Quentin Lauvray

My process:
Entirely made from the samples of a truck on the highway, radio static, and rain.

- Imported the samples into Ableton, chopped up transients, dragged my favourite chunks into "sampler and simpler" and set the in and out duration of the clips to create an instrument from the samples.

- The drums are mostly truck sounds and rain–– tiny clips transposed and EQd (chopped up and dragged into drum rack clip slots, arranged by their likeness to snare, kick, HH etc)

- Drums were drawn in brick by brick, The Synth instruments created by dragging into simpler were also drawn in, then I changed the envelope pitches as well to make the sound have a falling winding down effect.

- I included the radio static samples as a whole clip pitched up over time, creating some chaos :D  
- lots of EQ filtering

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Disquiet Junto Project 0479: Truck Radio Rain
The Assignment: Locate three sound sources and make something with them.

Step 1: Locate online or record by yourself the following three sounds: a vehicle driving speedily, static between radio stations, and rain.

Step 2: Make an original piece of music using those three sounds. Do what you want with them, but only use those three sounds.
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More on this 479th weekly Disquiet Junto project — Truck Radio Rain (The Assignment: Locate three sound sources and make something with them) — at:

https://disquiet.com/0479/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0479-truck-radio-rain/

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

Sensory Overlord - disquiet0479

Dr Cat Moir (University of Sydney)in conversation with Dr Sebastian Truskolaski (King's College London) about his new book, Adorno and the Ban on Images (Bloomsbury, 2021). Part of King's College London's Comparative Literature Department's research seminar series, 3 March 2021.

Adorno and the ban on Images

for ensemble and 3d virtual music environment

visit the virtual environment here:
https://fabrica.ircam.fr/

watch the video recording of the performance here:
https://www.youtube.com/watch?v=6LkFICJFj24

Music by Giulia Lorusso
Web developing , Benjamin Lévy
Visuals and Web design by Giovanni Muzio

Recorded in Paris, Grande Salle du Centre Pompidou on March 19, 2021
by
Ensemble C Barré
Guillaume Bourgogne, conductor
Benjamin Lévy, sound design

Fabrica (2020-21)

This piece has been composed as part of the ACTOR Project (https://www.actorproject.org)
live recording on May 4th 2021 by :
Jeanne Côté, Violin
Martin Daigle, Percussion
Eric Bourgeois, Trombone
Matias Perinetti-Paniagua, Bass Clarinet
Charles-Eric Fontaine, Conducting
Recording : Yangwanqing Zhou, Ying-Ying Zhang & Martha DeFrancisco
Thank you to : Ryan Cass (Trombone) and Elia Foster (Bass Clarinet)for their creative input

...for narrow is the door... (03/2020)

Listening with good quality headphones in a quiet environment is recommended.

2021.12.05 Rufous Whistler and Kangaroo. Dawn. Mallee Country. Early Summer.

This piece was performed by the fabulous Mivos Quartet at the Dimenna Center for Classical Music, NYC. 

Western ears are very sensitive to certain formulaic chord progressions commonly used at the ends of phrases in tonal music (cadences). In my piece, Many Many Cadences, I stretch the listeners’ perception of cadences by recontextualizing these predictable chord progressions in very fast cells that are constantly changing key and register. These lonely, disjunct ends-of-phrases eventually congeal and transform into new kinds of phrases and sound objects.

Many Many Cadences

Mauro Lanza - Variazione su Beethoven/Diabelli #6

Cavitation is written for and performed by ensemble Belgrade Baroque (two baroque violins, baroque viola, viola da gamba and harpsichord).
The soundscapes of the piece show us how a propeller gets damaged by cavitation effect in real life. The work is inspired by photo of a damaged boat propeller by the effects of cavitation, as well as several videos of boat propellers captured and recorded under water.
The soundscape starts in still water that is soon interrupted by sound of motor engine and boat propeller that gradually starts to move (00:29). Once the propeller starts spinning and speeding up (01:05) it causes vapor bubbles to appear and cover the soundscape. All of a sudden (02:39), the soundscape is inside of one of the bubbles filled with vapor and we hear different situation filled with hisses and squeaky noise, as well as soft taping of other bubbles on the outside. There are two more abrupt changes of scenery to outside of the bubble (engine, propeller, bubbles) and back to its inside atmosphere. The third time the soundscapes moves deeper inside the bubble and stays there, while we begin to concentrate on bubble’s membrane and feel the water pressure getting stronger until the bubble implodes (05:17). Soundscape is back at the action of the engine, propeller and bubbles and we hear signs of malfunction due to propeller’s damage by cavitation (05:45). The piece ends with the propeller graduallt stopping and the water becoming still, again.
https://www.facebook.com/belgrade.baroque/

Cavitation for Belgrade Baroque ensemble (two violins, viola, viola da gamba and harpsichord) 2017

Quatuor Bozzini
Musicon, Durham, UK
20 November 2018 (world premiere)

recording and mixing: Mike Worboys

Leafleoht (the title means 'leaf-light' in Anglo-Saxon) arose from a memory-image of wind in the leaves of a hedge near the sea, the intricate and supple motions of the leaves, and bright (morning) sunlight refracting through the plant and reflecting off the leaf surfaces. This image is the focus of the first part of the piece; the second part is more serene and still (perhaps airier, or more concerned with the light alone) and the last is an extremely soft trembling, as of grass. The musical materials are elemental: different lengths and types of bowstroke creating different rhythmic lines and textures; Just Intonation harmony founded on the open strings of the instruments; whistling and murmured speech alongside the playing. As with other recent pieces I am interested in our relationship to what we call the natural world, specifically our embeddedness or indwelling within it. Each part is a single image; as the critic Adrian Searle wrote about an exhibition of Bridget Riley (quoted in the spoken text of the third part), the music attempts 'just to be here, in this light'.

Leafleoht

Laurent Perrier + David Fenech - Plateforme # 3
LP - Bam Balam Records 
Release date : June 20, 2020 for Disquaire Day 2020

Side F : Plateforme # 3.1 - David Fenech (18’01”)
Laurent Perrier : Buchla + Serge modular synthesizers
David Fenech : Electric guitar, Percussion, composition, mix

Side P - Plateforme # 3.2 - Laurent Perrier (18’51”)
Laurent Perrier : Eurorack modular synthesizer, composition, mix
David Fenech : Prepared electric guitar

After two albums on Baskaru with Felix Kubin, Lawrence English, Gianluca Becuzzi (2014) and later Francisco López, Tom Recchion, Christian Zanési (2016), Laurent Perrier continues his Plateforme series by inviting French musician David Fenech. Plateforme is a concept, a restrictive framework Perrier imposed on himself: to create an electronic music piece using solely a set of sound recordings provided by a "collaborator".  “I simply asked the musicians to send me raw stuff close to their sound style" explains Perrier. "Some sent me a lot of material, others very little". The result shifts between Krautrock on side F (produced by Fenech) and Electroacoustic Music with a taste of Ralph Records on side P (produced by Perrier).  


David Fenech is a French musician living in Paris. His style has been described as ʻa kind of punk musique concrèteʼ. He uses the studio as an instrument, using a large panel of recording techniques. He has played and recorded with musicians such as Nurse With Wound, Felix Kubin, Jad Fair, Tom Cora, Rhys Chatham, Pascal Comelade, Jac Berrocal, Ghédalia Tazartès, Ergo Phizmiz, Pierre Bastien, and many others.
https://davidfenech.fr

Laurent Perrier is a French electronic musician who composes and performs exclusively on modular synthesizers. An ex-member of the French cult industrial band NOX and founder of the record label and record shop Odd Size Records. He's now releasing his own music under the many monikers (Zonk’t, Pylône, Cape Fear, Heal). He's also deeply involved into composing for dance companies, plastic art, theater on top of working in sound design and teaching modular synthesizers in a training center. He recently started a collaboration, with Jean-Benoit Dunckel (Air), the missing link between Kraftwerk, Giorgio Moroder and Pierre Schaeffer.
https://zonkt.bandcamp.com

Laurent Perrier + David Fenech - Plateforme 3.1

MACARENA ROSMANICH
un grito (2019)

for 5 instruments 
(fl., cl., pno., vln., vc.)

Saskia Worf, flute
Aristides Porto, clarinet
Theresa Jensen, violin
Larissa Nagel, cello
Ke Xu, piano 
Ni Fan, conductor

Live Recording. 21.06.2019
Palazzo Ricci 
Montepulciano, Italy.

un grito (2019) for five instruments

Performed by Ensemble intercontemporain
Conducted by Matthias Pintscher
Recorded live on June 14th 2019 at Cité de la Musique, Paris

Le lieu et la formule (2019) for large ensemble

Ruggine (for string quartet + electronics, 2019 - Casa Ricordi)
co-commissioned by Fondazione I Teatri Reggio Emilia / De Sono Associazione per la Musica
written for / dedicated to / premiered by:  Quartetto Maurice
Live recording:  09.11.2019 @ Willem Twee Concert Hall, Den Bosch (NL) - 
November Music Festival

Ruggine

Ruggine (2019)

Let Me Breathe, for bass clarinet and electronics. 
Bass clarinet: Chiara Percivati; Electronics: Daniela Terranova
Recorded live in Trieste by Paolo Carrer (Conservatorio 'G. Tartini', 13-11-2019). Commissioned by ACM Chamber Music Trieste (a special thanks to Fedra Florit).

Let Me Breathe (bass clarinet and electronics)

MACARENA ROSMANICH 
Augen (2020)
for amplified prepared piano 

KOMMAS ENSEMBLE
at the Bavarian Academy of Fine Arts in Munich

Alberto Carnevale Ricci, Piano (Premiere)

Live Recording,  05.03.2020

MACARENA ROSMANICH: Augen (2020) for amplified prepared piano

're'
Track created for the Disquiet Junto Project. http://www.disquiet.com
0431 = Solitary Ensembles x 3. Complete a trio by adding a track to an existing duet by two other musicians.

First step : Winter Never Came by Onkeltuka.
https://soundcloud.com/user-439418171/winter-never-came-disquiet0429

Second step : Niemalswinter by Krakenkraft.
https://soundcloud.com/winterer/niemalswinter

Third step, here.
Tools :
Marbles with some Jitter > Rings > Quad VCA > Monsoon.
OCHD > Rings brightness, frequency, damping.
Batumi sine > Quad VCA level.
Mixed in Logic Pro 9.

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More on this 431st Disquiet Junto project ("Solitary Ensembles x 3. Complete a trio by adding a track to an existing duet by two other musicians") at:
http://disquiet.com/0431

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

Project discussion takes place on http://llllllll.co/

Associated image : Petrus Major.

Never Say Winter Again [disquiet0431]

Wilfried Hanrath - The Mystery And The Enchantment, A Wilfried Hanrath Rework

Premiered at outHEAR Festival in Larissa, Greece on December 14th, 2019 by members of Klangforum Wien and PPCM. 

Felix Martl, bass clarinet
Mikael Rudolfsson, trombone
Leo Morello, cello
Joonas Ahonen, piano
Dimitrios Polisoidis, conductor

recorded by Dimitri Papageorgiou

[pictured: John Divola]

Sunol (2019) for bass clarinet, trombone, cello, and piano

“For a word to be spoken, there must be silence. Before, and after.” 
An Improvised piece with a new DIY instrument inspired by reading about Hugh Davies and featuring silence and piano.

More on this 451st weekly Disquiet Junto project, Ursula’s Silences (The Assignment: Make music inspired by a line from A Wizard of Earthsea ), at:

https://disquiet.com/0451/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0451-ursulas-silences/

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

Quentin Lauvray

Kris Bergthorson