Haunting Stuff

"Helena" from the artist Oberlin

/ By Marc Weidenbaum

“Helena” is the center-most track of the 11 that comprise *Übersee*, a new album by Oberlin, the name under which Alexander Holtz records. The full album is on [Bandcamp](https://oberlin.bandcamp.com/album/bersee). This piece was uploaded to SoundCloud as an example. Its six minutes are like a premonition transformed into sound. It’s haunting stuff, all tunnel wind and interference hum, beats no louder than a pin prick, and no less sharp.

Track originally posted at [soundcloud.com/moi-qui](https://soundcloud.com/moi-qui/helena-album-see-info).

Afrorack’s Crossed Rhythms

Recorded live

/ By Marc Weidenbaum

This is [another](https://disquiet.com/2020/08/02/current-listens-ugandan-synths-eno-anderson-chat/) great set from the Uganda-based synth musician Afrorack, aka Brian Bamanya. It has a more limited sonic palette and more intricately rhythmic intent that the live performance I mentioned [earlier this month](https://disquiet.com/2020/08/02/current-listens-ugandan-synths-eno-anderson-chat/), and those two aspects serve each other well. The frequently crossing patterns sound like steel percussion, and the slight tweaks of pitch bring to mind hand drums. Those subtle contrasts set the stage for how the individual pieces rotate through the set. Check out the 9:30 mark as an off beat is introduced and then slowly takes over. I listened to all 30 minutes of this several times in a row this afternoon.

Video originally posted at [youtube.com](https://www.youtube.com/watch?v=pCGZJK0OMDo). More from Afrorack/Bamanya at [bamanyabrian.com](https://bamanyabrian.com/).

Current Listens: Church Bells + Air Horns

Heavy rotation, lightly annotated

/ By Marc Weidenbaum

This is my 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. In the interest of conversation, let me know what you’re listening to in the comments below. Just please don’t promote your own work (or that of your label/client). This isn’t the right venue. (Just use email.)

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NEW: Recent(ish) arrivals and pre-releases

▰ Håkan Lidbo has ingeniously composed music intended to accompany long-standing public bells heard around Stockholm, Sweden, including two churches and a civic center.

▰ If you’re tired of me recommending Jon Hassell’s latest album, then please allow me to recommend a record by one of its featured contributing musicians, guitarist Eivind Aarset. [*Snow Catches on her Eyelashes*](https://eivindaarsetjanbang.bandcamp.com/album/snow-catches-on-her-eyelashes), released back in March on the Jazzland label, teams Aarset and Jan Bang on what could be the film score to a slow-burn science-fiction noir, all otherworldly tonalities transmuted through digital processing. Nils Petter Molvær (trumpet), through whose band I first experienced Aarset many years ago, is among the guests.

▰ As the album’s title suggests, [*Harbors*](https://room40.bandcamp.com/album/harbors) sounds like coastal atmosphere come to musical life. With roughly 50 strings between them, Theresa Wong (cello) and Ellen Fullman (Long String Instrument, accounting for the remaining lion’s share) make resonant music together. Released last week on the Room40 label.

▰ Maximalist ambient music — orchestral and soaring — created from, of all things, the sound of an air horn. Better yet, it’s [a multi-track video](https://www.youtube.com/watch?v=u7HkRNK3q-0) (using the SP-404, usually associated with beats). Recorded by the UK-based musician Morn Valley.

Forging Rhythmic Similarities

A collaboration between João Ricardo, Henrique Fernandes, and Jorge Quintela

/ By Marc Weidenbaum

*Sublumia: Liquid Aesthesia* is the trio of João Ricardo, Henrique Fernandes, and Jorge Quintela working in collaboration. They combine myriad tiny sounds, from closely experienced field recordings to minuscule devices to composed tones making subtle variations, all in the service of forming a detailed sound world that derives the exotic from the familiar. Such things, apparently, as field recordings of insect noise, the burble of boiling water, and the mechanistic click of unidentified gadgetry gather to a forge singular listening undertaking, one in which the similarities between the source materials, notably in rhythmic terms, provide a conceptual through line. Liner notes explain that the recordings originated as the sound of a combination performance and sound installation: “The objects that integrate it use the sound capture and projection of light from and on water and several electromechanical elements, such as air pumps, dc motors and sound induction devices, without resorting to manipulation or any type of artificialization of the sound sources or lighting.”

Album originally posted at [skupina.bandcamp.com](https://skupina.bandcamp.com/album/sublumia-liquid-aesthesia).

Disquiet Junto Project 0451: Ursula’s Silences

The Assignment: Make music inspired by a line from A Wizard of Earthsea.

/ By Marc Weidenbaum

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 Monday, August 24, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 20, 2020.

Tracks will be added to [the playlist](https://soundcloud.com/disquiet/sets/disquiet-junto-project-0451) for the duration of the project.

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

Disquiet Junto Project 0451: Ursula’s Silences

The Assignment: Make music inspired by a line from A Wizard of Earthsea.

Step 1: In the classic fantasy novel A Wizard of Earthsea, its author, Ursula K. Le Guin, writes the following: “For a word to be spoken, there must be silence. Before, and after.” While the words are her own, of course, they are spoken not by the narrator, but by the book’s main character. The statement occurs toward the end of the book. For emphasis, Le Guin informs the reader that the character, whose name is Ged, speaks the words “slowly.”

Step 2: Consider how the statement can be applied to music, to sound, to the linear unfolding of a composition.

Step 3: Record a piece of music inspired by the Le Guin text: one sonic object at a time, with attention paid to the spaces, the silences, between those objects as they are introduced.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0451” (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 “disquiet0451” (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-0451-ursulas-silences/

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 Monday, August 24, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 20, 2020.

Length: The length is up to you. Remember: it’s a sentence, not a novel.

Title/Tag: When posting your tracks, please include “disquiet0451” 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 451st weekly Disquiet Junto project, Ursula’s Silences (The Assignment: Make music inspired by a line from A Wizard of Earthsea), at:

https://disquiet.com/0451/

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-0451-ursulas-silences/

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