Away With The Clouds

White Lace

Under Paris Skies/Accordion/Guitar/Vocals

Τα κανάλια είναι διαθέσιμα.

Θηρευτές της μνήμης (Instrumental)(SOLD)

Lojong - Transforming Problems - Part 4

Lojong - Transforming Problems - Part 5

Lojong - Transforming Problems - Part 8

Lojong - Transforming Problems - Part 9

Rely on Silence - Part 4

December, 2010. Suss Müsik is walking the streets of Barcelona at night. It’s Christmastime, so the city is illuminated in celebration of the upcoming holiday. 

Suss Müsik notices a pattern in the decorations. One cobblestone street is lined with circular disks of white light; another has rainbow-colored rectangles hanging from the lampposts. The two streets meet at a public square just a few blocks from La Rambla. Suss Müsik determines this intersection to be the Chromogenic Nexus.

A man is photographing the holiday lights around the square. Suss Müsik watches the man from a distance as he stows his tripod and camera equipment and revs up his motorbike. Suss Müsik mentally assigns this gentleman the job title Keeper of the Chomogenic Nexus. It’s a big responsibility.

The Chromogenic Nexus is the metaphorical congruence that personifies this beautiful, fantastic city. It’s a place where new and old worlds mesh perfectly, where a tour of Casa Batlló concludes with a 3D hologram of Antoni Gaudí waving you goodbye. 

The Barcelona Sound Machine embraces this city’s Medieval origins, its Nouveau and Gothic architecture, its love of competitive sport, its cultural fluctuations, its nautical cuisine, its Catalonian nationalism.

It’s an audio landscape inspired by multiple generations of artists. If it were a gallery, it would display the surrealistic paintings of Joan Miró alongside prototypes built by Universitat Autònoma students, the two separated by 100 years and a mere 26 kilometers.

It’s a late-night ride on the FGC, where on the station wall a numeric display counts down incoming arrivals to within a microsecond of accuracy.

It’s the bronzed foam topping on a strong cup of coffee, enjoyed outside while gazing at a store mannequin that seems just a bit too realistic. Next door is a shop that sells nothing but scissors. 

To Suss Müsik, ultimately, the Barcelona Sound Machine is a glitchy, multilayered, counterpoint homage to the Keeper of the Chromogenic Nexus. Godspeed to the Keeper, he who balances our understanding of what has taken place and what yet may happen.

More on this 466th weekly Disquiet Junto project, [ ] Sound Machine (The Assignment: What sort of sound does your city make?), at:

https://disquiet.com/0466/

Project inspired by a December 2, 2020, tweet from George Wallace:

https://twitter.com/MrGeorgeWallace/status/1334274395938832387

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-0466-sound-machine/

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

Barna [Disquiet0466]

For https://llllllll.co/t/disquiet-junto-project-0467-toolbox-show-tell

Thanks to the lockdown and the lack of proper work on these past 2 months I decided to (finally) open and old box of DAT I got from my storage place in Argentina when I was forced to close it and decide what to keep (bring it home on the plane), what to sell, what to discard.
These DAT (my go-to recording/archival media in the 90s)  included loads of tapes with Jams and impromptu encounters that I recorded there live and never ever listened to.
I realize now how good that attitude was,( just tape everything that happens at home or archival purposes), I did that all the time, stopped later, I promise to do it again in the future.

I discovered many gems, funny and intense moments, I include here one rehearsal for a song I composed in 1985 (one of my first proper composition) . I make a little bass solo that's pretty lame, but my partners live-at-home performance is awesome and I'm glad to make this available for you to listen and criticize.

This happened in Buenos Aires, March 9th 1995 at my home/studio in the Julian Alvarez street of the Palermo Viejo area. Recorded live to DAT (one mic for the guitar, one for the bass, a stereo AT mic for the percussion set.

Gabriel Kirschenbaum: spanish guitar
Ricardo Hambra: percussion (tabla, bombo) @udfmusic1
Daniel Diaz: acoustic bass guitar


Photo: Palermo Viejo, Plaza Cortazar by DD, Circa 2000.

La China (live studio rehearsal) - disquiet0467

Stephan Wormland, MA in clinical psychology and trained in Gestalt therapy. He has studied and practiced meditation in multiple Buddhist traditions for over 30 years and spent altogether 5 years in meditation retreats. Stephan was a monk in the Tibetan tradition for 11 years and teaches meditation in Buddhist centers in Europe.

Lojong - Transforming Problems - Part 9

Natural Meditation podcast

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