Knives, in Hungarian kések. 
We are embarking on a new sonological art project, presenting the sounds of different objects of use. First, we experimented with bread knives to show that everyday objects can also have surprising sounds.

Sonic Of Objects

Knives - Kések, Act. I.

Knives, in Hungarian kések.
In the second act, we discover a new sound of knives. It's like being in a real zombie movie. The bread knife, the filleting knife, the hunting knife, smaller and larger knives all show what they can do. They can be as angry, envious and opportunistic, monsters and hysterical as humans. If we make their voices alive when we need to cut, slash or stab with them, they will go to war with us.  Sometimes we get the feeling that the World Knife Federation has been created.

Sonic of Objects

Knives - Kések, Act. II.

Electric switches, in Hungarian kapcsolók, villanykapcsolók. 
So far, everyone has found the sound of light switches uninteresting. To be honest, I haven't come across any musical arrangements where they have been given a leading role. No one has found the clicking sound of the electric switches being turned on and off interesting and suitable for a cover. We simply used the light switches in the living room, kitchen and hall. Switches are as old as the discovery of the first practical application of electricity and the construction of the first electrical circuit. These objects peek into all our secrets, hiding in the walls and watching our every move in our homes. Have we ever considered that we sometimes gamble with our lives when we touch them?

Electric Switches - Kapcsolók, Act. I.

Electric switches, in Hungarian kapcsolók, villanykapcsolók. 
In the second act, we discover a new sound of electric switches. We travelled to a completely alien, imaginary country of electric switches, where the situation is very tense. The smell of the circuit is all over the place. The electric switches are at civil war with each other, divided into two fractions. One party believes that all connections should be cut, while the opposing party is on the side of resistance and believes that electricity should be conducted. That is the job of the switches, the meaning of their lives.

Electric Switches - Kapcsolók, Act. II.

Toothbrushes, in Hungarian fogkefék. Toothbrushes are the most intimate of human possessions, and humanity has a much more intimate relationship with them than with cutlery, forks and spoons. Most people care about what they put in their mouths. The world's first electric toothbrush was produced in 1959, but it was not an instant global success because people were reluctant to put an electric thing in their mouths. Especially as the first electric toothbrushes were noisy and quite expensive. Our intention was to memorialise these first electric wonders. Today's successors of electric toothbrushes are considered to be the basic tools of the noise art, as they are able to cover an extremely wide sound spectrum. They now give us a glimpse into a world where toothbrushes draw in teams, hunt human mouths and make sounds that put insects to shame.  And yet, listening to this sound installation, we somehow get the feeling that toothbrushes have an individuality and a soul.

Toothbrushes - Fogkefék, Act I.

Nut grinders, in Hungarian diódarálók. A housewife's favourite kitchen tool and the big brother of the nut crusher. This grinder can be used to grind almost anything and that's the whole point of the instrument, which is why it's inexhaustible.  The sound of the nut gut, which has seen better days, has an almost velvety sound as it is placed between the teeth of the machine's sharp insert, the classic sound of the machine. And the hard cheeses shred themselves in it with a silky and veiled sound. As an instrument, the nut grinder can not only be used screwed to the table, but also to extract highly amusing sounds while washing up in the detergent water.  No one would have thought that nut grinders could also sing, in fact 10 nut grinders make a choir and can sing a canon.

Nut grinders - Diódarálók, Act I.

Coffee grinders, in Hungarian kávédarálók. In the grocery stores, the grinders were lined up side by side between the cashier and the exit. There were several types of coffee grinders, coarse-grained, medium-fine and fine. There were also poppy and maybe even nut grinders in the grocery stores. After grinding, the machine was banged so that no grind remained. Some people even poked around underneath to see if they could extract a little more. The clatter of the old cash register machines and the sound of the grinders provided the background noise. In Hungary in the 1970s and 1980s, there was no ground coffee on the market, which is why the grocery stores had these machines. It was not only the sound of the grinders but also the smell of freshly ground coffee that characterised the grocery store. The grocer's assistant would occasionally empty the coffee left in the grinder. After each grinding, 1 or 2 decagrams of coffee remained in the machine, and the grocery workers drank coffee from it. Most of the customers would pound the machine until the last bean was out, but many did not bother. We commemorated these strange but lovable devices with this sound installation.

Grocery coffee grinders - Kávédarálók, Act I.

Grocery coffee grinders - Kávédarálók, Act. I.

Milk Frothers, in Hungarian tejhabosítók. As we all know, milk frothing is the process of aerating milk, i.e. creating foamy bubbles to make it froth. Frothing milk is used in frothy coffees whose very name is a musical experience. For example, it is used in macchiatos, lattes and cappuccinos, alongside other hot drinks such as chocolate. The easiest way to make a musical milk foam is to use a milk frother to create splashes or clinking sounds on top of the milk.

Milk frothers - Tejhabosítók, Act I.

Disquiet Junto Project 0595: Filter Progression
The Assignment: Make music by processing a static sound.

I used a field recording of static rain in Munich from 2021 or so, on four tracks identically. All of them got filtered thru Cardinal VST, a very nice VCV Rack alternative, working as an effect, so that I could apply nested LFOs and parameter curves to the stereo filters (1x lowpass, 1x highpass, 2x bandpass) and it's resonances. The whole mix was filtered by apesoft apefilter for dramaturgy reasons.

There was a 1 hour version but I cut it down to 10 minutes because even I could not stand it that long, but with 10 minutes it's nice. Without the junto rule set I think I would have applied more elements.


Track image: DALL·E "photo, f1.8, 28mm, levitating headphones at 23 pm in heavy rain in a dark blue light coming from 11 o'clock"


More on this 595th weekly Disquiet Junto project, Filter Progression (The Assignment: Make music by processing a static sound), at: https://disquiet.com/0595/

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-0595-filter-progression/

Bandcamp

Raining Lfos [disquiet0595]

Live rcording from Intergalactic FM Festival May 2023 (ambient stage) @ PIP Den Haag 20.05.2023

KONDAKTOR @ Intergalactic FM Festival 20.05.2023

Paul Jove (San Pedro Music) Beats Per Minute Show #28

Songs I've Made (vol. 3)

Lifelong Burn

50 fois par jour

Ether

Celestial Realms drifts in A♭ Major at 126 BPM—a radiant progressive trance odyssey where luminous leads, flowing arpeggios, and euphoric drops align across astral planes. Engineered with hard compression, dry reverb, and perfect EQ balance, this is pure melody preservation in motion—clean, cosmic, and club-ready.

Celestial Realms

“Gravity Slip” is a melodic trance voyage in D Minor at 138 BPM—Lush pads swell beneath crisp hi-hats and a punchy kick, carrying the listener through a progressive build-up, flowing melodies, and a celestial bridge before fading into the cosmic void. Gravity’s gone. The rhythm remains.

Gravity Slip

Night Mode: Orion drifts through the void at 140 BPM in G minor—a cinematic EDM instrumenta. 

This is not background music. This is **night mode for the soul**.

Support

Night Mode: Orion

Halo Frequency

www.thingerthing.com ~ I make music, I think.

Listen to my other volumes as well:
soundcloud.com/drdonathvol9/tracks
soundcloud.com/soundhuntervol1/tracks
https://soundcloud.com/drdonathvol7/tracks
https://soundcloud.com/drdonathvol6/tracks
https://soundcloud.com/drdonathvol5/tracks
https://soundcloud.com/drdonathvol4/tracks
https://soundcloud.com/drdonathvol3/tracks
https://soundcloud.com/drdonathvol2/tracks

Dr. don Ath is a Hungarian sonicinstaller, sound artist, lawyer and journalist, founder of SynthXLoop Audio Arts.
Since 2020, his sonic installations can be heard mainly in art exhibitions. He regularly works on request with experimental visual artists, advises as a lawyer on copyright law and is legal advisor to several art societies.

PSYE (pronounced “sigh”) is the rebranded electronic project of Jeremy Brower, a U.S.-based cross-genre producer known for emotionally immersive trance, eurodance, house, and cinematic EDM.

Originally producing under the name Phee Phee, Jeremy built a catalog of conceptually rich singles and EPs—including One, Celestial Realms, Tell Me a Story, and Know Thyself—released through SAID Productions. These works explore themes of memory, transcendence, and transformation, blending ambient house, progressive trance, eurodance, and experimental EDM into a distinct sonic identity.

In 2025, the project evolved into PSYE, marking a creative shift toward deeper intentionality, symbolic sound design, and trance as narrative. Drawing inspiration from the melodic legacy of late-90s and early-2000s European dance (Chicane, ATB, Robert Miles, Enigma, OceanLab), PSYE blends nostalgic motifs with modern production to create emotionally resonant, immersive experiences.

A defining feature of PSYE’s sound is vocal trance—where lyrical expression meets melodic trance architecture. Influenced by vocal-forward producers such as Armin van Buuren and early Anjunabeats, PSYE uses vocals not as embellishment but as storytelling elements. These voices give shape to core themes—transcendence, emotional clarity, and inner renewal—turning each track into a resonant, introspective journey.

Recent releases include Halcyon (Lumen Remix)—a cinematic, pulse-driven reinterpretation of Chicane’s trance classic—and Sun Transmission, a dual-single project exploring light, motion, and memory through layered soundscapes. PSYE also contributed the Transmission (Vocal Mix)—a vocal rework of Chicane’s Low Sun—furthering the project's exploration of trance as storytelling.

Looking ahead, PSYE’s forthcoming LP Sleepwalking (2026) will deepen this evolution—a genre-refined journey into the dreamlike and emotional core of trance, crafted for listeners who seek meaning, emotional depth, and music that grounds their energy.

“A balanced path of light and dark is good practice in all things throughout life”. This train of thought resonates throughout Paul Jove’s career of 15+ years as a musician, producer and dj. He is a constant workhorse in the Bolivian electronic music scene with presentations on just about every week- end. Not only does he run and manage a successful vegan/vegetarian restaurant but he also runs Bolivia’s oldest and constant electronic music net label, San Pedro Music. He’s released his own music that spans from ambient acoustic to dance tracks as well as doing his share of remixing throughout the years. This solid commitment to the music scene has given fruit to shows, releases and presentations that range geographically from the Americas to parts of South East Asia.

Paul Jove is committed to a sound/performance that is not measured by mainstream acceptance but rather by the quality of music and interaction. This is truly reflected in the now active San Pedro Music releases, which not only feature Bolivian artists, but also various guests from different parts of the world.
Music is the circulating blood running through Paul Jove that will keep giving fruits later this year like his 2nd full-length album, which will be released on San Pedro Music. EP’s, singles and remixes are also in the near horizon on labels like Frequenza Records and HRBR (Saigon).
Upcoming dates: 

• Always active w/dates in the local bolivian scene. 
lots of dj mixes: https://www.mixcloud.com/pituko/

https://www.youtube.com/user/pitukolitz 
https://www.beatport.com/artist/paul-jove/123682 
https://www.facebook.com/Paul.Jove.Pituko/ 
https://www.facebook.com/SanPedroMusik/
bookings: pitukolitz@msn.com/ 591+76248738

Ambient electronica, Berlin School, Chillout & Kosmische Space Musik from Munich, Germany. ► Soundcloud is my musical diary - expect lightfooted drafts, soundchecks, playthings & misfits here. ► Go Bandcamp for finished pieces & more serious musical works.

New tracks tagged #drone experimental