Birthed in the playful amateur experimentalism of New York's 1970s no wave scene, Sonic Youth are potentially the definitive American rock band of the post-punk era. From the creative blossoming of EVOL, to their mammoth art rock masterpiece of "Day Dream Nation" to the surprising commercial victory of "Goo", the band continuously bucked convention, and remained in flux creatively up until their unofficial ceasing in 2011.  
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/in-focus/episodes/in-focus-sonic-youth-22nd-march-2024

In Focus: Sonic Youth 220324

http://www.self-titledmag.com/2016/05/03/premieresecond-woman-100407jd7/

Second Woman - "100407jd7"

Original track from "Alarm Will Sound Presents Modernists" available from Cantaloupe Records. 

https://alarmwillsound.bandcamp.com/album/alarm-will-sound-presents-modernists
https://matthuxley.wordpress.com/
https://soundcloud.com/matthuxleymusic

Varèse - Poème électronique (Matt Huxley Remix)

The Stars In His Head (Dark Lights Remix)

cheeta3

Thank you to @autumn-drones for being a gracious host, a fine collaborator, and an amazing caretaker of synthetic technologies that would make your head spin. Check out his releases:

https://autumndrones.bandcamp.com/

So this week's Junto asks us to share a trick or technique that we utilize with a particular piece of hard/software. My response might be perceived as a willful disregarding of the spirit of this task, but I'm completely serious in my desire to share one of the most important aspects of music creation for me; namely face-to-face collaborations for real-time improvisations. I get such a boost of creative energy by working with other individuals who are consciously creating and responding to our shared space. The improvisational nature makes for an invigorating propulsion, and having another person helping to keep the figurative balls up in the air whilst juggling our way through means one can take more and more risks in development. Are their bumps and blemishes? Of course. But there are also moments approaching the sublime. 

Find someone to create with live. Have them come to your place. Go to their place. Take a few pieces of gear. Don't overthink it. Jump in and let it all hang out. Even if the results aren't up to your normal standards, I guarantee you'll learn something new about how you create. If you're fortunate enough to have access to a person like Timothy Stoneberg (aka autumn drones) all the better for you because you'll have even more opportunity to learn through explorations. 

This piece is the first one that we knocked out and we started it within minutes of sorting out our audio/control routings. Timothy's Cirklon was his co-brain in this, and they fed MIDI to my Two-Voice Pro. This made my instrument behave in a way that I'd not encountered before. There were certain things that I couldn't do that I normally can ... like octave shift the voices up and down with the press of a button. This meant I would be locked into a relatively narrow pitch range which was an unexpected  limitation. So I had to work to change things that I could control, like timbres. I also stepped out and did more raw oscillator tunings that I would normally do, sweeping the dials up and down to at least partially change the pitched zone. 

As the song proceeded, I found myself fatiguing of some of the repetitions, and I was keen to try introduce rhythmic variations. I began opening and closing the envelope stages more aggressively, and using the knobs more like I used to approach DJing with a mixer's crossfader while cutting and scratching. This opened up a whole other area for exploration. Finally, being synced to a shared global clock, I discovered I could still adjust my sequence's length anywhere from 1-16 steps, and uneven numbers would create interesting results when played against Timothy's chords, drums, and lead lines. 

I know this is ridiculously long contribution, but it really pushed us both to keep things developing, morphing, and changing as the nearly 40 minutes passed. 

This was the first time that we worked together and it won't be the last. Production, especially electronic production, can be really an isolated experience. I think that's why so many of us reach out and participate in groups like this. To feel a sense of camaraderie, and to share inspiration with each other. If you enjoy it online, you GOTTA' try it in the flesh. 

More on this 242nd weekly Disquiet Junto project — “Make (and annotate) a track that provides an example of a trick/skill/tip you want to share about a piece of musical software or hardware” — at:

http://disquiet.com/0242/

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:

http://llllllll.co/t/share-yer-knowledge-disquiet-junto-project-0242/4218



Video

Quilting Time At The Chime Factory (disquiet0242)

From the LP, Caustic Noir out now on Sparkwood Records 
https://sparkwoodrecords.bandcamp.com/album/caustic-noir

Caustic Noir

The Witching Hour

the number 3 corresponds to ((( sevenism))). 
I added a drum kit in pure data.

thanks to sevenism

date release 03 03 2017

shifting sands - sevenism + logarytmics (disquiet0270)

En juillet 1981, Bernard Faivre d’Arcier, le directeur du Festival d’Avignon, crée Radio Festival, une des premières radios libres. Il donne carte blanche à Georges Lavaudant pour inviter les auteurs contemporains qui comptent à ses yeux. Entre autres, Lavaudant décide d’inviter Jean Eustache. Jean-Jacques Schuhl sert d’intermédiaire et Eustache lui fait répondre qu’il ne sort plus de chez lui mais qu’il peut lui faire parvenir une cassette audio. C’est Jean-Louis Martinelli qui m’a révélé l’existence de ce document très rare et m’en a confié une copie. Le 3 mai 2017, la Cinémathèque française a diffusé cette cassette, dans la pénombre de la salle Henri Langlois, au cours de la soirée d’ouverture de la rétrospective Eustache, juste avant d’enchaîner avec la projection de Mes petites amoureuses.

Il faut imaginer Eustache, cheveux longs, barbe de Robinson, reclus dans le petit appartement de la rue Nollet, en train d’enregistrer ce qui ressemble à un court métrage. Comme un DJ de radio dans un film américain, Jean est seul, entouré de son mini-cassette, de son répondeur téléphonique et d’un électrophone. Tout est calé à l’avance et, un micro à la main, il s’enregistre et passe d’un appareil à l’autre pour lancer les extraits sonores qu’il a choisis. Il a tout préparé, certainement écrit ce qu’il va dire (l’ami d’Alexandre dans La Maman et la Putain profère : “Il n’est pas question d’improviser. Si tu veux que je parle, tu me dis ce que j’ai à dire”) et il se lance. Pas de montage possible, c’est comme du direct. Peut-être une deuxième prise ?… 
Outre le caractère très eustachien du document, ce qui est remarquable dans cet enregistrement c’est qu’on entend la voix douce et posée d’Eustache avec son accent chantonnant du Sud-Ouest. Certains lecteurs de mon livre, relevant les mésaventures et les contretemps survenus au cours des tournages, m’ont dit qu’il fallait avoir beaucoup de patience pour supporter ça de son réalisateur. C’était compter sans le charme et la séduction d’Eustache. Au cours des trois films que j’ai faits comme assistant avec lui, je l’ai vu s’emporter, être injuste, bouder, quitter le plateau… mais je n’ai pas le souvenir de l’avoir entendu hausser la voix ou crier.

La cassette a été diffusée sur Radio Festival en juillet 1981, elle a dû être enregistrée en avril ou en mai, peut-être plus tard. Dans la nuit du 4 au 5 novembre de la même année, Jean Eustache se donnait la mort d’un coup de revolver.

Luc Béraud - 8 mai 2017

« L'oiseau des vacances » : un enregistrement rare et inédit de Jean Eustache

old hewlett packard 200C sine wave generator, cassette tape player, other instruments, harmonium, guitar

Classical Collage

g03

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