This reminds me of the time when I got captured by a C64.

All acoustic percussions performed by D.D. November-December 2024.

For this haiku:

on New Year's Day
everywhere, a corrupt world's
blossoms. 

Poem by one of the four great masters of Japanese haiku, Kobayashi Issa (1763-1828)

Photo by Annie Spratt

@naviar-records

a corrupt world's blossoms (naviarhaiku571)

All the sounds in this track are derived from original recordings of small hand bells.
More on the 682nd weekly Disquiet Junto project, Unring a Bell — The Assignment: What if you could? — at https://disquiet.com/0682/

Cracked Bells (disquiet0682)

Recorded, mixed & mastered on 25 Jan 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

©2025 Jim Lemanowicz

I read the haiku and imagined the smell of a rose and all the interesting places our memories can go to.  All sounds are native devices in Ableton Live, using my own presets/racks, all being played by multiple instances of a sequencer I put together in Max For Live with the help of Claude.ai. 

This original version of "No Drip" was submitted as part of Naviar Haiku 577, Curve Of Time.

Curve of time -
a thought takes flight,
scent of a rose.

by: El Wud

Vincenzo, aka El Wud, is an electronic musician from Naples, Italy.

A regular participant in our haiku music challenge, El Wud uses sound overlaps, causal collisions and cosmic echoes to create evocative soundscapes.

Artwork/Photography - Jim Lemanowicz, Massapequa, NY, USA - 05 Sep 2017

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge/

No Drip  (naviarhaiku577)

Disquiet Junto prompt 0683 instructed us to make a piece of music that is half in space and half not in space.

Radio waves travel at the speed of light, and when the first radio transmission crossed the Atlantic it was said that distance had been abolished. Without distance, there's no space. So half of the song is a story that takes place on a radio, and is about a radio, and was performed in part on a radio, removed from place and space.

There are no synthesizers or synthetic samples in this piece. Instrumentation was a heavily processed guitar played with ebow, a Schechter Damien 7-string guitar, shortwave radio, shoebox cassette recorder, and field recordings. The radio noises and vocal parts are removed from space through a custom convolution reverb I created using a spike of low-frequency AM noise as an impulse response, essentially placing the sounds in the ionosphere.

The story I tell in the song is true.

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

Soft, Driven, Slow, and Mad (disquiet0683)

An electronic sequence created in Pure Data with additional gradual panning and reverb.

More on the 683rd weekly Disquiet Junto project, Space Shot — The Assignment: Combine reverberant and non-reverberant — at https://disquiet.com/0683/

Panned and Spaced Out (disquiet0683)

Inspired bu this poem:


one by one
praising and withdrawing inside -
winter moon


Haiku by Senjo
Photo by NASA @nasa

@naviar-records

Another Winter Moon - naviarhaiku578

Recorded, mixed & mastered on 06 Feb 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Synths, reverb, echo. 

Artwork/Photography - Jim Lemanowicz, 12 Mar 2016, Massapequa, NY, USA

©2025 Jim Lemanowicz

---

This original version of “Decaying A Little More Each Day” was submitted as part of Disquiet Junto Project 0684: Early Bird. The Assignment: Record not so much an alarm as a guided wakening.

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

More on the 684th weekly Disquiet Junto project, Early Bird — The Assignment: Record not so much an alarm as a guided wakening — at https://disquiet.com/0684/

Decaying A Little More Each Day (disquiet0684)

Instrumental composed and performed by DD February 2025 using @gforce-software 's Oberheim OB-X, OB-E and DMX exclusively.

for this haiku by Fuhaku
quiescence!
touching not the blossoms,
temple bell's voice

Temple - naviarhauku580

Recorded, mixed & mastered on 26 Feb 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Synths, reverb, echo.

This original version of "Cool Your Scorching Throw Pillow, Part 73" was submitted as part of Naviar Haiku 582, Here And There

here and there
upon scorched fields
wild violets

by: Arii Shokyu-Ni

Arii Shokyu-Ni was a haiku poetess during the Edo period who began a wandering life after running away from her husband at 29 with the haiku poet Kohaku. Just like Matsuo Basho, "the Nun Shokyu" traveled to the Deep North of Japan.

Artwork/Photography - Jim Lemanowicz, 12 Feb 2023 - a view of a painting of mine from the same month named “No Plans”, Massapequa, NY, USA

©2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge

Cool Your Scorching Throw Pillow, Part 73  (naviarhaiku582)

More on the 687th weekly Disquiet Junto project, Applied Science — The Assignment: Record a piece of music that includes physiological and behavioral techniques — at https://disquiet.com/0687/

more halF unusuaL

halF behaviouraL [disquiet0687]

This week’s Disquiet Junto prompt got me thinking about the somatic vs autonomic nervous systems, and how performing music can be a dance between muscle memory and intellect, instinct and intention. In reflecting on how I could explore this tension intentionally, I set out to record a minimal number of tracks, each of which had combination of attributes that were either ignored, made without decision, or deliberate.

The tone synths are custom patches designed on Logic’s physical modeling synth, Sculpture. I largely ignored pitch and concentrated on shaping and manipulating long-held notes with combinations of mod wheel, pitch wheel, and aftertouch performances.

The bass was recorded live with my Lakland. I selected a single note played at octaves, so I was able to hold the same fingering all the way through (which hurt) and not think about it (except it hurt). I paid closest attention to the way I plucked the strings, aiming for consistent intonation.

The piano part was fun, using a tinkly detuned patch I call “Gasoline Piano”. I downplayed rhythm and paid close attention to the selection of just the right notes for the broken melody.

As is my habit these days, all of the parts were recorded live, first takes only, no looping, and little to no editing.

I have to confess that this piece represents my second attempt at this week’s prompt. I spent the better part of a day with another idea, and as intriguing as it was, I simply could not make it work. It was hard to let go, but finally I listened to my intuition, set it aside for another day, and returned to the prompt with a fresh mind.

More on the 687th weekly Disquiet Junto project, Applied Science — The Assignment: Record a piece of music that includes physiological and behavioral techniques — at https://disquiet.com/0687/

The Hand with a Mind of Its Own (disquiet0687)

Abstract Sound Structures, Musique Concrète & Live Electronics.
Experimental abstract animation videos.
It is my aim to create and/or edit my tracks & videos using free or open-source software only.
Influences include: J.S. Bach, John Cage, Iannis Xenakis, Giacinto Scelsi, Mauricio Kagel, Conlon Nancarrow, Christian Wolff, Harry Partch, Luc Ferrari, Morton Feldman, Cornelius Cardew, Bernard Parmegiani, Ana-Maria Avram, David Tudor, Alvin Lucier, Pauline Oliveros, Renaissance Polyphony.
All my work is published under a Creative Commons licence & can be freely downloaded (as wav) or remixed.

Panned and Spaced Out (disquiet0683)

ray_cobley

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