On Repeat: Roulette, Parish, Mün

Home/office playlist

On Sundays I try to at least quickly note some of my favorite listening from the week prior — things I would later regret having not written about in more depth, so better to share here briefly than not at all.

▰ This is a cool coincidence. Last week I mentioned the great new album, Shards, by the trio of electronic musician BlankFor.ms, pianist Jason Moran, and drummer Marcus Gilmore, and I linked to an archival live video of a different artist from the excellent NYC venue Roulette — and now here’s a brand new video of that trio themselves at Roulette (bonus: multi-camera, so you can see what each person is up to). A great merger of jazz and electronic approaches. Interestingly, this show was billed with Moran and Gimore essentially supporting BlankFor.ms, which is not quite how the trio’s two albums have been billed. Not sure what’s up with that. Two other groups are mentioned in the YouTube description, but that’s because they played the same night. They’re not in this video. Recorded May 1, 2026. 

▰ Fresh live footage of Shane Parish performing one of his Autechre guitar arrangements.

Here’s the original, for comparison enjoyment’s sake:

▰ Olec Mün fills a brightly lit space with drones, and then fills the drones with bits of melody and, eventually, around two fifths of the way through, with pulsing beats, before cycling back around. (Olec Mün is the music-making moniker of Marcelo Schnock, who is originally from Argentina and lives in Barcelona.)

Scratch Pad: 1987, Waveform, Ecstatic

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 tag on what books I may have finished reading. Knowing I’ll revisit my social media posts serves, I’ve found, as a positive and mellowing influence on my online activity. Some items show up on disquiet.com before this post, in which case I don’t repeat them. 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.

▰ Wasn’t expecting this random portable monitor manufacturer to include a Teenage Engineering OP-1 in its demo.

▰ Yeah, 1987 was an exceedingly great year for record releases. My top 10 albums and singles from our college music magazine, Nadine. Apparently I posted this 10 years ago this week, when Steven Young of M/A/R/R/S (and Colourbox) died.

▰ New categories of “media condition” for Discogs:

  • Played by someone who has a life but gives a shit
  • Yeah, the vinyl rubbed through the cover a bit after 40 years
  • If you say this is lower than near mint, you need a Go Fund Me for significant therapy

▰ The Capture goes full Person of Interest in the third season

▰ Whew, Mimestream added an “All” category, so when I need to I can see my Work and Personal category emails in one column. This is fantastic. (Now maybe have an option for those three buttons to take up less space.)

▰ Not all waveforms are created equal. Some are more readable than others. Some, even if they tell a story different in visually than sonically, still register as unique, individual. This one, building from sparse initial strikes, caught my eye. It’s the first piece to appear in this week’s Disquiet Junto project, in which music is made with nothing but rocks.

Listen here:

▰ So now everyone’s in the West Coast Avengers?

▰ At the risk of centering one’s own personal experiences, I feel like broken music file metadata is truly OG enshittification, and it just keeps enshitting. I type this as, in 2026, Plex overwrote the file names for the Yasiin Bey (aka Mos Def) album The Ecstatic (Instrumentals), which upon import is now listed in my apps/database as merely The Ecstatic. At least Plex kept the new release’s cover art.

Please Sound Horn

Around the bend

I have only begun to share photos, and observations, from a recent two-week trip around the UK in June. This fairly impressive sign for a fairly simple request was at Stirling Castle in Stirling, Scotland, which is sort of midway between Glasgow and Edinburgh, and north of both. Even though the two larger words are on the top, I would say that putting just “PLEASE” on one line and “SOUND HORN” below might feel a bit loud. Either way, if you can’t hear a car coming on these cobblestones then either you are deaf or your window is closed and you’re blasting the air conditioning.