Avenue #3 | Aftermath of the Overflow

I would like to apologize in advance :)
all songs, instruments(soft synths, moog theremini, korg volca sample and guitars fretted and fretless) & production by me.

3. Strange Attractor

Are you sure about hitting it with a hammer?

Equipment:YAMAHA Reface CP,Cooper Fx Outward V2,Chase Bliss Audio MOOD,Chase Bliss Audio Blooper,Electro Harmonix Analogizer,BOSS RV-5

lukewarm

Picture reference: https://www.goodeveca.net/nimrod/bowden.html.

Claudio Ferrari: electronics - percussions - vocal intrusion.
Alessandro Bona: flute - bass flute - sopranino recorder - reeds - electronics - percussions - bunch of keys - tuner.

It may appear that, in trying to make machines play games, we are wasting our time. This is not true as the theory of games is extremely complex and a machine that can play a complex game can also be programmed to carry out very complex practical problems.
(From the pamphlet accompanying the Nimrod, sold to Festival of Britain attendees).

Nimrod

Rejected orchestral piece for a music score (publisher's call), quite naive and straight forward.
Piano, upright bass and flute, full orchestra (string, brass and woodwind experimenting with several orchestral libraries).

Composed and performed by Daniel Diaz 2020.

Reworked and remixed on Thursday October 22nd 2020 inspired by this haiku:

wind tunnel . . .
a hummingbird fans
the morning glory

poem by kala ramesh
photo by pradeep ghildiyal uIou


https://www.naviarrecords.com/2020/10/21/naviarhaiku355-wind-tunnel/

Morning Wind -  naviarhaiku355

Created by DD on Friday October 23rd 2020
Synthesizers (8 tracks, mostly arpeggiators)

for this challenge: Creative Destruction
The Assignment: Show how you got to a tortured sound.

Step 1: Through some multi-step process, arrive at a complicated, tortured sound. Keep track of how you got there.

Step 2: Record a piece beginning with the end result: that complicated, tortured sound. Then transition to the start of the process and build back up to the end result, slowly repeating how you got you there.
https://llllllll.co/t/disquiet-junto-project-0460-creative-destruction

I created a very slow nice and tame, sequence with several arpeggiators playing complementary riffs in C minor. 

To produce the tortured sound I just accelerated the master 6X.

I respected the instructions, so it is in mirror:
Chaos/Fast - Calm/Slow - Chaos/Fast 
This is how it goes, for the tortured souls that really want to listen to this:
00:00 Count down
00!01 Start at  fastest tempo, all tracks playing at once
00:12 All tracks playing, slow down starts
00:27 Slow tempo, tracks start to mute one by one
00:59 Slow tempo, basic track remains and the build up starts, each track (re)entering in turns
02:27 All tracks playing
03:10 Acceleration starts
03:39 we arrive to the beginning's tempo, and finish

photo: bicycles, scooters and other things taken back from the bottom of the Seine river in Paris 2020.

The Construction And Deconstruction Of Chaos (disquiet0460)

AKAH
Guy-Frank Pellerin: tenor saxophone
01/11/2020

AKAH / Guy-Frank Pellerin

Linguaticum

For https://llllllll.co/t/disquiet-junto-project-0467-toolbox-show-tell

Thanks to the lockdown and the lack of proper work on these past 2 months I decided to (finally) open and old box of DAT I got from my storage place in Argentina when I was forced to close it and decide what to keep (bring it home on the plane), what to sell, what to discard.
These DAT (my go-to recording/archival media in the 90s)  included loads of tapes with Jams and impromptu encounters that I recorded there live and never ever listened to.
I realize now how good that attitude was,( just tape everything that happens at home or archival purposes), I did that all the time, stopped later, I promise to do it again in the future.

I discovered many gems, funny and intense moments, I include here one rehearsal for a song I composed in 1985 (one of my first proper composition) . I make a little bass solo that's pretty lame, but my partners live-at-home performance is awesome and I'm glad to make this available for you to listen and criticize.

This happened in Buenos Aires, March 9th 1995 at my home/studio in the Julian Alvarez street of the Palermo Viejo area. Recorded live to DAT (one mic for the guitar, one for the bass, a stereo AT mic for the percussion set.

Gabriel Kirschenbaum: spanish guitar
Ricardo Hambra: percussion (tabla, bombo) @udfmusic1
Daniel Diaz: acoustic bass guitar


Photo: Palermo Viejo, Plaza Cortazar by DD, Circa 2000.

La China (live studio rehearsal) - disquiet0467

Ensemble Modern
Conductor Lin Liao
Video: https://youtu.be/7GexO2-D97w

Avenue #3 | Aftermath of the Overflow

Giulia Monducci

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