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tag: remix

Disquiet Junto Project 0389: Long Then

The Assignment: Take an old song, and make it (much) slower, and add something.

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 Monday, June 17, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted in the early afternoon, California time, on Thursday, June 13, 2019.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0389: Long Then
The Assignment: Take an old song, and make it (much) slower, and add something.

Step 1: For this project you’ll be reworking an old piece of your own music. Reading through the instructions first may aid in your selection process.

Step 2: Choose an old piece of music of your own. (Define “old” as you like. “Preexistence” is the main factor.)

Step 3: Slow it down considerably (at least by a third, maybe by much more).

Step 4: Add one or two new elements that proceed at the piece’s new pace.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0389” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0389” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0389-long-then/

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.

Additional Details:

Deadline: This project’s deadline is Monday, June 17, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted in the early afternoon, California time, on Thursday, June 13, 2019.

Length: The length is up to you. Shorter is often better, though short may not apply this week.

Title/Tag: When posting your track, please include “disquiet0389” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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: Consider setting 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 389th weekly Disquiet Junto project — Long Then / The Assignment: Take an old song, and make it (much) slower, and add something — at:

https://disquiet.com/0389/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0389-long-then/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

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Disquiet Junto Project 0382: Understanding McLuhan

The Assignment: Remix samples of an interview with Eric McLuhan on his father and media theory.

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 Monday, April 29, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted in the morning, California time, on Thursday, April 25, 2019.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0382: Understanding McLuhan
The Assignment: Remix samples of an interview with Eric McLuhan on his father and media theory.

This project is being done in coordination with Fabricatorz Foundation and ONG Record’s O.N.G.2 experiential club night on Saturday, April 27, in Saint Louis. Many thanks to Jon Phillips for having made this project happen.

Step 1: Download and listen to the provided samples of Eric McLuhan, son of media theorist Marshall McLuhan, at this URL. The following samples are made from a radio interview of Eric McLuhan about his father and media theory. The McLuhan Institute authorized use (for this one-time artistic, non-commercial purpose). Have fun!

https://ong.gg/saintmcluhan/junto

Step 2: Create an original piece of music employing one or more of those samples. Consider the theme of “media ecology” as you do so.

Background: Marshall McLuhan developed the concepts of media theory and media ecology in his seminal work Understanding Media: The Extensions of Man (1964). Media ecology is the study of media, technology, and communication and how they affect human environments. Media ecology refers to the context and the environment in which a medium is used. Marshall McLuhan’s work on media began in St. Louis while he taught at Saint Louis University from 1937-1944.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0382” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0382” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0382-understanding-mcluhan/

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.

Additional Details:

Deadline: This project’s deadline is Monday, April 29, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted in the morning, California time, on Thursday, April 25, 2019.

Length: The length is up to you.

Title/Tag: When posting your track, please include “disquiet0382” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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: When applying a license, such as a copyright or Creative Commons license, keep in mind that these tracks are for non-commercial purposes only, and only for this project.

For context, when posting the track online, please be sure to include this following information:

More on this 382nd weekly Disquiet Junto project — Understanding McLuhan / The Assignment: Remix samples of an interview with Eric McLuhan on his father and media theory — at:

https://disquiet.com/0382/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0382-understanding-mcluhan/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

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Disquiet Junto Project 0359: Broken Clock

The Assignment: Use an image not as a graphic score, but as a graphic depiction of a remix.

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 Monday, November 19, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, November 15, 2018.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0359: Broken Clock
The Assignment: Use an image not as a graphic score, but as a graphic depiction of a remix.

Step 1: We’ve done lots of “graphic notation” projects in the Disquiet Junto over the years, projects in which an image is interpreted as if it had been intended as a musical score. This week we’re using an image to suggest a means of remixing/reworking a pre-existing piece of music.

Step 2: Look at the image associated with this project. It shows the top of a clock visible beneath a dense scrim of colorful striations. Compare this image to the original image, which accompanied Disquiet Junto project 0357, from two weeks ago. That image is available at disquiet.com/0357. Think about how this week’s image can be interpreted as aesthetic instructions for a remix. It might be informative to know that the 0359 image resulted from a glitch that occurred when I was rendering the “cover” image for project 0357.

Step 3: Listen to the tracks from that previous project. They are at

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0357

And there may be additional tracks at this URL:

https://llllllll.co/t/disquiet-junto-project-0357-clock-work/17274/

Step 4: Choose a track from Step 3. If the track isn’t available (i.e., downloadable and posted with a license allowing for creative reuse), either choose another track or contact the original musician to ask for permission.

Step 5: Remix/rework the track you selected in Step 4 by applying the aesthetic approach you thought about in Step 2.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0359” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0359” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0359-broken-clock/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is Monday, November 19, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, November 15, 2018.

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

Title/Tag: When posting your track, please include “disquiet0359” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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: Please consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

Context: When posting the track online, please be sure to include this following information:

More on this 359th weekly Disquiet Junto project — Broken Clock / The Assignment: Use an image not as a graphic score, but as a graphic depiction of a remix — at:

https://disquiet.com/0359/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0359-broken-clock/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image adapted (cropped, text added) from a photo by Steven Feather, used via Flickr thanks to a non-commercial Creative Commons license (CC BY-NC-SA 2.0):

https://flic.kr/p/7Pkq3f

https://creativecommons.org/licenses/by-nc/2.0/

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Disquiet Junto Project 0347: Remix Remodel

The Assignment: Update a track by one Junto participant by adding beats from another Junto participant's imaginary drum machine.

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 Monday, August 27, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, August 23, 2018.

Tracks are added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0347: Remix Remodel
The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine.

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this project.

Step 1: Two weeks ago in the Disquiet Junto, people made beats for their own imaginary drum machines. Last week in the Junto, people used other people’s beats from the prior project to make their own tracks. This week, the third week of this multi-part project, you’ll remix a track from the second week using beats from the first week.

Step 2: Listen through the tracks from last week, and choose the one you want to remix:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0346

In addition, there may be some other tracks from the project in the Lines discussions, here:

https://llllllll.co/t/disquiet-junto-project-0346-drum-machinations/

Step 3: Listen through the tracks from the first week’s project, and choose the one whose beats you want to use in your remix of the track you selected in Step 2. The beats appear at the start of each of the participating tracks in the week’s SoundCloud playlist, here:

https://soundcloud.com/disquiet/sets/disquiet-junto-project-0345

In addition, there may be some other tracks from the project in the Lines discussions, here:

https://llllllll.co/t/disquiet-junto-project-0345-sample-time/

Step 4: Having chosen tracks in Steps 2 and 3 above, confirm the tracks are downloadable. If one isn’t, either get in touch with the musician who made it, or choose another track.

Step 5: Remix/rework/remodel the track you selected in Step 2 with beats you selected in Step 3.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0347” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0347” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0347-remix-remodel/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is Monday, August 27, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the afternoon, California time, on Thursday, August 23, 2018.

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

Title/Tag: When posting your track, please include “disquiet0347” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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’s important for this project 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 online, please be sure to include this following information — as well as the name of the individual whose beats you’re using, and a link to that source track:

More on this 347th weekly Disquiet Junto project (Remix Remodel / The Assignment: Update a track by one Junto participant by adding beats from another Junto participant’s imaginary drum machine) at:

https://disquiet.com/0347/

Major thanks to Matt Nish-Lapidus and Jason Wehmhoener for having helped put together this and the preceding two projects.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0347-remix-remodel/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Bradjward, used thanks to Flickr and a Creative Commons license:

https://flic.kr/p/9FEusR

https://creativecommons.org/licenses/by-nc/2.0/

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Uncovering Corruption

The Japanese musician who goes by Corruption, that is

I listen to a lot of music by musicians about whom I know very little. This contextual void is the nature of the internet, a medium that aspires to a state of frictionless-ness. The circumstance is exacerbated by my listening habits, which tend toward digital crate-digging, a longstanding inclination toward hypertextual windings through Bandcamp, SoundCloud, YouTube, message boards, and other places where musicians post their work, often under pseudonyms, often without any information at all about who they are, where they live, what they are up to in life, or what constitutes the music they have posted. Add to it foreign-to-me languages, no matter a bookmarked Google Translate at the ready, and even the more loquacious sources of music can remain opaque.

And of all the near-anonymous musicians I follow, few exceed for me the intrigue/knowledge ratio of the Japan-based individual (it appears to be an individual, but may be more than one person) who goes by the name Corruption — drop the “u” to access via SoundCloud at soundcloud.com/corrption. I’ve been listening to Corr(u)ption at least since the end of 2013, by which point the account had accumulated several dozen tracks, ranging from avant-garde hip-hop to urban field recordings. As of today, that count is well past 500.

There are, still, ways that information accumulates, even against such a musician’s perceived intentions. For one thing, there is rewinding the path that led you to a particular music recording. (In the case of Corruption, however, I can’t reconstruct what that path was.) For another, it is through association, such as, in Corruption’s case, the musicians who also record for the Damade record label. A new release on Damade, from the Japanese post-rock duo Kasetsu (in English: “Hypothesis”), includes remixes by other Damade roster members, among them Corruption. Even if we can’t get a bead on Corruption, we can triangulate certain musical motivations by listening to the before and after of Corruption’s remixes. There are two on the new Kasetsu album, which is titled simply /01, and a third and fourth on Corruption’s SoundCloud account.

The original of Kasetsu’s “ONOMAT” is a tasty bit of instrumental post-rock, echoing Tortoise’s time-signature mirages and Shellac’s visceral tendencies. In Corruption’s hands, a hard, rubbery reverb is put on the track, so it reflects back on itself in quick, merciless bursts, exaggerating the original’s metric complexity into something nearly psychedelic.

“Assob” adds a bit of lounge jazz to the mix, giving the track the feel of a forgotten Minutemen song — it moves back and forth between noticeably different segments, as much collage as verse-chorus-verse in structure. In this case, Corruption cuts the original by more than half, and forces it into a more martial cadence. Like the original, it speeds up as it goes, eventually becoming a pachinko parlor scored by Carl Stalling.

In addition, there is “line” on /01, which sounds like the economical backing track to a new wave song. It’s not difficult to imagine Debora Iyall or Ric Ocasek’s voice suddenly appearing. In the soundcloud.com/corrption reworking, Corruption notices the slight reggae quality to the original (shades of early Police, perhaps — Stewart Copeland’s syncopations were certainly post-rock premonitions), and amplifies it into casual robotoic dub that becomes enamored of its own repetitions. There is also a reworking of the first track off /01, “Express,” which is the most violently transformed of the batch, a shuddering explosion of fragmented loops. Throughout the remixes, we get a fix on Corruption’s interest in dub and the varied potential impacts of repetition.

Get the full album at damade.bandcamp.com. More from Corruption at soundcloud.com/corrption.

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