@xyzr_kx: Love those kinds of compliments! Thanks! Loved your contribution to "redacted," too!

@garbhanmyles: Thank you, Garbhán. Was quite a push to get it "done," but am thankful people like you appreciate it. I'll be checking you out soon! Missin' ya, M-

@kodyprice: Thanks! Always appreciate "spooky" comments!

Ah, the hair-raising anticipation....like an electrical charge to the air

I am Really ENJOYCE to know your FABULOUS creations!!!! Amazing work!!! ♡♡♡

(Sharbaugh)
Michael Ash Sharbaugh: synthesizers, synthesized percussion, blips, bleeps,glitches, and 'found sounds'
Composed and Recorded ca. August 3 to August 6, 2013.
sm6.

For this Disquiet Junto assignment—to treat a recently declassified and drastically redacted NSA document as a graphically notated musical score, I needed to collect my sound elements:

I had captured landline phone static and cellphone speaker interference to produce the drone of the piece, but deemed this approach too instinctive; I used them as percussive elements instead.

Using SonicPhoto, an application that renders digital photographs into sound, I fashioned two “bass drums” in addition to other sound elements and synced them to a 173.60 [86.80] tempo, which was the tempo of the beats I had originally heard in the landline static and cellphone interference.

I turned the NSA document once counter-clockwise and used the resulting visual--the black 'peaks' and 'valleys' at the top--to input ‘notes’ according to their locations on the grid into the Online Generative Musical Sequencer, OTOMATA [http://www.earslap.com/projectslab/otomata ] and recorded the output. I increased the amount of distortion applied to this sound as the piece progressed--just as the black ink of the redactions would have done to the original metadata.

I utilized old recordings for source sounds and covered them with delay and reverb. As with the above OTOMATA sequence, I increased the amount of these effects as the piece progressed to smear and disguise the melodic qualities of the piece.

The rest was admittedly intuitive, with aesthetics clear in mind.


More on this 83rd Disquiet Junto project, in which a page from recently declassified documents related to NSA collection of telephone metadata records is treated as a graphically notated score, at:

http://disquiet.com/2013/08/01/disquiet0083-redacted/

Image found via twitter.com/shearm and twitter.com/glennf

Full document at:

http://goo.gl/wVydxR

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

"Umbra" [disquiet0083-redacted]

POP | SPACEROCK | VAPORTRAP | TRIP-HOP
AMBIENT | EXPERIMENTAL

the PERSON, the SOUND : Since 1985, Philadelphia-born Michael has composed and released hundreds of audio recordings, and published dozens of [erotic] poems.

His 'sonic-sojourn' began suddenly when he was just a teen -- feet splashing rhythmically through puddles leftover by a seaside rainstorm. Having just parted ways with the then-love-of-his-life, Michael composed his first ballad [and first song] ever -- "Tina." He rushed to his beach-side home to record his visceral 'awakening' on a tiny micro-cassette recorder, and vowed -- from that day on -- to create art for the rest of his life.

He began zealously amassing used music equipment, and had built a modest home recording studio by age seventeen, all the while crafting simple pop, ambient, and experimental works that HE had wanted to listen to -- that HE had wanted to hear, affectionately emulating the works of his then-idols, Duran Duran and Brian Eno.

Now, decades later, he has relocated to a small village outside Atlanta, Georgia, and continues to voraciously attend to his dream as a young, heartbroken boy -- to create and release music that he, himself, wants to hear.

Although no longer sequestered to pop and ambient musics, Michael's signature sound has merged the two, having integrated the R&B, hiphop, and psychedelia he has grown to love as a older gent -- having absorbed the edgy rhythms and dreamy soul of the southern United States (Atlanta and Miami).

Michael still puts forth ample amounts af ambient musics, but his recent 'sound' hovers elsewhere -- somewhere amidst the genres of vaportrap, spacerock, and trip-hop.

-+-

the INFLUENCES : Duran Duran, The Weeknd, Blondie, Depeche Mode, Billy Idol + Steve Stevens, Stone Temple Pilots, Dead Can Dance, Siouxsie & The Banshees, This Mortal Coil, Air, Naked Eyes, Tears for Fears, Alice in Chains, John Barry, Leslie Bricusse, The Chameleons [UK], Brian Eno, The Cocteau Twins, ABBA, The Bee Gees, Claude Debussy, Frederick Chopin, Guillaume de Machaut, Early Music, Renaissance music, Baroque music, and Joe Meek.

- + -

#duranduran #theweeknd #blondie #depechemode #billyidol #stevestevens #deadcandance #siouxsieandthebanshees #air #tearsforfears #johnbarry #lesliebricusse #claudedebussy #mauriceravel #frederickchopin #eriksatie #brianeno #thecocteautwins #abba #beegees #joemeek #chameleons #octoberproject #patbenatar #haroldbudd #lindseybuckingham #nakedeyes #aha #ceefarrow #omd #thismortalcoil #stonetemplepilots #aliceinchains #baroque #renaissance #earlymusic #theweeknd #skeler

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