Tag Archives: disquiet junto


[remix.reflector] Sevenism∞: C Swellowed

Sevenism∞ (nee Jamie Lickfold) hails from Nottingham, UK and describes his sound work as “12-string bluesy acoustic ambient psych-folk noise drone pop // random electronic ambient slowdowns.” He’s made good on that promise once again in a remix of my “C Swells [disquiet0189-tonelayer]” for his contribution to this weeks Junto challenge, a call to remix any two of last week’s submissions and layer a third track to “glue” them together.

In his hands, my track helixes with Ben DeMole’s “Swallowed [disquiet0189-tonelayer],” resulting in an exponential lushness. De Mole used his voice to create harmonic terrain and it mixes with my guitar in an angelic upward spiral. The mixed track was then used as the bed for Sevenism∞’s addition, a raw recording through an mp3 player’s mic of his playing an electric piano. As a fan of all things meta, I approve.

Sevenism∞’s liner notes to the track:

In a nice synchronicity i’d already halfway completed the project before it was announced: i’d done an extended version of TheReflectors – C-swells where i’d looped the track a few times (and added a bit of echo n blur in the middle) so that i could listen to it a bit longer

had it playing while i went through last week’s tracks and it mixed well with Benn-Demole – Swallowed-disquiet0189-tonelayer i liked the added bass and incidental sounds, so took a loop at the end of that and had that faded in and out throughout

for the glue i had the mix playing in the next room while i played along on my old technics electric piano and recorded through the mic on my mp3 player.. the idea was that some syncopation would blur the phasing a bit. unfortunately the recorder picked up the sound of me hitting the keys really loudly, and i didnt feel like redoing it so just had it lower in the mix but the clatter kind of helps a bit

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Find more Sevenism∞ at:
soundcloud
twitter
bandcamp
mixcloud


[remix.reflector] terella by S/H/A/R/R/P/S

Brilliant remix by the ever-engaging and prolific sound artist S/H/A/R/R/P/S (Jessy Kendall, founder of the letterfounder craft studio in Lewiston, ME) of my and Utrecht artist Olaf Wisselink’s respective Junto 0189 contributions. S/H/A/R/R/P/S layers dialogue snippets from 80s episodes of the soap opera Santa Barbara over a combination of both tracks for a whacked out trip suffused with mystery and suspense. Soap operas, in a way, are forms of loops. Joe Perkins is always at the door.

Produced for Disquiet Junto 0190-MissedConnections. S/H/A/R/R/P/S’s soundcloud liner notes:

more: @olafwie
n
more: @thereflectors

been wanting to use long samples from from old soap operas for a while- the santa barbara soap, from 1984. harr!

i went through all the junto trax, picked my faves, 5 in total, dropped em into audacity and juggled them together. i made two trax and my fave is this (the other posted to my page), as i thought it would ‘shake things up’ more, on the junto site.

My source track:

Olaf Wisselink’s source track:

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Find more of S/H/A/R/R/P/S at:
soundcloud
bandcamp
flavors.me


[track] c swells [disquiet0189-tonelayer]

PROCESS

Single notes in the key of C, staggered and stacked to move through different chords. “Attack” was eliminated using a combination of my trusted E-bow fed through an EHX POG2 with its attack setting jacked all the way up for max swell. Tape Delay, Phaser, Reverb added for space travel (or ocean travel as the case may be here).

RIG

Fabien (Peekamoose Custom Guitars M2), EHX POG2, Small Sound / Big Sound Sparkle Motion, tc electronic flashback delay, EQD Grand Orbiter, EQD Afterneath, Strymon blueSky, Line6 POD-XT (Vox AC-30 emulation), RECORDING DAW: Sony Acid 7.0 (Win 8.1), MASTERING DAW: Harrison Mixbus 2.5 (Mac OS 10.7.5)

PROJECT

Create a dense stack of attack-free tonal material from one audio source.

Step 1: Choose an instrument that can create extended tones.

Step 2: Record a short loop of a single held tone on that instrument. Use a volume pedal or other tool to eliminate the attack at the start of the tone.

Step 3: Create many more such loops, all with the same instrument, and layer them atop the original loop.

Step 4: Record a document of these layered loops lasting approximately 1 minute.

Step 5: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

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More on this 189th Disquiet Junto project (“Create a dense stack of attack-free tonal material from one audio source”) at:
disquiet.com/2015/08/13/disquiet0189-tonelayer/

More on the Disquiet Junto at:
disquiet.com/junto/

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/


night flight: le rêve de fabien [disquiet0181-instrumentaldream]

My latest guitar is named Fabien, after the pilot in Antoine de Saint-Exupéry’s “Night Flight.” It has quickly become my fav instrument. I read him the passage below from the book last night and woke up to this track in my DAW. Seems Fabien dreamed me reading to him in French.

A Dick Dale-esque fast-picked drone over a sample of “the world’s largest wind tunnel” simulates propellers and everything’s capped off with some more samples of 1980s weather satellite telemetry. All samples are from a Bainbridge sound effects disc circa 1989. The beats are garage band.

“Night Flight” tells the story of a mail pilot lost over Patagonia and the ways tragedy and the relentless drone of modern life intersect and collide on the ground. In this track, one of my favorite novels meets my favorite guitar.

Fabien is a Peekamoose Custom M2 (http://peekamoose.com). He’s pictured being held by his luthier, Paul Schwartz, in the shop where he was forged.

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NARRATION

“Fabien, quel est votre position?”
Fabien, what’s your location?
….

Sans avoir à lutter, il serrait les mains sur les commandes. Quelque chose se préparait qu’il ne comprenait pas. Il bandait ses muscles, telle une bête qui va sauter, mais il ne voyait rien qui ne fût calme. Oui, calme, mais chargé d’un étrange pouvoir. Puis tout s’est aiguisé. Ces arêtes, ces pics, tout devenait aigu : on les sentait pénétrer, comme des étraves, le vent dur. Et puis il lui sembla qu’elles viraient et dérivaient autour de lui, à la façon de navires géants qui s’installent pour le combat. Et puis il y eut, mêlée à l’air, une poussière : elle montait, flottant doucement, comme un voile, le long des neiges. Alors, pour chercher une issue en cas de retraite nécessaire, il se retourna et trembla : toute la Cordillère, en arrière, semblait fermenter.

“Je suis perdu.”

Instinctively he tightened his grasp on the controls. Something he did not understand was on its way and he tautened his muscles, like a beast about to spring. Yet, as far as the eye could see, all was at peace. Peaceful, yes, but tense with dark potency. Suddenly all grew sharp; peaks and ridges seemed keen-edged prows cutting athwart heavy head wind. Veering around him, they deployed like dreadnoughts taking their positions in a battle-line. Dusk began to mingle with the air, rising and hovering, a veil above the snow. Looking back to see if retreat might still be feasible, he shuddered; all the Cordillera behind him was in seething ferment.

“I’m lost.”

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More on this 181st Disquiet Junto project (“Imagine your favorite instrument is dreaming while it sleeps — what does it sound like?”) at:
http://disquiet.com/2015/06/18/disquiet0181-instrumentaldream/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/


a child’s doll reflection [disquiet0180-matryoshkamusic]

PROCESS
A loose adventure in nested loops. There are a few drones (each 1 note) underneath respective two, three, four, five and six note loops. the main section consists of the two note and six note loop played together with some variation, looped six times. Everything else fades in and out.

Like memories.

I own a matryoshka as a result of a trip to Russia I took in 1985. In the course of that journey, I acted as a teenage cold war secret agent, carrying cultural and religious documents and artifacts behind the then-iron curtain. This track has nothing and everything to do with looking back on that adventure. As a bonus read, here’s how my trip as a “Spring Break Spy” began:
http://westyreflector.net/2013/01/customs-playboy/

So xclnt to be contributing to the junto again.

:^D

RIG
Fabien (a Peekamoose Custom M2 by http://peekamoose.com), EHX SuperEgo, Diamond Tremolo, EQD Grand Orbiter, EQD Afterneath, Strymon blueSky, Pigtronix Infinity Looper, Fender Blackface emulator (Line6 POD-XT), Sony Acid Pro 7, Windows 8

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More on this 180th Disquiet Junto project — “Use the Russian nesting dolls as a model for a musical composition” — at:
http://disquiet.com/2015/06/11/disquiet0180-matryoshkamusic/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/


[a few words on] Tuonela: Blue Mountain Ice Reflections

Tuonela (soundcloud, bandcamp), a sound artist and self-described “primitive musician” out of Katoomba, Australia makes sounds using “very basic software.” With no synthesizers and “no idea how Ableton works,” he produces and processes wonderful sounds, and for someone so prolific, his work still exhibits no sameness, jumping across modes and always somehow making the “epic” look, well, effortless. At the same time, Tuonela has a singular style, one that offers transcendence and earthiness all at once.

Tuonela created and yesterday alerted me to the remix posted above of my January 2015 Disquiet Junto ice challenge contribution, and as expected, he found hidden spaces and mysteries and narrative in my track that I never thought existed.

We connected a couple years ago through the Disquiet Junto, from whence have come many of my most interesting musical nodes these days. The sheer volume and unwavering quality of his output have become welcome additions to my feed. I can’t keep up, but that’s ok, because fate has intervened often enough to create a bond. Early on in our interactions, Tuonela’s heartfelt enthusiasm for my stock-and-trade rock ‘n roll was a catalyst for me to continue experimenting with the challenges in the Junto and exploring my nascent fluxus-driven ambitions.

No doubt his eschewing of Abelton and, for that matter, most of the emerging tools of sampling-era electronica, contribute to the accessibility of his work (at least to this 20th century relic author). Make no mistake, this is digital art, but of the type that peels itself back to reveal some of the human hand. No algorithms (or any number of monkeys at typewriters) left to their own devices would take us on his journeys or arrive us at his destinations.

Tuonela less writes “songs” and more creates “landscapes.” Valley Suite, a July 2014 release “sonically inspired by the majesty and mystery” of his Katoomba, Australia home and the surrounding Blue Mountain Range, is ancestral, modern, celebratory, cerebral and expansive all at once. The closing track, Megalong Morning, is 15-minutes of restrained and meditative drone, a wonderful reflection of the peace found at the summit of a rock climb, perhaps, or that sense of awe at the edge of your own land’s Grand Canyon:

The Valley Suite record falls in with my own predilection for Tuonela’s quieter side. His contribution to the Junto’s sonicvoid challenge to soundtrack a silent film was a highlight for me in that collection of contributions:

And the titles of his tracks are their own font of inspiration.

In any event, check out Tuonela here:
soundcloud
bandcamp


Truth Is A Lonely Place In Ephemeral

Lee Rosevere and I wrote and remixed | two | versions | of “Truth Is A Lonely Place” in August 2014 for a Disquiet Junto challenge to compose a soundtrack to an endlessly-looped silent film by Josh Azzarella. Lee’s remix track eventually found its way into Disquiet.com Mark Weidenbaum’s Fall 2015 installation of the video at the San Jose Museum Of Art.

I released both tracks in November on my record, Particle Theory, as stand-alone audio pieces bookending my track Roadside Justice. I wrote Roadside Justice the same week as the challenge last August and the title “truth is a lonely place” was taken from its lyrics.

Randomly, both our tracks were picked up from the freemusicarchive by Malta video game designers Alan Duca, Mark Magro, Jean-Pierre Brincat, Moira Zahra and Mark Scicluna, and looped continuously through their experimental game called Ephemeral, developed for the 2015 Global Game Jam in January. They won a couple awards (including “Most Unusual Game”) and high praise from Calum Fraser at AlphaBetaGamer. Animated by Zahra and written by Brincat, the game is described as thus:

Two beings plummet simultaneously towards their death. Letters and faint lights tumble along in the background. How will they deal with this predicament?

Eerie and wonderful all at once, given the source material that Lee & I composed to. Azzarella’s silent video is a “never-ending-loop” of a man falling from the World Trade Center on 11 September 2001:

Untitled #8, 2004 from Josh Azzarella

It’s a loop come full circle…

Read more about the original track and disquiet junto challenge.

Read more about Marc Weidenbaum’s installation of Azzarella’s video at the museum’s Momentum Exhibit, which runs through 22 February 2015.


for whom the ice tolls [disquiet0157-icemusic2015]

PROJECT
Please record the sound of an ice cube rattling in a glass, and make something of it.

PROCESS
My 54th Junto contribution is my first stab at the ice challenge.
Dropped ice into a brandy sniffer.
Recorded into Samplr for iPad then sliced and diced with Samplr’s onboard effects and my guitar pedal board.
The ringing of the glass after the ice hit, pitched down a couple octaves and slowed, provided a distant church bell effect.
The drone bed was the same ringing granulated through an EHX Superego pedal and fed through Earthquaker Devices Afterneath and Strymon blueSky reverbs.
Added more reverb, as well as amplitude modulation in the DAW (Sony Acid Pro 7.0).

There are 12 “chimes” of the bell. Noon or midnight – it’s up to you to decide…

:^D

RIG
brandy sniffer, ice cubes (medium sized, automatic ice maker), Samplr for iPad, Earthquaker Devices “The Warden” compressor, tc electronic flashback delay, EHX Superego Synth engine (send/receive: EHX POG2 + EQD Arpanoid), EQD Afterneath delay/reverb, Strymon blueSky reverberator, Line6 POD-XT (tube pre-amp emulator setting), MOTU 828 mk2, Sony Acid Pro 7.0

META
More on this 157th Disquiet Junto project — “Record the sound of ice in a glass and make something of it.”

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


San Jose Museum Momentum Follow-Up

Disquiet.com’s Marc Weidenbaum and the other participants in the San Jose Museum Momentum Installation talk about their respective interventions.

Weidenbaum’s description:

The San Jose Museum of Art has uploaded this eight-minute video featuring the various folks who, like me, contributed works as “interveners” for its current Momentum exhibit, which celebrates the museum’s 45th anniversary. I talk in the video at 2:52 and 3:59.

My piece is “Sonic Frame,” a response in three screens to a video by Josh Azzarella. Each screen contains a unique set of seven different audio tracks composed to complement it, so each time the video plays anew it is accompanied by different sounds. Among the participating musicians are Taylor Deupree, Natalia Kamia, Julia Mazawa, Steve Roden, Naoyuki Sasanami, Christina Vantzou, Stephen Vitiello, and Scanner.

The Momentum exhibit runs from October 2, 2014, through February 22, 2015. More on the exhibit here (“How Sound Frames Vision”) and at sjmusart.org. Video hosted at youtube.com.

From the Museum’s YouTube description:

Published on Dec 23, 2014
What happens when a museum invites a ballet dancer, a bicycle designer, a bodypainter, a calligrapher, a cartoonist, a comedian, an inventor, a poet, a sound artist, and a yarn-bomber to “intervene” in an exhibition? Learn about the ten super creative people behind the exhibition “Momentum: an experiment in the unexpected.” The exhibition is on view through February 22, 2015.

The exhibit runs through 22 February 2015.

My original post on the exhibit, including a list and links to all the artists involved.


Space Walk [disquiet0152-comet67pcover]

PROJECT
Record your own cover version of the “song” sung/emitted by Comet 67P/Churyumov-Gerasimenko.

PROCESS
The comet’s rhythmic oscillations took me to a droning arpeggiation space. With this “cover,” wasn’t replicating the comet so much as evoking its spirit.

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More on this 152nd Disquiet Junto project — “Record your own cover version of the ‘song’ sung/emitted by the comet Comet 67P/Churyumov-Gerasimenko”

Copyright Notice: Original Data Credit: ESA/Rosetta/RPC/RPC-MAG.
Sonification: TU Braunschweig/IGEP/Manuel Senfft, CC-BY-NC-SA 4.0
http://creativecommons.org/licenses/by-nc-sa/4.0/

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


Particle Theory

16 November 2014

Drifting Moon/Spinning…
Sum + Difference
All The Rage
Melody Chaos
Welcome To The Interzone
Turnaround, Annie
Intransitive Disappearance
Truth Is A Lonely Place
Roadside Justice
Truth Is A Lonely Place
Particle Theory
The Shimmer Of Stars…

bandcamp | freemusicarchive


San Jose Museum Momentum Installation

The Momentum exhibit runs through February at the San Jose Museum Of Art. Sound artist, writer and Junto founder Marc Weidenbaum curated the sound (as an “intervention”) for one of the installations, the video Untitled #8 (2004) by Josh Azzarella. Back in August, Marc sent out the silent video as project Disquiet0138-videosonicvoid, and challenged us to create a looping piece:

Compose a 2.5-minute soundtrack to complement the silent video “Untitled #8, 2004″ by the artist Josh Azzarella. The video is intended by the artist as a “Never Ending Loop,” as is this audio accompaniment.

Untitled #8, 2004 from Josh Azzarella

Marc “intervened” the video for Momentum with 21 sound pieces, including 14 that were created for disquiet0138-videosonicvoid, to loop over 3 different screens.

For Marc Weidenbaum, Josh Azzarella’s video Untitled #8, in which a form slowly shifts, suggests a visual parallel to the ethereal nature of sound: perceptible yet intangible. Through his online collaborative project Disquiet Junto, Weidenbaum collected and curated original works of music and sound from an international community of colleagues, which he then added to unsynced iterations of Azzarella’s silent video. Intended to explore transformation and stasis, the sound elements create auras, halos, and contextual sonic frameworks that gently alter the viewer’s experience and perception of Azzarella’s video art.

Screen #2 incorporated a remix of my track done by Lee Rosevere, who had asked me to create something for him to use that week:

This is my original:

I am ecstatic that my work is in a contemporary museum. It’s even sweeter that the tracks were the result of spontaneous collaborative processes that echo and fractal much of what’s good about our current technological environment.

The other artists Marc used put me in esteemed company, to say the least:

Screen.01
Taylor Deupree
Van Stiefel
Natalia Kamia
Naoyuki Sasanami
Carlos Russell
Mark Rushton
Paolo Mascolini (Sozu)

Screen.02
Stephen Vitiello
Steve Roden
ævol
Marcus Fischer
Julia Mazawa
Westy Reflector + Lee Rosevere
Ezekiel Kigbo (The Atlas Room)

Screen.03
Steiner (Stijn Hüwels)
Christina Vantzou
Scanner
Inlet (Cory K.)
Jean Reiki
Marco Raaphorst
bad trails

Finally, here is what the exhibit looks like:


132 Frets [disquiet0147-slightnoise]

PROCESS
Every frettable note (incl. harmonics) on Jolie (my Gibson ES-335 DOT reissue), granulated and held through an Electro-Harmonix SuperEgo synth engine and then fleshed with infinite feedback through a TC Electronic Flashback tape delay. Both pickups were active and thrown out of phase to broaden the aural spectrum.

PROJECT

Step 1: Record 8 seconds of white noise in your own personal style.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Your finished work should be 8 seconds long.

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More on this 147th Disquiet Junto project — “Record 8 seconds of white noise in your own personal style″

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


Vertical Lyfe [disquiet0146-swypingsilence]

PROCESS

Transposed the swype into notes by turning the QWERTY keyboard into a musical keyboard:

1. Correlated the major scale to the letters following G by repeating the octave pattern though the alphabet (e.g., J=C, N=G, V=A, etc…)
2. Assigned low octave (1) and high octave (3) to the bottom and top rows, respectively, of the qwerty keyboard.
3. Mapped “silence” against the above interpretation, such that “SILENCE” transposed to E(2) B(3) E(2) E(3) G(1) C(1) E(3), which turns out to be an articulation of E-minor or G-major, depending on your mood. As the E begins and resolves the sequence, E-minor is where it begged to fall in the end.

The droning bed of the track is my falling into all the notes contained in the word “silence” in a NanoStudio for iPad synth, looped once and held through the end.
The floating over that is an eBow, “swyped” as it were through the notes that make up “silence,” using the octave positions dictated by the keyboard.
I had the notes under the entire swype, between the letters of “silence,” mapped out, and planned on realizing the actual symbol more in the piece. I ran out of time, however, as I had to stop recording when the toddlers above me started playing indoor basketball. This is a regular occurrence, I feel fortunate, however, they didn’t start rolling through their (uncarpeted) apartment on their Razr scooters or tricycles, which is their favorite pastime. That becomes thunder on the ceiling that not even Dinosaur Jr’s Green Mind played at full blast can drown out. So instead of more guitar layers, you get a loop of one of the average ball bounces on my ceiling picked up by a condenser mic and run through a tape delay pedal. Hence the title of my track.

Vertical Lyfe = no true silence, just a specific sort of “city silence.” It’s an active-listener silence, because you have to tune things out in order to achieve it. I meditate better for having lived in NYC for the last 20 years, I think, because I have to work for the meditation. That said, I don’t wish to live in an anechoic chamber, but sometimes dreams of a house in the country, with nothing but sounds of rustling leaves and distant rushing water, just take me over.

PROJECT

Step 1: Consider the symbol that results from using the Swype technique to enter the word “silence” on a keyboard, as shown in image at this URL:

goo.gl/swcNxA

Step 2: Develop sonic associations with this symbol.

Step 3: Produce a short piece of music informed by those associations.

Step 4: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 5: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between one and three minutes long.

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More on this 146th Disquiet Junto project — “Make a short piece of music based on a typographic symbol for the word ‘silence’″ — at:
disquiet.com/2014/10/16/disquie…46-swypingsilence/

More on the Disquiet Junto at:
disquiet.com/junto

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/


Truth Is A Lonely Place (Lee Rosevere Remix) [disquiet0138]

Collaboration with Lee Rosevere, wonderful (and prolific) Canadian producer and musician.
leerosevere.bandcamp.com
happypuppyrecords.ca

Lee’s liner notes:

When this project was launched, I emailed my online buddy Westy Reflector @thereflectors to see if he’d be up for a collaboration and I was thrilled he agreed. I’ve wanted to do a big huge ambient landscape with his glorious guitar tracks and this seemed like a perfect opportunity.

He wrote an original song and sent me the stems (guitar, drone, drums) and you can hear his original version here:
Thereflectors – Truth-is-a-lonely-place

I added lots of reverb (as I love reverb) and piano pads and bass in Ableton Live to his original unedited guitar tracks.

I then mixed a second version, using only an excerpt from his original guitar track and looped it over the newly-created background – this is the version here, which seems to work best when sync’d to the video (vimeo.com/21678371)

It also fits in the sense that Josh Azzarella’s work largely deals with taking an image and “altering or removing the punctual event in the image.” (www.joshazzarella.com/about/)

Huge thanks to Westy for wanting to work on this together, as he could’ve (and did) come up with something excellent completely on his own and didn’t need me at all to drench it in reverb… but it was a great experience and I’m greatly looking forward to the next opportunity.

****

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More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″ — at:
disquiet.com/2014/08/21/disquie…38-videosonicvoid/

More on the Disquiet Junto at:
disquiet.com/junto

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


truth is a lonely place [disquiet0138-videosonicvoid]

PROJECT
Compose a 2.5-minute soundtrack to complement the silent video “Untitled #8, 2004″ by the artist Josh Azzarella. The video is intended by the artist as a “Never Ending Loop,” as is this audio accompaniment.

Untitled #8, 2004 from Josh Azzarella on Vimeo.

If not visible above, view the video here:
vimeo.com/21678371
www.joshazzarella.com/videoworks200408/

PROCESS
Lee Rosevere (@happypuppyrecords and @happypuppy2) emailed me shortly after this project went live, suggesting we collaborate and that I might start him off with a few guitar melodies. This is the original track I cut for him. I also sent him stems, and he ended up slicing, looping and manipulating my guitar to construct a brilliant rework, which I consider to be the definitive version of the track.

It’s always fun to see into the DNA of a remix, and the Junto is nothing if not about shared spaces, so I uploaded my track to the group, in addition to Lee’s putting his up, for the weekend-geneticist thrill of it.

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More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


[a few words on] the disquiet.com junto

I started creating tracks for the Disquiet.com Junto in January 2012 upon the group’s founding by Marc Weidenbaum, a San Francisco music, technology and culture writer. A former editor of Tower RecordsPulse! magazine, he has written for Nature, Boing Boing, and The Atlantic online, and he also lectures on the role of sound in the media landscape. Marc is most recently the author of the 33 1/3 book on Aphex Twin’s album Selected Ambient Works Volume II and since 1996, he runs the website Disquiet.com about the intersection of sound, art, and technology.

The Disquiet Junto is an online music community in which members respond to weekly composition prompts posted every Thursday devised and designed by Marc. Participants have just over four days to complete each project. As of this writing, ~460 musicians and sound artists from all over the world have joined in, creating over 3300 tracks that have been uploaded and shared via soundcloud.com. The playlist above has my contributions, and updates in real time with the most recent (an playlist unstuck from time in a post about Disquiet seemed appropriate).

Participation in the Junto for members is not compulsory, and artists jump in and out at will. The Junto makes it ok to take tremendous risks with creativity, though, so many of us keep coming back for more. As of this post, I’ve done ~50 of the 135 challenges, and a few of the resulting tracks ended up on my last two records, which are released under Creative Commons currently at Bandcamp and the Free Music Archive.

I followed Marc’s writing and blog for years. As a rock and pop songwriter, I was an outlier for the Junto, but always aspire to abstraction and harbor fascination with electronic music and sound manipulation. So after his initial call, I listened from the sidelines for few challenges, then conjured the courage to create a track.

Avant-garde and abstract expression are often low-hanging fruit for ridicule, tossed off as the butt of jokes while dismissed as misplaced fealty to impracticality. Explaining the Junto is not always easy. A couple people – people who should know better – have said “it sounds like a cult,” after I entreated them to check it out.

I told the last one, “Never mistake something cult for a cult. Anyway, what happened? You used to be so cool.”

:^D

The Junto reminds me that in writing music and “songs,” I also create sound(s). These sounds have texture and personality and interact in mathematical and metaphysical ways. I am way more aware of my compositional process now, and every week I mine Junto tracks for technique and marvel at the output. Even when not able or capable to participate in a given challenge, the assignments themselves are enough to spark lanterns otherwise unlit. I’ve also found friends. It’s made the internet not such a cold, commercial place.

Just when you think you couldn’t grow…


This video of Marc speaking in April 2014 at the SETI institute about the Junto is a definitive explanation of its intent and impact:


The Fourth Of IX [Disquiet0134-MusicFromChoreography]

My Disquiet Junto contribution to soundtrack 03:00-03:59 of the film [IX] by Cori Marquis.

PROCESS
Pulled out aces through nines from a deck of cards.
Shuffled. Cut twice. Drew the top card.
4 of hearts.
So, fourth minute of nine (03:00 – 03:59).

At ~01:47 in the original 9 minute film, the dancers tapped their shoulders with their fists for a couple seconds. I tapped along into a tempo reader and it came out to 75.2 BPM.
Tracked bass and drums around the dancers’s movements, and decided to go double time at ~03:27 to match the sped-up circular camera movement.
Improvised drones, grains and generative arpeggios through various effects, layering into a pigtronix looper.
Played one guitar track live over the loops and rhythm tracks into Acid, starting with feathery harmonics to match the dancers’ caressed helixing, then moving through a kind-of New Order “Republic”-era vibe to mirror the camera’s movement.

The Fourth Minute of IX from Westy Reflector

I got an early-90s feel from the film. Things were still okay then. Kurts (Vonnegut & Cobain) were still alive, The Replacements were still making records and there were still hidden movements and corners of the world you could call your own. My mind went to “Regret” by New Order.

TUNING
Open D# (D# Bb D# G Bb D#), aka the “Blood On The Tracks” tuning, 1/2 step down.

RIG
Jolie (ES335-DOT Reissue w/ http://peekamoose.com custom pickups & electronics), EQD The Warden compressor, Zvex Box Of Rock, EHX Superego synth engine (effect send: EXH POG2, EQD Arpanoid), tc electronic flashback delay, Strymon blueSky, Pigtronix Infinity Looper, Line6 POD-XT, MOTU 828mk2, Sony AcidPro 7.0, Win 8.1

PROJECT
More on this 134th Disquiet Junto project — “Compose music to accompany one minute of a dance video by Cori Marquis.”

More on the Disquiet Junto.

Join the Disquiet Junto.

Disquiet Junto general discussion.


Bassling + Lee Rosevere + Nofi: Riding High Waves (remix of “riding waves”)

A 2nd remix by Bassling (Jason Richardson) of my riding waves. In it, Bassling adds his deft bass to Lee Rosevere‘s percussion and vibraphone, my guitar and nofi‘s original track. This rounded-out full-on quartet performance creates unexpected harmonic convergences and becomes a whole (and real) band – thankfully without van politics, ego mastications and “yellow-M&Ms-only” rider demands.

From the soundcloud track description:

Response to Happypuppy2 – Nofi-westy-lr-riding-high and Thereflectors – Riding-waves with a detour via Basslingsss – Unmistakeable-release

More on this 132nd Disquiet Junto project — “Collaborate with the late Jeffrey (Nofi) Melton using a previous tribute track” — at:
disquiet.com/2014/07/10/disquie…osthumousnofitrio/


Kyle TM – Wvrdr (remix of a remix of “riding waves”)

Enigmatic and multi-faceted South Carolina artist Kyle TM layered soft breaking white noise swells, seagull calls and a rhythmic water drop over a remix of my “riding waves” by Tokyo-sound artist Naotko (Naoyuki Sasanami) for the 132nd Disquiet Junto challenge. Inasmuch as dreams are recursions of reality, the result here is a dream-state that expands on a story, grounding it in a new place and making a statement on the conscious filtering that makes up perception.

from the soundcloud track description:

I liked the idea of reworking a rework of a rework from Disquiet Junto 0066: Naotko – Riding-waves-by-nofi-westy

I was also drawn in by Westy Reflector’s philosophy for the track: Thereflectors – Riding-waves

I thought the track could use some waves and added white noise wave sounds, seagulls (www.freesound.org/people/beejeeb13…4/sounds/197743/), and a percussive 4/4 water drop (www.freesound.org/people/Adam_N/sounds/166322/).

RIP NOFI.

Kyle TM
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