More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

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-0428-urban-moss/

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

Disquiet Junto Project 0428: Urban Moss

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Un-Ravel

Disquiet Junto| Un-Ravel - disquiet0691

I selected the 4th movement of the quartet, chopped it up and remixed it to a stereo track. Then, by means of many adjustments and various effects, I converted it to a modern atonal/microtonal composition.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Ravel Revamped (disquiet0691)

Ravel from the 1920s, timestretched in ableton, then converted to midi and combined, fx etc

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

un-ravel +3 mix [disquiet0691]

Following this week's Disquiet Junto project this track was created using a historic recording of the Ravel string quartet from 1928.
This is the sound of a dream, dissolved beyond recognition, but still present as the conscious cause of this unconscious music.

The audio was transformed using spectral synthesizers and effect chains to create this dreamlike rendition. No other sounds or instruments were employed.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

rêver  (Disquiet0691)

Edited, mixed & mastered on 28 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).

The original source is the Internet Archive: 

https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Photography - Jim Lemanowicz, 24 Apr 2009, Massapequa & NYC, NY, USA

©2025 Jim Lemanowicz

---

This original version of “Chowder Spray” was submitted as part of Disquiet Junto Project 0691: Un-Ravel. The Assignment: Make a recording of a string quartet fall apart.

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

More on the 691st weekly Disquiet Junto project, Un-Ravel — The 
Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

Chowder Spray (disquiet0691)

“Unraveling a revealing Ravel” takes the final twelve seconds of Ravel’s Capet string quartet in F Major (1903) as the material to apply the idea proposed in Disquiet Junto 0691: “it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing”. 
The tripartite microstructure of those final measures has been mapped into the three sections of the track: the first one starts with the clean original audio and quickly derives into a vivacious sequence of micro-editions, gating and spectral smearing; the second section transitions from energico to adagio until the chords seem to be suspended for a while, just to be submitted to different kinds of decimation, downsampling, aliasing, vacuum tube distortion, vinylic noisification, and bitcrushing; the piece closes with an exagerated ritardando, and wild filtering and cutting of excerpts that maybe expose some microfeatures of the final chord before leaving it totally unravelled. 
More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

This piece uses a 1928 recording by the Capet String Quartet of Ravel’s string quartet (Col. D 15057-60).
The original audio source can be found here:
https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Unraveling a revealing Ravel [disquiet0691]

I was a bit lazy with this one and also pressed for time. I basically ran the original file through a number of granular plug ins, fading and mixing them against each other and towards the end rendering the mix into an ambient wash. Hints of Ravel remain, moving in and out, here and there....

disquiet0691

Disquiet Junto Project 0691: Un-Ravel
The Assignment: Make a recording of a string quartet fall apart.

Step 1: Download the first movement of the Ravel string quartet at this URL: https://bit.ly/un-ravel

The original source is the Internet Archive: https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/

Step 2: Listen to the track closely.

Step 3: Create a new piece of music by employing the provided recording as source material. The goal for your piece is that it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing.

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/

unravelling [disquiet0691]

Un-Ravel [disquiet0691]

the end result is not so much a string quartet falling apart as it is a resonator-granular garble, but that's how it is sometimes

--

More on the 691st weekly Disquiet Junto project, Un-Ravel — The Assignment: Make a recording of a string quartet fall apart — at https://disquiet.com/0691/



disquiet0691 - gravel

This piece is a combination of field recordings and experimentation with semi-automated arpeggios and chords. Different instruments (hand drum, music box, and Cello) are playing the same set of notes but layered (like urban moss)on top of each other. They are treated with tape loop effects and noise, with a Solina added on top for ambiance.

In the background, some treated Fado singing from a concert at a small bar in Luxembourg and some street noise.

All this may be also a response to the ongoing chaos in the world… Lets all hope, it will be over soon - and we can go back to enjoying the coming spring.

Best wishes to everyone!


More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

disquiet0428 - midivale

This piece contains the following English & Scottish Ballads:

1. Riddles Wisely Expounded
2. The Elfin Knight
3. Willie's Lady
4. The Fair Flower of Northumberland
5. The Twa Sisters
6. Lord Randal
7. The Cruel Mother
8. The Three Ravens

=================================

For context, when posting the track online, please be sure to include this following information:

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

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-0428-urban-moss/

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

Urban Moss - disquiet0428

Upright piano, synthesizers.
Recorded @ Paris and Buenos Aires over the years...
Created for:
**Disquiet Junto Project 0428: Urban Moss**
*Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.
*Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.*
----------------------------------------------------------------------------------------------

After both my parents died a couple of years ago I had to let go many things, most notably the family house and the bedroom where I lived my first 22 years. It was a thrill to go back to that room to say farewell, the walls were covered with posters, stickers, etc. There were a lot of concert posters glued to the wall that my parents just kept there, along with many concert ticket that I glued over. I wish I could have keep that wall! Filled with memories, there was even a Miles Davis street poster (huge) for a concert in the early 90s that never happened (Miles got ill, cancelled and died)

Then I had to let go my old piano, a century old German beast, with crackles, noises , real ivory and ebony keys and “that sound”...

I recorded a lot on it when I was living there but even in the recent years , when visiting my parents, (although I have a modern piano in my studio) I liked to bring a stereo microphone and do some recording that, when listened 10 thousand kilometres away, instantly bring me back to that piano, that room, and the past.

In this track I worked on a solo piano track I found on an old DAT, recorded at my parents’ house 15 years ago, added some hi pitched notes for the same session/DAT, then I created a pulsating synth arpeggiator and a deep bass, with a lot of subliminal blemishes like noises and interference in the background.

Cheers

DD

memories embedded in wood (disquiet0428)

Recorded for the Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Process: Noddling around on the guitar trying to channel the guitarists  concerts past. Editing, then reverb, delay, and some granular effects.

The Rolling Stones Are Gathering Moss (disquiet0428)

Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.

Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.

Track notes: 

As I'm sure is the case for a lot of folks, last week was..well, hectic. I was interstate for work and getting home to Adelaide on Friday the 13th (heh, heh) was a tad stressful. My employer (CSIRO) had gone into partial lockdown with the threat posed by Covid-19, and aiming to get us home before imposed travel restrictions came into effect was a bit intense. That, and staying safe on the flight back.

I'm ok. Very tired and feeling a little under the weather, but ok. I'm in self-isolation from work for the next week or two and working from out of my studio.

So, in order to get my mind off this stuff I'm glad there are things like the weekly Junto to refocus my energies. <3

I ran an AM radio station (oldies 50/60's stuff) through my Eurorack setup, with its signal largely affected by a filter and a 4MS DLD. I wanted to emulate a couple of long tape loops that could be added/subtracted to. In addition, a sequencer created a random pattern of tones. I did several takes of this, so as to create layers of radio and tones.

Over this, I added some synth and piano, intuitively following cues I heard from the patterns in the radio and tone layers. An iphone recording of water flowing closes out the track.

I like challenges like this that have a poetic association with accumulated (and decayed) memory. I think my experiences of being in between mental and physical spaces this past week certainly had an effect on how I approached this too.

[disquiet0428] my life in the residues

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).

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

[disquiet0428] my life in the residues

Tristan Louth-Robins

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