Disquiet Junto Project 0711: Show & Tell &

The Assignment: Share some recent music; get and give feedback

Step 1: Choose a track/composition you’re working on. Share the recording on the Lines forum on the llllllll.co discussion thread at:

https://llllllll.co/t/disquiet-junto-project-0711-show-tell

Step 2: When posting the track, mention that you’re looking for feedback, describe what you’ve been up to on the track, and if applicable specify some aspects of the recording you might want input on.

Deadline: Monday, August 18, 2025, 11:59pm (that is: just before midnight) wherever you are.

Details: disquiet.com/0711

Disquiet Junto Project 0711: Show & Tell &

sound art for disquiet0697.

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/



unmaking music (disquiet0697)

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

Part I [disquiet0697]

disquiet0697

I wanted to create something simple and circular that could stand alone for this first part of the @disquiet trio project. Using the Silver Age piano preset on Logic Pro with no effects, I repeat the note sequence D, G, D, A, F# eight times, sometimes letting the D and A overlap. There is no bpm to this and the only alterations I made when listening to this several times after recording this sequence, was to reduce the velocity on many of the notes to evoke an almost 'not really playing' quality to the piece.

Looking forward to hearing if anyone takes this further.

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

Hole Third (disquiet0697)

As usual, there is an abundance of fantastic pieces to collaborate with. I finally decided on Aaron Hofman's work, because there was something about its slightly off kilter ambience that seemed to suit the later spring rain that is settling in for a few days. I added just a bit of gritty drone, augmented with a bit of reverb to further set the mood. 

disquiet0698

This song done in collaboration with Leon Clowes 
https://soundcloud.com/leonclowes/hole-third-disquiet0697

Disquiet Junto Project 0698: Second Third
The Assignment: Record the second third of a trio.

There are two versions of the instructions for this week’s project — one very short, the other very long.

Very short version (about 25 words): Select a track from last week’s project (disquiet.com/0697), pan it to the left, and add your own line to the right, leaving room in the center for someone to eventually turn it into a trio.

More on the 698th weekly Disquiet Junto project, Second Third — The Assignment: Record the second third of a trio — at https://disquiet.com/0698/



two of three [disquiet0698] with Leon Clowes

Worked on this duo by e_nu_ri (@user-807707609) : https://soundcloud.com/user-807707609/bowed-and-jangled-farther-disquiet0698  based on this original track by 
@red_robin
https://soundcloud.com/red_robin/disquiet-junto-0697-mr-bowed-jangles

The all-synth background is great. I thought the contrast between those synth tracks and a warm, acoustic tone could be interesting, so I improvised a lead part on tenor ukulele. I also added an infra bass drone playing the tonic, and used a little software I’m beta testing that generates sound from a text prompt using some kind of AI (can’t say more here, but it’s fun for drones!).
It's like a dark, abstract recitativo, hope you like it.

For this collaboration project:
llllllll.co/t/disquiet-junto-pr…t-0699-third-third/

Mr Bowed Jangles returns (w/ he_nu_ri and Tristan Louth-Robins) - disquiet0699

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]

used this photo from my window as a graphic score. the elements in this photo mapping to elements in the track.

most sounds in here come from a contact mic applied to the window itself, or the frame.

five lines [disquiet0700]

This was my contribution for Disquiet Junto Project 0705: Book Start. The Assignment: Let the beginning of a book help you begin a new piece of music.

Here’s a copy of my post on the Disquiet Junto 07045 discussion thread on Lines:

“The girl and the elderly man descended the steep stairs to the channel's narrow beach and walked along by the water's edge. Several small fishing boats were moving out to sea, passing a freighter entering the bay, booms raised, a…” 

So starts the first story in a collection of fascinating and contemplative short stories in “The Infinite Passion of Expectation” by Gina Berriault. I randomly picked the book, which had been sitting on our bookshelf for years, having read it decades ago. The stories, which take place in or around San Francisco, remind me of a unique, and sometimes surreal time in my life when I lived and worked there. 

This was created in Ableton Live and was inspired by the opening lines of the story, the book itself, and my reflection of a time many years ago. Thank you, I really enjoyed this prompt, and the creative journey it sent me on. 

More on the 705th weekly Disquiet Junto project, Book Start — The Assignment: Let the beginning of a book help you begin a new piece of music — at https://disquiet.com/0705/. This week’s project was proposed by Neil Stringfellow.

The Infinite Passion of Expectation [disquiet0705]

This is an experiment with a Buchla 100 system that I recently built. Everything you hear is generated by the Buchla and fed through a spring reverb and then mixed live on a Tascam recorder to emulate the experience of recording directly to tape.

disquiet0711

Disquiet Junto Project 0711: Show & Tell &
The Assignment: Share some recent music; get and give feedback

I have been working on a project: making a sort of mashup of sketches I’ve made over the last few years when away from home. I’ve made these on holidays, or when visiting friends: at times when I don’t have my usual music setup, but can do some noodling and experimenting, using music apps on a tablet and sometimes using a small semi-modular synth.
Since some of these sketches/fragments have nice sounds, or patterns, or themes, I thought I might select a bunch of them that I like, see if some match with respect to rhythm, tempo, tonality, vibe, and then see if I could maybe combine them into a longer piece (adding some extra parts or transitions as needed.

So this is a slightly edited version of a work in progress. Given the amount of material I have, the end result might be something like 3 different pieces that each are between 12 and 20 minutes long. We'll see...

I’m curious how you experience this. 
It will inevitably be, as a result of the process, a somewhat fragmented piece, consisting of bits that were not intended to fit together. Does it feel totally disjointed, like loose sand, random bits that do not gel? Or is it something of a musical journey (as I hope it might be). Would you like to stay a bit longer in the different segments? Or did you feel impatient to move on? Is it nice if some sounds or patterns or themes recur later on?

More on the 711th weekly Disquiet Junto project, Show & Tell & — The Assignment: Share some recent music; get and give feedback — at https://disquiet.com/0711/.


Some sketches (disquiet0711)

Something I've been trying to do with my vintage synths is to recontextualize them as contemporary sounds rather than throwbacks. In this piece for example, I wanted to use the Moog, and have it sound like a Moog, but without feeling retro or nostalgic. And that's what I'm most interested in hearing from you: how it's landing for you and ideas for what I might do to meet my aesthetic goal of preserving the unique voice of the instrument, without situating its sound in an earlier era?

This piece was posted in response to Disquiet Junto #0711. More on the 711th weekly Disquiet Junto project, Show & Tell & — The Assignment: Share some recent music; get and give feedback — at https://disquiet.com/0711/.

Tethys (disquiet0711)

My track notes regarding the creation of this track can be found here:

[Disquiet Junto 0711] The Shape Of Honey (draft)

# Disquiet0711

Interlude 1 is my first sketch for an interlude within a ≈ 40 minute piece about the cosmos. It seems like maybe the piece is too thick, but I want to get it out and move on and come back to revisit it after I get all the other pieces in place.

I used Sound Particles to create a few background textures and then decided to improvise a synth bass sound, and then a synth flute, and a brief plucked string sound, all from the Roli Equator software synth. 

I added some delay chaos to the recordings with plug-ins from Valhalla, GRM, and some Tai Chi reverb.

Then in Pro Tools I cut and moved the separately improvised tracks into a composition that tries to capture the vibe while I was performing. 

All the tracks were recorded and mixed in 7.0.2 for this piece. For SoundCloud and your listening convenience I converted the surround sound piece to binuaral with APL Virtuoso. I always have trouble with binaural. It doesn't accurately convey the full spatial quality of the immersive mix as it is supposed to do.

More on the 711th weekly Disquiet Junto project, Show & Tell & -- The Assignment: Share some recent music; get and give feedback -- at https://disquiet.com/0711/ 

Interlude 1 - Binaural disquiet0711

Disquiet Junto Project 0711: Show & Tell &
The Assignment: Share some recent music; get and give feedback

Just a song I've been writing off and on for the last few months.  I wanted it to be all one rough take but ended up fixing some parts that were a little too rough.  Hopefully it can stand on it's own without overdubs, as has been my goal for my compositions the last few years.

More on the 711th weekly Disquiet Junto project, Show & Tell & — The Assignment: Share some recent music; get and give feedback — at https://disquiet.com/0711/.

Praenomina (disquiet0711)

M. Ackerman's second page, mostly for Disquiet Junto pieces projects.

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Praenomina (disquiet0711)

modusMatt

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