Monthly Archives: October 2012


kamikuma: remixes of The Know It Alls

kamikuma (natalia kamia), one my fav soundclouders, hails from Gothenburg, Sweden. “anything can be translated” says her profile, but let the mystery be for while and just absorb her work. she creates space within and around her sounds, which is a high calling, and results often in tracks that are as exhilarating as they can be challenging. she surprised me with remixes using my field recording of the bloomingdale’s flagship store on 59th street and lexington avenue in manhattan. the original field recording follows her notes below.

KAMIKUMA’S NOTES ON CASH IN THE POCKET:

Collage Westly-Reflector, The Know It Alls At Bloomingdales/DEADWOOD, Big Sizes Only,samples. Mechanic beats made of samples from Westy-Reflector’s track and Post by Lem Hertihy, cut up and sped up. All the sources in disquiet 0037 As Real As It Gets.

Cut and paste, loops.

More on this 43rd Disquiet Junto project at:
disquiet.com/2012/10/25/disquie…43-dazzledmachine/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info/

This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):
apexart.org/exhibitions/walker.php/

KAMIKUMA’S NOTES ON WINDOWSHOPPER:

Contemplating the machinery at a distance with a fascination of a voyeur.

I made two tracks – the first one is a hiphoplike cut and paste.This one is employing the natural groove of Zedkah’s track, with a mechanic beat at a low volume and panned away. It is more like a shopping reverie.

Sources: Zedkah, Penguins, Sweets, Fish, Trousers 0038; SIGHUP, Cashiers, Loblaw St. Clair…0037 (sample), collage Westy-Reflector, The Know It Alls…/DEADWOOD,Big Sizes Only-0037; mechanic beat made of cut up/sped up samples from Lem Hertihy, Post and Westy Reflector, The Know It Alls…0037.

More on this 43rd Disquiet Junto project at:
disquiet.com/2012/10/25/disquie…43-dazzledmachine/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info/

This Disquiet Junto project was done in association with the exhibit As Real as It Gets, organized by Rob Walker at the gallery Apex Art in Manhattan (November 15 – December 22, 2012):
apexart.org/exhibitions/walker.php/ ;


AustinTown (inst.) [disquiet0042-naivemelody]

PROCESS:
The instrument I have played for the longest time is a 1965 Framus 5/59-525 Sorella thinline. My dad bought it for $12 at a garage sale in 1982 and told me, “Make this sound like you mean it and we’ll see about getting you a nicer guitar.” Despite her given name, I call her Stella (though she’s not to be confused with Framus’s same-era Stella archtop line). Through the years, she fell into a state of unplayability, so in 2003 I brought her to Paul Schwartz of Peekamoose Guitars (www.peekamoose.com), who plugged it in, laughed his ass off and said, “Why not? Let’s make her sing again.” Paul took a couple months and reworked her into a ridiculous time warp. The wiring needed some updating, but the pickups, fretting, sunburst finish, inlays, etc are all still original. The bridge, also original, is not fixed to the body, so if she’s strummed too hard, the intonation goes all over the place, but that’s part of the charm. Tonight, I plugged Stella into a Line-6 Pod-XT emulator of a ’64 blackface Fender Deluxe Reverb and put a slight plate echo on the affair for the tone here.

The instrument I have played for the least amount of time is my iPhone AniMoog app. I always wanted a Moog and for $9.99, I’m carrying one around in my pocket since about May. I’ve used it in some other Junto projects and also in a track I recorded this past summer called “The 12th Step.” Still just scratching the surface of it, though, and really just jabbing at it, hoping my fingers don’t hit too many keys. The iPhone is okay for typing language, but it’s a terrible musical keyboard. On the other hand, there’s something about being restricted to 2 octaves and 1 hand that heightens the naivete, so it seems to fit the assignment.

The track itself is a loose strum of my song “AustinTown” (thereflectors.bandcamp.com/track/austintown) which appeared on my 2010 record “Hola, Sayulita” (thereflectors.bandcamp.com/album/hola-sayulita). I traveled through Austintown, Ohio, during the 2004 election cycle and I wrote the lyrics and music in a Best Western off Route 80, with a view across the highway of the town’s Quaker Steak ‘n Lube. It’s a song about the elusiveness of truth, the nature of political language and the complexity of growing up. Though it’s pretty nihilistic, it helps me find my innocence whenever I play it. Sorry it’s 8 secs too long.

PROJECT:
Employ just two instruments in the production of this week’s track: (1) the instrument you have used for the longest period of time and (2) the instrument in your possession that is newest to you. You’ll record a backing track with the oldest instrument, and overlay on it a simple melody of your choosing performed on the newest instrument.

Definition: The term “instrument” can be interpreted as broadly as you’d like; ultimately this is a project about the restraints inherent in the gadgets, tools, and software that you have obtained or created.

Background: The inspiration for this project is the song “This Must Be the Place (Naive Melody)” by the band Talking Heads off the album Speaking in Tongues. For that song, the band members traded instruments, each playing something they were significantly less familiar with than the instrument they normally performed on.

Restrictions: Any source material, any instrumentation, except the human voice.

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More on this 42nd Disquiet Junto project at:
disquiet.com/2012/10/18/disquiet0042-naivemelody/ ;

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info


Arc Welded [disquiet0040-kirschnerplus1]

PROCESS:
Turned Kirschner and Popoff into my Crazy Horse and dialed up a tribute to Neil Young’s noise record Arc, the final side of the Arc/Weld live album of his 1991 Ragged Glory tour. Snipped about 2 1/2 mins of the duet, then layered a looped, distorted guitar over it. Couldn’t get the range on the fretboard I wanted in one take, so there are 2 takes twisted into this wreckage (so it’s, well, almost a live performance :^D). Each take was then doubled, the copies processed further (phasers, delay, more distortion) and sent left and right. I think the Kirschner/Popoff track remains up enough in the mix to distinguish, but I also wanted to melt the feedbacks together (which catalyzed the arc-welding inspiration and connection to Young’s Arc/Weld record).

Enjoyed doing something flat-out loud (my neighbors did not like me tonight – heh heh). In some ways, if you get loud enough, you can drown out all the critics, including the loudest one inside you.

PROJECT:
For this Disquiet Junto project you will add your own performance to a duet. This will turn it, in effect, into a trio.

You cannot change the existing audio, except to the extent that you can elect to trim it to a more manageable length, in which case you might choose to fade in and out.

The source audio for this track is part three of the Kenneth Kirschner album June 5, 2012, which features Kirschner on piano and Tawnya Popoff on viola. The album was released in September 2012 on the shskh.com netlabel, where it is available for free download.

More on this 40th Disquiet Junto project at:
disquiet.com/2012/10/04/disquie…40-kirschnerplus1/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/info

More on Kenneth Kirschner at:
www.kennethkirschner.com/ ;