Sinny: voices processed to oblivion

For the week ending August 23, the prompt was to create a song only using the human voice, albeit processed beyond recognition. I had been considering this song approach for a while, but the prompt solidified my decision to bring the idea to fruition.

To start things off, I set the BPM to 112 in 3/4 time. This was to provide some sort of guidance and not meant to serve any use after recording the first track. I recorded a series of grunts to a metronome as I wanted some sort of pulse throughout.

Before proceeding to record anything else, I experimented with various effects that would help mask my voice. I ended up going with some whammy, a phaser with a high sweep ceiling, various filters, and a generous amount of delay, all panned slightly to the left. A similar track was later recorded with right panning to balance things out.

Other elements include vocal sweeps, exhales, squeals, and muffled melodic murmurings. One early idea was to recite a corrupted synopsis of the Tokyo Olympics, but this was abandoned by the first day of recording. Some splicing and pitch shifting was conducted to add more sonic variety.

This account was made specifically for Disquiet Junto series tracks. The track was started on August 19th and completed on August 23rd.

Bot Throat (disquiet0503)

An old "live-in-the-studio" improvisation (circa 2012) 
by
miguel yanover: soprano saxophone
daniel diaz: bowed upright bass, treatments

rediscovered and reworked for this haiku:

⠀
cicadas⠀
the stillness⠀
begins⠀
⠀
poem by andrea cecon

photo by jack b.



@yanomito
@naviar-records

Stillness (naviarhaiku400)

Disquiet Junto Project 0505: Line Out
The Assignment: Share a track, get feedback, and give feedback.

Step 1: The purpose of this week’s project is to provide participants opportunities to get feedback on works-in-progress. Consider work you’re doing you’d appreciate responses to from fellow Junto participants.

Step 2: Either upload an existing recording (sketches and mid-process takes may prove optimal), or record something new and post it online for feedback. If there are some things in particular you’d like feedback on, mention what they are.

----

Track notes: This is one of two WIP tracks that I'm working on in collaboration with the Adelaide-based artist, Simone Kennedy. Her new work, Pilgrimage to Imago (The Primordial Mother Project)continues her exploration of themes associated with the notion of the 'mother', memory and identity. Her work is characterised by juxtapositions of these themes through 'soft-sculpture' and photo media. Insects - prodiminantly flies - feature heavily across her body of work. 

I've been collaborating with Simone since 2014 and it's always such an immense privilige to work with an artist whose work frequently astonishes me. She's currently in London finalising the work and I should have these compositions finished in October this year.

--------------

"The Lasting Waltz" is one of two 'waltzes' I've been asked to compose, sourcing inspiration from Engelbert Humperdink's 1960s hit, "The Last Waltz". This is what I'd regard as a deconstruction of a waltz, since the semblance of the 3/4 meter is there, but prone to be realigned and disrupted. As per Simone's prompt, the piece embodies a dance between the daughter and the fly.

I took the original track by Humperdink, ran it through RX8 and separated the instrumental parts so that I could use the piano, strings and drums in isolation. The bulk of the rearrangement was done using a Make Noise Morphagene, creating 'plastic' loops and layers that could be stretched, constrained and obliterated. On top of this, my own musical elements and aspects of musique concrete are applied.

Whilst it's arrived in the shape I'm after, there's still a lot of refinement required. Any feedback on the WIP is most welcome!

[disquiet0505] The Lasting Waltz (WIP)

File updated Sep/7th/2021 after some  positive feedback, shorter, more dynamic...
Part of a work in progress (on hold, almost abandoned) I planned to build 5 repetitive pieces using percussion instruments and tempo delays. My plan was to build some hypnotic rhythms in odd time signatures (3/4 5/4 7/4 9/4 11/4) and make it more in the 1970's repetitive music vein and not on a groovy world music percussion track.
I'm not a serious percussion player really so I can't develop a swinging percussion solo, but I thought it was interesting to explore the "mechanical" development of repetitive, copy/paste grooves I can create using multiple percussion instruments and other objects.

I already shared here the first Pulse 3 track, this is the second I recorded, then a few months back I decided to stop, cause I don't think this is really interesting.
Is it?
I consider three options now:
1- Should I use these full tracks as the basis for something else? (adding other melodic instruments and textures above it?)
2- Should I make a 1 minute snippet and use  it as a rhythmic interlude on an album or something?
3-Or should I trash it and just extract some rhythmic loops for my Loop Vault?
Comments, opinions and critics are appreciated.
DD Sep2021

Performed  by DD June 2021 on several acoustic percussion instruments and objects, with further edits and copy/paste for the basic layers.

Pulse 5 (disquiet0505)

More on this 505th weekly Disquiet Junto project – Line Out (The Assignment: Share a track, get feedback, and give feedback) – at: https://disquiet.com/0505/

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-0505-line-out/

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

The image associated with this project is by Alex McConnell, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/7Enqhx

https://creativecommons.org/licenses/by-nc-sa/2.0/

Disquiet0505 Line Out

Work in Progress

This track is part of the Disquiet Junto project – Line Out (The Assignment: Share a track, get feedback, and give feedback) – at: https://disquiet.com/0505/

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-0505-line-out/

Disquiet Junto | Line Out - disquiet0505

Sinny: drum kit, scraper, tambourine, maraca, vibraslap, conch shell, plate weight, zipper, voices, synth programming

Reinterpretations of old songs are fun, and this song was no exception. I frequently go back to remix my material for improvements, and the song “Where Did it Go?” was on my shortlist. Well before this prompt was even announced, I had the idea of replacing some of the lead instruments with something new to heavily revamp the song.

Essentially, I took all the main parts of “Where Did it Go?” that defined the track and promptly deleted them. This included the arpeggiated organ, lead synths, and all of the programmed drums. I then took all of the background elements and pushed them to the front of the mix, effectively turning the song inside out.

Previously scrapped elements, including some voice effects, were revived, sometimes even replacing my “final takes” used on the original. Many existing tracks were altered to further distinguish them from the original tracks.

Fragments of other compositions are also present. One of those, “Hiccup Highway”, was re-released for Project 0504. The outro of a previously released song, “The Floor is Yours”, was made more prominent in this mix, providing some of the synth blips near the middle of the song.

An arpeggiated synth was the only new software instrument recorded for this remake. All of the other new instruments were percussion instruments recorded live, which included a tambourine, maraca, and vibraslap. I even played one of my plate weights as a brake drum.

The original can be found here for comparison.
https://soundcloud.com/sinnyseven/where-did-it-go

The 506th weekly Disquiet Junto project — Wipe Out (The Assignment: Take something whole and erase half of it) — at: disquiet.com/0506/
More on the Disquiet Junto at: disquiet.com/junto/

Subscribe to project announcements here: tinyletter.com/disquiet-junto/

View the discussion thread at https://llllllll.co/t/disquiet-junto-project-0506-wipe-out/48480

Where Did it Go? - Emergency Mix (disquiet0506)

Project : Naviar Haiku
www.naviarrecords.com/about/naviar-haiku
Haiku : Ryōkan Taigu
artofwonder.org/2014/11/14/forget…poetry-of-ryokan/
Picture : Paul Earle
unsplash.com/@paulearlephotography
Music : Hypoglycémie (Grégory DAVID & Raphaël JARRY)
hypoglycemie.net/en/

Nameless Mountain (naviarhaiku406)

HollowSpook(disquiet0513)

Haiku #3

sleep spindles

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).

[disquiet0505] The Lasting Waltz (WIP)

Tristan Louth-Robins

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