Like a car chase in a concrete multi-story car-park!

Very like the work of the Barrons. Excellent!

I like what we musicians consider music >.<

Disquiet Junto Project 0232: No Input
The Assignment: Record a piece of music exploring the concept of “no-input mixing.”

This was the first time I’ve tried “no input” mixing. I was really surprised at the variety and complexity of sounds that came out. Very cool. 

Equipment: Mackie 1202 (I used 2 channels of feedback) and a voltage controlled delay (Ray WIlson design) modulated with a Wogglebug (mostly random step). Edited in Audacity. 

Creative Commons license granted. 

More on this 232nd weekly Disquiet Junto project — “Record a piece of music exploring the concept of ‘no-input mixing.'” — at: http://disquiet.com/0232/

More on the Disquiet Junto at:

http://disquiet.com/junto/

No Input Mixer [disquiet0232]

Fate Of Rahu(disquiet0292)
Music Video - https://youtu.be/bk2rW0Rk14k
My Other Music Videos - https://www.youtube.com/channel/UCc_iQ5JFusPt9EIwKIZ5rew
I knew there would be a eclipse prompt at some point, but only gave it a passing glance thought. In between all the busy bits of life I have been making patches in apesoft’s Mood synth, which is a brilliant and expansive 3 oscillator beast with unbelievable controls and automation. Two of these patches found their way into this weeks noise, and both use an additional oscillator to change frequencies and wave shapes. As I said, not much planning but working with hints of forethought, so no real significance of length, but a sense of serene apprehension during the second contact. Multiple recordings of both patches were overlaid into four tracks and with some minor eq and separation adjustments. A fifth track using Micrologue runs an almost sub synth with pitch automation at the ecliptic epoch. The name references the Hindu demon responsible for eclipses and is in my opinion the most interesting and plausible explanation of this rare occurrence!

More on this 292nd weekly Disquiet Junto project — Eclipse Music: In coordination with St. Louis Art Hack Day, make some solar-inspired tunes — at:

https://disquiet.com/0292/

Major thanks to Tyler Mathews and Jon Phillips for encouraging this project. Details on the related August events here:

https://www.eventbrite.com/e/art-hack-day-st-louis-eclipse-tickets-35500853007

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/make-music-for-a-solar-eclipse-disquiet-junto-0292/

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

Season of our Disquiet

Fate Of Rahu(disquiet0292)

This track was created for the Naviar Haiku group.
190  week haiku
naviarlab.tumblr.com/

2017-08-24

Poisoned Waterhole (Naviarhaiku 190)

“I do not hold that land acquired by the murder of men and children is mine by right of any law that is just, when that land was got in a war that was undeclared and followed by no signed surrender.” ~ Bob Ellis

Made for http://www.naviarrecords.com/2017/08/23/naviarhaiku190-poisoned-waterhole/

Ngurrumbang [Naviarhaiku190]

Originaly from my larmkunst experiment.
Sound sources:
Maelzel metronome
Bamboo drums (performed with mallets)
Treatments:
Delays, echoes, filters, wahwah.

Remixed, edited and first released for this Junto project:
Write a piece of music inspired by this haiku, which was written by Peita Vincent:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.

I was trying to get into the Disregard Echoes concept, I decided to refresh a  previously unavailable  track I created when I was seriously infatuated with echoes and delays, particularly the casualties of infinite decay on some units. While some pedals/racks just repeat the original signal forever when you set “feedback” to 100%, others just clip, overload, crash or produce a dense distorted thing out of a single note or musical phrase.
Here I used my bamboo drums (from Guatemala and Mexico) called Tun or Tembonastle. And run the simple groove through rhythmic delays to create a nice evolving groove, and some notes went to different delays with 100% feedback that went through filters and pedal WahWah. The other sound used is my Maelzel mechanical metronome (oak wood, gorgeous)

Photo by kazuend

Junto project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

@disquiet
@l-rmkunst

Violent Echoes (Bamboo The Painfull Clix) disquiet0295

**Production Notes**

The assignment felt like controlled noise, fuzz, and voices. 

The voices and the bass drone were made with Morphagene (such a lovely beast) and Furthrrr Generator respectively. The rest ist Aalto, String Studio, Trash 2, some delays and compressors. 

Sounds strangely alien, doesn’t it? 

Oh, and Ngaligin-gu Mayiny means „our people“.

* * * 

**Disquiet Junto Project 0295: Disregard Echoes**

Make music inspired by a haiku, reflecting on Australian history.

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.

Step 2: Write a piece of music inspired by that haiku, which was written by Peita Vincent.

Background: This project is the brainchild of Jason Richardson. He has encouraged members of the community to write haiku describing local scenes. Those haiku have been turned into music as part of Naviar Records’ weekly Naviar Haiku series. The resulting recordings will join the haiku, photography and a textile exhibition Slow Book Haiku by Kelly Leonard Weaving and Greg Pritchard. There are also plans for Naviar Records to develop a CD featuring a selection of recordings. While the image of a poisoned waterhole speaks to many environmental concerns, the location earned its name during the “Frontier Wars” of the early 19th Century when the indigenous Wiradjuri people resisted European settlement. In the 1830s, several groups of Aboriginal families used to camp by the waterhole. Annoyed and eager to get rid of them, the local homestead owner poured drums of poison into the waterhole, killing many of them. This discussion comes as contemporary Australia reconciles colonial history.

Five More Important Steps When Your Track Is Done:

Step 1: If your hosting platform allows for tags, be sure to include the project tag “disquiet0295” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track:

https://llllllll.co/t/disquiet-junto-project-0295-disregard-echoes/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

(…)

More on this 295th weekly Disquiet Junto project — Disregard Echoes: Make music inspired by a haiku, reflecting on Australian history — at:

https://disquiet.com/0295/

Thanks to Jason Richardson, who proposed the project; Naviar Records, which is collaborating with Richardson on a series of haiku, as part of the ongoing Naviar Haiku community; Peita Vincent, who wrote this haiku; and Western Riverina Arts, which is hosting an exhibit that will include music from the haiku series.

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-0295-disregard-echoes/

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

Photo associated with this project is by Jason Richardson.

Ngaligin - Gu Mayiny  [disquiet0259]

In preparation for this piece, Suss Müsik took some time to research Wiradjuri history.

We learned how during the 1820s, war broke out between the Wiradjuri and white British colonists just west of Sydney. We learned about vigilante groups who were formed to roam the Bathurst plains, hunting down the Wiradjuri as if they were wild animals. And we read about a local homestead owner who poisoned the water hole from which the Wiradjuri took refuge.

Timothy Leary once said that all suffering is caused by being in the wrong place. Suss Müsik thinks that's a crock. When consciously inflicted upon others with the cruelest of intentions, suffering is unavoidable — every place we go is the wrong place simply because someone doesn't want us there.

"There is an elasticity in the human mind," wrote Charles Caleb Colton, "which [is] capable of bearing much but will not show itself until a certain weight of affliction be put upon it." Listening to traditional Wiradjuri music recalls ancestral spirits: the rhythm is insistent, a series of singular beats that grow in intensity during performance.

For this cinematic piece, Suss Müsik combined field recordings of water with the sounds of homemade percussion and looped echo effects. Pieces of wood were clacked together to create the nuance of rhythm, upon which various reed tones were played using an EWI device. Although the result is a little longer than anticipated, we felt it was important to let things breathe a bit during transitions.

The piece is titled Yindymarra, named after the Wiradjuri word for doing things with kindness and in good time. The image is the Wiradjuri symbol for "meeting place."

Many thanks to Jason Richardson for opening this window to a part of history of which we were unfamiliar.

More on this 295th weekly Disquiet Junto project — Disregard Echoes: Make music inspired by a haiku, reflecting on Australian history — at:

https://disquiet.com/0295/

Thanks to Jason Richardson, who proposed the project; Naviar Records, which is collaborating with Richardson on a series of haiku, as part of the ongoing Naviar Haiku community; Peita Vincent, who wrote this haiku; and Western Riverina Arts, which is hosting an exhibit that will include music from the haiku series.

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-0295-disregard-echoes/

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

Yindyamarra [Disquiet0295]

This is a companion piece to https://soundcloud.com/tuonela-1/ngurrumbang-naviarhaiku190 

It was made from the same sound source, a tapered 10 second sine wave of 222 hz. This was replicated and distributed in a semi-random pattern over multiple tracks. The tracks were then pitch altered. This was converted to a wav file and the result treated in a number of ways. For this track it was processed via The Mangle and multi-tracked using added delay and reverb. Short cuts were stretched and otherwise processed to create added effects and drones. 


----------------------------------------------

Disquiet Junto Project 0295: Disregard Echoes
Make music inspired by a haiku, reflecting on Australian history.

This week’s project is a collaboration with Naviar Records and Western Riverina Arts, spearheaded by longtime Junto participant Jason Richardson. The results will contribute to an exhibition in the town of Narrandera during October that incorporates haiku describing local scenes.

Step 1: Consider the following haiku:

Poisoned Waterhole:
Violent disregard echoes.
Keenly felt today.

Step 2: Write a piece of music inspired by that haiku, which was written by Peita Vincent.

Background: This project is the brainchild of Jason Richardson. He has encouraged members of the community to write haiku describing local scenes. Those haiku have been turned into music as part of Naviar Records’ weekly Naviar Haiku series. The resulting recordings will join the haiku, photography and a textile exhibition Slow Book Haiku by Kelly Leonard Weaving and Greg Pritchard. There are also plans for Naviar Records to develop a CD featuring a selection of recordings. While the image of a poisoned waterhole speaks to many environmental concerns, the location earned its name during the “Frontier Wars” of the early 19th Century when the indigenous Wiradjuri people resisted European settlement. In the 1830s, several groups of Aboriginal families used to camp by the waterhole. Annoyed and eager to get rid of them, the local homestead owner poured drums of poison into the waterhole, killing many of them. This discussion comes as contemporary Australia reconciles colonial history.

More on this 295th weekly Disquiet Junto project — Disregard Echoes: Make music inspired by a haiku, reflecting on Australian history — at:

https://disquiet.com/0295/

Thanks to Jason Richardson, who proposed the project; Naviar Records, which is collaborating with Richardson on a series of haiku, as part of the ongoing Naviar Haiku community; Peita Vincent, who wrote this haiku; and Western Riverina Arts, which is hosting an exhibit that will include music from the haiku series.


Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Echoes of the stain [disquiet0295]

DD, Paris, Summer 2017
Cello, Uprigth basses, samples: strings and brass

Music for this Haiku by Takarai Kikaku:

    Springtime in Edo,
    Not a day passes without
    A temple bell sold. 

    鐘ひとつ賣れぬ日はなし江戸の春

Photo by Cater Yang
https://unsplash.com/@rugeli

@naviar-records
http://www.naviarrecords.com/2017/08/30/naviarhaiku191-springtime-in-edo/

spring is coming, somewhere somehow

This week's haiku is by Takarai Kikaku:
Springtime in Edo, / Not a day passes without / A temple bell sold

I created a slowly drifting patch on the modular, using multiple clocks that gradually speed up and slow down. The sequences driven by these clocks interlock, such that the whole feels integrated. Over this, I ad libbed on BS2, JP-8080, and nord piano, with lots of effects (reverb and delays)

No Input Mixer [disquiet0232]

project dirigent

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