Electronics and guitars. A look at possible future worlds. I loved Gil Scott-Heron as a child.

The Code of Silence disquiet0680

More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

Reverse Resolution [disquiet0680]

This was my contribution for Disquiet Junto Project 0680: Reverse Resolution. The Assignment: Finish something (musical) you started last year.

Here’s a copy of my post on the Disquiet Junto 0680 discussion thread on Lines:

I didn’t realize I had such a large collection of unfinished tracks and musical sketches from last year on my laptop. For this piece, I used a sequence I created last year when I was exploring the new plugin Tela by Fors.fm. I added additional tracks in Ableton Live using Madrona Labs Sumu and Slate+Ash Spectres.  

More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680

Gathering Stray Totems [disquiet0680]

An unpublished track from last year, finished with a few tweaks, additions and a touch of reverb, etc. Sounds created using Pure Data, PaulXStretch and Audacity.
More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

Finishing Touches (disquiet0680)

Zeta Reticuli (disquiet0680)

More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

This assignment was both easy and difficult. Easy because almost all of my music is a more or less spontaneous life recording. Difficult because I usually just save wav. files, so there is no easy way of refining by editing. Also, usually I have no recollection of the process involved whatsoever (it’s not drugs, but maybe age if you’re wondering).

Going through my messy iPad, I found a file named 20240115.wav, so I guess I made this almost a year ago. It sounds like several Plaits voices over a field recording with some glitch effect. To this I live jammed a glitchy beat and some other small bits. So now the track is as finished as it ever will be.

Disquiet0680 - Bleep Boom

reverse resolution disquiet0680

Lines post can be found here: https://llllllll.co/t/disquiet-junto-project-0680-reverse-resolution/70376/21

**Disquiet Junto Project 0680: Reverse Resolution**  
The Assignment: Finish something (musical) you started last year.

This project has just one step: finish something you started last year, likely a piece of music you left unfinished.

#### Background
It's been a long time since I played anything on keyboard. For the last six months, my electric piano has been sitting up vertically against the studio wall, covered with a sheet and pretty much neglected. During my staycation (almost at an end now) I'd come into the studio, and just before I decloaked the keyboard, I'd get distracted or discouraged somehow.

I thought about the keyboard in relation to this week's assignment and recalled that I had a chord progression that I'd been meaning to do something with. So that's where this started.
#### Studio approach

The chord progression itself is very simple and revolves around a Bb Major 7th in second inversion (F-A-Bb-D) which occasionally resolves to a Dm7 and/or G7. This forms the scaffolding for the track, with degrees of improvisation after resolving to the Dm7.

I found a bass melody which could lead into these chords and played these on an electric (Rhodes-like) piano patch, with the chords played on the piano patch. Beneath this was a spare 3/4 click, which once the piano parts were in place, I used an ML-generated drum pattern with tweaked parameters.

An electric guitar largely compliments the piano chords and steadily opens up a bit, whilst a myriad of synth patches are introduced to provide a bit of atmosphere. Lastly, I included a field recording as a backdrop. This was a recording from new year's day in a national park on the Fleurieu Peninsula.

I guess I could sum up the mood of this track as 'wistfully pensive', much like my general outlook for this year.

[Disquiet Junto 0680] Time Removed, Facing Backwards

picked up an ableton live session from last year, with a recording from my modular system - notes at the time mention using a matrix mixer for effects sends with feedback, one send to delay and another to beads, with a chord voice going in - revisiting this recording, i ended up layering two slower copies pitched down -1 and -2 octaves and working in some field recordings.

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More on the 680th weekly Disquiet Junto project, Reverse Resolution — The Assignment: Finish something (musical) you started last year — at https://disquiet.com/0680/

disquiet0680 - bilinear form

[disquiet0680] yeahz

You can see an experimental video made to accompany this track at https://youtu.be/kjjs4dMyaec ... Enjoy! 🤗❤️

half-asleep eyes
open to a dreamlike world
of blossoms

Natsume Seibi (1749-1816) was the son of a wealthy Edo rice broker and was acquainted with a number of other famous poets, including Oshima Ryota and Kobayashi Issa. In addition to his poetry, Seibi left behind a number of fine examples of haikai prose. 

Haiku by Natsume Seibi

Notes from the Penguin Book of Haiku:

nebuki me o / hirakeba hana no / ukiyo kana

Ukiyo, the floating world of pleasure, specifically referred to the pleasure quarters with its various beautiful women (hana, literally ‘blossoms’) as well as to popular theatre and street spectacles.

To find out more and participate, visit https://www.naviarrecords.com/haiku-music-challenge/

visuals (YouTube)

halF dreamlikE [naviarhaiku611]

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).