Alchemic reverie

Particle 44

Outside force

The night became dense

The doors of the disbelievers

Two simple drones, pitched the same, one evolving out of the other. The first is made from my own recording of a thunderclap during a Sydney rainstorm, the second from a recording of the ambience of my house when we are out and the animals are asleep..

Minimal and mercifully short. Headphones recommended.
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The Assignment: Make the quiet part loud, and vice-versa.

Just one step this week: Record a piece of music in which you make loud that which is usually quiet and quiet that which is usually loud.

More at https://disquiet.com/0673/

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

Thunderhouse [disquiet0673]

The ancient and languid waters of the sea of death

By chance (always a favourite way for things to happen), I was working on just such a drone, ie developing complexity and then relinquishing it, when this dropped.

Based on a very old abandoned project using a recording of Also Sprach Zarathustra. Not sure what was done to it originally (alright, I can’t remember), this mix added some duplicated passages pitched down, stretched slightly and repositioned in order to create tonal contrasts.

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The Assignment: Record a drone that goes from simple to complex to simple.

Step 1: You may, yourself, be experienced recording drone music, or you may never have recorded any. You may not even be sure what drone music is, in which case read up a bit. Not matter your experience and familiarity, please give some thought as to what constitutes drone music.

Step 2: Now think about what makes a drone simple and what makes a drone complex.

Step 3: Now record a piece of drone music that begins simple, gets complex, and then gets simple again. And note: The simple drone at the end needn’t necessarily be the same sort of drone with which the piece opens.

More at https://disquiet.com/0675/

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

Strauss factor [disquiet0675]

Its name engraved in iron letters

Over an existing drone I had made from the “quiet” ambience of my house I added three slightly different versions of a stretched treatment of an electronic version of the opening bars of the theme from Star Trek: Voyager.

Also added was a long stretch made from the tonic chord of the theme, pitched an octave down, for a bit of gravitas.

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The Assignment: Bury a slow melody deep inside a drone.

Step 1: We did a drone project last week and it went well, so let’s do another one. You needn’t have done last week’s to do this week, as is always the case. Again, you may, yourself, be experienced recording drone music, or you may never have recorded any. You may not even be sure what drone music is, in which case read up a bit. Not matter your experience and familiarity, please give some thought as to what constitutes drone music.

Step 2: Think about what makes a melody, even a very slow and simple melody, different from a drone.

Step 3: Now record a piece of music that is, objectively, a deep drone, but somehow within it, somewhere well below the surface, include a slow-moving melody.

More at https://disquiet.com/0676/


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

Subvoyager [disquiet0676]

You must hear this: https://vimeo.com/52766051

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Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
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I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

New tracks tagged #tuonela