Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media
• February 5, 2020: The first session of the 15-week course I teach at the Academy of Art about the role of sound in the media landscape.
• April 15, 2020: A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the forthcoming book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)
• December 13, 2020: This day marks the 24th anniversary of Disquiet.com.
• January 7, 2021: This day marks the 9th anniversary of the start of the Disquiet Junto music community.
• There are entries on the Disquiet Junto in the forthcoming book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
• At least two live group concerts by Disquiet Junto members in the San Francisco Bay Area are in the works for 2020.
• I have liner notes for a musician's solo album and an essay in a book about an art event due out. I'll announce as the release dates come into focus.
• The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.
• My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).
Most Recent Posts
Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.
• 0424 / Fluctuating Rhythm / The Assignment: Employ nature as your conductor.
• 0423 / Hold Noise / The Assignment: Record music intended to sound just as garbled as the hold music on a phone call.
• 0422 / Chapter Cascade / The Assignment: Make a piece of music made up of tiny alternating parts.
• 0421 / Marquee Ghosts / The Assignment: What sounds haunt a discarded movie theater in the middle of the night?
• 0420 / Luna Tick / The Assignment: Make music that proceeds according to the phases of the moon, in celebration of Lunar New Year.
And there is a complete list of past projects, 423 consecutive weeks to date.
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Most Recent Comments
Jason Richardson: "Cheers Marc and thanks again for sharing this technique with the Junto community. I’ve also..."
David Neale-Lorello: "It was easy to hear Rod Serling’s voice reading your post. "
michael: "Fantastic! I found pretty much everything in the highlights reel on his website equally impressive...."
Laurent Fairon: "Hi, you might want to check Will Menter’s similar Wood Wind project of the early 2000s...."
Natasha: "This article mentions that Gore is white and co-opting black music, but Martin is half black. I don’t know..."
Tristan Perich on Loud Objects, machine art, and the aesthetics of code
Chris Randall of Audio Damage talks about the March 5, 2016, Sync 01 event at Codeword in San Francisco.
Suzanne Ciani on her March 5, 2016, Dial-Tones performance in San Francisco
Talking with Christina Vantzou about graphic scores, structuring improvisation, and the compositional facets of post-production
The past and future of mobile music â€” a conversation with with PalmSounds.net founder Ashley Elsdon
An interview with the ambient grandmaster in his 72nd year
MUTEKâ€™s Patti Schmidt on how Jurassic Park helped birth â€” and how emphasis on scenography and human scale helps sustain â€” the music festival
An interview with Joyrex, whose WATMM forum rescued a lost Richard D. James album from 20 years ago
Dan Trueman talks about metronomes, laptops, and game controllers â€” all tools in his music for the ensemble So Percussion.
Peter Kirn talks about his music for choreography.
Chris Lawhorn edited the Fugazi discography down to a concentrated album-length study of rhythm and tension.
A conversation with sound artist Christof Migone
Liza White talks about the manner in which computer music and hip-hop production inform her classical compositions.
The artist Stephen Vitiello talks about sense memory, 9/11, and his landmark World Trade Center recordings
Istanbul-based 'Otomata' developer Batuhan Bozkurt on generative sound, app development, cross-browser incompatibilities, and unexpected outcomes.
Morgan Packard, the sound half of the development duo that produced the 10-finger interactive audio-visual iOS app Thicket, on composing for interactivity
Developer Paul Apfrod on how programming is like composing, the need for a "software art" iTunes subcategory, and how how octagons look nicer than squares
Lesley Flanigan on technological fluency, devices as sculpture, and moving beyond musical training
The self-education of the adventurous, Philly-based hip-hop producer Y?Arcka
FM3 member Christiaan Virant talks about controlling pitches and recording new loops for the second-generation (version "2.0") sound-art gadget
Brad Mitchell reflects on the decision to close his long-running netlabel, Kikapu.
The lo-fi electronic musician Jamie Allen talks about hand-crafted circuitry, digital academe, and the beauty of the square wave.
Kristin Miltner on nurturing software and programming for video games -- plus visual art as preparation for sound-work.
The musician William Fowler Collins talks about his guitar-fueled solo album, Western Violence & Brief Sensuality.
Science fiction writers Richard Kadrey, Pat Murphy and Rudy Rucker discuss remixing reality.
Christopher Willits viscerally inhabits the space between what he plays and what we hear.
Christopher Bissonnette talks about music on the periphery.
The proprietors of three established netlabels (Andras Hargitai of Complementary Distribution, Nathan Larson of Dark Winter, Pedro Leitao of Test Tube) discuss the cost of free downloads, the online community of uploaders and the transition from physical distribution to virtual
Dub figure Raz Mesinai talks about looping Sumerian myths and electrifying downtown musicians
One of electronic music's great live performers, Thomas Dimuzio talks about improvisation, music education and his longtime collaborator: feedback.
The duo FM3 packed nine ambient loops into a device the size of a cigarette pack; member Christiaan Virant discusses sound art in the age of mass production
An electronic musician (Monolake), an English professor (Michael Jarrett), and a science fiction writer (Richard Kadrey), all Brian Eno fans, walk into a chat room â€¦
Composer Kenneth Kirschner talks about how his music, which he likens to a certain popular MP3 player, changes every time you play it.
John Kannenberg, founder of the Stasisfield netlabel, discusses the limits of microsound, the future of online music, and the compositional intersection of sound art and visual art.
Chachi Jones turns childhood musical toys, like Speak & Spell and Touch & Tell, into 21st-century folk instruments.
When Brad Mitchell isn't homebrewing electronic music as Pocka and studying sound design, he somehow finds time to run the Kikapu netlabel.
An archival interview from back in 1999, when composer Steve Reich talked about Reich Remixed, an album on which electronica acts rework his formidable, minimalist contributions to classical music
Monolake, aka Robert Henke, talks about the parallel processes of (1) composing a new full-length album while (2) helping develop the new edition of Ableton's audio production software, Live.
BenoÃ®t Charest, who scored the animated film Les Triplettes de Belleville, talks about turning a vacuum cleaner into a Theremin, and other jazzy feats of everyday electronica.
Composer Elise Kermani talks about revisiting "retro" multimedia performance art; getting young, desk-bound technophiles to move; and remixing Vivaldi by accident.
When Thorsten Sideboard founded 8bitrecs.com, an online label consisting entirely of free MP3 files, his role model wasn't Matador Records or Def Jam â€” it was a computer database.
Touring in support of his seventh full-length album, The Message at the Depth, DJ Krush talks about musical abstraction and geopolitical anxiety.
Moscow-based composer Artemiy Artemiev, head of Electroshock Records, talks about coming of age underneath a piano and the watchful ear of the Soviet secret service.
On his 2002 album, Out from Out Where, Amon Tobin leaves his native Brazil behind for the silver screens of India.
Future Sound of London talks about revisiting Britpop's past for the psychedelic follow-up to Dead Cities.
Innovative American composer/performer Greg Davis on pastoral technology and the education of an electronic musician
Andreas Tilliander, who appears on the Mille Plateaux label's third Clicks & Cuts collection, talks about the hip-hop heart of experimental electronic music.
One half of the abstract electronic duo Twine, Chad Mossholder talks about long-distance collaboration and the hectic life of a sound designer.
When Les Paul Met Ukulele Ike
The ubiquitous turntablist named DJ Logic is the Moby of the musicians' union.
The owner-operators of small American electronic-music labels talk shop. Up third (and last, but not least), Michael Bentley of Foundry Records, home to Seofon and Jonathan Hughes, as well as Bentley himself.
The owner-operators of small American electronic-music labels talk shop. Up second, Sam Rosenthal of Projekt Records, home to Steve Roach, among others.
The owner-operators of small American electronic-music labels talk shop. First up, Todd Hyman of Carpark Records, home to Jake Mandell and Marumari.
Koji Asano, a prolific Japanese electro-acoustician at home in Barcelona, talks about the life of an itinerant self-publisher.
Before embarking on a 2001 tour of the United States, Squarepusher talked about the personal challenges of making challenging music.
Hrvatski (aka Keith Fullerton Whitman) got his allies Thurston Moore, Jim O'Rourke and Kid606 to remix his music. Now he talks about split identities and a favorite laptop accessory: his guitar.
Console's Martin Gretschmann talks about bringing fun to German electronic pop and composing on the run.
Prolific sound artist Zbigniew Karkowski talks about personal technology, collaboration, and live performance.
Rob Zombie is White Zombie's resident workaholic, pumping up the volume and fighting for the right to access his own memory bank
Bogdan Raczynski traces his journey from Poland to America to Japan to England, where he's furiously processing garbled beats for Aphex Twin's record label, Rephlex.
Moby talks about the technology behind — and the racial politics beside the point of — his landmark pop album, Play.
A brief chat with Dub Assassin, the New South's own "Tekkno Boy."
Photek, born Rupert Parkes, proves to be the most ambivalent of DJs.
For his second full-length album under his own name, in 1998, Amon Tobin put the breaks on his unique Brazilian brand of drum'n'bass, if only for a moment.
In 1997, Amon Tobin spoke about the sampling philosophy behind his Latin-tinged full-length album, Bricolage.
Patrick Carpenter of Ninja Tune's DJ Food talks about re-tuning a David Byrne song.
Coldcut's Matt Black on electronica, life as an indie mogul, and wired fatherhood
Sean Booth of the British duo Autechre talks about just about everything but how he and partner, Rob Brown, make music.
Oval, Microstoria, and the man behind their curtains: Markus Popp
Erik Gilbert, label manager of Asphodel Records, talks about identity, electronica's forefathers, and DJ Spooky's move to the majors.
Roger Richards celebrates 10 years of CDs with Extreme Records.
Moonshine Records label head Steven Levy on why independent companies own electronica â€” for at least the near future
The Throbbing Pouch full-length album is making his Wagon Christ pseudonym a household name. Next comes Plug.
Full transcript of the interview with Luke Vibert, aka Wagon Christ, aka Plug
Aphex Twin (aka AFX, born Richard D. James), the British electronic-music prodigy, grants techno a human face.
Electronic-music connoisseurs depend on small independent record companies for the hard stuff.
Interview with Darrin Verhagen, aka Shinjuku Thief, founder of the Dorobo Records label.
The album Vita Nova proves British composer Gavin Bryars still never failed yet
Spring Heel Jack's DJs, John Coxon and Ashley Wales, walk the digital walk.
There's more to West Coast instrumental pop than surf music â€” just ask Dub Narcotic Sound System, Grassy Knoll, President's Breakfast, or Money Mark.
Composer, accordionist, educator, Pauline Oliveros talks about landscapes, soundscapes, the history of ambient music and the future of the recital hall.
DJ Krush spins the international language of hip-hop.
Introducing Skylab, the band that fell to Earth.
After a decade of near-faceless (and guitar-less) superstardom, Depeche Mode strives to get personal with the new Songs of Faith and Devotion.
Randy Greif goes where no Alice has gone before.
Talking with Brian Eno and John Cale about working together on Wrong Way Up