first light
losing the thread
of a dream

As a Nashville-born transplant to Rochester, New York, Taylor Wray has found short-form poetry to be the perfect antidote to the long, cold winters. Taylor is the author of two collections of haiku and senryū: WAITING FOR THE MOON and SINKING AND RESURFACING (both from Inspirebytes Omni Media).

For more of Taylor’s poetry, follow him on Twitter, Instagram, and Facebook at @inthreelines, or visit https://linktr.ee/inthreelines.

losing the thread [naviarhaiku451]

[disquiet0696] cake

Originally prepared for a live performance at Superbooth this year, this set never made it to the stage due to unexpected health issues. Instead of silence, I decided to share the music with a different kind of audience — a field of curious cows just outside my window. Recorded live at home, this session became a quiet, intimate concert for an unlikely but attentive crowd.

Concert for cows

Based on tracks from lazenbee and leon clowes

[disquiet0699] smoothing - with lazenbee and leon clowes

Suss Müsik has been traveling a lot lately. Thus is the nature of having to work for a living, a privileged state that appears to be accelerating toward some form of extinction. That’s probably a gripe for another Junto project.

On a recent trip to a U.S. city not to be named, Suss Müsik captured this strangely bucolic view outside the hotel window. Look closely, and you’ll see evidence of gentrification in the urban landscape: a new corporate housing unit dominates the left side of the image, obscured by a rich envelope of foliage. There appears to be some sort of mosque in the background, perhaps representing one of the orthodox faiths, next to what might be a church steeple. A rustic brick dwelling sits confidently where it was built some 300 years ago. Just beyond that is a budget hotel and what is likely a corporate office building, both filled to half-capacity.

The intention of Suss Müsik’s sonic interpretation was to demonstrate this weirdly haunting mashup: a blend of classical ‘old world’ architecture residing in an environment of aggressively digital commercialization. It is a scene where progress is measured in glass panels, beige is the new brown, innovation is temporal, and humans interaction relies on the conductivity of elemental particles. If you can imagine the setting of a Milan Kundera story retold through a series of YouTube Shorts, that’s sort of the vibe this image presents. 

This piece for cello, violin, piano, and electronics was recorded quickly to TASCAM 8-track. It is dedicated to Marc Weidenbaum and all participants of the Disquiet Junto community. Here’s to 700 chapters and counting.

More on the 700th weekly Disquiet Junto project, View Frame — The Assignment: Share a peek out your window and some sounds inspired by the view — at https://disquiet.com/0700/

Urban Entropy [Disquiet0700]

More on the 700th weekly Disquiet Junto project, View Frame — The Assignment: Share a peek out your window and some sounds inspired by the view — at https://disquiet.com/0700/

Attributed remixing allowed

disquiet0700 (Across the Hudson)

From the new album Moments of Vertical
Buy: https://scapeone.bandcamp.com/album/moments-of-vertical
Stream: https://share.amuse.io/OQC1u9QAs9v7

Moments of Vertical

Tales from the Garden

Full synth pastiche built around real NASA mission recordings.
Recorded and finished in one day (Thu, Oct 2).
Retro-futuristic, spacey, and playful — first contact imagined through electronics.

Cover photo: Venice, CA, ~20 years ago.


for this challenge:

https://llllllll.co/t/disquiet-junto-project-0718-planet-jam-it/

alien says: (disquiet0718)

While the far-flung Asarian homeworld is the first inhabited system that we've discovered, this is not our first time encountering the intelligent cloud beings of Asar. We've learned that Asarian explorers visited our earth thousands of years ago, touching down somewhere in the Nile river valley. When the gas giants finally departed, the Pharaoh whose hospitality they had enjoyed bestowed two gifts on her alien visitors. The first was a scroll with plans they could use to build their own pyramids back home. But the most remarkable gift was a papyrus describing a peculiar set of frequencies that, when resonated in certain sequences, could reveal spiritual and mathematical truths. We believe the audio captured by our surface drone may be a sacred performance of this ancient harmonic "spell".

This one was a lot of fun to put together! It gave me a great excuse to experiment with microtonal composition, and learn how to configure custom tunings in Logic. I chose the Maqam scale, a traditional scale in Arabic music believed to have originated in ancient Egypt. The scale consists of two "half-flats": in this case, A, B half-flat, C, D, E half-flat, F, G, and A. The main melodic line is typical for the scale, arcing from root to  octave and then descending again. The percussion was inspired by reading about Wahda w-Nuss rhythms. 

More on the 718th weekly Disquiet Junto project, Planet Jam It — The Assignment: Record the sound of an advanced alien civilization — at https://disquiet.com/0718/.

The Asar Sequence (disquiet0718)

A minimal Ebow-and-bass drone in E minor, built around a 12-note melody that dissolves one note per repetition.
Recorded during a lyrical Ebow session, using long sustained tones and slow melodic reduction.
A small ambient/minimalist experiment on top of a deep E drone.
Part of the Disquiet Junto project: disquiet0728

Legato Ebow Redux (disquiet0728)

Disquiet Junto Project 0729: Community Remix (Nina)
The Assignment: Rework a shared recording from over 100 years ago

A beautiful recording of a violoncello solo with orchestra from 105 years ago, written around 250 years ago. Just image all that. – I first separated the music from the background noise, continued working with a noise-reduced version, and stretched it in various ways. I selected some of my favourite parts and inserted them into an overall structure. Since most of the spirit of the original was lost in the process, I inserted my most favourite part several times, for example at the beginning and end. I added some of the separated background noise back in, giving it its own space over time and finally an opportunity to fade away.

Original recording:
Performer: Hans Kindler
Writer: G. B. Pergolesi or V. L. Ciampi 
https://archive.org/details/78_nina_hans-kindler-g-b-pergolesi_gbia0055100a

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

Discussions 
https://llllllll.co/t/disquiet-junto-project-0729-community-rework-nina/73618

losing the thread [naviarhaiku451]

Lazenbee Industries