My final Instagram shot for 2014: an especially self-conscious doorbell. #soundstudies
Cross-posted from instagram.com/dsqt.
via instagram.com/dsqt
An ongoing series cross-posted from instagram.com/dsqt
Disquiet Junto Project 0155: Mix Match
The Assignment: Take a track and its remix and meld them into something new.
Each Thursday in [the Disquiet Junto group on SoundCloud.com](https://soundcloud.com/groups/disquiet-junto/) and [at Disquiet.com](https://disquiet.com/tag/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.
This assignment was made in the evening, California time, on Thursday, December 18, with 11:59pm on the following Monday, December 22, 2014, as the deadline.
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 0155: Mix Match
The Assignment: Take a track and its remix and meld them into something new.
This is the next to the last project of 2014. It’s a remix of a remix, and of the track the remix was based on. These are the steps:
Step 1: Download the following two tracks. The first is “Waiting…” by Yellow Salamand’r and the second is a reworking of it, titled “Waiting (A Yellow Salamander Re-hash),” by Colab.
https://soundcloud.com/yellow-salamandr-4-1/yellow-salamandr-4-waiting
Step 2: Create a new track that combines the two source tracks. Don’t add any new audio, though you can transform the source material as you wish.
Step 3: Upload the finished track to the Disquiet Junto group on SoundCloud.
Step 4: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
Length: Your finished work should be between roughly 3 to 4 minutes long.
Deadline: This assignment was made in the evening, California time, on Thursday, December 18, with 11:59pm on the following Monday, December 22, 2014, as the deadline.
Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0155-mixmatch”in the title of your track, and as a tag for your track.
Download: For this project, due to the source audio, your track should be set with a Creative Commons license, such as CC BY-NC-SA 3.0, that allows adaptive reworking.
Linking: When posting the track, please be sure to include this information:
More on this 155th Disquiet Junto project — “Take a track and its remix and meld them into something new”— at:
More on the Disquiet Junto at:
https://disquiet.com/junto
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Disquiet Junto general discussion takes place at:
https://disquiet.com/forums/
Image associated with this project by Chris Beckett via a Creative Commons license:
via instagram.com/dsqt
An ongoing series cross-posted from instagram.com/dsqt
Sunflower speaker, souvenir of school visit.
Cross-posted from instagram.com/dsqt.
PR Notice
Dealing with the deluge
My email account is pretty pummeled by music PR, which given that the PR involves lots of opportunities to listen to music for free isn’t really something that I expect much consolation for. Anyhow, the following is, for the record, the current version of the email I reply with, on occasion, the fifth or sixth time I get sent an unsolicited email with a faux-personal introduction, telling me how much they love my blog, and extolling the virtues of this pop-punk band, or that neu-soulful r&b diva, or some country singer with a moving personal story to share:
>Hi. It’s really not up my professional alley.
>
>I pretty much focus my writing on “technologically mediated sound”— ambient music, sound art, sound design, sound in the media landscape, experimental classical, hip-hop production, that sorta thing. And I write very little about what would traditionally be considered a “song.”
>
>Thanks.
>
>Best,
>
>Marc
It’s amazing how many PR agencies use Constant Contact and MailChimp and other services without the permission of recipients. When I have the time, I forward the offending emails to the abuse accounts of the given service.
If Harold Budd Played Guitar
Lovely solo work from Leuven, Belgium
Based in Leuven, Belgium, the musician Stijn Hüwels records solo work that sometimes sounds like what Harold Budd might have been up to had he favored the guitar over the piano. The slow instrumental pacing of “If You Remember Me Then I Don’t Care if Everyone Else Forgets” is just as murky, fluid, and ambiguous as fine Budd, with that sense of melodies that are likely to dissolve if you pay attention to them too closely. That’s especially the case on the opening track, “He Tried to Forget.” The eight tracks range from efforts in deep sublimation, like the muffled “Coalescence,” to the more song-like “Clouds as Seen from an Airplane,” in which gently plucked chords eke out tentative, lightly dissonant spaces. The digital release is also available as a limited (50-piece) cassette run from the fine Ghent, Belgium”“based label Dauw.
Originally posted at [dauw.bandcamp.com](https://dauw.bandcamp.com/album/if-you-remember-me-then-i-dont-care-if-everyone-else-forgets). More from Stijn Hüwels at [soundcloud.com/steiner](https://soundcloud.com/steiner), [twitter.com/stijnhuwels](https://twitter.com/stijnhuwels), and [steinersteiner.tumblr.com](http://steinersteiner.tumblr.com/). More from the Dauw label at [dauwlabel.tumblr.com](http://dauwlabel.tumblr.com/) and [soundcloud.com/dauwlabel](https://soundcloud.com/dauwlabel/).