This is excellent, first thing I listen on an early morning here in Paris and it set a mood and grabbed my attention all the way.  The piano comping and overall instrumentation works great.

Tristan Louth-Robins Oh my goodness, you had me from the first song- 𝐢𝐧𝐬𝐜𝐥𝐢𝐟𝐞 com

I recommend listening with headphones!!!

This is the twelfth track and the last track on my album "Climbing To The Stars"

Hello! Now it's time for my second album. I decided to upload this album gradually, I will upload it one track a week, maybe sometimes I will delay the release of tracks, because I try to make high-quality music, and it takes a lot of time to get a high-quality track!
This is my second Album! 

Climbing To The Stars 12 - Angel

Indonesian Market Montage - JAM Creative Productions

3 hour flip
Original Track - https://youtu.be/zlJJT5WOPYs
6 yo daughter - artwork
MOSNAR DET - Remixing, Drum Programming

Loop Diggers Sunday Roulette Challenge 110 - B E A T A N I M E 🐲👩‍🚀😸🧚‍♀️🚴‍♂️🤸‍♂️

Disquiet Junto Project 0579: Memory Serves
The Assignment: Rerecord a piece of music.

Step 1: The goal of this project is to simply perform and record again something you’ve performed and recorded previously. Think about something you’d like to revisit.

Step 2: Now rerecord the piece of music you decided upon in Step 1.

Track notes:

Something a bit different this week and certainly something I couldn't perform in SuperCollider! 

For as long as I've been seriously making music (25-ish years) I've written songs as part of that continuum. Sometimes the songwriting has become my primary activity and other times it's been consigned to the background. My 30s during the 2010's were pretty interesting in that regard. I'd started off not writing lyrics (let along performing) for quite sometime and then mid-decade songwriting and performing became my primary creative activity. That's where and when this song, "Queen Tide" first materialised. 

It's a song that's been hanging around for about 7 to 8 years now and I've never been able to settle on a structure that feels quite right. Initially, it fell square into a strummed acoustic folk idiom and I'd often perform it under my Garden Ruin moniker with my friend Tom accompanying on guitar. I've included a video of a live performance from back in 2017 that gives an indication of what it sounds like and how I've attempted to record it in the past.

https://www.youtube.com/watch?v=cO0kNIsKyro

For whatever reason - and about 12 versions later - it just hasn't happened. As this year began, I realised I hadn't worked on songs in quite some time and thought it might be time to revisit some older material and see if it motivated me to work on some newer material. I was up super-early this morning and upon seeing the Junto prompt this morning my thoughts drifted towards revisiting "Queen Tide" and approaching it a bit differently.

Turning my thoughts to a song like "Queen Tide" could have also been the byproduct of the bizarre climactic interlude that has interrupted an otherwise straightforward summer here in Adelaide, South Australia. For the past couple of days, wind gusts have been huge, a cold southerly whipping from the Antarctic has dumped rain and the skies have looked volatile and foreboding. It's pure climate change stuff. "Queen Tide" is about climate change as well and is written from the perspective of wandering around my hometown of Normanville on the Fleurieu Peninsula in the aftermath of a climactic catastrophe.

One of the things I've always liked about the song is the use of an Em sus9 (or Em+2) chord in the main verse. My partner Lauren has often referred to this as the 'Twin Peaks' song, since the melody and structure does echo the TP theme a little bit. It's always sounded fine on guitar, but this morning I thought I'd change it up and find a way to replicate it on piano. I've been listening to a lot of John Cale's work lately as well, so I thought I'd drop the key by a few increments and sing it a bit lower.

So that's how it started and I spent a few hours on it with a few overdubs that turned into several. That was what became the 'kitchensink' version, completely with an 'iPad pedal steel' in the bridge and two simultaneous sets of algorithmically programmed drums. I've spared you of the 'kitchensink' version and presented a more sensibly austere version with a bit of additional keyboard accompaniment, restrained guitar and backing vocals.

[Disquiet_Junto_0579] Queen Tide (redux)

Sala de Redação - 10/02/2023

Disquiet Junto Project 0580: Evo Evol Evolve

The Assignment: Record a piece of music that develops like an organism evolves.

Step 1: You’re going to record a piece of music informed by evolution. Think of stages of evolution, perhaps choosing a specific animal or other life form that evolved over time.

Step 2: Record a piece of music that evolves as it proceeds, based on the patterns (phases, stages) you explored in Step 1. And yes, animals that went extinct are a potential subject. 
——————
Because of this prompt I have been grappling more than usual with half-baked wonderings such as: how might individual-level agency, curiosity and desire eventually contribute to the sum total of evolution if even at all? What does it mean to think of mutations as risky miniature acts of selective rebellion? And how does it feel subjectively for each life form to find themselves as tiny unwitting participants within vast unfolding and unfathomable processes? 😵‍💫😵‍💫😵‍💫

I decided that mainly I wanted to use the prompt as an excuse to try to take the perspective of an emergent proto octopus - I love that they are some of our most distant and mysterious evolutionary relatives. Well the resulting track is my emotional response to some of these vague, re-volving and unresolved themes anyway. It is perhaps one of the most amorphous things I have ever allowed myself to create so far.

Animoog Z was the only synth I used this time. Oh and I used some aquatic samples to modify a few of my timbres too. This was a fun feature to tinker with.

I dabbled with ZOA generative sequencer in iOS, and incorporated factors of 8 wherever possible, in an attempt to embed some kind of simplistic nod to evolutionary processes. I have also obviously tried to layer my sounds incrementally, to suggest emerging and merging mutations and complexity. But in the end this was all just a jumping-off point for something more intuitive and emotionally exploratory. I enjoyed this prompt, even though the results feel unfinished to me.

Image credit: NOAA Ocean Exploration & Research from USA, CC BY-SA 2.0, via Wikimedia Commons

More on this 580th weekly Disquiet Junto project, Evo Evol Evolve (The Assignment: Record a piece of music that develops like an organism evolves), at: disquiet.com/0580/

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

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

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…80-evo-evol-evolve/

Proto Octopian disquiet0580

More on this 593rd weekly Disquiet Junto project, The Charm (The Assignment: Complete an asynchronous trio begun by two other musicians), at: https://disquiet.com/0593/

About the Disquiet Junto: https://disquiet.com/junto/

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0593-the-charm/

Difficult and new for me to "finish" the trio , the duet has a very good balance...

Come from https://soundcloud.com/thefishermen_thepriestess/better-than-one-disquiet0592-with-sonic-search?si=d5449e90dea74347b5e6b01fde710b07&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

nawak

disquiet0593 with The Fishermen & the Priestess_Sonic Search

Messed around in MuseScore for this week's challenge, for something different.

Early morning,
One star remaining,
It’s a good day too.

A wandering poet and ascetic Zen priest, Santōka was a disciple of Ogiwara Seisensui, one of the first poets to discard the traditional use of the 5-7-5 structure in haiku.

Santōka’s poetry emphasizes the necessity of sabi (solitude) in order to achieve spiritual enlightenment and serenity.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 14th June 2023

Haiku by Santoka Taneda https://www.chzc.org/Nonin.htm

Picture by freezydreamin https://unsplash.com/photos/SV3V-D1G2q4

A Good Day Dawning(NaviarHaiku492)

2 - El pueblo sin entendimiento | Oseas 4:14 | Pastor Mario Vega | Retiro de pastores 1999

Disquiet Junto Project 0618: Burying the Lede
The Assignment: Turn old news into new music.

Step 1: Locate an old news article, the less dramatic perhaps the better, from roughly 50 years ago. Try to find something local to where you live now or have lived.

Step 2: Use a text-to-speech tool to convert the article to audio. There are numerous such software applications, and no doubt discussion in the Junto thread on llllllll.co 1 will yield suggestions should you require one.

Step 3: Set to music the voice recording that resulted from Step 2. A length of two and a half to five minutes is recommended. Use an article sufficient to that length — you may end up not using the entire text. As the piece goes on, have the voice slowly get subsumed by the music, until by the end the voice is no longer intelligible — perhaps not even audible.

Note: In case the word isn’t familiar, a “lede” is “the opening sentence or paragraph of a news article, summarizing the most important aspects of the story.”

Seven Important Steps When Your Track Is Done:

Step 1: Include “disquiet0618” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0618” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co 1:

https://llllllll.co/t/disquiet-junto-project-0618-burying-the-lede/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Length: The length is up to you. It will largely be determined by the length of the text you select.

Deadline: This project’s deadline is the end of the day Monday, November 6, 2023, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, November 2, 2023.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

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

More on this 618th weekly Disquiet Junto project, Burying the Lede (The Assignment: Turn old news into new music), at: Disquiet Junto Project 0618: Burying the Lede – Disquiet

About the Disquiet Junto: Disquiet Junto F.A.Q. – Disquiet 1

Subscribe to project announcements: Disquiet Junto by Marc Weidenbaum (Disquiet.com)

Project discussion takes place on llllllll.co 1: https://llllllll.co/t/disquiet-junto-project-0618-burying-the-

Xwords - disquiet0618

Q Jam Cuts

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).

[Disquiet_Junto_0579] Queen Tide (redux)

Tristan Louth-Robins

Recent comments

undermulden

Mauno Pekkanen

Hughgtwattii

Daniel Diaz

Related tracks