New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

Liked the Movie, Loved the App: Inception

Have a piece up from this morning at taking a look at the brand new iOS app for the film Inception. The app is no mere highly branded phone fodder (you know, the ones packed with framed still images, weak interactive mini-games, and links to trailers for unrelated movies). It’s a lovingly realized rendition of the RjDj app, done in collaboration with the folks behind the film, including director Christopher Nolan and the film’s composer, Hans Zimmer, overseen by Michael Breidenbrüker of RjDj parent company Reality Jockey. Full piece: “Music Apps Killed the MP3 Star.”

Dream Machine: Four screen shots from the iOS app for the film Inception

A cursory search of this site finds almost two dozen mentions of RjDj since September 2009, most of them Twitter observations typed somewhere out in the world, where the software has taken a busker’s trumpet and turned it into a cellophane ribbon of ambient sound, or has echoed a pneumatic drill until it’s a dank minimal-techno beat. Often as not, these moments have felt filmic, bringing to mind sequences in Michael Winterbottom’s Code 46, when the light technological mediation of experience was enough to make one feel just ever so slightly in the future.

The adoption of RjDj as a part of the massively popular Inception franchise is a great opportunity for reactive sound to reach a broader audience.

It’s also a useful reminder of how context is essential in adapting to new ways of thinking about, and participating in, sound (and, yes, a marketing budget and Leonardo DiCaprio‘s blue eyes do help). As of this writing, the Inception app has a four-star average rating: 36 five-star, 11 one-star, 12 in between — and at least two of those negative reviews are purely technical (Bluetooth and iPhone functionality issues). The latest version of RjDj has, by coincidence, exactly the same number of five- and one-star reviews, but far more (38) in between — and out of the 8,631 reviews that RjDj has received thus far (Apple lets you see the ratings for the latest version of an app, and for the app over the history of its iterative upgrades), it has a three-star average rating, but there are more one-star reviews (2,187) than there are any of the other stars (five-star comes in a close second, at 2,160).

Sound, it’s worth noting, was an essential part of the structure of Inception. The film signaled a shift between dream levels by using an orchestration of a maudlin Édith Piaf pop song heard elsewhere in the film, slowed down almost beyond recognition (see: “On the Sudden Popularity of Glacial Sound”).

Anyhow, the full piece: “Music Apps Killed the MP3 Star.”

PS: I also realize that somehow I’ve managed to write two times in as many days about things that resolve back to the prog rock band Yes. In the Boing Boing piece on Inception, I reference Zimmer’s association with the band the Buggles, which was founded by two people who worked with Yes (Trevor Horn and Geoff Downes), and the day prior I interviewed the Bad Plus, who covered Yes’ “Long Distance Runaround” on its 2008 album, For All I Care.

By Marc Weidenbaum

Tags: , , , , , , , , , , / Comment: 1 ]

One Trackback

  • By Reworking Britten Reworking Purcell on September 6, 2013 at 9:09 pm

    […] music out there, key works in the public ear being Justin Bieber exposed as a slomo angel and the Inception theme making a nod to an actress’ prior role, but some stretching takes more effort than simply reducing a pace and, perhaps, maintaining a key. […]

Post a Comment

Your email is never published nor shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


Subscribe without commenting

  • about

  • Marc Weidenbaum founded the website in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

  • Field Notes

    News, essays, surveillance

  • Interviews

    Conversations with musicians/artists/coders

  • Studio Journal

    Video, audio, patch notes

  • Projects

    Select collaborations and commissions

  • Subscribe

  • Current Activities

  • Upcoming
    December 13, 2021: This day marks the 25th anniversary of the founding of
    December 28, 2021: This day marks the 10th anniversary of the Instagr/am/bient compilation.
    January 6, 2021: This day marks the 10th anniversary of the start of the Disquiet Junto music community.

  • Recent
    July 28, 2021: This day marked the 500th consecutive weekly project in the Disquiet Junto music community.
    There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at

  • Ongoing
    The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm:

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0511 / Freeze Tag / The Assignment: Consider freezing (and thawing) as a metaphor for music production.
    0510 / Cold Turkey / The Assignment: Record one last track with a piece of music equipment before passing it on.
    0509 / The Long Detail / The Assignment: Create a piece of music with moments from a preexisting track.
    0508 / Germane Shepard / The Assignment: Use the Shepard tone to create a piece of music.
    0507 / In DD's Key of C / The Assignment: Make music with 10 acoustic instrument samples all in a shared key.

    Full Index
    And there is a complete list of past projects, 511 consecutive weeks to date.

  • Archives

    By month and by topic

  • [email protected]

    [email protected]

  • Downstream

    Recommended listening each weekday

  • Recent Posts