Get the full set for free download at restingbell.net. The site provides these two links for reference to Nemoto: moufu-rokuon.net, magneticmnemonics.bandcamp.com
His music was covered here previously in 2011, 2010, and 2009.

Track originally posted at soundcloud.com/yasuoakai. More on Yasuo Akai at thefirstpersonpronountowear.blogspot.com. More on Chris Lynn at framingsounds.wordpress.com. For lack of a visual, the above image is a still from a forthcoming Super 8 film by Lynn.

More on Ruchenhever, who is based in Belgium, at jonasruchenhever.be.

Get the full set as a Zip archive. More information, including helpful liner notes, at the modiste.com netlabel. More on Essl at essl.at, and on Tammen at tammen.org.

There is a techno heart somewhere deep in Sol Rezza‘s “The Existence of the Light Part III.” It’s in the wisp of a beat that patters along beneath everything else, a pixel tick tock. There’s a current of a beat above that, too, a more thorough pulse, one that fades in early and out late, that again has some semblance of techno to it. But the music is, after a brief moment at the start that suggests a clear genre slot, adventurous and spacious and adventurous in its spaciousness.

There’s plenty use of techno’s flavors, notably gurgling synth and those bauble beats, that bring Underworld to mind, that ability to have one foot in the rave and another in the gallery, both in the same pair of shoes.

This single track is, as its title suggests, part of a large-scale “album,” more a collection of images, still and moving, and text fragments as well as voluminous sounds that makes extremely creative use of the Tumblr publishing system’s inherent promise as a cabinet of curiosities. This screenshot below is just a narrow band of Rezza’s generous spectrum:

Track found via devinsarno.com. The large-scale project is housed at light.radio-arte.com, a subset of Rezza’s radio-arte.com webiste. She is based in Buenos Aires, Argentina.

Grouper has covered an old punk-rock song. Grouper has channeled has an old punk-rock song into something akin to a deep drone. Grouper has accomplished this task not by undermining the original but, in fact, showing it deep respect — by, in essence, taking the song’s lyrics literally, especially the lines about how the title figure “comes in shallow light and disappears” and, later, the cryptic vision of a “silent chamber.” The song, “Demona” by Dead Moon, is in her rendering (Grouper is one person: Liz Harris) a deeply fuzzed out figment, less a song than the song equivalent of the illusion of water that results from hot tarmac being viewed at a distance on a sunny day. The melody and chord structure and overall shape are retained, but they’re produced in a way that makes the term “shoegaze” insufficient — this is “shoehaze” or “shoedrone” or “songdrone” or what-does-it-matter because trying to place the song in a tidy box is very much at odds with the ephemeral quality of the sound that it aspires to (MP3). It sounds like you’re hearing it through a thick wall. It isn’t wall-of-sound; it’s wall-as-filter.

The track was made available for free download by Yeti, the magazine in whose latest issue it appears as part of an enclosed 7″ (along with three other songs, apparently not available for free promotional download).

Found via xlr8r.com and thefader.com. More on Grouper at her site. The original can be heard on youtube.com. It is redolent with a particular quality of guitar playing, one that is at once lackadaisical and jarring, and is distinct to a certain realm of non-hardcore punk

Marcus Fischer, the accomplished musician based in Portland, Oregon, generously agreed to provide the constituent parts of one of the tracks off his latest album, Collected Dust, which was released this month on the Tench record label. The track, “Nearly There,” was the second-to-last entry in a year-long daily creative project he undertook from January 2009 through 2010.

Fischer’s music is elegant and elegiac, and its gentleness belies its complexity. As the project began, it was clear that it would be interesting to see how people worked with the material. How much would they make it their own, or how much would they attempt to extend what they perceived Fischer had begun. There was, at a psychological level, the additional awareness that individual who was the source of the sounds was active on Soundcloud and would, almost certainly, be checking in. That proved to be the case in one particularly unexpected way — but before we get to that, here are the instructions that were provided to Junto members:

“Nearly There” is a track off Marcus Fischer’s new album, Collected Dust, released this month on the Tench label.

Fischer has provided 10 constituent parts of the track in the following downloadable Zip file:

http://mapmap.ch/disquiet/junto_MFischer.zip/

Each participating Junto member will contribute an individual remix of the track, using as much or as little of the original as they choose.

Title: Your track should be titled “Nearly There (Disquiet0004-mfischer TBD Remix)” where the “TBD” is between one and three words of your choosing. (It could, for example, be your name or a descriptive phrase.)

Tag: Please associate the tag “disquiet0004-mfischer” with the file.

Source Material (i): No, you don’t have to use every file that Fischer has provided, just as many as you would like.

Source Material (ii): Yes, you can add sounds beyond those provided.

Length: The length of your remix is up to you, but under 10 minutes seems wise. For reference, the original track is a little over six minutes long.

Download: As always, you don’t have to set your track for download, but it would be preferable.

License: Per an agreement with Fischer and with Tench, any track submitted for this Junto should be associated with the following Creative Commons license with your track: “Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0).”

Information: When you post the track, please include these three links:

http://mapmap.ch/
http://www.tenchrec.com/TCH05.html/
http://soundcloud.com/groups/disquiet-junto/

Additional Background:

The track “Nearly There” is not just an example of Marcus Fischer’s Collected Dust album. It originally appeared as the penultimate entry in the 365-day creative project he presented online, and material from it was part of the final entry in that same year-long series. That marathon creative experiment of Fischer’s was a big influence on the development of the Disquiet Junto, this idea of setting a significant challenge to oneself as a means to stoke creative output. “Nearly There” was recorded on “lapharp + ebow looped using the monome 128 w/ the wonderful MLRv application,” explains Fischer. The two tracks, for the curious, can be heard here:

http://unrecnow.com/dust/2374/
http://unrecnow.com/dust/2380/

And there’s more information on Collected Dust at the Tench website:

http://www.tenchrec.com/TCH05.html/

As the project’s deadline neared, Fischer himself joined in, remixing his own music:

In addition, there was a pleasant surprise when the accomplished sound artist Stephen Vitiello participated. He has exhibited at MASS MoCA, The High Line, The Project, the Bienale of Sydney, the Whitney Biennial, and PS 1/MoMA, and released music on such labels as 12k, New Albion, and Sub Rosa.

The fourth Junto led to a great conversation, in the project’s Discussion tab, about what exactly a “remix” is. It started off with a query from Brian Biggs, aka dance-robot-dance.

In the process, Ted James posted this audio piece as a response. It opens with him talking about what a remix is, until his talking becomes source material for a beat:

The assignment was made late in the day on Thursday, January 26, with 11:59pm on the following Monday, January 30, as the deadline.

View a search return for all the entries: disquiet0004-mfischer. As of this writing, there are 59 tracks associated with the tag.

Visit, listen to, and consider joining the group at soundcloud.com/groups/disquiet-junto.

A full list of Junto projects is housed on Disquiet.com.

(Image adapted from the photo that accompanied the version of “Nearly There” that appeared on Marcus Fischer’s unrecnow.com website as his 365-day project was reaching its end.)

Certainly it is about the use of constraints to stoke creativity. That is the Junto’s stated purpose. But one constraint was to be avoided from the start: the Junto is not a sample-of-the-week endeavor. And thus, at the risk of being met with mass disinclination, the third project was designed to test some boundaries. It required the participants to record a live performance. This meant no post-production, which is something of an anomaly in a realm of music-making that, oftentimes, takes place entirely in a creative zone that would be considered “post-production.” Despite some initial concerns on my part about potentially limiting turnout, almost three dozen musicians uploaded finished tracks.

These were the instructions:

This project is in honor of Benjamin Franklin, after whose Junto Society our little group was named.

In an effort to expand and refine the glass harp, Franklin developed his own lathe-like glass harmonica, which he called the “armonica.” Marie Antoinette took lessons on it and Beethoven composed for it, but Franklin’s invention proved expensive and fragile, and it had a limited lifetime. And it may have given its frequent users lead poisoning.

You are *not* being asked to build a Franklin armonica. But like Franklin, we are going to expand on the glass harp. In our case, we are going to do so digitally.

You’re being asked to use the more common instrument, the glass harp. That involves the familiar “rubbing the top of a wine glass that has water in it” approach:

http://en.wikipedia.org/wiki/Glass_harp

The Junto assignment is to record a live performance on the glass harp, and to employ live processing in the performance. There should be no post-production. And there is no length limit for the piece, though I would suggest that anything over 15 minutes may limit the size of your potential audience.

We could just as easily — more easily, really — used samples of glass harps and harmonicas as pre-made building sonic blocks for the piece. But the goal was to be true to Franklin, whose Junto lent its name to our collective endeavor. Franklin was as famous for his inventions and scientific inquiries as he was for his role in the development of the United States government. (An inveterate constructor of organizations — not just of his Junto, but of fire departments, militia, schools, and lending libraries — it’s quite possible to see the U.S.A. as the largest club he helped invent. Our ambitions are not so large.) And since the armonica was developed by him as an instrument for live performance, it seemed only right to use the glass harp in a live setting. (Just as a side note: the title of the piece was inspired by the concept of “expanded cinema.”)

Here, for further background, is an excerpt on the armonica from the Benjamin Franklin biography written by Walter Isaacson:

The assignment was made late in the day on Thursday, January 19, with 11:59pm on the following Monday, January 23, as the deadline.

View a search return for all the entries: disquiet0003-glass. As of this writing, there are 35 tracks associated with the tag.

Visit, listen to, and consider joining the group at soundcloud.com/groups/disquiet-junto.

A full list of Junto projects is housed on Disquiet.com.

(The images up top are from the tracks contributed, going clockwise from upper left, by: Matthew Barlow, Mark Rushton, Brian Biggs, and Ted Laderas)

When just that happened, when 58 different musicians participated, the question was what came next. First came an email announcement list, so that rather than having to check the Info tab on the Junto’s Soundcloud.com page, members of the Junto could have each assignment delivered to their inbox (if you’re interested in being added to the list, send a request to marc@disquiet.com). Then came an FAQ, which is housed on the Info tab. And then, with some consideration, came the second assignment.

The first assignment had asked the participating musicians to produce their own samples, in this case of the sound of ice in a glass. For the second assignment, the more traditional approach of using a shared sample was employed. But instead of one sample, there were two. These are the instructions to the second assignment:

Create an original piece of music under five minutes in length utilizing just these two samples:

Fog Horn: http://www.freesound.org/people/schaarsen/sounds/69663/

Train Whistle: http://www.freesound.org/people/ecodios/sounds/119963/

You can only use those two samples, and you can do whatever you want with them.

Deadline for finished tracks is midnight (wherever you are) on Monday, January 16.

When posting your finished track on Soundcloud, be sure the include the following two sentences, in order to abide by the Creative Commons license:

Fog horn sample by Schaarsen: http://www.freesound.org/people/schaarsen/sounds/69663/

Train whistle sample by Ecodios: http://www.freesound.org/people/ecodios/sounds/119963/

The suggestion of a fog horn sample was not a surprise to anyone who had spent more than a day or two observing my twitter.com/disquiet feed. I live in the Richmond District of San Francisco, where we are serenaded, when the climate is right, by deep fog horns that sound like Zeus left his phone on vibrate (and dozens of other haze-induced similes). Fans of contemporary classical music will associate that sound with the field recordings that form the basis for the Fog Tropes of composer Ingram Marshall, and Marshall’s masterwork was indeed very much an inspiration for this project. As for the train, it had no particular consequence sonically, except that the sample I located seemed aesthetically compatible with the fog horn sample. Instead, the train was intended as a cultural contrast, the implied rhythm suggesting rock’n'roll against the classical element of the fog horn. None of this was described in the assignment. It merely informed the dimensions of the project as it was being developed in advance of its announcement. No, the real crux of the assignment is this portion of the instruction: “You can only use those two samples.” If all the participants were to share the same source material, then the real challenge was to see how they would make that source material their own, and how better — in the spirit of constraint — than to limit their palette to that source material?

The assignment was made late in the day on Thursday, January 12, with 11:59pm on the following Monday, January 16, as the deadline.

View a search return for all the entries: disquiet0002-duet. As of this writing, there are 50 tracks associated with the tag.

Visit, listen to, and consider joining the group at soundcloud.com/groups/disquiet-junto.

A full list of Junto projects is housed on Disquiet.com.

(Oddly apt photo from http://www.flickr.com/photos/j33pman/5245441632. It was attached to the Junto entry “Bumpy Ride” by Doug Laustsen, aka douglownote.)

The significant majority of them made their tracks available for free download. They posted them in the Disquiet Junto group on Soundcloud.com, and used the tag “disquiet0001-ice” to distinguish their entry: including it in the file’s title and adding it as a tag. Soundcloud is a great service, but it doesn’t allow set creation within groups, so the only way to easily access the files associated with a given Junto project is by searching for a tag. I’m looking into ways to collect the files related to a specific Junto project, but in the meanwhile a search return is the best method.

The idea of using an ice cube in the glass had several points of inspiration. For one thing, given the long-running precedent of the Stones Throw Records Beat Battles, which meet once a week and use a shared sample as the starting point for competition, there was reason to distinguish the project; requesting that Junto members create their own sample, rather than employ the same exact source material, seemed like a good way to accomplish that. But, in a nod to the Beat Battles, I wanted a touch of hip-hop, and the sound of ice cubes heard in the Alkaholiks’ classic “Hip Hop Drunkies,” produced by E-Swift and Marley Marl, has long been a personal favorite (the song, which features a cameo by Ol’ Dirty Bastard, is from the 1997 album Likwidation; the instrumental is on youtube.com). In addition, the contact-mic experiments of musician Joe Colley came to mind. And, of course, there is Erik Satie’s furniture music, which is classical music’s strong precursor to what we now call ambient music: what could be a more casual everyday domestic sound than ice clinking in a glass?

The deadline was set for the following Monday, January 9, at midnight. In subsequent Junto projects the deadline would be moved back a minute, to 11:59pm, since some people weren’t sure if “midnight Monday” meant the midnight with which Monday began or with which it ended. Given that simple assignments are at the heart of the Junto, the fact that something as basic as “midnight Monday” was up for interpretation was an important lesson unto itself.

View a search return for all the entries: disquiet0001-ice.

Visit, listen to, and consider joining the group at soundcloud.com/groups/disquiet-junto.

A full list of Junto projects is housed on Disquiet.com.

(Image of ice cubes in a glass comes from “Mystic Cubes,” the Junto entry by Mystified.)