GodKingMajorLucre - Dynamite

The day we robbed the bank (2015)

Hiding away again, Vera starts to feel her psychological stability falling apart.  She continues to pray to anything that will hear her pleas to save her from losing herself while trapped alone so far away from home, and no sign of hearing from Vincent and his team.

Project Umbriel

HIMOS (Hiding Inside My Own Space)

HIMOS - Hiding Inside My Own Space

'Lincoln’s Tinned Peaches have a new track out called Surrender. It brings together an intriguing mix of flavours. Fast and funky in a frantic Post-Punk influenced manner, the striking melody and tasty Bass Guitar figures grab me immediately. The band’s playing and chemistry is impressive across the board. In the chorus we get tempo shifts, multi-tracked voal harmonies. In the final section, the lead guitarist goes for it and the band’s playing is fluid and almost freeform'.

Neil March, Trust the doc., Ed. 81

Surrender

Our last song to complete our release.
Shane Beck & progettosonoro

You Let Go

A slow interconnect rule returns a new collection

This is my response to this week's @naviar-records prompt. Here's more details about that:

Long days and warm nights
Laughter carried through the breeze
Summer sings to us

Trenise Ferreira is a Jamaican-American writer who has been telling stories her entire career: as a college football journalist, a publicist at Walt Disney World Resort, and currently as a corporate communications professional and children’s book author.

When Trenise was in third grade, her teacher said that she should write books when she grew up – and Mrs. Buckner got it right! Wonder and imagination are at the heart of Trenise’s stories, creating worlds where children can get lost between the pages, laugh, and learn along the way.

An active member of the SCBWI Los Angeles chapter, Trenise is also a graduate of the Children’s Book Academy and The Voice Roadmap writing programs. She was selected as an inaugural mentee for the 2022 Picture Book Rising Stars program and is currently a 2023 We Need Diverse Books mentee.

Most recently, she won the SCBWI 2023 Ann Whitford Paul Most Promising Manuscript (Fiction) Award. Trenise is represented by Hilary Harwell at KTLiterary. You can find Trenise in her natural habitat – on Twitter! – @TreniseFerreira.

 

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

 

Deadline: 26th July 2023

Haiku by Trenise Ferreira https://twitter.com/TreniseFerreira

Picture by Ankhesenamun https://unsplash.com/photos/0ulIuQ01iSw

through the breeze

for this assignment i took my previous work [https://soundcloud.com/forelight/future-nostalgia-running-sim-v101] into abletons vector grain and leaving long gaps to mirror each gesture, jammed incidents off and on. I used this process twice, panning each section hard left/right. I then timsetretched the results and added some simple synth drones.

More on this 605th weekly Disquiet Junto project, Fifty Fifty (Compose a piece of music with as much silence as notes), at: https://disquiet.com/0605/

Thanks to Jason Richardson for having proposed this week’s project.

About the Disquiet Junto: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0605-fifty-fifty/

50 50 [disquiet0605]

Copy&paste what I post to lines - 

This is much more minimal than my usual output. I’m not very good at technical terms, or explaining, but I set a slow LFO to guide a silence whilst also trying to follow a metronome that was at a slightly different time. As a result I’d trip over myself, and I found it a something meditative experience as I recorded each track to intuit what was going to happen. Repetition without total order. The constant rumble, well, I call that tinnitus. 

It was and is raining heavily outside my window as I recorded and write this, as it has done for the past two months (UK). This is the ideal way to hear it. If there’s no rain where you are, maybe run your shower and listen from the other side of the door.
---

More on this 605th weekly Disquiet Junto project, Fifty Fifty (Compose a piece of music with as much silence as notes), at: https://disquiet.com/0605/ 1

Thanks to Jason Richardson for having proposed this week’s project.

About the Disquiet Junto: https://disquiet.com/junto/ 1

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0605-fifty-fifty/

disquiet0605

The assignment this week was to produce a song with as much silence as notes. I did not interpret silence as being total silence.

More on this 605th weekly Disquiet Junto project, Fifty Fifty (Compose a piece of music with as much silence as notes), at: https://disquiet.com/0605/

Thanks to Jason Richardson for having proposed this week’s project.

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-0605-fifty-fifty/

negative space [disquiet0605]

Disquiet Junto Project 0608: Nature-to-Text
The Assignment: Using a speech-to-text tool, turn a field recording into instructions for a composition.

This project is perhaps more experimental than ordinary, simply because it may not work for everyone. Apologies in advance. As someone, I think Brian Eno, once said, “It’s only experimental music if there’s a chance it can fail.”

Step 1: When one uses speech-to-text tools, such as those now commonly included in word processing software, often those tools will mistakenly interpret ordinary, non-verbal sound as garbled words, or otherwise try to characterize the sound, such as with bracketed phrases like “[deep breath]” or “[background chatter].” One potential way to achieve the result is to upload the audio to YouTube and then apply automated captions. Check out your options. There is likely to be discussion of this topic on places where the Junto occurs, such as the llllllll.co 2 BBS and the Junto Slack.

Step 2: Record some non-verbal audio, perhaps a field recording of the sound on the street, or down a hallway. It’s recommended to do the recording somewhere where there is likely to be variation.

Step 3: Submit a segment of the audio to a speech-to-text tool. Or perhaps multiple tools, to see the results.

Step 4: Assuming Step 3 yields a series of descriptions, then compose a piece of music that treats that sequence as a kind of score. That is, make music that achieves the result described by the speech-to-text tool’s results. Perhaps you could use someone else’s. Here, for example, is a sequence that I ended up with recently: “[ambient noise] [ambient noise] [indistinct chatter] [indistinct chatter] [background noise] [indistinct chatter] [ambient noise].”

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0608” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0608” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co 2:

https://llllllll.co/t/disquiet-junto-project-0608-nature-to-text/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Hot Dogs At Bunnings - disquiet0608

This week's assignment left me somewhat conflicted. 

I wanted to leave enough room for Disquiet Junto members to take parts of the track and add their ideas. On the other hand, it should sound like a track and not like an assembly of 4-bar loops. I hope I left enough space for you to add. If not, there's always the possibility to EQ the s*** out of it. 

Second, 60 BPM feels like 120 BPM when you add 16th hi-hats to it... but I couldn't resist doing it.

Blink [disquiet0609]

Disquiet Junto Project 0622: Know the Shadow
The Assignment: How do you depict a shadow in sound?

I started playing around in the DAW and somehow ended up with old step samples. The simplest idea of musical shadows are certainly delay and reverb, and initially I built a (virtual) modular thing behind the steps that changes the shape of the steps but still lets us think of the original, just as shadows only hint at what cast them.

The second idea was the drums, and what could be the shadow of a drum kit? I used a looping noise sample (coming in very late, and not too loud) and carved out a kind of kick drum with negative noise using filters, so the absence of sound is the shadow here. I'll tell you why it has to be like this at some point far, far away … 

The third idea was to use two different types of motifs in one scale: An FM synthesizer using only the black keys of a blues scale (the real thing), and a classic basic saw synthesizer using only white keys (the shadow). 

Em ... and in general: first comes the real and then you hear the shadows, and in the end there are only shadows, because the word also stands for a kind of vague memory that continues to have an effect even after the real has disappeared. And remember, samples are shadows of real sounds …

The result is undoubtedly overly intellectual and musically not a gem. But it wouldn't be experimental music if the experiment couldn't - as here - go badly wrong. That's why I kept it under 3 minutes ...

Image: Dall-E

--

More on this 622nd weekly Disquiet Junto project, Know the Shadow (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0622/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

3 Shadows [disquiet0622]

:::
my contribution
to
Naviar Records
Haiku Challenge 519

my interpretation of a
haiku
by
Sôen Nakagawa

.
.
.

morning service
offering its fragrance
a white lily

li(ly_rics) ::: naviar haiku 519

Ceres. Explore the moons of our Solar System with Moon Voyager. Explorative and atmospheric deep space ambient music. soundscapes and drones by Nairb One.

Recorded August 2025
© 2025 Aeon Records
℗ 2025 Ditto Music LTD


negative space [disquiet0605]

Lazenbee Industries

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