Initially a recording of my noisy fridge and the street outside, hoping to draw a beat from the rain and passing cars. Cheated with edits, phasers and tremolo.

Melody by telecaster, fretless bass and grand piano.
--

More on this 401st weekly Disquiet Junto project — Noise Pacing / Use background noise as a beat, as a rhythm — at: https://disquiet.com/0401/

This project is the third and final of a series being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. More details at: https://www.musikfestivalbern.ch/

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

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

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0401-noise-pacing/

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

Dies ist das dritte und letzte Projekt in Zusammenarbeit mit dem Musikfestival Bern 2019, welches vom 11.-15. September stattfindet. Wir arbeiten auf Einladung von Tobias Reber, einem frühen Junto-Teilnehmer und Verantwortlicher für die Musikvermittlung beim Festival. Ausgewählte Resultate dieser Projekte werden im Rahmen des Festivals im Rauschlabor Schützenmatte (https://www.musikfestivalbern.ch) öffentlich gespielt oder auf dem Festtivalradio, Radio Antenne (www.radioantenne.ch), ausgestrahlt werden. Falls du nicht möchtest, dass dein Stück dafür verwendet wird, dann vermerke dies bitte wenn du es veröffentlichst.

Misericordia (Disquiet0401)

Paul Amlehn - Catalyst Texts and Vocals for Music, Texts, Vocals, Editing, Mixing, Production
Jen Baker - Extended Vocal Techniques
Ash Wednesday - Synthesizer, Effects
Ariel Lorca - Treatment for Ash Wednesday's Synthesizer Music
Eberhard Kranemann - Electronic Manipulation of Sounds of Nature
RK Faulhaber - Vocal Manipulations, Synthesis
Brian Chase - Drums, Percussion, Electronics
MS Waldron - Sounds, Electronics
Mick Rossi - Piano
Hieronymus Bosch - Painting: The Extraction of the Stone of Madness

The Extraction of the Stone of Madness

This track came about from a lyric in the song 'Me and Bobby McGee' about "windshield wipers slappin' time". That was the basis of the rhythm which was augmented with percussion tapped out on an acoustic guitar and loosely inspired by Steve Gadd's drumming on '50 ways to leave your lover.' The whole thing wasn't completely unoriginal - the piano and chordal background came from an unsuccessful attempt at another piece which was stretched and repurposed. The clarinet melody is an original length, which means the emphases in the melody fall in different places with each iteration. Finally the melody is processed to sound as if it is mediated by different technologies to reinforce the slight theme of nostalgia. These technologies move through time from AM radio to vinyl to data-compressed digital.

patterns and accidents vol 1

on our way home

MusikLogo RootRock KE311227 BiaB 31.May.2020

After visiting the music of a friend, I came in a mood for good old rock (and somehow roll)

You can also visit my friend who seem to be in a similar mood in some records. But check yourself:
https://soundcloud.com/johncarusone

Root Rock

RootRock

https://northfieldlenox898138798.wordpress.com/

Take a trip through time and space with scenic stops along the way.  The tour includes a flight through scores of waves and particles.  Get entangled at the Enormous Fabric Manufacturing Facility. Enjoy clean hotels (relatively speaking)  with dual closets, and of course be ready for random wildlife sightings,  from a distance.

Home Atomic Water [Part 1]

"My Tango" composed by LINIR OR

Thanks to Rick for the idea and organisation and to all collaborators. I like every section. Here's Rick's description (please read):

* written and produced by 
0:00- *Rick Shearer 
soundcloud.com/rix-shearer-ism/tracks
0:16- *Jonathan Howard 
soundcloud.com/jonny-5ive/tracks
0:38- *Still 
soundcloud.com/still-audio/tracks
1:09- *RiZLiX 
soundcloud.com/rizlix/tracks
1:40- *DM 12 
soundcloud.com/dm-12/tracks
2:07- *Mario De Fazio/My Own Therapy

2:36- *Andrew Doyle 
soundcloud.com/andrew-doyle-32194121/tracks
3:06- *LED-M/Mototsugu Endo 
soundcloud.com/user-96978190/tracks 
3:34- *Greg/Swim the Current 
soundcloud.com/user-699521979/tracks
4:05- *Spotnickdacat 
soundcloud.com/spotnickdacat/tracks
4:40- *Christian Levitan 
soundcloud.com/user-872366230/tracks
5:00- *Khaki Green Gills/Ian West 
soundcloud.com/khakigreengills/tracks
5:27- *Pablo DMF 
soundcloud.com/pablo-d-m-fontana/tracks
5:44- *Rick Shearer (Linear Collaboration 1 concept/director/design)

Description: In March of 2020, I was curious how a collaboration could sound if the collaborators didn't know who each other were and what they would create. I wanted the collaboration to be created in a straight (linear) path, not mixed, re-mixed and layered over, as most collaborations are created. 
So there I was, sending this invitation to various Sound Cloud artists I follow:
"LINEAR COLLABORATION" is the name of my new project!!
Would you like to to volunteer as a collaborator? ....and it goes like this:
As the concept coordinator, I will tie a collaboration in one linear path starting with my 20- 30 sec. secret/anonymous untitled instrumental. I will pass that secret track to the next person. The next person will create a 20-30 sec. untitled instrumental which they think might sound good right after the secret/anonymous track they received from me. When completed within a week, that person will send their newly created 20-30 sec. untitled instrumental to me. only. When received, I will send that anonymous segment (only) to the person next in line who's style I think will sound as a nice follow-through or an interesting contrast to the secret track they received. The only part of the project you will know is the one anonymous track sent to you. That instrumental will be the one right before your's in the final collaboration track. If needed, the only changes I might make is volume levels and/or shortening the length via fade-in/fade-out. You are the sole writer and producer of your composition. Even if the collaboration track might "sound better" by rearranging the order, I will not change the order in which the tracks are sent and received. I want it to be an honest linear path with unpredictable continuity, contrasts and surprising results. Once the project is complete, I will post it. That is when you will discover who created that anonymous secret track you received. You will also discover who received your anonymous track as inspiration. Best of all, you will finally know who your fellow team members are and how the whole game played-out!
How The Game Played-out! :
On the whole, what you hear is what I got,
What I got was a wonderful result from 12 other collaborators who didn't know what the other's were creating and mixing individually! This comprehensive track clearly represents the personality, style and creativity of each artist. Every contributor has made this process thoroughly enjoyable! As a result, sometime before the end of this year, next in line is Linear Collaboration 2 . How many collaborators and who are next in line? 
... I don't know yet...perhaps one might be you!
- Rick Shearer / rixSHEARERism

13 Collaborators*  -  Linear Collaboration 1 (Rest in Peace Mario De Fazio)

This track is dedicated to Anthony Cutrera Morales  soundcloud.com/carum-2

PALE LIGHT [FOR C]

Joshua M Norton's Album

The View from the Seventh Layer     (w/jnortie)

Perplexing Patternity is the result of this stormy year. Kind of a purging or clean up. Lot's of hard and weird stuff happening. Trying to manage through it and find some kind of peace amidst all the craziness. Kind of old school electronic. Wanting to escape to childhood nostalgia, but maybe incorporate this hectic all over feeling and the simultaneous search for peace of mind in it. Hope it's something you'd enjoy to listen. For me it was kind of a struggle and the my feeling about whole project is kind of confused, but sometimes you just got to see it trough, I think.

Influx Surge Drift

Tangent

My name is Paul Amlehn. I am an artist working in the mediums of literature, music, visual art, theater, opera, dance, performance art, and film.

My poetry, prose, and texts for theater and opera have been published in literary journals in 23 countries, including Exquisite Corpse, the California Quarterly, Poetry Salzburg Review, and Evergreen Review.

My paintings, photographs, music, and video art works have been exhibited throughout the world, including at Artist's Space, Luhring Augustine, the Chelsea Art Museum, and Tate Liverpool, and at festivals which include Art 42 Basel (with the Serpentine Gallery - curated by Julia Peyton-Jones and Hans Ulrich Obrist), documenta 14, and the 51st, 55th, 56th, 57th, 58th, and 60th Venice Biennales.

On my music projects I have collaborated with Robert Fripp (King Crimson), Ulrich Krieger (Lou Reed), Chuck Hammer (David Bowie), Jamie Saft (Iggy Pop), Susan Stenger (John Cale), Leo Abrahams (Brian Eno), Michael Blair (Tom Waits), David Van Tieghem (Laurie Anderson), Michael Johnson (Joy Division), Mick Harvey (Nick Cave and the Bad Seeds), Joe Gore (PJ Harvey), Terry Edwards (Tindersticks), Mick Rossi (Leonard Cohen), Jem Finer (The Pogues), Mark Egan (Arcadia), Dieter Moebius (Cluster), Jess Stewart (Psychic TV), Eberhard Kranemann (Kraftwerk), Thomas Stern (Einsturzende Neubauten), Stephen Mallinder (Cabaret Voltaire), Keiron Melling (The Fall), Julia Kent (Antony and the Johnsons), Laurent Petitgand (Wim Wenders), Jen Baker (Werner Herzog), John King (Merce Cunningham Dance Company), Robert Black (Bang on a Can All-Stars), Frank Cassara (Steve Reich and Musicians), Andy Findon (Michael Nyman Group), Andrew Sterman (Philip Glass Ensemble), Jeff Zeigler (Kronos Quartet), and many others.

On my film and video art projects I have collaborated with actors, actresses, singers, and dancers, including Philippe Nahon (Gaspar Noe), Artur Barciś (Krzysztof Kieślowski), Anne Louise Hassing (Lars von Trier), Kate Moran (Peter Greenaway), Kate Fisher (Robert Wilson), Elisa Lasowski (David Cronenberg), Pamela Flores (Alejandro Jodorowsky), Stefania Casini (Andy Warhol), and many others.

I am currently working on an album of music which has texts and vocals by William S. Burroughs, in cooperation with the Burroughs Estate. I am also presently working on an album of music which reimagines the work of John Cage, in cooperation with the John Cage Trust.

Cover art for my albums has been provided by painter Gerhard Richter and artist, musician, and filmmaker David Lynch.

At the end of 2024, I worked on several re-creation compositions which utilzed sonic elements from pre-existing songs by Brian Eno and David Byrne, Nine Inch Nails, and Grimes, from their albums "My Life in the Bush of Ghosts," Ghosts I-IV," and "Miss Anthropocene, combined with new music by myself and other musicians.

Earlier this year, I collaborated with painter Gottfried Helnwein on a short film called: Epigenetic Trauma Painting No. 1.

I'm presently working on a new music recording project. Musicians who have contributed to this project thus far are: Stan Harrison (Radiohead), Alan Splet (David Lynch), Ben Somers (Seal), Jarboe (Swans), Rob Burns (David Gilmour), Ben Holmes (Monsters of God), Nicholas Currie (Momus), RK Faulhaber (Nurse With Wound), Ann Kroeber (David Lynch), Peter Hess (Philip Glass Ensemble), and many others.

Soli Deo gloria.