the combo of droning background and rusty scraping foreground is striking--great setting for the repeated loop

Strange but hugely entertaining and often quite beautiful.

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

From the Something Concrete EP: https://kruhft.bandcamp.com/album/something-concrete-ep

cticity spent

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]

Part of:
Disquiet Junto Project 0333: Half Evil
Where numerology casts a shadow on musicology.
This week’s project is the 333rd consecutive Junto project. That’s half of 666. Ponder the dark side.
Record a piece of music that could be described as “half evil.”: Lucky Numbers

This is a different version of a 2016 track I composed after the US election, never found the nerve to finish it although I did mix and posted a lighter version last year. This one’s the original creepy one.

I recorded several bowed upright basses performing (in unison) variations on the same riff.
There’s a robotic groove loop created with voices heavily treated and over compressed.
Some radio voices can be heard in the background along with synth pads providing more texture.

This is my 303 track on Sound Cloud, there’s something about 3 this week.

Photo by John Noonan.


Dedicated to Glenn Branca


More on this 333rd weekly Disquiet Junto project (Disquiet Junto Project 0333: 
Half Evil / Where numerology casts a shadow on musicology) at: https://disquiet.com/0333/
More on the Disquiet Junto at: 
https://disquiet.com/junto/


FREE DOWNLOAD

Halfway To Evil (disquiet0333)

Continuing my project to teach myself the greatest hits of the classical canon through remixing their MIDI versions. Read more about this track: http://www.ethanhein.com/wp/2018/remixing-saties-gymnopedie-no-1-with-ableton-live/

Gymnopédie No 1 Remix

In loving memory of Phil Ogison Aegidiussen. 

I will miss you my friend. We will all miss you. 

I never had a chance to tell you all the things I needed to tell you. 

And now, Aegidussen, you too can chariot through the Sól and Máni. 

We will all leave the story for your legacy to tell now. 

We will all move through your heartbeats now, where we know you will take us with you. 

Wherever you decide to go.. 


www.reverbnation.com/philogison 

http://ogison.bandcamp.com 

www.numberonemusic.com/philogison 

soundcloud.com/philogison 

soundcloud.com/user-55670093 

https://catherinetammaro.com 

soundcloud.com/jeffhoward23

Phil Ogison & P è n i n s o l a r - Silver Case

Afterhereafter

A7 New

E Tude II

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.

l o g a r y t m i c s
is algorithmic generative sound
in pure data style.     and more...


 verona, italy

I can't see you (disquiet0294)

l o g a r y t m i c s

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