More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

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-0428-urban-moss/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Disquiet Junto Project 0428: Urban Moss

This was my contribution for Disquiet Junto Project 0718: Planet Jam It. The Assignment: Record the sound of an advanced alien civilization.
Here’s a copy of my post on the Disquiet Junto 0718 discussion thread on Lines:
This is posted for future reference. This audio is believed to be recorded music from an advanced civilization on an unknown planet. It was captured sometime in 2126, and transmitted back to Earth from a deteriorating research drone many years ago. Unfortunately, since Earth no longer exists, humans have never heard it. 

More on the 718th weekly Disquiet Junto project, Planet Jam It — The Assignment: Record the sound of an advanced alien civilization — at https://disquiet.com/0718/.

Lost Transmission [disquiet0718]

Disquiet Junto Project 0718: Planet Jam It. The Assignment: Record the sound of an advanced alien civilization.

This recording was made in 2126 as part of Krakenkraft Interstellar Inc.'s ARP (Audio Reconnaissance Program), and its significance is only now being fully understood. We are most probably hearing the dream singers of Yith, a mentally time-traveling civilization. Unfortunately, despite intensive AI efforts, the drone's engine noise could not be removed, for which they have apologized repeatedly. Unfortunately, we do not know what happened before and after radio contact was lost... 

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Drone sound credit: andreauomogatto https://freesound.org/people/andreauomogatto/sounds/545315/

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More on the 718th weekly Disquiet Junto project, Planet Jam It — The Assignment: Record the sound of an advanced alien civilization — at https://disquiet.com/0718/.

Discussion https://llllllll.co/t/disquiet-junto-project-0718-planet-jam-it/73184/16

disquiet25

Rare Recording Of The Dream Singers Of Yith [disquiet0718]

I LOVE creaky floorboards. ❤️ Always have. They’re the little confessions the world doesn’t know it’s making. How could it?

This particular set — oh, these sonic beauties — were discovered in a small museum in Lille, France. A place so very quiet you could almost hear the air move somehow. The curator said the building used to be a tailor’s shop. But the neighbours reckoned it had been an intelligence post during the war; the kind of place where secrets secreted themselves into the grain of the wood.

So I waited until closing time. Set up my recorder. And walked. Slowly.

Every step had its own personality — one a whisper, one a sigh, one a shriek like a door … perhaps remembering something it shouldn’t. Somewhere between the third and fourth creak, though, the air changed and tilted weirdly. You know that cold, coiled feeling — when you’re not sure if you’ve just been noticed by someone? But I was alone ... I WAS alone.

I kept recording.

Later, when I played the sounds back, there it was: a super faint shuffle beneath and between the creaks. A pause. Then two extra footsteps … that weren’t mine. Perfect rhythm. Perfect distance. Like a partner in a dance waiting years for the next cue, which had now arrived, years later.

So I built the track around that. A haunted duet between spy and spectre, each trying to decode the other’s silence.

Enjoy … if you dare. 🎃😈

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

more halF unusuaL

halF spooK [disquiet0722]

This comes from a groovy, slow-funk spy-thriller track— Fender telecaster and jazz bass, tenor sax, drums, synths, and percussion — originally written for a producer’s call that never made it through.

For this week’s challenge, I decided to destroy it.I kept just a few fragments — scattered guitar and bass phrases, some sax phrases— and rebuilt the track with ambient layers and unsettling textures from soft-synths fittingly called Thrill and Spooky Keys.And some distorted arpeggaitors barely heard.

What took a couple of days to construct only took two hours to tear down.I like the result: a dark, cinematic mood somewhere between spy funk and ambient noir.

Sax by Miguel Yanover
Photo by Stefano Pollio
The rest by me.

Project:
https://llllllll.co/t/disquiet-junto-project-0722-spook-street/

@disquiet

Spooky Spy - disquiet0722

This is part of Disquiet Junto Project #0722: Spook Street. See more at https://llllllll.co/t/disquiet-junto-project-0722-spook-street/73313/5.

Escapism 10

An electronic composition, sounds from various sources including Pure Data.

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.







Spooky Doings (disquiet0722)

In this installment of Sound Advice, we are joined by global techno sensation Charlotte de Witte. Over the past 15 years, Charlotte has built her career from the ground up, rising from Belgium’s underground scene to become one of the genre’s most revered names today. In this exclusive interview, we speak with the DJ, producer and KNTXT record label founder about her dance music heritage, creative process and the making of her long-awaited, self-titled debut album. Charlotte also talks about finding your sound and staying true to it, offering valuable advice for emerging DJs and producers looking to build a lasting career in electronic music. For techno fans, this one’s a must.

Episode Show Notes: https://soundcloud.com/stories/post/charlotte-de-witte-interview-sound-advice
Follow SoundCloud Stories: @soundcloud-stories
Follow Charlotte de Witte: @charlottedewittemusic
Get Started With Artist and Artist Pro: https://artists.soundcloud.com/

Sound Advice: Charlotte de Witte

This was my contribution for Disquiet Junto Project 0722: Spook Street. The Assignment: Make music for a haunted spy film.

Here’s a copy of my post on the Disquiet Junto 0722 discussion thread on Lines:

Used a sample of the theme music from the classic spy film with the similar name as the foundation of this piece. It was pitched down in Ableton Live and altered using mainly Soundtoys effects. Additional tracks were added using Native Instruments PlayBox, Madrona Labs Sumu and Slate+Ash Choreographs. Hope everyone has a very frightful night…

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

The Ghost Who Came in from the Cold [disquiet0722]

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

Cops Cant Catch Criminals (disquiet0722)

Disquiet Junto 0722 asked us to create a spooky pairing of a spy and horror movie soundtrack. I had a lot of fun going back and listening to some classic spy movie music, taking notes on some of the tropes that I wanted to incorporate in my response. 

The brass was a huge stretch for me. I generally try to stay away from synthetic versions of a lot of acoustic instruments because of how impossible it is to accurately simulate their performance, so I don't have any experience with writing for horns. I found some helpful advice on various music composition threads, and I'm happy enough with the arrangement for a fun Halloween piece. 

But you know what's really scary about this piece? I spelled "exsanguination" correctly on the first try.

More on the 722nd weekly Disquiet Junto project, Spook Street — The Assignment: Make music for a haunted spy film — at https://disquiet.com/0722/.

The Exsanguination of Agent 99 (disquiet0722)

This piece is a combination of field recordings and experimentation with semi-automated arpeggios and chords. Different instruments (hand drum, music box, and Cello) are playing the same set of notes but layered (like urban moss)on top of each other. They are treated with tape loop effects and noise, with a Solina added on top for ambiance.

In the background, some treated Fado singing from a concert at a small bar in Luxembourg and some street noise.

All this may be also a response to the ongoing chaos in the world… Lets all hope, it will be over soon - and we can go back to enjoying the coming spring.

Best wishes to everyone!


More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

More on the Disquiet Junto at:

https://disquiet.com/junto/

disquiet0428 - midivale

This piece contains the following English & Scottish Ballads:

1. Riddles Wisely Expounded
2. The Elfin Knight
3. Willie's Lady
4. The Fair Flower of Northumberland
5. The Twa Sisters
6. Lord Randal
7. The Cruel Mother
8. The Three Ravens

=================================

For context, when posting the track online, please be sure to include this following information:

More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

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-0428-urban-moss/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Urban Moss - disquiet0428

Upright piano, synthesizers.
Recorded @ Paris and Buenos Aires over the years...
Created for:
**Disquiet Junto Project 0428: Urban Moss**
*Step 1: Consider how many concert posters have spent time on an old telephone pole before being torn down or succumbing to the elements. Think about the wear on the wood, the rust on the vestigial staples, as time has passed.
*Step 2: Record a short piece of music that pays tribute to the accumulated echoes of past concerts promoted here over the years.*
----------------------------------------------------------------------------------------------

After both my parents died a couple of years ago I had to let go many things, most notably the family house and the bedroom where I lived my first 22 years. It was a thrill to go back to that room to say farewell, the walls were covered with posters, stickers, etc. There were a lot of concert posters glued to the wall that my parents just kept there, along with many concert ticket that I glued over. I wish I could have keep that wall! Filled with memories, there was even a Miles Davis street poster (huge) for a concert in the early 90s that never happened (Miles got ill, cancelled and died)

Then I had to let go my old piano, a century old German beast, with crackles, noises , real ivory and ebony keys and “that sound”...

I recorded a lot on it when I was living there but even in the recent years , when visiting my parents, (although I have a modern piano in my studio) I liked to bring a stereo microphone and do some recording that, when listened 10 thousand kilometres away, instantly bring me back to that piano, that room, and the past.

In this track I worked on a solo piano track I found on an old DAT, recorded at my parents’ house 15 years ago, added some hi pitched notes for the same session/DAT, then I created a pulsating synth arpeggiator and a deep bass, with a lot of subliminal blemishes like noises and interference in the background.

Cheers

DD

memories embedded in wood (disquiet0428)

Recorded for the Disquiet Junto Project 0428: Urban Moss
The Assignment: What echoes of past concerts are retained within this pole?

Process: Noddling around on the guitar trying to channel the guitarists  concerts past. Editing, then reverb, delay, and some granular effects.

The Rolling Stones Are Gathering Moss (disquiet0428)

I was a little pressed for time this week. Here are three drum parts taken from songs by a couple of bands I saw in the mid '80s and one from 1994. I sample a short drum part each and used Ableton to convert them to MIDI. From there a put them through various drum instruments, Eventide Blackhole and Spring reverbs. There's a filter sweep on each of the tracks each with a different period. I wanted to evoke the feeling of time having passed but with echoes of those concerts ever-present.

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More on this 428th weekly Disquiet Junto project — The Assignment: What echoes of past concerts are retained within this pole? — at:

https://disquiet.com/0428/

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-0428-urban-moss/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

echoes (disquiet0428)

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.

echoes (disquiet0428)

wasabicube

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