I really enjoy the sound of your Danelectro

Really excellent write up of your process. Thank you for such detail and consideration. The sound and playing reminds me pleasantly of West African players like Anansy Cissé.

love this, guitar sounds great. Going to add something to the Daniel Diaz week 2 version for week 3

https://soundcloud.com/noxpox-page10/noxpox-german-beats-open-collab?in=noxpox-page10/sets/noxpox-german-beats-open

GERMANBEATSXFARMXI

NOXPOXGERMANBEATSXFARMXI

Dedicated to https://soundcloud.com/sonic-textures, https://soundcloud.com/agnosturaelwar


Video link https://youtu.be/fS1xtHDiH24
This song came from https://soundcloud.com/re-evolution_cafe/valuable-condition-no-lie, So I completely reworked the original a bit, kept the lyrics, added new tracks, threw away all the others and the next thing you know, Unconscious Condition.


Unconscious Condition: Re-Evolution Cafe' Orchestra: Piano, Bass, Percussion, Drums, Synths, Vocals, Vox, FX, Clavinet

Re-Evolution Cafe' Orchestra: Produced, Recorded and Mixed at Broken Glass Ranch, Wet Mountain Valley, Colorado © 2022 Re-Evolution Cafe' Orchestra

Words and lyrics, Re-Evolution Cafe' Orchestra © 2022 

Everything you know 
Has been an utter lie
Nothing you can do to change it..
Cause you're a coward in your eye.
Hold on a tighter and turn on the tv.
Its a valuable condition
its got me all consumed

Don't let it slip out of memory
or you might end up like Henry
shot in the head
stabbed in the thigh

or you might end up like Henry
can't turn it off
or you might end up like Henry
shot in the head
stabbed in the thigh
shot in the head
stabbed in the thigh

But you're hungry to the thirst.
Condition affliction
Inspired and perverse

There's nothing between now!
You're a hostage to your hunger
Venerable appetite held..

You know it ain't right
Called into her beckon
you know it ain't right
See you sling it
you see uncle Charlie
he ain't nothing he ain't

Hold on to the make up
Hold on to your pride
There's nothing to believe
You know it ain't right
You're not alone

Open up wide
Bleeding benediction
it's just a condition of the affliction
Open up wide
open the story
You're not alone
Open up wide..

How'd you get 
Liquid images painted on the wall
Are you in mercy
Are you in crime
Desensitized , are you surprised.
A hunger to her
The house is all quiet and I'm not alone.
The silly war is over
Now it's time to go home

I don't remember the battle cry
but I do remember
I don't remember the battle cry
but I do remember
I don't remember the battle cry
but I do remember

You see uncle Charlie
He aint nothing he aint
Hold on to the make up
Hold on to your pride
There's nothing to believe

I don't remember the battle cry
but I do remember....

Unconscious Condition

SUA Sponte

Voltaic 2. Rascalaty

Used Sonic Pi to live code an improvisation from a rich modular synth sound provided by Steve Meyer (https://soundcloud.com/user-684506476).

Live Code Session (6/24/2023) [from source sound by Steve Meyer]

DOOWINIT (music: Mark Paton / words: Justin Paton)
Recorded on 4-track tape, London 1997
* Justin Paton: voice, guitar, keyboard & percussion
* Mark Paton: keyboard & percussion

an introduction to The Fear Of Muzak

Doowinit (1997)

23.3333333333333333333 (disquiet0626)

More on this 627th weekly Disquiet Junto project, Just Ice Society — The Assignment: Record the sound of ice in a glass and make something with it — at: https://disquiet.com/0627/

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-0627-just-ice-society/

Thanks to Bassling for the Ice recording see his submission here .. https://www.youtube.com/watch?v=yHp3Igh7JSg

Chilling With Ice (disquiet0627)

A response to Disquiet Junto 0627: Just Ice Society.

The vocals were created using AI-enhanced text-to-speech, using content adapted from WikiHow. 

Recorded and produced at NOSIGNAL Multimedia Labs, The Shambles, Chicago, IL USA.

About Disquiet Junto 0627: https://disquiet.com/2024/01/04/disquiet-junto-project-0627-just-ice-society/

Disquiet Junto

Making Ice at Home May Seem Overwhelming (disquiet0627)

Disquiet Junto Project 0636: Left (1 of 3)
The Assignment: Record the first third of a trio.

Please note: While this project is the start of a three-part sequence that will unfold over the course of three weeks, you can participate in any or all three of those parts.



Step 1: This week’s Junto project is the first in a sequence intended to encourage and reward collaboration. You will be recording something with the understanding that it will remain unfinished for the time being. Your part will be done, but more will happen. Read on.

Step 2: The plan is for you to record a short and original piece of music using any instrumentation of your choice. Conceive the piece as something that leaves room for something else — other instruments, other people — to join in. (Keep in mind that your piece would appear panned to the left in the finished recording, after three weeks.)

Step 3: Record a short piece of music, roughly two to three minutes in length, as described in Step 2.

Step 4: This is important: be sure to make your track downloadable because it may be used by someone else in the next Disquiet Junto project, and then after that.

===

Track notes:

One of the few things I haven't been doing much of this year is playing guitar, which is my 'primary' instrument. However, since late last year the one guitar (within reach) has been a Danelectro electric 12-string, stripped back of its thick strings to only six strings and put through through a variety of modal open tunings. A few years ago I listened to Lee Renaldo talk about this kind of retrofitting, which was called an Angel Hair guitar and was pioneered in the 1960s by country guitarists to create a light, jangly accompaniment, that in some ways is reminiscent of a pedal steel guitar's upper timbre.

I don't know how much open tunings figured at this time, but I could certainly appreciate Lee's attraction to all things unconventional and open-tuned. My current set up for this guitar is a D-A-C-E-A-E tuning, which gives it a kind of pentatonic, suspended tonality. Given the unconventional order of string gauges from bottom to top, the unison notes have an especially interesting appeal. From a fingerpicking approach, it all opens up the guitar in unexpected ways, since a regular picking technique can be inverted by the string gauge order and also feels quite different too.

So with this in mind, I recorded a repeated fingerpicking figure which exploits the unique qualities of this setup, such as the unisons and harmonic attributes of the tuning. The main guitar (soft left) is run through an EHX Holy Grail Reverb with a smidge of spring reverb, whilst an accompaniment (same guitar and tuning) is on the soft right, also run through the Holy Grail, but with the weird 'Flerb' reverb, which is a kind of modulated effect.

It's at 72bpm and runs just a shade over 2 minutes, starting a fade at the 1:46 mark.

[Disquiet_Junto_0636] Epochs (Left 1 of 3) 72 BPM

modified an existing patch for this week's disquiet track - intentionally more sparse, fewer effects - leaving room for collaborators

patch with burst triggers going into plaits processed by rings, sort of call/response thing via beads, added a pulsing low end drone from a looping sample of a previous recording

--

More on the 636th weekly Disquiet Junto project, Left (1 of 3) — The Assignment: Record the first third of a trio — at https://disquiet.com/0636/

disquiet0636 - spaced repetition

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_0636] Epochs (Left 1 of 3) 72 BPM

Tristan Louth-Robins

Recent comments

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337is (three three seven is)

Torsten Goerke

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