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. • Disquiet.com 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.

twitter.com/disquiet: Bookends, Shadow of the Colossus

From the past week

I do this manually each Saturday, collating recent tweets I made at twitter.com/disquiet, my public notebook. Some tweets pop up (in expanded form or otherwise) on Disquiet.com sooner. It’s personally informative to revisit the previous week of thinking out loud.

▰ Even as the world opens up, I suspect I’ll spend much of the end of 2021 in my living room:

John le Carré’s Silverview (Oct. 12, 2021)

Neal Stephenson’s Termination Shock (Nov. 16, 2021)

James S.A. Corey’s Leviathan Falls (Nov. 16, 2021)

Fonda Lee’s Jade Legacy (Nov. 30, 2021)

▰ I’d swear Dropbox search used to be useful.

▰ Yes, I’m enjoying Nick Suttner’s book on Shadow of the Colossus.

▰ 1. I love writing liner notes.

  1. I really love writing liner notes for music I love.

  2. I really truly love writing liner notes for music I’ve loved for a decade and that is now being reissued in a glorious format.

▰ This is the Disquiet Junto music community’s 492nd consecutive weekly project. We’re now 8 weeks from the 500th!

▰ There’s a Japanese ceramics tradition called kintsugi that involves mending broken pottery, and in the process embracing the fractures, using them as decoration. This week in the Disquiet Junto, musicians are exploring kintsugi as an inspiration to remixes/reworkings.

▰ Have a good weekend, folks. If you’ve got a favorite film score (Michael Clayton here), I recommend playing it on shuffle. Most scores have one major motif. Listening in a new order brings the music back to the foreground, refreshing how its melodies and tonalities develop.

By Marc Weidenbaum

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