SOOSKI - Dash Radio Set

On the heels of his On Vacation mini-LP that surfaced a few months back, leftfield Montreal producer CFCF returns to the International Feel label on July 15 with an EP of remixes, including his own soothing rework of "Fleurs Laissés Dans Un Taxi," which debuted on on RBMA Radio's First Floor, our weekly look at what's new in electronic music with host Shawn Reynaldo.

@cfcf
rbmaradio.com/shows/first-floor-shawn-reynaldo
http://redbullmusicacademy.com

CFCF - Fleurs Laissés Dans Un Taxi (CFCF Re-Version)[First Floor Premiere]

Frame By Frame A-Cappella. Song by King Crimson 

Frame By Frame A-Cappella

The Sunken Forest by Mike Oldfield
Photo by Steven Perilloux

The Sunken Forest A-Cappella

Going to California by Led Zeppelin
Photo by Steven Perilloux

Going to California- A-Cappella

Written early July 2016 on the way home from a final visit to my wife's family farm in Orrtanna, Pennsylvania, outside Gettysburg. RIP, Aunt Suzanne… 

This track also grieves not for an America that was - but for an America that could have been.

LYRICS
A few hours west of the City line
About 200 miles as the crow flies
Your family farm up on that hill
A place that made time stand still

Where Saturday nights on the outskirts of town
and ways of life were hand-me-downs
Every sunrise let you know just where you stand

There was love in this land
But time made other plans
In time you’ll understand
How much love was in this land

Now we’re taking one last drive tonight
To say one long last goodbye
To the land that held your family name
Thru an America getting auctioned away

By a world designed with no stop just go
That knows you never miss what you never know
That’s countin’ on you to forget where you stand

And all the love in this land

When the radio starts playing favorite songs
You can’t help (but) wonder, 'where did we go wrong?'

The moms and dads pass’d away
The kids flew away on the interstate
The farm is now in other hands
It’s up to you to still give a damn

Love In This Land (2016a)

The task to create a friendly "Hi" to the Juno probe based on the Morse Code for "Hi" (…. ..) became the perfect excuse to duet with my Teenage Engineering PO-16. I've owned it for a while and though I am fascinated by it and screw around with it at times, it hadn't yet found its way into the studio. Part of that is because it's one of those pieces of equipment I don't fully understand and really can't do much with, but its mystery deepens my affection. Kind of like astrophysics. 

In any case, the PO-16 generated all the Morse Code beeping in various notes around the key of D. The rest of the piece fell into place around the syncopated and stacked tones. Diving into my effect library, I found a sample of a countdown and liftoff of a Saturn I rocket, and the track crescendos around that. Built basic basic drum and bass tracks to keep it moving (one of these days I have to try to loose myself from rhythms) and dropped in a few sweeping pads from the archives. Ended up a bit longer than expected but there's not much difference between 1 minute and 2.75 minutes in light years, you know?

RIG
Teenage Engineering PO-16 factory, Peekamoose Guitars Custom M2, SmallSound/BigSound Sparkle Motion, tc electronic flashback delay, Earthquaker Devices Afterneath, Strymon blueSky reverb, Line6 POD-XT, MOTU 828-mk2, DAW: Sony Acid Pro (Win 8.1), Mastering: Harrison MixBus (OSX)

PROJECT
The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

In this project we’re going to send a friendly signal to the NASA probe, the Juno spacecraft, that just entered orbit around Jupiter. Well, we’re going to compose such signals. Sending them is a separate endeavor. We’re going to build on the “Say ‘Hi’ to Juno” endeavor, which had thousands of ham operators sending a message to Juno during its five-year voyage. The “Say ‘Hi’ to Juno” message was Morse code for “Hi” — that is, four dots followed by two dots (…. ..).

Step 1: Listen to the Morse code for “hi” (four dots followed by two dots) on repeat for a short time.

Step 2: Create an original musical composition that in one or more ways interpolates that Morse code.

--------------------------------------------
More on this 236th weekly Disquiet Junto project — “Say hi to the Juno Spacecraft by embedding Morse code in an original composition” — at:
http://disquiet.com/0236/

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 on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:
http://disquiet.com/forums/

More on the Juno Spacecraft technology at:
http://spaceflight101.com/juno/spacecraft-information/

More on the “Say ‘Hi’ to Juno” ham operator project here:
http://www.jpl.nasa.gov/video/details.php?id=1263

europa sunrise [disquiet0236]

Petra Haden's Album

River's Edge Theme- A Cappella

Although Suss Müsik proudly cites Steve Reich as an inspirational pioneer, we admit to a bit of frustration at the way audiences overlook the conceptual depth of Reich's more emotive works. Different Trains, written in 1988 for string quartet and tape, uses recorded interviews with family members and Holocaust survivors as its melodic framework. Reich creates a parallel between trips he took as a youth and the shuttling of six million Jews to German concentration camps. Taken as a totality, inflections of speech form a beautiful and sometimes uncomfortable coupling, a musical documentary captured as personal snapshot. The effect transcends minimalism into something haunting and didactic (in a good way); even three decades later, hearing the swell of strings behind "But today, they're all gone" sends shivers up the spine.

In homage to Mr. Reich, this piece uses four marimba patterns played in unison, alternating pauses between bars at random moments. A gently plucked guitar creates the harmonic structure, not unlike the motif in Reich's Music for 18 Musicians signaling that a transition is about to take place. The guitar is played with a jar of rocks on the fretboard and run through a Boss Terra Echo TE-3. The marimbas eventually reveal a phased loop of birds chirping, which were recorded just outside Suss Müsik studios (the weather today was gorgeous). The piece ends with a single marimba phased at the same rate as the birds' pattern, everything fading into a metallic sheen of acoustic percussion recorded with plenty of reverb.

This excerpt is part of a longer piece still in development entitled Misophonia. The piece is named after a clinical term describing the negative reaction some people have to repetitive noises like dripping water, chewing gum, the tapping of a pencil, etc. The image is an egg.

More on this 249th weekly Disquiet Junto project — “Wish the minimalist composer Steve Reich a happy birthday” — at:

http://disquiet.com/0249/

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/happy-birthday-steve-reich-disquiet-junto-project-0249/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

https://creativecommons.org/licenses/by/2.0/

Misophonia [Disquiet0249]

Carry Me

Rather than choose a few voice samples, I wanted to be able to "play" as many voices from the choir at once with each voice on an individual key. I was unsure how to do this, and got some help from Dave Hilowitz who makes his own sfz sample instruments (thanks Dave! Check out his site, linked below).

He showed me how to write a simple sfz pad and play the samples using the sforzando plugin.

I assigned each sample a random number from 00-59 and then mapped those files to the corresponding midi key and everything panned from extreme left to right manually. None of the samples were grouped by note or person, so I was hitting random chords and getting some really interesting clusters of notes. With some minor editing, this is essentially what I played.

I have also uploaded the sfz pad I made along with 60 voice samples (edited from the original versions to be in mono, match velocity and blend together better) to my google drive, if you're interested in playing around with it too:

https://drive.google.com/open?id=1qlPPgutlHLrZUAUSpu1kJVKat7SX1fe2

And here's David Hilowitz's site:
https://davehilowitz.com/

Photo by JR Korpa

**
Disquiet Junto Project 0419: Dischoir
The Assignment: Make music from 100+ vocal samples of held syllables by members of the Disquiet Junto.

Step 1: Welcome to a large, asynchronous, distributed choir. The Dischoir consists of 113 samples of held syllables by over 50 participants in the Disquiet Junto. You can access the files at the following URL. Note that a few of them deviate from the initial instructions:

https://www.dropbox.com/sh/pkuvmzwcdz6dx27/AACUsNclLLqToLp-OJWVkaQXa?dl=0

Step 2: Create a piece of choral music from the provided samples. You are encouraged to make music that feels “human,” that feels like it is simply a lot of people singing at once. However, of course, the end result is up to you; you can and should mix, mash, and create as you please.

Sanal Koro - disquiet0419

A Canadian netlabel specializing in creative commons releases. All the stuff at http://happypuppyrecords.ca

Sanal Koro - disquiet0419

Lee Rosevere

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