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.

tag: jazz Autechre, Burrell/Adderley, Sun Ra

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 sooner in expanded form or otherwise on I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself. And sometimes I tweak them a bit, given the additional space. And sometimes I re-order them just a bit.

▰ Officially have done the This Week in Sound email newsletter 20 weeks in a row:

▰ Afternoon trio for birdsong, percolating crockpot, and neighborhood gearhead revving motorcycle engine.

▰ TFW 8 hours of live Autechre sets pop up in your YouTube subscriptions at the start of a workday

(Also at

▰ Feels really good to get the Junto projects set up the night prior. Thursday feels a little odd, still, because I spent a decade putting the post together and then hitting send. Now I prep it more thoroughly in advance, and it arrives automatically, and I follow up via email.

▰ Says to self: “I’m gonna practice Kenny Burrell’s ‘Chitlins Con Carne’ for half an hour without looking at the sheet music or listening to the track.”

Proceeds to practice Nat Adderley’s “Work Song” for 15 minutes.

Finds “Chitlins Con Carne” sheet music. Listens. Practices it.

▰ Verb I heard this morning that I will not be employing: “diligencing”

Phrase I used this morning and plan to make more use of: “synth dandruff”

A friend followed up with the quite amazing “laptop dander”

▰ Bosch listens to Sun Ra.

Long day, long week. Have a good one. See you Monday.

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Back Catalog

An ongoing series cross-posted from

Sorry I didn’t listen to much new music the past few days. These (1958 and 1960 respectively) have been on repeat.

Also tagged / / Leave a comment ] Noyes, Mingus, BPM

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 sooner in expanded form or otherwise on I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself.

▰ I didn’t know until today that (yeah yeah TIL) “Noyes” is pronounced “noise.” A friend visiting Chicago sent me a four-second video from a train. The automated voice is heard saying what appears to be “This is noise.” The screen at the rear of the car reads “This is Noyes.”

(And yeah, now my cultural-jukebox brain is revisiting old issues of The Duplex Planet.)

▰ Got a bunch requests in this regard the past couple weeks while I was traveling, so I wanted to mention it here: I enjoy writing liner notes, and I make time for doing so. Artist bios (like for press kits, etc.) are something I don’t really have time for. Thanks.

▰ Start a blog. Then in 25 years you can tell yourself what a rewarding way it has been to spend 25 years, as I’ve been doing this year in between writing new blog posts.

▰ Yes, you’re drinking a cup of coffee while your brain whirrs up for the day, and you’re listening to the new edit of Peter Gabriel’s “Shock the Monkey,” and at the appropriate moment you do, indeed, find yourself crossing your arms, instinctually, in front of your chest.

Just as a side note, the original “Shock the Monkey” video now looks sort of like a supercut compression of the Moon Knight TV series.

▰ “So, what’s your optimal BPM?” That’s what I asked on Twitter. I got a lot of responses: ➔

▰ It’s Earth Day. Take out your earbuds and open your window.

▰ “We care about your experience so we may record this call.”

Note: cause and effect are not simply the result of the insertion of a conjunction.

▰ The 10th novel I finished reading in 2022: I read Sayaka Murata’s excellent Convenience Store Woman earlier this year, and followed it up with Earthlings, which engages in a similar narrative (individual viewing society from an extreme remove) but in a much darker mode. And the novel’s end is hardcore Ballardian. Yow. (Also: There’s virtually no sound in Earthlings, a stark contrast with Convenience Store Woman, which was full not just with sound, but with the protagonist’s perception of sound.)

▰ Friday, April 22, 2022, was the 100th birthday of one of the greatest musicians of all time, American jazz bassist Charles Mingus. I tweeted a playlist of favorites to mark the moment, starting with a live 1964 concert with Eric Dolphy, wending through covers by Keith Richards and Joni Mitchel, touching inevitably on his own Ah Um and his trio album with Duke Ellington and Max Roach, Money Jungle, and closing on the opening cut of Mingus Mingus Mingus Mingus Mingus — his initial solo on “II B.S.” is so deep, so intimate. Then he invites the band in a bit at a time until it scales out to something utterly massive in scope. ➔

▰ And finally, the weekend, which I take off social media. Some recommended plans:

  • Listen to more Mingus
  • Let Earth Day linger
  • Prep for World Listening Day (July 18)
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When a Remix Is a Rearrangement

The Herbie Hancock catalog gets a reworking courtesy of two Philadelphia beatcraftsmen

The eight-song Hancock by Small Professor and Arcka, two great Philadelphia-based beatcraftsmen, is several things. It’s a tremendous cache of off-kilter instrumental hip-hop. It’s the result of serious crate digging into the deep recesses of Herbie Hancock’s back catalog, in service of a remix-powered survey of the great keyboardist’s range. And it’s exactly the sort of record that I manage to play repeatedly and yet never get around to writing about. So, a short note here in the interest of that last matter not going any further. Released back in April, the album is some of the best work either the Professor or Arcka has uploaded yet for public consumption. Each track takes tantalizingly familiar items from individual Hancock songs and forms new things from them. A personal favorite is “New Loupe,” by Arcka, because it never loses sight of the all-acoustic nature of the source material. Rather than contemporize the material with synthetic additions, it restricts itself to the trad jazz original. The result is as as much a re-arrangement as it is a remix:

And here is the full set of eight tracks, half by Small Professor and half by Arcka:

Get the full set at

More from Small Professor at and, and from Arcka at and

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Disquiet Junto Project 0126: NOLA Re-metered

Change the meter of a 1918 jazz recording by the Louisiana Five.


Each Thursday at the Disquiet Junto group on 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.

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

This project was published in the evening, California time, on Thursday, May 29, with 11:59pm on the following Monday, June 2, 2014, as the deadline.

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

Disquiet Junto Project 0126: NOLA Re-metered

This week’s project combines two familiar Disquiet Junto elements: shared source audio and a pair of dice. The goal is to rework an existing archival jazz track by adjusting it to a new meter. The steps are as follows:

Step 1: Download the song “Slow and Easy” by the Louisiana Five Jazz Orchestra from this URL:

Step 2: Roll two dice. Add 1 to the result of each rolled die. Thus, if you rolled a 4 and a 6, you would have a 5 and a 7. (Note: if both dice resulted in the same number, roll one of them again until you have two different numbers. And if you find your result just plain confusing, certainly feel free to roll until you find one you’re comfortable with.)

Step 3: The new meter of your project is the first die over the second. Thus, the result from step 2 would mean your new meter is 5/7.

Step 4: Rework a segment of the source track and in the process change the meter from the original to the meter that was determined in step 3. You may add additional audio, but some prominent aspect of the original source track should be evident in your final work.

Deadline: Monday, June 2, 2014, at 11:59pm wherever you are.

Length: Your finished work should likely be between a two minutes and four minutes, but there’s no formal length requirement.

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, please include the term “disquiet0126-nolaremetered” 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 126th Disquiet Junto project — “Change the meter of a 1918 jazz recording by the Louisiana Five”— at:

Disquiet Junto Project 0126: NOLA Re-metered

More on the Disquiet Junto at:

The Disquiet Junto Project List (0001 – 0279 …)

Join the Disquiet Junto at:

Track sourced from:

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  • about

  • Marc Weidenbaum founded the website 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

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    • December 13, 2022: This day marks the 26th anniversary of the founding of
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

  • Recent
    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly ( at Gray Area (
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
    • December 13, 2021: This day marked the 25th (!) anniversary of the start of the Disquiet Junto music community.
    • There are entries on the Disquiet Junto in the 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.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at

  • 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).

  • disquiet junto

  • Background
    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.

    Recent Projects

  • 0544 / Feedback Loop / The Assignment: Share music-in-progress for input from others.
    0543 / Technique Check / The Assignment: Share a tip from your method toolbox.
    0542 / 2600 Club / The Assignment: Make some phreaking music.
    0541 / 10BPM Techno / The Assignment: Make some snail-paced beats.
    0540 / 5ive 4our / The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond.

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