Name: 3 - Ambrose Chappel & iKashflo (Glitchfield Remess) by Glitchfield Plaines
Duration: 5 min 30 s
Description: A remess of the track 3 by Ambrose Chappel & iKashflo. Check out the fabulous original version here... https://soundcloud.com/ambrose-chappel/ambrose-chappel-ikashflo-3

This is really awesome!!!!!!!!!!!!!!!!!!!!!!!!!!!!

dope remix!  Thank you sooooo much for the good look!!

This sounds better everytime i listen to it : )

A remess of the track 3 by Ambrose Chappel & iKashflo. Check out the fabulous original version here... https://soundcloud.com/ambrose-chappel/ambrose-chappel-ikashflo-3

3 - Ambrose Chappel & iKashflo (Glitchfield Remess)

I've tried here to add rhythmic complexity to some fairly simple ambient pads and dub techno stabs. The idea is to keep the interest going with the percussive elements while keeping things minimal.

Submerge

Kicking Up The Leaves (24 bit remaster)

An ambient post-rock remix of an ambient post-rock song. Keeping the flow going ...
Created for the E.O.S Soft Landing Remix EP - available as a free download from @mobius-spin: https://mobiusspin.bandcamp.com/album/mbsspn028-soft-landing-remix-ep

Lyrics (by Belly Full Of Stars):

Night is formed,
with no ending
Seas are flowing,
skies are rending
I have followed,
leaves in changing
I have come,
to my Soft Landing

Original song by E.O.S found here: https://soundcloud.com/eos_sound/softlanding

Thanks to E.O.S for creating such a beautiful track to start, and to Mobius Spin. 
Check out the other talented artist on this EP - @themmuzak @webbtj @morpion @slowraiders @roofhare

Free Download

E.O.S - Soft Landing (Soft Stars Remix By Belly Full Of Stars)

Created for the Disquiet Junto Project 0218: Sound Passage
The Assignment: Following the path of artist Kate Carr(@katecarr), explore sounds from a distance.

For more information on this project - http://disquiet.com/2016/03/03/disquiet0218-soundpassage/

For this project I recorded conversations with friends at my house from different locations, while they gathered in the basement - from the top of our stairs (roughly 30 feet away), about 15 feet further and around the corner in our kitchen, and about 30 feet further and down the hall in our bathroom - with windows open in all upstairs locations.

A couple of thoughts stood out to me while working on the project:

1. The prevalance of noticable background noise, and how unnoticed it becomes when conversation takes center stage. I barely registered some of these ambient sounds while recording, but listening back, they suddenly became focal points in the recording. This is expressed in the piece with the car noise in the main rhythm loop, and the isolated whistling train tone that became the main tonal feature in the piece.

2. The sounds that struck me the most were the ones recorded in the bathroom, one story directly above my friends, with the sound mainly coming through the floor. Their voices were the most distant-sounding there: the quietest, the most muffled. They sounded removed from the world from where I was, but also captured and contained; buried. An interesting phenomenon, considering that I was actually in very close proximity to them at that point - but the barriers of wood, drywall, tile and insulation created the most perceived distance of any of the recording locales. Material obstruction trumped distance. Opening the window made the voices sound slightly closer - I could hear a hint more distinction, more frequencies seemed to escape from the closed room below.

3. Distance adds confusion to voices - intertwines sound. At one point in the recording simultaneous conversations were captured at the top of the stairs. Having been in the room (and one of the voices), the conversations when nearby seemed clear, separate and intelligible. Listening from a distance, they all arrive at equal loudness, colliding in time and noise at the top of the stairs. What were separate threads of thought and sound, now knotted together.

The piece starts with a badly edited snippet of conversation recorded in the kitchen, with a car zooming up the street accidentally captured in the background. I kept the DC pops in the edit as I looped, using them to generate part of the rhythm track.

The first voices heard are the intertwined conversations, recorded at the top of the stairs, artifially muffled (with a low-pass filter), digitally mimicking the effect I noticed while recording later in the bathroom, where the sound came through the floor.

The the higher sustained tone is the enhanced/filtered sound of a distant train whistling along its tracks. That happened to be a background noise I noticed later, captured through the kitchen window.

At about 1:10 I bring in the unprocessed sound of the conversation recorded from the bathroom with the window open.  At around 1:42 a loop of  muffled laughter also from the bathroom recording starts bouncing around the piece. 

At 2:34 I bring back the filtered, multi-threaded conversation from the beginning of the song . As the piece comes to an end, I slowly raise the filter frequency until you finally hear a the unprocessed conversation loop, as it sounded at the top of the stairs.

All sounds recorded in the wild on a Zoom H4n. Audio clips were edited in Audacity, and Carrying The Conversation was produced in Sonar X3 using Camel Crusher and SoundToys VSTs.

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

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


Carrying The Conversation [disquiet0218-soundpassage]

*Three stem/test tracks from this piece are now available as part of @lunardonut2016 collaborative project. You can download them here:

https://soundcloud.com/lunardonut2016/rerefraction-fraction-by-belly-full-of-stars-offer-for-collab

https://soundcloud.com/lunardonut2016/rerefractionprefraction-undersurface-by-belly-full-of-stars-offer-for-collab

https://soundcloud.com/lunardonut2016/rerefractionprefraction-hummakesmyearsbleed-editionby-belly-full-of-stars-offer-for-collab

This song created originally for the Disquiet Junto Project 0223: Layered Sameness
The Assignment: Record multiple, slightly varying takes on the same looped composition in this project by Monome’s Brian Crabtree (@tehn).

A 4 measure phrase, repeated 4 times, performed live and recorded on 4 different tracks.

Solo vocal through a Shure SM7B, processed to track with a Tube Amp sim (with a bit of drive) and chorus on a Line 6 POD, then through a gated (by input level) reverb from a Lexicon MPX100.

I chose a voice as a sound source because of it's variable nature - you can never get the same take twice. I also tried to (randomly) "perform" the bits of gated reverb glitching on each pass by changing my distance to the mic as I sang. I knew I'd be tempted to add harmonies if I only sang a one or two note riff, so I built the melody around a triad, and hoped my timing would be off enough, so that looping it would generate the harmonies(it did).

More on this 223rd weekly Disquiet Junto project (“Record multiple, slightly varying takes on the same looped composition in this project by Monome’s Brian Crabtree (@tehn)”) at:

http://disquiet.com/0223/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Rerefraction [disquiet0223 - layeredsameness]

A little track I recorded today with my SUB37 and space echo...... with a little help from my modulars.

MOGWAI IN THE GARDEN

Demidæmon Fire Feat Technotreason

Water Harmon

Forever Falling by Simon Irvine
Words and Music by Simon Irvine
Recorded April, 2016 in Brisbane Australia

Forever Falling

From the debut album, "No More Lonely Robots".

No More Lonely Robots

Faces

To book Holden & Zimpel, please speak to Naomi at Earth Agency: https://earth-agency.com/

Our resident synth wizard James Holden’s collaborative streak continues apace as he teams up with celebrated Polish clarinet guru Waclaw Zimpel for a four track EP of deliciously krauty in-the-moment improvisations, recorded over four days in Holden’s London studio back in the summer of 2018. The richly textured 'Long Weekend EP' pits Holden’s handmade modular synth rig against Zimpel’s multifariously expressive alto clarinet, judiciously supplemented by organ, voice, assorted percussion and (on 'Tuesday' & 'Wednesday') the Balearic-tinged guitar playing of Zimpel’s long-time collaborator Jakub Ziolek, making for an immersive and transcendent lost weekend of deep listening.

Finding himself at a loose end in London one July weekend in between UK live shows, Zimpel put the downtime to good use and joined Holden in his Sacred Walls studio to undertake a series of musical experiments, with the goal of completing one track per day. Over the course of the weekend, built up in sequential tape-layered live overdubs, first the lush hypnotic undulating noodles of 'Saturday' would emerge from the ether, followed by the rushy enveloping expanses of the stridently emotional 'Sunday' (Holden’s own personal favourite from the EP) – a productive two days indeed.

3 - Ambrose Chappel & iKashflo (Glitchfield Remess)

Glitchfield Plaines

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