yes, loving the BBC Radiophonics workshop vibe, I am also using the idea that it has to fit pre-1983 as well...

Well done, I feel like I am inside one of those early space age documentaries about the wonders of technology, when the whole thing had a hopeful innocence about it...

Negentropic = new concept and word for me and I love it. Thanks for sharing this.

Inspired key changes. Keeps things fresh and negentropic!

This sub-theme rising up through here really pushes things to another level.

This work, concept, and execution is immensely pleasing to all of my sensibilities. WELL DONE!

Disquiet Junto Submissions

Composition inspired by haiku written by Marco Sebastiano Alessi

Endless echo
Footsteps on an empty house
Once full of life

Once Full Of Life

Once Full Of Life - (naviarhaiku512)

This week's podcast features music made by Naviar's community inspired by
Jerome Berglund’s poem “ore train / bright colors / passing quickly”

Tracklist:

Leon Clowes – passing
zenbytes - passing colors
Night Note - Ore Train Bring Colors
Debroc - Bright ore
Stan Magendanz - ore train
Halcyon Hum - Passing

https://www.naviarrecords.com/naviarhaiku527-ore-train/ 

Credits:

music intro: “This ruined house” by Tuonela
voice intro: Ian Joyce
cover image: Chuttersnap
voice reciting the poem: Marco Sebastiano Alessi

Naviar Broadcast is a radio programme curated by Naviar, broadcasted on Resonance Extra every Wednesday at 7pm UK time. Thirty minutes of experimental music made in response to a weekly assigned haiku poem.
To have your music featured on the show, you'll have to participate in the Haiku music challenge: https://www.naviarrecords.com/about/naviar-haiku
support the show: https://www.naviarrecords.com/support-us/

Naviar Broadcast #307 – ore train – Wednesday 21st February 2024

This track is available on Bandcamp as pay-what-you-want: https://future-boy.bandcamp.com/track/entreaty-to-a-tree

There is a Giant Sequoia in Seattle's Volunteer Park named Franklin who I have spent many hours talking with and leaning on for support. This is a song that imagines asking Franklin for wisdom and receiving their response. The tune and structure is inspired by / adapted from the African-American spiritual Were You There (When They Crucified My Lord), which is a song about witnessing suffering. Since I have spent so much time witnessing Franklin and having my suffering witnessed by them, it felt appropriate to use Were You There as a model.

Entreaty To A Tree

So the Disquiet Junto assignment this week was simply to make a piece of music in 29/16 time. This is a super weird time signature. I remembered fooling about with Dilla-type beats using quintuplets (where you count 5s between every beat) and I figured exploring groups of 5 16ths might be worth it. It's a strange feeling to try and take a very mathsy approach, like fitting beats tightly on a fixed grid of 29 steps, and try to replicate some kind of "real" shuffle.

In the second half of the track I use this sample pack from Freesound. A Korean instrument that sounds like a koto. https://freesound.org/people/spt3125/packs/1534/

More on the 664th weekly Disquiet Junto project, Mother Beat — The Assignment: Record a piece of music in 29/16 time — at https://disquiet.com/0664/

Jet Jaguar - Kāo [disquiet0664] (free download)

A live improvisation using a Dingwall NG3 6 string bass into a pair of Chase Bliss pedals; a Mood and a Blooper, and an Empress Zoia pedal using a patch I designed myself.

2812

A play with the modular, started out as a big evolving patch that then crystalized into this more repetitive jam thing. 

12Jan2025Jam

This is part of Disquiet Junto Project #0722: Spook Street. See more at https://llllllll.co/t/disquiet-junto-project-0722-spook-street/73313/5.

Escapism 10

You Might Say I Haven't A Care in the World

Spar Run

This is part of Disquiet Junto Project #0727: Polar Strategies. See more at https://llllllll.co/t/73513/5.

Polar Strategies

My first go at the Disquiet Junto challenge.   
The first thing I did was create a shifting 'cloudlike' top level. I did this using three detuned oscillators,  fed different sequences and put through a long cloud reverb in the Strymon BigSky.  For the 'firm bottom' I used the Dark Energy synth, feeding it a slower sequence of notes, but giving it more frequent rhythmic / percussive changes to filters and amplifier.  This had no reverb applied, just echo, to keep it firm and to avoid muddying the reverb cloud. As this is a piece for a possible dance performance, I included a rhythm pattern, which is purely white noise put through a filter that is rapidly opened and closed to varying degrees. This was put through a panner that sends it to different echos to make it more interesting than just a straight rhythmic pattern. This was a single live take, no overdubs. 

Disquiet Junto Project 0222: Bounded Foundation
The Assignment: Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom.”

This is the second project we’re doing with artist and engineer Paolo Salvagione for an extended piece of choreography he’s working on. The result of the project is intended for potential use as a sonic backdrop for the dance performance, and also as a form of research into the materials and ideas being explored by Salvagione and the dancers. (Audio produced for this Junto project will not be used by Salvagione without its composer’s permission.)

Step 1: You will be creating a short, roughly four-minute piece of music. First, take into consideration the setting. Visualize that the piece would be performed by a young solo female dancer. She is dancing in a large space. The sounds of this Junto are the only sounds accompanying her movement.

Step 2: Your piece should have two perceived “levels.” The “top” level should be soft and cloud-like. The “bottom” level should be firm but ever-shifting.

Step 3: Make a piece of sound/music roughly four minutes long that meets the criteria of Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

http://disquiet.com/2016/03/31/disquiet0222-boundedfoundation/

Bounded Foundation (disquiet0222-boundedfoundation)

My attempt at this week's Disquiet Junto - I stuck with a Steve Reich feel. First I came up with a five-beat phrase that I felt was interesting and was not too difficult to play steadily at a reasonable speed. I then created a basic sound on my modular, using ring two ring-modulated oscillators tuned an octave and a fifth apart.  I varied the settings with each take, adding a bit of modulated reverb on some and leaving others dry.  I then faded some of the takes in and out, leaving others to start / finish abruptly.  There are six layers here, any more was just getting muddy. The title is because the effect reminded me of my honeymoon in Salzburg, my wife and I were sat at a restaurant on Mönchsberg, overlooking the town, and the church bells starting ringing out from the various churches. There was an amazing phased sound as they drifted in and out of time with each other, it lasted a good few minutes.  

http://disquiet.com/2016/04/07/disquiet0223-layeredsameness/

Honeymoon Bells Surrounding Mönchsberg (disquietjunto0223-layeredsameness)

I played around a bit more with the Disquiet Junto 223 file - layering pitched-up and reversed copies over and over, and then bringing in and out the different pitched versions as the track plays. I also slowed it all down to half speed, and smothered it in reverbs to smooth out the ringing.

Layered Sameness 2 (disquietjunto0223-layeredsameness)

(A newer more 'radiophonic' version , with added 'Arctic' melody originally written by Delia Derbyshire and tons of reverb is here: https://soundcloud.com/ikjoyce/arctic-disquiet0224-coldembrace) 

This week's Disquiet Junto project is to make a track using a field recording of the fridge... http://disquiet.com/2016/04/14/disquiet0224-coldembrace/

I took two recordings - one from down the back of the fridge, and the other from inside the fridge.  I then layered multiple copies of both recordings in ACID pro, and changed the speeds of each so that the pitch of the  hums created nice harmonic textures. Finally, I added a little EQ to each to highlight certain tones, and then used volume curves to fade the notes in and out.  There is NO reverb on this  (in reference to this: http://disquiet.com/2016/03/11/rimbaud-scores-ryman/#comments) - I used only the dry recordings! EQ was the only effect, and that was used sparingly just to highlight specific tones.

To me it sounds a little like an impatient Eliane Radigue piece!
 

Cold Embrace (disquiet0224-coldembrace)

I played a melody called 'Arctic' written by Delia Derbyshire (found in the archives at the fabulous WikiDelia.net -  just a scrap of manuscript - http://wikidelia.net/images/a/a4/DD115523.jpg )  on the BassStation2 using a sound I made specifically for this melody, over the top of my Disquiet Junto 'Cold embrace' track which is made entirely from two recordings of my fridge. I then added an enormous amount of multiple reverbs to it.  I hope Delia would have enjoyed the use of a fridge to add a soundbed to her Arctic melody :-) 

The soundbed of fridge hum with no reverb is here: https://soundcloud.com/ikjoyce/cold-embrace-disquiet0224-coldembrace

Arctic (disquiet0224-coldembrace)

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)

This will be my place for Naviar Haiku and Disquiet Junto entries.
-Experiments may appear on YouTube from time to time: 
https://www.youtube.com/user/ikjoyce
-Albums will be released on Bandcamp: 
https://ikjoyce.bandcamp.com/

New album "The Endless Solitude Of A Skylark's Song" now available:
https://ikjoyce.bandcamp.com/album/the-endless-solitude-of-a-skylarks-song

Album 'Selene' now available on Cassette / Download from Naviar Records: 
https://naviarrecords.bandcamp.com/album/selene 

**Albums now available on iTunes, Amazon, Deezer, Spotify, and Google Play**  

I make electronic ambient and drone music using modular synthesis to explore themes of nature, space, isolation, man/machine interaction, and the borders of the sleep/wake cycle.

Negentropical Paradise (Disquiet0226)

ikjoyce

Recent comments

vuzhmusic

337is (three three seven is)

337is (three three seven is)

337is (three three seven is)

Related tracks