattered here and there before, and the seed will reappear several times until the end).
This has been created motivated by the Disquiet Junto Project 0504: Transform Formula
The Assignment: Take a sound, change it, and contrast that with the original.

Larks' tones gymnastics (disquiet0504)

The source of the chord is the piece “Organ²/ASLSP” by John Cage, to be played “As Slow As Possible.” Currently it is being performed in Halberstadt, Germany, on a special organ that will play it for a total of 639 years. Read up here: 
https://www.latimes.com/opinion/story/2022-02-04/john-cage-organ-slow-as-possible-halberstadt-germany
This is an assigment of the Disquiet Junto project: https://disquiet.com/junto/

ASLSP Chord disquiet0554

Impressions from an imagined nocturnal antarctic landscape. Is it a summer or a winter night?

Nights in white antartic

Nights In White Antarctic

A cosmic Christmas carol for inhabitants of remote galaxies. 
Featuring voices by Madonna, Marina Rosell, Pau Riba, Ariadna Savall, and l'Orfeó Català.
Watch the film "Arrival" and listen to its soundtrack by Johánn Johánnsson (probably it has nothing to do, sonically or musically, with this track, anyway). 
https://johannjohannsson.bandcamp.com/album/arrival-original-motion-picture-soundtrack
Orion constellation photography by Prabhu: https://prabhuastrophotography.com/updates/f/orion-constellation

December's frozen (when your heart's not open)

Birds in a bare tree
Dance on windswept branches
Their waiting ballet

The title of the track is taken from the book "Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression" by Steven Feld

To you they are birds, to me they are voices in the forest (naviarhaiku476)

The Zeigarnik Effect or "anxiety for the unfinished" is a human condition experimented when we have something to be finished. Memories and attention are then enhanced, although this effect is controversial from the scientific point of view.
https://en.wikipedia.org/wiki/Zeigarnik_effect
This disquiet junto project, which has been conceived in 3 phases, might trigger the effect. Uploading a track that is half-baked on purpose is always painful.
See: https://llllllll.co/t/disquiet-junto-project-0591-the-loneliest-number/62108/19

The Zeigarnik Effect (phase 1)[disquiet0591]

Vocal Sample - Patricia Edwards - I Do - Today Is The Day [
www.looperman.com/acapellas/detail…m-house-acapella ]

Left channel contains "The Euclidean Chromaticon | The Loneliest Number" by X I I I X X I: https://soundcloud.com/xiiixxi/disquiet-junto-the-loneliest-number-disquiet0591?in=disquiet/sets/disquiet-junto-project-0591
Right channel contains multiple processing of left channel audio
About the Disquiet Junto: disquiet.com/junto/

The Zeigarnik Effect (phase 2)(feat. X I I I X X I)[disquiet0592]

I started wiht "[Caterpillar Dreams](https://soundcloud.com/rabmusiclab/caterpillar-dreams?in=disquiet/sets/disquiet-junto-project-0592)" by RabMusicLab with krakenkraft and added some flute and different processings in a partial attempt of building some Tangerinedreaming-esque layer. I liked the krautrock feeling of the original. I hope I have not spoiled it.

RabMusicLab: https://soundcloud.com/rabmusiclab
krakenkraft: https://soundcloud.com/winterer

More on this 593nd weekly Disquiet Junto project, The charm (The Assignment: Complete an asynchronous trio begun by two other musicians), at: disquiet.com/0593/
About the Disquiet Junto: disquiet.com/junto/
Subscribe to project announcements: tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0593-the-charm/62312

Caterpillar Dreams Under A Tangerine Tree (with RabMusicLab & Krakenkraft)[Disquiet0593]

A recording of Masai Mara(https://freesound.org/people/AugustSandberg/sounds/202874/) (wink to [Chris Watson's(https://chriswatsonreleases.bandcamp.com/track/river-mara-at-night)), downloaded from Freesound (thanks to [August Sandberg](https://freesound.org/people/AugustSandberg/)), is used as a "constant". Different filter and resonance configurations and tools (soundtoys' FilterFreaks, Phase Mistress; Lexicon PianoChords, FabFilter and Izotope EQs), with some time envelope graphical programming and LFOs, plus some massive reverbs, are applied on the ambiance, in order to create movement and sensations of unreality.

Image from Willa Wey https://www.flickr.com/photos/wei_willa/25341443196

More on this 595th weekly Disquiet Junto project, Filter Progression (The Assignment: Make music by processing a static sound), at: https://disquiet.com/0595/

About the Disquiet Junto: https://disquiet.com/junto/
Subscribe to project announcements: Disquiet Junto by Marc Weidenbaum (Disquiet.com)
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0595-filter-progression/

Night Of Relentless Filters [disquiet0595]

Marcus Fischer https://soundcloud.com/marcus_fischer kindly provided 7 loops for this project. All his loops are integrated in the track, and it begins and ends with clear segments of them, as a way to acknowledge his generosity.
After listening to all the loops I thought that some of them could be stacked, some of them extended, and some of them stretched, in order to create a basic flow and tonal framework. The track includes some drum machines and processing of the original loops by means of pitch-delayed transpositions, harmonizations, distortions, etc., everything spiced with a bit of reverbs and delays.
The track made me think of a sunrise, moving from dawn to some frantic activity, to achieve rest again. And this idea made Monet's painting pop up in my mind.

More on this 600th weekly Disquiet Junto project, Reaching Out (The Assignment: This is a shared sample project. Rework a set of seven WAV files provided by Marcus Fischer), at: disquiet.com/0600/ 1
About the Disquiet Junto: disquiet.com/junto/
Subscribe to project announcements: tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…-0600-reaching-out/

Impression, Soleil Levant [disquiet0600]

Track composed for the "Music for sleep" project in the "Cities and Memory" website: https://citiesandmemory.com/music-for-sleep/
A recording from Iceland's Svartifoss waterfall, provided by the organizers, was the starting sound for everything else, a patchwork of different partially remembered old REM dreams.

Remote Remnants Of Remembered REM Dreams

A kaleidoscopic depiction of my sense of wonder.
Haiku text by fectoper.
Haiku musical theme (initial koto loop) by Eva Grill https://soundcloud.com/eagri1967

Your mind's labyrinths.
Light that shines beyond your eyes.
The Universe blinks.

Haiku recited by an AI voice from https://speechgen.io/. 
No humans were harmed during the process.

My sense of wonder

My Sense Of Wonder

The track is built upon Haendel's prelude to Water Music
More on this 634nd weekly Disquiet Junto project, Bust a move (The Assignment: Record a piece of music on top of a muffled recording of a piece of classical music), at: disquiet.com/0634/
About the Disquiet Junto: disquiet.com/junto/
Subscribe to project announcements: https://juntoletter.disquiet.com/
Project discussion takes place on https://llllllll.co/t/disquiet-junto-project-0634-bust-a-move/66246

(under)water music [disquiet0634]

Music created for the "Cities and Memory" project, using a recording of starlings' murmurations in Otmoor (Oxfordshire) https://citiesandmemory.com/
Moors have always been mysterious places to me. Maybe it is because of its role in Arthur Connan Doyle's The Hound of the Baskervilles, or because of my interest in railways, that made me discover the most remote station in Great Britain, in the middle of Rannoch Moor, Scotland.
Starlings murmurations are a mystery about collective behaviour. Their shapes always catch us by surprise. Their how, why and what are always fascinating. For this piece I have processed the original murmurations recorded in Oatmoor (Oxfordshire), by means of different transformative pipelines. I wanted to create something slightly mysterious, maybe menacing but not so much, as some murmurations and moors can be at times. May the music help listeners see and feel how those flocks become like a single massive entity, not only because they make a shape in the air but because, in this track, they are affected by a kind of transmogrification that turns them into otherworldly creatures. They then move the air, the whole sky fabric, in mysterious ways. Something in the way they move...

17/07/2024

Starlings' Startling Murmuration On The Moor

... on the road to discovery with both lightness and power.

In coral caves underwater, hundreds of mermaids wag their tails in sync with a music that is submarine and green, whilst phosphorescent lights from abyssal creatures are reflected and blink on their tails' scales.

Music and production by fectoper and https://soundcloud.com/tatiana-korkach
Vocals by https://soundcloud.com/tatiana-korkach and her mermaids
Mixing and mastering by fectoper
Cover art by Valeria Yudina

Wagging Tails

"Nostromo revisited" is a sound atmosphere inspired by some room tones and the spaceship of the movie "Alien". The original Nostromo that I have just revisited was uploaded to freesound (https://freesound.org/people/fectoper/sounds/59/) just after its opening, back in 2005. That file has been downloaded thousands of times, and has been included in games, videos, music tracks, etc. I created this kind-of room tone with my JD-800 synthesizer, around 1993. Here I have extended its duration and added some layers, depth and processing.
More on the 671st weekly Disquiet Junto project, In the air tonight - The Assignment: Make an atmosphere of your own — at https://disquiet.com/0671/

Nostromo revisited [disquiet0671]

Find the English description here: https://soundcloud.com/fectoper/sets/sierva-del-tiempo
"Sierva del tiempo" es un viaje lento y envolvente entre lo oscuro y lo sublime, donde la opresión se encuentra con la redención, donde se funden lo ambiental, lo gótico y lo industrial, metales percutidos, voces, ruidos y electrónica. La canción avanza lentamente, como un engranaje cósmico que gira bajo el peso de su propia existencia, arrastrándote a un universo de seres agónicos condenados a liturgias implacables. Como en un rito iniciático, las secciones por las que transcurre su avance inexorable amagan promesas de transformación. Los caminos espinosos, trazados entre la fragilidad del tiempo y la dureza de la materia, evocan la nostalgia de un espíritu eterno que se viste de mortalidad para experimentar el dolor y la belleza de existir. Y al final, en mitad de las tinieblas y del ruido, una luz angelical se abre paso, transformando la opresión en liberación, y dejando entrever un modo de existir más allá del tiempo y del destino.

Escucha la música de lht aquí: https://soundcloud.com/lhtrah

fectoper: composición, producción y mezcla
lht (https://soundcloud.com/lhtrah): voces originales y procesadas, imagen

Sierva del Tiempo

The world's largest iceberg, A23a — equivalent to the size of Rhode Island- is endlessly spinning near the South Orkney Islands, about 375 miles from the Antarctic Peninsula. Its dance is caused by a phenomenon in fluid mechanics known as a Taylor column. It's essentially a rotating cylinder that forms when there's an obstruction in a flow. The A23a is trapped in a kind of ocean vortex, a Taylor column.
There are many paths a collaboration can take you down. Although the typical one tends to be shaped as a kind of dialog or turn-taking, I like the most those that, instead, become as sewing a seed and watching what happens then, including some active intervention: somebody tells an idea, or provides some materials or tracks to you and they start a self-organizing process in one's DAW. That's what happened here: @user-737426987 Ambient Annie provided some tracks that made some musical sense by themselves, but I used them as seeds for something different though related. Another of Ambient Annie's relevant contributions to this track has been in providing a concept, even though this was originally unintentional: some of our email conversations deal with natural phenomena, and therefore Antarctica, its fauna and icebergs gracefully popped up. Some months later, the seeds swelled, stems grew and leaves appeared, giving way to the flowering that you can now listen to.
During the final mixing rounds, Nyarlathotep, the three-lobed burning eye creature from Lovecraft's cosmogonies, passing his crawling chaos through the throat of @lhtrah Lht (another SC artist you should listen to), unexpectedly contributed with some primordial chants to this track: my degree in Miskatonik studies allowed me to decode the singing as "I will die and nobody will remember me", which is quite appropriate for an iceberg that is slowly melting. As far as I could find out this song was first featured in a film by Alejandro Jodorowsky, "Fando y Lis" (1968).
Ship bell by Mateusz_Chenc @ freesound.

A Taylor column

Listen to the full track here: https://soundcloud.com/fectoper/sierva_del_tiempo
"Sierva del Tiempo" (Servant of Time) is an immersive descent into the liminal space between darkness and the sublime. A slow-burning odyssey where oppression wrestles with redemption, the track weaves together ambient, gothic, industrial textures, resonant metals, spectral voices, eerie noises, and electronic pulses, into a hypnotic soundscape.
Like a vast cosmic mechanism grinding under the weight of existence, the song moves with an inescapable force, pulling the listener into a realm of tormented souls bound to relentless rituals. Each passage unfolds like an initiation, whispering cryptic promises of transformation. The journey follows treacherous paths, where time’s fragility collides with the unyielding weight of matter, evoking the yearning of an eternal spirit wrapped in the fleeting veil of mortality.
Yet, as the darkness swells and dissonance reaches its peak, a luminous force shatters through—an angelic revelation that turns oppression into liberation, exposing a way of being beyond time, beyond fate.

Listen to https://soundcloud.com/lhtrah music

fectoper: composition, production and mix
lht (@lhtrah): original and processed vocals, track image

Sierva del Tiempo-part 1

Listen to the full track here: https://soundcloud.com/fectoper/sierva_del_tiempo
"Sierva del Tiempo" (Servant of Time) is an immersive descent into the liminal space between darkness and the sublime. A slow-burning odyssey where oppression wrestles with redemption, the track weaves together ambient, gothic, and industrial textures, resonant metals, spectral voices, eerie noises, and electronic pulses, into a hypnotic soundscape.
Like a vast cosmic mechanism grinding under the weight of existence, the song moves with an inescapable force, pulling the listener into a realm of tormented souls bound to relentless rituals. Each passage unfolds like an initiation, whispering cryptic promises of transformation. The journey follows treacherous paths, where time’s fragility collides with the unyielding weight of matter, evoking the yearning of an eternal spirit wrapped in the fleeting veil of mortality.
Yet, as the darkness swells and dissonance reaches its peak, a luminous force shatters through—an angelic revelation that turns oppression into liberation, exposing a way of being beyond time, beyond fate.

fectoper: composition, production and mix
lht (@lhtrah): original and processed vocals, track image

Sierva del Tiempo-part 2

“Unraveling a revealing Ravel” takes the final twelve seconds of Ravel’s Capet string quartet in F Major (1903) as the material to apply the idea proposed in Disquiet Junto 0691: “it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing”. 
The tripartite microstructure of those final measures has been mapped into the three sections of the track: the first one starts with the clean original audio and quickly derives into a vivacious sequence of micro-editions, gating and spectral smearing; the second section transitions from energico to adagio until the chords seem to be suspended for a while, just to be submitted to different kinds of decimation, downsampling, aliasing, vacuum tube distortion, vinylic noisification, and bitcrushing; the piece closes with an exagerated ritardando, and wild filtering and cutting of excerpts that maybe expose some microfeatures of the final chord before leaving it totally unravelled. 
More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).
The original audio source can be found here:
https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Unraveling a revealing Ravel [disquiet0691]

Listen to the full track here: https://soundcloud.com/fectoper/a-taylor-column
The world's largest iceberg, A23a — equivalent to the size of Rhode Island- is endlessly spinning near the South Orkney Islands, about 375 miles from the Antarctic Peninsula. Its dance is caused by a phenomenon in fluid mechanics known as a Taylor column. It's essentially a rotating cylinder that forms when there's an obstruction in a flow. The A23a is trapped in a kind of ocean vortex, a Taylor column.
There are many paths a collaboration can take you down. Although the typical one tends to be shaped as a kind of dialog or turn-taking, I like the most those that, instead, become as sawing a seed and watching what happens then, including some active intervention: somebody tells an idea, or provides some materials or tracks to you and they start a self-organizing process in one's DAW. That's what happened here: @user-737426987 Ambient Annie provided some tracks that made some musical sense by themselves, but I used them as seeds for something different though related. Another of Ambient Annie's relevant contributions to this track has been in providing a concept, even though this was originally unintentional: some of our email conversations deal with natural phenomena, and therefore Antarctica, its fauna and icebergs gracefully popped up. Some months later, the seeds swelled, stems grew and leaves appeared, giving way to the flowering that you can now listen to.
During the final mixing rounds, Nyarlathotep, the three-lobed burning eye creature from Lovecraft's cosmogonies, passing his crawling chaos through the throat of @lhtrah Lht (another SC artist you should listen to), unexpectedly contributed with some primordial chants to this track: my degree in Miskatonik studies allowed me to decode the singing as "I will die and nobody will remember me", which is quite appropriate for an iceberg that is slowly melting. As far as I could find out this song was first featured in a film by Alejandro Jodorowsky, "Fando y Lis" (1968).
Ship bell by Mateusz_Chenc @ freesound.

A Taylor column - part 1

The world's largest iceberg, A23a — equivalent to the size of Rhode Island- is endlessly spinning near the South Orkney Islands, about 375 miles from the Antarctic Peninsula. Its dance is caused by a phenomenon in fluid mechanics known as a Taylor column. It's essentially a rotating cylinder that forms when there's an obstruction in a flow. The A23a is trapped in a kind of ocean vortex, a Taylor column.
There are many paths a collaboration can take you down. Although the typical one tends to be shaped as a kind of dialog or turn-taking, I like the most those that, instead, become as sawing a seed and watching what happens then, including some active intervention: somebody tells an idea, or provides some materials or tracks to you and they start a self-organizing process in one's DAW. That's what happened here: @user-737426987 Ambient Annie provided some tracks that made some musical sense by themselves, but I used them as seeds for something different though related. Another of Ambient Annie's relevant contributions to this track has been in providing a concept, even though this was originally unintentional: some of our email conversations deal with natural phenomena, and therefore Antarctica, its fauna and icebergs gracefully popped up. Some months later, the seeds swelled, stems grew and leaves appeared, giving way to the flowering that you can now listen to.
During the final mixing rounds, Nyarlathotep, the three-lobed burning eye creature from Lovecraft's cosmogonies, passing his crawling chaos through the throat of @lhtrah Lht (another SC artist you should listen to), unexpectedly contributed with some primordial chants to this track: my degree in Miskatonik studies allowed me to decode the singing as "I will die and nobody will remember me", which is quite appropriate for an iceberg that is slowly melting. As far as I could find out this song was first featured in a film by Alejandro Jodorowsky, "Fando y Lis" (1968).
Ship bell by Mateusz_Chenc @ freesound.

A Taylor column - part 2

Tori, hitori, hi: A bird, alone, in the sun
鳥、一人、日

Based on Hosomi Ayako's haiku:
野分あとひとり歩きに日あまねし　
nowaki ato hitori aruki ni hi amaneshi

after the typhoon
I walk around alone -
sunshine everywhere
https://www.naviarrecords.com/naviarhaiku598-after-the-typhoon/

Typhoon recording by ljdyfstories @ freesound
https://freesound.org/people/ljdyfstories/sounds/394001/
Sterna sumatrana recordings thanks to xeno-canto:
https://xeno-canto.org/species/Sterna-sumatrana
Pedal steel guitar by Travis Linville, with fectoper additional treatments

Tori, hitori, hi (naviarhaiku598)

Someone promised to wait.
To wait beyond.
Beyond the hourglasses and the mounds of swollen flesh.
Beyond the cuneiform codices, the spiral labyrinths, the bone flutes of extinct birds.
Past the pyramids of time and the colossal granite dolmens slumbering beneath Antarctic glaciers.
But no one came back.

The song is the lament of those who still hope to say goodbye.
To say goodbye fiercely—with their eyes, with their hands, with everything that exists beyond the body.
To part with such violence that reality thins, and the blazing ground of grass takes on the texture of dragonfly wings.
The voice of the one still waiting calls out, demands, roars through the wound that a heavy slab carved with the word “LOVE” can barely cauterize.
The slab of a forgotten grave, in a windswept cemetery on the Atlantic coast.
At the edge of a cliff where—warmed by magma beating to the phases of the moon—earth, ocean, and sky fuse together: into amber, into lead, into cobalt.

When those who wait begin to sing, their voices pierce the unyielding concrete of nuclear reactors, the crust of the earth, the frozen core of the gas giants in the solar system.
Their voices rattle dead loudspeakers, tear through the white noise of radios lost in the ether, whisper in the echoes of abandoned cathedrals, and sigh in crackling exhaustion through the worn-out waiting rooms of hospitals.

You can’t stop their voices from rearing up inside your eardrum, nesting forever in the synapses of your auditory nerve—so you can carry them far.
Perhaps all the way to the one who never received the goodbye.

Pictures: Lht
----
Alguien prometió esperar. Esperar más allà. Más allá de los relojes de arena y de los montículos de carne tumefacta. Más allá de los códices cuneiformes, de los laberintos en espiral, de las flautas de hueso de pájaros extintos. Allende las pirámides del tiempo y los colosales dólmenes de granito que dormitan bajo glaciares antárticos. Pero nadie volvió.

La canción es el lamento de los que esperan poder despedirse. Despedirse intensamente. Con los ojos, con las manos, con todo lo que hay más allá del cuerpo, despedirse con tal violencia que la realidad se adelgace y el suelo fulgurante de hierba adquiera consistencia de alas de libélula. La voz de quien aún espera reclama, inquiere, brama a través de la herida que una pesada losa con la palabra "AMOR" apenas logra cauterizar. La losa de una tumba olvidada, en un remoto cementerio azotado por el viento del Atlántico. Al borde de un acantilado donde, calentados por un magma que late siguiendo las fases de la luna, tierra, océano y cielo se fusionan; en ámbar, en plomo, en cobalto.

Cuando cantan los que esperan, sus voces atraviesan el hormigón implacable de los reactores nucleares, la corteza de la tierra, el núcleo congelado de los gigantes gaseosos del sistema solar. Sus voces sacuden altavoces desconectados, rasgan el ruido blanco de las radios perdidas en el éter, susurran en las reverberaciones de catedrales abandonadas, y suspiran crepitantes en las extenuadas salas de espera de los hospitales.

No puedes evitar que sus voces se te enjirafen al tímpano y aniden eternamente en las sinapsis de tu nervio auditivo, para que las lleves bien lejos. Tal vez hasta quien no pudo recibir el adiós.

Llévame lejos

A composition by Pergolesi, lyrics by Metastasio, recitation by Calvino, desintegrating mix by Bachinski. A ceremonial progression towards the realm of spirits, accompanying that of Nina, and finally clicking in the sky with Kindler. Everyhting as real as Strawberry Fields. Forever and ever. As if we could be heroes just for one day.
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/.

Disquiet by Nina [disquiet0729]

My bio does not matter at all.
Just listen. 
Be the sound. Be music.
Just be.

fectoper

Pinned to spotlight

Popular tracks