This piece was created from materials created by a recorded improvisation of @stellato-strings playing violin and me on the piano. It's this week's response to the @naviar-records weekly Haiku challenge:

Icarus
the pelican hovers
mid flight

We discovered Kimberly’s writings on Twitter. If you find the haiku we chose inspiring, make sure you explore her Twitter profile for more evocative poems.

“I am blessed to live by the sea. This informs a lot of my ‘ku. I also try to write honestly about my struggles with depression. Not sure how successful I am on that topic. It’s hard. The nature poems come easier. I began writing haiku about four years ago. I try to write daily, giving myself Sundays & holidays off. ‘Ku is a kind of discipline for me—much like a daily walk or yoga practice. Haiku quite simply saved my life.”

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

Deadline: 16th November 2022

haiku by Kimberly A. Horning https://twitter.com/everydaydeath12

the photograph was taken by me in Holborn this morning.

Icarus (naviarhaiku462)

Uncannily I had been working on this piece this morning using the harmonics from piano chords I'd played and recorded a while back. I'm exploring and teaching myself how to compose usimg the editing and effects of the Logic Pro X multiverses. I'd been drawn to soft quiet sounds and was using delays and echoes to create subtle patterns that play off one another.

I was halfway through this and then @disquiet Marc sent this email prompt out saying this ...

"Step 1: The underlying idea is to produce music that, so to speak, listens to itself. This would be music that employs techniques to revisit itself — repurposes itself — as it proceeds. From reverb to echo to tape loops to granular synthesis to accessing a buffer, various techniques serve such a compositional and performance purpose. Consider a means to achieve this result."

... which was exaclty what I was doing anyway. I must be psychic.

More on this 611th weekly Disquiet Junto project, Music That Listens to Itself (The Assignment: Record a piece of music that repurposes itself as it proceeds), at: https://disquiet.com/0611/

Some of the music resulting from this project may be included in a September 29, 2023, event at the Berkeley Alembic in Berkeley, California: https://www.eventbrite.com/e/expanded-listening-music-that-listens-to-itself-tickets-712124101357

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-0611-music-that-listens-to-itself/

Music Itself Listens To (disquiet0611)

At SPILL Festival's Think Tank in February, 14 of us co-created an audio visual collage using the letters and poetry of Edward Fitzgerald (audio version here: https://soundcloud.com/leonclowes/something-of-a-queer-nature). This opened Jan Pulsford's Woodbridge Ambient Music Festival 2023 (https://woodbridgeambientmusicfestival.net/) on Friday.

Never one to let any scraps of sound materials go to waste (you should see the hoarding on my Google Drive), I took tiny fragments of sounds we recorded at SPILL (including the recorder playing by @kate-gallaher) and made this piece this week. I'm really rather pleased with it. Clever little thing, Logic Pro X. I call mine Larry: what do you call yours?

This is my response to this week's @naviar-records haiku challenge. Such an encouraging and kind community that Marcus puts a great deal of time and love into, and it really shows. I'm so grateful to have these weekly email prompts, listening back I'm so pleased with what I've taught myself and learned from others.

Here's the information about this week's @naviar-records haiku challenge:

summer sky…
rippling the silence
a watersnake

Janice Doppler spent her writing energy on grant proposals and curriculum development during her career as a teacher and school administrator. Retiring enabled her to develop her creative self—carving realistic birds from wood and nature journaling.

Her heart was captured by haiku during a senior-center workshop that she attended on a whim. Her haiku and haibun have been widely published. She placed second in the Porad Haiku Award in 2021 and 2022. Her collection, Stardust, is available on Amazon. You can read samples of her work at The Poet Hub.

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

Deadline: 27th September 2023

Haiku by Janice Doppler https://poets.drifting-sands-haibun.org/first-name-starts-with-j/janice-doppler/

Picture by Jackson Hendry https://unsplash.com/photos/kKpTHqM2K-c

(In fitting with how I made this piece, I've taken fragments from the picture and haiku for the image and title.)

Summ Rippling (naviarhaiku507)

I took some of @kate-gallaher's recorder loops from yesterday to make this response to the @naviar-records weekly haiku. 

Here's the details about this week's challenge:

'Disappearing
snow on mountain peak
unfurls a rainbow'

Sôen Nakagawa was a key figure in the transmission of Zen Buddhism from Japan to the Western world. Author Sean Murphy, in his “One Bird, One Stone: 108 Contemporary Zen Stories”, tells us an interesting story about the Zen Buddhist master during his time in the U.S.:

“Soen loved to walk around New York City. He’d stare at the lighted skyscrapers, at their tops, he claimed he saw Buddha figures in the lights. “Look at the Buddha,” he’d point, “Shining Buddha!” He’d fill the sleeves of his robes with nuts and berries from Central Park or herbs growing in the sidewalk cracks, and add them to his bowl at the next meal. He loved the musical Fiddler on the Roof, and when asked a question about why some particular point of ceremony needed to be performed in a certain way, he might burst into song, responding “Tradition…!”

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

Deadline: 11th October 2023

A cut up of the Haiku poem by John Hinks is used for the title https://soundcloud.com/flownblue

excerpt of picture used here is from Joe Hu https://unsplash.com/photos/ZXaCeb7rwfE

Disappearing On Mountain (naviarhaiku509)

This week I have made a longer electronic piece in response to @naviar-records' Marco's haiku. 

Here's the info about this week's prompt:

'Endless echo
footsteps on an empty house
once full of life'

To participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 1st November 2023

'Endless' takes its titel from the 'Endless echo' haiku by Marco Sebastiano Alessi

The image I've used is part of a picture by Raya Mal https://unsplash.com/photos/closed-window-ggeI8TyPeZM

Endless (naviarhaiku512)

Using slowed down fragments of recordings of pedalled piano notes, @stellato-strings touching her violin with the bow, a creaking piano stool and ticking clock, I created this piece using loops and effects on Ableton Live.

It's my contribution to this week's @naviar-records haiku prompt.

The title 'along' is taken from this haiku poem by Takashi Matsumoto:

'Flowing along
changing its colors
a soap bubble.'

Takashi Matsumoto was a Japanese poet originally from Tokyo. Born into a family deeply interested in nō theater, he also devoted himself to it in his youth until 1921, when he came into contact with Hototogisu magazine and haiku poetry. Beginning the following year, Matsumoto became a student of Takahama Kyoshi. In 1946, he launched the magazine Fue 笛 ('The Flute').

The image is from a fraction of a picture by Rodion Kutsaiev.

For more information about @naviar-records and the weekly haiku challenges please visit: http://www.naviarrecords.com/about/naviar-haiku

Along (naviarhaiku533)

A few months back using a Zoom mic I recorded @kate-gallaher playing recorders in the nearby woods to her home. Many birds were around us singing. This piece, 'spoke no' takes a short rhythmic fragment that she improvised which I compressed slowed down on Logic. I used echo and reverb to build rhythm and dictate paste, and then created new pitches through Ableton, combining this with the layers already created on Logic. This is the first time I've use Logic and Ableton to work on one piece.

This piece is a response to this week's @naviar-records weekly haiku challenge. Here's the information about that:

they spoke no words
the visitor, the host
and the white chrysanthemum

For this week's challenge, I picked another poem by Ōshima.

Ōshima Ryōta was a Japanese poet of the Edo period. Some sources say he was a disciple of Yosa Buson, while others say his master was Hattori Ransetsu. He's mostly remembered for his essay “Bashō ku kai” 芭蕉句解 ('Study of Bashō's haiku') published in 1759, a magnum opus of his studies and literary theories on Matsuo Bashō's work.

Haiku by Ōshima Ryōta
Picture by Ioann-Mark Kuznietsov

Submission deadline: 28th August 2024

spoke no (naviarhaiku555)

Empirical Evidence of the Existence of Angels

Thinking about the differences between the “behavioral” and the “physiological” music making activites as instructed in this week's @disquiet project (see more on the 687th weekly Disquiet Junto project, Applied Science — The Assignment: Record a piece of music that includes physiological and behavioral techniques — at https://disquiet.com/0687/) I made an instinctual first take riff on the 70s modular synth in Alchemy on Logic Pro, in response to the synth's rhythm, then layered this pattern in tracks knowing it would phase and create new rhythms inbetween.

The Appliance Of Science (disquiet0687)

I'm preparing a soundtrack to my residency shows at Volcano Theatre in Swansea this week and my response to the current @disquiet project might well be the transition music. Using samples of room ambience to bookend a series of looped pad chords, these fade in and out, overlapping.

More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696/

Chain of Layers (disquiet0696)

This is my response to this week's @naviar-records haiku music challenge. Here's the details about that:

"cloud and mist alike
rendered unnoticeable –
bright moon tonight!"

Inawashiro Kensai (1452-1510) was a Japanese poet of the Muromachi period. He was a student of the famous renga poet Shinkei.
Haiku by: Inawashiro Kensai

Extract of picture by: Branimir Balogović

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

bright moon (naviarhaiku593)

For this week's @disquiet Junto Project I'm not quite sure why the Logic Pro Wurlitzer pattern came out so doleful in response to the view from my bedroom window. I'm happy in my home, though I am moving fairly soon, so maybe that's why. I was pretty pleased with the first and third contributions I made to the recent trio projects, so with this I combined a simple tonal part with part of the recorder improvisation by @kate-gallaher in the woods. In the background are the birds and an airplane, similar to the urban sounds I have hear at dawn (though far fewer birds).

Happy 700th @disquiet ! Thank you for making these happen Marc Weidenbaum.

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

View Frame (disquiet0700)

Admittedly, the extract from the still belies the line in this week's @naviar-records haiku poem challenge. The actual line is "half-asleep eyes", but we'll go with what's in the image. This week I've been collaging splice sounds and playing them live in Ableton, then drastically re-editing. I wanted to mix up how I'm making music. Break habits and form new.

The information about this week's challenge is here:

"half-asleep eyes
open to a dreamlike world
of blossoms"

Natsume Seibi (1749-1816) was the son of a wealthy Edo rice broker and was acquainted with a number of other famous poets, including Oshima Ryota and Kobayashi Issa. In addition to his poetry, Seibi left behind a number of fine examples of haikai prose. 

Haiku by Natsume Seibi

Extract of a picture by Pascal Bullan

Notes from the Penguin Book of Haiku:

nebuki me o / hirakeba hana no / ukiyo kana

Ukiyo, the floating world of pleasure, specifically referred to the pleasure quarters with its various beautiful women (hana, literally ‘blossoms’) as well as to popular theatre and street spectacles.

 

Submission deadline: 24th September 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Half-Asleep Eye (naviarhaiku611)

Landing on what has been code named the 'Red' Planet, the cautionary exploration takes plae in an abandoned unidentified technological facilty in the middle of a desert of this newly identified planet. Here is a short audio extract of what the stealth drone recorded during that search.

This piece is in response to this week's @disquiet project. 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/.

Red Planet (disquiet0718)

This is my response to this week's @naviar-records haiku challenge. Here's more information about that:

"Star above the peak -
a silk worm-breeding village
silently asleep"
 
Mizuhara Shuoshi was a 20th century Japanese poet. Shuoshi rebelled against the principles of emotional detachment in haiku, which he thought limited his ability to emotionally express himself through poetry: he started a magazine called Staggerbush which focused on a more romantic, lyrical type of haiku.

haiku by Mizuhara Shuoshi

extract of picture by Sebastian Scheuer

Submission deadline: 8th October 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Silently (naviarhaiku613)

I've been wanting to remix this track for a while - it's in preparation for my forthcoming debut album - it was originally made in response to @naviar-records 527th haiku challenge which: https://soundcloud.com/naviar-records/sets/haiku-527

A Shiver

This text and audio piece was commissioned by ImpulseLDN for their October 2025 exhibition "Chemtrail: This is Killing Us" at 15 Bateman Streer, Soho, London. 

"Nine Lines" recalls three real life chemsex scenarios I took part in. The audio builds and merges the text pulling from the monotony and thrill of charged sexual encounters, reflecting on the compulsion and addiction inherent in the experiences.

Nine Lines

This began as live playing using preset sounds on Garageband. I then took each individual track and gave them new timbres through Ableton Live effects. I slowed the tempo down by half to give room to the new textures created by the effects. I followed the instructions of this week's @disquiet project almost to the letter, with a slight moving of a couple of parts at the finalising stage. 

More on the 719th weekly Disquiet Junto project, Riding on the Metronome — The Assignment: Play with and against a steady beat — at https://disquiet.com/0719/.

Metronome Ride (disquiet0719)

dragonfly (naviarhaiku614)

This was fun to do. Taking this week's @disquiet project of combining two works-in-progress, I have two strands of music I'm composing, to which I dedicate 10-20 minutes most days demoing impromptu ideas on Garageband. One has the broad title of "Disco for Post Punk Elderlies" and the other is  category is I'm writing a series of simple piano miniatures, the latter being usually no longer than just over two minutes.

Here I had two demo ideas that were from the same day and were very rough and unsatisfactory. The idea of combining them felt a novel way to take them into a different place. Although the "Disco" track was already at the slow pace (tempo being 66bpm) you hear here (it is dance music for post punk elderlies like myself after all...), I looped the initial tracks in Logic, changed the pitches of some of the bass and organ tracks and quantized all the tracks to git them together more coherently, and brush off the unconvincing dissonant sounds. The piano miniature was transformed by the Soft Metals preset and light touch delay was added to the 808 drum pattern.

This piece certainly isn't 'complete' in the sense of if I was to develop this further, but I really like how blending this mismatch creeated something very different from the original intentions of the seperate parts. Greater than the sum of, etc..

More on the 720th weekly Disquiet Junto project, One from Two — The Assignment: Combine a pair of your recent tracks — at https://disquiet.com/0720/.

One from Two (disquiet0720)

This is my response to this weeks @naviar-records haiku challenge.

More information on this week's project here:

"whenever we meet
it’s raining
green walnuts"

Tanaka Hiroaki (1959–2004) was a Japanese poet from Osaka. A student of Hatano Sōha, he published many of his works in the journal Ao 青 (“Blue”), of which he became editor in 1979. In 2000, he founded his own journal, Yū ゆう.

Haiku by Tanaka Hiroaki (Italian)

Extract of picture by Kevin Wang

Submission deadline: 29th October 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

we meet (naviarhaiku616)

This is my keyboard miniature response to this week's @naviar-records haiku challenge. Here's more information about that:

"an autumn nightfall
the skeleton of a huge fish
drawn back by the sea."

Saitō Sanki (1900 – 1962) was a dentist who discovered his passion for haiku poetry in his mid-thirties, when his colleagues at the hospital in Soto Kanda convinced him to write a haiku for a collection. Later, he became one of the most important exponents of wartime haiku: he was imprisoned in 1940 during the government’s World War II persecution of controversial artists, and was officially forbidden to write until the end of the war.

haiku by Saitō Sanki

image extract from a picture by John Jason

Submission deadline: 5th November 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

the skeleton (naviarhaiku617)

I took part in a group vocal and movement improvisation at the weekend and from the recording of that I built this piece in Ableton Live. There was 11 of us and we had our eyes closed, so the improvisation - as fits with the @disquiet project this week - would align and then go wayward. I've tried to bring that out more in this rearrangement.

More on the 723rd weekly Disquiet Junto project, Do the Collapse — The Assignment: Make music that falls apart repeatedly — at https://disquiet.com/0723/.

Do The Collapse (disquiet0723)

This is my contribution to this week's @naviar-records haiku challenge. Here's the information about that:

"the harp player
moves under cover
market day

kjmunro cultivates poetry on the traditional territories of the Kwanlin Dün First Nation & the Ta'an Kwäch'än Council in Whitehorse, Yukon Territory, Canada. She founded & facilitates ‘solstice haiku', a monthly haiku discussion group in Whitehorse, & manages a weekly blog feature for The Haiku Foundation called Haiku Dialogue. She is the recipient of the 2023 Borealis Prize – The Commissioner of Yukon Award for Literary Contribution, her work has been nominated for the Pushcart Prize, & her debut poetry collection is contractions (Red Moon Press, 2019).

haiku by kjmunro

extract of picture by Indira Tjokorda

Submission deadline: 12th November 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

player (naviarhaiku618)

This is my response to this week's @naviar-records haiku challenge. Here is more information about that:

"almost black
deepening purple
ripe grapes"

Regarded as the father of contemporary haiku, Masaoka Shiki was a poet and literary critic during the Meiji period Japan.

He advocated realistic observation by “sketching” (shasei) poems and going out into nature with notebooks, thus abandoning the traditional subjects of haiku of the time. His advice for an aspiring poet was, “Use both imaginary pictures and real ones, but prefer the real ones.”

Haiku by Masaoka Shiki

Extract of picture by Hassan Anayi

Submission deadline: 19th November 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

almost (naviarhaiku619)

This week’s @disquiet project has been very useful. I’d been meaning for months to teach myself how to create scores in Sibelius. For this exercise I exported MIDI from a composition called “Group Manifestation” (which I originally started in Logic) and imported it into Sibelius to produce a score for an open-call submission to the Contemporary Music for All collection. (Anyone can enter here: https://www.coma.org/get-involved/immediate-pieces-call-for-scores/.)

An unexpected benefit was that I could go back into Logic and audition how the parts fit together. That playback helped me refine the performance instructions for the piece.

More on the 724th weekly Disquiet Junto project, Work It — The Assignment: The year’s almost over. Do that thing you’ve been meaning to do — at https://disquiet.com/0724/

Group Manifestation (disquiet0724)

Interesting @disquiet challenge this week, to only use the Omnichord. The instrument immediately puts me into the sound world of The The's "This is the Day" (and there's an interview with Matt Johnson about the how and why Matt he wrote that song on the instrument here - https://banbantonton.com/2025/06/18/interview-matt-johnson-the-the-that-was-the-day/). 

Recording directly from the webpage to my Tascam recorder, I settled on a sequence of four chords where the chord changes every ten seconds giving me room to improvise with the twinkly sounds on top. I recorded this three times and panned the tracks from left to right adding a couple of earlier experiments low into the mix.

Omni Present (disquiet0726)

This piece made in response to this week's @naviar-records weekly haiku challenge was an involved process. I asked ChatGPT to use the letters of the extracted word (the "Deutzia") flower to create the note sequence for a melody. Which it did. 4 different versions of. I found these sequenes quite pleasing and found voices for them in Logic presets. From there I played each of them live in response to each other not using a time signature. However what took a great deal of time was rearranging these live parts so that it (sort of) makes sense as a musical progression. It's almost worked as an experiment, especially when I gave each voice room to breathe and have solo sections. If I was to really work on the piece seriously I'd change some notes and add more variance, but I'm pretty pleased with what's here. I've remained faithful to the notes and added some variance through transposing sections.

Here's the information about this week's challenge:

"Deutzia in full white -
deep in the night,
the Milky Way."

Ikenishi Gonsui (1650–1722) was a haiku poet from Nara who settled permanently in Kyoto in 1684. A collection of his works, entitled Ikenishi Gonsui no kenkyū, was published in 2003.

Haiku by Ikenishi Gonsui

Picture by Christina Deravedisian

Submission deadline: 3rd December 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Deutzia (naviarhaiku621)

This is another in my continuing obsessive series of making small piano miniatures. By focussing in on just one word in this week's @naviar-records haiku challenge, I'm also keeping the parameters of the composition tiny too: two piano lines that makes for a very simple piece to play.

The only changes I use Logic to make are the velocities of individual notes, and using the valve mastering preset.

Here's information about this week's @naviar-records haiku challenge:

"Under the burning sky -
a procession of ants,
without end."

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of sabi (solitude) in order to achieve spiritual enlightenment and serenity.

The piece's title "Without" is taken from this haiku by Santoka Taneda

Extract of picture by Peyton Clough

Submission deadline: 10th December 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

Without (naviarhaiku622)

With these miniatures, as they keep getting smaller, the focus becomes increasingly on the detail. While the imprecise timings of each piano note (a simulated grand on Logic Pro) are kept, but the volume of individual notes are adjusted to remove the harsh. A faint synth string enters and fits in, faithfully keeping the unconnected series of notes imagined separate to the repeated piano motif, and the foley birdsong completes "a garden".

This was written during the weekly @naviar-records regular Saturday morning quiet session where we gather on Dischord in response to this week's haiku challenge. A curious poem this one, here's the information on that:

“Don’t pick it!”
then picks and gives to me
a garden plum

Tan Taigi was a haiku poet of the Edo period. He was a wanderer for most of his life and admired by Yosa Buson for his ability to transcend his eclectic and unconventional lifestyle with sublime poetry.

title taken from the words of a haiku by Tan Taigi  (translation by Richard Tice)

extract of picture by Markus Spiske

Submission deadline: 17h December 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/



a garden (naviarhaiku623)

This week's @disquiet challenge was a joy to do. One take of one twelve tone melody which I then copied and pasted and - following the challenge's instructions to the letter - removed one note with each repeat of the melody. It was an enjoyable combination of playing a simple melody live (which fits with my current mild obsession for writing piano miniatures) along with using the editing of Logic to play an equal part in the compositional process.

More on the 728th weekly Disquiet Junto project, Note Down — The Assignment: Delete a note at a time — at https://disquiet.com/0728/.

12 Notes Down (disquiet0728)

I created this track over two sessions. The first part (the watery piano melody) was an improvisation that I played and adapted during the Saturday morning Naviar Records Discord group. This is a weekly group that anyone can join and I'd highly recommend it, it's a great start to the weekend. The second part (sound design) was built this Sunday evening afterwards, and it took the original idea into an entirely different direction. I keep thinking about the parlour game "Exquisite Corpse" as a creative method - which doesn't apply here as I already knew and was playing over the first part, but the separation of a day brings an entirely new perspective onto. 

Credits are due to the creators from freesound.org for these three samples used in the sound design:

VLF Radio.flac by sumsa -- https://freesound.org/s/63761/ -- License: Attribution 3.0
Radio band switch 08 mic by DN_KP -- https://freesound.org/s/117935/ -- License: Attribution 3.0
radio_frequency.mp3 by themfish -- https://freesound.org/s/33631/ -- License: Attribution 4.0

Here is the information about this week's @naviar-records haiku challenge:

 
"A quiet cabin;
hunting milkcaps, I was soon
lost among the pines"

Kagami Shikō was a Japanese poet, considered one of the ten outstanding disciples (Shōmon jittetsu 蕉門十哲) of Matsuo Bashō. He was in turn the master of the famous poetess Fukuda Chiyo-ni.

Originally from the present-day Gifu Prefecture, Kagami Shikō became a monk at Daichi-ji Temple, and in 1690 he became a pupil of Bashō, later accompanying him on some of his journeys and recording his last will in 1694.

After Basho's death, he kept travelling around Japan, writing several essays on haiku and collections of writings until his death in 1731.

Haiku by Kagami Shikō

Extract of picture by Michele Purin

Submission deadline: 24h December 2025
To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/




lost (naviarhaiku624)

I responded to this week's @disquiet challenge by taking several extracts of the track “Nina” by Hans Kindler and adding echo on Ableton to create a live slowed down remix. Using this mix in Logic I layered elements of the remix with altered pitches and volumes to create the version here. 

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/.

Leon Clowes

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