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.

downstream

Daily recommended free MP3s + streams

Current Favorites: Büşra Kayıkçı, Vitiello x Quiet Club, Circuitghost

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. I hope to write more about some of these in the future, but didn’t want to delay sharing them.

▰ The Turkish musician Büşra Kayıkçı is the latest musician featured in the excellent Project XII series from Deutsche Grammophon. Her new single, “Bring the Light,” is a propulsive, athletic take on Philip Glass’ arpeggio-heavy minimalism. Listen for how she carves out space for individual notes amid the flurry. It’s tremendous.


▰ There’s not much in the way of liner notes for That Which Remains, a new EP by Circuitghost, but over on the llllllll.co message board, it’s explained to be remnants from a previous EP, All That We Lost. It’s a beautiful amalgam of small sounds in which textures are put to percolating, rhythmic use.


▰ This 2017 collaboration between the Quiet Club, an Irish collective, and Stephen Vitiello, the American sound artist, just popped up on Bandcamp. Titled Black Iris, it’s an ever-changing assortment of sound objects, from bells to scifi wiggles, borrowed audio narrative to dramatic creaking, footsteps to feedback, just to name a few, improvised live.

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Disquiet Junto Project 0489: The Prestige

The Assignment: Apply some magic to ABA form.

Each Thursday in the Disquiet Junto group, 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. (A SoundCloud account is helpful but not required.) 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.

Deadline: This project’s deadline is the end of the day Monday, May 17, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 13, 2021.

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

Disquiet Junto Project 0489: The Prestige
Assignment: Apply some magic to ABA form.

Thanks to Disquiet Junto member rbxbx for proposing this.

Step 1: There’s a now famous quote from the opening of the 2006 film The Prestige. It goes as follows. Give it a read:

“Every magic trick consists of three parts — or acts. The first part is called the Pledge. The magician shows you something ordinary: a deck of cards, a bird, or a man. He shows you this object. Perhaps he asks you to inspect it — to see if it is, indeed, real. You know: unaltered, normal. But of course … it probably isn’t. The second act is called the Turn. The magician takes the ordinary something and makes it do something extraordinary. Now, you’re looking for the secret, but you won’t find it, because of course you’re not really looking. You don’t really want to know. You want to be fooled. But you wouldn’t clap yet. Because making something disappear isn’t enough. You have to bring it back. That’s why every magic trick has a third act, the hardest part, the part we call the Prestige.”

Step 2: This arc, moving from Pledge to Turn to Prestige, can be read as a take on the classic ABA structure, in which a theme is introduced, then something else occurs, and then the piece returns to where it began.

Step 3: Compose and record a piece of music that takes the process described in The Prestige as its blueprint.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0489” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0489” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0489-the-prestige/

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

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, May 17, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 13, 2021.

Length: The length of your finished track is up to you. Listening can be deceiving.

Title/Tag: When posting your tracks, please include “disquiet0489” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 489th weekly Disquiet Junto project — The Prestige (Assignment: Apply some magic to ABA form) — at: https://disquiet.com/0488/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0489-the-prestige/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

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Lee Yi on Thesis Project

A new self-titled release


Lee Yi’s self-titled album is due out on the Thesis Project label at the very start of June. Three of its seven tracks are up as part of the preview. Hovering strings and granular, shifting atmospheres, along with muted horn, combine with more grounded piano to produce works that are both recognizable and challenging, the elements suggesting structures that never quite congeal, Yi leaving much of it to the listener’s imagination. This is the first Thesis release that will be a solo album. Previous records in the series, which is highly audio-visual, were all collaborations, by the likes of Julianna Barwick and Rafael Anton Irisarri, Dustin O’Halloran and Benoît Pioulard, and Takeshi Nishimoto and Roger Döring, just to list a few. It’s clear from listening to Lee Yi why it sits so well beside these other records, because its spaciousness, its breadth, feels like more than one intelligence is at the helm.

More on the Thesis Project at thesisproject.us. More from Lee Yi, who is based in Málaga, Spain, at leeyi.bandcamp.com and soundcloud.com/leeyiproject.

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The Hitman’s ASMR

Video game ambience and not


Hitman 3, the latest from the long-running video game series, counts Dartmoor in England among its numerous international locations. A gamer ASMR account on YouTube has set out to produce documents of each of the settings, this one moving from graveyard to abandoned conservatory of flowers to the interiors of a grand home. (There’s also another video up already for an Italian locale.) Notable in the game is that because of its remote places, in contrast with, say, largely urban fare like Grand Theft Auto and Cyberpunk 2077, when voices are overheard, as they are here, they don’t pass as background noise. They stand out like fluorescent paint might against a sodden British hillside.

Video originally posted to YouTube.

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From a Whisper to a Whisper

From Tatami-ya Music of Aukland, New Zealand


Much of the beauty of this “lofi ambient track” by Tatami-ya Music is what doesn’t happen. About 30 seconds in, after an opening sequence of tones as spacious and cloudy as the image superimposed in the video on the music equipment, a harder beat kicks in, only to be repeated at such a slow pace that each time it’s as if it might not even have returned.

In different hands, the song would have proceeded from whisper to, if not a scream, then a bludgeon, but the hard beat never does more than it does from the start. It doesn’t ramp up. It doesn’t accelerate. It doesn’t populate the track more than it does initially. The restraint leaves room for not only the sparsely accumulated sounds to be heard, but for the listener to experience a lingering sense that it might, in fact, yet go in a different direction.

Track originally posted at YouTube. Tatami-ya Music is Hidenari Nozaki, who is based in Aukland, New Zealand. More at instagram.com/ghiden and soundcloud.com/tatamiya-music.

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