"AlwaysAndForever" Download album at, https://invisibleriserecords.bandcamp.com/album/alwaysandforever?from=search&search_item_id=2168008471&search_item_type=a&search_match_part=%3F&search_page_id=182636118&search_page_no=1&search_rank=2&search_sig=a83b9c0c185428d2ea79ffb5bcc9df2a
https://www.youtube.com/watch?v=Sc5EdclGMEA
Every bee, See them as tears
Every tear falls for three thousand years
Turn the lights on, Black out the sky
Hide the dead, We don't want to die
All the dead, See them as stars
All the stars shine forever more
When the kings dead, Light intervenes
Cold conception crawls inside his queen
Hypnotise me, Take me away
Do it soon, Before you decay
Your hearts a quarry and your mind
Some kind of ghost, Living inside
Even the dust of beautiful things
Means more to me than you ever will
After your gone, Long after your gone
Still partly blinded, The way the light shon

See Them As Stars

I'm in the dark, Watching you watch me
Originally an xrssm song


In The Dark

Always is only forever
"AlwaysAndForever" Download album at, https://invisibleriserecords.bandcamp.com/album/alwaysandforever?from=search&search_item_id=2168008471&search_item_type=a&search_match_part=%3F&search_page_id=182636118&search_page_no=1&search_rank=2&search_sig=a83b9c0c185428d2ea79ffb5bcc9df2a

Twist (Again)

This generative piece is inspired by the crossing of cultures on the Neolithic trade routes.  In the Bronze Age, blue beads created in Egypt and Mesopotamia were transported to Western Europe.  

The bead pictured is now in the Moesgaard Museum in Denmark.  It was found in a grave dating to about 3400 years ago.

Please leave a comment.

pytchblend - viaMaris

mIrk 
...a dank, dark visitation
please leave a comment

There's something there.  Something in the background that I can't quite make it out.  It's been there for days, just out of reach. Fleeting and darting. I can't quite focus.  I sense it; following me... an inconsiderate something; Sickening and woeful.

So I wait. I wait resigned, I watch and gulp Looking over my shoulder, looking all around. through slitted eyes, I struggle to make out a form, its form.  There's depth, height and breadth and as I look, take notice, they disperse wide and vanish to nothing.  I see a shadow; an atrocious shadow that slithers along.  I can't see what I feel.  It feels strong.  Face it, I tell myself. Face It. The glimpse of an angry eye, maybe?  A staring pointed eye, a hollow circle that... that is a mouth of decaying teeth?  Thoughts undermine me while I silently curse its haggard loose decaying corrupted form.  It oozes cruel, malicious guilt while I feel an abysmal distress; I am worthlessly pained with disgust.  Hard-hearted and filthy, I weaken.   Like me, it too watches and waits.  Wary and hurtful, it undermines me.  Take me in your arms.  Me and it spinning and twirling through pirouettes.  My gruesome dishevelled call is you.  That wicked dismal breath, frightful and haggard that jealous grave, we are.  We are. We be.

pytchblend - mIrk (a dank, dark visitation)

synths and synths and well, synths really.

bitter dark fun

taptaptap (anticonvulsant)

Those rails; they have the memory of all the trains that have travelled along them.  Put your ear to the rail, and if you’re quiet enough you’ll hear them too.

This track was created for the Disquiet Junto Project 0254 entitled Fog and Steam.  The brief was to make music from two provided samples; a fog horn and a train whistle. 

We started by stretching the two samples to 99 hours long and took some minute-long clips and looped them to make eight tracks.  Next we chopped-up the real-time source samples to make some new one-shots which were used in a soundfont to make three rhythmical (generative) sequenced tracks (120bpm) to add movement. We further chopped and screwed some of one-shots to make a couple of screeches and and a final horn blast.
Next, we added some harmony and tension, with a ghost-drop-of-melody at 80.5 BPM to add a 'poly rhythm' feel.

More on this 254th weekly Disquiet Junto project — “Fog and Steam: Make music from two provided samples” — at: http://disquiet.com/0254/
More on the Disquiet Junto at: http://disquiet.com/junto/
Subscribe to project announcements here: http://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co a
llllllll.co/t/music-of-fog-and-steam-disquiet-junto-project-0254/
There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Source samples:
Fog horn sample by Schaarsen: http://www.freesound.org/people/schaarsen/sounds/69663/
Train whistle sample by Ecodios: http://www.freesound.org/people/ecodios/sounds/119963/

Pangaean Permafaction - Phantom Rails (disquiet0254)

Some owls are patient hunters, some owls speak.
Owl Yeah sets out to spread the word... https://soundcloud.com/owlyeahofficial/sets/owl-yeah-review-re-imagining

Borrowed words:
-------------------------------------------------
review
before us there have been younger suns
plants and bones, cozy homes, hired for yet another year,

but- tired of waiting- we dug them out:
proofs of death, well-preserved by our very own....

and so we left: roads and borders, restored values,
bit by bit our parental gifts. thats fine, so far,

we loose no more, sacrefying soley to the greater plans, we are:
worth it all for sure.

Younger Suns [Owl's Review]

Steel string sketch punched to a bar of MIDI and this --> http://www.workwithsounds.eu/sound/revolving-theatre-stage-underneath/

Strange, the way things grow.

Right Regress [The Stage Revolving]

Keep a float, you might want a flutter.

Includes material from:
  -->  http://aporee.org/maps/?loc=22459
  -->  http://aporee.org/maps/?loc=6400

Keep A Float

Red Rooms in Subterranean Dwellings is a one­-off radio art presentation lasting 31’30”. It explores myriad nagging uncertainties, as they are revealed to be mundane, yet ripe currency for exchange with ever present fear­mongers. Or alternatively, a place to burn a light, indulging introspection and surreal dreaming as a wellspring for imagination.

This piece is a response to H.G. Wells’ “The Red Room” short story from 1874. Taken simply, it’s a brief gothic test of credulity: to cause a shiver, as a fireside read. But typical of Wells, there is another effort there — interpreting and projecting a rapidly shifting social climate. Wells delivers Fear as a commodity, packaged and constrained by the four walls of his Red Room; promoted by an indentured peerage of brokers. This Fear is materially real,
yet allows for conscientious refusal — by sustained efforts to keep light burning in it's shadow.

The passing century has seen rapid shifts to the present day, where we face a far diminished risk and tangible cause for fear. Conscious endeavour has emphatically explored the unknown, and forcefully pursued uncertainty; ultimately fueling discovery, creativity and progress. Regrettably, those misfortunes which do catastrophically disrupt safety and security are too often tractable to evident, deliberate machinations. Our sense of fear is organic and innate, but our attachment to it, often misdirected.

The narrative and sound design are developed by methods of process and constraint. This facilitates the artists working simultaneously, in physical isolation, to produce convergent expression: a structure of narrative voices braided through spatial timbral and rhythmic layers. There is the impression is of a ‘musical’ piece physically mobile in an extensive unfamiliar world.
The language and instrumental devices can seem familiar, but there is ambiguity and strangeness, reflecting the individually dissociative influence of the generative compositional processes. Shifting dynamics and textures let the listener infer their own fears to the strangeness, or find empathic resolve in the leading, dreamlike narrative.

A rich rhythmic and harmonic palette that references and extends the stylings of contemporary electronic music, exploiting a range of software and hardware tools along with field­-sourced recordings, samples and voice processing. The sound artists responsible frequently work with radical applications of acousmatic and concrete techniques, here moderated, to serve an impression of musical norms, gradually revealing little that concedes to convention.

Pangaean Permafaction - Red Rooms In Subterranean Dwellings

Cast in sediments of the last great flood, Pangaean Permafaction stands as a collective of experimental sound artists who may never physically meet.  

Current projects are traversing four points of the globe, between participants in Australia and England:


*A Patch Of Nettles* — a solo sound project from small town New South Wales, Australia, keeping busy adapting field recordings to acousmatic arrangements, constructing electronic instruments and collaborating with strangers. Nettles is regular contributor to the avant garde Disquiet Junto project and is published on Bandcamp and Soundcloud. 


*Pytchblend* —  an English sound artist whose work studies the half-awake moments before the onset of sleep using  AMSR and frisson-inducing spectral manipulation into audio dreamlets. Pytchblend is a regular on RTÉ’s Nova in Ireland, Berlin Community Radio and is published on Bandcamp and Soundcloud and youtube.

*TheNumbersInTheDream* — an English multi-instrumental itinerant sorcerer, wearing a hat of eternal paradox.  At times, he is not real. Other times he creates warmly received echoing melodies shrouded by inscrutable ghost voices. Nick can be found on the Fag Ash Records net label, Soundcloud , youtube and spinning sound on Mixcloud where he inexorably winds new genres in song.

*KeithysDunimselfaMischief* —  an Australian sound artist who poses the question, "does the silence create the sound or does the sound create the silence?"  He finds that the answer is unreservedly, “yes it does”.  He has received regular Australian airplay on RN's Sound Quality , and Bay FM in northern NSW. He enjoys sleeping and is published on Soundcloud. 