Disquiet Junto Project 0695: Clean After Each Use

The Assignment: Put a piece of music through the dryer.

Step 1: Think about lint for a moment — all the stuff that’s cast off from your clothes when you send them through the dryer.

Step 2: Now consider what might be cast off from your music if you could send your music through the dryer for a cycle or two.

Step 3: Select a piece of your own music, and send it through the metaphorical dryer. What results?

Tasks Upon Completion:

Label: Include “disquiet0695” (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-0695-clean-after-each-use/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you. Keep it light?

Deadline: Monday, April 28, 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 695th weekly Disquiet Junto project, Disquiet Junto Project 0695: Clean After Each Use — The Assignment: Put a piece of music through the dryer — at https://disquiet.com/0695/

Disquiet Junto Project 0695: Clean After Each Use

Sunday Morning

Disquiet Junto Project 0695: Clean After Each Use
The Assignment: Put a piece of music through the dryer.

I used "Waking Up in a Strange Room" from "Strange Rooms" https://krakenkraft.bandcamp.com/album/strange-rooms

The original from 2020 was heavy on delay and reverb. I removed all delay and reverb and even added two reverb-removing filters. So I "dryed" the sound. – I additionally made it shorter, because the dryer shrunked it. I changed all but the sequencer lines to strange sounds that are non-melodic, because the dryer changed the colour and totally ruined my clothing. – I like the result very much, because it's somehow an even wilder ride than the original.

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More on the 695th weekly Disquiet Junto project, Disquiet Junto Project 0695: Clean After Each Use — The Assignment: Put a piece of music through the dryer — at https://disquiet.com/0695/

Discussion:
https://llllllll.co/t/disquiet-junto-project-0695-clean-after-each-use/71665

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Some CC0 glitch sounds from:
youtu.be/P8Agc7G9098

Full Album

wake up in a strange room [disquiet0695]

More on the 695th weekly Disquiet Junto project, Disquiet Junto Project 0695: Clean After Each Use — The Assignment: Put a piece of music through the dryer — at https://disquiet.com/0695/

disquiet0695

This one got my head spinning, in a good way. It so happens that this week’s challenge coincided with the arrival of the Ferrous from Landscape FM, which is basically a spinning magnetic disc that can be used to create resonances with iron based materials, such as steel strings. So I took the literal route on that one. Dryers spin. So does the Ferrous. The second step was to imagine what would be cast off and what would be left behind should I send my music through a metaphorical dryer. I decided to focus both on what would be left behind and what would be cast off. First, the heaviest instrument in our household would be left behind, which happens to be a concert grand piano that my partner inherited from her father who used to play jazz standards on it - something that no one else in our household can do, sadly. Also left behind, would be anything that I could fit in my pocket and clutch onto, which happens to be the ferrous. And cast aside — all the other instruments, cables and fluff that clutters most electronic studios. Remaining are only two elements - the grand piano and the Ferrous in my pocket, which together are the sources for what you hear. The sounds were captured with a field record (which I could also cling to), which include fumbling and traffic noises. There is one effect “Fragments”— the only one that I could hang onto. And that’s it. There is something to be said for lint.

Edited, mixed & mastered on 24 Apr 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

Synth, loops & effects

Incorporates audio from two of my other pieces - 
https://soundcloud.com/blisterpop/i-am-outside-with-my-flag-naviarhaiku587
https://soundcloud.com/blisterpop/downstream-procrastination-naviarhaiku590

Photography/Art - Jim Lemanowicz, 28 Jun 2009, Massapequa, NY, USA on the edge of the woods. 

©2025 Jim Lemanowicz

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This original version of “Self-Cleaning Mausoleum” was submitted as part of Disquiet Junto Project 0695: Clean After Each Use. The Assignment: Put a piece of music through the dryer.

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

More on the 695th weekly Disquiet Junto project, Disquiet Junto Project 
0695: Clean After Each Use — The Assignment: Put a piece of music 
through the dryer — at https://disquiet.com/0695/

Self-Cleaning Mausoleum  (disquiet0695)

quick track for the disquiet junto 0695. all source material is the noise/click/crackle only residue from Izotope RX on a field recording of some birds in the early morning

lint [disquiet0695]

Disquiet Junto Project 0695: Clean After Each Use

It’s been quite a while since I participated in Disquiet Junto, but I really felt like it today. I chose a track I made 10 years ago and contaminated it with a lot of ‘ bubbles’ from the Audiothing plugin Bubbles and step by step cleaned it up & changed it into a dry sound again. In the background you hear the dryer running (crea8audio East Beast) and at the end I added a little beep.
I mastered the track for SoundCloud

You can find the original track on Soundcloud as well: https://on.soundcloud.com/zQ5sahSnQEKbrqoB7

More on the 695th weekly Disquiet Junto project, Disquiet Junto Project 0695: Clean After Each Use — The Assignment: Put a piece of music through the dryer — at https://disquiet.com/0695/

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

Contaminated Husk [disquiet0695-cleanaftereachuse]

activités parallèles

14-08-2015
Location specific live sound performance in the installation 'The Garden Which is the Nearest to God' by Taturo Atzu on the roof of the Old Church in Amsterdam.

Zeno van den Broek is fascinated by the experience of sound in and around the Oude Kerk. A significant contrast is noticeable between the noisiness in the immediate surroundings of the church and the silence within the church. The platform of Taturo Atzu adds a new layer to this contrast. A live performance, constructed from recordings of the environment of the church, the silence within the church and organ sounds, reveals the contrast between silence and noise, and the new position of the rooftop platform.

Come Closer is a public program on the rooftop of the Oude Kerk. In the midst of a city in motion, Come Closer offers a moment of reflection. From August 13 until September 6, every Thursday Friday and Saturday evening special guest speakers share a new perspective, a unique story or a performance with the public. High above the city in the open-air, a sort of contemporary hagenpreek (open-air sermon), Come Closer invites you to listen, look, experience, think collaboratively and to speak up.

Come Closer - Oude Kerk - live performance

Motion Sickness of Time Travel - Love Song

Machinefabriek - Verlaat (excerpt)

Streifenjunko: Everything we touch is electric

Taster of the new album by Richard Skelton, entitled 'Four', forthcoming on digital via Aeolian Editions.

Richard Skelton ~ Four (Excerpts)

For our fourth instalment, Richard Skelton and Phantom Limb Publishing are bringing us a psychogeographical mix.

British musician and sound artist Richard Skelton has been exploring the natural world, its cycles of life and decay and our relationship with landscape and human-constructed spaces with experimental atmospheres. Skelton has just published his latest album, Border Ballads (Corble Stone Press). After spending the last two years living in the rural northern edge of the Scotland-England border, a boundary demarcated by various watercourses, this hinterland topography has informed a series of musical recordings, twelve miniatures fragments of a larger whole, such is their unity in tone and timbre. 

For this mix Skelton shares that this mix is loosely constructed around absences, vacancies, and dereliction. The image of a deserted church, now falling into disrepair, located deep in the north Cumbrian interior: I pass by the building on a regular basis as I traverse the labyrinthine back roads between Scotland and England. Fittingly, therefore, all the music in this mix is sourced from vinyl — the ever-present sound of cracks and pops attesting to a kind of degraded materiality.

Perhaps predictably, the first recording that came to mind was Nico’s ‘No One Is There’ — a favourite song with a haunting melody, and my selection moved out from there, looking for records that had similar resonances, regardless of their provenance or genre. I was therefore interested to discover overlaps between the Baroque inflections of Boismortier’s ‘Concerto for 5 Tenor Recorders’ and the synthetic swells of Vainqueur’s ‘Elevation’, or the howling sonorities of Gareth Davis’ clarinet and Jandek’s cracked harmonica. 
The whole mix is held together by the rich field recordings of Joshua Bonnetta’s ‘What Lies in It’, which itself is a document of a Californian ghost resort, Salton Sea. In turn, various segues are made with Alan Lomax’s recordings of human voices, many of which crackle and blur with their own disintegrating physicality. These are various documents of (primarily North American) languages and dialects: Blood (00:50, Stoney (07:50, Beaver (17:48, English (25:45 & 36:00, Achumawi (48:45)and Nenet (54:05). Given this proliferation of languages, in the end, Nico herself has gone — vanishing through the cracks in her own song to leave only its refrain, looping eternally.

Tracklist:
00:00 Joshua Bonnetta — What Lies in It (Shelter Press)
01:05 Tirath Singh Nirmala & Richard Youngs — A2 (Untitled) (HP Cycle)
05:40 Stephen Vitiello — Shake (Farpoint Recordings)
19:05 Baby Ford — New York (Rhythm King)
19:37 Gareth Davis & Steven R Smith — Westering (Important)
23:46 Jandek — Harmonica (Corwood Industries)
29:06 Félicia Atkinson — The Owls (Umor Rex)
36:35 Nico — No One Is There (Refrain) (WEA)
39:00 Musica Dolce — Concerto for 5 Tenor Recorders in D Minor (Adagio) (Grammofonfirma BIS)
40:30 Vainqueur — Elevation (Version 3) (Chain Reaction)
50:10 Jessika Kenney & Eyvind Kang — Orcus Pellicano (Editions Mego)
55:00 Joshua Bonnetta — What Lies in It (Shelter Press)

Richard Skelton - No one is there, August 2019

First song! Check out the video on YouTube!

Deimos

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.

Contaminated Husk [disquiet0695-cleanaftereachuse]

VandB

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