A pretty straightforward project this week. Should be fun. There is one clarification I wanted to note first. The instruction template for the Junto projects has been slightly adjusted. The instructions on uploading tracks now reads:
Upload: A person participating in the Disquiet Junto should post only one track per weekly project (SoundCloud account preferred but not required). If on occasion you feel inspired to post more than one track (whether to a single account or across multiple accounts), you should clarify which is the “main” rendition for consideration by fellow members and (if on SoundCloud) for inclusion in the SoundCloud playlist.
Previously it read:
Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.
And that about covers it. I am, as has been far too often the case, behind on email. I am catching up.
The Assignment: That's your band's name; now record something.
/ By Marc Weidenbaum
Each Thursday in the Disquiet Junto music community, a new compositional challenge is set before the group’s members, who then have five days to record and upload a track in response to the project instructions.
Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. The Junto is weekly so that you know it’s there, every Thursday through Monday, when your time and interest align.
Disquiet Junto Project 0716: Dense Fog Advisory The Assignment: That’s your band’s name; now record something.
There is just one step this week. You’re now recording music under the name Dense Fog Advisory. Record a new track, appropriate to your name.
Tasks Upon Completion:
Label: Include “disquiet0716” (no spaces/quotes) in the name of your track.
Upload: A person participating in the Disquiet Junto should post only one track per weekly project (SoundCloud account preferred but not required). If on occasion you feel inspired to post more than one track (whether to a single account or across multiple accounts), you should clarify which is the “main” rendition for consideration by fellow members and (if on SoundCloud) for inclusion in the SoundCloud playlist.
License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license).
Please Include When Posting Your Track:
More on the 716th weekly Disquiet Junto project, Dense Fog Advisory — The Assignment: That’s your band’s name; now record something — at https://disquiet.com/0716/.
A fantastic, pop-minimalist use of a classic E-Mu synthesizer. The footage has received a treatment that might make you think it’s from the early days of synthesizers (the elbow patches don’t hurt — I imagine they’re also a “patch” joke, as in “synthesizer patches”), but this is a contemporary recording. That is Benge, aka Benjamin David Edwards, a specialist in vintage/retro synths, performing. He manages to summon up a lovely little melody that plays out in very simple tones, lovely little sounds that bring to mind some of Aphex Twin’s more subtle work. (I am likely mistaken, but I think that equipment is original, and not the mos-lab.com replica.)
Oceans Above And Skies Below, by the London-based musician who goes by the name still fades (lowercase), is well-titled. The tracks on the album are often oceanic in their scale and, when not, have a slowly billowing quality. And when oceanic, they emphasize the sublime: the surface below which much is happening. Heavy echoes here of Harold Budd’s music, in a good way. More from still fades at instagram.com/stillfades and youtube.com/@stillfades.
The musician also runs Sound Ghost, which makes synthesizer plug-ins, sound packs, virtual instruments, and other tools. Details at soundghost.net. I’m especially interested in musicians who make instruments and instrument makers who make music, because those parallel paths suggest a tight feedback loop in terms of utility, on that taps into the sense that anyone who makes things that helps musicians is a sort of meta-musician.
