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: recommended stream

Mike Dayton’s Music for Scarier People

In time for Halloween

Get your Halloween on early with Mike Dayton’s Scarier Music for Even Scarier People, a 12-track collection that is part Radiophonic Workshop alien invasion, part Blair Witch Project quotidian horror. The mix of whirligig synthesizers and everyday noise, of whizzy scifi sound effects and the creaking and scraping of your worst home-alone nightmares, is the perfect soundtrack for the upcoming annual festivities and, you might say, every other day, as well. Definitely check out the overwhelming choral onslaught of “Otherworldly Assemblage,” interrupted by anxiety-provoking stuttering that is, as time passes, totally consumed by the drone.

More from Dayton, who is based in Minneapolis, Minnesota, at

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Current Favorites: Score, Drone, Cover

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. I hope to write more about some of these in the future, but didn’t want to delay sharing them.

▰ The score to a short film, Jim of Earth, composed by Coma Calling, aka Kyle Cramb of Wichita, Kansas. Some richly suggestive atmospheres, full of tension and narrative.

▰ Three tracks by mora-tau, aka Takenori Iwasaki of Utsunomiya, Japan, comprise the album Memorial. The key track is the opening one, “Into Secret,” an 18-minute drone with varying textures.

▰ A synthesizer cover of Aphex Twin’s “Avril 14th” by Perplex On (based in Munich, Germany), with a musicbox-like quality to it:

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Disquiet Junto Project 0512: The Sequel

The Assignment: Record a piece of music that follows up a preexisting piece of music.

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, October 25, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 21, 2021.

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

Disquiet Junto Project 0512: The Sequel
The Assignment: Record a piece of music that follows up a preexisting piece of music.

Step 1: You’re going to record a piece of music that is a sequel to a preexisting piece of music. Your finished work might be an answer song, or it might be the next logical development of melodic or other material, or it may take an entirely different approach. First, select the piece of music to which you will compose a sequel. It may be your own, or someone else’s.

Step 2: Now record a sequel, however you might define it, to the piece of music you selected in Step 1.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0512” (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 “disquiet0512” (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 for this 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, October 25, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 21, 2021.

Length: The length of your finished track is up to you.

Title/Tag: When posting your tracks, please include “disquiet0512” 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 512th weekly Disquiet Junto project — The Sequel (The Assignment: Record a piece of music that follows up a preexisting piece of music) — 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 Larry Darling, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

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The Ingredients Are the Recipe

A new sample set from Simon James French is not just for musicians

Sometimes the ingredients are the recipe. Why eat banana bread when you can just eat a banana? Why cook salmon, when you can have sashimi? Why make a brownie, when you can eat the chocolate chips straight from a bag? And yes, you may elect to make music from Simon James French’s new sample pack, but you could also just pop the 20 tracks into an audio player, sit back, and listen. You’d hear frazzled tones with a slight delay (“Broken Phone”), and soft pads with a textural heft (“Warm Piano”), and ominous, echoing, dank-corridor ambience (“Press”), and warped nostalgia reminiscent of Angelo Badalamenti (“Drunken Wander”), among many other drifty, dreamy sonic spaces. The set opens with “Glitchy Reverse Rhodes,” in which the electric piano plays the sound of a frozen moment. That track is reason enough alone to check out the new French collection, and then there are 19 more waiting.

Released at It’s the third (“and final”) in a series.

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Norah Lorway’s Maximalist Ambience

From a forthcoming Xylem Records release

Norah Lorway’s “digitalOcean,” off a forthcoming release on the Xylem Records label, is full-on maximalist ambience. It’s quiet-seeming music that manages to remain loud even as you lower the volume. The shimmering white noise has all the signals of reflection, of peacefulness: the absence of percussion, the adherence to sameness, the limited and consistent range of sounds. But it is anything but peaceful. This is static only in the way that being in the pouring rain means to be continuously wet. This is static only in the sense of elements taking their wondrous toll on a cliff, and the whole thing being filmed over the course of millennia and then the film being sped up for our geological education. The track is beautiful in a brutal way and brutal in a beautiful way.

Originally posted at More from Lorwaym based in Cornwall in the U.K., at

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