February 13, 2014, is the official release date for my 33 1/3 book on Aphex Twin's 1994 album Selected Ambient Works Volume II, available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

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Disquiet Junto Project 0140: Solo Swap

The Assignment: Take a recent track of your own and "cover" it with different equipment.

20140904-soloswap Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.com, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate.

This assignment was made in the early evening, California time, on Thursday, September 4, with 11:59pm on the following Monday, September 8, 2014, as the deadline.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0140: Solo Swap
The Assignment: Take a recent track of your own and “cover” it with different equipment.

Last week’s project was about sharing a technique you have developed. This week’s is about looking at one’s work from the outside.

Step 1: Choose a recent piece of music that you both composed and performed.

Step 2: Perform a “cover” of the piece of music from Step 1, but use none of the same equipment that was used to create the original. (Yes, “none” and “equipment” are broad terms. Clearly you needn’t purchase a new laptop. Just, if you used Ableton on it, use another piece of software. You can use the same amplifier; just replace that guitar with … well, something else, and preferably not just another guitar.)

Step 3: Upload the track to the Disquiet Junto group on SoundCloud. If possible, include a link to the original piece of music on which it is based.

Step 4: Listen to and comment on tracks uploaded by your fellow participants.

Deadline: Monday, September 8, 2014, at 11:59pm wherever you are.

Length: Your finished work should be roughly the length of the original piece of music on which it is based.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0140-soloswap″ in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 140th Disquiet Junto project — “Take a recent track of your own and ‘cover’ it with different equipment″ — at:

http://disquiet.com/2014/09/04/disquiet0140-soloswap/

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/

The image associated with this track is by Antinephalist and was used thanks to a Creative Commons license. Originally posted here:

https://flic.kr/p/bNpTrT

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Sensing Lisbon

A responsive sonic environment by Abinadi Meza

20140901-r55

The audio is a race of everyday noise at what feels like hyperspeed. There are warbling sirens and clipped voices of public address systems or low-resolution audio surveillance, not to mention foremost this underlying bass drone. Played on a laptop’s speakers at mid- to high level of volume, it will vibrate your desk until your pens and spare change join in the quotidian cacophony. It all has this sense of speed because of the high pitch and the constant pervasive environmental presence.

As it turns out, that sense of presence is rooted in the source audio. The track, “Mere Pis: Lisbon” by Abinadi Meza, is a digital reflection of constant triggers from everyday life. As the brief project description explains:

“Mere Pis: Lisbon is an exploratory atmospherics project that was made in Lisbon, Portugal using custom-built sensors and software. The sensors recorded micro-local environmental elements such as ambient light, humidity, light frequencies, and temperature. Meza treated these sounds as residues, glitches, and afterimages – fragments of a city beyond the city. The project was presented as a live performance at the Sinel de Cordes Palace in Lisbon on September 19 and 21, 2013.”

The above image shows the sensors in question. More on the project at abinadimeza.blogspot.com. This recording was episode 55 of the excellent Radius podcast.

Track originally posted for free download at soundcloud.com/theradius. More details at theradius.us. Abinadi Meza is an American living in Rome, Italy. More from him at abinadimeza.blogspot.com and twitter.com/abinadi.

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Dawn-Break Ambient

Gorgeous, gaseous piece by Leonardo Rosado, out of Gothenburg, Sweden

As the track title suggests, “I Have Been Waiting For You, Quiet Morning” posits itself as dawn-break ambient. The drone comes in slow and stays slow, with an extended break between each soft-metal ping and each phase of wind-in-pipe shuddering. It’s a gorgeous, gaseous piece that hovers in the middle distance, full of promise.

Track originally posted at soundcloud.com/leonrosado. More from Leonardo Rosado, who’s based in Gothenburg, Sweden, at works-by-lr.tumblr.com and subterminal.tumblr.com.

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Disquiet Junto Project 0139: Tech Technique

The Assignment: Create and upload a track that exemplifies one key creative process you've developed.

20140828-techtechnique

Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.com, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate.

Tracks are added to this playlist as they appear in the SoundCloud group:

This assignment was made in the early evening, California time, on Thursday, August 28, with 11:59pm on the following Monday, September 1, 2014, as the deadline.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0139: Tech Technique
The Assignment: Create and upload a track that exemplifies explain one key process you’ve developed.

Thanks to Karl Fousek, aka analogue01, of Montréal, Canada, for indirectly inspiring this project.

The Junto is as much about musicians listening to and communicating with each other as it is about making their own music. This week’s project aims to combine those two goals. The instructions are simple:

Step 1: Think of a specific technique that you are proud of having developed, perfected, or in some way folded into your work.

Step 2: Produce a short track that includes that technique.

Step 3: Upload the track to the Disquiet Junto group on SoundCloud, and in the notes field associated with the track describe the technique.

Deadline: Monday, September 1, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 1 and 4 minutes.

Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0139-techtechnique″ in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 139th Disquiet Junto project — “Create and upload a track that exemplifies one key creative process you’ve developed″ — at:

http://disquiet.com/2014/08/28/disquiet0139-techtechnique/

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/

The image associated with this track is by Wesley Fryer and was used thanks to a Creative Commons license. Originally posted here:

https://flic.kr/p/2xz92x

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Corruption in Full

Emanations from Funabashi, Japan

More from Corruption, whose presence in music is of the sort that may best suit SoundCloud’s existence — that may be of the sort that is the result of SoundCloud’s existence. It isn’t about albums, or singles, or videos, or remixes, so much as it’s about the steady, frequent, largely unmediated appearance of unexplained, alternately quotidian, melodic, and noisy sonic fragments — snatches of odd everyday sound, subsets of songs, and crunchy extroversion. Perhaps collectively they form some meta-canvas. “Norma,” the latest of Corruption’s output, is echoed burbles of throaty synth. As an assessment of range, “Tirth” is slomo solo piano, like a broken android Nils Frahm Pinocchio straining for sentience. And “Soak” is weirdly warbly, like a future kalimba designed by Laurie Anderson:

Tracks originally posted by Corruption at soundcloud.com/corrption. The account lacks the “u” but the tracks are signed Corruption in full.

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