A little piece with sounds from Yamaha YC45D, Eminent 310U and ELKA 707. Second part is a simple variation of Stomu Yamashta´s Solitude.
Effects used: Boss RE20 Space Echo and TC Electronic Nova reverb

YC310ELKA

This track describes how I felt when I looked out of the window of the room where I compose most of my music, as I started creating this track.
What we see through the window depends on our point of view, and this perception is subject to many influences.

This track was inspired by this week's, the 700th weekly Disquiet Junto project, View Frame — The Assignment: Share a peek out your window and some sounds inspired by the view — at https://disquiet.com/0700/

Behind the Window (Disquiet0700)

view_finder_disquiet0700

Disquiet Junto Project 0703: That’s How You Got Killed Before

This one’s been sitting on my hard drive for 16 months. It came from a session with my friend and collaborator Bobby Rangell — we had recorded some flutes for a job, then took advantage of being in the studio to jam a bit: bass and flute, sometimes with a drum machine click.
It was a super productive day. I later revisited and shared many of those flute-based tracks… but this one?
Like the others, it was just two tracks: mono flute and stereo bass, with a 2-bar drum machine loop. But I made a patching mistake that day — the bass came out super thin and low, and mixed weirdly with Bobby’s long reverb. So I just… deleted my bass track. Why? No idea.
Months later, I went back to it — and found only Bobby’s flute and a 3-note Roland 707 kick pattern. No idea what I originally played. Worse: Bobby’s blowing was super abstract. I couldn’t even figure out the key. Still can’t.
Then I got Marc’s email this morning and thought, why not try something different?
Instead of trying to remember what we did, I improvised on top of Bobby and the 707 kick playing electric bass, just following my own ideas and added some drum loops that weren’t there when we played, then I played a Fender Rhodes and some synth textures following my new bass, trying to structure what was probably and abstract free impro.
instead of trying to figure out what key were we playing in (I recall in all our impros we just kept one steady key) I introduced chord changes, played around with modulations, and laid down harmonies that don’t necessarily match what Bobby was playing. So now you hear his flute moving freely over harmonies that were never there in the original — sometimes clashing, sometimes strangely aligning. I liked the tension it created.
I spent a full day in the studio doing this. Honestly, I don’t think it’s done, but I’m leaving it here for now.
Side note: if anyone asks “what’s the point of the Junto challenges?” — this is it.
Sure, I could have called Bobby back and spent the same 8 hours creating something much more polished and coherent from scratch. But we never would have ended up with something like this. And without this challenge, I never would’ve bothered digging into a broken, abandoned track like this.


Performed by Daniel DIaz (June 2025) and Bobby Rangell (March 2024)
Photo by DD, Carilo, Argentina. 2025

That’s How You Got Killed Before (disquiet0703)

More on the 703rd weekly Disquiet Junto project, That’s How You Got Killed Before — The Assignment: Revisit something that you just couldn’t get to work last time — at https://disquiet.com/0703/

disquiet0703 - Environmentally-Sustainable Victorian Home

This week's Disquiet Junto prompt challenged us to revisit something musical—a piece of software, an idea, a technique—that we couldn't get to work in the past, and to dedicate time to improving it, capturing the result in music.

I decided to go with my Sequential Prophet-6 analog synth. I had inherited it from an ex who moved out of the country, and for complicated reasons just never really connected with it as an instrument. Intellectually, I knew that it was a fantastic synth, but I didn't know how to make it mine, if that makes sense. I couldn't speak through it. What's worse, the last time I had fired it up, it exhibited a rare but not unknown bug where every sixth note would be extremely loud, rendering it unplayable.

But today I decided to try again, to give it a second chance. I set aside time to just play around with it, experimenting with patches and tweaking parameters. I realized that the volume bug wasn't happening, the synth was being cooperative. Eventually I landed on a set of ideas that I think work well together. Most importantly, I feel like I can hear my voice in this piece, through an instrument that I couldn't do that with before. I'm even playing the lead synth like I do an ebow guitar. 

What a great prompt and a great experience.

--

More on the 703rd weekly Disquiet Junto project, That’s How You Got Killed Before — The Assignment: Revisit something that you just couldn’t get to work last time — at https://disquiet.com/0703/

I Don't Trust This Prophet (disquiet0703)

too long between waters - disquiet0703

sound art for disquiet0703

More on the 703rd weekly Disquiet Junto project, That’s How You Got Killed Before — The Assignment: Revisit something that you just couldn’t get to work last time — at https://disquiet.com/0703/

hexcloud (disquiet0703)

I haven't been reading much this year, but my mum bought me a book for my birthday back in spring: Raising Hare. It's an account, by Chloe Dalton, of her time as custodian of a young hare (known as a leveret). I still haven't read it yet, but the morning I received the prompt for last week's junto I found myself sat in a doctor's waiting room with the book in my bag. I just about had time to read the first couple of paragraphs. The first line is simply, "January was arctic." But the author paints a fine picture and I was very soon immersed into the scene, feeling the cold hard ground, and watching pregnant mother hare making her heavy-bellied way across it. The funny thing is that I was having my own experience of raising a hare around the same time, just before covid hit. That's a photo of him crouched on one the vegetable beds one cold january morning in 2020. We called him Little Odin as an accident with a lawnmower had damaged one of his eyes.

So all this was on my mind when I sat down to try to improvise something. I took an arp patch I programmed a while ago on the Super Gemini, which has a kind of bouncy sweetness that reminds of hare folk, and I made a slow steady beat on the Alpha Base which was meant to evoke Mother Hare making her way across the cold hard landscape. I played around for nearly half and hour and would've liked to have spent more time editing together "the best bits", but it got late, and so I have done a live mix of the last 9 minutes and left it at that. Thanks for reading and listening. Look at that lovely creature! :-) 

*

More on the 705th weekly Disquiet Junto project, Book Start — The Assignment: Let the beginning of a book help you begin a new piece of music — at https://disquiet.com/0705/. This week’s project was proposed by Neil Stringfellow.

raising hare [disquiet0705]

WeAreWithYou

The sound on this release has been examined and produced throughout March and April 2019 in Frankfurt am Main during a music-residency initiated and hosted by "Künstlerhaus Mousonturm" and MMODEMM.

Written and Produced by Asuna Arashi

raising hare [disquiet0705]

unclewaybaaack

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