Another visit to the absent detective for Disquiet Junto 

This weeks instructions were to use a recording of typing as the rhythmic basis of a track. For some reason despite not having taken part for sometime this grabbed my imagination.

Most of the track apart from the solo is a supercollider program. Using machine listening to derive the timing from my typing. Despite my original intentions being very different the combination of typing and the patterns somehow got me in a blade runner/noir kind of mood and I leaned right into that. Indulgent but sod it 

If you are wondering what I'm typing it is this nonsense - I didn't want to have too big gaps between lines so I just kept typing. I think we can all agree it is complete bollocks: 

"The door swung open. It hadn’t been locked

I cautiously went in. The place was in disarray, chairs tipped over, rubbish everywhere. One window slightly open.

I surveyed the scene - was the occupant just a very messy person or had the place been turned over. I was never to find out. 

I heard a noise outside and before I had chance to react a woman came bursting through the door. 

“Ah there you are” she started 

She was kind of out of place, well dressed, a nice dress, furs. Classy - not like this dive 

“Look I’ve been phoning all week. I simply must know how you are getting one” 

“I’m not who you think I am” I said 

She stopped and looked at me

“And who do I think you are?” 

“well…” 

“God man - focus. Now look about the case - I need to see some progress. Not you dithering about here in this office. Get out there. Get some work done. I’m paying you enough” 

And with that she left "

disquiet0483  - Absent Words

Disquiet Junto Project 0492: Kintsugi Rework
The Assignment: Employ the Japanese technique of mending broken ceramics as a metaphor for remixing.

Step 1: This week’s project explores the ceramic method called “kintsugi.” If the term is unfamiliar, read up on it a bit. Here’s a description from an article in the Washington Post: “That means ‘golden joinery’ in Japanese, and it refers to the art of fixing broken ceramics with a lacquer resin made to look like solid gold. Chances are, a vessel fixed by kintsugi will look more gorgeous, and more precious, than before it was fractured.”

Step 2: Consider how kintsugi can be employed, through metaphor, as a means to rework/remix an existing piece of music.

Step 3: Take an existing track, perhaps one of your own, and by some means “break” it.

Step 4: Take the “broken” piece of music from step 3 and make it whole by employing a musical adoption of kintsugi.

----

Track notes:

I took a piece of music I'd recently made to simply practice key changes on guitar and keyboards. It's a fairly relaxed jazz styled track with piano, Rhodes keyboard and an electronic drum pulse.

I 'broke' it by recording the whole track to a reel on my Morphagene module, which can do all manner of granular manipulation to audio. 

My process of 'kintsugi' consisted of taking the output of the Morphagene and feeding it through a couple of slow sweeping LPF's and then a dual looping delay. The parameters of the Morphagene are also controlled by slow rate LFOs. Rather than let the whole thing drift along, I applied a bit of hands-on steering of the sonic narrative. 

The reconstruction renders the original track into a ghostly echo of its previous incarnation, full of broken lines, discontinuities and unexpected harmonies. 

I imagined a beautifully reconstructed black bowl, lines with discrete veins of gold, glimmering in a dusk as the sun sets.

Disquiet[0492] - Dusk Glimmer

Well, it's a remake of my track called Madhouses Sanity from 2019. Did it for fun! Enjoy this one too

Madhauses Sanity 7

FALLING SOUNDS

Jeanette tribute. find the original track at:
https://www.youtube.com/watch?v=6ys7i-kW-lQ&ab_channel=Jeanette

Filmy Ghost is a solo project by Sábila Orbe.
https://humanfobia.jimdofree.com/filmy-ghost/
- https://hearthis.at/filmy-ghost/ 
- https://archive.org/details/fav-sabila_orbe02
- https://freemusicarchive.org/music/Filmy_Ghost
- https://open.spotify.com/artist/0POUvA4r7hzETPMnrn59My

Fren†e Λ  Fren†e ▼ (Filmy Ghost ▼ Haunted House Mix)

T - SHOEGAZE

Crusher

Early Reflections

This track was created for the Naviar Haiku group.
364 week haiku
naviarlab.tumblr.com/

Merry Christmas ot all and save the carp: -)

2020-12-24

Deep In The Water ( Naviarhaiku 364 )

Electronic composition with sounds created in Pure Data.

More on this 476th weekly Disquiet Junto project – IAH Forecast (The Assignment: Here’s your next single’s cover. Now record it.) – at:

https://disquiet.com/0476/

The image that is the source of this project is by Robert Boyd (www.thegreatgodpanisdead.com) and has been used with his permission.

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-0476-iah-forecast/

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

Into Smog (disquiet0476)

Made with four instances on my korg wavestate

have fun

In The Wave Of State (disquiet0478)

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).