Paul, Mark & Mike -
gate.sc/?url=https%3A%2F%2Fpa…94740-1-1652125374959
@pau-14
@user-102126447

Wild Boar - Half Blind Lucy

Baltic Azure

Solace

Les êtres-tambour ont la peau tellement fine qu’elle frémit, 
sensible au moindre souffle de brise.

Les êtres-tambour ont la peau qui se tend et vibre, amplifie les couleurs de la vie sur tous les tons. Sur tous les temps.

Ils ont le cœur qui  palpite, palpite et frissonne, caressé par les ondes des tendresses vagabondes.
 
Les êtres-tambour tremblent, quand les cris dissonants les transpercent et déchirent jusqu’au profond des tripes. Les êtres-tambour tremblent.

Les êtres-tambour rêvent, silencieux, d’un doux cocon ouaté qui estompe le monde et d’une ombre portée pour prendre le relais et absorber le vent. 

Alors, en attendant, l’impossible ou la fin, ils résonnent et résonnent, et rien, jamais, ne pourra réprimer leur murmure et leur chant. 

les Êtres-Tambour  - musique Vasco Morais

VIKINGS (march groove)
Production music, old unused groove cue, reworked march 2023
Electric guitars
Electric bass
Drum beat
Hand percussion

For this poem:
naviarhaiku484 – misty daydream

misty daydream
Vikings land on the shore
of my childhood

haiku by Michael Dudley

Photo by Robin Mikalsen

Vikings - naviarhaiku484

morning glow
buttercups flutter
at the forest’s edge

Catherine LoFrumento lives in Connecticut with her husband and fur babies. Her poetry has been featured or is forthcoming in various journals and anthologies including: Cattails, Modern Haiku, Frogpond, bottle rockets, Chrysanthemum, Hedgerow Journal, Three Line Poetry, and Poetry Quarterly. You can find more of her work on Twitter: @Catherin03 and on Instagram: @Poetrycatt

Haiku by Catherine LoFrumento https://twitter.com/Catherin03

Picture by Alessandro Capuzzi https://unsplash.com/@aleeecap

nawak

Mornings flutter (naviarhaiku491)

Second Nature (disquiet0609)

For this assignment I used my own submission from last week paired with a.a.miles Key Limit which then morphs into Michele Isoni's Chirper which is finally joined by Sunbear's lovely submission. All the parts where brought into ableton, slowed down by half and then warped back to their original pitch. After it was all sequenced I then used a bunch of puremagnetic effects to give the whole thing that worn out vibe (which also resulted in some strange drop outs and flutters which i left)

Many thanks to all that got involved, so many interesting takes on the assignment!

More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: https://disquiet.com/0610/

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-0610-speed-limit-pt-2/

Blues In Two Phases [disquiet0610]

Disquiet Junto Project 0610: Speed Limit Pt 2
The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed.

• • •

For this remix, I worked with a handful of tracks from the 0609 collection that I gravitated towards, chopping + processing them in Paulstretch, Twisted Wave, and Ableton Live to halve their speeds.

'Blink' by https://soundcloud.com/analoc became a melodic anchor that the rest of the remix was built around. It was interesting to listen to the results of slowing + pitching the original tracks down. Sometimes I would sample the original speed version, and others I would first slow down before stumbling onto something that clicked well with the composition. 

bassline + clicky percussion sampled from:
https://soundcloud.com/analoc – https://soundcloud.com/analoc/0923-disquiet-junto-609-blink

heavy, textured bass drum hit sampled from:
https://soundcloud.com/winterer – https://soundcloud.com/winterer/catnip-in-60bpm-disquiet0609

huge clap drum sound sampled from:
https://soundcloud.com/oh-well-360226041 —https://soundcloud.com/oh-well-360226041/shadow-clocks-disquiet0609

soaring synth solo sampled from:
https://soundcloud.com/xhg — https://soundcloud.com/xhg/disquiet0609-acrostic-speed-limit?in=disquiet/sets/disquiet-junto-project-0609

chord washes + drum loops sampled from:
https://soundcloud.com/doodledigital – https://soundcloud.com/doodledigital/already-the-morning-disquiet0609

• • •
More on this 610th weekly Disquiet Junto project, Speed Limit Pt 2 (The Assignment: Combine two or more pre-existing 60 BPM tracks into something new — at half the speed), at: disquiet.com/0610/

Project discussion takes place on llllllll.co: llllllll.co/t/disquiet-junto-pr…0-speed-limit-pt-2/

Creatures Blinking in the Morning Shadows • [Disquiet 0610]

Disquiet Junto Project 0611: Music That Listens to Itself
The Assignment: Record a piece of music that repurposes itself as it proceeds.

My notes can be found here: https://llllllll.co/t/disquiet-junto-project-0611-music-that-listens-to-itself/64092/9

Step 1: The underlying idea is to produce music that, so to speak, listens to itself. This would be music that employs techniques to revisit itself — repurposes itself — as it proceeds. From reverb to echo to tape loops to granular synthesis to accessing a buffer, various techniques serve such a compositional and performance purpose. Consider a means to achieve this result.

Step 2: Record a piece of music that employs the technique you focused on as a result of Step 1. Please note: for the Berkeley Alembic event, I’ll be sharing music that is particularly quiet, particularly appropriate to a meditative state of mind. You don’t need to record quiet music for this project, but quiet music is what I’ll be playing at the event.

[Disquiet_Junto_0611] Imaginary Windchime

dusk

idea 22 (ambient version super slowed down) w/ seeyouthere

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_0611] Imaginary Windchime

Tristan Louth-Robins

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