Love the textures at the beginning - reminds me of a numbers station broadcast

really like this, gets better and better as it progresses

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Disquiet Junto Project 0188: Complex Complex

This alt folk/chill pop combo is a collaboration with Lee Rosevere.

Shift

1990 ford sierra

for me complexity is a conceptual endeavour, it's more about the process than the outcome. at the moment, i see complexity as an integration of disparate elements: subjective-objective, creative-analytical, individual-communal, present-past etc. i'm aware that every piece of music i do follows on from another, they are related to each other in some (small?) way. working intuitively allows this to come out i think, but in addition i always combine conscious conceptual elements from previous efforts - my hope is that my soundcloud timeline provides a natural progression track to track. 

i've been working a lot with samples on my last few tracks, so i didn't add anything else. i just went through and isolated small sounds i liked then stretched them and blended in over the course of track (like in sleeping church) but here i was more interested in getting a balance between texture and frequency. i've been working with dronefx on my mixcloud pieces so i used that to generate some note progressions and changed the pitch of the low end sounds. i wanted to make an ambient piece that gradually develops with more texture (again like in all my recent pieces) and i used the concepts of the last two disquiet projects to complement this: i recorded the piece to tape as in summer:impermanence (& fortuitously coz it was the same decrepit old tape a little snippet of that track comes through right at the start!) then i faded between the tape version into the 'clean' version as the track progresses (like in last weeks project).

i wanted the finished piece to sound completely different to the source but still retain something of the spirit of it. i tested this by fading in and out my favourite section of the original  right at the end and i think it works pretty well.
₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


hidden complex (summer mix) (disquiet0188)

This weeks task was to take a track and make it more complex...

Complexity can be approached from various angles, I myself, not being a virtuoso musician, use blunt tactics. 
Previewing the material, I chose to sample (Complexification0010SH by Sun Hammer), The original material was sliced into sections and played back via pads in Ableton, triggering, bouncing and combining the material. After creating a rough sequence of events and patterns by hand and unquantized, I then added some sound design elements to add depth and texture to the sound.  Chains of effects where layered to try and add width.  I'm relying on a mixture of delays and edits to create transitions between the past and I just tried to make an interesting sound collage.

Oh yeah, and it was fun!

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/


Consumer Complex  - Disquiet0188 - Complexcomplex

Lately, I've been enjoying taking a single sample of something and building a whole new track around it. 

I did that mostly with this, a short sample from the 2nd mp3 and then used a bunch of PD samples from freesound along with some VST instruments in Ableton Live - throwing everything but the kitchen sink.. and yet somehow it still sounds unfinished. Will revisit this track in the future.

Started and completed in one session in about 2 hours.

***

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (There’s more background on album below the project description.)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 6, 2015, with a deadline of 11:59pm wherever you are on Monday, August 10, 2015.

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Lee Rosevere - Test Pattern [disquiet0188-complexcomplex]

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

i took the original sample and copied it 8 times as different layers which I then placed into garageband, with each layer being placed slightly to the left of the previous one. this created a complexity in the different spacing of notes and sounds.
I then deleted the beginning 20 secs of the second track (and deleted an extra 20 secs from each of the following tracks so that they all came in slowly to add complexity over an expanded period. i then added 1 effect to each of the layers
layer 1 no effects
layer 2 pitch shift down 
layer 3 slow panning tremolo
layer 4 vocal transformer (pitch down and fierce degradation)
layer 5 pitch shift down
layer 6 vocal trans. (pitch -15 slight degradation)
layer 7 delay (fast sweep)
layer 8 pitch shift down (-12) + 6 second reverb.


Strudel (disquiet 0188 - Complexcomplex)

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

- My intention was to have increasing complexity acting upon increasing complexity.
- Did this on my iPad. I used the 2nd track, but really used both. 
- The Sparkle app was used to apply the temporal characteristics of the 1st track onto the 2nd track, so the 2nd track was played with the sound characteristics of the 1st track.
- I took 3 minutes of each track. The 1st track was played at half speed and the 2nd a normal speed. So for this six minute piece the 2nd track (3 minute segment) played twice.
- For the first three minutes it is just the increasing complexity of the 1st track acting on the 2nd track, which itself is increasing in complexity.
- At three minutes delay was added, and then gradually increased.
- Around the last minute I manipulated the filter for additional complexity.
- Recorded the piece in Sparkle, then applied EQ and Compression in Auria.

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

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

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

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Transferred Complexity [disquiet0188-complexcomplex]

From The new Michelle McAdorey 
Album  Into Her Future

Disappearing Things

"Nothing means anything."
- Kurt Vonnegut

LYRICS
There’s no right and wrong or light and dark
There are only in-betweens
When this world gives you no end
And you know nothing but your means

Nothing means anything

I crossed state lines and changed my name
Twenty years down that way
Still lost in song; still don’t belong
Nothing’s changed nothing’s changed

Nothing means anything

It’s how you end, 
not where you start
Life is easy – 
it’s living that’s hard

Dispossession, constant rejection
A world designed to keep you low
So the smartest thing you can ever do
Is let go

Nothing means anything

Nothing / Anything

Before there was Angry Meal, there was u.n.i. Here is the Angry Meal version of u.n.i's "Little Shiny Diamond", our uptempo piano pop homage to all the women that can. I had to use the u.n.i. cover, because it's just so damn good. All credit to Warren Hicks for the art. Fun fact, the u.n.i version of this song featured the talented David Talbert on lead vocals. This one has Kevin Moore on vocals. Enjoy.

Little Shiny Diamond

This week's Disquiet Junto project, to create music for an imagined second volume of electronic music composed by R. Buckminster Fuller. I am already familiar with his work, but read around to reacquaint myself with the man and his ideas. One of the key concepts he introduced was Synergetics - the interactions of multiple simple systems that produce complex outputs that were not expected given the simple inputs.  Another word for Synergetic is Negentropic (i.e. the opposite of entropy) - which made me think of "Entropical Paradise" by Douglas Leedy, hence the title even though the music is not similar.   

I created two systems on my modular synth - one comprised of three LFOs that are interacting (A controls the speed of B, B controls C, and C controls A) to create a complex output, and a second comprising of two sequencers clocked by prime number divisions of the clock, with one sequencer feeding into the other, and vice versa (only with an inverted signal).  I had them set up so that they are 'self limiting' - as the output rises, more and more negative feedback is added. Each system is also linked to the other, so that the output of the sequencers controls the speed of the LFOs, and the output of the LFOs is mixed in with the sequencers.  

These two interacting systems were used to generate pitch information in various ways for three oscillators which are used as three different voices.  I used quantisers to impose limits on the system that represent the elements of human control. A third sequencer is then used to transpose the quantisers, to give a more pleasing melodic shape to the piece.  

R. Buckminster Fuller died in 1983, so I felt that any music would have to be appropriate for his time - As this is 'Volume 2',  I wanted the music to be something 'late' in his career, maybe a 'lost tape' - so I deliberately gave it the feel of a late 1970s interlude for Schools programming - the type of music that was played between programmes on the BBC while a clock counted down the next show (those from the UK and of a suitable age will know exactly what I mean!). To further add to that feel, I recorded to Tascam 4 track to give some warmth and saturation. 

More on this 226th weekly Disquiet Junto project (“Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller”) at:

http://disquiet.com/0226/

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/

Project inspired by a dream that C. Reider of Vuzh Music had:

http://vuzhmusic.com/

Image of album cover created for this project is by Brian Scott of Boon Design:

http://boondesign.com/

Negentropical Paradise (Disquiet0226)

The lost Angry Meal/Kevin Moore/u.n.i record. It haunts me still.

Flower Shirt (Feat. Dave Talbert)

Now That The Light Is Fading

Alaska

New single "Work of Art" out on June 17th 2016  
ISRC: FISR61600021

Music by Burning Hearts
Mastering by Greg Calbi
Artwork by Emil Bertell

Music video: https://www.youtube.com/watch?v=wovOCGG-qdw&feature=youtu.be

http://burningheartsmusic.com/

http://www.facebook.com/burningheartsmusic

Burning Hearts brand new single ‘Work of Art’ pays homage to human creativity, or then it's just an ordinary love song. It's the first song from the upcoming release which will be out later this year. The single is accompanied by a video where well known and less known artists and art visioneers appear.

- - 

Finnish indie pop stalwarts Burning Hearts (Jessika Neuman and Henry Neuman) are back!  A dreamy electro folk pop band specialised in writing timeless songs with beautiful female harmonies, poetrylike lyrics and a sound closely attached to nature. Their first album ‘Aboa Sleeping’ and second album ‘Extinctions’ have received tremendous amounts of love and listening and has taken the band to New York, Paris, Hamburg and the major venues in Finland. Extinctions was even VICE´s Best album of the month at that time and now with two critically acclaimed albums, a host of packed-out festival appearances and a formidable dose of musical experience already under their belts, these Finns are a real force to be reckoned with. Let´s hope Burning Hearts gets the attention it deserves with their new releases. Jessica and Henry have done the hard yards and gifted us with expertly crafted pop gems, now its the turn of purveyors of independent pop music to repay the favour. See you at the gigs!

Label contact: Tom Riski tom@solinarecords.com
www: solinarecords.com/
Facebook: www.facebook.com/SolinaRecords/

Booking; Antti Hietala Alt Agency & Management antti@altagency.fi
+358 44 560 8969


Distribution – Scandinavia Playground Music www.playgroundmusic.com
tomppa@playgroundmusic.com
Distribution – UK Shellshock Distribution jane@shellshock.co.uk
www.shellshock.co.uk

Distribution G/S/A and the rest of Europe: Cargo Records Germany info@cargo-records.de
http://www.cargo-records.de/

 


BURNING HEARTS: Work Of Art

PROCESS
Thank you so much, Marc (@disquiet) for thinking of Sterling in this project. As I told Marc in an email exchange where he told me of the dedication in this week's prompt, my thinking about how the sound waves we produce may somehow go on forever began with the Junto's week dedicated to the death of Jefferey Melton (@Nofi).

Nick Drake's 'Northern Sky' open tuning resolves to a Dsus4 chord (with the suspended G as the center note and F# up high)
D-A-D-G-D-F#

I was gifted knowledge of Drake while working at Rolling Stone as an intern in 1992, and ever since, 'Northern Sky' is the song I turn to when skies darken. Felt right to invoke it here by striking its open chord for a few minutes. (Note: Soundcloud's auto-compression revealed my perceived silences to be not so silent. Hi ho.)

Sterling passed in our home on 22 December 2016 ~6:20 EST. I trust he's suspended somewhere now between space & time in painless parallel peace. Fwiw, we had David Bowie on random shuffle and 'Absolute Beginners' came on as the process began. Perfect is a strange word in this context, but life works in curious ways sometimes to deliver solace.

All the love.

:^D

RELEVANT EXTERNAL LINKS:
My reflections on Sterling:
https://medium.com/westyreflector/sterling-at-the-gates-dcff944b76df

Alan Watts on how the universe is made of vibrations:
https://www.youtube.com/watch?v=rhHfKqLR6NI
https://www.youtube.com/watch?v=fmkwqn0mSQs

My prior piece "Riding Waves" to honor the passing of Nofi:
https://soundcloud.com/thereflectors/riding-waves

RIG
Guitar:
Jolie (2000 Gibson ES-335 DOT reissue, modded 100% with custom http://peekamoose.com electronics)

Pedal Board:
EQ Devices The Warden optical compressor -> Lotus Pedals SnowJob Underdrive -> tc electronic Flashback delay -> Diamond Tremolo -> EQ Devices Grand Orbiter -> EQ Devices Afterneath -> Strymon blueSky Reverb

Recording:
Line6 POD-XT (Blackface Lux emulator) -> MOTU 828mk2 firewire interface -> AcidPro 7.0 -> Harrison Consoles Mixbus (Mastering)

META
More on this 260th weekly Disquiet Junto project — “Tone Fade: An exercise in when a sound ends — at:
http://disquiet.com/0260/

(This project is for Sterling.)

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/disquiet-junto-project-0260-tone-fade/5809

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

Photo associated with this project is by Michel Banabila, used thanks to a Creative Commons license:
flic.kr/p/5GB7bn

sterling fades [disquiet0260-tonefade]

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

This is one of my 2 accounts!
https://soundcloud.com/happypuppy2

and everything else is here:
https://leerosevere.bandcamp.com/

Canadian label Happy Puppy has been in operation since about 2003. The label is home for Lee Rosevere's musical projects, but also features releases from artists around the world like Plumtree, Peter DiPhillips, Marc Stapleford, Allister Thompson, Cagey House. Reggie Regan, Logan Whitehurst, The Cosmopolitans, and many more. 

Nearly all of the releases from Happy Puppy Records are free and shared with a Creative Commons Attribution - Non-Commercial 4.0 license.

Lee Rosevere - Test Pattern [disquiet0188-complexcomplex]

Lee Rosevere - Happy Puppy Records

Recent comments

337is (three three seven is)

Nate Trier

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