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

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Top 10 Posts & Searches from June 2011

Of the top 10 most popular posts on this site last month, all but three were drawn from the Downstream department of free and legal recommended downloads. (1) The most popular of them appears to be so as much for the conversation that followed the track, as for the track itself, “In the Country of Her Eyes,” by Janes Scenic Drive, which led to 20-plus comments about what exactly is an “instrument.” Also among the most popular Downstream entries: (2) music for viola and oscillators by Catherine Lamb, (3) a deliriously sloggy beat by Japan-based Yoshiteru Himuro, (4) a minimalist piano marvel by Martin Lukanov and Mytrip of Bulgaria; (5) Taylor Deupree performing a mix of field recordings and synthesis live in Tokyo, (6) broken beats by the UK’s Dustmotes, and (7) a pulsing confection by Saito Koji.

Also popular this month: (8) the 15th and latest in the “Sketches of Sound” series, this time a Fourth of July”“themed piece by G.I. Joe illustrator (and son of famed drummer Larry Londin) S.L. Gallant, (9) one of the weekly automated “what I tweeted at” entries, and (10) the “Top 10 Posts & Searches from May 2011.”

Among the most popular search requests were: harold budd live, phoningitin, alan morse davies, autechre, holophrase, Mucicas, no sun in september, poetry, and seth horvitz.

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Recent Pieces: Genre Orthodoxy, Countrified DX-7, Comics, Podcast

I wrote three pieces that appear in the current issue of the magazine Sactown: two brief entries in its annual best-of-the-city coverage, as well as a lengthy interview with producer/musician Charlie Peacock. Peacock is best known as a figure from the Nashville-centric world of contemporary Christian music, but he got his start in Sacramento bands that channeled electric-era Miles Davis, and he’s brought musicians like John Zorn associates Joey Baron and Marc Ribot, as well as John and Alice Coltrane’s son, Ravi, aboard for his two most recent solo albums, Love Press Ex-Curio and Arc of the Circle. Peacock’s story is a fairly intense one, not that you’d know if from his amiable demeanor. By the time the 1980s got underway, he had overcome a severe addiction to drugs and alcohol, which went hand in hand with his religious conversion. That conversion delivered him a new audience, and in time that audience delivered him to Nashville. Eventually, he came to question the orthodoxy, religious and aesthetic, that ruled the scene he had entered, to the extent that he even wrote a book about its inherent contradictions.

Peacock is a great conversationalist, and the discussion he and I had — as well as the many emails we traded subsequent to our talk — made it clear the extent to which his critique of the self-containment, the self-ghetto-ization, of “contemporary Christian music” stems in large part from his admirable abhorrence of the whole concept of “genre.” In other words, issues with spiritual orthodoxy run side by side with issues of stylistic orthodoxy. It’s a heady parallel, to say the least. And the genre matter alone has applications far beyond country and pop music.

This tidbit didn’t make the final cut of the story: Peacock, whose most recent hit is the deeply sublimated folk-country of Civil Wars’ Barton Hollow, told me that the ambient bed of that album involved playing the Yamaha DX-7, Brian Eno’s favorite synthesizer, through an Echoplex tape delay. (Researching stories such as this can take you down unexpected paths — should take you down unexpected paths — and I ended up writing a separate, brief piece about the Denver-based rock band the Fray for its local alternative weekly,, after Peacock introduced me to Fray singer Isaac Slade. Aside from touching on the orthodoxy matters, the Fray piece is pretty far afield from standard coverage, but I include mention of it here out of thoroughness. The Sactown article is not online, but the Colorado Springs Independent one is.)

Also in the Sactown issue: I had the opportunity to praise the long-running Sacramento comics store World’s Best Comics, founded and run by Dave Downey (no relation to Iron Man Robert Downey, Jr., but long ago a member of the band Pounded Clown), which was the first store to ever sell mini-comics by Adrian Tomine (whose work I edited in the music magazine Pulse!, beginning when he was in high school, and who graciously provided a quote about Downey for the article).

And I wrote up the excellent podcast Phoning It In (based at, which features live performances by musical acts who (you guessed it) play via a phone line. Host Elisa Hough (who runs the show from KDVS 90.3 FM, Davis, California, where I was a DJ many years back) answered some questions for the piece, and shared the following technical advice: “I try to tell artists it definitely has to be a landline with a cord. Cordless phones pick up interference. I’ve never even experimented with cellphones. That’s a no-no.”Phoning It In episodes have been occasional subjects of this site’s Downstream department.

More on Sactown at

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Truman Peyote’s Blissful Pop Noise (MP3)

If Super Mario Bros. were to turn on, tune in, and drop out, they might just sound like Truman Peyote. As heard in a recent podcast from the great Phoning It In series (MP3), the group plays psychedelic pop noise, a mix of overclocked keyboards and numerous unidentifiable sound sources whose muddy, blissfully ritualized affect is all the more lo-fi, humble, and evocative thanks to this particular mode of distribution. See, the modus operandi at Phoning It In is to have acts play their sets, literally, over the phone line to KDVS radio in Davis, California (where I had a radio show many years ago myself). What vocals there are are filtered through enough equipment to make Tom Waits’ megaphone seem like a crystalline representation.

[audio:|titles=”Live on Phoning It In (June 2010)”|artists=Truman Peyote]

The Boston-based (and, according to this recording, Los Angeles”“bound) group’s MySpace page lists it as consisting of Eric Farber and Caleb Johannes and a handful of occasional supporting musicians, and this particular performance features Johannes, Miles Coe, and Sydney Howard.

More on the group’s performance at More on Truman Peyote at and

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Boneless in Las Vegas (MP3)

Isaac Knight lives in Las Vegas, Nevada, and makes eerily still music that sounds like the locked groove of a record played through an antique dub system. Under the name Boneless, he mixes deeply resonant effects and tightly looping audio for a uniquely minimalist approach. Earlier this year he played a show on KDVS’s invaluable radio show, Phoning It In, in which musicians literally play their music live on the air over the phone.

The result tamps down on Knight’s music, as if such a thing were imaginable. A taut “Little Drummer Boy” riff gets squashed into a pin-prick beat, and one segment sounds like an appropriated pop radio tune being played through a foot of concrete (MP3). The songs, such as they are, bleed from one to the next, but are listed in this sequence: “My Life (So Far),” “Way,” “Better,” “Breathless,” “On Me,” and “Young Thug.” Most minimal techno sounds downright flamboyant by comparison. Knight deserves praise for his restraint.

[audio:|titles=”Live on Phoning It In (February 2010)”|artists=Boneless (Isaac Knight)]

More on the recording at More on Knight/Boneless at

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Best of 2009: 10 Free “Netreleases”

Part 2/3: These are, to my ears, the 10 best music releases of 2009 posted to the Internet by musicians with the full expectation that listeners would download them for free:

As I’ve done for the past few years, I am singling out 10 free, legal downloads as my favorites. These are all selected from the 245 entries posted on in its Downstream department during 2009 (up from around 220 in 2008, and out of a total of about 470-plus posts for the year).

To constrain the field, to make it knowable, this list is limited to recordings that are “of the web.”The following were not considered for inclusion: individual promotional tracks (and excerpts) posted from existing or forthcoming commercial albums (special “mixes”were considered for inclusion, as were situations in which entire commercial albums were made available for free download, as in “choose your price” scenarios in which zero is an accepted amount), downloads that were placed online for a stated limited period of time (like Monolake’s generous “download of the month”series at, audio that is streaming-only (such as the ever-growing Other Minds catalog at, and dated archival material (work that would be considered a “reissue” in the commercial world, such as the majority of what is housed at Also not considered for inclusion were tracks whose links have subsequently gone offline. (An intelligent case has been made that there is no such thing as “streaming” — that all audio is downloaded, in that it is at some point resident on your computer. However, for the purposes of this list, the focus is music that is fully intended to be downloaded.)

All of which is to say, everything on this list is of recent vintage and is available to download, for free, right now.

I may have to reconsider in years to come, but not excluded from consideration were podcasts of original recordings that were first heard on radio broadcast; between the Phoning It In ( series and the whole service, just to name two examples, there’s too much fascinating music out there originating on the supposedly dying medium of radio — something special is happening at the overlap of FM and Internet.

Click through to each original Downstream entry for more information, and to the release’s source to get the tracks. These 10 are listed here in the chronological order in which they appeared on Given the fluid nature of publication, attribution, and collation on the Internet, I cannot be certain that these audio files first appeared online in 2009, but many if not all of them did. And if some of them are older than that, at least this mention might gain them a new audience.

1. New Old School Hip-Hop: Nineteen tasty tracks built from snatches of melodrama and semi-forgotten pop make up For Corners, from San Antonio, Texas-based Diego Bernal ( This is truly old-school hip-hop, with loops shorter than a goldfish’s memory, and beats as taut as a piano wire. Much of it is crowd-pleasing party music, like the reconstituted disco of “Velcro Flow”and the cop-show braggadocio of “Bring It On Home.” But there’s plenty of subtlety here, like the swelling soul of “Fat Sal,”which brings to mind Luke Vibert’s Throbbing Pouch (recorded as Wagon Christ), and the ’80s b-boy celebration that is “MC Rakim Cool Kane and the DJ Furious Boyz Crew,”the title for which suggests much of the source material.

[audio:|titles=”Velcro Flow”|artists=Diego Bernal] [audio:|titles=”Bring It On Home”|artists=Diego Bernal] [audio:|titles=”Fat Sal”|artists=Diego Bernal] [audio:|titles=“MC Rakim Cool Kane and the DJ Furious Boyz Crew”|artists=Diego Bernal]
Downstream: February 16, 2009 Full release:

2. Bell, Bowl, and Mixer: The Touch Radio podcast took a break from its pure field-recording mode for a proper live performance, and what a performance it is. Recorded last December at the National Pantheon in Lisbon, Portugal, “Book of Hours”captures the intensely dense waves of sound resulting from a combination of bells, bowls, and glasses rung and struck, echoing in the depths of the Pantheon’s massive dome, and further expanded courtesy of what Touch describes as “space multi-channel diffusion and real-time processing.”The performers are Paulo Raposo on said processing, Carlos Santos on “glass and bell,”and João Silva on “crystal bowl.”

[audio:|titles=”Book of Hours”|artists=Paulo Raposo & Carlos Santos & João Silva]
Downstream: February 24, 2009 Full release:

3. Serial Music — Serial as in Collaboration: The sound project Relay is neither a game of telephone nor a round of Exquisite Corpse, but it shares with both those formats a mode that emphasizes sequential sharing between individuals that leads to a kind of serial collaboration. Relay begins with an MP3 file, five and a half minutes in length, created by the act Chequerboard. Chequerboard, aka the Irish musician John Lambert (, then passed the file to a subsequent musician, who in theory and practice took ideas and sounds from the previous work and made a new work out of them. That subsequent piece is then sent on to yet another musician, and so on. All the entries in Relay benefit from detailed explanatory notes written by the individual who created the music. Lambert’s gambit, his piece that got the process rolling, is an imagined tour of a gallery space. His footsteps mark the path, while individual sounds — sampled separately from around the gallery — are dropped in, and slowly a musical passage enters, making the work less of a documentary, and more of a melodic musique-concrete. Subsequent participants include Jimmy Behan, Locsil, Hulk, Polly Fibre, Pierre Bastien, Bibio, and Sunken Foal.

[audio:,,,,,|titles=”A Year in Sligo”,untitled,”The Sleep Machine”,”Nightly Sweety”,”Reconstructing the Incredible”,”Play Scissors Play”|artists=Chequerboard (John Lambert),Jimmy Behan,Loscil (Scott Morgan),Hulk (Thomas Haugh),Polly Fibre (Christine Ellison),Pierre Bastien]
Downstream: March 30, 2009 Full release:

4. String Quartet for Four Turntables: Raz Mesinai’s technologically mediated chamber music work “String Quartet for Four Turntables”is a shifting, elegiac piece that plays with the textures and tenets of classical music. The instrumentation is the standard: two violins, one viola, one cello. But if the individual parts appear to have a subtle yet clearly discernible give, that’s because the performers are not playing in tandem, at least not literally. Mesinai composed the quartet and recorded it, but he produced a separate 12” LP for each of the four parts, and then manipulated them as a group on a set of turntables.

[audio:|titles=”String Quartet for Four Turntables”|artists=Raz Mesinai]
Downstream: June 30, 2009 Full release:

5. Truly Gloomy Sunday: When Alan Morse Davies slows down pre-existing music, he finds entirely new music buried in the original. His version of the standard “Gloomy Sunday”takes an already downbeat affair, and then turns it into something worthy of a silent movie’s score — the very intersection of melodrama and expressionism. Most of the elements here are recognizable yet transformed, the strings a miasma of dread, the backing vocals a suffocating threat, the lead vocal something Gothic and right out of Bauhaus. The original was reportedly the version by Paul Whiteman with Johnny Hauser, from 1936.

[audio:|titles=”Really Gloomy Sunday”|artists=Alan Morse Davies]
Downstream: July 10, 2009 Full release:

6. Percussive Drones: Six drones comprise Glenn Ryszko‘s album Machine (on the Resting Bell netlabel), but they’re only drones in a very general sense. There is texture, percussion, and even form — yes, form, the seeming antithesis of drone-craft — inherent in these works. Take the fourth track (“Machine 004” — that’s how they’re all titled, just the number changing, like pieces moving off an assembly line), for example: There’s a lazy sway to its thick warble; it moves like a sine wave doubling as a kid’s swing set on a hot summer day. But this drone, even at just under three minutes, doesn’t merely stick to that. In time, a higher-pitched tone enters, like a distant prayer bell — and the piece’s fadeout is so slow, that it’s not merely a matter of closure; it’s akin to narrative, as each constituent sound slowly disappears.

[audio:|titles=”Machine 004″|artists=Glenn Ryszko]
Downstream: July 13, 2009 Full release:

7. Beats at the Exhibition: Long-running favorite WHY?Arcka (aka Philadelphia-based Shawn Kelly) has been uploading a beat a week over at his base of operations. It’s all part of his Exhibits A ”“ Z project, which as of this writing has hit R. His foundation is hip-hop, but there’s an emphasis on atmosphere on some of the tracks suggests an abstract take on contemporary r&b. Listening to a great WHY?Arcka beat is like watching an expert dealer move cards around a table — he plays your senses against your expectations, with a seeming effortlessness that never fails to yield surprise.

[audio:|titles=”Exhibit A: Jungle Jammin’ (Hugh & Stevie)”|artists=WHY?Arcka] [audio:|titles=”Exhibit C: StoneWild(Rock)”|artists=WHY?Arcka] [audio:|titles=”Exhibit G: Street Walkin’ (Gone)”|artists=WHY?Arcka] [audio:|titles=”Exhibit K: Kalimba Medley? (Sly)”|artists=WHY?Arcka]
Downstream: July 24, 2009 Downstream: September 1, 2009 Downstream: September 29, 2009 Downstream: November 10, 2009 Full release:

8. Down Under the Tube Station After Midnight: How many field-recording enthusiasts does it take to get a cello through a London manhole? Who cares? What’s important is that they succeeded. The “they”in question was shepherded by radio producer Bruno Rinvolucri, whose Tunnel Vision series from offered up an ongoing tour of London’s literal underworld this year. For the September 15 edition, he was joined by percussionist Gabriel Humberstone and cellist Ute Kanngiesser. For another, he traveled with guitarist Sammie Joplin. Each episode mixes conversation and documentary recording to evocative effect.

[audio:|titles=”Tunnel Vision (Episode 5)”|artists=Bruno Rinvolucri and Guests] [audio:|titles=”Tunnel Vision Part 1 of 10″|artists=Sammie Joplin]
Downstream: August 3, 2009 Downstream: September 21, 2009 Full releases:

9. Haunting Liz Harris (Grouper) Live: The Phoning It In podcast show, based at KDVS FM in Davis, California (where I had a radio show many years ago), takes a live performance and flows it through one of the great lofi filters of our time: an ordinary phone line. An August set by Liz Harris (aka Grouper) moves steadily from feedback-laden irritants through soft elementary minimalism to its true sweet spot, a rough-hewn, moody shoegazer pop, thick with distorted chamber arrangements and haunting vocals

[audio:|titles=”Phoning It In”|artists=Grouper]
Downstream: August 25, 2009 Full release:

10. Cranking Up the Bone Machine: The sounds on D’incise’s Cendre et Poudre are as precise and brittle as his explanatory note is poetic and image-laden. The record sounds like a version of that hardscrabble aesthetic once described as “bone machine”music by Tom Waits. It’s all rusty metal and clanging springs and bouncing objects and other slowly shuffled ephemera, all fixed in a soundfield against a backdrop of noise, the noise of the lightly brushed surface of a microphone. Among the highlights is the opening track, “Achever la Page à Tourner”(roughly “Complete Page to Turn”). Throughout there is the sense of digital processing, but it is no more in the foreground than that surface noise; it’s merely the equivalent of a digital breeze rattling D’incise’s chimes.

[audio:|titles=”Achever la Page à Tourner”|artists=D’incise]
Downstream: December 23, 2009 Full release:


The “Best of 2009” was published as three separate lists. The other two parts are:

Part 1: Best of 2009: Commercial Ambient/Electronic Albums

Part 3: Best of 2009: iPhone/iPod Touch Music/Sound Apps

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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.

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    • 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 (
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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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