Holiday Drones (MP3)

That is, of the sonic variety

The manner in which sonic shimmer can serve as end-of-year holiday music is summed up each such season by “Unsilent Night,” the communal boombox project by composer Phil Kline. The musician who goes by **Le Berger**, aka **Samuel Landry**, has himself embraced this aesthetic approach each of the past few years with what appears to be an ongoing accumulation of seasonal drones. The latest is “War Encore,” available for free download. Forgive these ears for thinking the pulsing arpegions that appear toward the end, emerging from the thick fog of tone, could be mistaken for a curt loop of “Carol of the Bells”:

Track originally posted for free download at [soundcloud.com/leberger](https://soundcloud.com/leberger/war-encore). The compilation of previous tracks in the series is at [leberger.bandcamp.com](http://leberger.bandcamp.com/album/the-holiday-drones). More from Le Berger, who’s based in Montréal, Canada, [leberger.org](http://www.leberger.org/).

Discussing Change at and on SoundCloud

The new interface and content providers' discontents

An icon has been making itself seen around SoundCloud.com, as various users have replaced their individual account icons with a collective one: a white-on-black appropriation of the SoundCloud logo that has been altered to look a little weathered; it reads “Save SoundCloud Classic.”

That particular term, “classic,” refers to the version of SoundCloud that existed prior to this past week’s interface overhaul. As a protest to the recent changes, many of these accounts have now posted individual recordings of people bemoaning the new SoundCloud interface, while others have reproduced a single track, titled “Revolution Will Be Audiovised.” As of this writing, at least [101 people have](http://soundcloud.com/tracks/search?q=Revolution%20Will%20Be%20Audiovised). (Update 2012.12.10: I’d initially written that this “Audiovised” track originated at the account [soundcloud.com/shores-1](https://soundcloud.com/shores-1/revolution-will-be-audiovised), but that appears not to have been the case.) While many of the protest recordings are fairly general in their complaints, the “Audiovised” one provides a line-item list of various concerns, and the author of the text lists them in the body of the track’s page so they can be read as well as heard.

Examples of these protests were made at such SoundCloud accounts as
[moody-alien](https://soundcloud.com/moody-alien/pete-owens-thoughts-on-new), [markjbennett](https://soundcloud.com/markjbennett/a-message-to-the-sc-developers), [stephenrandall-1](https://soundcloud.com/stephenrandall-1/soundcloud-a-solution-not-a), and [der-himmel-uber-lyon](https://soundcloud.com/der-himmel-uber-lyon/sc-bleeding). One user, Peter Koeller, posted a JPG of proposed revisions at his [peterkoeller.de](http://www.peterkoeller.de/extras/IdeasForNextSoundcloud.jpg) site.

One thing that’s interesting about the current SoundCloud protest situation is that the service, being in the content-infrastructure business, has literally provided the foundation of its own critique. That said, this isn’t an anti-SoundCloud movement, to the extent that it is a movement. It’s people who care about SoundCloud discussing what they wish the service would remain, and what they are concerned it may be leaving behind.

To be clear, I’m writing not because I have a certain sense of the situation, but because I don’t have a full grasp on it. Perhaps this is because, for all my use of SoundCloud, I do so as a highly active listener — a community organizer, as it were — not as a musician, certainly not in any conventional sense of the term “musician.” Perhaps it’s because I signed up for the preview version, so I saw the “next” SoundCloud as it was iterated, and didn’t find myself suddently faced with it, as many people were.

I don’t know. And that I don’t know is why I am asking. As a heavy user of SoundCloud, and because of the Disquiet Junto a heavy participant in SoundCloud, I’d be interested in learning more about people’s concerns about the shift — or, perhaps, just peoples thoughts about people’s concerns about the shift. The “discussion” tab on the Groups pages at SoundCloud is a bit difficult to navigate to right now, in the current state of the service, so if you want to, please consider weighing in in the comment space of this post, down below. (I’ve been thinking about adding a proper discussion section, a forum, to Disquiet.com, and situations like this one help convince me it’s a good idea.) I’m as interested in hearing from folks who are happy, or non-plussed, about the changes at SoundCloud as I am by folks who are not in any way pleased.

And lest it go without saying, discussion here is intended to be done with mutual respect for differences of opinion. Trolling, ad hominem attacks, and rudeness will get the attention they deserve, which is none.

Much appreciated.

Disquiet Noted in Guardian Podcast

Project mentioned briefly in overview of state of newly revamped SoundCloud

SoundCloud made its new version go live this past week, and it was an honor to have Disquiet projects like the Junto [included in the rollout](https://disquiet.com/2012/12/05/soundcloud-creators-disquiet/). This exposure spilled into unexpected coverage when my little spiel about SoundCloud was included in a segment by Aleks Krotoski for the excellent Tech Weekly Podcast from the British newspaper, [guardian.co.uk](http://www.guardian.co.uk/technology/audio/2012/dec/04/audio-tech-weekly-podcast-soundcloud).

[audio:http://download.guardian.co.uk/audio/kip/technology/series/techweekly/1354641463862/1692/gnl.tech.121204.jp.tech_weekly_ads.mp3|titles=””|artists=Guardian Tech Weekly Podcast]

If it were just the brief mention, I wouldn’t be posting this as a standalone entry, but the podcast ([MP3](http://download.guardian.co.uk/audio/kip/technology/series/techweekly/1354641463862/1692/gnl.tech.121204.jp.tech_weekly_ads.mp3))is worth a list for its interview with SoundCloud investor Fred Wilson, who singles out the tool’s broad definition of sound as a core part of its popularity. By last count, it had over 180 million user accounts. Wilson describes SoundCloud as “a service for all kinds of sounds — not just music, not just podcasts, not just remixes or not just sound effects, it’s everything. It’s a hodgepodge. It’s chaotic, it’s messy, it’s fun.”

Audio originally posted for free download at [guardian.co.uk](http://www.guardian.co.uk/technology/audio/2012/dec/04/audio-tech-weekly-podcast-soundcloud).

Pre-Junto Harmonic Study

An early version of a piece that subnaught performed at the San Francisco Disquiet Junto concert on December 6, 2012

There are various reasons that SoundCloud has worked well as a base of operations for the Disquiet Junto series of weekly communal music projects, projects that are designed as purposefully restrictive compositional prompts. Key among these reasons is the manner in which SoundCloud has presented itself not as an online version of a record store, like Bandcamp among other servies does, and more as a space where people can share looser, less finished work. As a result, not only can we as listeners follow musicians and listen to their work progress, we can also revisit early versions once time has passed.

Much of the work performed during the four Disquiet Junto concerts that occurred this year across the United States — Chicago in April, Denver in August, Manhattan in November, San Francisco this past week at the start of December — appeared first as posts on SoundCloud. This is certainly true of the assignments for each concert, the works the performers all did based on the same constraints (this past week, for example, in San Francisco that meant work based on samples of superstorm Sandy). But it’s also true of the additional pieces they performed. Take “Pitch Study” by Oakland, California’s **subnaught**, who played the second set this past Thursday at the Luggage Store Gallery on Market Street in San Francisco. (He followed Cullen Miller and preceded Jared Smith.) In the work, a set of contrasting pitches are allowed to proceed, so that their distinctions are brought into sonic view:

I hope to have audio from the San Francisco event posted soon, for comparison’s sake. Track originally posted for free download at [soundcloud.com/subnaught](https://soundcloud.com/subnaught/pitch-study). More from subnaught at [subnaught.org](http://subnaught.org).

Disquiet Junto Project 0049: Deck Duet

The Assignment: Make a track, 50% of which is the sound of a tape cassette deck in motion.

*Each Thursday at [the Disquiet Junto group on Soundcloud.com](https://soundcloud.com/groups/disquiet-junto) 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](https://soundcloud.com/groups/disquiet-junto).*

The assignment was made in the afternoon, California time, on Thursday, December 6, with 11:59pm on the following Monday, December 10, as the deadline. (There are no translations this week.)

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

>Disquiet Junto Project 0049: Deck Duet
>
>This week’s project explores the unique sonic attributes of what has come to be thought of as tape cassette culture. Specifically, we’ll be focusing on the sound of the tape cassette deck: the rhythm inherent in its motor, its gears, its rotation. This project will require access to a tape cassette deck — preferably, but not necessarily, one that records as well as plays.
>
>There are three steps to this project. The third step has two options.
>
>Step 1: Record the sound of your tape deck in play mode. Make note of the rhythm inherent in your tape deck: at what BPM does it progress?
>
>Step 2: Create a short new piece of music — simple, atmospheric, lightly rhythmic — that has the same BPM as the tape deck.
>
>Step 3: Make a recording that combines your new piece of music and the sound of the tape cassette deck at close to equal volume. Almost certainly, the rhythm of the deck and the rhythm of your composition won’t match up exactly. (You can accomplish this in one of two ways. You can simply combine the two recordings into one — or, more complexly, you can record your track to a cassette and play it back on your deck, in order to record the music and the deck simultaneously; adjusting the volume in this scenario will be complicated, but the rhythmic discrepancies might end up with more nuance.)
>
>Deadline: Monday, December 10, at 11:59pm wherever you are.
>
>Length: Your finished work should be between 1 and 4 minutes in length.
>
>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 “disquiet0049-deckduet”in the title of your track, and as a tag for your track.
>
>Download: For this project, your track should be set as downloadable, and allow for attributed remixing (i.e., a Creative Commons License permitting non-commercial sharing with attribution).
>
>Linking: When posting the track, be sure to include this information:
>
>More on this 49th Disquiet Junto project at:
>
>https://disquiet.com/2012/12/06/disquiet0049-deckduet/
>
>More details on the Disquiet Junto at:
>
>http://soundcloud.com/groups/disquiet-junto/info/

*Photo by Chris Dlugosz, via [flickr.com](http://www.flickr.com/photos/chrisdlugosz/3403746950/).*