Scratch Pad: Fog Horns, Ponzi Schemes

From the past week

At the end of each week, I usually collate a lightly edited collection of recent comments I’ve made on social media, which I think of as my public scratch pad. I find knowing I’ll revisit my posts to be a positive and mellowing influence on my social media activity. I mostly hang out on Mastodon (at post.lurk.org/@disquiet), and I’m also trying out a few others. And I generally take weekends off social media.

▰ It doesn’t seem that windy, but the Golden Gate Bridge is singing like nobody’s business

▰ Nothing like waking up to fog horns

▰ Books are a Ponzi scheme. Every time I finish reading one, I wanna read several more.

▰ One good thing about selling music gear is you don’t just get rid of the gear, you get rid of another box.  And if you carry the package by foot to the post office, you feel even lighter after mailing it.

▰ Been in three group book clubs and one two-person book club this year, and there’s nothing like reading a book with other people — more dutiful, perhaps, but so much more insight, and I pay a different sort of attention.

▰ This week in #dronescrolling: Dunno if I’ll do this regularly or not, but it occurs to me I might, as part of the social media summary (slash digital life self-assessment) that I compile at the end of each week, post some mentions of solid things other people posted. Here are a few: Jeremy Wentworth regularly uploads short clips of his VCV Rack (i.e., modular synthesizer in software form) patches on his Mastodon account. The musician Dave Seidel, aka mysterybear, posted a janky yet photogenic jury-rigged stereo-mono adapter on Threads. Femi Shonuga-Fleming (aka Sadnoise) posted, on Instagram, a massive steel horn art object he made with Enid Corcoran. And these next are actually from a little earlier in the month, but Jeremy Bushnell published on Bluesky a bunch of photos of musicians performing at the recent Cleveland Re:Sound event, including Keith Fullerton Whitman and Maria Chávez.

“without … desire of victory”

Junto ethos

I’ve given* dozens of talks, presentations, interviews, and lectures about the Disquiet Junto music community over the past 13 years, and Benjamin Franklin, who first coined the word “junto,” remains a deep well I keep going back to. I’ve shared this mention of Franklin’s original 1727 Junto (from his autobiography) many times, and each time I’ve always been sure to underline what’s seen here in purple.

And yet only now have I noticed the additional part, which I’ve underlined in red, about “without … desire of victory.” One thing I was certain about the Disquiet Junto from the start, back in January 2012, was that it wasn’t going to be a competition. And now I realize that was part of Franklin’s own plan from the start.

*most recently for Donnell Alexander and Lev Anderson’s West Coast Sojourn podcast and at the Lines meet-up at Mission Synths earlier this this month

Disquiet Junto Project 0700: View Frame

The Assignment: Share a peek out your window and some sounds inspired by the view.

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.

Tracks are added to the SoundCloud playlist for the duration of the project. Additional (non-SoundCloud) tracks also generally appear in the lllllll.co discussion thread.

Disquiet Junto Project 0700: View Frame
The Assignment: Share a peek out your window and some sounds inspired by the view.

Step 1: Take a photo out your window, with a little bit of the frame in view. Show people a glimpse of your world.

Step 2: Record a short, simple piece of music inspired (or otherwise informed) by what you see.

Tasks Upon Completion:

Label: Include “disquiet0700” (no spaces/quotes) in the name of your track.

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.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0700-view-frame/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you. Brief can be neighborly.

Deadline: Monday, June 2, 2025, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/

Newsletter: https://juntoletter.disquiet.com/

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 700th weekly Disquiet Junto project, View Frame — The Assignment: Share a peek out your window and some sounds inspired by the view — at https://disquiet.com/0700/

Pekler’s Background Music

Two tracks from an upcoming album

[bandcamp width=640 height=472 album=4082595241 size=large bgcol=ffffff linkcol=0687f5 artwork=small]

“Fabulation for K”, from a forthcoming album, New Environments & Rhythm Studies, by Andrew Pekler, delays the delivery, to the point where the delay turns out to be the point. Almost a full two minutes of teasing chords and glitchy wisps (or wispy glitches) into “Fabulation,” after what on any other such track would have been the mere five to ten seconds prior to a steady beat kicking in, there’s a hint of a white noise pause — and then all over again it holds back, until quite suddenly it’s over. The track is a study in avoiding the obvious. “Cumbia Para Los Grillos,” the other currently available pre-release track, has a somewhat similar vibe, that of being stems of a whole other song, more parts than whole, and as a result more rewarding than what it might have become. “Cumbia” feels somewhat more fleshed-out than “Fabulation” is, mixing water-drop xylophones and moody organ-like haze, but it leaves plenty of room for the imagination. “Los Grillos” is Spanish for crickets, so perhaps the piece’s title is an acknowledgement of the backgroundedness of what Pekler is up to.

The album is due out June 27, 2025, on the label Faitiche, founded by Jan Jelinek. I saw the two of them play in San Francisco earlier this month.