Disquiet Junto Project 0114: Five Sines

Combine elements of Dave Seidel's album ~60 Hz (Irritable Hedgehog).

20140306-seidel

Each Thursday at [the Disquiet Junto group on SoundCloud.com](soundcloud.com/groups/disquiet-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](soundcloud.com/groups/disquiet-junto/).

Tracks by participants will be added to this playlist as the project proceeds:

This project was published in the evening, California time, on Thursday, March 6, with 11:59pm on the following Monday, March 10, 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 0114: Five Sines

This week’s project is a celebration of the new album by Dave Seidel, who also goes by Mysterybear. Titled ~60 Hz, it just came out on the great Irritable Hedgehog record label. Seidel has extracted five parts of one track from his album and made them available for reworking by the Disquiet Junto. The album is based on combining sine waves, and in keeping with that approach we will in this project combine parts of his album. These are the 5 steps:

Step 1: Download the following file, a Zip archive that contains 5 different tracks:

http://goo.gl/rrIzU4

Step 2: Extract the five files and listen to them.

Step 3: Combine elements of the files into one track. You cannot add anything, but you can process them as you wish. An emphasis should be put on layering the material.

Step 4: Upload the file to the Disquiet Junto group on SoundCloud and describe your approach and process in the text field associated with the track.

Step 5: Listen to other members’ tracks as they appear in the Disquiet Junto feed on SoundCloud, and comment on them when you have the time.

Deadline: Monday, March 6, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 2 minutes and 5 minutes.

Information: Please when posting your track on SoundCloud, 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 “disquiet0114-60hz”in the title of your track, and as a tag for your track.

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, please be sure to include this information:

More on this 114th Disquiet Junto project — “Combine elements of Dave Seidel’s album ~60 Hz (Irritable Hedgehog)”— at:

Disquiet Junto Project 0114: Five Sines

More on the Disquiet Junto at:

The Disquiet Junto Project List (0001 – 0639 …)

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

The source audio is from Dave Seidel’s ~60 Hz album, released on the Irritable Hedgehog record label. More on the album at:

http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

When Is a Beat a Drone?

A 30-minute dream score by Leslie Rollins

Leslie Rollins’s “30 Minute Drumming for Journeying” appears to be exactly that, a rhythmic sonic space to get mentally lost in. Technically it isn’t a drone, in that it has a steady, distinct beat, but a drone can also mean a steady repetitive sound, and on that count this is most certainly a member of the tribe.

He explains his impetus:

>My first take on rhythm for dream work and journeying. I am curious to feel how an electronic version of traditionally hand percussion works translates in subconscious spaces. I intentionally didn’t alter much in real time with this but am tempted to make another version with subtle changes through out.

Track originally posted for free download at [soundcloud.com/337is](https://soundcloud.com/337is/30-minute-drumming-for). Rollins is based in Berrien Springs, Michigan.

Sludge Arcade Techno

A remix by Glia

Glia’s “[[ LOW ]” is expert sludge techno, the beat the sound of gears dripping with dirty axle grease, trying to make traction but slipping often enough to make the whole thing sound temporary, fragile. The track doesn’t linger in the dark, either. The playful addition of some arcade-quality sounds, as much pinball as Galaga, lightens its touch as it proceeds.

The track’s liner note explains it’s a remix. Here, for reference, is the source track, “Low” (no framing brackets), by Broshuda, whose SoundCloud account lists him as living in “Dorkville, Germany.” It has a darker aura, both more rumininative and, yet, more clubby. Perhaps “ruminative” and “clubby” aren’t as inherently opposed as I imagine they are:

Glia’s track originally posted for free download at [soundcloud.com/glia](https://soundcloud.com/glia/low).

Disquiet Junto Project 0113: Pretty Groundhog

Record a piece of music that slowly improves, in tribute to the late Harold Ramis' film Groundhog Day.

20140227-ramis

Each Thursday at [the Disquiet Junto group on SoundCloud.com](http://soundcloud.com/groups/disquiet-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](http://soundcloud.com/groups/disquiet-junto/).

Tracks by participants will be added to this playlist as the project proceeds:


This project was published in the evening, California time, on Thursday, February 27, with 11:59pm on the following Monday, Marc 3, 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 0113: Pretty Groundhog

This week’s project is dedictaed to the late Harold Ramis, and it takes as its theme his film Groundhog Day. In the film, the character played by Bill Murray gets up each morning and hears the same song on the clock radio. As the film proceeds, Murray’s character relives the same day over and over, slowly perfecting the day by making mistakes and then learning from his mistakes. This composition prompt is informed by that narrative.

Step 1: Extract the first 33 seconds of the track “Pretty Little Baby” as performed by Josephine Baker as housed on this web page:

https://archive.org/details/JosephineBaker-21-30

Step 2: Record a composition that follows the following format. You will play a few seconds of the track, and then insert a “mistake,” pushing the original composition in a direction other than the one documented in the recording. This “mistake” will proceed for a few seconds.

Step 3: The original composition will then be heard to begin again, from the start, and will play from the beginning for a few seconds more than the first time; again, when it reaches a certain point, you will insert a “mistake” and let it play for a few seconds.

Step 4: You will repeat this process several times, each time adding a little bit of the original recording, until the recording finally is heard to play in full.

Deadline: Monday, March 3, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 2 minute and 5 minutes.

Information: Please when posting your track on SoundCloud, 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 “disquiet0113-prettygroundhog”in the title of your track, and as a tag for your track.

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, be sure to include this information:

More on this 113th Disquiet Junto project (“Record a piece of music that slowly improves, in tribute to the late Harold Ramis’ film Groundhog Day”) at:

Disquiet Junto Project 0113: Pretty Groundhog

More on the Disquiet Junto at:

The Disquiet Junto Project List (0001 – 0639 …)

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Photo associated with this project from the following Wikimedia page:

http://commons.wikimedia.org/wiki/File:Groundhog,_eating.jpg

Even Waveforms Have Terroir

Liner notes I wrote for Dave Seidel's new album, ~60 Hz

20140225-60hz

Dave Seidel has released an album composed of sine waves, those near and about the ~60 Hz range. That’s the title of his album, *~60 Hz*, and I was honored to be asked by him to write a liner note for the record’s release. The digital version went live today at [irritablehedgehog.com](http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz), and CDs are for sale as well. The label, run by David D. McIntire, has released music by William Duckworth, Jürg Frey, Eva-Maria Houben, and Dennis Johnson, among others.

This is the music, streaming in full:

This is the text I wrote:

>”The Waveforms in Your Neighborhood”
>
>The operative information in the title is the tilde. The tilde means “sort of”or “nearly”or “in the neighborhood of.”What follows the tilde in the title are two digits and a pair of consonants, which collectively symbolize the neighborhood in question. What the “60Hz”refers to is a sine wave, categorically perhaps the simplest sound imaginable, a constant of equally balanced ebb and flow. The 60Hz does not merely refer to a sine wave. The 60Hz describes the sine wave succinctly. The contours of the sine wave are beside the point, because they are immutable, an eternal skatepark up and down and up that seems to have begun before time and that will continue after the heat death of the universe. What the 60Hz describes, however, is the nature of this exact sine wave, specifically what might more colloquially be referred to as its pace. The Hz in the title stands for the measurement Hertz, which is the number of wave cycles that occur in a single second. Thus, a 60Hz waveform cycles through 60 times in one single second.
>
>60 per second of anything may signal speediness, but 60Hz proves quite lulling. The wave veers up and down, weaving sonic wool, a thick blanket of hazy warm noise that the ear succumbs to, and then the mind, and then the body. If the wave resembles the distant hum of a power line, that is because 60Hz is the standard frequency of the power infrastructure in the United States. If it does not sound like the whir of municipal undercurrent, that may be because you live elsewhere. Even waveforms have terroir.
>
>The tilde in the title is the operative information because the tilde means that the sounds heard will, in fact, not stick to the 60Hz frequency. They will, instead, hover around 60Hz. What the little tilde means is that the listener will witness the resulting shifts and hedges, veering and layering, collisions and parallels as waveforms are added and set in contrast to each other. These contrasts will yield all manner of aural patterning.
>
>In lesser hands, the patterns would have all the gee-whiz lab-coat charm of a 1950s stereo system vinyl test album. But these waves are not in lesser hands. They are in Dave Seidel’s hands. What we hear is the simplest sound form yielding myriad, tantalizing moiré patterns. Some of these patterns suggest the fervid activity of insectoid communication, others the humble drone of a mumbled mantra. There are pointilist percussive effects, and tones like nothing so much as a masterful solo organ recital. There are phase shifts like a Steve Reich violin piece, and torquing structures like an industrial rock band playing its third encore on the last night of a tour.
>
>And there are echoes, of course, of science fiction. This is electronic music in the purest sense, electricity revealing itself as sound — science transmuted into art. One hears Bebe Barron and Louis Barron’s work on the Forbidden Planet soundtrack. One hears the note accrual inherent in the opening of the original Star Trek theme. One hears the hum of a lonesome space station while its inhabitants are deep in a timeless, cryogenic state.
>
>For all the associative mind games, what is heard is simply a handful of notes taking the concept of minimalism at its word. The operative information in the title is the tilde, the tilde that itself rightfully resembles a tiny typographic sine wave.

Get the release at [irritablehedgehog.com](http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz). More at Seidel’s website, [mysterybear.net](http://mysterybear.net/article/77/60hz-released).