This week's response to the @naviar-records haiku challenge uses elements of sound design I've created for zack mennell's "Rage Reactor" performance installation which they will be realising in Liverpool's Dadafest this week: https://www.dadafest.co.uk/event/ddfi40-rage-reactor

"heaven and earth:
neither exists apart from
snow fluttering down"

Kajiwara Hashin was born in 1864 and studied under Kyoshi. Although Hashin is not very well-known as a poet, this particular haiku that he wrote is quite popular worldwide: it was first translated by Miyamori Asataro and later by R. H. Blyth.

Haiku by Kajiwara Hashin

Extract of picture by Simon Berger

Submission deadline: 19th March 2025

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

neither snow (naviarhaiku584)

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

disquiet0690

My track notes regarding the creation of this track can be found here: 

Disquiet Junto Project 0690: Knot Bad
The Assignment: Interpret wood grain as a graphic score.

Step 1: Find a piece of wood, the grain of which captures your imagination.

Step 2: Consider how the shapes of the grain might be interpreted as a graphically notated score. (If you are not familiar with the concept of a graphic score, read up.)

Step 3: Record a piece of music in which you interpret the grain of the wood you selected in Step 1 as a graphic score.

[Disquiet Junto 0690] Contin You'd Uhm

Ooooh good ... Here's another track that the SoundCloud algorithm refuses to recommend to potentially interested listeners ... If you're interested in music that a robot doesn't consider 'music', why not give it a listen! 😜

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0689/

more halF unusuaL

halF knoT [disquiet0690]

This week's Disquiet Junto prompt instructed us to find a piece of wood with interesting grain, and interpret it as a graphical music score.

My music desk is a pretty solid piece of furniture, and the dark stain makes the wood grain stand out prominently. I noticed that the grain on one side of the desk contained two interlocking swirls, and the radiating pattern reminded me of a magnetic field. So I decided that this week's composition would be played with wood and magnets.

I used a contact mic to record the percussion part, playing the top of the desk like a hand drum. Then I recorded three layers of guitar played with an ebow: an electromagnetic "guitar pick" characterized by infinite sustain. Ebow has the drawback of making dynamics difficult but I was able to make it growl and howl enough to get some texture and noise out of the performance. 

The bass layer was played on a Schecter Damien 7-string guitar with an altered tuning. I managed to play the bottom string freehand with the ebow, floating rather than resting on surrounding strings, which required multiple takes unfortunately. I just really, really needed that low B♭. The other two guitar layers were played on the St Vincent guitar. 

Offboard, the guitars went through my standard bank of stomp boxes, including an Eventide Harmonizer, Keeley Halo, ARP-87 and Julia pedals from Walrus, and a trusty RAT distortion pedal. DAW effects were mainly reverb and Chromaglow, plus a stereo delay and EQ on the percussion part.

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0689/

Lost in the Ironwood (disquiet0690)

Smell You in My Clothes (disquiet0690)

This was my contribution for Disquiet Junto Project 0690: Knot Bad. The Assignment: Interpret wood grain as a graphic score.

Here’s a copy of my post on the Disquiet Junto 0690 discussion thread on Lines:

This was inspired from a live edge black walnut board I’ve had for many years. I used to do some woodworking, and this is a souvenir from those days. I might someday incorporate it into an art or craft project, but for now, I keep it around as something to be simply admired.

I used the horizontal grain patterns and the imperfections in the middle of the board, as the graphic score. First, I assembled a Morphagene reel using slices from various pieces I created as well as field recordings I had. Included in the samples was a recording of the sounds of a piece of wood being lightly dragged across the surface of the board that included the imperfections. This created a drone like foundation using the modular synth. I then created some tracks in Ableton Live following the “notation” of horizontal center grains and notches. Used Slate+Ash Cycles for instruments and Valhalla Delay for effects. I also added an outdoor field recording from our front yard. 

I imagined sights, sounds, music and other memories that the tree might have experienced when it was alive.  Those things, embedded within the grains of wood, are released here with this soundscape as a remembrance of those years. At least, that was my intention.

More on the 690th weekly Disquiet Junto project, Knot Bad — The Assignment: Interpret wood grain as a graphic score — at https://disquiet.com/0690/

Memory From A Walnut Grove [disquiet0690]

#4191 92.42% 345 left): Jun.5, 2025: Under the passing stars form of the sky  (again, William Butler Yeats from May 22, 2025) 

*** NEW SELECTION ALBUM 30th JUST RELEASESD ***

Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : )

Looking for absolute natural beauty every day for Piano Ten Thousand Leaves. Target number is 4536:
This piece may might have good 1/f fluctuation characteristic although I stopped investigating it each piece.

######## Latest Album: 30th SELECTION ALBUM JUST RELEASED ########

"wind of mysteriousness" - the 30th selection album of piano ten thousand leaves

youtube: FULL VIDEO with 20 full songs in very high quality sounds
https://youtu.be/tkqms1ZjAEg?si=RlWgQZBbe9z523f_

spotify:
https://open.spotify.com/intl-ja/album/7CiAmnJmm5Wnm3CVfmC234?si=tImTyWj5TT6dUBRhMRXVYg

apple Music:
https://music.apple.com/jp/album/wind-of-mysteriousness/1817351475

amazon music:
https://www.amazon.co.jp/s?k=chair+house+%E4%B8%8D%E6%80%9D%E8%AD%B0%E3%81%AE%E9%A2%A8&i=digital-music&ref=nb_sb_noss_2

all music streaming services:
https://linkco.re/PQ45u0dG?lang=en


under the passing stars foam of the sky - #4191 (92R42 percent 345 left) chair house 250605

Malísima - Where Once Were Fields Now Is Void, Vapid and Empty

Serene Heaven

SUNYATA

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).