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. • Disquiet.com 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: voice

Disquiet Junto Project 0489: The Prestige

The Assignment: Apply some magic to ABA form.

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, May 17, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 13, 2021.

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

Disquiet Junto Project 0489: The Prestige
Assignment: Apply some magic to ABA form.

Thanks to Disquiet Junto member rbxbx for proposing this.

Step 1: There’s a now famous quote from the opening of the 2006 film The Prestige. It goes as follows. Give it a read:

“Every magic trick consists of three parts — or acts. The first part is called the Pledge. The magician shows you something ordinary: a deck of cards, a bird, or a man. He shows you this object. Perhaps he asks you to inspect it — to see if it is, indeed, real. You know: unaltered, normal. But of course … it probably isn’t. The second act is called the Turn. The magician takes the ordinary something and makes it do something extraordinary. Now, you’re looking for the secret, but you won’t find it, because of course you’re not really looking. You don’t really want to know. You want to be fooled. But you wouldn’t clap yet. Because making something disappear isn’t enough. You have to bring it back. That’s why every magic trick has a third act, the hardest part, the part we call the Prestige.”

Step 2: This arc, moving from Pledge to Turn to Prestige, can be read as a take on the classic ABA structure, in which a theme is introduced, then something else occurs, and then the piece returns to where it began.

Step 3: Compose and record a piece of music that takes the process described in The Prestige as its blueprint.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0489” (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 “disquiet0489” (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 tracks in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0489-the-prestige/

Step 5: Annotate your tracks 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 the end of the day Monday, May 17, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 13, 2021.

Length: The length of your finished track is up to you. Listening can be deceiving.

Title/Tag: When posting your tracks, please include “disquiet0489” 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 489th weekly Disquiet Junto project — The Prestige (Assignment: Apply some magic to ABA form) — at: https://disquiet.com/0488/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0489-the-prestige/

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

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The Hitman’s ASMR

Video game ambience and not


Hitman 3, the latest from the long-running video game series, counts Dartmoor in England among its numerous international locations. A gamer ASMR account on YouTube has set out to produce documents of each of the settings, this one moving from graveyard to abandoned conservatory of flowers to the interiors of a grand home. (There’s also another video up already for an Italian locale.) Notable in the game is that because of its remote places, in contrast with, say, largely urban fare like Grand Theft Auto and Cyberpunk 2077, when voices are overheard, as they are here, they don’t pass as background noise. They stand out like fluorescent paint might against a sodden British hillside.

Video originally posted to YouTube.

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Laura Cannell and Kate Ellis in Mutual Exile

The latest in a year-long, long-distance collaboration


Laura Cannell, from England, and Kate Ellis, from Ireland, are a pair of musicians collaborating at a distance on a year-long project in mutual isolation. Each month they release a new collection that pairs the former’s violin with the latter’s cello, along with other elements, notably Cannell’s angelic voice and light production techniques, such as a deep, unresolved echo. In combination, the dozen months of this work-in-progress are titled These Feral Lands – A Year Documented in Sound and Art. The final track of the March edition of Feral Lands came with a mention that it was the first time the duo had recorded simultaneously, and that they did so over the phone, which circumstances suggest that all of January and February, as well as the lion’s share of March, were accomplished with overdubbing: one musician supplying the other with material to subsequently complement. The April set is another batch of charactertistically verdant wonder, with Ellis adding double bass to the kit and Cannell’s voice taking on a shoegaze-like ethereality.

Album originally posted at brawlrecords.bandcamp.com. More from Cannell at lauracannell.co.uk and Ellis at kateelliscello.com.

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Beirut Drone Duets

Seven pairings courtesy of Ruptured Records


The definition of drone on the first volume of Ruptured Records’ The Drone Sessions gets pushed, challenged, and, in the end, enriched over the course of the set’s seven tracks. Each is a duet, 14 participants in all with none repeated. It opens with a mix of throttled, soft-attack keyboard sounds paired with inhumanly extended vocals, heavenly choir as manifest in a machine, and utterly gorgeous. That’s Fadi Tabbal and Julia Sabra’s “Roots.” Elsewhere, Charbel Haber and Sary Moussa bring a shimmery glitch to “And Yet Another Romance on a Sinking Ship,” while on “Woe to Him,” Sharif Sehnaoui and Tony Elieh emphasize string instruments, what appears to be an acoustic bass particularly prominent, such that the track is only drone-like in its adherence to a repetitive, underlying rhythm (it eventually explodes into a raucous noise).

Which is not only fine but kind of wonderful. Rather than parse out one held tone after another, The Drone Sessions uses the tension between artistic voices in combination with widely varied approaches to explore a far richer palette than an album with this title might have otherwise. All but one of the musicians is Lebanese, the exception being Aya Metwalli, who is Egyptian. Ruptured, the label, is based in Beirut, Lebanon, and the session itself was a collaboration with Nathan Larson, his Lumen Project inspiring the pairing inherent in the lineup.

The other performers are Jad Atoui, Liliane Chlela, Nadia Daou (aka NÂR), Ziad Moukarzel, Jawad Nawfal, Anthony Sahyoun, and Elyse Tabet. “Courbe Lisse,” Tabet and Nawfal’s more traditional drone, is an epic, nearly 12-minute expanse, and how it veers from gossamer pleasure to rougher terrain is one of the album’s many highlights.

All the music was recorded live over the course of two sessions back in November 2020 at the Beirut studio Tunefork. Album originally posted at rupturedthelabel.bandcamp.com. It was released back on March 19 of this year.

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Current Favorites: Guitar Samples, Instrumental Hip-Hop, Surround Keyboards

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.

▰ There’s one track up thus far from the self-titled Sweepsculp, the remainder due out on the Nous’klaer Audio label May 7 (I’ve seen it listed as late April elsewhere; May 7 is the date on the Bandcamp page). Sweepsculp is a pseudonym for Dutch musician Thessa Torsing, best known as Upsammy. Apparently the EP is “using only an acoustic guitar besides drums.” The first track, “Plaudable,” is laudable for its tight groove, its punchy, low-key beats, and its playful exploration of slight variations amid minimalist repetition.


▰ On Bandcamp Day, Los Angeles producer Jansport J uploaded the instrumental tracks to rapper Quadry’s mid-2020 album Don’t You Weep. It’s seven soulful cuts, the tidy beats rich with backing vocals, old-school electric keyboard, dubby percussive effects, and occasional double-speed samples.


▰ Vancouver, B.C.-based musician Scott Morgan, aka Loscil, has a new record, Clara, due out on May 28. The production process is fascinating: “[It was] sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then ‘scratched and abused to add texture and color,’ from which the entirety of Clara was sampled, shape-shifted, and sculpted.” The first track is all glimmering grainy heavens above a scratchy rhythm.


▰ If you dig Nils Frahms’ live setup, an indie-studio reimgaining of Rick Wakeman’s surround-keyboard mode, then this video of Hania Rani may appeal, especially when, at 7:15, she puts a stone on her Prophet sythesizer to hold a note.


▰ The dental drill wind tunnel noise of “Exhalation” and the lost, dubbed-out spaciousness of “Lost Race” were our first two tastes of the 13 tracks that will comprise End of Trilogy, before it was released this past Friday. Now out on the excellent Room40 label, it collects pummeling sounds from Yuko Araki. She’s a force to be reckoned with.


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