This piece has the feel of an orchestral composition, distinct movements and always this sense of spaciousness. It feels like a live performance. The pacing makes it clear from early on that this is a longform piece, which I think primed me for patient listening.  In terms of feedback, I think that some kind of connective tissue between the distinct moments would create more of a narrative feel. I loved this piece!

Great job creating a sense of space (pun intended).  It does feel like there's a narrative, like something is struggling to take shape

Would love to hear this in a multi channel space, lot of sonic choreography. As it seems you have identified, probably overly reverb dominant, and overall found myself hungering for some moments of silence. Would be a great exercise (though obviously not easy) to try to transcribe this for actual musicians distributed in a space.

Disquiet Junto Project 0711: Show & Tell &

The Assignment: Share some recent music; get and give feedback

Step 1: Choose a track/composition you’re working on. Share the recording on the Lines forum on the llllllll.co discussion thread at:

https://llllllll.co/t/disquiet-junto-project-0711-show-tell

Step 2: When posting the track, mention that you’re looking for feedback, describe what you’ve been up to on the track, and if applicable specify some aspects of the recording you might want input on.

Deadline: Monday, August 18, 2025, 11:59pm (that is: just before midnight) wherever you are.

Details: disquiet.com/0711

Disquiet Junto Project 0711: Show & Tell &

Made for the Sound Design Challenge #3 from Hiss And A Roar.

https://hissandaroar.com/v3/sound-design-challenge-03/

Some of the sounds immediately inspired me on how they could be used almost straight out-of-the-box with little modification - just by being placed in context.

-------

The story....

After a heavy drinking session in a 3rd rate bar in a 3rd rate backwater planet, scavenger Iago Torres bought the maps and travel logs of an old, half-mad and half-drunk, retired Starfleet explorer.

After struggling to get the 50 year obsolete memory cube to interface with his ship's system and scanning through old incomplete star maps and half-gibberish written reports, he found something that could be of interest: a record of an old abandoned alien facility on an ice-planet not yet recorded in official charts.

He decided to investigate, although he gave it 50/50 chance he had already fallen prey to the ramblings of an old mad man (or maybe a smart con?). Either way, his head was pounding from the cheap fake Kazirian liquor and he made a mental note to never drink in that bar again.

To his surprise, the planet did exist and the abandoned alien facility was exactly where the map said it would be.
It was also a piece of cake for his suit's built-in computer to hack the lock and the door actually still worked!
So far so good!
However, as he ventured in, Iago was about to find out that, despite being abandoned, the underground facility was far from empty...

SD#3 - Abandoned Underground Facility

Disquiet Junto Project 0661: Consumer Drone Product
The Assignment: Record a piece of drone music using sounds from your home.
Record a piece of drone music constructed entirely from sounds that are byproducts of consumer electronics products (e.g., alarm, refrigerator, clock, HVAC, etc.) in your home

This composition harnesses the ambient resonance of a vacuum's low-frequency hum as a bass drone, setting a foundation of mechanical continuity. Over this, a power drill punctuates with a jagged, metallic cadence, injecting an abrasive, industrial rhythm. The cyclical churn of the washing machine and dryer grounds the piece with a percussive undertone, while a re-synthesized mid-range wash of oscillating water from the kitchen sink adds a swirling, aqueous texture. The rhythmic qualities of the dishwasher sync with the ones of the washing machine.

Appliance Suite in D Minor (Disquiet0661)

Living city centre London my home environment is surprisingly quiet, but doing this @disquiet project allowed me to focus on listening to those permanent hums in the background. I got close into the very-old-needs-replacing refridgerator and the air filters throughout the flat.

Recording 22 seconds worth of sound each time, some were deleted when other noises interrupted their sounds. Stripping this down to four looped samples, I played each track inidiviudally, live mixing these effects in Ableton Live:

sound one - Around the head auto pan; Vibrato special chorus ensemble, then add phasing
sound two - Concrete Chamber and Big Room reverbs
sound three - Drums in a Canyon hybrid reverb, Bright Small Box cabinet, Shifter Flanger shifter
sound four - Stereo Notch, Only the good parts, Kick Boom auto filter

I then layered the four tracks to create what you hear here.

More on the 661st weekly Disquiet Junto project, Consumer Drone Product — The Assignment: Record a piece of drone music using sounds from your home — at https://disquiet.com/0661/

consumer drone product (disquiet0661)

subcut elegy I

I am invited to take part in a concert and this seems to be the first chapter. Live-recording of Part I of a personal work.

Interested in your opinions.
Please enjoy!

subcut elegy I

ACTC1

The piece is inspired by mRNA: copying and writing the same tiny information again and again in conducted variations. The ACTC1 is in charge building up the heart and cardiovascular muscle texture.

Enjoy!

ACTC1

Disquiet Junto 668 ("All Right Then, Keep Your Secrets") challenged us to record a 30-second bit of audio and warp, twist, layer, and disguise it, ensuring that the secret of the source sound will never be revealed.

Every sound in my piece derives from my secret source audio. The recording I started with was neither tonal nor rhythmic, so I sure did set myself up right from the start. I had to commit some crimes with convolution reverbs using novel impulse response samples to get tones. I used a super-sensitive noise gate to chop up the arrhythmic audio into bits that I could then sample as individual instruments to assign in a drum machine.

I set out to make something beautiful, which I don't think I accomplished, but I think it's at least interesting. And I got a great workout in the studio, busting my brain, so that's worthwhile on its own.

Please enjoy "The Secret Chord" calmly and without any sudden movements.

More about Disquiet Junto: https://disquiet.com/0668

The Secret Chord (disquiet0668)

**Disquiet Junto Project 0668
**Bury a secret sound until it is no longer identifiable.**

This project was proposed by Mahlen Morris.

Step 1: Record a 30-second chunk of sound from a single source. This may or may not involve a microphone. This recording shall be referred to as The Sound.

Step 2: Manipulate the Sound extensively. Stretch, break, torture, soothe, remove, heighten The Sound. Reveal subtleties of The Sound you didn’t notice when you recorded it.

Step 3: Layer the results of Step 2 in a way that pleases you. Revel in it.

Step 4: Reveal to no one the original source of The Sound. Ever. In the description when posting your finished track, you can say what you did to The Sound, but do not even hint at the source.

Step 5: Keep and carry that secret. Not all must be revealed.

Track notes:

I started with a sound that I thought was suited to a subterranean environment. I then fed it into a Morphagene module and promptly manipulated beyond its original semblance. I'd sketched a little drawing in my notebook yesterday, using a metaphor of layered sediment or substrate as my compositional directive in terms of selecting four additional sounds, layering and distributing them evenly around the obscured original sound.

[Disquiet_Junto_0668] Sediment, Substrate

I'm preparing a soundtrack to my residency shows at Volcano Theatre in Swansea this week and my response to the current @disquiet project might well be the transition music. Using samples of room ambience to bookend a series of looped pad chords, these fade in and out, overlapping.

More on the 696th weekly Disquiet Junto project, Chain of Layers — The Assignment: Make music change by altering its layers — at https://disquiet.com/0696/

Chain of Layers (disquiet0696)

More on the 697th weekly Disquiet Junto project, First Third — The Assignment: Record the first third of a trio — at https://disquiet.com/0697/

disquiet0697

This is an experiment with a Buchla 100 system that I recently built. Everything you hear is generated by the Buchla and fed through a spring reverb and then mixed live on a Tascam recorder to emulate the experience of recording directly to tape.

disquiet0711

Disquiet Junto Project 0711: Show & Tell &
The Assignment: Share some recent music; get and give feedback

I have been working on a project: making a sort of mashup of sketches I’ve made over the last few years when away from home. I’ve made these on holidays, or when visiting friends: at times when I don’t have my usual music setup, but can do some noodling and experimenting, using music apps on a tablet and sometimes using a small semi-modular synth.
Since some of these sketches/fragments have nice sounds, or patterns, or themes, I thought I might select a bunch of them that I like, see if some match with respect to rhythm, tempo, tonality, vibe, and then see if I could maybe combine them into a longer piece (adding some extra parts or transitions as needed.

So this is a slightly edited version of a work in progress. Given the amount of material I have, the end result might be something like 3 different pieces that each are between 12 and 20 minutes long. We'll see...

I’m curious how you experience this. 
It will inevitably be, as a result of the process, a somewhat fragmented piece, consisting of bits that were not intended to fit together. Does it feel totally disjointed, like loose sand, random bits that do not gel? Or is it something of a musical journey (as I hope it might be). Would you like to stay a bit longer in the different segments? Or did you feel impatient to move on? Is it nice if some sounds or patterns or themes recur later on?

More on the 711th weekly Disquiet Junto project, Show & Tell & — The Assignment: Share some recent music; get and give feedback — at https://disquiet.com/0711/.


Some sketches (disquiet0711)

Something I've been trying to do with my vintage synths is to recontextualize them as contemporary sounds rather than throwbacks. In this piece for example, I wanted to use the Moog, and have it sound like a Moog, but without feeling retro or nostalgic. And that's what I'm most interested in hearing from you: how it's landing for you and ideas for what I might do to meet my aesthetic goal of preserving the unique voice of the instrument, without situating its sound in an earlier era?

This piece was posted in response to Disquiet Junto #0711. More on the 711th weekly Disquiet Junto project, Show & Tell & — The Assignment: Share some recent music; get and give feedback — at https://disquiet.com/0711/.

Tethys (disquiet0711)

My track notes regarding the creation of this track can be found here:

[Disquiet Junto 0711] The Shape Of Honey (draft)

# Disquiet0711

Interlude 1 is my first sketch for an interlude within a ≈ 40 minute piece about the cosmos. It seems like maybe the piece is too thick, but I want to get it out and move on and come back to revisit it after I get all the other pieces in place.

I used Sound Particles to create a few background textures and then decided to improvise a synth bass sound, and then a synth flute, and a brief plucked string sound, all from the Roli Equator software synth. 

I added some delay chaos to the recordings with plug-ins from Valhalla, GRM, and some Tai Chi reverb.

Then in Pro Tools I cut and moved the separately improvised tracks into a composition that tries to capture the vibe while I was performing. 

All the tracks were recorded and mixed in 7.0.2 for this piece. For SoundCloud and your listening convenience I converted the surround sound piece to binuaral with APL Virtuoso. I always have trouble with binaural. It doesn't accurately convey the full spatial quality of the immersive mix as it is supposed to do.

More on the 711th weekly Disquiet Junto project, Show & Tell & -- The Assignment: Share some recent music; get and give feedback -- at https://disquiet.com/0711/ 

Interlude 1 - Binaural disquiet0711

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.

Interlude 1 - Binaural disquiet0711

Zounzabar

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