Disquiet Junto Project 0222: Bounded Foundation

The Assignment: Compose a piece for contemporary dance – with a "soft top" and a "shifting bottom."


Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/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. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted in the morning, California time, on Thursday, March 31, 2016, with a deadline of 11:59pm wherever you are on Monday, April 4, 2016.

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

Disquiet Junto Project 0222: Bounded Foundation
The Assignment: Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom.”

This is the second project we’re doing with artist and engineer Paolo Salvagione for an extended piece of choreography he’s working on. The result of the project is intended for potential use as a sonic backdrop for the dance performance, and also as a form of research into the materials and ideas being explored by Salvagione and the dancers. (Audio produced for this Junto project will not be used by Salvagione without its composer’s permission.)

Step 1: You will be creating a short, roughly four-minute piece of music. First, take into consideration the setting. Visualize that the piece would be performed by a young solo female dancer. She is dancing in a large space. The sounds of this Junto are the only sounds accompanying her movement.

Step 2: Your piece should have two perceived “levels.” The “top” level should be soft and cloud-like. The “bottom” level should be firm but ever-shifting.

Step 3: Make a piece of sound/music roughly four minutes long that meets the criteria of Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the morning, California time, on Thursday, March 31, 2016, with a deadline of 11:59pm wherever you are on Monday, April 4, 2016.

Length: The length is up to you, though between two and five minutes seems about right.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to 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 in the title to your track include the term “disquiet0222-boundedfoundation.”Also use “disquiet0222-boundedfoundation”as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows 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 222nd weekly Disquiet Junto project (Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom”) at:


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The image associated with this project is by Tom Gill and is used thanks to a Creative Commons license:

Sheets of Ice

Looped and Delayed Viola

From Brooklyn-based Jeanann Dara


Jeanann Dara plays viola and she works in electronic music, two directions that often combine toward appealingly unfamiliar ends. “RSVN” is a live performance for looped and delayed samples of her viola. It isn’t just the strings, bowed slowly or plucked concertedly for maximum tension, that make their way through her battery of technology — though squiggles and flurries and truncated snippets are the core of the piece. So, too, are the slaps against the wood, and tiny little fractures of happenstance sound.

The result is a rhythmic meditation on the tonality inherent in her instrument. To hear bits of the viola on repeat is to hear the organic turned into a machine, as nuances are frozen into employment as compositional elements.

Track originally posted at soundcloud.com/jeananndara. More from Jeanann Dara, who’s based in Brooklyn, New York, at jeananndara.com and at twitter.com.

All the More Beautiful for That Absence

Ambient chamber music from Martin Colborn

Barely two minutes long, this little sliver of chamber ambient music by Martin Colborn, “New Seven,” threads a few handfuls of notes on a piano amid a lingering mass of soft strings. The sustain on the strings comes thanks to the ebow, which allows for a kind of infinite vibration. The result brings to mind the song-less rural music of Boxhead Ensemble, as phrase after phrase slowly emerges, each with a hint of resolution, and each then dissolving into the ambience. There is no melody, just traces of what might have been, and it’s all the more beautiful for that absence. As of this writing Colborn only has about 10 followers on SoundCloud. He should have many more.

Track originally posted at soundcloud.com/martin-colborn.

DJ Krush at Dawn

A live performance at the Zōjō-ji​ Temple in his native Tokyo, Japan

This short performance video captures DJ Krush doing a solo turntable-and-laptop set at the site of the Zōjō-ji”‹ Temple in his native Tokyo, Japan. The footage captures not just the turntablism itself, but Krush walking to the temple and setting up his equipment. As the sun slowly rises, the seeming black and white of the setting lets in hints of blue and Krush’s music gains depth and complexity. Fittingly his raw audio includes wooden flutes, finding a commonality with the ancient traditions of the venue. Simple beats are layered amid echoing effects. As a sonic artifact, the video documents not just the sound of his performance but the sound of his preparation: cables being snapped into place, equipment being arranged. The multi-camera shoot moves easily back and forth between framing Krush’s stage setup and providing extended glimpses of his fingers in action. Later, in the open-air setting, bird calls provide an uncanny parallel to Krush’s own vinyl manipulation.

Video originally posted at youtube.com. More on the set at thump.vice.com. The video was directed by Toshihiko Morosawa. More from Krush at sus81.jp/djkrush.