Arcka, the Philly-based rhythmsmith, continues his run of 52pickUpbeetz, a compilation-in-progress of homemade, sample-based percussive riffs, each tied to a different card pulled from a deck. The effort, which just expanded to include its ninth consecutive track, bears Arcka’s trademark use of lesser-known snippets of soul, hip-hop, and other favorites as the raw material from which he constructs his avant-hop experiments. This time around, he is heard using more vocal samples than listeners may be accustomed to. Recent highlights include the post-rock interplay of “ad: Mos’Flow 2”and the loungey exotica of “10s: We Dont Need”:
Dizzy Banjo, aka Robert Thomas, has made countless iOS devotees appreciate the musicality, the sonic essence, of everyday noises through apps like RJDJ, as well as prominent developments associated with the film Inception and the last of Christopher Nolan’s Batman movies. In those apps, quotidian noise gets transformed into rhythmic, tonal, often melodic explorations that highlight the musicality of the source material. And then, sometimes, Thomas simply posts unmediated raw recordings of everyday sound to his soundcloud.com/dizzybanjo account, such as the recent “Whining Train Carriage Chassis at Stratford Railway Station (SRA).”That could be the title to a lost Raymond Carver short story. And in a manner it is, in that by focusing on the electric whine of the transit system, Thomas emphasizes the droning anxiety of the commuter’s routine.
This is a shared-sample project. Create a single new piece of music by employing the selected material (see below) of each the following three tracks. All three were initially released on the new netlabel deriv.cc, and were posted to the Internet with a Creative Commons license encouraging derivative reworking. In fact, the impetus for the label, which was founded by C. Reider, was to draw attention to the intrinsic benefits of allowing for derivative works. Like deriv.cc, this project — one in an ongoing series of netlabel remixes undertaken by the Disquiet Junto — is intended to address the unfortunate popularity of “ND”(i.e., “no derivatives”) licenses among netlabels. Please only use the following material in your piece; you can transform in any way you choose, but do not introduce any new source material.
1: The final 20 seconds of “The Find Beauty, Even in the Mundane”:
2: The first 20 seconds of “Immaterial Girl”:
3: The portion of “Libertarian Entertainment Automaton”that runs from 1:10 to 1:30:
Deadline: Monday, April 22, 2013, at 11:59pm wherever you are.
Length: Your track should have a duration of between two minutes and five 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: Include the term “disquiet0068-deriv”in the title of your track, and as a tag for your track.
Download: Per the spirit of a Creative Commons license allowing derivative work, set your track in a manner that allows for attributed, commerce-free 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 68th Disquiet Junto project, the intent of which is to draw attention to the benefits of a Creative Commons license allowing for derivative works, at:
This track is composed from material extracted from three pre-existing tracks (“The Find Beauty, Even in the Mundane,”“Immaterial Girl,”“Libertarian Entertainment Automaton”) by C. Reider, all of which were released on the album The Conjuncts on the deriv.cc netlabel, and were themselves derived from the following: “Garden City”and “Ventilation”from Tulse Hill by Hannah Marshall; “LichenWall”from Gardening by Steve Moyes; “Eighteen Events”from Not One Nor by Daniel Barbiero; “Awkward Customer”from [m2012/30-09] by Restive; “cues two three”and “cue six”from Cue Sheet by Sighup; “Sending Dreams to She Downstream”from Pocket Suite by He Can Jog; “The Palsgraf Scale”from Weights and Measures by Gurdonark; “Bonus Track”from Pale by Leo Bettinelli and Pol Nieva; “Haunted Grace”from Haunted Grace on SoundCloud by Jess Lemont a.k.a. Be A Waterwolf; “Ochiita”from Gently Annoying by XesÃºs Valle; and “Once More With Intellect”from [m2012/30-09] by Restive.
The dense, wavering drone that Robert Curgenven committed to tape when performing live in Cornwall at the Exchange back in August 2011 has been made available for free download by the great touchradio.org.uk podcast series. The drone consumes the listening space, but it is not the entire space. There are fragile elements within it, the static of what could be a crackling fire, high notes like a soloist from a robot boy’s choir practicing circular breathing, clusters of organ chords. Those latter elements are the highlight. Curgenven describes the material as “Unprocessed recordings of a 16 foot pipe organ – built 1861, standing in a 13/14th Century rural church in West Penwith, Cornwall.” Among the additional elements are “guitar feedback, unprocessed field recordings, ventilator and microtonal dubplates & turntables.” And the overall density is owed to room tones from “contained and reverberant spaces in the cities of Berlin (2007), Tokyo (2006), Sydney (1999), Milan (2008), Hamburg (2009) and Osaka (2006).” The original performance was an eight-channel set-up at the Exchange, which is in Penzance, Cornwall, as part of an exhibit titled An Urban Silence, which was organized by Blair Todd. This recording (MP3) was made by Martin Clarke, and then mixed and mastered by Curgenven.
[audio:http://www.touchshop.org/touchradio/Radio93.mp3|titles=”Live at the Exchange (August 2011)”|artists=Robert Curgenven]
Marc Weidenbaum founded the website Disquiet.com 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
Upcoming • December 13, 2022: This day marks the 26th anniversary of the founding of Disquiet.com. • 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 (aaassembly.org) at Gray Area (grayarea.org). • 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. • December 13, 2021: This day marked the 25th (!) anniversary of the start of 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 oup.com.)
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.