Fantastic strings scrachting..atmosphere¡¡

a most satisfying soundscape of rattle and texture and burble

This is so satisfying, honestly. Lovely soundscape!

Such compelling listening with surprises at every turn, extraordinary!

as always a creative  and original joy : )

listening to this makes  me want to work on creative stuff! love it. Thanks!

Lossless

if not when, how?

Imprnw

Fay(tr)/fault; A fault is a fracture or zone of fractures between two blocks of rock. Faults allow the blocks to move relative to each other. This movement may occur rapidly, in the form of an earthquake - or may occur slowly, in the form of creep. Most faults produce repeated displacements over geologic time.
The aim of this piece is mainly create polyphonic texture with a solo instrument. The main material has explored in the piece with it’s inharmonicity and the textural and rhythmical aspect of it’s granular quality.

performed by Gregory Chalier (2022)

fay, for amplified solo bass flute (2022)

Originally made for Disquiet Junto Project 0563, but abandoned (in favor of https://soundcloud.com/winterer/melodic-walking-disquiet0563 )because of having too much "magic" but no "realism" at all. But for what it is I like the track very much. 

Cover track image made with an image from DALL·E, "oil painting of a drowned rusty synthesizer inside a flooded church with windmill on it".

Time Drowning Mechanism

Paral·lel & François Fontaine - Glisten

Barkhausen × Aoki Satoru - Tous les Jours Il Pleut
Guitar: Barkhausen - Kanazawa Bunko, Japan
Prepared bass: Aoki Satoru - Tokyo, Japan

Barkhausen
https://soundcloud.com/barkhausen-nz
https://barkhausen.bandcamp.com

Aoki Satoru
https://linktr.ee/tototod

Artwork by Aoki Satoru
Mixed by Aoki Satoru
November 15, 2022

Barkhausen × Aoki Satoru - Tous les Jours Il Pleut

Haze

The Assignment: Use probability to remove material from a track.

I made a 3 track piece specifically for this idea instead of using something I already had because I figured it should be done with tracks that always have something happening so the silence is more noticeable/dramatic.  I think the moments where everything cuts out are the most dramatic.  Silence is sort of the 4th track in that sense (or what ever is going on around you when listening).  The piece itself used a fair bit of aleatory.  "Dr Chaos" is a max for live instrument I used with the drum kit.  It plays random samples at a regular beat division (1/8th, 1/16th, etc.). The 2 other tracks are just moving through different interval cycles (minor 3rds and perfect 4ths) at different paces so they create different unpredictable harmonies.  I used Random.org to decide where to cut and how long the cut should be (1-8 beats).  I figured cutting on beats instead of seconds would give the breaks a rhythmic quality.

More on this 586th weekly Disquiet Junto project, Chance the Eraser (The Assignment: Use probability to remove material from a track), at: https://disquiet.com/0586/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0586-chance-the-eraser/

Nothing Hear (disquiet0586)

Synthesizer & Found Sounds by Marco Lucchi (Modena, Italia)
Guitar and Mix by Jeff Gburek (Poznan, Polska)

Ὁ Γὰρ Καιρὸς Ἐγγύς Jeff Gburek Marco Lucchi

Nigel Lloyd's Album

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Sound fragments, field recordings, radio transmissions and the secret soundscapes of machines and building structures are taken apart and reconfigured. The work presented here is the result of such explorations into the sonics of analogue and digital materiality. The music takes the listener on audiological expeditions into uncharted territories. I’m interested in all kinds of collaboration, get in touch if you would like to exchange ideas and/or praxis.
... and thanks for listening!
Lars Björk

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Larbjo

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Jonas Ruchenhever

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