I really like the idea of giving sounds personalities. Very effective approach to this.

Six "parts" work really well, also hints of Once upon a Time in America, nicely done!

great build here and exciting thru the different parts

hm, I have the silly thought that this sounds real and not self-made, huh ;)

Tells a story. A fine composition indeed. Nice one!

Marc Weidenbaum

I've wanted to get a white-noise module for awhile, and finally added one to my setup. This module has 7 different noise sources, including white, red, grey, and blue. Each is being triggered by a different sequence. They're all in sync, though one is slightly delayed, which lends a tiny bit of character to the cadence, I think. The only reason I skipped pink is because I don't have any pink cables right now, and the color-coded cables helped me keep track of things.

You can blame this on someone who's listened to too many Chain Reaction releases, too much Consolidated, and too many scores to Michael Mann films.

Slightly more technical information: The sequences are all in CV Toolkit (a piece of software running on my laptop), and they're getting to my modular synthesizer via an Expert Sleepers ES-3 module. The noise-source module is the Quantum Rainbow 2. The white, red, and grey sources are all receiving sequences directly from the software. The blue source is getting a slight trigger delay (and a slightly extended length to the trigger), thanks to the Doepfer A-162. The whole thing is being mixed in an ADDAC 802 VCA Quintet, and out through a Pittsburgh Outs, through a Focusrite Scarlett 2i4. It was recorded in Audacity. 

White Noise Beat

I was asked by the Dutch musician Michel Banabila to contribute a remix to Marilli Remixed, a collection of reworkings of tracks from his very first album, Marilli, released in 1983. I selected the fourth track on the first side of the LP.

The original was elegant, but had percussion throughout. I wanted the ambient quality more formalized, and the percussion a little more muted and arhythmic.

. . .  

Here are some notes on my remix. I’ll note in advance, they’re fairly technical, as a notebook entry on what went into this, and what I learned in the process.

I used the my modular synthesizer (mostly filters, and a little triggered live sampler), the software Audacity (to sequence it, and also for some effects), and my Monome (running the mlr patch in the software Max). 

First I stretched a relatively percussion-less segment of the original track to get an ambient bed, yielding in the end something about 30 seconds long. I set it to run eight times in a row, overlapping to varying degrees at each repeat. 

Then I extracted a small percussion loop from the original. I did a "live performance" of that percussion loop with the Monome (four simultaneous tracks: one straight through, two running tighter sub-loops against each other a little quieter, and one in reverse even quieter still, though it's also the last bit to fade out of that sequence, so it has a little moment in the sun). The loop ran a little slower than the original, and I used a small Novation Launch Control to manage the relative volume of the four tracks within mlr.

And then I used my modular synthesizer to create variations on the ambient bed, which I layered in at various stages. 

In the end I had eight tracks in Audacity:

The 1st and 3rd tracks are the eight sequential repeats of the ambient sound bed, each intersection overlapping to varying degrees.

The 2nd track is a filtered version of the ambient bed, which has a slow LFO on it (giving it a light Laurie Anderson–ish "ha ha ha" feel) and some echo. This was done on the modular using a filter (either the A-121 or the A-136 or the Z2040 — my notes are unclear — influenced by a digital LFO, the Hikari Sine, and then run through an Eko module).

The 4th is the "live performance" on the Monome of the percussion loop, running mlr. It has four tracks of the loop doing different things. I used a Novation Launch Control to balance the volume of those four tracks.

The 5th is a copy of the ambient sound bed, pitched lower for the full length of the loop. This gives it that deep vibe for the penultimate repeat of the ambient bed. In track 1 at that same stage the volume of the original ambient bed is a little quieter, to let the deep version sound even louder than it is, in relative terms. 

The 6th track is a copy of the ambient bed but pitched higher, and I just use it for a very short moment, a final peak before the track fades out. 

And the 7th and 8th are two different instances of the same tweak of the ambient bed, which I did in the modular using a Harvestman Polivoks. It's a tingling, slightly irritating sound, a momentary breach in the ambience.

The whole idea is it opens with this expanse, and then goes to something a little tribal, and then returns to the expanse. I'll be honest about my influences here. The ambient bed is striving toward Brian Eno's Thursday Afternoon, and the rhythmic part has Peter Gabriel's soundtrack to The Last Temptation of Christ in mind. The first appearance of the Polivoks "irritant" is then repeated toward the end to provide a sense of reflection on where the piece started, but in between is that percussion performance. The deep vibe in track 5 gives an orchestral sense of closure, and the peak in track 6 is little filigree, like the clouds breaking, before it all ends.

At least that's where I ended up. It wasn't where I started. When I started, it was all gonna be about this firecracker/rattle sound in the original, but in the end I went a totally different direction.

Free Album Download

"A4. Marilli Rmxd 14"

"Project Steps:

Step 1: As you now know, Jóhann Jóhannsson was selected to score Blade Runner 2. The news means, among other things, that you didn’t get the gig. Please reconcile yourself with this.

Step 2: Please share your favorite track from the audition tape you sent to Ridley Scott."

On the old Blade Runner OST there was this subtle mix of orchestra and synths, but I don't really think Blade Runner 2 is going to be subtle, so there's a mix of that here but it's obnoxious. I also intended this track for Isidore because I thought like he got the short end of the stick in both the movie and book versions and was hoping he'd have a better time in BR2 (and if he's just dead in the movie version, well, maybe that IS a better time (I don't have high hopes)). 
The inspiration behind it is likely the end titles from the original soundtrack, which was always my fave piece from that entire event. 
Also there's like six synths here. Is it overkill? I dunno, Deckard had to kill six replicants the first time around. Some do stabs, some dance around in harmony, others stay consistent throughout, some were just a repeating bassline. Tried to give them personalities like the replicants. 

More on this 243rd weekly Disquiet Junto project — “Share the best track from your audition tape for Blade Runner 2” — at:

http://disquiet.com/0243/2

More on the Disquiet Junto at:

http://disquiet.com/junto/1

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/1

Project discussion takes place on llllllll.co:
llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

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

Isidore Overture [disquiet0243]

disquiet 0245
Disquiet Junto Project 0245: Practical Music
Write a piece of music for getting things done, suitable for playing on repeat.

Clean up, routine, tiding up....that leads me to repetitive stuff.
I played a simple riff on my “diaz custom5”  drake bass guitar, very repetitive and yet variations going from A to D to D/E with no real structure.
Added a synth bass drone, and a Wurlitzer A200 electric piano improvising a bit.
Then some repetitive voices (tah-tah-tah-tah...) in four part harmony/
My usual rhythmic delays played a big role, here in 1/8th and 1/4th notes.
You can loop this, there’s no lead in or lead off.
Love
DD
Recorded in Paris, France September 9th  2016.

More on this 245th weekly Disquiet Junto project — “Write a piece of music for getting things done, suitable for playing on repeat” — at:

http://disquiet.com/0245/

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-0243-synth-trial/4288

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

Image associated with this project is by jurek d. and is used thanks to Flicker and a Creative Commons license:

http://flic.kr/p/npLwcU

clean it and loop it - disquiet0245

This is based on a Pure Data patch I made called "Oval Noise" because it reminded me of Markus Popp's ovalcommers-era sound. 

The patch is a mess since I just kind of threw it together with 3 oscillators playing one of four pitches randomly, with 2 of them summed up and the other being sent to another effect along with being summed with the other 2. 

Pure Data measures tempo by millisecond, so I started at 500 (i beat every half second), then divided it by 2, 4 and 6. The last little bit is divided by 8. 

Recorded into Audacity where I cropped it and fixed some clipping issues. 

||||

More on this 246th weekly Disquiet Junto project — “Compose a piece of music that increases speed in stages as it proceeds.” — at:

http://disquiet.com/0246/

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/double-quadruple-sextuple-music-disquiet-junto-project-0246/4549

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

Image associated with this project is by Oliver Gouldthorpe and is used thanks to Flicker and a Creative Commons license:

flic.kr/p/sMDxq

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

Latticeworks (disquiet0246)

This week's edition of Newtype Rhythms comes packed with an intrinsic guest mix from Manchester's very own https://soundcloud.com/szare. For more info on Szare check out Inverted Audio: https://inverted-audio.com/szare-drops-a-pummelling-mix-for-newtype-rhythms-ahead-of-our-club-night-in-berlin/

Szare plays at Inverted Audio meets Newtype Rhythms on Saturday 10 November at Chalet Berlin:

Tickets: http://bit.ly/chalet-tickets
RSVP: http://bit.ly/chalet-rsvp

TRACKLIST 

00:00 - 44:11 - mixed by Sheepshead

01. Ryo Murakami - Waste
02. Demdike Stare - You People Are Fucked
03. Hodge - Exogenesis
04. DJ JM - Runaway 
05. Beneath - Illusion 
06. NKC - Dual Power
07. Martyn - Left Hander
08. Akkord - 3dOS
09. Addison Groove - Forgiven
10. Jon Convex - Closer
11. Randomer - Need U
12. Pangaea - Won't Hurt


44:12 - END - mixed by Szare

01. Bliss Signal - Slow Scan
02. Zoë Mc Pherson - Komusar (Blood Red moon Remix by N1L)
03. Black Rain - Dark Pool
04. Qoso - Peaches N Cream
05. Fraxinus - Temperance
06. Szare - Miner
07. TML - Export
08. Rook Valade - Mdoe5d
09. Deena Abdelwahed - Walk on, Nothing to See Here
10. Beneath - Cloudy
11. Szare - Contaminated
12. Meritst - LB Steaua
13. Thoom - Spit, Swallow (feat. Scim)
14. Marie - Davidson - Workaholic Paranoid Bitch
15. La Peste - Le Syndrome Des Draps Cassants
16. Robert Hood - SH-101
17. DJ Nervoso - 27aca
18. Violet Micro - I Know
19. Licking Mirrors feat. Thick Richard - The Clock Ticks Backwards
20. Surgeon - Compliance Momentum
21. AnD - Manchester

https://soundcloud.com/sheepshead-music

FB Page

Newtype Rhythms #64 - Special Guest: Szare

Split tape with Cheekbone available now on our Bandcamp:
https://muzaneditions.bandcamp.com/

Hirotaka Shirotsubaki - Midnight Air

@frktl / @shbadr

Tracklist;

Amä - Perihal
@auspicious-family - Malcontent
@28082 - 1 6-exxYOUR
@fltnesss - DIVINER
@lachrin - II XVIII XII IV III
@hideofficial - 999
Serration - Deconfliction
@mutate3k - xbow
@helllllllllo - grrrr....
Judgitzu - Umeme
@sunikkim - Independ
Klein - For What Worth ft. Matana Roberts
xin - Crrrash!
Salac - Euphoria
@onlynow2 - Perpetual Slaughter
Pelada - Ajetreo
@gewissheit - Venlafaxine Withdrawals
TRIIM - -
@ssiege - Regina
@ice_eyes - Skin ft. Carina Obukhova
Croatian Amor & Varg2TM - Body of Carbon
@hmurdoch - Clip That (@alecpace Remix)
@hofsuns - WANE
@cassius-select - Essence
@kane-ikin - Warehouses
@abul-mogard - I Watched The Sea, The Fields, The Sky
BLEEDING HEART - The Gate Has Opened
@sapropelicpycnic - A Love Supreme
Gonzo - Ruídos (à Portuguesa)
FRKTL - Eigenspace
Claude Speeed - 800 Super NYC
SUGAI KEN meets G禁禁禁禁 - 芥 - AKUTA
@celestial-trax - Invisible Machine
@lenticularclouds - Schumann Resonance
@dj-nigga-fox-lx-monke - Talanzele
Nazar - Warning Shots
HDMIRROR - METAL150

FRKTL ~ Correspondence Nº9

From the new LP, Excision After Love Collapses: frktl.bandcamp.com/album/excision-after-love-collapses

Excision After Love Collapses

FRKTL — دَفْق (Crash Blossoms)

Hustle and Bustle

FRKTL — Haruspex

2020071905

Mix for @anonymouscomplicity's Cold World show on Radio Kapitał (15th September, 2020). Artwork by @shbadr.

http://facebook.com/lenskx | http://radiokapital.pl | http://instagram.com/lenskx

Tracklist:
Stewart recites Larkin 
Ben Salisbury - Aubade  
落差草原 WWWW - 入夜溪谷
Olivia Mutant John And Wrong Travolta - A Murder Of Crows
Amazondotcom - Glances
STILL - Haile Selassie Is The Micro-Chip (NÍDIA Remix)
Lechuga Zafiro - Para Abajo
Wahono - 4'03
Yogev Freilichman - Always Stop At The Shell (ft. Horesh Ram)
011668 - OXX-OST
Aho Ssan - Intro
Sote - Artificial Neutrality
KMRU - Why Are You Here
Thu Care & Lê Quyên - Ân Cha Mẹ Như Trời Biển
Felicity Mangan - Muku Tree
Torus - Sound Of The Drums
FRKTL - Will, Want, Desire
CORIN - Dissect
galen tipton - ungoliant (w/ Dasychira, Diego Navarro, Swan Meat & Yoshitaka Hikawa)
Fairuz - Al Bosta
Nicolas Jaar - Telahora
Lao Dan 老丹 - 荒芜的路 A deserted road
Gooooose & DJ Scotch Egg - JAC (Slikback Remix)

RADIO KAPITAŁ | COLD WORLD w/ FRKTL

BeautifulHorses

This track is part of the Unsound 'Intermission' compilation:

www.unsoundfestival.bandcamp.com

During the second wave of the pandemic in Poland, in autumn, vocalists Agata Harz and Katarzyna Smoluk recorded improvised tracks based on an ancient Slavic spell, or ‘enchantment’, as they called it, the purpose of which is to call forth spring after a dark, terrifying wintertime. The vocal tracks lie at the heart of Tim Hecker’s composition, commissioned or Unsound's 'Intermission' album, to be released on March 5th, 2021.

Isidore Overture [disquiet0243]

krzyzis

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