I used @daniel-diaz track Australopithecus https://soundcloud.com/daniel-diaz/australopithecus-disquiet0637-with-tristan-louth-robins which built on  Tristan Louth Robin's (@red_robin) Epochs https://soundcloud.com/red_robin/disquiet_junto_0636-epochs-left-1-of-3-72-bpm

I knew I wanted to play some drums along with their nice groove. Played djembe, then shekere, then full kit. Added in some rhodes harmony and lead and flute leads. Some chanting voices for a celebratory or ceremonial feel. Made me think of traveling across some great plains filled with animals. Evolving this more was fun, thanks to Daniel and Tristan for the great parts to build on!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Tres Hominis [disquiet0638] with Daniel Diaz and Tristan Louth-Robins

A response to the story by Algernon Blackwood. A mix of original recordings & electronic sounds.

More on the 652nd weekly Disquiet Junto project, By the Tale — The Assignment: Set a favorite story to music — at https://disquiet.com/0652/

The Willows (disquiet0652)

Good Man (disquiet0652)

Inspired by the short story, “Exhalation,” by Ted Chiang.

What I wanted to put into my music is the idea that memories are connected to the breath. I recorded my breaths and took words from Ted Chiang’s story and mixed it up with, yes, “Every Breath You Take” by The Police ;-P Field recordings are files I found on my phone unlabeled - memories I had forgotten until I dug them back up. Once I put breath back into them, I could feel the life in these sounds.

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More on the 652nd weekly Disquiet Junto project, By the Tale — The Assignment: Set a favorite story to music — at https://disquiet.com/0652/

Exhalation (disquiet0652)

A barbers craft

Inspired by the short story “Picknick der Friseure” by the German author Felicitas Hoppe, which dense, timeless and metaphoric language has a deep impact upon me.

Every year a group of hairdressers come to the area. They sit by the lake in their striped jackets, have a good time and one thing is certain: soon she too will be a hairdresser. Whether grandmother wants it or not.

Find on instagram a special reel, I made for the song: https://www.instagram.com/p/C81sSu2tdCi/

I played and improvised the piece while reading the short story like a notation. To focus the ambience, I overdubbed some further tracks.

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More on the 652nd weekly Disquiet Junto project, By the Tale — The Assignment: Set a favorite story to music — at https://disquiet.com/0652/

A barbers craft (disquiet0652)

An electronic composition, sounds created in Pure Data.

More on the 655th weekly Disquiet Junto project, Soothing Sounds II — The Assignment: Make music for babies — at https://disquiet.com/0655/ 1

The image associated with this project is from an early patent for a pacifier.

Slumberscape (disquiet0655)

A Fleurieu & Kangaroo Island Sound Map (FKISM) site, added in September 2024. Read more here:  https://www.tristanlouthrobins.com/fleurieu_soundmap/sites/LYB015.html

Recorded in the early evening as the tide makes its into Lady Bay, a pair of microphones (with heavy windjammers fitted) are spaced apart a few metres and sit atop a large mass of dried seaweed, otherwise known as 'wrack'. These big stacks of wrack were a fixture of my childhood visits to Lady Bay, and at this time of the year (late Summer/early Autumn) are thoroughly dried and tend to elicit discrete rustling sounds when the wind shears across them. In this recording, you can hear the twitch, squeak and rustle of the wrack intimately foregrounded, whilst the sound the lapping tide, distant birdsong and purr of traffic can be heard on the periphery.

FKISM: Wind on wrack, incoming tide at Lady Bay, March 2024

Disquiet Junto #0670 directed us to compose something rhythmic around the sound of a turn signal. I went one better and added windshield wipers. 

Polyrhythms, frequencies that are askew, and a tempo that seems to lurch like a figure in the fog. Maddeningly, nothing stays in sync for long.

Features physical modeling synth, samplers, and field recordings.

Enjoy “Three Lefts” on a long, nighttime drive with the windows down and the volume up. Recorded at NO SIGNAL Multimedia Lab in the Shambles, Chicago.

More about this week's Disquiet Junto: https://disquiet.com/0670

Three Lefts (disquiet0670)

Using the sound of the Ford KA right indicator to create a piece in BespokeSynth. See the accompanying video and download the patch to play with yourself from YouTube at https://youtu.be/70JQ0UMMtXs

More on the 670th weekly Disquiet Junto project, Right of Way — The Assignment: Music for turn signals — at https://disquiet.com/0670/

visuals & patch

halF indicatioN [disquiet0670]

More on the 670th weekly Disquiet Junto project, Right of Way — The Assignment: Music for turn signals — at https://disquiet.com/0670/

Right of Way

Disquiet Junto | Right Of Way - disquiet0670

As per the instructions, the track starts and ends with the sound of a turn signal, which is then processed, cut up and re-arranged and then over ruled by a funky beat. Except the beat is interrupted by the occasional failed connection, to remind me of the dodgy sound systems I had in my car when I was young. And then the beat stops, the turn signal returns, first in bits and then steady and strong. I turn into my driveway, and I am home.

disquiet270

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).

FKISM: Wind on wrack, incoming tide at Lady Bay, March 2024

Tristan Louth-Robins

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