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. • 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.

Yes, You Want to Listen to Bowed Glockenspiel

A Lullatone sample set that is great before it's even sampled

While it’s true that I think the internet excels especially at works in progress, where the audience can witness the given musician’s process, it remains also the case that work considered (merely? purely? solely?) raw material can be an end unto itself. Which is to say that while the best listening to recorded music is often when it isn’t even done, often the very best listening is the stuff that exists before the music-making can be said to have begun. Which is to say, some sample sets are listenable until themselves.

The material in the new sample set from Japan-based act Lullatone, all bowed glockenspiel, is a fine example. Just listen the pristine, soaring, organ-like beauty of the sample. And then, of course, try out the cooked versions, four reworkings of the source audio: ambient, distorted, granularized, and “reverse reverb.”

Set first released at

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A mesostic

   Dunno know iF the marine
        layer dOes 
        anythinG to muffle sound,
but it seems to
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From the past week

I do this manually each Saturday, collating most of the tweets I made the past week at, which I think of as my public notebook. Some tweets pop up in expanded form or otherwise on sooner. It’s personally informative to revisit the previous week of thinking out loud.

▰ Music theory keeps you young. In music theory years, I am at best a first grader.

▰ The doorbell died after years of me writing about doorbells. Which I’ll write about more later. Main thing: shoddy temp replacement while I waited for actual replacement. Concern: when the new doorbell arrives, I won’t know. But: UPS just phoned from outside the front door. Whew.

▰ Currently immersed in un-ASMR: working inside a building the outside of which is being prepped for painting thanks to vast amounts of scraping, scratching, and knocking.

▰ I was in Golden Gate Park reading a novel on a park bench, and I thought someone was playing an Eric Dolphy album nearby. Turned out it was one of those tiny motorized toy boats on Spreckels Lake. The thing, less than a foot long, had capsized and its engine was churning away.

▰ The next to last concert I attended pre-pandemic, I mentioned, in passing, the concept of “DAWless” to a musician in their early 60s, and they laughed out loud. I cherish that laugh. Its memory has kept me company.

▰ In the Echo of No Towers: On the 10th anniversary of 9/11, I spoke with Stephen Vitiello about his World Trade Center tapes. It’s informative that the audio’s from Hurricane Floyd, climate issues having received far less investment than the war on terror.

▰ First concert I attended after 9/11 was Alex Chilton, I think the Friday following. This was in New Orleans, where he and I both lived at the time. The concert was sparsely attended. Even a hint of police car lights bleeding in from the street made clear how on edge everyone was.

▰ “You have to see Heat.” Says David Costabile’s louche-bro, Wags. Glad that Billions is back at its game. As with Unforgotten, it’s both distracting and comforting (stars: they’re just like us) to watch so many of scenes set with the actors socially distanced from each other.

Reminiscence: Come for the prestige TV Philip K. Dick / Kim Stanley Robinson mashup; stay for the sound design as a grand piano slowly descends through the ceiling into a massive, fully submerged concert hall.

▰ Found some old, unwatched Elementary episodes on the DVR to fill time during Wednesday night’s region-wide internet outage. Just glad I’d caught the evening’s What If…? episode about the zombie apocalypse before this actual apocalypse arrived.

▰ “I was forest bathing and I mistook you for a creek.” The soft-spoken Carmel (Regina Hall) to Tony (Bobby Cannavale), whom she’s stumbled upon peeing onto a giant tree in the first episode of Nine Perfect Strangers.

▰ I’ve realized the reason playing “All of Me” is like eating potato chips is because it starts on C and ends on a B, which you naturally bring back to a C and then you start over again, and you realize your haven’t even eaten your lunch on your lunch break so you eat potato chips.

In related news, as of today’s lunch break I can play “All of Me” on guitar with my eyes closed, which is me always planning for some potential (distant!) future when, you know, one’s eyes might no longer work.

▰ What could be more ambient than muting the word ambient for a few days

▰ And on that note, have a great weekend. I have a heap of work to complete before day’s end, and zero plans this weekend, the best sort of plan some weekends.

  • Listen to TV captions.

  • Cook by ear.

  • Use noise cancellation as the mobile sensory deprivation tank that it is.

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Three Takeyuki Hakozaki Videos

From what became What Comes After

These three videos have footage of the installations that led to each of the three tracks on What Comes After, the Takeyuki Hakozaki album I wrote about earlier this week.

This is “Air,” with the fans and tuned guitars:

And this is “Magnetic,” with the tape rubbing along the guitar strings:

And this is “Complex,” for loops and synthesizer:

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Disquiet Junto Project 0506: Wipe Out

The Assignment: Take something whole and erase half of it

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, September 13, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 9, 2021.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0506: Wipe Out
The Assignment: Take something whole and erase half of it.

Step 1: Take an existing recording of a piece of music, preferably something of your own.

Step 2: Remove half of the track (however you might define half), and in the process create a new version of the original, or something entirely new, or something in between.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0506” (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 “disquiet0506” (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 track in the following discussion thread at

Step 5: Annotate your track 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.

Note: Please post one track per weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, September 13, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 9, 2021.

Length: The length of your finished track is up to you. It might be best if it’s the same length as the original.

Title/Tag: When posting your tracks, please include “disquiet0506” 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 506th weekly Disquiet Junto project — Wipe Out (The Assignment: Take something whole and erase half of it) — at:

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on

There’s also a Disquiet Junto Slack. Send your email address to [email protected] for Slack inclusion.

The image associated with this project is by Emma Craig, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

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