episode two hundred and nineteen / watched a crow fuss with rubble in the guttering

ｐａｔｚｒ ｒａｄｉｏ

ｐａｔｚｒ ｒａｄｉｏ ｔｗｏ ｈｕｎｄｒｅｄ ａｎｄ ｎｉｎｅｔｅｅｎ - mustard yellow Transit (for Peggy)

Suss Müsik's Psyphonics series is an attempt to render listenable patterns from data-derived origins. The results lie somewhere between Luigi Russolo's impressionistic sonic frottage, Milton Graves' bodily pulse explorations, and Steve Reich's contrapuntal phrasing. Piece written for fake strings, fake woodwinds, piano, ARP synthesizer and DIY sound-making devices.

Psyphonics 3

Due to storage limitations over on @patzr-radio this is the twenty-seventh non-downloadable archive block of old ｐａｔｚｒ ｒａｄｉｏ episodes. As ever, unconcatenated episodes remain available over on patzrradio.podbean.com /// episode one hundred and thirty-two / a festival of the futilities | episode one hundred and thirty-three / my bank account was £1.41 overdrawn earlier today | episode one hundred and thirty-four / Advanced Fibrous Structures for Composite Materials, Technical Textiles and other Technical Application | episode one hundred and thirty five / certain kinds of gloom, certain kinds of gladness | episode one hundred and thirty-six / 12 menhirs / and a scroll / apostles but no doubt apocryphal / it was decided to clear the field / and they moved one / oh to hell with that it was too much hard work / and they never moved any more / aye aye / ! ! ! this installment of ｐａｔｚｒ ｒａｄｉｏ was produced by regular special guest ｐａｔｚｒ & long time kipple friend otolythe [homepage | twitter | soundcloud] ! ! ! ] | episode one hundred and thirty seven / a day late, not that anybody'll notice or care; a private calendar is a slippery thing, i guess |

ｐａｔｚｒ ｃａｃｈｅ ０００２７

I'm always glad of this prompt, this project; glad to be obliged to put a kind of full stop on some things, take some kind of stock, sift, ever-so-slightly nostalgically through my digital rubble...

///

E:\Sounds\Jmmy Kppl\2021
30.0 GB (32,278,394,211 bytes)

that's not really even close to everything i fiddled with, & definitely not anything like everything i recorded; my filing system gets more chaotic as i delude myself into new projects etc.

///

so yeah, as ever, i scrolled through this stuff, this list, checked a few memory cards & sticks lying about. Choices are usually based on whether i can even vaugely remember what the file is, coupled with any immediate delight or attraction to the file name.

///

JAN :: "carillion loop" ‎03 ‎January ‎2021, ‏‎11:16:22
FEB :: "snow_01" 12 ‎February ‎2021, ‏‎08:56:39
MAR :: "rehillsfridges" 18 ‎March ‎2021, ‏‎21:46:57
APR :: "110421b" 11 ‎April ‎2021, ‏‎21:45:25
MAY :: "bats 090521" 09 ‎May ‎2021, ‏‎22:02:23
JUN :: "fghrnpces" 07 ‎June ‎2021, ‏‎08:35:18
JUL :: "ZOOM0025" ‎30 ‎July ‎2021, ‏‎11:15:48
AUG :: "ZOOM0033" ‎06 ‎August ‎2021, ‏‎13:07:36
SEP :: "xx_53 --11" 10 ‎September ‎2021, ‏‎05:45:38
OCT :: "who even+" 22 ‎October ‎2021, ‏‎14:04:32
NOV :: "end of xmas eve" ‎08 ‎November ‎2021, ‏‎14:16:57
DEC :: "ZOOM0068" 30 ‎December ‎2021, ‏‎17:13:24

///

Take care in the two two everybody; ice cubes in a glass in four days, yeah?

Peace.

jks

More on this 522nd weekly Disquiet Junto project – Just Backdated (The Assignment: Create a sonic diary of the past year with a dozen (or more) super-brief segments) – at: https://disquiet.com/0522/

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

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co 1: https://llllllll.co/t/disquiet-junto-project-0522-just-backdated/

There’s also a Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion

YOU COME RIGHT OVER HERE AND EXPLAIN WHY THEY ARE HAVING ANOTHER YEAR [disquiet522]

another gloomy January weekend brightened by faffing with the sounds of ice cubes; ten, this year, 'cause, i mean, how could i not? 

i re-listened to previous years submissions, partially to get my head in the game somewhat, partly to try and find aspects i hadn't concentrated on in the sound source. I've been guilty of using ancillary sounds a lot in the past i think - the clunk of the ice hitting the glass or the glass hitting the counter; the tear of the cube being taken from the tray - and figured i ought to be a little more circumspect this year, so made a point of only selecting the clinks and rattles of the cubes suspended in the drink [water] for this year.

I cut 30, small, percussive sections of clinking & set them away in a pattern in FruityLoops, a sort of gritty pulse punctuated with some lightly distorted samples and some pitched up or down a little. I mixed in a little assertive chatter made in Leafcutter John's Forestry and then made a couple of versions - one pitched down dramatically and one reversed and one as it was which i then chopped into something like a structure. I then made two copies of that file, played one forward, the other back & applied differing filters to both to try and bring out the... jittery cubist xylophone shambles of the whole thing.

Thanks again - always! - for the prompt, Marc! ^_^

XCSR [disquiet0523]

This is the première release of Julius Eastman’s Femenine, for chamber ensemble. It is the work’s only known recording, documenting a 1974 performance by the S.E.M. Ensemble (with the composer on piano) which has lain unheard for decades.

Femenine

Femenine (excerpt)

A soundpiece for the Salton Sea: this photo of the Salton Sea by Lauren Pond is a study in contrasts: a stunning-looking natural environment, a major stop for migratory birds on the Pacific flyway, yet full of toxic chemicals and increasing salination from agricultural runoff. The photo embodies these contrasts with an austere beauty: the precise details of the pelican and the other water birds against an unearthly silver that signals the uneasiness within. Here I draw on both aspects, the formal beauty and the growing toxicity under the surface. I looped processed and filtered field recordings as a high-pitched, metallic drone, then built on that with additional field recordings from both natural and man-made sources.

Track created for Cities and Memory's Global Sound Photography Project: https://citiesandmemory.com/sound-photography/, 2018.

Salton Sea - for Cities and Memory

Disquiet Junto Project 0388: Random Less
For this project you’ll be using just a few instruments, optimally three, to create an original piece of music.

Ok, so 3 instruments it is :
Fretless Bass
Udu Drum (Moringa)
Charango (Ronroco actually)

This is far from the usual experimental junto track , hope that’s ok.
TBS using a South-American charanago to play this sort Fusion-Flamenco is what I’ll call an experiment indeed.

The charango was recorded on the road in Vejer De La Frontera, Andalucia,Spain, the other two tracks of this trio were added back home. Trying to make a one-man recoding (with no click)  sound like a real group performance is a challenge I took seriously in the years of the midi sequencer galore (80-90’s) but now I might be a bit out of shape, lol.
It quite works I guess.
Cheers
DD

Vejer De La Frontera - disquiet0388

Charango
Melodicas
Synthesizers

Composed and performed by DD between Barbate, Spain and Paris , France.
Music inspired by this haiku:
"The shepherdess calls
a distant clang of goat bells
mountain music"

haiku by Mark Gilfillan 
picture by Jaka Skrlep 

Inspired by this challenge:
http://www.naviarrecords.com/2019/06/12/naviarhaiku284-the-shepherdess-calls/

The Shepherdess Calls (naviarhaiku284)

Composed and performed by DD

7 tracks of bowed upright basses (Paris , France November 2010)
Acoustic upright piano (Buenos Aires, December 2010) 
Acoustic guitar (martin J15) (Paris , France June 14th 2019)

For Disquiet Junto Project 0389: Choose an old piece of music of your own.  Slow it down considerably. Add one or two new elements .

Looking for old tracks to rework for this prompt I re discovered 3 MiniDisc with the soundtrack I composed for a Tennessee Williams play back in 2010.
I shared and published some of those tracks over the years (including disquiet0257 and naviarhaiku264) but there’s still a lot to be remixed  and re-used , many bowed upright bass pulses and noise that appeared all the time during the play.
For this one I used the score for « page 20 » of the script, bowed upright basses, upright piano and vinyl noises. Original track in Em (the basic pulse plays on the lower E string of the basses.
I added an acoustic guitar (in Em) and the transposed everything 4 steps down to C minor and recorded a new guitar part on that new key and slower tempo.

Pitching down the low E of the basses gave a profound C that really makes a difference, and the slower pace made the thing even more menacing.
Cheers
DD



More info:

https://llllllll.co/t/disquiet-junto-project-0389-long-then/23225

The Heartbeat Of The Jungle (Page 20) disquiet0389

i mean this - “rauschen” is noise in the sense of white noise, waterfall noise, background noise, static, wind in trees, rain, etc. The blurred, diffuse, continuous kind of noise, not short individual non-tonal sounds. - is almost exactly my shit. Line hum, shortwave radio, rustle [etymologically related to 'rauschen'?], hiss and fizz. All the good things. & that's before Marc even gets around to invoking Robert Rauschenberg, somebody whose work has captivated me since i was an arty little brat in high school. His works density and elegance, the strange utopian gleanings in the collage work,the comfort with mess and scrabble; the ability to find strange trash-inflected grace in the available shambles...

So yeah, for good or ill, this project appealed d e e p l y and i have hours and hours of recordings to chop and blend, overlay, crash, paste. So yeah, there's not much method beyond digging through my memory cards looking for the suitable muted crackles, rumbles and clicks. There's a lot of rain here - it's been wet & i have this vague fantasy of starting a podcast of rain recordings - but also vending machines, basement ventilation outlets, pumpkin seeds (yeah, i know, always with the pumpkin seeds), a waterfall, freshly recorded radio static and wear rumble. I made a point of minimising interventions beyond chopping, layering, rearranging; one sample is slowed down but in the main the only effects applied are tweaking the eq levels on some of the recordings and some forced panning here and there.

More on this 398th weekly Disquiet Junto project — Rauschen Bern / The Assignment: Make music by making a collage of noises — at:

https://disquiet.com/0398/ 1

This week’s project is the first of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. More details at:

https://www.musikfestivalbern.ch/ 2

More on the Disquiet Junto at:

https://disquiet.com/junto/ 5

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0398-rauschen-bern/ 7

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Salton Sea - for Cities and Memory

otolythe

Related tracks