I LOVE creaky floorboards. ❤️ Always have. They’re the little confessions the world doesn’t know it’s making. How could it?

This particular set — oh, these sonic beauties — were discovered in a small museum in Lille, France. A place so very quiet you could almost hear the air move somehow. The curator said the building used to be a tailor’s shop. But the neighbours reckoned it had been an intelligence post during the war; the kind of place where secrets secreted themselves into the grain of the wood.

So I waited until closing time. Set up my recorder. And walked. Slowly.

Every step had its own personality — one a whisper, one a sigh, one a shriek like a door … perhaps remembering something it shouldn’t. Somewhere between the third and fourth creak, though, the air changed and tilted weirdly. You know that cold, coiled feeling — when you’re not sure if you’ve just been noticed by someone? But I was alone ... I WAS alone.

I kept recording.

Later, when I played the sounds back, there it was: a super faint shuffle beneath and between the creaks. A pause. Then two extra footsteps … that weren’t mine. Perfect rhythm. Perfect distance. Like a partner in a dance waiting years for the next cue, which had now arrived, years later.

So I built the track around that. A haunted duet between spy and spectre, each trying to decode the other’s silence.

Enjoy … if you dare. 🎃😈

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

more halF unusuaL

halF spooK [disquiet0722]

This is part of Disquiet Junto Project #0722: Spook Street. See more at https://llllllll.co/t/disquiet-junto-project-0722-spook-street/73313/5.

Escapism 10

i've been watching a lot of twin peaks lately and wanted to record something inspired by its jazzy incidental cues. all on my eurorack system, some layering/tweaking in post. 

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More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.



disquiet0722 - chasing ghosts across a chevron patterned floor

Disquiet Junto 0723 suggested making a piece of music that structurally falls apart.

I've been spending time with my Make Noise 0-Coast semi-modular synth lately, watching tutorial videos, exploring different patch configurations, and recording everything "just in case" as I always do with analog gear. 

So for this week's response I challenged myself to center the 0-Coast.  Although I had intended to start with a drone patch, a happy mistake led me to a heavy brass-like sound, which I connected to the random step function for pitch. Add lots of reverb, and we have hell's own horn section. The 0-Coast also eventually gave it the drone I had in mind at the start. This was the only synth used in the piece. No MIDI was involved, as the patches were completely self-playing.

The pizzicato was recorded live, 4 tracks, on my electric violin, which my violin instructor is going to be over the moon about. The vocal, featuring Yeats's "The Second Coming", was captured on a shoebox cassette recorder. There's a little digital piano sprinkled in as well.

More on the 723rd weekly Disquiet Junto project, Do the Collapse — The Assignment: Make music that falls apart repeatedly — at https://disquiet.com/0723/

The Center Cannot Hold (disquiet0723)

Recorded, edited, mixed & mastered in 1996, & on 04 Nov 2019 & 14 Nov 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA.

Tape, time & effects

Photography/Art - Jim Lemanowicz, 02 Oct 2009, microscope, Massapequa, NY, USA

Music & art © 1996, 2009, 2019, 2025 Jim Lemanowicz

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This original version of “Audio Hog Rubber” was submitted as part of Disquiet Junto Project 0724: Work It The Assignment: The year’s almost over. Do that thing you’ve been meaning to do.

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

More on the 724th weekly Disquiet Junto project, Work It — The Assignment: The year’s almost over. Do that thing you’ve been meaning to do — at https://disquiet.com/0724/.

Patreon - https://patreon.com/blisterpop
Soundcloud - https://soundcloud.com/blisterpop 
YouTube - https://www.youtube.com/@JimmyLem 
TikTok - https://www.tiktok.com/@jimmlem 
Bluesky - https://jimmylem.bsky.social
Linktree - https://linktr.ee/blisterpop

Audio Hog Rubber (disquiet0724)

sound art for disquiet0725.

More on the 725th weekly Disquiet Junto project, Rack It — The Assignment: Change the “focus” of a track as it plays — at https://disquiet.com/0725/.

dandelion (disquiet0725)

Based on the true story of how I got my first synth, which was a Roland Juno, and my first gig, which was an epic disaster.

This week's Disquiet Junto prompt asked us to imagine the sonic equivalent of "rack focus", a film camera technique in which focus shifts between the foreground and background of a long single shot. For example, there might be a close shot of our brave heroine with the indistinct blob of a highrise behind her, but then her face blurs and the background comes into focus, and we see a dark figure looking down at her from a high window across the street.

This piece started out in a notebook. I drew a stack of three vertical planes, labeled "near", "mid", and "far". I assigned instruments to each of the three planes, with drums in the foreground, synths in the middle distance, and my vocals in the background. A two-stage reverb chain applied to the instruments in each layer simulated the three distances sonically within a shared modeled space. When I wanted to bring the vocals into "focus" for emphasis, I abruptly dropped the gain on the instrument tracks and applied a Haas Effect technique to snap the spoken track to the fore in space. (A 35ms delay between stereo channels does the trick.)

Gear consisted of the Moog Minitaur analog bass synthesizer, TR-08 drum machine, and the pièce de résistance, a Roland JU-06-- the tabletop boutique reissue of my selfsame old Juno synth. 

I had a blast making this piece and I hope you enjoy it.

More on the 725th weekly Disquiet Junto project, Rack It — The Assignment: Change the “focus” of a track as it plays — at https://disquiet.com/0725/.

Back on the Rack (disquiet0725)

Recorded, edited, mixed & mastered in 27 Nov 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA.

Sample instrument & effects

Photography/Art - Jim Lemanowicz, 25 Oct 2025, Grand Central Station, NYC, NY, USA

Music & art © 2025 Jim Lemanowicz

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This original version of “To The Restricted Limits Of Some Regular Pursuit” was submitted as part of Disquiet Junto Project 0726: Work It The Assignment: Chord of Omnis. The Assignment: Make music with a browser-based Omnichord as your sole sound source.

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

More on the 726th weekly Disquiet Junto project, Chord of Omnis — The Assignment: Make music with a browser-based Omnichord as your sole sound source — at https://disquiet.com/0726/.

Discussion at https://llllllll.co/t/disquiet-junto-project-0726-chord-of-omnis/ 

Patreon - patreon.com/blisterpop
Soundcloud - @blisterpop
YouTube - www.youtube.com/@JimmyLem
TikTok - www.tiktok.com/@jimmlem
Bluesky - jimmylem.bsky.social
Linktree - linktr.ee/blisterpop

To The Restricted Limits Of Some Regular Pursuit (disquiet0726)

sound art for disquiet0726.

More on the 726th weekly Disquiet Junto project, Chord of Omnis — The Assignment: Make music with a browser-based Omnichord as your sole sound source — at https://disquiet.com/0726/.

a soft OM (disquiet0726)

omniwait
made with the online omnichord
=======================================
Disquiet Junto Project 0726: Chord of Omnis
The Assignment: Make music with a browser-based Omnichord as your sole sound source.
Step 1: In the early 1980s, an instrument called the Omnichord was introduced by Suzuki. There is now a browser-based version at onlineomnichord.com.
Step 2: Make some music using only the online Omnichord as your sound source.
======================================
More on the 726th weekly Disquiet Junto project, Chord of Omnis — The Assignment: Make music with a browser-based Omnichord as your sole sound source — at https://disquiet.com/0726/

omniwait_disquiet0726

Artist and non-musician making sound art with found objects.

Welcome tσ th!s εvσlving space … inspired by thε playful sp!rit of hai (meaning “fun” or unμsuΔl, like in haiku) …

I dig around thε edges t0 uneΔrth non-mμ§ic musics — sliding into nσ!§ε, glitch, chΔnce, Δ$MR, and σther soundwσrlds that feel oddly familiar in their oddity …

✨👂 L!§†εn cΔrεfu!l¥ … 👀 εxplσrε dεεpl¥ … 🎵💫

And for the full hΔlF unμ§uaL trεΔ†ment for your eyes Δs well as your εars, check σut the Yσutubε channel… ░▒▓█ ᵒ(≧▽≦)ᵒ ░▒▓█▒░

Thanks f0r joining thε journey! Your support kεeps this all afloat — HUGΣLY Δpprec!Δted 🙏🥰

(o≧▽≦)o ♪ ♪ ░░▒▓█▒░▒▒░▒▓█

My music asks listeners to be like dreamers uncovering hidden patterns in passing clouds. Support me @ patreon.com/blisterpop

I create original experimental, postpunk, and experiential music from my studio in Chicago. The Hard Times described my work as "creepy, haunted, but also a little bit uplifting." Prolific.

Other sounds at http://ccmixter.org/people/softmartin
and on YT a synthesizer version of IN C
https://www.youtube.com/watch?v=Gx-5G1dvy3o

The Rigs involved cooperation with various musicians; in particular
Melanie Creighton ( steamengines & synthesizers)
Manuel Mario Celeste ( vcls, viola, gtr, synthesizers)
Mortimer Craddup ( bass, drums)
Carlos de Rimini : Drums, drum programming

New tracks tagged #DisquietJunto