Out of Body

The sleight of hand of Hatis Noit's live looping

There’s nothing like the moment when the disconnect appears between action and effect. It’s a moment that happens with live looping and live processing, when the audience becomes aware that the concept of cause and effect has shifted, sometimes subtly, sometimes aggressively. This uncanny valley of live electronically mediated performance varies by musician, technique, and instrument. In his early work with processed guitar, you could watch Christopher Willits play something you didn’t hear — and then wait for it to surface in the mix. Turntablist-watchers are used to distinguishing between when the DJ is playing and when the DJ is cueing something yet to be played.

This video shows Hatis Noit, the Japanese vocalist, in an excerpt from a longer performance on the music platform NTS. Noit records for Erased Tapes, which earlier this year releaed her recent EP, *Illogical Dance*, featuring a fantastic Matmos remix. In this video, she starts off elegantly insinuating vowel tones. At 12 seconds you see the sync between lips and sound. Some 20 seconds later, the sync is no longer self-evident. (Later still, a minute and a half in, the camera shows where Noit’s downard-cast gaze has been looking — at a pedal-controlled looper at her feet.) That moment at 20 seconds is the signal of intent. From there the vocals layer further. Noit moves from tone to melody to spoken to something nearly operatic. It all coalesces into a single piece, a performance that is both recorded and live in the same moment. When Noit plays with twin microphones held in her extended, intertwined arms it is a bit like the sleight of hand employed by sidewalk magicians. She is also telling the audience something: “There are several of me present.”

The video itself is edited in a manner that emphasizes the asynchronous matter of her style. The short gives an additional atmospheric, out-of-body nudge because the video opens with shots of her doing things that don’t involve performing at all, just lingering in a window with Erased Tapes founder Robert Raths, though all the while we already hear her voice.

Video originally posted at [YouTube](https://www.youtube.com/watch?v=0v0HacvKcK8). More from Hatis Noit at [hatisnoit.com](https://www.hatisnoit.com/).

Disquiet Junto Project 0339: Rude Mechanicals

The Assignment: Record a piece of music in this imaginary genre.

Each Thursday in the [Disquiet Junto group](https://disquiet.com/junto/), 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 11:59pm (that is, just before midnight) wherever you are on Monday, July 2, 2018. This project was posted in the afternoon, California time, on Thursday, June 28, 2018.

Tracks will be added to [the playlist](https://soundcloud.com/disquiet/sets/disquiet-junto-project-0339) for the duration of the project.

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

**Disquiet Junto Project 0339: Rude Mechanicals**

The Assignment: Record a piece of music in this imaginary genre.

Step 1: Imagine there is a genre called “rude mechanicals.”

Step 2: Imagine what might characterize the “rude mechanicals” genre.

Step 3: Create an original piece of music in the genre called “rude mechanicals.”

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0339” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0339” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

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

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

https://llllllll.co/t/disquiet-junto-project-0339-rude-mechanicals/

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

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, July 2, 2018. This project was posted in the afternoon, California time, on Thursday, June 28, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0339” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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 preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 339th weekly Disquiet Junto project (Rude Mechanicals: The Assignment: Record a piece of music in this imaginary genre) at:

https://disquiet.com/0339/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0339-rude-mechanicals/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Matt Haughey, used courtesy of Flickr and a Creative Commons license:

https://flic.kr/p/4m22j4

https://creativecommons.org/licenses/by-nc-sa/2.0/

Listen to the Land

Marcus Fischer divines music from a map of wells

A post shared by marcus fischer (@marcusfischer) on

This short video, roughly 40 seconds in length, on the [Instagram account](https://www.instagram.com/p/Bkej8Jwgfz0/?utm_source=ig_twitter_share&igshid=1owqyr3rdqom1) of musician Marcus Fischer plays toy-piano-like music as a slender bit of map scrolls by. The map serves, in essence, as a piano roll for the gentle, lightly echoing, lightly fractured tonalities of the composition.

The brief accompanying explanatory text reads: “aleatoric composition using notes plotted to the location of wells on U.S. Department of the Interior geological survey maps.” The “aleatoric” refers to the chance occurrence of the map’s red dots. The dots are the wells, and as the music moves along, so too does the map — or perhaps more to the point, as the map moves along, so too does the composition.

The notes are instances roughly sequenced from a crow’s eye view. Fischer tags the work as a #visualscore, as a work that interprets a graphic as a musical composition, which is what is occurring here. The word “soundscape,” popularized by Canadian composer and audio ecologist R. Murray Schafer, takes its cue from the word “landscape,” both of which express a broad expanse of experience. Fischer’s music here flips the association, finding something personal, singular, and economical in its interpretation of the vast land depicted by the map.

Video originally posted at [instagram.com/marcusfischer](https://www.instagram.com/p/Bkej8Jwgfz0/?utm_source=ig_twitter_share&igshid=1owqyr3rdqom1). More from Marcus Fischer at [mapmap.ch](http://mapmap.ch/).

Stasis Report ✚ Rachel Grimes, Reznor, Noveller, Rushton, Hopkins, Barbieri

New tracks added to the ambient Spotify playlist

The latest update to my [Stasis Report ambient-music playlist on Spotify](https://open.spotify.com/user/dsqt/playlist/1YhR54cjP640J92AOxaoel?si=kDLQAGomSnKEqaMTBllKvg) adds the following tracks:

✚ Two of the more sedate cues (“Morning Fires,” “I Do What I Love”) from Rachel Grimes’ score to the film *The Doctor from India*, a documentary directed by Jeremy Frindel. The soundtrack was released on May 18: [rachelgrimes.bandcamp.com](https://rachelgrimes.bandcamp.com/album/the-doctor-from-india-original-motion-picture-soundtrack). In addition to Grimes’ piano and sound design, the album credits Jacob Duncan with saxophone and flute, and Scott Moore with violin. Rachel Grimes is a founding member of the chamber-rock group Rachel’s.

✚ “Media” from Mark Rushton’s 2018 collection *The Variations*. Rushton is based in Iowa City, Iowa, and maintains an excellent podcast of his ambient music: [ambient.libsyn.com](http://ambient.libsyn.com).

✚ “TCCTF” from Caterina Barbieri’s April 2017 album, *Patterns of Consciousness*. She’s released at least three sets since then. This, however, is the most recent on Spotify.

✚ “The Unveiling” by Noveller, aka Brooklyn-based guitarist and filmmaker Sarah Lipstate, off the 2017 album *A Pink Sunset for No One*. She’s subsequently released a live album, *Live at Dockside*, however this is the most recent one on Spotify.

✚ Jon Hopkins’ “Echo Dissolve,” off his *Singularity*, released May 4: [jonhopkins.bandcamp.com](https://jonhopkins.bandcamp.com/album/singularity]).

✚ “Torn Polaroid” from the score by Trent Reznor and Atticus Ross of Nine Inch Nails for the documentary *The Vietnam War* by Ken Burns and Lynn Novick: [nin.com](http://www.nin.com/two-soundtrack-releases-accompany-ken-burns-lynn-novick-film-vietnam-war/). Nine Inch Nails released an album on Friday, June 22, titled *Bad Witch*, none of which would make particular sense in an ambient playlist.

Some previous [Stasis Report](https://open.spotify.com/user/dsqt/playlist/1YhR54cjP640J92AOxaoel?si=kDLQAGomSnKEqaMTBllKvg) tracks were removed to make room for these, keeping the playlist length to roughly an hour and a half. Those tracks are now in the [Stasis Archives](https://open.spotify.com/user/dsqt/playlist/7wQclXEfiEJ20KNIONJXGw?si=5RmtEbbSQcKNbK1ho2Vyog) playlist.

Ambient Framework

A track from modular synth educator Anna Martinova

A slowly undulating sine wave of an undercurrent. Synthesized strings that echo to infinity. And lots of sonic space in between. That combination, that provisioning of an audio environment, is the elegant framework of the track “Noir” by Amsterdam-based Dusha. That distinct combination alone could provide a gentle, soothing — yet still potent with drama — background listen. Martiova, however, doesn’t stop there. She eventually insinuates the space with a soft melody, efficiently in that it doesn’t so much intrude as emerge, like a slowly cycling carousel coming out of the receding mist.

Dusha is a side project by Martinova, aka Tulpa | Dusha. Martinova is currently running a Kickstarter campaign with Nate Houk (of Epsylon Records) to create a school of modular synthesis in Amsterdam.

Track originally posted at [soundcloud.com/tulpa-portal](https://soundcloud.com/tulpa-portal/noir). More on the proposed school at [kickstarter.com](https://www.kickstarter.com/projects/modularmoon/modular-synthesis-school). More from Martinova at [chipeky.com](https://www.chipeky.com) and [tudu.bandcamp.com](https://tudu.bandcamp.com).