Based on your comment on the //// thread, I can really see your exploratory narrative unfolding through this piece. You created a great setting, good work!

Machines doing machine things. Nice movement through the spaces.

Very interesting concept. I like the resulting story-telling.

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://disquiet.com/0675/

Live Drone (disquiet0675)

Track notes are here: https://llllllll.co/t/disquiet-junto-project-0675-arc-of-the-drone/69838/23

**Disquiet Junto Project 0675: Arc of the Drone**  
The Assignment: Record a drone that goes from simple to complex to simple.

Step 1: You may, yourself, be experienced recording drone music, or you may never have recorded any. You may not even be sure what drone music is, in which case read up a bit. Not matter your experience and familiarity, please give some thought as to what constitutes drone music.

Step 2: Now think about what makes a drone simple and what makes a drone complex.

Step 3: Now record a piece of drone music that begins simple, gets complex, and then gets simple again. And note: The simple drone at the end needn’t necessarily be the same sort of drone with which the piece opens.

Disquiet_Junto_0675] Short Dazzle

unsent melody (disquiet0676)

This was my contribution for Disquiet Junto Project 0676: Sub Melody. The assignment: Bury a slow melody deep inside a drone.

Here’s a copy of my post on the Disquiet Junto 0676 discussion thread on Lines:

I really enjoyed these drone projects. Wanted to create a minimal atmospheric vibe with this one. Tried to keep the melody as low key and simple as possible. 

Created in Ableton Live using Slate + Ash Choreographs, along with some samples. Valhalla Delay, Valhalla Supermassive and Output Portal were the effects used. Photo taken in San Francisco in 2008, back when I used to live in the SF Bay Area.

More on the 676th weekly Disquiet Junto project, Sub Melody — The Assignment: Bury a slow melody deep inside a drone — at https://disquiet.com/0676/

Resonant Spaces [disquiet0676]

Recorded, mixed & mastered on 28/29 Apr 2023 & 11 Jan 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Yesterday, thinking of this week's Haiku and Junto, I had an idea to go back to 2 days in 2023 to start a new album (second start today) & use the two tracks for this week as a starter. This would be similar to my work elsewhere where I have a long stretch of material to chop up into different tracks.

The original material is a bit of mystery to me - Ceclia, FL Studio, PaulXStretch, Reason, Thor, Fracture. I had something that was not close to being anything I wanted tonight. I changed direction and started two new MIDI tracks to run a metallic Collision and a Massive X bass. Then I went back to the first two tracks and applied Fragments and it gelled for me. 

Artwork/Photography - Jim Lemanowicz, Massapequa, NY, USA - 19 Nov 2017

©2025 Jim Lemanowicz

This original version of “Gleaming Greasy” was submitted as part of Disquiet Junto Project 0680: Reverse Resolution. The Assignment: Finish something (musical) you started last year.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

Gleaming Greasy (disquiet0680)

My contribution to Junto Project 0683 - https://llllllll.co/t/disquiet-junto-project-0683-space-shot/70693

The first half of the track I wanted to capture the spaciousness and mystery of a cavernous space station – brutalist in design, surrounded by mist. The second half I wanted to take a deep dive into the inner workings of the station, where we hear the isolated clicks of machines and robots discussing the work being done.

disquiet0683

based around a synth pad from the PS1 game "fluid". i added some lightly hand-edited dub drum loops, and later programmed a second kit to play call and response with the dub drums. a bass pulse was added to keep things moving. the "2001 space" patch from newfangled audio's generate synth was layered in, as was an improvised lead piano line. textural samples from mode audio and another PS1 game, "silent hill", help thicken the atmosphere. some quiet volume-faded guitar emerges before the closing vinyl slowdown effect (unfiltered audio's needlepoint vst).

[naviarhaiku583] out of the blue

This haiku poem is part of the Naviar haiku music challenge, where artists are invited to make music in response to a weekly assigned haiku poem. https://www.naviarrecords.com/naviarhaiku584-heaven-and-earth/

SONG 78 - Navairhaiku584

This week's task is rather serendipitous in that I am actually engaged in some minor wood working this weekend. I recently built a small Buchla 100 system (and its case), consisting of what is shown in the image and the as yet unhoused (and not shown) 114 touch control module, which is what the piece of unstained pine sitting on top of the Buchla is destined for. I selected pine because my woodworking skills are still rather rudimentary so working with higher priced and more difficult lumber makes me nervous. Plus, there is something comforting about pine's ubiquity and approachability. Making a mistake with pine seems excusable. Doing so with walnut or oak less so. That said, I got to thinking about the pine that I picked up at my local lumber shop in terms of the conditions under which it is grown and the vast quantities of trees that are stripped from the land so that people like me can make boxes for their vintage synthesizers. Sonically, I imagined this as a somewhat discordant drone, with peaks and valleys and occasional moments of harmony. The trees grow, mainly in a state or quietude, before they are cut down and processed to the sound of chain saws and saw blades. And then everything goes quiet again as the next crop is planted.  Graphically, I notated this imagined scenario as a series of constant lines, punctuated here and there with peaks, valleys, bright and dark spots, representing in part the knots and impurities in the pine but also the experience of the piece of wood in its transition from tree to commodity. Everything you hear was created on my humble System 100, which was first fed through the Empress Zoia pedal using the "soft focus" effect created by Christopher H.M. Jacques and then further transformed in Logic using "fragments," and "motion" from Arturia, with hints of the unprocessed Buchla emerging here and there. And there was panning. Lots of panning, so headphones are the preferred listening approach.

disquiet0690

ARE YOU THERE

J'ai imaginé ce que m'aurait dit une soeur

disquiet0683

Matthew Mirliani

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