with some fantasy, this part sounds like snickering girls …

… and here like some men in a big cigar lounge  :)

Created for the Disquiet Junto Project 0507: In DD's Key of C
@disquiet

The Project: Make music with 10 acoustic instrument samples all in a shared key.

Thank you to @daniel-diaz for the beautiful samples!

I was inspired by the chord progression in the melodica sample, so I used that as a base to created a rhythmically-shifting generative drone in the Borderlands Granular app on my iPad, eventually using all 10 of the samples. It was a fun challenge mapping the patchwork of waveforms across the screen so that I could trigger different parts of overlapping samples with various moving 'circles' of granular processing. The end result came out rather lilting and mysterious.

Please enjoy the waves!

Artwork is by Daniel Diaz - his notes from creating the samples.

More on this 507th weekly Disquiet Junto project – In DD’s Key of C (The Assignment: Make music with 10 acoustic instrument samples all in a shared key) – at: https://disquiet.com/0507/

Tracks made with samples created generously by Daniel Díaz.

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0507-in-dds-key-of-c/

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

Seas of Cee - [ disquiet0507 - inddskeyofc ]

The original poem made and reed by RICHARD CORFIELD: https://freesound.org/people/RikkyBoy399/sounds/240388/
I've rearranged a little bit on the poem, and I have used it almost two years ago also but in another form and shape.
Synthesizer is BARP2600/Sequencer B960-962-962, live recording.
The track is arranged to be played in a loop, thats why the start is so "suddenly".

Artwork: https://no.pinterest.com/pin/7248049391653536/

The Visitor

A new recorded alternative of my earlier "Kraft". Just strings and my soul.

Kraft II

Air raid sirens in Kyiv

Sensen - DC

Pièce pour ensemble de 21 musiciens de Louis Bona
Quatuor vocal(amplifié sur scène), quatuor de saxophones, deux tubas, trois percussionnistes, guitare acoustique (amplifiée sur scène), double trio à cordes et contrebasse (amplifiés dans la salle) .

Concert publique du 5 octobre 2022 salle d'art lyrique CNSMDP

Interprétation:
Jean Deroyer, direction
Pierre Pradier, guitare
Orchestre des lauréats du conservatoire nationale supérieure de Paris
Sébastion Tondo, sonorisation (guitare, cordes et voix) 

Enregistrement: Jean Gauthier
Mixage: Dorian Seyller 
Mastering: Lorenzo Targhetta

Régression

Etude Friction n° 12

Slow Down of the sound of bats screaming at twilight in south of France. Around 400 bats coming out of their nest for the night.

Recorded very close by 2 Sanken COS11D Omnidirectional microphones
Lectrosonics Wireless Transmission
Sound Devices 788T Recorded
Sound Ref: 140821
Recorded in Argens Minervois (Aude, South of France)

More sounds on www.felixblume.com

Bats Screaming Slow Down (each 10sec 1/2 slower)

"premonitions" by @alenakoroleva [fom10]
CS/DL : f-o-m.bandcamp.com/album/premonitions

“Whenever I go, I can't help but notice signs of a looming change. I eavesdrop on conversations of creatures big and small, and like me, they seem uneasy and uncertain about what's to come. Something is in the air, dark clouds gather, winds are shifting course. Amidst the confusion and restlessness, the voices of non-human and human worlds blend in a worrisome symphony. This piece is an ode to anticipation, to the beauty of different forms of life on the brink of the sixth mass extinction. Joining in the chorus are the American toad, northern winds, an old kettle, Mr. Cat, tawny owl, crickets, domestic chickens and pigs, trumpeter swans, honey bees, truck horns, cormorants, seagulls and other elements and critters.” — Alëna Korolëva 

Something is afoot, the Tkaronto/Toronto-based artist and curator, Alëna Korolëva tells us in her new soundscape composition “premonitions”. American toads and water beetles set things in motion before the long-form piece journeys through a multitude of field recordings and non-human voices in a quasi-cinematographic fashion. Korolëva layers and manipulates sounds from the real into a sonic chimaera which mutates concrete ambiances into vaporous surrealities through the modes of collage. A storm blankets the soundscape, things grow quieter. Distant parallels with Luc Ferrari’s "musique anecdotique" come to mind, yet here the piece materializes in an acoustic docu-fiction of some sort, that takes the form of a waking dream. Various scenes, ranging from the mundane to the uncanny, unfold in eardrums exposing an underlying sense of earthly melancholy. A weight lurks throughout while winds, pigs, chickens, and mechanical apparatus weave into a strange agitated tapestry. A kettle whistles, a cat meows – Korolëva sprinkles the gloom with touches of humor and audible senses of home. Trumpeter swans are joined by a trumpeter human; Chayka Chekhov responds to the avian songs in a interspecies dialogue – echoing Jim Nollman’s “Playing Music With Animals”. Environments cascade into a finale droned out by truck horns. Their ringings and animal cries swell in a somber abstraction bearing the weight of a presentiment. “What does the future hold?” we ask ourselves throughout the album as we dissolve in imbrications of positionings, emanating from one another like stacking dolls. Poly-layered, “premonitions” engages in play, in negotiation with the disparate spaces and voices of a troubled world as if it created harmonious discord to decipher the ominous clouds gathering in the horizon.

C30 — limited edition of 60 
duration: 28’56’’ — piece repeats on both sides 
recorded, photographed, and composed by alëna korolëva 
trumpet improvisation by chayka chekhov 
mastered by mathieu bonnafous 
tape production by headless duplicated tapes 
published by forms of minutiae — fom10 — 2024

CS / DL

alëna korolëva — premonitions [fom10]

Movement 11 from my 2020 exhibition 'La morte mi troverà vivo' (death will find me alive). I dont know where to start or finish with the story of this piece - if you want the long version please go to bandcamp https://nomatesensemble.bandcamp.com/album/la-morte-mi-trover-vivo  there 3 essays on the exhibition in the notes and of course the whole work which is 90 minutes long. This piece for Intonarumori was the starting point for the show, written and recorded to be played at Luigi Russolo's grave as a form of 'calling ' to his spirit. La morte mi troverà vivo is a kind of sonic seance where i composed music as an evocation and used occult number theory to manipulate field recordings to capture what i term an 'imagined response from the spirit world'. The work was made in Italy July/August 2019 and exhibited in Hobart Tasmania in Jan/Feb 2020. I will post visual links and more info at a stage, though of course its a sound installation (i managed to get the whole room to softly rumble with speakers installed out of site in the walls and under the floor)so there isn't heaps to see. :) Thank you all, sorry to ramble !!

Piece For 3 Intonarumori (La morte mi troverà vivo  - mov. 11)

the Sea They Think They Hear
for soprano, flute, harp, piano, violin, viola and violoncello | 2021

Written for and performed by the Wet Ink Ensemble and Gelsey Bell
Recorded at Scholes Street Studio
Mix and Mastering by Murat Çolak

Text

The ocean, deep blue-green.
What we learn in the middle of the night is that the world makes us flinch. (Michel Serres, The Five Senses: Philosophy of Mingled Bodies)
Sounds an ocean, drinks it in.

Then everything became worse for the wear, damaged, used and used-up and ultimately destroyed.
More and more I made up for what was lost, I slowly improved myself, and I considered myself healed. (Ingeborg Bachmann, Malina)

I found myself trapped in a nightmare, standing alone at the sea. Everyday becoming more and more.
White and yellow and gray and horizonless. (Tove Jansson, The Summer Book)

the Sea They Think They Hear (2021)

Félix Blume is a sound artist and sound engineer. 
His work is focused on listening, it invites us to live sonic experiences that enable a different perception of the surrounding. He uses sound as a basic material in sound pieces, videos, actions and installations. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words.

Bats Screaming Slow Down (each 10sec 1/2 slower)

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