excellent idea. an extasis late night trip gone wrong. love it

so cool love the linearity impossible to ignore or stop could go on for hours

I felt inspired to have a go at this week’s Junto as I love field recordings and I am also pretty immersed in playing with rhythms at the moment. It was a natural fit and great fun.

For the process I loaded the original field recording into Ableton’s Simpler and used Split mode, one of my favourite features. I done similar on another channel with a sampled drum loop. Between the two they made a complex polyrhythm. From here I mapped up some parameters and jammed out a long take, most of which remains untouched in this piece. I then layered sub bass below using the Model D and used a sample from 2001 Space Odyssey I took from vinyl a few months ago for the primal style scream halfway through. I felt it fitting with the tribal nature of the drums.

I think the piece is quite a challenging listen but very honest. Great fun was had too :-)


Thanks to Scott Fletcher for having provided the original material. It is used thanks to a Creative Commons license: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0). Original track at: https://soundcloud.com/disquiet/helsinki-downspout/

Flying Tulpa - Disquiet0581 - Helsinki Downspout

For this week's Junto we were asked to use a field recording:
https://soundcloud.com/disquiet/helsinki-downspout
As soon as I heard it I got a tribal vibe from it, like an indigenous ceremony. I added a field recording of the constant flood of honey bees in the native Renga Renga plants in my garden and the track became a ceremonial mourning for the bees. A few other bits of recorded percussion and edited parts of the 'helsinki-downspout' recording then some synthesised drones were added to give a mournful claustrophobic feel. Let us not lose the bees.
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More on this 581st weekly Disquiet Junto project, Helsinki Downspout (The Assignment: Use a rhythmic field recording as the foundation for a new track), at: https://disquiet.com/0581/

Thanks to Scott Fletcher for having provided the original material. It is used thanks to a Creative Commons license: Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0). Original track at: https://soundcloud.com/disquiet/helsinki-downspout/

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: https://llllllll.co/t/disquiet-junto-project-0581-helsinki-downspout/

Apis::Memoriam - Disquiet0581

An old master rediscovered and reworked today:
Synths, drum beat , vocoder.
Photo by Cerqueira


for: https://llllllll.co/t/disquiet-junto-project-0582-x-techno

Techno Bossa (disquiet0582)

Ανω ΚΑΤΩ (pronounced “ah-no KAH-to”) is a form of techno music that combines native Pontic Greek instrumentation with electronic dance rhythms. The name, often shortened into the more global term KATO, loosely translates into English as “messed up.”

KATO is believed to have formed sometime in the 1990’s, when a group of Macedonian sheep herders picked up the throbbing bass of a dance club located in the nearby valley’s urban center. Legend is that the herders attempted to play along with the beat on daouli drum, fife, and kemenche, forcing the musicians to actually play slower than the tempos to which they were accustomed. This adjustment resulted in new phrasing techniques that today comprise the subgenre’s sonic attributes.

The typical KATO techno track sits between 125 and 140 BPM and features arpeggiated notes performed on a kemenche, also known as the “instrument of the Black Sea.” The strings are bowed with a doksar made from an olive branch, double-bound to withstand the repetitive velocity needed to accompany loudly amplified beats. Glitch effects feature prominent in KATO techno, perhaps a carryover from the sketchy radio transmissions commonly heard on rural Macedonian mountaintops during KATO’s advent.

Suss Müsik owns a few KATO releases, all on compact disc and bought from the same record shop that unearthed this nugget.* Probably the best-known KATO artist is Matia14, whose track “Θα φας ξύλο” (“You Will Eat Wood”) was famously remixed by DJ Penmanship in 1999. The untitled track featured here is by a Thessaloniki group named αργό λάχανο, known as Slow Cabbage in English.

*https://sussmusik.com/2017/07/17/junto-project-0289-ancient-artifacts-repost/

More on this 582nd weekly Disquiet Junto project, X Techno (The Assignment: Make a new subgenre), at: https://disquiet.com/0582/

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: https://llllllll.co/t/disquiet-junto-project-0582-x-techno/

Αργό Λάχανο [Disquiet0582]

A sequence of detuned techno beats with a Shepard drone.

More on this 582nd weekly Disquiet Junto project, X Techno (The Assignment: Make a new subgenre), at: https://disquiet.com/0582/

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: https://llllllll.co/t/disquiet-junto-project-0582-x-techno/

Shepard Techno (disquiet0582)

Sometimes techno is all about the anticipation of the beat. So you have the evocative samples, the drone before the kick drum, the sampled female voices just prior to the high hat and so on. In this contribution to the week's Junto challenge I have created a track that is all about the anticipation before the beat. And when the beat finally comes, it is disappointing, disjointed and interrupted. Enough to clear the dance floor. Head to the bar. Or head for the door.

disquiet0582

[disquiet0582] X Techno, Etude

shifty 3.1 65 bpm take 1 101525

skating 8.1 mb 33 bpm take 1 110125

stortion 2.1 ft 20 bpm take 1 72825

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.

Shepard Techno (disquiet0582)

ray_cobley

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