My track notes regarding the creation of this track can be found here: https://llllllll.co/t/disquiet-junto-project-0697-first-third/71838/18

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 consecutive 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 resulting from this week’s project will be panned to the left in the second and third weeks of this sequence.)

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 the one after that.

[Disquiet Junto 0697] Mr. Bowed Jangles

From disquiet's junto project 0697 (may 2025 https://llllllll.co/t/disquiet-junto-project-0697-first-third/) I took Coraline Ada Ehmke's track
https://soundcloud.com/coralineada/the-minotaurs-lament

I played electric bass guitar (a maple Fender Jazz Bass with a pick, a mute, and a crunchy amp) and added an Oberheim DMX for the Motorik groove.

Coraline’s original track was already quite full, but I was hearing a Motorik rhythm underneath and thought a full bass & drums section might work. I think I was wrong—the result feels too busy, and the most interesting parts are still in the bass arpeggiator sequence and its variations.
I re-recorded the live bass five times with different arrangements, but none really landed the way I hoped.
To improve the flow, I ended up cutting sections and shortening the piece. In the second half, I also used a filter to tone down the original synths and make space for the rhythm section.
I probably spent four times longer on this than on the other collabs this week—and still couldn’t get it where I wanted. That said, it was a fun experiment. Coraline’s infectious sequence was a pleasure to work with, and I think the final result is nice (Motorik groove was a good idea, right?).
But in the end, I don’t think it really provides a solid foundation for a third collaboration—so for me, it doesn’t quite fulfill the prompt.

@coralineada

Minotaur's Run (with Coraline Ada Ehmke)

I worked on Krakenkraft's track from disquiet0697 (@winterer)
As I mentioned last week, I’m hot on the ronroco these days — been playing it a lot and really feeling in shape. So I added two ronroco tracks: one with strummed chords (double-tracked), and another with little repetitive lines. I only spent about an hour on this one, but it turned out to be the most satisfying collab for me this week.
Not sure if there’s room for a third voice — hope so! I wasn’t totally sure what Krakenkraft meant by “CRUX,” but since I’m from the south, I went with the astronomical reference: the Southern Cross.
Original: https://soundcloud.com/winterer/disquiet0697-crux-fmin70-6-4

Acrux (with Krakenkraft)

Based on a piano performance by @leonclowes, I played an OB-E (thanks, Tom Oberheim & @gforce-software) over Leon’s piano. I was going for a streamlined version of something quiet by Ravel — a kind of synthetic tone poem. Both the piano and strings are fake, but hopefully there’s still room to build.

Original:  https://soundcloud.com/leonclowes/hole-third-disquiet0697

for this challenge:
https://llllllll.co/t/disquiet-junto-project-0698-second-third/

Maurice in a Hole (with leon clowes) - disquiet0698

A bass track over @half-unusual 's groove.
I played electric bass guitar (maple fender jazz bass with a pick and mute and a crunchy amp) with an overdrive pedal and a “skidder” effect tweaked in real time.

Original: https://soundcloud.com/half-unusual/half-third-disquiet0697-80-bpm

for this challenge:
llllllll.co/t/disquiet-junto-pr…-0698-second-third/

The Ghost of Bolsover Castle (with half unusuaL) - disquiet0698

My track notes regarding the creation of this track can be found here: https://llllllll.co/t/disquiet-junto-project-0698-second-third/71900/21

**Disquiet Junto Project 0698: Second Third**  
The Assignment: Record the second third of a trio.

There are two versions of the instructions for this week’s project — one very short, the other very long.

Very short version (about 25 words): Select a track from last week’s project ([disquiet.com/0697](https://disquiet.com/2025/05/08/disquiet-junto-project-0697-first-third/)), pan it to the left, and add your own line to the right, leaving room in the center for someone to eventually turn it into a trio.

[Disquiet Junto 0698] "Sour Fruit Crumble (feat. fe_nu_ri)"

Worked on this duo by e_nu_ri (@user-807707609) : https://soundcloud.com/user-807707609/bowed-and-jangled-farther-disquiet0698  based on this original track by 
@red_robin
https://soundcloud.com/red_robin/disquiet-junto-0697-mr-bowed-jangles

The all-synth background is great. I thought the contrast between those synth tracks and a warm, acoustic tone could be interesting, so I improvised a lead part on tenor ukulele. I also added an infra bass drone playing the tonic, and used a little software I’m beta testing that generates sound from a text prompt using some kind of AI (can’t say more here, but it’s fun for drones!).
It's like a dark, abstract recitativo, hope you like it.

For this collaboration project:
llllllll.co/t/disquiet-junto-pr…t-0699-third-third/

Mr Bowed Jangles returns (w/ he_nu_ri and Tristan Louth-Robins) - disquiet0699

A solo acoustic charango performed by me looking through the windows on my studio.
Two microphones, a great sounding room, some convolution reverb added.

Photo: the view through my windows this morning 29/May/2025

https://llllllll.co/t/disquiet-junto-project-0700-view-frame/

through my window - disquiet0700

a ambient track  played  live on  koala sampler while looking out my window , edited in audacity (eq, compresser. fade in/out ) 

Fragments disquiet0700

Video con testo: https://youtu.be/7rcf4x2gYJQ?si=4eWp-vNvz4XmbFGe

Faro delle secche di Vada (Official Instrumental)

"\ START 
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#FSK1138 TM(C)
 1991-2025

Notype
iTunes 
Apple Music
Youtube music
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"\ END

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).

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

New tracks tagged #junto