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So often minimal techno tracks quickly forgo the ear-catching intrigue of their opening moments, and then they simply give themselves over to the expected routine, as pleasurable as that routine may be. Not so the elliptically titled “…..” by Daiskue Tanabe. For “…..” doesn’t just end where it begins. It maintains that sensibility throughout, slightly off-kilter glitch of nanoscale gears that sound like they’re one dust-particle event away from pure chaos.
A set of atmospheres by the Ambienteer, aka John Fahy
/ By Marc Weidenbaum
This set of nine tracks by Ambienteer lays out slivers of atmospheric tonal gestures. At a low volume they are barely discernible, fully on purpose, from the low level electric hum of daily life. At mid-level they are more likely to suggest activity one or two rooms over. Some, like “Echoic” and “Darkening,” include gentle sonic baubles that engage in rhythmic play, but the majority, like the opening “Aethereal,” are intentional wisps. One anomaly is “Ariel,” which layers in the Sylvia Plath poem from which it takes its name, the voice roughly recorded, seemingly like it’s emerging from the depths of history. The poem’s opening line, “Stasis in darkness,” could stand for this entire album.
Do an "over" rather than a "cover" of a pre-existing track.
/ By Marc Weidenbaum
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 will be added to this set for the duration of the project:
This assignment was made in the late afternoon, California time, on Thursday, April 23, 2015, with a deadline of 11:59pm wherever you are on Monday, April 27, 2015.
Disquiet Junto Project 0173: Over Version
Do an “over” rather than a “cover” of a pre-existing track.
In other words, create a palimpsest of the source material. These are the steps for this project:
Step 1: Download the Hermético track “Daisy Daisy (A Blinding White Light Remix)” from the InoQuo netlabel at this URL:
You can read up on the release at this page:
http://www.inoquo.com/release.php?&id=68
Step 2: Listen to the track straight through.
Step 3: Record yourself playing on top of the original.
Step 4: Upload your track to the Disquiet Junto group on SoundCloud.
Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
Deadline: This assignment was made in the evening, California time, on Thursday, April 23, 2015, with a deadline of 11:59pm wherever you are on Monday, April 27, 2015.
Length: The length of your finished work should be the length of the original, 5:39, or slightly longer.
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. Photos, video, and lists of equipment are always appreciated.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0173-overversion”in the title of your track, and as a tag for your track.
Download: Set your track as downloadable, and allowing 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 173rd Disquiet Junto project — “Do an ‘over’ rather than a ‘cover’ of a pre-existing track.”— at:
Source audio is the Hermético track “Daisy Daisy (A Blinding White Light Remix)” from the InoQuo netlabel:
http://www.inoquo.com/release.php?&id=68
More on the Disquiet Junto at:
https://disquiet.com/junto/
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Disquiet Junto general discussion takes place at:
https://disquiet.com/forums/
Photo associated with this project by Gareth, used via Creative Commons license. In the Flickr entry, he wrote of the photo: “The past is breaking through. As cranes go up daily in Sheffield city centre, traces of the past are breaking through at ground level – ignoring the double yellow lines.”
To say that Lena Griffin plays the cello on “The Ghosts of Pretty Cello Girls” is to only tell half the track’s story. This is because half the track isn’t cello. Half of “The Ghosts of Pretty Cello Girls” is the heavy, reverberant, spacious echo through which the cello is treated. It’s a slow-moving, piece, and perhaps without the echo these spaces between the notes would be distracting, but instead the track takes on a feeling along the lines of a very simple John Fahey recording, the repetition an invitation to consider the slight variations in the phrasing.
