Contains a snippet of narration of H. P. Lovecraft's 'The Colour Out of Space' by Ian Gordon for HorrorBabble.

Lovecraftian Herb Garden

Upstream (from the album "hinterland, out on Spotify)

In memory of John Hinks

Tall, wide-arching trees
Assume a cathedral shape
Until darkness falls
 
I found out today that John passed away. John participated in the Naviar Haiku challenge for over 4 years, almost every week, and shared both his music and poetry with us. He'll be deeply missed.

"John Hinks, aka FlownBlue, was a prolific and talented composer, and a regular participant in the Haiku challenge. Aside from his solo project, John was also involved in multiple projects: ‘Windfall Light‘ (with Jim Tetlow), ‘Abstract Blue‘ (with Kevin Buckland), ‘Light Fragments‘ (with Steve Escott), Szukanie (with Michał Wojciechowski), and Meadowlight (with Emma Reed)."

Haiku by John Hinks: https://soundcloud.com/flownblue

more halF unusuaL

halF archinG [naviarhaiku536]

Rivers

A track inspired by Naviar Records weekly assigned haiku poem.
Music by Nicola Fornasari and Pier Giorgio Storti.

Tall, wide-arching trees
Assume a cathedral shape
Until darkness falls

(John Hinks)

Until Darkness Falls (naviarhaiku536)

Disquiet Junto Project 0641: Re-re-re-re-revise
The Assignment: Take an old track and make it better.

Step 1: Listen through some of your recent recordings.

Step 2: Choose one you think would benefit from being updated.

Step 3: Revise the track you selected in Step 2.

Step 4: Document the changes you made in Step 3, how you came to conceive the changes you wanted to implement, and how you achieved them.

Tasks Upon Completion:

Label: Include “disquiet0641” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description explanation at https://llllllll.co/t/disquiet-junto-project-0641-re-re-re-re-revise/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you.

Deadline: Monday, April 15, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/

Newsletter: https://juntoletter.disquiet.com/

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).

Please Include When Posting Your Track:

More on the 641st weekly Disquiet Junto project, Re-re-re-re-revise — The Assignment: Take an old track and make it better — at https://disquiet.com/0641/ 1

Ceasefire - disquiet0641

The Texture of the Abyss

DESERT  SYMPHONY   1

Recorded June 20 2022 @ 43.62237° N, 70.20818° W

When visiting the Portland Head Light near Cape Elizabeth Maine, the sound of the surf below the lighthouse enticed me to listen closer so I crept downward slowly passing through geologic ages as I descended. The bedrock supporting the lighthouse belongs to the Cushing Formation which "is more resistant to weathering than the neighboring rock formations, and is why it forms such prominent rocky headlands and islands." Other types of mineral material is present amidst the formation, likely deposited through volcanic activity:

"Certain minerals from the Cushing Formation, carefully collected, processed, selected and analyzed in a US Geological Survey laboratory, have been dated at approximately 471 million years old (±3 million), which is in the Ordovician Period. This means that the volcanic eruptions that produced the Cushing Formation occurred before the Himalayas or Alps had formed, before the Atlantic Ocean existed, before the dinosaurs lived, and before the first land plants had evolved. The volcanos that must have existed near here at that ancient time have long since been eroded; all that is left is a layer of volcanic debris preserved in the rocks."

I could personally see and touch the time lines literally carved in stone with striations, fractures, and deposits intermingling like they'd always been there together. But the various rocks and minerals had found their way to this spot at differing points spanning hundreds of millions of years. The descent felt like I was going deeper into deeptime.

At the bottom I encountered a beach of basalt and gneiss stones all larger than my hand. Growing up near the Great Lakes in Michigan, I'm used to some wave action at a beach, but here, near the ocean, the tides produce significant swells and motion and I was stunned to hear these large rocks moving around and bumping into each other creating  mesmerizing sounds as the surf rearranged them on the beach swell after swell. The rocks vibrating together can be heard more clearly after the 1:10 mark of this recording and close listeners will also hear evidence of humans and sparrows talking along with the ever present fog signal marking time.   You can read more about the Balsalt Dike geological feature that creates the conditions for this auditory phenomena in the following link (which is also where the quoted material above comes from) :

https://digitalmaine.com/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1297&context=mgs_publications#:~:text=Seen%20best%20on%20a%20clean,to%20the%20minute%20mineral%20fragments.

More on the 643rd weekly Disquiet Junto project, Stone Out of Focus — The Assignment: Make music inspired by a poem — at https://disquiet.com/0643/

This week’s project is based on a text by Yoko Ono, originally published in her book Grapefruit60 years ago, back in 1964.

"Take the sound of the stone aging.” Basalt Dike at Portland Head Light [disquiet0643]

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2

The Spirit Of The Thing Itself (disquiet0654)

Experientis imulsenti

Welcome to halF unusuaL, an evolving space inspired by play in the spirit of ‘hai’ (meaning “fun” or “unusual” in the word haiku). Here, improvisation connects the unexpected, mining the boundary between music and non-music to shape sound worlds that feel oddly familiar in their oddity. Listen freely, explore deeply, and for the sounds to live for your eyes as well as your ears, please stop by the YouTube channel. Thank you for joining this journey! Your support helps keep this afloat ... and is HUGELY appreciated 🥰