Well chosen and beautifully done! Just as amazing backwards as well :-)

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

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

Disquiet Junto Project 0294: Offline Status

All the samples are from http://inbflat.net/ and I just put them together in a way that sounds good to me. It's pretty hard to make something that sounds bad from that website though :)

B Flat

improvised guitar drones, loops and melody lines over beats. 

guitar / amp:
jolie (gibson es-335 dot reissue, peekamoose custom electronics)
vox ac4c1-bl tube combo

efx chain:
(ebow -->) earthquaker "warden" compressor --> ehx pog2 --> ehx freeze --> ibanez ts-808 tube screamer --> small sound/big sound mini overdrive --> tc electronic flashback delay+looper --> strymon blue-sky reverberator --> line6 pod xt phaser modeler

software / hardware:
sony acid, motu 828mk2, XP

title is reference to jack kerouac's "list of essentials" in his <i>belief & technique for modern prose</i>:
17. write in recollection and amazement for yourself

bandcamp

prologue: in recollection and amazement

date released. 18.08.2017

pure data

voice of Bassel Khartabil

I can't see you (disquiet0294)

Starting with the provided audio, I began the piece with the full audio clip, unmodified except for some reverb. I then added some piano (envelope and filter tweaked make it a little interesting) and some rhythm constructed from the audio. The piano plays a chord shifting from major to minor, and is then accompanied by a bell that plays the root (G#) but shifts in timing via a loop with an odd-numbered length. Done in Ableton Live and "performed" by turning clips on and off and shifting scenes, rather than constructing it.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/1

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

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

disquiet0294 darksnap (for Bassel)

©All rights in this music belong to W:I:L
my contribution also to the benefit album in honour of Bassel Khartabil
"A Future in Commons - A Tribute to Bassel Khartabil"
https://afutureincommons.bandcamp.com/
Closing song for my imaginative album "Spinning Wheel"

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

18.8.17 WI:L - Seven Seconds[disquiet0294]

This past week was not an easy one in the US, nor in Barcelona (one of Suss Müsik’s favorite cities). We seem to exist today in a space between anticipation and the mundane. We fear that a catastrophe that may never occur will cause our demise, but the height of anxiety is in the waiting. As Richard Wright wrote in his classic novel Native Son: “There was but a long stretch of time that was very short, and then — the end.”

The sampled quote by Bassel Khartabil is a greeting followed quickly by an apology. “Hello I’m sorry,” sang Michael Stipe in the late 80’s. Suss Müsik imagines that most interactions contain at least some amount of regret for what might have been. We like to hope that times of crisis bring about a cycle of affirmation, but that’s not always how things work out. Bassel’s life was too short; the wait for his release took too long. Cruelly, both ended in a single event.

For this short piece, Suss Müsik interpreted Bassel’s vocal inflections as a form of notation. Early in the sampled recording, one can detect the plop plop that an Apple MacBook Pro makes when the sound volume is adjusted. We replicated this rhythm and used it to form base tempo. We then built upon this spine with bits of binaural cello and phased piano polyrhythms. 

The piece is titled Fatra, which means “interval” in Arabic.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:

https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

http://freebassel.org

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

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

Fatra [Disquiet0294]

Apologize for nothing, Bassel.

All sounds either Bassel or guitar. 

Underlying bed is reversed "Amazing Grace" mixed with three tracks of Bassel's phrase ~13x stretched: One track is him harmonized and pitched down to F#; One is him disambiguated as noise; One is him just straight up sloooowed doowwwn. 

Floated over the affair with an eBow.

This track marks my 69th Disquiet Junto contribution.
https://soundcloud.com/thereflectors/sets/disquietwesty

My studio suffered an irreparable crash last week while attempting the first of these two most recent #freebassel projects. Kind creative forces graced me, however, with a few workarounds and a long-overdue seat kick into a more current-era workflow. I hold onto the thought that all my tech disruption (forced unwinding and time-zero reconfiguration of twenty+ years of habits) would make Bassel, well, just laugh. I hope that laughing's all he's doing now.

This is the fourth track I've recorded in honor of Bassel. The first couple made it into their respective Junto weeks:
https://soundcloud.com/thereflectors/intransitive-disapperance?in=thereflectors/sets/disquietwesty
https://soundcloud.com/thereflectors/freebassel-disquiet0202?in=thereflectors/sets/disquietwesty

One project stalled in the concept phase, but instead of letting it languish, I fleshed it out into something 100% different than intended (with lyrics!), and it became a Dylan-esque acerbic romp through a world refusing to change:
https://thereflectors.bandcamp.com/track/lonesome-faraway-sounds

This track here, though, was the first one of these for Bassel I recorded knowing he will never hear it. Killed the urgency and upped the poignancy, I guess. Wish I was less numb about all this.

In the end, pessimism breaks people quicker, and with more permanence, than fear. The greatest weapon used against free-thought warriors such as Bassel is not to make them scared - it's to make them feel alone in their fight.

Your being here, though, listening, proves he's not alone.

Peace.

RIG
Guitar: Peekamoose Custom Workhorse M2

Pedalboard: SmallSound/BigSound Sparkle Motion -> SS/BS Mini F*ck -> tc electronic Flashback Delay -> EHX Superego (Send/Receive: EQD Arpanoid -> EHX POG2 -> Diamond Tremolo) -> EHX Freeze -> EQD Grand Orbiter -> EQD Afterneath -> Strymon blueSky Reverb -> Pigtronix Infinity Looper

Amp: Fender SuperChamp X2 (set to vintage Princeton Reverb voice)

Hardware:
MOTU 828mk2 -> MacBook Pro
Windows PC (DIY)

Software:
Paulstretch (standalone, Windows 10)
Dropbox
Harrison Mixbus 4 (DAW and mastering)

PROJECT: 
Disquiet Junto Project 0294: Offline Status

Pay tribute to the late Bassel Khartabil by turning his spoken words into music.

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:
https://disquiet.com/0294/

Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:
http://freebassel.org

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

Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0294-offline-status/

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

sun child [disquiet0294-offlinestatus]

Original track here https://soundcloud.com/user-524526704/disquiet-junto-0367-trio

More on this 368th weekly Disquiet Junto project (Engage Duo / The Assignment: Record the second third of a trio, adding to a pre-existing track.) at:

https://disquiet.com/0368/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0368-engage-duo/

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

Image associated with this project is adapted (edited, color altered, text added) from a photo by Anna J and is used via Flickr thanks to a Creative Commons license:

https://flic.kr/p/gcojn

https://creativecommons.org/licenses/by-nc-sa/2.0/

Engage Duo (disquiet0368)

I used https://soundcloud.com/jesuisgentil/spoons-disquiet0367 as the track on which to base the new composition on. It features two soft synths playing arpeggios with automation to give them movement. I used a random number generator to find the spoons track. Really happy with it.

Revolving Spoons // Disquiet0368

Northwoods + droney drone ~~** Disquiet0368

i used this lovely acoustic piece https://soundcloud.com/carlin-mclellan-751824513/texas-disquiet0367

played along with a mountain dulcimer, duplicated and pitched down, bit of preverb, reverb. recorded on my phone.
.
..
Disquiet Junto Project 0368: Engage Duo
The Assignment: Record the second third of a trio, adding to a pre-existing track.

Step 1: This week’s Disquiet Junto project is the second in a sequence that explores and encourages asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0367). Note that you aren’t creating a duet — you’re creating the second third of what will eventually be a trio. Keep this in mind.

Step 2: The plan is for you to record a short and original piece of music, on any instrumentation of your choice, as a complement to the pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are more than 40 tracks to choose from, almost all of them in this playlist:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0367

And at least one more is available as part of a video in this discussion thread from last week:

https://llllllll.co/t/disquiet-junto-project-0367-trio-initiate/

To select a track, you can listen through all that and choose one, or you can use a random number generator. (Note: it’s perfectly fine if more than one person uses the same original track as the basis for their piece.)

Step 3: Record a short piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and leave room for an eventual third piece of music. When composing and recording your part, do not alter the original piece of music at all, except to pan the original fully to the left. In your finished audio track, your part should be panned fully to the right. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.

Carlin McLellan's mate Mark + sevenism - Texas Nexus (disquiet0368)

The second week of a three-week Disquiet Junto collaboration project. I used the random number generator at random.org to select OHELEM's electric sitar drone track from last week. I added synthesized choir voices to continue the hypnotic meditative feel.

Trio the Second

Trio The Second - Disquiet0368

This track is part of the Disquiet Junto Project #0368. The objective of this step of the project is to choose another participant's musical submission from last week and record an additional accompaniment, with the idea that there will be one more addition next week. The new part is intended to be panned hard right.

More information on this project can be found here:
https://llllllll.co/t/disquiet-junto-project-0368-engage-duo/19077

Tunnelwater's original track can be found here:
https://soundcloud.com/user-524526704/disquiet-junto-0367-trio

Wind in the Lavender (Disquiet0368)

Existing track was already perfect but I could hear a piano slowly fading in, so that's what I added. 
I just made a simple repeated piano part using a VST piano - The Maverick (Native Instruments). I cut the highs and lows and put it in mono to try to leave space for everything. 
Added a VHS effect (AfroDJMac)to everything to make it feel nice and floating...

More on this 369th weekly Disquiet Junto project (Final Solo / The Assignment: Record the final third of a trio, adding to a pre-existing track, based itself on a prior pre-existing track) at:

https://disquiet.com/0369/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0369-final-solo/

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

Image associated with this project is adapted (edited, color altered, text added) from a photo by Anna J and is used via Flickr thanks to a Creative Commons license:

https://flic.kr/p/gcojn

https://creativecommons.org/licenses/by-nc-sa/2.0/

disquiet0369 Spooning underwater w/ TOTAL ENERGY & GENTIL

Sounds captured during several walks around lockdown Manhattan during the COVID-19 crisis in March 2020. Birds, sirens, ebbs and flows, does the city sound like a sea in parts? and a stray accordionist with Lara's Theme somewhere across the park. An oil tank truck struggles to reengage after stopping near the hospital, fossil fuel memories surging into the present.

This piece premiered as part of "Radio Free Plague Ship" Audio Zine (https://secretvenue.org/events/plagueship) on April 17, 2020.

NYC soundwalk COVID-19

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

sun child [disquiet0294-offlinestatus]

Westy Reflector

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