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.

----------------------------------------------
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]

Zoom-Zoom

Wilfried Hanrath - Zoom-Zoom(disquiet0680)

An electronic composition, original sounds created using Pure Data.

Praising The Winter Moon (naviarhaiku578)

using 20 resonance tones I recorded on a toy piano and acoustic guitar, I've responded to this week's @naviar-haiku music challenge, of which you can find details about here: https://www.naviarrecords.com/haiku-music-challenge/

quiescence!
touching not the blossoms,
temple bell's voice

Kawakami Fuhaku was a tea master and the founder of the Edosenke, a school of tea ceremony. He was also an accomplished haiku poet.

Haiku by Fuhaku

Extract of picture by Ming Han Low

bell's voice (naviarhaiku580)

Surge: Side B

Naviar Haiku 580 as inspiration had me deciding to use a piece of our life space, the bell from the haiku, then a deconstruction of ethereal and other temple meditation type aspects to try and get us deeper into the haiku's many mind space avenues it offers. To leave you in a meditation type moment and then the piece evaporates around you leaving you sitting in the temple again hopefully. At any moment where it could turn into a melody quite easily I turn it away to a new path endlessly throughout. Imagine you can see a fish swimming up a stream, constantly changing it's path, like a leaf in the wind. Right now we are on an excursion to the temple mind set..... experience in your stillness-meditation personal moment for as long as the song lasts.

Temple Bells Voice   Naviarhaiku 580   Entanglement Mooser a - 2_16_25, 8.53 PM

The “catch your breath” project got me thinking. All living things on this planet breathe, at least in one form or another, with some of us breathing in what others breathe out and vice versa. In that regard breathing is a kind of planetary feedback loop, constantly inhaling and exhaling. So, that inspired the first step in setting up my sonic palette: patching my “Barp 2500” to establish a slow oscillation. The output was fed into a tape looper effect on the Zoia which was then sent into the Cosmos, which were routed via a patch pay so that they fed back into each other. The combined audio was sent to my mixer, where additional feedback was added via the aux sends. After importing this into Logic, motion effects were used to create various forms of spatial movement. The final touch involved manually adding fade in and outs which became further and further apart and, eventually falling into silence when the breathing finally stops.

disquiet0687

https://www.naviarrecords.com/naviarhaiku581-plunging-my-hand/

plunging my hand
into the lake...
billowing clouds 

Among the four great masters of Japanese haiku, Kobayashi Issa (1763-1828) was the most prolific: during his lifetime he wrote over 20,000 haiku, hundreds of tanka, and several haibun.

Haiku by Kobayashi Issa

Picture by Atsushi Tsubokura

Cold Water [ naviarhaiku581 ]

drum and bass beats, melodies, and textural samples from several different companies (ethereal 2080, shaman stems, glitched tones, touch loops, undrgrnd sounds), two tracks of live guitar, one synth melody (arturia pigments) and one channel of morse code ("plunging my hand into the lake... billowing clouds") played on a group of randomly triggered small cymbals at 170bpm. the track closes with a sample of toluca lake.

[naviarhaiku581] into the lake

Recorded, mixed & mastered on 27 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Fieldscaper/samples, Effects, Synths

This original version of "Spinning On A Breezes" was submitted as part of Naviar Haiku 586: Fog Dissolves To Rain. 

This contains elements of two of my earlier "raw" releases - 
Raw: "My Fur Again" (02 Sep 2019)
https://youtu.be/a89gDMYrkqg

Raw: "Laugh Picnic" (31 Aug 2019)
https://youtu.be/YEJomQKEUy4 

fog dissolves to rain
- cool breezes clear the vista,
showing cloud-topped hills

by: Raymond Cobley

Raymond Cobley is an experimental composer and regular participant in our Haiku challenge. Now retired, Raymond aims to explore the possibilities afforded by open-source software, which he uses exclusively for creating and editing both sounds & images. All his works are published under a Creative Commons licence, and free for anybody to download or remix.

Photography/Art - Jim Lemanowicz, 08 Oct 2019, Manhattan, NYC, USA in the vicinity of 1st Ave and 73rd St. 

©2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge

Spinning On A Breezes (naviarhaiku586)

This week's assignment was to great a piece that combined the concept of "rauschen" (continuous background noise, akin to white noise) and the collagist Robert Rauschenberg.

First, I recorded several sources of white noise, beginning with every single air purifier and air conditioning unit in my house, and ending with sitting on a park bench surrounded by rustling wind, cicadas, and rush hour traffic.

Then, I chose a few to layer them together, trying to implement the style of Rauschenberg's collages into an audio framework. I kept the drone of an air conditioning unit in the background to represent the continuous duration someone spends examining a piece of visual art and a dripping appliance as percussion to try to capture the textures of Rauschenberg's work.

To me, the main element of these collages was repetition - repetition of colors, shapes, or figures. So I added a top line and tried to filter the frequencies in a descending fashion over and over again...but that didn't quite work. Ultimately, I realized I was staying on one "sound" too long to feel like repetition, so I pasted in more of the sounds I had collected in a pattern. Then I added Ableton's Beat Repeat and randomized Frequency Shifter to add some more "shapes." That felt right! 

Overall I'm content with this (not bad for four hours' work). It sounds like noise music (which I like) but hints at a more formal underlying structure.

* * * * * *
More on this 398th weekly Disquiet Junto project — Rauschen Bern / The Assignment: Make music by making a collage of noises — at:
https://disquiet.com/0398/
This week’s project is the first of three being done in collaboration with Musikfestival Bern, which runs in Switzerland from September 11 – 15, 2019. More details at:
https://www.musikfestivalbern.ch/
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-0398-rauschen-bern/

Rauschenberg Test (disquiet0398)

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

Rauschenberg Test (disquiet0398)

Nate Trier