The first sentence of Zen & the Art of Motorcycle Maintenance, by Robert M. Pirsig is, "I can see by my watch, without taking my hand from the left grip of the cycle, that it is eight-thirty in the morning."

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.

more halF unusuaL

halF icanseebymywatcH [disquiet0705]

Korg monotron with loop pedal and tape delay (in that order). Added some strings and brass afterwards.

Part of the Naviar Records Haiku Music Challenge: https://www.naviarrecords.com/naviarhaiku603-insect-tremolo/

insect tremolo-naviarhaiku603

In spring sunlight
the rows of tea bushes
ripple like waves

by: Tōge Morita

Tōge Morita (1924-2013) was a Japanese teacher and poet from Osaka. In the early 50s, he started publishing his poems in the Katsuragi 葛城 magazine, later becoming its editor-in-chief and, in 1990, its editor.

Haiku by Tōge Morita

Picture by Kyle Bushnell

Join The Naviar Haiku Music Challenge
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. Participation is free and there are no limitations in the songs’ length or genre.

You have seven days from the posting of this haiku to submit your track. For information on how to make a submission, visit the Naviar Haiku Music Challenge page. https://www.naviarrecords.com/naviarhaiku604-in-spring-sunlight/

SONG 114 - NaviarHaiku604 - In Spring Sunlight

This track was created for the Naviar Haiku group.
606
https://www.naviarrecords.com/naviarhaiku606-slightly-faint/

20250814

slightly faint (Naviarhaiku 606)

Faint yet clear (naviarhaiku606)

Inspired by:

slightly faint
yet clear
the milky way

Naviar haiku challenge 606, details here: https://www.naviarrecords.com/haiku-music-challenge

Everything was generated using Voltage Modular and a lot of effects. There are two randomly generated sequenced elements where the note information was converted to MIDI and sent from Voltage to a couple of instances of Dreamsynth then to further effects.

Faint But Clear - (Naviarhaiku - 606)

Roland JX 3P and acoustic guitar.
Mooer Ocean Machine

Made for the haiku challenge n. 606 https://www.naviarrecords.com/naviarhaiku606-slightly-faint/

hi-res download

slightly faint, yet clear (naviarhaiku606)

This track was inspired by this week's Disquiet Junto project: The barcode of the softcover Penguin edition of Daniel Kahneman's "Thinking, Fast and Slow" was used as the timeline for the rhythm, and the track was created with this beat as inspiration.
The other elements followed, found through intuition or happy accidents.
The result is a far groovier track than I initially assumed.

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

Thinking Fast and Slow (Disquiet0712)

Recorded, edited, mixed & mastered on 11 Sep 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA.

Synth, samples, effects

Photography/Art - Jim Lemanowicz, 21 Oct 2020, Manhattan, NYC, USA

Music & art © 2020, 2025 Jim Lemanowicz

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This original version of “How Monotonous, Herr Pencil” was submitted as part of Disquiet Junto Project 0715: Err Apparent. The Assignment: Make a mistake on purpose. Build something from it.

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

More on the 715th weekly Disquiet Junto project, Err Apparent — The Assignment: Make a mistake on purpose. Build something from it — at https://disquiet.com/0715/

Patreon & Soundcloud - blisterpop
YouTube - Jimmy Lem
TikTok - jimmlem
Bluesky - jimmylem.bsky.social

How Monotonous, Herr Pencil (disquiet0715)

HIDD3N HAND’s album is a striking debut that finds its power in duality. Rooted in the rhythmic DNA of UK Garage while drenched in the expansive atmospheres of Wave, the album feels both grounded and dreamlike, equally suited for the dancefloor and late-night headphone sessions.

The UKG influence shows up in the shuffling percussion, swung snares, and basslines that give the record its momentum. But rather than relying on nostalgia, HIDD3N HAND stretches those grooves into widescreen landscapes — pads hang heavy in reverb, ghostly vocal fragments drift in and out, melodies bend and fracture. The result is a sound that pushes Garage forward rather than looking back.

Two tracks highlight this fusion best. “Middle of Night” is a masterclass in groove, its crisp percussion and vaporous synths creating the sensation of moving through a city after dark, carried by rhythm but suspended in atmosphere. By contrast, “Call Me” is the album’s emotional centerpiece — stripped back, spacious, and anchored by a haunting vocal motif that feels more like a memory than a lyric. Where one track moves your body, the other stills you, leaving you in reflection.

Across the tracklist, HIDD3N HAND shows remarkable restraint and vision. It’s not maximalist club music, nor is it purely ambient introspection. Instead, it thrives in the liminal space between. In doing so, HIDD3N HAND delivers a record that honors the past, resonates in the present, and gestures toward the future of electronic music.

AVAILABLE WORLDWIDE OCTOBER 31, 2025

HIDD3N HAND - Opaque

Horizon

I'm primarily a visual artist both 2D and 3D, for the last decade I've operated almost exclusively in the digital 3D realm.   since the late 80s I've made periodic forays into the sonic world, MIDI sequencing, minimalism, musique concrète, found sounds  and improvisation. I am seldom happy with anything and seldom consider a piece finished.

Faint But Clear - (Naviarhaiku - 606)

Mr_Lamppost

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