Super organic. Like a living, breathing thing.

I like that it's rhythmic, yet I can't discern explicit percussive instruments. Exceedingly clever.

I really like the rhythms you've created here, Nate!

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Disquiet Junto Project 0188: Complex Complex

Second part of a three part project. This uses Daniel Diaz's unfinished https://soundcloud.com/daniel-diaz/unfinished-disquiet0525. I added a guitar which I played with an Ebow and ran through some effects in FL Studio.

More on this 526th weekly Disquiet Junto project — Magic Number (2 of 3) (The Assignment: Record the second third of an asynchronous trio) — at: https://disquiet.com/0526/

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

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

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0526-magic-number-2-of-3/

trial run disquiet0526

asynchronous mash-up for  junto project 0533 with tracks by @zedkah , @paul-reiners-1 , @isonomia , @user-130801280

https://llllllll.co/t/disquiet-junto-project-0533-numbers-magik

18/MAR/2022

asynchronous mashup (disquiet0533)

Snippet from an unused session for an upcoming album :
Minino Garay: percussion
Daniel Diaz: Upright bass, marimba

work in progress, unfinished.

dedicated to Dave Brubeck and Paul Desmond en May 5th 2022

https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our

May Five (outake) disquiet0540

Disquiet Junto Project 0593: The Charm 
The Assignment: Record the second third of an asynchronous trio. 
More info on Disquiet Junto: disquiet.com/0593

@triermusic last submission (https://soundcloud.com/triermusic/two-of-three-disquiet0592) inspired me with his melody added to Andreas Kitzmann (https://soundcloud.com/andreas-kitzmann-27370936/disquiet0591). It reminded me the great Augustus Pablo. So I decided to dub and pay a tribute to the great melodica master.

I recorded bass and guitar tracks and a rhythmic experimental track with AudioThing Noises. Guitar & Noises are processed by AudioThing Outer Space for delay and reverb. I then added encoderaudio Ferro to give some tasty tape hiss, wow & flutter to my tracks.
It was challenging to work without a BPM and with such fluid structure.

Dem Three (disquiet0593)

https://soundcloud.com/leonclowes/right-2of3-disquiet0637-with-nate-trier
More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Plug 123 (Trio with Leon Clowes and Nate Trier).disquiet0638

Disquiet Junto Trio part 2 of 3

This is my second contribution this week. I started with Nate Trier's one-one-five-bee-poem, which I would classify as a rhythmic noise blend. I felt some soothing classical music would help balance the noise, so I mixed in two of my past Junto contributions where I used and mangled well known classical music with some twists: "Pachelbel's Cannon" (note: not Canon) from Disquiet0521 and "With Apologies to J.S.Bach" from Disquiet0489. The final mix is a combination of rhythmic noise, familiar soothing classical music, and frenzied chaos. Apologies to whoever might try to add something to this in part 3.

nine-one-one-chaos-poem - disquiet0698

for me complexity is a conceptual endeavour, it's more about the process than the outcome. at the moment, i see complexity as an integration of disparate elements: subjective-objective, creative-analytical, individual-communal, present-past etc. i'm aware that every piece of music i do follows on from another, they are related to each other in some (small?) way. working intuitively allows this to come out i think, but in addition i always combine conscious conceptual elements from previous efforts - my hope is that my soundcloud timeline provides a natural progression track to track. 

i've been working a lot with samples on my last few tracks, so i didn't add anything else. i just went through and isolated small sounds i liked then stretched them and blended in over the course of track (like in sleeping church) but here i was more interested in getting a balance between texture and frequency. i've been working with dronefx on my mixcloud pieces so i used that to generate some note progressions and changed the pitch of the low end sounds. i wanted to make an ambient piece that gradually develops with more texture (again like in all my recent pieces) and i used the concepts of the last two disquiet projects to complement this: i recorded the piece to tape as in summer:impermanence (& fortuitously coz it was the same decrepit old tape a little snippet of that track comes through right at the start!) then i faded between the tape version into the 'clean' version as the track progresses (like in last weeks project).

i wanted the finished piece to sound completely different to the source but still retain something of the spirit of it. i tested this by fading in and out my favourite section of the original  right at the end and i think it works pretty well.
₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/


hidden complex (summer mix) (disquiet0188)

This weeks task was to take a track and make it more complex...

Complexity can be approached from various angles, I myself, not being a virtuoso musician, use blunt tactics. 
Previewing the material, I chose to sample (Complexification0010SH by Sun Hammer), The original material was sliced into sections and played back via pads in Ableton, triggering, bouncing and combining the material. After creating a rough sequence of events and patterns by hand and unquantized, I then added some sound design elements to add depth and texture to the sound.  Chains of effects where layered to try and add width.  I'm relying on a mixture of delays and edits to create transitions between the past and I just tried to make an interesting sound collage.

Oh yeah, and it was fun!

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/


Consumer Complex  - Disquiet0188 - Complexcomplex

Lately, I've been enjoying taking a single sample of something and building a whole new track around it. 

I did that mostly with this, a short sample from the 2nd mp3 and then used a bunch of PD samples from freesound along with some VST instruments in Ableton Live - throwing everything but the kitchen sink.. and yet somehow it still sounds unfinished. Will revisit this track in the future.

Started and completed in one session in about 2 hours.

***

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

This project was proposed by Guy Birkin and Jay Bodley (aka Sun Hammer). It extends the thinking that went into their album Complexification, released by the record label Entr’acte. (There’s more background on album below the project description.)

These are the steps for this project:

Step 1: Pick one of the two tracks at the following URL: https://goo.gl/tN4Oit.

Step 2: Modify that one track in any way, using as much or little of it as you like, to make a new piece that sounds “more complex” than the original. You may add other sounds. (Note: You are free to use any definition or measure of “complexity.” You should be sure to describe your process and how it “increases” the complexity of the original track.)

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 6, 2015, with a deadline of 11:59pm wherever you are on Monday, August 10, 2015.

Background: The album Complexification by Guy Birkin and Sun Hammer “explores musical complexity through a collaborative process based on a set of rules.” Those rules involved the two musicians swapping successive copies of a track in order to make it progressively more “complex.” For their purposes, they defined “complexity” as follows: “In this project, complexity is understood in terms of the quantity and variety of musical elements or patterns. The result is two parallel threads of music, each representing a progression of increasing complexity.”

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Lee Rosevere - Test Pattern [disquiet0188-complexcomplex]

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

i took the original sample and copied it 8 times as different layers which I then placed into garageband, with each layer being placed slightly to the left of the previous one. this created a complexity in the different spacing of notes and sounds.
I then deleted the beginning 20 secs of the second track (and deleted an extra 20 secs from each of the following tracks so that they all came in slowly to add complexity over an expanded period. i then added 1 effect to each of the layers
layer 1 no effects
layer 2 pitch shift down 
layer 3 slow panning tremolo
layer 4 vocal transformer (pitch down and fierce degradation)
layer 5 pitch shift down
layer 6 vocal trans. (pitch -15 slight degradation)
layer 7 delay (fast sweep)
layer 8 pitch shift down (-12) + 6 second reverb.


Strudel (disquiet 0188 - Complexcomplex)

Disquiet Junto Project 0188: Complex Complex
Take a provided track and make it more complex.

- My intention was to have increasing complexity acting upon increasing complexity.
- Did this on my iPad. I used the 2nd track, but really used both. 
- The Sparkle app was used to apply the temporal characteristics of the 1st track onto the 2nd track, so the 2nd track was played with the sound characteristics of the 1st track.
- I took 3 minutes of each track. The 1st track was played at half speed and the 2nd a normal speed. So for this six minute piece the 2nd track (3 minute segment) played twice.
- For the first three minutes it is just the increasing complexity of the 1st track acting on the 2nd track, which itself is increasing in complexity.
- At three minutes delay was added, and then gradually increased.
- Around the last minute I manipulated the filter for additional complexity.
- Recorded the piece in Sparkle, then applied EQ and Compression in Auria.

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:
http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

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

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:
http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Transferred Complexity [disquiet0188-complexcomplex]

I took an 11-second snippet of the original track as my core sample.  I wanted to bring out the tonal aspect, so I did some pitch-shifting in Ableton Live to make four versions of the sample - original pitch, pitch- and time-stretched down a fourth, a fifth, and an octave.  I used follow actions to make the clips semi-randomly move downward then back up.  When the clip decided to repeat itself for the last time, the track ended.

However, the chords were hard to hear, so I duplicated the track and then added a Resonator in Ableton Live tuned to match the pitch-shifted chords and a couple of delays to make the chords stick around longer.

Then I took the core sample again and sliced it up into at least 22 micro-samples, each of which repeated or went on to the next sample at their own discretion.  This created "areas" of repeating samples that serve as a kind of form.

This is maybe the most IDM I've ever gotten.

* * * * * 

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Parallel Asynchronous Phase Rates (disquiet0188-complexcomplex)

if anyone uses it in a mix please let me know!!! would be so honored / love to hear how you used it!

---

was obsessed with this Charli XCX style track from APOLLO (https://soundcloud.com/mmixasi/how-to-write-a-charli-xcx-song-starter-pack), he kindly let me use the instrumental to cobble together this remix

my first ever full length remix! let me know what you think

--

i made this remix for educational purposes - hope to receive critique from listeners in order to progress in my music making. this is my first ever full remix! it is thus protected under Section 107 of the Copyright Act, as it should be considered Fair Use. no profit is made off this remix.

Style (Hyperpop Taylor Swift Remix)

Solo upright bass
Harmonica
Synthesizers and Fx.

Image: Friendship by Agnes Martin.

For this challenge:
Disquiet Junto Project 0456: Line Up
The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score.

Step 1: Look at the work of painter Agnes Martin, best known for her parallel lines.

Step 2: Select an individual work that suggests itself to you as a musical score.

My imagination is not flamboyant today, I just went for some linear playing, both an upright bass linear impro and an harmonica and synth simple straight drone.

DD 25th Sep 2020

Parallel Lines (disquiet0456)

On Bandcamp: https://orix.bandcamp.com/album/flim-aphex-twin-rework

Flim (Aphex Twin Rework)

Composer and producer who puts together noise and pretty sounds. Hear my releases on Bandcamp: https://natetrier.bandcamp.com/

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.

Parallel Asynchronous Phase Rates (disquiet0188-complexcomplex)

Nate Trier

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