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.

Stems: Autechre Crowd, Reich/Radiohead, Sonic UI/UX

Plus: hold music, country blues modernity, Eno tribute, more

¶ Exai Excel: Just beautiful, this shared Google doc in which the trainspotting crowd collectively identifies the tracks that appeared in Autechre’s two free live streaming events on earlier this weekend, via Autechre’s latest album, Exai, was released in digital form at the start of February and will appear in physical form this coming week. Here’s a detail of the tracklist document, which at this stage is unsurprisingly unwieldy to navigate, but still worth parsing for its line items and interesting segues, such as moving from the radio rock of Steve Miller Band to electronica of Seefeel:


¶ Reich Head: At, Max Richter, who expertly reworked Vivaldi’s “Four Seasons” this past year, interviews Steve Reich about reworking Radiohead. The audio is less than eight minutes long, and well worth a listen. They cover how Reich came to Radiohead’s music, what he did with/to it (“A lot of people will say, ‘Well, where’s Radiohead?'”), and the broader means by which other music has made its way into his work. It’s only the third time that Reich has consciously reworked another composer’s music, the two previous being Pérotin and Stephen Sondheim, though as Richter says, “A lot of music as well as what it purports to be about is also about other music.” One thing they do not touch on that would have been good to hear about is Reich’s take on remixes of his own work, of which there have been many. Reich’s re-use of Radiohead is titled “Radio Rewrite” and it will be premiered March 5 in London by the London Sinfonietta. The work was co-commissioned by the London Sinfonietta and Alarm Will Sound. The U.S. premiere will occur at Stanford on March 16.

¶ Fit to Hear: Just to follow up on the New Republic’s inclusion of an audio version of articles in its website redesign, there’s increasing evidence of having audio editions of its stories that originate as text pieces. The project has not taken root in the site’s formal navigation sidebar, which includes things like a single-page version, a print version, and so forth, but take a look at the page for a recent write-up Hugh Howey’s novel Wool and you’ll see a prominent SoundCloud embeddable player in which someone reads the article.

¶ In Brief: The announcement by Yahoo CEO Marissa Mayer that ended work-from-home has been getting a lot of attention, but I’m more interested in her criticism of Yahoo’s on-hold music, which she reportedly called “garbage”: ¶ More than slightly off topic, but I reviewed the new Wayne Hancock album, Ride (Bloodshot), for the Colorado Springs Independent: It’s easily his strongest record since his 1995 debut, Thunderstorms and Neon Signs. This isn’t as off topic as it may seem, because Hancock, a yodel-friendly country blues singer, is a prime example of how matters of genre and modernity get all mixed up, and how hard it is to innovate, or develop one’s own voice, in a form not just predicated on but posited in the past. As I say in the review, “Ride is so old-school it feels downright groundbreaking.” ¶ If you’re in New York and have the cash, the venerable institution the Kitchen is holding its spring gala in honor of Brian Eno. It takes place May 7: ¶ The 61st Disquiet Junto project ended last night at 11:59pm, and ended up with 45 contributors, for over an hour and a half of music. The theme was a riff on — a follow-up to — the Instagr/am/bient compilation of sonic postcards from late 2011. This time around, rather than using Instagram images as source material for ambient tracks, the participants used tweets from the great @textinstagram Twitter account, such as “branches against a colorful background,” “a rusty old door,” and “warped picture through a glass.”

By Marc Weidenbaum

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  • 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

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    • December 13, 2022: This day marks the 26th anniversary of the founding of
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

  • Recent
    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly ( at Gray Area (
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
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    • 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

  • 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).

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    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.

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    0542 / 2600 Club / The Assignment: Make some phreaking music.
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