Sun, 05 Apr 2026 11:27:31 +0200 https://hearthis.at/audio-obscura-ib/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/audio-obscura-ib/ https://img.hearthis.at/0/7/3/_/uploads/4731300/image_user/w1400_h1400_q70_ptrue_v2_----cropped_193cc35a9ed6171da73fce3b296d2d63croatia-2012-370.jpg no no https://hearthis.at/audio-obscura-ib/lights-out-for-the-territory/
Slow work these days, busy with life, stress and thus music suffers. But this one came out raw, in a burst one evening this week.]]>
Slow work these days, busy with life, stress and thus music suffers. But this one came out raw, in a burst one evening this week.]]> 1485914 no no Sat, 29 Jul 2017 10:24:14 +0200 2017-07-29T10:24:14+02:00 3:24 https://hearthis.at/audio-obscura-ib/the-open-arms-of-a-scarecrow-naviarhaiku183/ the open arms
of the scarecrow


Kwaku Feni Adow is a writer, poet and student from Ghana. He is a member of Africa Haiku Network, Ghana Haiku Society and UHTS (United Haiku and Tanka Society, America). He writes Haiku from his home country and has received publications in haiku journals the likes of The Mamba, Brass Bell, Under the Basho, Frameless Sky, Cattails, Failed Haiku, including Honourable Mentions in online haiku contests. He is the winner of Babishaiku 2016, Africa’s first haiku contest organised by Babishai Niwe Poetry Foundation, Uganda.

Seven days to make music inspired by a haiku poem: more info at http://www.naviarrecords.com/about/naviar-haiku]]> the open arms
of the scarecrow


Kwaku Feni Adow is a writer, poet and student from Ghana. He is a member of Africa Haiku Network, Ghana Haiku Society and UHTS (United Haiku and Tanka Society, America). He writes Haiku from his home country and has received publications in haiku journals the likes of The Mamba, Brass Bell, Under the Basho, Frameless Sky, Cattails, Failed Haiku, including Honourable Mentions in online haiku contests. He is the winner of Babishaiku 2016, Africa’s first haiku contest organised by Babishai Niwe Poetry Foundation, Uganda.

Seven days to make music inspired by a haiku poem: more info at http://www.naviarrecords.com/about/naviar-haiku]]> 1485915 no no Wed, 05 Jul 2017 22:02:30 +0200 2017-07-05T22:02:30+02:00 4:02 https://hearthis.at/audio-obscura-ib/dark-matter/ 1485916 no no Tue, 20 Jun 2017 22:47:29 +0200 2017-06-20T22:47:29+02:00 5:54 https://hearthis.at/audio-obscura-ib/st-louis-clay-bells-disquiet0284/
I like these sort of challenges with the Junto, I like to see how far I can mangle the source audio and take it somewhere away from the original. Ableton is powerful enough to radically alter audio and with time you can turn it into something totally new and different. This piece has taken around 15 hours work since Thursday evening to get to its current state.

I spent an entire evening (Thursday night) using Ableton Live to take the source sounds and turn them into drum percussion sounds and then develop rhythmic sounds. I do this by using 'simpler' the Ableton Sampler, I load the source audio and then use the midi effects pitch control, this can seriously alter the sound. I did this for a few different hits of the bowls but keep each hit to a few seconds at most and saved then as an audio file. I opened these new audio files and EQ'd them a lot, cutting them shorter still. I saved them again and then loaded them as new audio files into a drum rack, editing them still further and adding effects. Once I had around 8 different and interesting sounds I created drum parts and loops. These were again, saved and mixed down and re-opened as audio files. These were then edited again and EQ'd a little more.

On Friday night I started a new session and worked on new bits of source samples, taking a lot of the tail from the bells and editing them together and creating longer drone sounds and playing these as midi keys, this creates new ambient sounds which with a bit more effects sound different from the source sounds but all derived from the source.

I then started to mess around with the sounds from both nights, live looping and playing them through the push controller. I jammed for about 30 minutes and then hit record and jammed for another 20 minutes.
I edited this down to 10 minutes. It needs a decent mix though and more EQing on the master but I am not in a position to do that this weekend as I got loads more things to do, so its a bit muddy in places, a bit too dense as well but I am rather happy with the process and development of the sounds.]]>
I like these sort of challenges with the Junto, I like to see how far I can mangle the source audio and take it somewhere away from the original. Ableton is powerful enough to radically alter audio and with time you can turn it into something totally new and different. This piece has taken around 15 hours work since Thursday evening to get to its current state.

I spent an entire evening (Thursday night) using Ableton Live to take the source sounds and turn them into drum percussion sounds and then develop rhythmic sounds. I do this by using 'simpler' the Ableton Sampler, I load the source audio and then use the midi effects pitch control, this can seriously alter the sound. I did this for a few different hits of the bowls but keep each hit to a few seconds at most and saved then as an audio file. I opened these new audio files and EQ'd them a lot, cutting them shorter still. I saved them again and then loaded them as new audio files into a drum rack, editing them still further and adding effects. Once I had around 8 different and interesting sounds I created drum parts and loops. These were again, saved and mixed down and re-opened as audio files. These were then edited again and EQ'd a little more.

On Friday night I started a new session and worked on new bits of source samples, taking a lot of the tail from the bells and editing them together and creating longer drone sounds and playing these as midi keys, this creates new ambient sounds which with a bit more effects sound different from the source sounds but all derived from the source.

I then started to mess around with the sounds from both nights, live looping and playing them through the push controller. I jammed for about 30 minutes and then hit record and jammed for another 20 minutes.
I edited this down to 10 minutes. It needs a decent mix though and more EQing on the master but I am not in a position to do that this weekend as I got loads more things to do, so its a bit muddy in places, a bit too dense as well but I am rather happy with the process and development of the sounds.]]> 1485917 no no Sat, 10 Jun 2017 22:47:57 +0200 2017-06-10T22:47:57+02:00 10:09 https://hearthis.at/audio-obscura-ib/rust-naviarhaiku177/
This weeks haiku is by Etheridge Knight, see the haiku text in the picture.

More information can be found here;

http://www.naviarrecords.com/about/naviar-haiku]]>
This weeks haiku is by Etheridge Knight, see the haiku text in the picture.

More information can be found here;

http://www.naviarrecords.com/about/naviar-haiku]]> 1485918 no no Sat, 27 May 2017 00:23:45 +0200 2017-05-27T00:23:45+02:00 4:40 https://hearthis.at/audio-obscura-ib/mood-exhibit-lost-language-audio-obscura-remix/
With this in image firmly in my mind I made the rest of the track and then decided some words might capture this mood of being captivated by an art gallery. So I asked my partner to say something cool! (she has a much better voice than me)!
Source Sounds by Mood Exhibit
Remix and most other sounds by Audio Obscura
Voice by Susila Subramaniam]]>
With this in image firmly in my mind I made the rest of the track and then decided some words might capture this mood of being captivated by an art gallery. So I asked my partner to say something cool! (she has a much better voice than me)!
Source Sounds by Mood Exhibit
Remix and most other sounds by Audio Obscura
Voice by Susila Subramaniam]]> 1485919 no no Tue, 23 May 2017 23:09:50 +0200 2017-05-23T23:09:50+02:00 5:05 https://hearthis.at/audio-obscura-ib/shifting-sands-naviarhaiku173/
The idea of the Naviar Haiku is to respond with music to the Haiku.
More info here
http://www.naviarrecords.com/about/naviar-haiku/

My piece started as an attempt to make a grainy sand like sound, I used a recording with a lot of hiss and grain and built up some repeating loops from here, I went for what I hope is a hypnotic repetition, as if lost in the sand deep in a desert. The shifting flow of the music reflects the shifting sands.]]>
The idea of the Naviar Haiku is to respond with music to the Haiku.
More info here
http://www.naviarrecords.com/about/naviar-haiku/

My piece started as an attempt to make a grainy sand like sound, I used a recording with a lot of hiss and grain and built up some repeating loops from here, I went for what I hope is a hypnotic repetition, as if lost in the sand deep in a desert. The shifting flow of the music reflects the shifting sands.]]> 1485920 no no Wed, 26 Apr 2017 23:12:42 +0200 2017-04-26T23:12:42+02:00 3:06 https://hearthis.at/audio-obscura-ib/london-concrte-disquiet0277/
Primarily I used my recent work of field recording 'A Grain of Sound' https://soundcloud.com/audio-obscura-music/a-grain-of-sound as the source but also added other tracks including bits of my recent Ekkofolk remix
https://soundcloud.com/ekkoflok/lydlandskab-juni-2016-audio-obscura-remix

I then took various other bits of Audio - including a voice sample on commuting to London and obscured them and edited it all together in the manner suggested by the Disquiet Junto.

Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album. You can check it out here:

https://midnightcircles.bandcamp.com/album/chew-cinders

Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:

Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.

Step 3: Make a piece of music inspired by the approach delineated in Step 2.]]>
Primarily I used my recent work of field recording 'A Grain of Sound' https://soundcloud.com/audio-obscura-music/a-grain-of-sound as the source but also added other tracks including bits of my recent Ekkofolk remix
https://soundcloud.com/ekkoflok/lydlandskab-juni-2016-audio-obscura-remix

I then took various other bits of Audio - including a voice sample on commuting to London and obscured them and edited it all together in the manner suggested by the Disquiet Junto.

Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album. You can check it out here:

https://midnightcircles.bandcamp.com/album/chew-cinders

Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:

Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.

Step 3: Make a piece of music inspired by the approach delineated in Step 2.]]> 1485921 no no Fri, 21 Apr 2017 23:29:21 +0200 2017-04-21T23:29:21+02:00 2:32 https://hearthis.at/audio-obscura-ib/a-grain-of-sound/
The Isle of Grain is in the Thames Estuary, heading into the River Medway in Kent. I was on location recording sounds for a film soundtrack I was asked to make and was seeking a mixture of interesting sounds. The Island is great for walking as there are plenty of marked footpaths and also areas accessible by road.
The landscape is a mix of industry, such as power stations, farmland (there are some rare English grape vines in places) and bird sanctuaries. Its location close to the Thames Gateway area sees a lot of boat and freight traffic.

I was fortunate to capture a differing array of sounds, the drone of a low flying light airplane on day 1 was almost musical in places and helped give a musical quality to parts of this. Elsewhere there are birds, the beats and bangs from industrial units and the relentless pounding of a long (200+ meters) conveyor belt on the north side, (near the village of Cliffe) moving debris to an industrial unit.

More Info on The Isle of Grain is to be found here...
https://en.wikipedia.org/wiki/Isle_of_Grain

And an article by Will Self
http://will-self.com/2015/06/11/on-location-the-hoo-peninsula/

Photo taken by myself, looking East towards the Thames and open sea beyond. This is the location where the recording begins.]]>
The Isle of Grain is in the Thames Estuary, heading into the River Medway in Kent. I was on location recording sounds for a film soundtrack I was asked to make and was seeking a mixture of interesting sounds. The Island is great for walking as there are plenty of marked footpaths and also areas accessible by road.
The landscape is a mix of industry, such as power stations, farmland (there are some rare English grape vines in places) and bird sanctuaries. Its location close to the Thames Gateway area sees a lot of boat and freight traffic.

I was fortunate to capture a differing array of sounds, the drone of a low flying light airplane on day 1 was almost musical in places and helped give a musical quality to parts of this. Elsewhere there are birds, the beats and bangs from industrial units and the relentless pounding of a long (200+ meters) conveyor belt on the north side, (near the village of Cliffe) moving debris to an industrial unit.

More Info on The Isle of Grain is to be found here...
https://en.wikipedia.org/wiki/Isle_of_Grain

And an article by Will Self
http://will-self.com/2015/06/11/on-location-the-hoo-peninsula/

Photo taken by myself, looking East towards the Thames and open sea beyond. This is the location where the recording begins.]]> 1485922 no no Wed, 19 Apr 2017 22:20:51 +0200 2017-04-19T22:20:51+02:00 8:09 https://hearthis.at/audio-obscura-ib/satori-in-hackney-version-2017-disquiet0275/ Disquiet Junto Project 0275: Revisit Something
The Assignment: Make a track all over again.

Step 1: Consider pieces of music you have completed in the recent past.

Step 2: Select one — perhaps you weren’t happy with it, perhaps it felt unfinished, perhaps it took too much time, perhaps you wish you’d spent more time on it.

Step 3: Do it all over again, from scratch — preferably from memory (that is, don’t go back and listen to it).

Step 4: Then compare the two. When uploading the track you completed in Step 3, please where possible include a link to the original track so other people might compare the two as well.

The track I chose to re-record is one of my most well played of previous Disquiet tracks (over 3,500 plays) and was part of Disquiet 221 - Morning Music. https://soundcloud.com/audio-obscura-music/satori-in-hackney-disquiet0221-morningmusic

This track was based around a sample of hitting a wine glass gently and pushing this sample through various effects chains. I loaded the original sample but consciously choose to edit it at a different place and length to the original. I then created a whole new set of effects chains and layered the track a few times and basically made sure I was triggering and manipulating the sounds in a new way. I did this for a while and had fun jamming with an old friend. I then played the drone / melody that appears in the original track but again this is somewhat different. Due to the source sample being the same the track appears quite similar to start with as the wine glass chime takes hold but it starts to sound rather different as it develops, I knew as the effects progressed the basic track would melt into something quite new and I had no idea where it would go. I couldn't remember the length of the original but was surprised when I finished this that they were only 4 seconds difference on length!]]> Disquiet Junto Project 0275: Revisit Something
The Assignment: Make a track all over again.

Step 1: Consider pieces of music you have completed in the recent past.

Step 2: Select one — perhaps you weren’t happy with it, perhaps it felt unfinished, perhaps it took too much time, perhaps you wish you’d spent more time on it.

Step 3: Do it all over again, from scratch — preferably from memory (that is, don’t go back and listen to it).

Step 4: Then compare the two. When uploading the track you completed in Step 3, please where possible include a link to the original track so other people might compare the two as well.

The track I chose to re-record is one of my most well played of previous Disquiet tracks (over 3,500 plays) and was part of Disquiet 221 - Morning Music. https://soundcloud.com/audio-obscura-music/satori-in-hackney-disquiet0221-morningmusic

This track was based around a sample of hitting a wine glass gently and pushing this sample through various effects chains. I loaded the original sample but consciously choose to edit it at a different place and length to the original. I then created a whole new set of effects chains and layered the track a few times and basically made sure I was triggering and manipulating the sounds in a new way. I did this for a while and had fun jamming with an old friend. I then played the drone / melody that appears in the original track but again this is somewhat different. Due to the source sample being the same the track appears quite similar to start with as the wine glass chime takes hold but it starts to sound rather different as it develops, I knew as the effects progressed the basic track would melt into something quite new and I had no idea where it would go. I couldn't remember the length of the original but was surprised when I finished this that they were only 4 seconds difference on length!]]> 1485923 no no Fri, 07 Apr 2017 15:11:14 +0200 2017-04-07T15:11:14+02:00 5:40 https://hearthis.at/audio-obscura-ib/without-arthur-tribute-to-arthur-russell-pt2/
Vocals and Cello - Arthur Russell
Other sounds / Remix - Audio Obscura
With love and respect.]]>
Vocals and Cello - Arthur Russell
Other sounds / Remix - Audio Obscura
With love and respect.]]> 1485924 no no Mon, 03 Apr 2017 22:58:00 +0200 2017-04-03T22:58:00+02:00 4:35 https://hearthis.at/audio-obscura-ib/april-4th-1992-25th-anniversary-tribute-to-arthur-russell/ This track was posted on the 25th anniversary of the death of Arthur Russell. It is offered in tribute and memory to his extraordinary talent.

Vocals and cello - Arthur Russell
All other sounds / remix - Audio Obscura

With Love x]]> This track was posted on the 25th anniversary of the death of Arthur Russell. It is offered in tribute and memory to his extraordinary talent.

Vocals and cello - Arthur Russell
All other sounds / remix - Audio Obscura

With Love x]]> 1485925 no no Mon, 03 Apr 2017 22:36:12 +0200 2017-04-03T22:36:12+02:00 6:14 https://hearthis.at/audio-obscura-ib/always-europe-piano-day-2017/ I assembled it by taking 4 different Piano lines that I had recorded over recent months, I edited these layered them and added some field recorded sounds for added atmosphere. Its got a sonic depth to it I like.

This track is being posted for Piano Day 2017 which coincidentally is also the day that the UK officially began the Brexit process - triggering article 50 of the Lisbon treaty, which makes me incredibly sad.]]> I assembled it by taking 4 different Piano lines that I had recorded over recent months, I edited these layered them and added some field recorded sounds for added atmosphere. Its got a sonic depth to it I like.

This track is being posted for Piano Day 2017 which coincidentally is also the day that the UK officially began the Brexit process - triggering article 50 of the Lisbon treaty, which makes me incredibly sad.]]> 1485926 no no Tue, 28 Mar 2017 19:00:20 +0200 2017-03-28T19:00:20+02:00 3:52 https://hearthis.at/audio-obscura-ib/square-sky-for-bassel-khartabil-disquiet0271/
I wanted to play something slow and repetitive but also uplifting and (to my ears) also featuring hope. In our safe Western homes its hard to imagine the horrors of war and detention people like us have gone through. We can't imagine what its like to be held like this. I did meet Terry Waite (British hostage from 1980s Lebanon who was held for over4 years) at a book talk but what can you say to people in this situation. I hope one day Bassel can enjoy freedom again.

Disquiet Junto Project 0271: Prison Sky
Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention.

Step 1: Familiarize yourself with Bassel Khartabil. This coming Wednesday, March 15, 2017, will mark the fifth anniversary of open-source software engineer Bassel’s March 15, 2012, detention in Syria. It’s been more than a year since anyone has heard from him. Three times in the past the Disquiet Junto has done projects to raise consciousness about his predicament. We did the first one in January 2014, creating a soundscape to go with Bassel’s CGI reproduction of the ancient city of Palmyra:

disquiet.com/2014/01/23/disquiet0108-freebassel/

We did a second one, “Placid Cell,” in March 2015, marking the third anniversary of his incarceration:

disquiet.com/2015/03/12/disquiet0167-freebassel/

And in November 2015 we created audiobook chapters from a book, Cost of Freedom: A Collective Inquiry, written in Bassel’s honor:

disquiet.com/2015/11/12/disquiet0202-costoffreedom/

Read more at http://freebassel.org/2.]]>
I wanted to play something slow and repetitive but also uplifting and (to my ears) also featuring hope. In our safe Western homes its hard to imagine the horrors of war and detention people like us have gone through. We can't imagine what its like to be held like this. I did meet Terry Waite (British hostage from 1980s Lebanon who was held for over4 years) at a book talk but what can you say to people in this situation. I hope one day Bassel can enjoy freedom again.

Disquiet Junto Project 0271: Prison Sky
Mark the 5th anniversary of open-source software engineer Bassel Khartabil’s detention.

Step 1: Familiarize yourself with Bassel Khartabil. This coming Wednesday, March 15, 2017, will mark the fifth anniversary of open-source software engineer Bassel’s March 15, 2012, detention in Syria. It’s been more than a year since anyone has heard from him. Three times in the past the Disquiet Junto has done projects to raise consciousness about his predicament. We did the first one in January 2014, creating a soundscape to go with Bassel’s CGI reproduction of the ancient city of Palmyra:

disquiet.com/2014/01/23/disquiet0108-freebassel/

We did a second one, “Placid Cell,” in March 2015, marking the third anniversary of his incarceration:

disquiet.com/2015/03/12/disquiet0167-freebassel/

And in November 2015 we created audiobook chapters from a book, Cost of Freedom: A Collective Inquiry, written in Bassel’s honor:

disquiet.com/2015/11/12/disquiet0202-costoffreedom/

Read more at http://freebassel.org/2.]]> 1485927 no no Fri, 10 Mar 2017 08:53:07 +0100 2017-03-10T08:53:07+01:00 2:58 https://hearthis.at/audio-obscura-ib/audio-obscura-wst-where-the-light-and-darkness-meet/
Most of the sounds in this track were supplied by WÜST and mixed, spliced and f**cked around with by me....
More collaborations with WÜST are forthcoming in the coming weeks and months]]>
Most of the sounds in this track were supplied by WÜST and mixed, spliced and f**cked around with by me....
More collaborations with WÜST are forthcoming in the coming weeks and months]]> 1485928 no no Sun, 05 Mar 2017 15:13:11 +0100 2017-03-05T15:13:11+01:00 4:26 https://hearthis.at/audio-obscura-ib/the-swedish-rhapsody/
This track was recorded at various time and places throughout 2016 and early 2017.]]>
This track was recorded at various time and places throughout 2016 and early 2017.]]> 1485929 no no Tue, 21 Feb 2017 14:10:53 +0100 2017-02-21T14:10:53+01:00 3:48 https://hearthis.at/audio-obscura-ib/walking-with-winter-behind-us-disquiet0268/
I have actually been out walking today and each day this week. I have had some time off work from my 'normal' waged job so I have been down on the Thames Estuary (Kent and Essex sides) walking and making field recording for a film soundtrack I am working on. Today I walked under these huge electric pylons that you see in the picture (although those with a keen eye will notice the green on the trees - this picture was taken last year as I didn't have my camera with me today). But the sounds of the humming wires humming was very good to record.

I have mentioned in a few places this film project in the past, basically the film is a part documentary and part art film about the states of the Thames Estuary and the lax planning model that has dominated this area. For those who don't know it, the land here is diverse, there are decayed and abandoned former industrial sites, decommissioned power stations next to small pockets of bird sanctuaries, then near huge out of town 'shopping malls' and commuter belt housing estates, there is the huge London Port with its line of Chinese container ships unloading freight 24 hours a day. Today I was on the Essex side of the River, this is the area that gave us Depeche Mode and The Prodigy.

The Thames path is open pathway on both sides of the river and you are free to walk the slim path between river and industry. I have been lots recording at different times of the year to get the difference in seasons. I am building up a library of sounds and moods. The soundtrack will mostly be like this track, full of ambience, static humming and decayed drones. At times they sounds suggest to me the echos of a jaded rave music. You can't help but feel that the best days of this area are long gone but there is beauty to be found here in the Thames Estuary. But lets not be romantic, this is hard-Brexit heartland, disillusioned and left to pick at the carcass of the neighboring behemoth of London just 20 miles away.

This week the weather was a lot warmer and it felt like we are walking with winter behind us. I came back home after my days away made this track tonight. As I drove home I already decided to myself to use the sounds of the pylons from today's recordings, then I pull up at 6pm and read the email from the Junto.

The humming pylons is present but I played around with it, slowing it down so its sounds more real to me but less real then the reality of the actual recording. And then I played a slow haunted synth sound, I like this sound, its got a post-rave almost Burial like quality to it - I have made a lot of sound like this lately, there is a warmth to it I like (but why won't Hyperdub return my calls! Lol!!)
Then some reverb was added and I slowed the whole thing down some more, to me this is as lazy as I can be.

-----------------
Disquiet Junto Project 0268: Walking Music
Take a stroll and describe it in sound, paying tribute to the late manga great Jiro Taniguchi.

Step 1: This week’s project pays tribute to Jiro Taniguchi, the great Japanese manga creator whose numerous works include an adaptation of a Natsume Sōseki novel, dark crime stories, and a widely celebrated and largely dialog-free volume titled The Walking Man. The Walking Man in particular is the inspiration for this week’s Junto project. Taniguchi died on February 11, 2017, at the age of 69.

Step 2: Take a leisurely stroll and record — whether through sound or observation, or both – what you see and experience.

Step 3: Create a short piece of music that reflects the route and experiences of your walk in Step 2.]]>
I have actually been out walking today and each day this week. I have had some time off work from my 'normal' waged job so I have been down on the Thames Estuary (Kent and Essex sides) walking and making field recording for a film soundtrack I am working on. Today I walked under these huge electric pylons that you see in the picture (although those with a keen eye will notice the green on the trees - this picture was taken last year as I didn't have my camera with me today). But the sounds of the humming wires humming was very good to record.

I have mentioned in a few places this film project in the past, basically the film is a part documentary and part art film about the states of the Thames Estuary and the lax planning model that has dominated this area. For those who don't know it, the land here is diverse, there are decayed and abandoned former industrial sites, decommissioned power stations next to small pockets of bird sanctuaries, then near huge out of town 'shopping malls' and commuter belt housing estates, there is the huge London Port with its line of Chinese container ships unloading freight 24 hours a day. Today I was on the Essex side of the River, this is the area that gave us Depeche Mode and The Prodigy.

The Thames path is open pathway on both sides of the river and you are free to walk the slim path between river and industry. I have been lots recording at different times of the year to get the difference in seasons. I am building up a library of sounds and moods. The soundtrack will mostly be like this track, full of ambience, static humming and decayed drones. At times they sounds suggest to me the echos of a jaded rave music. You can't help but feel that the best days of this area are long gone but there is beauty to be found here in the Thames Estuary. But lets not be romantic, this is hard-Brexit heartland, disillusioned and left to pick at the carcass of the neighboring behemoth of London just 20 miles away.

This week the weather was a lot warmer and it felt like we are walking with winter behind us. I came back home after my days away made this track tonight. As I drove home I already decided to myself to use the sounds of the pylons from today's recordings, then I pull up at 6pm and read the email from the Junto.

The humming pylons is present but I played around with it, slowing it down so its sounds more real to me but less real then the reality of the actual recording. And then I played a slow haunted synth sound, I like this sound, its got a post-rave almost Burial like quality to it - I have made a lot of sound like this lately, there is a warmth to it I like (but why won't Hyperdub return my calls! Lol!!)
Then some reverb was added and I slowed the whole thing down some more, to me this is as lazy as I can be.

-----------------
Disquiet Junto Project 0268: Walking Music
Take a stroll and describe it in sound, paying tribute to the late manga great Jiro Taniguchi.

Step 1: This week’s project pays tribute to Jiro Taniguchi, the great Japanese manga creator whose numerous works include an adaptation of a Natsume Sōseki novel, dark crime stories, and a widely celebrated and largely dialog-free volume titled The Walking Man. The Walking Man in particular is the inspiration for this week’s Junto project. Taniguchi died on February 11, 2017, at the age of 69.

Step 2: Take a leisurely stroll and record — whether through sound or observation, or both – what you see and experience.

Step 3: Create a short piece of music that reflects the route and experiences of your walk in Step 2.]]> 1485931 no no Thu, 16 Feb 2017 21:04:41 +0100 2017-02-16T21:04:41+01:00 2:59 https://hearthis.at/audio-obscura-ib/kosmische-kiss/ 1485932 no no Tue, 14 Feb 2017 09:36:09 +0100 2017-02-14T09:36:09+01:00 8:24 https://hearthis.at/audio-obscura-ib/sandunes-switching-rails-audio-obscura-remix/ The name was new to me but I loved the sounds and the article was very inspiring. Ableton also gave away a free pack of sounds, which were originally done for a Red Bull’s Searching for Sound documentary series. The stems from the Sandunes track 'Switching Rails' were made up of a lot of field recorded sounds from Mumbai. I duly downloaded then and over the last few weeks have tried to remix the track using these stems and adding some more sounds of my own. I added some elements of Number stations and extra rhythm bits and played some new sounds along to the loops I made out of the stems. The original track can be heard here;
https://soundcloud.com/sandunes/switching-rails-red-bull-20-before-18]]> The name was new to me but I loved the sounds and the article was very inspiring. Ableton also gave away a free pack of sounds, which were originally done for a Red Bull’s Searching for Sound documentary series. The stems from the Sandunes track 'Switching Rails' were made up of a lot of field recorded sounds from Mumbai. I duly downloaded then and over the last few weeks have tried to remix the track using these stems and adding some more sounds of my own. I added some elements of Number stations and extra rhythm bits and played some new sounds along to the loops I made out of the stems. The original track can be heard here;
https://soundcloud.com/sandunes/switching-rails-red-bull-20-before-18]]> 1485933 no no Thu, 26 Jan 2017 22:27:24 +0100 2017-01-26T22:27:24+01:00 5:08 https://hearthis.at/audio-obscura-ib/western-wind-intro/ 1485934 no no Fri, 20 Jan 2017 10:37:52 +0100 2017-01-20T10:37:52+01:00 1:50 https://hearthis.at/audio-obscura-ib/at-peace-now/ 1485935 no no Fri, 13 Jan 2017 07:51:39 +0100 2017-01-13T07:51:39+01:00 3:41 https://hearthis.at/audio-obscura-ib/five-more-years-audio-obscura-disquiet0262/ I poured and drank and had another and another. This piece took me the length of time it takes to drink 3 cans of beer - Red Stripe if you want to know. Cheers Marc and Disquiet, Here's to five more years!
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Disquiet Junto Project 0262: Ice Code
The Assignment: Record the sound of ice in a glass and make something of it.

Welcome to a new year. This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, back in January 2012. The project is, per tradition, just this one sentence:

Please record the sound of an ice cube rattling in a glass, and make something of it.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each year since has provided a fitting way to begin the new year. At the start of the sixth (!) year of the Disquiet Junto, it is a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0262″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track.

http://llllllll.co/t/ice-music-years-first-project-disquiet-junto-0262/5990

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 9, 2017. This project was posted in the morning, California time, on Thursday, January 5, 2017.]]> I poured and drank and had another and another. This piece took me the length of time it takes to drink 3 cans of beer - Red Stripe if you want to know. Cheers Marc and Disquiet, Here's to five more years!
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Disquiet Junto Project 0262: Ice Code
The Assignment: Record the sound of ice in a glass and make something of it.

Welcome to a new year. This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, back in January 2012. The project is, per tradition, just this one sentence:

Please record the sound of an ice cube rattling in a glass, and make something of it.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each year since has provided a fitting way to begin the new year. At the start of the sixth (!) year of the Disquiet Junto, it is a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0262″ (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: In the following discussion thread at llllllll.co please consider posting your track.

http://llllllll.co/t/ice-music-years-first-project-disquiet-junto-0262/5990

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, January 9, 2017. This project was posted in the morning, California time, on Thursday, January 5, 2017.]]> 1485936 no no Thu, 05 Jan 2017 20:38:24 +0100 2017-01-05T20:38:24+01:00 2:33 https://hearthis.at/audio-obscura-ib/western-wind-imperial/
http://www.outlineonline.co.uk/content/audio-obscura-and-the-sound-celestial-orchestra-western-wind/album-reviews/111979/2485]]>
http://www.outlineonline.co.uk/content/audio-obscura-and-the-sound-celestial-orchestra-western-wind/album-reviews/111979/2485]]> 1485937 no no Wed, 04 Jan 2017 23:33:18 +0100 2017-01-04T23:33:18+01:00 12:14 https://hearthis.at/audio-obscura-ib/eastern-seaboard/
A lot of these field sounds were recorded on a Wildeye sound recording weekend run by Chris Watson, Piers Warren and Jez Riley French in Norfolk on 3-4th December 2015.]]>
A lot of these field sounds were recorded on a Wildeye sound recording weekend run by Chris Watson, Piers Warren and Jez Riley French in Norfolk on 3-4th December 2015.]]> 1485938 no no Fri, 23 Dec 2016 08:03:23 +0100 2016-12-23T08:03:23+01:00 7:05 https://hearthis.at/audio-obscura-ib/western-wind-electronic/ 1485939 no no Wed, 14 Dec 2016 21:37:25 +0100 2016-12-14T21:37:25+01:00 6:57 https://hearthis.at/audio-obscura-ib/retreating-tide/ In 2015 I was asked to make an album for the Subterranean Tide label from Richmond, Virginia, USA. The album I made is called Western Wind - based on reinterpretations of an old lyric-poem which is over 500 years old.
However in the process of making the album the label went on a 'indefinite hiatus' but the album was finished.
I am selling the album through my bandcamp page...
https://audioobscura.bandcamp.com/album/western-wind

This track 'Retreating Tide' is dedicated to Emily Ferrell and Subterranean Tide. We hope to see you again one day.]]> In 2015 I was asked to make an album for the Subterranean Tide label from Richmond, Virginia, USA. The album I made is called Western Wind - based on reinterpretations of an old lyric-poem which is over 500 years old.
However in the process of making the album the label went on a 'indefinite hiatus' but the album was finished.
I am selling the album through my bandcamp page...
https://audioobscura.bandcamp.com/album/western-wind

This track 'Retreating Tide' is dedicated to Emily Ferrell and Subterranean Tide. We hope to see you again one day.]]> 1485940 no no Thu, 08 Dec 2016 08:03:23 +0100 2016-12-08T08:03:23+01:00 6:49 https://hearthis.at/audio-obscura-ib/western-wind-vocal-by-bird-radio/ 1485941 no no Wed, 30 Nov 2016 07:59:23 +0100 2016-11-30T07:59:23+01:00 4:31 https://hearthis.at/audio-obscura-ib/in-a-strangely-domesticated-place-disquiet0256/ http://llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482

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It is Thursday evening UK time and I have the house to myself, my partner is out tonight but my restless son is in bed chatting to himself. In fitting with the challenge I recorded the sounds of the place where I live in quite a literal way. After I had put my son to bed I read the email from Marc but I had a few things to do - eating and a bit of cleaning - domestic stuff.
However I set up two basic Tascam recording devices and a smart phone which was also recording and put these in a few different places around the house. One was near to the speaker monitor which links to my sons room but the proximity of two electronic devices caused the static buzz that opens the track but anyway you can still clearly hear my three year old son chatting to himself. In other rooms I did a few other domestic things and I recorded these sounds; You can hear me loading the dishwasher, the clothes washing machine also features. In my music room I had earlier been playing a record so I played this again and it is audible from time to time - it was the interesting 'Percussion Profiles' LP on ECM from 1978 which I got recently for £2 in a second hand bookshop. I did a bit of cleaning, wiping the top of the kitchen units and then poured a glass of whisky and sat down to make the track. There is about 30 minutes of sound from the three sources but I only spent about 10 minutes seeking out the best bits - when you see a linear wave file you can ignore the silences and look for the 'bumpy bits' of interest. It turns out a lot of it was quiet so I had to really boast the levels in some places. I then started to edit these out. I put in various effects and looped some bits and slowed some bits down pushing them through resonators till you get some nice ambient tones. I played a few back through midi keys and got something fairly musical in places. That was more or less it. I did a rough mix and master but it needs more work really. I think I will come back to this soon and develop these sounds.]]> http://llllllll.co/t/disquiet-junto-project-0256-music-in-place/5482

--------------------------------------------------
It is Thursday evening UK time and I have the house to myself, my partner is out tonight but my restless son is in bed chatting to himself. In fitting with the challenge I recorded the sounds of the place where I live in quite a literal way. After I had put my son to bed I read the email from Marc but I had a few things to do - eating and a bit of cleaning - domestic stuff.
However I set up two basic Tascam recording devices and a smart phone which was also recording and put these in a few different places around the house. One was near to the speaker monitor which links to my sons room but the proximity of two electronic devices caused the static buzz that opens the track but anyway you can still clearly hear my three year old son chatting to himself. In other rooms I did a few other domestic things and I recorded these sounds; You can hear me loading the dishwasher, the clothes washing machine also features. In my music room I had earlier been playing a record so I played this again and it is audible from time to time - it was the interesting 'Percussion Profiles' LP on ECM from 1978 which I got recently for £2 in a second hand bookshop. I did a bit of cleaning, wiping the top of the kitchen units and then poured a glass of whisky and sat down to make the track. There is about 30 minutes of sound from the three sources but I only spent about 10 minutes seeking out the best bits - when you see a linear wave file you can ignore the silences and look for the 'bumpy bits' of interest. It turns out a lot of it was quiet so I had to really boast the levels in some places. I then started to edit these out. I put in various effects and looped some bits and slowed some bits down pushing them through resonators till you get some nice ambient tones. I played a few back through midi keys and got something fairly musical in places. That was more or less it. I did a rough mix and master but it needs more work really. I think I will come back to this soon and develop these sounds.]]> 1485942 no no Thu, 24 Nov 2016 22:45:36 +0100 2016-11-24T22:45:36+01:00 3:22 https://hearthis.at/audio-obscura-ib/western-wind-ambient-vocals-by-bird-radio/
Western Wind is a traditional lyric-poem dating from 1150-1500 C.E.
As a lyric poem it acquired the tune later but both tune and words, as we'd recognize them today are recorded in print from a collection dated to 1530.

The tune and poem are taken apart electronically and reinterpreted through ambient and electronic forms, fusing the choral history of the tune with the possibilities of technology.]]>
Western Wind is a traditional lyric-poem dating from 1150-1500 C.E.
As a lyric poem it acquired the tune later but both tune and words, as we'd recognize them today are recorded in print from a collection dated to 1530.

The tune and poem are taken apart electronically and reinterpreted through ambient and electronic forms, fusing the choral history of the tune with the possibilities of technology.]]> 1485943 no no Thu, 24 Nov 2016 08:38:55 +0100 2016-11-24T08:38:55+01:00 9:52 https://hearthis.at/audio-obscura-ib/the-fog-of-war-trumped-up-disbelief-disquiet0254/
This sounded like a fair challenge and listening to the source sounds I knew I could get something from them and twist them into new forms. I have been attempting for quite a while to use certain sounds to construct beats and sampling little sections of sound and seeing how far I can manipulate them.
In fact I have done this for a number of previous Junto submissions. The SETI track I did back in Junto 0213 was made with a similar method (https://soundcloud.com/audio-obscura-music/inert-entropy-disquietjunto0213-complexsignatures)

So everything you hear comes from these source sounds. The method/ approach with this sort of source sound I find it best to first edit the source sounds down into short sections with the idea of editing tiny little sample of the sources into drum sounds and simply creating a rack of segments that would work as individual drum/ rhythmic sounds. I find that if I take a fraction of second and use things like the Ableton transpose, either detuning really low or high and then add various effects, echos and amps and reverbs you can sooner or later get to some sort of standard drum type sound, this is how I get the kick and thud type sounds you hear. I did this a few times and then I opened a few drum racks in Ableton and spent well over an hour editing 7 or 8 different tiny micro samples before even trying to see if they fitted together. These make up the rhythmic parts of this track. I then took the source samples and opened a few up in my sampler and synths and thus could play them on keys and manipulate the source with more effects, time stretching them etc. I kept in mind the 'drum' parts I had made and tried to match the two different parts of the track together. After I had something which seemed promising I recorded a basic run through of what I had and then opened a bottle of wine and spent a short period away from the computer to get a break. I then sat down and started to construct a track from this recording, it took a while but here it is. I can't stop thinking of Trump, my fears of this cunt and the future, lets hope its not as bleak as are darkest visions we encounter.]]>
This sounded like a fair challenge and listening to the source sounds I knew I could get something from them and twist them into new forms. I have been attempting for quite a while to use certain sounds to construct beats and sampling little sections of sound and seeing how far I can manipulate them.
In fact I have done this for a number of previous Junto submissions. The SETI track I did back in Junto 0213 was made with a similar method (https://soundcloud.com/audio-obscura-music/inert-entropy-disquietjunto0213-complexsignatures)

So everything you hear comes from these source sounds. The method/ approach with this sort of source sound I find it best to first edit the source sounds down into short sections with the idea of editing tiny little sample of the sources into drum sounds and simply creating a rack of segments that would work as individual drum/ rhythmic sounds. I find that if I take a fraction of second and use things like the Ableton transpose, either detuning really low or high and then add various effects, echos and amps and reverbs you can sooner or later get to some sort of standard drum type sound, this is how I get the kick and thud type sounds you hear. I did this a few times and then I opened a few drum racks in Ableton and spent well over an hour editing 7 or 8 different tiny micro samples before even trying to see if they fitted together. These make up the rhythmic parts of this track. I then took the source samples and opened a few up in my sampler and synths and thus could play them on keys and manipulate the source with more effects, time stretching them etc. I kept in mind the 'drum' parts I had made and tried to match the two different parts of the track together. After I had something which seemed promising I recorded a basic run through of what I had and then opened a bottle of wine and spent a short period away from the computer to get a break. I then sat down and started to construct a track from this recording, it took a while but here it is. I can't stop thinking of Trump, my fears of this cunt and the future, lets hope its not as bleak as are darkest visions we encounter.]]> 1485944 no no Fri, 11 Nov 2016 01:24:42 +0100 2016-11-11T01:24:42+01:00 5:47 https://hearthis.at/audio-obscura-ib/33minutes-33seconds/
Like the 22,22 track, I started by looking deep inside an old computer hard drive searching out old discarded bits of sound I hadn't used but which seemed to still have promise. These little bits of sounds were taken and developed and I built this track up slowly over a few weeks. When I had some good sounds and interesting ideas and had developed a few new beats I started improvising via my Push controller and triggering off sounds and just jamming. After recording a few of these sessions I had a break and had a holiday with the family. When I came back to the track after a week away from it - it struck me then how much this sounded like Fourtet in places!
I then took these live jams and started creating a final arrangement which has taken me a few weeks to pin down and mold to the required length.
Its taken a while but I am happy with the results so here it is. Free to download.]]>
Like the 22,22 track, I started by looking deep inside an old computer hard drive searching out old discarded bits of sound I hadn't used but which seemed to still have promise. These little bits of sounds were taken and developed and I built this track up slowly over a few weeks. When I had some good sounds and interesting ideas and had developed a few new beats I started improvising via my Push controller and triggering off sounds and just jamming. After recording a few of these sessions I had a break and had a holiday with the family. When I came back to the track after a week away from it - it struck me then how much this sounded like Fourtet in places!
I then took these live jams and started creating a final arrangement which has taken me a few weeks to pin down and mold to the required length.
Its taken a while but I am happy with the results so here it is. Free to download.]]> 1485945 no no Fri, 28 Oct 2016 14:59:01 +0200 2016-10-28T14:59:01+02:00 33:33 https://hearthis.at/audio-obscura-ib/ghost-in-the-machine/ 1452964 no no Mon, 17 Oct 2016 18:00:27 +0200 2016-10-17T18:00:27+02:00 7:36 https://hearthis.at/audio-obscura-ib/soothing-sounds-obscura-disquiet0250/ It seems to fit the brief of this weeks Disquiet Junto - to create soothing music for babies. I made the original track for my son in the first year of his life, he had a really hard start, various problems and some serious infections which left his parents emotions scattered. When I made the original it was a moment of calm both for me, I used to play it for him a lot and he seemed to like it. Now that awful period is but a memory and it seemed fitting to look afresh at these sounds and remix them. There are a lot of new sounds in this piece, so it feels like an extension of the original.
-----------------------
Disquiet Junto Project 0250: Soothing Sounds for Junto
Make some peaceful music for an infant child.

This project marks the 250th weekly occurrence of the Disquiet Junto series, and it is done as well to congratulate the Junto participants Antenna Research (aka Karin L. Kross and Bruce Levenstein) on the birth of their son.

Project Steps:

Step 1: Back in the early 1960s, Raymond Scott released a set of music for infants, titled Soothing Sounds for Baby. We’re going to produce music along those lines today. Feel free to revisit Scott’s great collection.

Step 2: Compose a piece of music intended for a newborn child, something peaceful as they first experience the world outside the womb.]]> It seems to fit the brief of this weeks Disquiet Junto - to create soothing music for babies. I made the original track for my son in the first year of his life, he had a really hard start, various problems and some serious infections which left his parents emotions scattered. When I made the original it was a moment of calm both for me, I used to play it for him a lot and he seemed to like it. Now that awful period is but a memory and it seemed fitting to look afresh at these sounds and remix them. There are a lot of new sounds in this piece, so it feels like an extension of the original.
-----------------------
Disquiet Junto Project 0250: Soothing Sounds for Junto
Make some peaceful music for an infant child.

This project marks the 250th weekly occurrence of the Disquiet Junto series, and it is done as well to congratulate the Junto participants Antenna Research (aka Karin L. Kross and Bruce Levenstein) on the birth of their son.

Project Steps:

Step 1: Back in the early 1960s, Raymond Scott released a set of music for infants, titled Soothing Sounds for Baby. We’re going to produce music along those lines today. Feel free to revisit Scott’s great collection.

Step 2: Compose a piece of music intended for a newborn child, something peaceful as they first experience the world outside the womb.]]> 1485946 no no Sat, 15 Oct 2016 01:47:56 +0200 2016-10-15T01:47:56+02:00 8:26 https://hearthis.at/audio-obscura-ib/happy-birthday-in-the-style-of-steve-reich-disquiet0249/ -------------------------------------------------------
Disquiet Junto Project 0249: 80 Phases
Wish the minimalist composer Steve Reich a happy birthday.

Project Steps:

Step 1: October 3 marked the 80th birthday of composer Steve Reich. Prepare to record a tribute to him.

Step 2: Select a short segment of sound or music that can be looped and, per Reich’s own technique, “phased.” Fortunately, the song “Happy Birthday” has entered the public domain. Consider using it.

Step 3: Take the segment from Step 2 and play it on repeat, layering the loop with slightly different timing to create a phasing effect. Play around with this, editing the loops until you have some successful or interesting sounds/accidents.

Step 4: Add some extra sounds or textures if you think the piece needs it.]]> -------------------------------------------------------
Disquiet Junto Project 0249: 80 Phases
Wish the minimalist composer Steve Reich a happy birthday.

Project Steps:

Step 1: October 3 marked the 80th birthday of composer Steve Reich. Prepare to record a tribute to him.

Step 2: Select a short segment of sound or music that can be looped and, per Reich’s own technique, “phased.” Fortunately, the song “Happy Birthday” has entered the public domain. Consider using it.

Step 3: Take the segment from Step 2 and play it on repeat, layering the loop with slightly different timing to create a phasing effect. Play around with this, editing the loops until you have some successful or interesting sounds/accidents.

Step 4: Add some extra sounds or textures if you think the piece needs it.]]> 1485947 no no Thu, 06 Oct 2016 21:37:49 +0200 2016-10-06T21:37:49+02:00 4:12 https://hearthis.at/audio-obscura-ib/first-world-boredom-these-disgusting-stars-disquiet0248/
So to read about David Sneider and his Galactic Tick day was laughable to me, he said he wants "a new perspective in anyone who can look up and imagine our entire solar system careening through the galaxy" - to which I thought do they not teach you that stuff in school in the USA? It seems childish, obscene, first world boredom these disgusting stars. Do we stare at the stars in order not to think about the bombs we are dropping on other parts of the world?

So I sang for this weeks Junto, although its barely audible, the words are;
"A Man in California hikes and looks at the stars outside, inside the stars explode in Aleppo, look at the world, the disgusting stars I see". I don't like singing, I have an awful singing voice so I buried my voice in some reverb.

Anyway I am going on Holiday next and hope to return in a better mood!
Peace x

More on this weeks Junto.
--------------------------
Disquiet Junto Project 0248: Galactic Tick
Celebrate the new celestial holiday in music.

Project Steps:

Step 1: Read up on the Galactic Tick, a new proposed holiday exploring, as described by Popular Mechanics, “how people’s perceptions would change if they really realized the one fixed point in their celestial understanding, the mighty sun, was also in flux.”

http://www.popularmechanics.com/space/deep-space/news/a22492/galactic-tick-day-september-29/

http://galactictick.com/

Step 2: Devise a short piece of music in celebration of the Galactic Tick. Perhaps you’ll explore the distance of 225 million years, which is how often the Earth fully circles the center of the Milky Way. Perhaps you’ll find cosmic meaning in 1/129,600,000, which is the “centi-arcsecond” employed by the Galactic Tick planners to make the period of time more human-comprehensible. Perhaps you’ll find meaning in 633.7, which is the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.]]>
So to read about David Sneider and his Galactic Tick day was laughable to me, he said he wants "a new perspective in anyone who can look up and imagine our entire solar system careening through the galaxy" - to which I thought do they not teach you that stuff in school in the USA? It seems childish, obscene, first world boredom these disgusting stars. Do we stare at the stars in order not to think about the bombs we are dropping on other parts of the world?

So I sang for this weeks Junto, although its barely audible, the words are;
"A Man in California hikes and looks at the stars outside, inside the stars explode in Aleppo, look at the world, the disgusting stars I see". I don't like singing, I have an awful singing voice so I buried my voice in some reverb.

Anyway I am going on Holiday next and hope to return in a better mood!
Peace x

More on this weeks Junto.
--------------------------
Disquiet Junto Project 0248: Galactic Tick
Celebrate the new celestial holiday in music.

Project Steps:

Step 1: Read up on the Galactic Tick, a new proposed holiday exploring, as described by Popular Mechanics, “how people’s perceptions would change if they really realized the one fixed point in their celestial understanding, the mighty sun, was also in flux.”

http://www.popularmechanics.com/space/deep-space/news/a22492/galactic-tick-day-september-29/

http://galactictick.com/

Step 2: Devise a short piece of music in celebration of the Galactic Tick. Perhaps you’ll explore the distance of 225 million years, which is how often the Earth fully circles the center of the Milky Way. Perhaps you’ll find cosmic meaning in 1/129,600,000, which is the “centi-arcsecond” employed by the Galactic Tick planners to make the period of time more human-comprehensible. Perhaps you’ll find meaning in 633.7, which is the number of days between celebrations of the Galactic Tick here on Earth, or 1.74, which is the number of years.]]> 1485948 no no Fri, 30 Sep 2016 14:21:06 +0200 2016-09-30T14:21:06+02:00 2:40 https://hearthis.at/audio-obscura-ib/the-rings-of-saturn/ 1485949 no no Tue, 13 Sep 2016 12:14:54 +0200 2016-09-13T12:14:54+02:00 4:45 https://hearthis.at/audio-obscura-ib/arlo3-disquiet0244/ On first listen the three tracks were very intriguing for a remix attempt. The first thing I did after getting the first 20 seconds of each track loaded into Ableton was to extract the Midi information from the track 'Zraerza' (performed by Geeksha Beka and Berio Molina). This is what created the piano you hear in this track, I was really pleased with this and it formed the basis of the track. I added various effects to give it the sound you hear on the track.
The other two tracks I loaded into drum racks and edited small sections and also created loops with various warped effects. After an hour or so of jamming around making further editing and refining to the samples I had about 3 or 4 short bits which sounded quite nice but these changed each time I messed around and played them back, I noticed the different pieces didn't always fit together.
Anyway and despite this I then hit record and just jumped around on the various sections I had laid out in the session view of Ableton, it was in no way seamless! After that I spent another hours or so editing the arrangement and that was it really, its still got a few clear different sections but fits together well (I think) as one piece of music.
-------------------------------------------------------
Step 1: This week’s project is a remix. The following three tracks are available for creative reuse thanks to a Creative Commons license. Please download them and extract the specified source segments:

Use the first 20 seconds of “The Station and the Underclass,” performed by the Phonetic Orchestra, released on the Insub. netlabel based in Geneva:

http://insub.org/insub44/

Use the first 20 seconds of “Cloud Scissors” composed by Lo Wei; performed by Cristián Alvear, Santiago Astaburuaga, Gudinni Cortina, and Rolando Hernández, released on the Impulsive Habitat netlabel based in Portugal:

http://impulsivehabitat.com/releases/ihabp001.htm

Use the first 20 seconds of “Zraerza,” performed by Geeksha Beka and Berio Molina, released on the Alg-a netlabel based in Galicia:

https://archive.org/details/alg-set05-zraerza/

Step 2: Create an original piece of music based on the source audio from Step 1.
]]> On first listen the three tracks were very intriguing for a remix attempt. The first thing I did after getting the first 20 seconds of each track loaded into Ableton was to extract the Midi information from the track 'Zraerza' (performed by Geeksha Beka and Berio Molina). This is what created the piano you hear in this track, I was really pleased with this and it formed the basis of the track. I added various effects to give it the sound you hear on the track.
The other two tracks I loaded into drum racks and edited small sections and also created loops with various warped effects. After an hour or so of jamming around making further editing and refining to the samples I had about 3 or 4 short bits which sounded quite nice but these changed each time I messed around and played them back, I noticed the different pieces didn't always fit together.
Anyway and despite this I then hit record and just jumped around on the various sections I had laid out in the session view of Ableton, it was in no way seamless! After that I spent another hours or so editing the arrangement and that was it really, its still got a few clear different sections but fits together well (I think) as one piece of music.
-------------------------------------------------------
Step 1: This week’s project is a remix. The following three tracks are available for creative reuse thanks to a Creative Commons license. Please download them and extract the specified source segments:

Use the first 20 seconds of “The Station and the Underclass,” performed by the Phonetic Orchestra, released on the Insub. netlabel based in Geneva:

http://insub.org/insub44/

Use the first 20 seconds of “Cloud Scissors” composed by Lo Wei; performed by Cristián Alvear, Santiago Astaburuaga, Gudinni Cortina, and Rolando Hernández, released on the Impulsive Habitat netlabel based in Portugal:

http://impulsivehabitat.com/releases/ihabp001.htm

Use the first 20 seconds of “Zraerza,” performed by Geeksha Beka and Berio Molina, released on the Alg-a netlabel based in Galicia:

https://archive.org/details/alg-set05-zraerza/

Step 2: Create an original piece of music based on the source audio from Step 1.
]]> 1485950 no no Thu, 01 Sep 2016 23:50:21 +0200 2016-09-01T23:50:21+02:00 3:20 https://hearthis.at/audio-obscura-ib/discarded-sound-for-a-film/
As it happens I am currently working on a soundtrack at the moment, which is keeping me busy and with it being August (holidays etc..) I have not been around to 'do the junto' for a while. The film I am scoring is part art project and part documentary on psychogeogrpahy and 'edgelands', its also about the state of planning and of industrial decline, its 90 minutes long and due in early 2017.
In a way its not a million miles away from some ideas that underpin Bladerunner - not artistically but philosophically speaking. Personally I find the 'famous' bladerunner' soundtrack a bit dated and never understood the adoration it still gets - saying that when I first heard it circa 1992 I was impressed. Anyway I feel I am in a soundtrack state of mind these last few months so having a free evening it seems I should have a go.
At the outset I would say about 40% of this track was already made - the ambient textures and deep tones you hear are sounds / things I had been doing for the soundtrack and sort of discarded already so they were lying around ready for another use. I loaded them up and did a bit of editing and then did a sort of Vangelis-esq free improvisation drive-by over the top of (the lighter echo synth sounds and pulse type sound) and that was it really.
(There is a short 30 minute edit / work in progress of the film soundtrack I am working on here...https://vimeo.com/173036846)

(Step 1: As you now know, Jóhann Jóhannsson was selected to score Blade Runner 2. The news means, among other things, that you didn’t get the gig. Please reconcile yourself with this.
Step 2: Please share your favorite track from the audition tape you sent to Ridley Scott.
]]>
As it happens I am currently working on a soundtrack at the moment, which is keeping me busy and with it being August (holidays etc..) I have not been around to 'do the junto' for a while. The film I am scoring is part art project and part documentary on psychogeogrpahy and 'edgelands', its also about the state of planning and of industrial decline, its 90 minutes long and due in early 2017.
In a way its not a million miles away from some ideas that underpin Bladerunner - not artistically but philosophically speaking. Personally I find the 'famous' bladerunner' soundtrack a bit dated and never understood the adoration it still gets - saying that when I first heard it circa 1992 I was impressed. Anyway I feel I am in a soundtrack state of mind these last few months so having a free evening it seems I should have a go.
At the outset I would say about 40% of this track was already made - the ambient textures and deep tones you hear are sounds / things I had been doing for the soundtrack and sort of discarded already so they were lying around ready for another use. I loaded them up and did a bit of editing and then did a sort of Vangelis-esq free improvisation drive-by over the top of (the lighter echo synth sounds and pulse type sound) and that was it really.
(There is a short 30 minute edit / work in progress of the film soundtrack I am working on here...https://vimeo.com/173036846)

(Step 1: As you now know, Jóhann Jóhannsson was selected to score Blade Runner 2. The news means, among other things, that you didn’t get the gig. Please reconcile yourself with this.
Step 2: Please share your favorite track from the audition tape you sent to Ridley Scott.
]]> 1485951 no no Thu, 25 Aug 2016 22:20:44 +0200 2016-08-25T22:20:44+02:00 4:00 https://hearthis.at/audio-obscura-ib/max-cooper-tom-hodge-teotihuacan-parts-1-2-audio-obscura-remix/ 1485952 no no Wed, 17 Aug 2016 13:43:34 +0200 2016-08-17T13:43:34+02:00 7:01 https://hearthis.at/audio-obscura-ib/michael-price-reflected-in-the-waves-audio-obscura-remix/ The original track can be heard here;
https://soundcloud.com/michael_price/reflected-in-the-waves ]]> The original track can be heard here;
https://soundcloud.com/michael_price/reflected-in-the-waves ]]> 1485953 no no Tue, 02 Aug 2016 15:43:51 +0200 2016-08-02T15:43:51+02:00 7:28 https://hearthis.at/audio-obscura-ib/lament-for-soundcloud-and-the-wilful-disregard-to-the-demise-of-group-functions-disquiet0239/ This weeks Junto was interesting though and I had an idea - not strictly following the instructions of the challenge which calls for "a short composition in memoriam for a piece of recently deceased software" - I decided to use the old Windows XP theme music as the basis of my track - so its not obviously what was asked for but I liked the idea of using it. In part though to me this piece of sound - which opens up these old computers - has only recently deceased, this is because I have an old laptop that I was still using till lately (because I have an old version of Cool Edit Pro music software which believe it or not I still use from time to time for certain tasks), even though its 15 year old software and so I still hear that XP start up sound a lot even though to a lot of people its like something from long ago, well this old girl stopped working lately and so it seems to me that its a fair choice of sound. So anyway I just used that opening sound and slowed it down to about 20 seconds in length and took a midi reading of the notes and played these through various other sounds. Then I added some effects and other processing and the sad lamenting strings which makes it, I hope a mournful sound befitting the stupid decision by soundcloud this week and that was about it. ]]> This weeks Junto was interesting though and I had an idea - not strictly following the instructions of the challenge which calls for "a short composition in memoriam for a piece of recently deceased software" - I decided to use the old Windows XP theme music as the basis of my track - so its not obviously what was asked for but I liked the idea of using it. In part though to me this piece of sound - which opens up these old computers - has only recently deceased, this is because I have an old laptop that I was still using till lately (because I have an old version of Cool Edit Pro music software which believe it or not I still use from time to time for certain tasks), even though its 15 year old software and so I still hear that XP start up sound a lot even though to a lot of people its like something from long ago, well this old girl stopped working lately and so it seems to me that its a fair choice of sound. So anyway I just used that opening sound and slowed it down to about 20 seconds in length and took a midi reading of the notes and played these through various other sounds. Then I added some effects and other processing and the sad lamenting strings which makes it, I hope a mournful sound befitting the stupid decision by soundcloud this week and that was about it. ]]> 1485954 no no Thu, 28 Jul 2016 21:58:17 +0200 2016-07-28T21:58:17+02:00 2:33 https://hearthis.at/audio-obscura-ib/midi-sans-frontires/
When I heard Squarepusher had created this open collaboration and reading the idea behind it I knew it was something I should do with all my heart and soul. I am British but I have always felt European and my partner is from a mixed-race background, her father came here to the UK with nothing but a visa and a backpack and created a succesful business, contributing so much to British society. I lived in London 15 years and friends from around the world, I have been appalled and saddened to hear of the attacks and racism the atmosphere of the referendum has created.

My process behind this track was to take the stems offered by Squarepusher and loaded them into Ableton, I played around with them for long time over a few sessions till I got nice little overlaps between different pieces, I was just exploring the sounds really and getting to know them. I settled on only a few loops from only a few of the stems and discarded the rest. I built the track up just by improving with these few loops, adding effects and twiddling the nobs. I added a cello sound and also extracted Midi notes from some of the existing melodies and played these back with Sine waves which I was manipulating. I added a layer or two of sparse percussion but decided to keep the track from growing into a beat-thing but rather keep it subdued. I tried to keep it short but it still lasted over 8 minutes. Peace from Norfolk.
----------------------------------------
Tom Jenkinson (Squarepusher) stated the following on his website;

"The referendum on the UK's membership of the EU has had appalling consequences. It has amplified many divisions in society and in particular has helped to re-establish xenophobia as legitimate and acceptable. Witnessing this against the global backdrop of a resurgence of the far-right, it's essential that those who find these developments unacceptable make their thoughts known and take action.

This piece of music was written in the aftermath of the referendum and I present it as the basis of an internationalist collaboration with sound makers irrespective of what kind of music they make, where they live, their background, their age - all are invited to participate. It is not offered as a substitute for progressive political action but as a complement to it. I put it forward in defiance of the bigotry threatening the fragile connections that exist between us all. I hope it will be an opportunity to reaffirm some of those connections amidst a very disturbing situation.

I have provided a finished mixdown of the piece and audio stems of the constituent instrumental parts. Also available are scores and a MIDI file representing the note to note information. Take the parts and use them however you like. It could be subtly remixed or reworked beyond recognition. Change the instrumentation, the key, the order of notes, the notes themselves - it is absolutely open. The only stipulation is this: if you want your piece to be listed on this site then it must have the title "Midi Sans Frontières". You are welcome not to use that title for whatever you do but that means we can't host your piece." Tom Jenkinson, 1st July 2016 ]]>
When I heard Squarepusher had created this open collaboration and reading the idea behind it I knew it was something I should do with all my heart and soul. I am British but I have always felt European and my partner is from a mixed-race background, her father came here to the UK with nothing but a visa and a backpack and created a succesful business, contributing so much to British society. I lived in London 15 years and friends from around the world, I have been appalled and saddened to hear of the attacks and racism the atmosphere of the referendum has created.

My process behind this track was to take the stems offered by Squarepusher and loaded them into Ableton, I played around with them for long time over a few sessions till I got nice little overlaps between different pieces, I was just exploring the sounds really and getting to know them. I settled on only a few loops from only a few of the stems and discarded the rest. I built the track up just by improving with these few loops, adding effects and twiddling the nobs. I added a cello sound and also extracted Midi notes from some of the existing melodies and played these back with Sine waves which I was manipulating. I added a layer or two of sparse percussion but decided to keep the track from growing into a beat-thing but rather keep it subdued. I tried to keep it short but it still lasted over 8 minutes. Peace from Norfolk.
----------------------------------------
Tom Jenkinson (Squarepusher) stated the following on his website;

"The referendum on the UK's membership of the EU has had appalling consequences. It has amplified many divisions in society and in particular has helped to re-establish xenophobia as legitimate and acceptable. Witnessing this against the global backdrop of a resurgence of the far-right, it's essential that those who find these developments unacceptable make their thoughts known and take action.

This piece of music was written in the aftermath of the referendum and I present it as the basis of an internationalist collaboration with sound makers irrespective of what kind of music they make, where they live, their background, their age - all are invited to participate. It is not offered as a substitute for progressive political action but as a complement to it. I put it forward in defiance of the bigotry threatening the fragile connections that exist between us all. I hope it will be an opportunity to reaffirm some of those connections amidst a very disturbing situation.

I have provided a finished mixdown of the piece and audio stems of the constituent instrumental parts. Also available are scores and a MIDI file representing the note to note information. Take the parts and use them however you like. It could be subtly remixed or reworked beyond recognition. Change the instrumentation, the key, the order of notes, the notes themselves - it is absolutely open. The only stipulation is this: if you want your piece to be listed on this site then it must have the title "Midi Sans Frontières". You are welcome not to use that title for whatever you do but that means we can't host your piece." Tom Jenkinson, 1st July 2016 ]]> 1485956 no no Tue, 19 Jul 2016 14:46:58 +0200 2016-07-19T14:46:58+02:00 8:26 https://hearthis.at/audio-obscura-ib/a-b-c-disquiet0237/ Section A - 10 seconds from the start of a work in progress track 'Manipulated Field recording at the Grave of WG Sebald'.
Section B & C - these two seperate 10 second pieces are from an old abandoned serious of tracks I was making in 2014 that I never properly finished and have been left collecting dust on an old harddrive. In the back of my mind I am always wanting to revisit these but current work and projects takes precedent. I listened back and used a 10 second part from each which seemed promising and they seem to sit nicely. I then placed according to the formula given and so they all sat at 1 minute 30 long. I mixed this down to a single track and opened this back up alongside the three sections and added some subtle effects here on the mixed-down version so a little of each 10 second clip bleeds through into the next.

--------------------------------
Disquiet Junto Project 0237: Combination ABCs
The Assignment: Build a 90-second composition from three 10-second segments.

Project Steps:

Step 1: Record three 10-second sound elements. Keep in mind that they will be layered subsequently in various combinations. You might find it useful to set one or more of the elements to loop naturally after 10 seconds, but you might also enjoy the seam where a given loop begins again.

Step 2: Label the three 10-second sound elements A, B, and C.

Step 3: Create a 90-second track of the following sequence of standalone and combined elements: A, B, C, A+B, A+C, B+C, A+B+C, A+B, A.

Step 4: Your track is complete. However, you may opt to go back in and adjust transitions and add effects.]]> Section A - 10 seconds from the start of a work in progress track 'Manipulated Field recording at the Grave of WG Sebald'.
Section B & C - these two seperate 10 second pieces are from an old abandoned serious of tracks I was making in 2014 that I never properly finished and have been left collecting dust on an old harddrive. In the back of my mind I am always wanting to revisit these but current work and projects takes precedent. I listened back and used a 10 second part from each which seemed promising and they seem to sit nicely. I then placed according to the formula given and so they all sat at 1 minute 30 long. I mixed this down to a single track and opened this back up alongside the three sections and added some subtle effects here on the mixed-down version so a little of each 10 second clip bleeds through into the next.

--------------------------------
Disquiet Junto Project 0237: Combination ABCs
The Assignment: Build a 90-second composition from three 10-second segments.

Project Steps:

Step 1: Record three 10-second sound elements. Keep in mind that they will be layered subsequently in various combinations. You might find it useful to set one or more of the elements to loop naturally after 10 seconds, but you might also enjoy the seam where a given loop begins again.

Step 2: Label the three 10-second sound elements A, B, and C.

Step 3: Create a 90-second track of the following sequence of standalone and combined elements: A, B, C, A+B, A+C, B+C, A+B+C, A+B, A.

Step 4: Your track is complete. However, you may opt to go back in and adjust transitions and add effects.]]> 1485957 no no Fri, 15 Jul 2016 15:42:49 +0200 2016-07-15T15:42:49+02:00 1:30 https://hearthis.at/audio-obscura-ib/iuno-pronuba-disquiet0236-hello-junto/ It was a fun experiment as well, with lots of freedom to create and I I had a free Thursday evening, the email arriving just after nicely in the evening UK time. I had no idea or plan I just let my mind wander with this one. I simply recorded and then loaded up the Morse Signal "Hi To Juno" as its featured in the linked video and looped it and basically played around with it for three hours getting all the rhythm and most of the other sounds from it, slowing it down and effecting it etc etc... and I added a few other static-radio bits thrown in as well to give a sense of radio waves in space, yadda yadda yadda!The bass/kick is from another source entirely and after I recorded it all I felt it was missing something so I got some dialogue off of youtube of someone talking about the Juno mission to Jupiter.

Disquiet Junto 0236: Hello Jun(t)o
The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

In this project we’re going to send a friendly signal to the NASA probe, the Juno spacecraft, that just entered orbit around Jupiter. Well, we’re going to compose such signals. Sending them is a separate endeavor. We’re going to build on the “Say ‘Hi’ to Juno” endeavor, which had thousands of ham operators sending a message to Juno during its five-year voyage. The “Say ‘Hi’ to Juno” message was Morse code for “Hi” — that is, four dots followed by two dots (…. ..).

Step 1: Listen to the Morse code for “hi” (four dots followed by two dots) on repeat for a short time.

Step 2: Create an original musical composition that in one or more ways interpolates that Morse code.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.ne talking about the mission and added that in to give the piece another dimension and narrative grounding. I did it all in one session, three hours or so with the odd trip to the fridge for close encounters of the beer kind and I have uploaded it straight away. I will probably listen to it in the morning and would want to change quite a lot but I quite like doing Junto efforts in a quick burst of creativity.
]]> It was a fun experiment as well, with lots of freedom to create and I I had a free Thursday evening, the email arriving just after nicely in the evening UK time. I had no idea or plan I just let my mind wander with this one. I simply recorded and then loaded up the Morse Signal "Hi To Juno" as its featured in the linked video and looped it and basically played around with it for three hours getting all the rhythm and most of the other sounds from it, slowing it down and effecting it etc etc... and I added a few other static-radio bits thrown in as well to give a sense of radio waves in space, yadda yadda yadda!The bass/kick is from another source entirely and after I recorded it all I felt it was missing something so I got some dialogue off of youtube of someone talking about the Juno mission to Jupiter.

Disquiet Junto 0236: Hello Jun(t)o
The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

In this project we’re going to send a friendly signal to the NASA probe, the Juno spacecraft, that just entered orbit around Jupiter. Well, we’re going to compose such signals. Sending them is a separate endeavor. We’re going to build on the “Say ‘Hi’ to Juno” endeavor, which had thousands of ham operators sending a message to Juno during its five-year voyage. The “Say ‘Hi’ to Juno” message was Morse code for “Hi” — that is, four dots followed by two dots (…. ..).

Step 1: Listen to the Morse code for “hi” (four dots followed by two dots) on repeat for a short time.

Step 2: Create an original musical composition that in one or more ways interpolates that Morse code.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.ne talking about the mission and added that in to give the piece another dimension and narrative grounding. I did it all in one session, three hours or so with the odd trip to the fridge for close encounters of the beer kind and I have uploaded it straight away. I will probably listen to it in the morning and would want to change quite a lot but I quite like doing Junto efforts in a quick burst of creativity.
]]> 1485958 no no Fri, 08 Jul 2016 00:26:33 +0200 2016-07-08T00:26:33+02:00 6:10 https://hearthis.at/audio-obscura-ib/endless-melancholy-standing-still-before-the-ocean-audio-obscura-remix/ You can also view it on Youtube
https://www.youtube.com/watch?v=nsGRMqX-01I&feature=youtu.be
and download the album
https://endlessmelancholy.bandcamp.com/album/oceanmixes)
]]> You can also view it on Youtube
https://www.youtube.com/watch?v=nsGRMqX-01I&feature=youtu.be
and download the album
https://endlessmelancholy.bandcamp.com/album/oceanmixes)
]]> 1485959 no no Thu, 30 Jun 2016 22:35:46 +0200 2016-06-30T22:35:46+02:00 4:49 https://hearthis.at/audio-obscura-ib/question-marc-disquietjunto0234/ The three tracks from lasts weeks Disquiet 0233 challenge which I used were,
ikjoyce - The Anti Remix
(https://soundcloud.com/ikjoyce/the-antiremix-disquiet0233?in=disquiet/sets/disquiet-junto-project-0233)
Ahornberg - Rainy Afternoon
(https://soundcloud.com/ahornberg/rainy-afternoon?in=disquiet/sets/disquiet-junto-project-0233)
VGmrmojo - Ximer
https://soundcloud.com/vgmrmojo/ximer-disquiet-junto-0233?in=disquiet/sets/disquiet-junto-project-0233

---------------
More on this 234th weekly Disquiet Junto project — “Make a remix of three tracks of a remix of three tracks, courtesy of a Creative Commons license” — at:

http://disquiet.com/0234/

Be sure to credit all the tracks (first and second generation) employed in your piece.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/
]]> The three tracks from lasts weeks Disquiet 0233 challenge which I used were,
ikjoyce - The Anti Remix
(https://soundcloud.com/ikjoyce/the-antiremix-disquiet0233?in=disquiet/sets/disquiet-junto-project-0233)
Ahornberg - Rainy Afternoon
(https://soundcloud.com/ahornberg/rainy-afternoon?in=disquiet/sets/disquiet-junto-project-0233)
VGmrmojo - Ximer
https://soundcloud.com/vgmrmojo/ximer-disquiet-junto-0233?in=disquiet/sets/disquiet-junto-project-0233

---------------
More on this 234th weekly Disquiet Junto project — “Make a remix of three tracks of a remix of three tracks, courtesy of a Creative Commons license” — at:

http://disquiet.com/0234/

Be sure to credit all the tracks (first and second generation) employed in your piece.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/
]]> 1485960 no no Mon, 27 Jun 2016 11:12:23 +0200 2016-06-27T11:12:23+02:00 3:36 https://hearthis.at/audio-obscura-ib/3form-4disquiet-disquiet0233/
I love remixing others peoples stuff and taking other peoples sounds as source material so this weeks challenge appealed to me.
I spent most of Thursday evening taking the three source tracks (details below) and cutting them up and creating new drum racks using fragments of the pieces, I constructed quite a few new rhythms thinking I might only use some of them but was happy and wanted to make a track with lots of layered rhythm. I went to bed Thursday night reasonably happy with the sounds I had made. I had a bit of time Friday daytime to play around with them trying to get some sort of arrangement down. The 'Pepper Jelly' track was very useful , that and the 'HNY' track made up all my rhythmic tracks - I just created new drum tracks but I think you can audibly hear the source tracks as well. The 'Autista 3' source sound was used to create some textures and ambience and after processing this for a bit and banging it into shape I played that through some synths giving the piece the lead sounds you hear. I set it all up via my Ableton Push and recorded about 10 minutes of me just jamming and playing around with the loops in Ableton. I edited this into the 4 minute arrangement you hear now.
---------------------------------------
Disquiet Junto Project 0233: Netlabel (NND Remix)
The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

Seeing the “ND” tag on a netlabel release is a major buzzkill. The “ND” tag denotes a Creative Commons license that rules out creating derivative work. Fortunately lots of netlabels do allow for creative reuse, and this occasional series of collaborative remixes seeks to celebrate that activity, and encourage other netlabels to switch off the ND tag. Take “NND” to mean “not no derivatives.”

Step 1: Download the three tracks that will provide source audio for this remix:

Use the first 30 seconds of “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel:

http://www.bumpfoot.net/bump207.html

Use the first 30 seconds of “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel:

https://hazenetlabel.bandcamp.com/album/recombinations

Use the first 30 seconds of “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel:

http://www.impulsivehabitat.com/releases/ihab113.htm

Step 2: Create an original piece of work including that source material.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

]]>
I love remixing others peoples stuff and taking other peoples sounds as source material so this weeks challenge appealed to me.
I spent most of Thursday evening taking the three source tracks (details below) and cutting them up and creating new drum racks using fragments of the pieces, I constructed quite a few new rhythms thinking I might only use some of them but was happy and wanted to make a track with lots of layered rhythm. I went to bed Thursday night reasonably happy with the sounds I had made. I had a bit of time Friday daytime to play around with them trying to get some sort of arrangement down. The 'Pepper Jelly' track was very useful , that and the 'HNY' track made up all my rhythmic tracks - I just created new drum tracks but I think you can audibly hear the source tracks as well. The 'Autista 3' source sound was used to create some textures and ambience and after processing this for a bit and banging it into shape I played that through some synths giving the piece the lead sounds you hear. I set it all up via my Ableton Push and recorded about 10 minutes of me just jamming and playing around with the loops in Ableton. I edited this into the 4 minute arrangement you hear now.
---------------------------------------
Disquiet Junto Project 0233: Netlabel (NND Remix)
The Assignment: Make one track from three different netlabels, courtesy of a Creative Commons license.

Seeing the “ND” tag on a netlabel release is a major buzzkill. The “ND” tag denotes a Creative Commons license that rules out creating derivative work. Fortunately lots of netlabels do allow for creative reuse, and this occasional series of collaborative remixes seeks to celebrate that activity, and encourage other netlabels to switch off the ND tag. Take “NND” to mean “not no derivatives.”

Step 1: Download the three tracks that will provide source audio for this remix:

Use the first 30 seconds of “HNY” off the album Wormbole by ʞık (Karl & Karlik) on the Bump Foot netlabel:

http://www.bumpfoot.net/bump207.html

Use the first 30 seconds of “Pepper Jelly” off the album Recombinations by Andre Darius and Riley Theodore on the Haze netlabel:

https://hazenetlabel.bandcamp.com/album/recombinations

Use the first 30 seconds of “Autista 3” off the album Autista by Pablo Reche on the Impulsive Habitat netlabel:

http://www.impulsivehabitat.com/releases/ihab113.htm

Step 2: Create an original piece of work including that source material.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

]]> 1485961 no no Fri, 17 Jun 2016 13:53:19 +0200 2016-06-17T13:53:19+02:00 4:07 https://hearthis.at/audio-obscura-ib/disconnect-acrylic-corpse-open-remix/ 1485962 no no Thu, 09 Jun 2016 14:55:09 +0200 2016-06-09T14:55:09+02:00 3:03 https://hearthis.at/audio-obscura-ib/audio-obscura-strange-meat-yellow-salamander-shrine-codes-recalled-obscura/ And then reworked once again by Audio Obscura - using the two (now deleted) original core tracks by Strange Meat and the Yellow Salamander rework.
This version was made in January 2015 by Audio Obscura and then left to stew on the hard drive and remastered last week - the first week of June 2016. ]]> And then reworked once again by Audio Obscura - using the two (now deleted) original core tracks by Strange Meat and the Yellow Salamander rework.
This version was made in January 2015 by Audio Obscura and then left to stew on the hard drive and remastered last week - the first week of June 2016. ]]> 1485963 no no Tue, 07 Jun 2016 13:24:48 +0200 2016-06-07T13:24:48+02:00 3:50 https://hearthis.at/audio-obscura-ib/the-corner-of-red-lion-street-and-cromer-road-aylsham-disquiet-project-0231/ As has been the case before with me, I read the Disquiet Junto email just after I put my son to bed and had some free time, the email for the challenge came earlier this week so I started it more or less straight away this evening, I was determined to do it this week regardless of what it is as I have been busy the last few weeks and not took part. I live in the middle of nowhere in Norfolk, in the UK, I have nothing around me except fields but wanted a bit of activity for the recording part of challenge so I drove to the market square in my nearby country town of Aylsham to record this, I needed to nip to the Co-op for a few bits and pieces anyway. I walked around the back of the Church, it was 7.20 / 7.40pm when I recorded this, a bit windy this evening but I found a sheltered enough spot. The birds were making a constant chatter as it was nearing roosting time and there a lot of trees by the church but I kept the mics on the 'close setting' as I feared they would take up too much noise if I opened the mics outwards. There is a road here where I recorded which gets a bit of traffic as it comes through the town and has a junction about 20 or so meters away. I set my Tascam device recording and sat on a wooden bench a meter or two away and made notes as things happened. Not much happened really just cars going past and the birds roosting. I recorded 20 minutes and then went home with my notes and loaded it into my computer. I listened through once and it was quite obvious to me which minute to use...

68 second Field Recording: This section I have used is by far the most exciting 60 or so seconds; after about 14/15 seconds a motorbike comes past, he revs the engine after about 20 seconds. Then some teenage kids come around the corner and you get a bit of talk - to be honest I never paid them much attention at the time - 'kids walk past talking 5-10 seconds' is all I wrote in the notes. The traffic gets a busier between 30 and 40 seconds. After 41 seconds there is a strange bird sound. The wind makes something close to the mic make a sound at 1.06 and I fade it out here.
I put the recording into Ableton, and trimmed it to 68 seconds and then I went and got a beer from the fridge and loaded the dishwasher for 10 minutes or so thinking about what to do next.

Additional Synth Sounds, improvised in one take:
I started playing a nice ambient synth sound in Ableton, my notes from the field recording dictated what I played. I told myself to move my fingers about a bit after 14 seconds and again something a bit more radical at 20 seconds when the motorbike would rev sound would happen - this is the ringing sort of mellow bell tone. Again do something when the interesting birds squeaking happens after 41 seconds - I was a second or so late but you can hear my response to this, its the organ sort of improvised bit which fades as the minute mark approaches.
That was it really. I sat and mastered and mixed it only roughly - I liked the feel of it though. It now 9.30pm and I posting it now, so that was a fun two hours!

I forgot to take my camera or phone with me but I found this image picture online, its fairly close to where I recorded, I was just the other side of the gate on the right hand side!
--------------------------------------------------------------------

Disquiet Junto Project 0231: Field Complement
The Assignment: Compose a piece to align with, from memory, 60 seconds of everyday sound.

This week’s project’s theme involves how composing relates to memory. It is recommended that you read through all the steps in the project before proceeding to attempt to execute it.

]]> As has been the case before with me, I read the Disquiet Junto email just after I put my son to bed and had some free time, the email for the challenge came earlier this week so I started it more or less straight away this evening, I was determined to do it this week regardless of what it is as I have been busy the last few weeks and not took part. I live in the middle of nowhere in Norfolk, in the UK, I have nothing around me except fields but wanted a bit of activity for the recording part of challenge so I drove to the market square in my nearby country town of Aylsham to record this, I needed to nip to the Co-op for a few bits and pieces anyway. I walked around the back of the Church, it was 7.20 / 7.40pm when I recorded this, a bit windy this evening but I found a sheltered enough spot. The birds were making a constant chatter as it was nearing roosting time and there a lot of trees by the church but I kept the mics on the 'close setting' as I feared they would take up too much noise if I opened the mics outwards. There is a road here where I recorded which gets a bit of traffic as it comes through the town and has a junction about 20 or so meters away. I set my Tascam device recording and sat on a wooden bench a meter or two away and made notes as things happened. Not much happened really just cars going past and the birds roosting. I recorded 20 minutes and then went home with my notes and loaded it into my computer. I listened through once and it was quite obvious to me which minute to use...

68 second Field Recording: This section I have used is by far the most exciting 60 or so seconds; after about 14/15 seconds a motorbike comes past, he revs the engine after about 20 seconds. Then some teenage kids come around the corner and you get a bit of talk - to be honest I never paid them much attention at the time - 'kids walk past talking 5-10 seconds' is all I wrote in the notes. The traffic gets a busier between 30 and 40 seconds. After 41 seconds there is a strange bird sound. The wind makes something close to the mic make a sound at 1.06 and I fade it out here.
I put the recording into Ableton, and trimmed it to 68 seconds and then I went and got a beer from the fridge and loaded the dishwasher for 10 minutes or so thinking about what to do next.

Additional Synth Sounds, improvised in one take:
I started playing a nice ambient synth sound in Ableton, my notes from the field recording dictated what I played. I told myself to move my fingers about a bit after 14 seconds and again something a bit more radical at 20 seconds when the motorbike would rev sound would happen - this is the ringing sort of mellow bell tone. Again do something when the interesting birds squeaking happens after 41 seconds - I was a second or so late but you can hear my response to this, its the organ sort of improvised bit which fades as the minute mark approaches.
That was it really. I sat and mastered and mixed it only roughly - I liked the feel of it though. It now 9.30pm and I posting it now, so that was a fun two hours!

I forgot to take my camera or phone with me but I found this image picture online, its fairly close to where I recorded, I was just the other side of the gate on the right hand side!
--------------------------------------------------------------------

Disquiet Junto Project 0231: Field Complement
The Assignment: Compose a piece to align with, from memory, 60 seconds of everyday sound.

This week’s project’s theme involves how composing relates to memory. It is recommended that you read through all the steps in the project before proceeding to attempt to execute it.

]]> 1485964 no no Thu, 02 Jun 2016 22:41:44 +0200 2016-06-02T22:41:44+02:00 1:09 https://hearthis.at/audio-obscura-ib/mood-exhibit-audio-obscura-flutters-light-obscura/
It soon moved beyond the remix and many new elements of sound were recorded and added and a new beast began to take form so in essence it took on the mantle of a collaboration. ]]>
It soon moved beyond the remix and many new elements of sound were recorded and added and a new beast began to take form so in essence it took on the mantle of a collaboration. ]]> 1485966 no no Thu, 12 May 2016 13:49:41 +0200 2016-05-12T13:49:41+02:00 6:11 https://hearthis.at/audio-obscura-ib/22minutes-22seconds/ 1485967 no no Fri, 06 May 2016 12:48:21 +0200 2016-05-06T12:48:21+02:00 22:22 https://hearthis.at/audio-obscura-ib/listen-with-bucky-original-1975-electronic-recording-by-buckminster-fuller/
Perhaps the most obscure record in the back catalogue of Buckminster Fuller is the much sort-after 1975 record 'Listen with Bucky' - it was an educational and electronic novelty record which paired the electronic music technology of 1975 with lectures given by American architect, systems theorist, author, designer and inventor, Richard Buckminster Fuller. (1895-1983). It was aimed at 15-18 year old School Children in the USA and commercially available for only a limited time and due to poor sales most were recalled and melted down at an unknown date in the late 70s. However it did help launch the musical career and later electronic musical output by Buckminster Fuller although he is said to have dismissed the project later in life. For this reason our selection from it sits on his Volume 2, rather than volume 1 of his collected works, the music being a way to contrast and evaluate his other more famous works.

The original 1975 record was largely forgotten for nearly 20 years when, legend has it, it was rediscovered in a 2nd hand vinyl store in Nice, France by a popular mid-90s Moog influenced French Electronic sampling duo. The record took near legendary status and a steady stream of poor bootlegs were on the market by the early 2000s.

It took until 2014 however until the record was able to get an official re-release, via Dutch Re-issue label 'Fart-in-a-jar-and-call-it-sweet-records'. On the sleeve notes to the 2014 ultra rare pale-brown vinyl gate-fold (with postcards) edition US writer Warc Meidenbaum commented;
"All the tracks that made up 'Listen With Bucky' featured 5-6 minute lectures by Buckminster Fuller alongside pure electronic music circa 1975 technology, there is the early Roland Rhythm 330 Analog Drumbox and the moog synthesizer, as well as various analog modulators... It might sound pretty basic to our contemporary ears now but at the time these would have been really big boxes, sometimes really big rooms of analog equipment needed to create some of the sound manipulations. If someone were to try and create or re-create such a track nowadays we would rightly laugh at them".

-------------------------------------------------------------------------------------------------------------

(This track was part of Disquiet Junto Project 0226: Bucky Ball

Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller.

This week’s project is based on an imaginary scenario. The electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller is being compiled. You will make music for that compilation — music you imagine Buckminster Fuller might himself have composed. Thanks to C. Reider (actually, a dream that Reider had) for inspiring the project.

Step 1: Imagine there will be a collection of the electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller.

Step 2: Compose and record a piece of music that you imagine Fuller might have created.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.)


All the sounds I used were examples of 1970s or earlier equipment played via Ableton. The Roland Rhythm 330 drum sounds are authentic and from the original drum machine, it was actually just given away free by Ableton this week I noticed. The other retro sounds were made by sampling various old analogue synth tracks and various other copyright free sources like some of the BBC Radiophonic archives. Some of you might notice the presence of Joe Meek in some of the sound sources.


]]>
Perhaps the most obscure record in the back catalogue of Buckminster Fuller is the much sort-after 1975 record 'Listen with Bucky' - it was an educational and electronic novelty record which paired the electronic music technology of 1975 with lectures given by American architect, systems theorist, author, designer and inventor, Richard Buckminster Fuller. (1895-1983). It was aimed at 15-18 year old School Children in the USA and commercially available for only a limited time and due to poor sales most were recalled and melted down at an unknown date in the late 70s. However it did help launch the musical career and later electronic musical output by Buckminster Fuller although he is said to have dismissed the project later in life. For this reason our selection from it sits on his Volume 2, rather than volume 1 of his collected works, the music being a way to contrast and evaluate his other more famous works.

The original 1975 record was largely forgotten for nearly 20 years when, legend has it, it was rediscovered in a 2nd hand vinyl store in Nice, France by a popular mid-90s Moog influenced French Electronic sampling duo. The record took near legendary status and a steady stream of poor bootlegs were on the market by the early 2000s.

It took until 2014 however until the record was able to get an official re-release, via Dutch Re-issue label 'Fart-in-a-jar-and-call-it-sweet-records'. On the sleeve notes to the 2014 ultra rare pale-brown vinyl gate-fold (with postcards) edition US writer Warc Meidenbaum commented;
"All the tracks that made up 'Listen With Bucky' featured 5-6 minute lectures by Buckminster Fuller alongside pure electronic music circa 1975 technology, there is the early Roland Rhythm 330 Analog Drumbox and the moog synthesizer, as well as various analog modulators... It might sound pretty basic to our contemporary ears now but at the time these would have been really big boxes, sometimes really big rooms of analog equipment needed to create some of the sound manipulations. If someone were to try and create or re-create such a track nowadays we would rightly laugh at them".

-------------------------------------------------------------------------------------------------------------

(This track was part of Disquiet Junto Project 0226: Bucky Ball

Compose music for a fictional greatest-hits collection of the electronic music of R. Buckminster Fuller.

This week’s project is based on an imaginary scenario. The electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller is being compiled. You will make music for that compilation — music you imagine Buckminster Fuller might himself have composed. Thanks to C. Reider (actually, a dream that Reider had) for inspiring the project.

Step 1: Imagine there will be a collection of the electronic music of legendary architect, inventor, and theorist R. Buckminster Fuller.

Step 2: Compose and record a piece of music that you imagine Fuller might have created.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.)


All the sounds I used were examples of 1970s or earlier equipment played via Ableton. The Roland Rhythm 330 drum sounds are authentic and from the original drum machine, it was actually just given away free by Ableton this week I noticed. The other retro sounds were made by sampling various old analogue synth tracks and various other copyright free sources like some of the BBC Radiophonic archives. Some of you might notice the presence of Joe Meek in some of the sound sources.


]]> 1485969 no no Sat, 30 Apr 2016 00:51:23 +0200 2016-04-30T00:51:23+02:00 6:17 https://hearthis.at/audio-obscura-ib/1921-2008-disquiet0225-serialcomposition/ 1485970 no no Fri, 22 Apr 2016 15:03:19 +0200 2016-04-22T15:03:19+02:00 2:57 https://hearthis.at/audio-obscura-ib/to-be-held-for-a-long-time/
As mentioned on his Wikipedia page,
"Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time."

After thinking of this I felt that "to be held for a long time" was also a song title in itself so I set about recording a piece of music inspired by this concept. This track is entirely my own work and features strings by The Sound Celestial Orchestra]]>
As mentioned on his Wikipedia page,
"Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time."

After thinking of this I felt that "to be held for a long time" was also a song title in itself so I set about recording a piece of music inspired by this concept. This track is entirely my own work and features strings by The Sound Celestial Orchestra]]> 1017690 no no Sun, 17 Apr 2016 18:46:21 +0200 2016-04-17T18:46:21+02:00 6:58 https://hearthis.at/audio-obscura-ib/bilbaotelevision/
Bilbao/Television contains samples of Spanish TV which I recorded when I stayed in a hotel in Bilbao, Basque Country in 2012, I never knew why I recorded the sounds of randomly flicking through the TV channels but I thought they might come in handy one day!

You can buy a limited edition CD of this album in a hand made sleeve (helped by my 2.5 year old son) or download on a pay what you want basis.
https://audioobscura.bandcamp.com/album/the-88th-day-of-the-year]]>
Bilbao/Television contains samples of Spanish TV which I recorded when I stayed in a hotel in Bilbao, Basque Country in 2012, I never knew why I recorded the sounds of randomly flicking through the TV channels but I thought they might come in handy one day!

You can buy a limited edition CD of this album in a hand made sleeve (helped by my 2.5 year old son) or download on a pay what you want basis.
https://audioobscura.bandcamp.com/album/the-88th-day-of-the-year]]> 1485971 no no Thu, 07 Apr 2016 20:31:44 +0200 2016-04-07T20:31:44+02:00 6:34 https://hearthis.at/audio-obscura-ib/piece-for-solo-dancer-disquiet0222-boundedfoundation/
The whole time I was making this piece I kept asking if a dancer could perform to this and yes I think they could, its a weird track and a lot harsher than my normal work - and harsher than most disquiet tracks but it could work.

-----------------------------------------------------------
Disquiet Junto Project 0222: Bounded Foundation
The Assignment: Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom.”

This is the second project we’re doing with artist and engineer Paolo Salvagione for an extended piece of choreography he’s working on. The result of the project is intended for potential use as a sonic backdrop for the dance performance, and also as a form of research into the materials and ideas being explored by Salvagione and the dancers. (Audio produced for this Junto project will not be used by Salvagione without its composer’s permission.)

Step 1: You will be creating a short, roughly four-minute piece of music. First, take into consideration the setting. Visualize that the piece would be performed by a young solo female dancer. She is dancing in a large space. The sounds of this Junto are the only sounds accompanying her movement.

Step 2: Your piece should have two perceived “levels.” The “top” level should be soft and cloud-like. The “bottom” level should be firm but ever-shifting.

Step 3: Make a piece of sound/music roughly four minutes long that meets the criteria of Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

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.
]]>
The whole time I was making this piece I kept asking if a dancer could perform to this and yes I think they could, its a weird track and a lot harsher than my normal work - and harsher than most disquiet tracks but it could work.

-----------------------------------------------------------
Disquiet Junto Project 0222: Bounded Foundation
The Assignment: Compose a piece for contemporary dance — with a “soft top” and a “shifting bottom.”

This is the second project we’re doing with artist and engineer Paolo Salvagione for an extended piece of choreography he’s working on. The result of the project is intended for potential use as a sonic backdrop for the dance performance, and also as a form of research into the materials and ideas being explored by Salvagione and the dancers. (Audio produced for this Junto project will not be used by Salvagione without its composer’s permission.)

Step 1: You will be creating a short, roughly four-minute piece of music. First, take into consideration the setting. Visualize that the piece would be performed by a young solo female dancer. She is dancing in a large space. The sounds of this Junto are the only sounds accompanying her movement.

Step 2: Your piece should have two perceived “levels.” The “top” level should be soft and cloud-like. The “bottom” level should be firm but ever-shifting.

Step 3: Make a piece of sound/music roughly four minutes long that meets the criteria of Step 2.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

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.
]]> 1485972 no no Mon, 04 Apr 2016 14:35:05 +0200 2016-04-04T14:35:05+02:00 4:00 https://hearthis.at/audio-obscura-ib/before-and-after-silence/ I had a play around with these, they sound very nice! So I sent the audio into my Ableton Push device and started to play around, doing some live looping and triggering off some of the random notes straight from the website. I made a lot of the rhythmic parts from the 'tails' of the notes played and looped these in the drum rack. This track is the result this improvisation. It took me only an hour or so to do.
Happy Piano Day 2016.

]]> I had a play around with these, they sound very nice! So I sent the audio into my Ableton Push device and started to play around, doing some live looping and triggering off some of the random notes straight from the website. I made a lot of the rhythmic parts from the 'tails' of the notes played and looped these in the drum rack. This track is the result this improvisation. It took me only an hour or so to do.
Happy Piano Day 2016.

]]> 1485973 no no Mon, 28 Mar 2016 23:03:29 +0200 2016-03-28T23:03:29+02:00 3:42 https://hearthis.at/audio-obscura-ib/the-88th-day-of-the-year/ "This year the need to break down barriers between genres and celebrate this amazing, versatile instrument is greater than ever!" I took these words as an invitation to make something more than a pure 'solo piano' track and a chance to incorporate electronic touches to my track. The music I create has always tried to steer away from being genre-specific. I am primarily inspired by electronica but have always had a post-classical leaning and I often try and compose something with the piano as the starting point (as opposed to starting out with a beat as in much is electronic music).
When preparing for Piano Day 2016 I realized that I had a number of other piano pieces that I had not released so I took it upon myself to collect these as a small Piano Themed album, called The 88th Day of the Year - and available via my Bandcamp page.
https://audioobscura.bandcamp.com/album/the-88th-day-of-the-year
]]> "This year the need to break down barriers between genres and celebrate this amazing, versatile instrument is greater than ever!" I took these words as an invitation to make something more than a pure 'solo piano' track and a chance to incorporate electronic touches to my track. The music I create has always tried to steer away from being genre-specific. I am primarily inspired by electronica but have always had a post-classical leaning and I often try and compose something with the piano as the starting point (as opposed to starting out with a beat as in much is electronic music).
When preparing for Piano Day 2016 I realized that I had a number of other piano pieces that I had not released so I took it upon myself to collect these as a small Piano Themed album, called The 88th Day of the Year - and available via my Bandcamp page.
https://audioobscura.bandcamp.com/album/the-88th-day-of-the-year
]]> 1485974 no no Fri, 25 Mar 2016 14:41:47 +0100 2016-03-25T14:41:47+01:00 3:57 https://hearthis.at/audio-obscura-ib/satori-in-hackney/ I smiled when I read the subject of this weeks Junto as I had been playing with an idea for a piece of music which fits this brief perfectly. For a while I have wanted to loop the sound of a wine glass, just the gentile tap tap sort of sound and wanted to layer this feeding through various effects and build up a sort a sound which makes you hear things anew. I had that idea for some time, it came to me when I lived in Hackney, London and I found a new understanding of self and of mind, a new calm clarity with things. That feeling is what I tried to reflect in sound. I have tried making music/sound like this in the past, with such a lofty task in mind but never quite managed to get something I was happy with. Well, lets try again, so tonight I tried and it worked out well I feel. I already had the basic sound and sample of wine glass on the computer so I loaded this up into Ableton and looped it for a good ten minutes on 6 channels and added some effects to all but one channel and started play back. I dropped the loop in at different times and brought the effects up slowly, imagining I was just waking up to the day. I recorded what I was doing on the third take and used this as the basis of the arrangement. There are some harmonic elements later on in the track which I added in afterwards which is a sort of melody which to me is still refreshing and peaceful. I didn't fuss to much mixing or mastering it very well, it could do with more work probably but I like it as it feels fresh. Besides I am supposed to be working on something else this evening so I rushed it and also wanted the pointless accolade of being the first to post in the new junto window, something I've not did before (sad I know!)
The original brief is below....

-----------------------------------
Disquiet Junto Project 0221: Morning Music
The Assignment: Compose something — quiet, peaceful, refreshing — you’d want to wake up to.

Step 1: You’ll be making music that you’d want to wake up to — music you’d like to imagine other people would want to wake up to. This isn’t “shock alert” music. It’s quiet, peaceful, refreshing.

Step 2: Compose and record something that accomplishes the goal set by Step 1.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> I smiled when I read the subject of this weeks Junto as I had been playing with an idea for a piece of music which fits this brief perfectly. For a while I have wanted to loop the sound of a wine glass, just the gentile tap tap sort of sound and wanted to layer this feeding through various effects and build up a sort a sound which makes you hear things anew. I had that idea for some time, it came to me when I lived in Hackney, London and I found a new understanding of self and of mind, a new calm clarity with things. That feeling is what I tried to reflect in sound. I have tried making music/sound like this in the past, with such a lofty task in mind but never quite managed to get something I was happy with. Well, lets try again, so tonight I tried and it worked out well I feel. I already had the basic sound and sample of wine glass on the computer so I loaded this up into Ableton and looped it for a good ten minutes on 6 channels and added some effects to all but one channel and started play back. I dropped the loop in at different times and brought the effects up slowly, imagining I was just waking up to the day. I recorded what I was doing on the third take and used this as the basis of the arrangement. There are some harmonic elements later on in the track which I added in afterwards which is a sort of melody which to me is still refreshing and peaceful. I didn't fuss to much mixing or mastering it very well, it could do with more work probably but I like it as it feels fresh. Besides I am supposed to be working on something else this evening so I rushed it and also wanted the pointless accolade of being the first to post in the new junto window, something I've not did before (sad I know!)
The original brief is below....

-----------------------------------
Disquiet Junto Project 0221: Morning Music
The Assignment: Compose something — quiet, peaceful, refreshing — you’d want to wake up to.

Step 1: You’ll be making music that you’d want to wake up to — music you’d like to imagine other people would want to wake up to. This isn’t “shock alert” music. It’s quiet, peaceful, refreshing.

Step 2: Compose and record something that accomplishes the goal set by Step 1.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> 1485975 no no Thu, 24 Mar 2016 21:18:15 +0100 2016-03-24T21:18:15+01:00 5:36 https://hearthis.at/audio-obscura-ib/implied-rhythm-disquiet0220-rhythmicarrhythmic/ --------------------------------------------------
Disquiet Junto Project 0220: Rhythmic Arrhythmic
The Assignment: Make overtly rhythmic music from short loops of overtly arrhythmic source audio, following instructions from Dennis DeSantis.

Dennis DeSantis adapted this week’s project from the chapter “Implied Rhythm in Short Loops” from his excellent book Making Music: 74 Creative Strategies for Electronic Music Producers. The project explores how rhythm emerges from almost any audio material if short fragments of it are repeated incessantly enough.

Step 1: Find or make an audio recording of the arrhythmic material of your choice and gradually reduce its loop length until rhythmic patterns begin to emerge.

Tip: This usually works well with loops that are no longer than about two seconds.

Tip: Good sources include: existing music, field recordings, and recordings of speech.

Tip: “Bad” or uneven loops can often yield the most interesting results. Don’t necessarily aim for loops with clean boundaries or that are aligned to zero-crossings.

Step 2: Use the inherent rhythm in these short loops as the basis for a piece of new music in which the “discovered” rhythm is clearly audible.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> --------------------------------------------------
Disquiet Junto Project 0220: Rhythmic Arrhythmic
The Assignment: Make overtly rhythmic music from short loops of overtly arrhythmic source audio, following instructions from Dennis DeSantis.

Dennis DeSantis adapted this week’s project from the chapter “Implied Rhythm in Short Loops” from his excellent book Making Music: 74 Creative Strategies for Electronic Music Producers. The project explores how rhythm emerges from almost any audio material if short fragments of it are repeated incessantly enough.

Step 1: Find or make an audio recording of the arrhythmic material of your choice and gradually reduce its loop length until rhythmic patterns begin to emerge.

Tip: This usually works well with loops that are no longer than about two seconds.

Tip: Good sources include: existing music, field recordings, and recordings of speech.

Tip: “Bad” or uneven loops can often yield the most interesting results. Don’t necessarily aim for loops with clean boundaries or that are aligned to zero-crossings.

Step 2: Use the inherent rhythm in these short loops as the basis for a piece of new music in which the “discovered” rhythm is clearly audible.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> 1485976 no no Fri, 18 Mar 2016 14:07:15 +0100 2016-03-18T14:07:15+01:00 1:08 https://hearthis.at/audio-obscura-ib/immix-ensemble-and-vessel-what-hath-god-wrought-audio-obscura-remix/
I urge you all to Pre-order directly from the label - 12" & DL here: www.erasedtapes.com/store/index/ERATP082





]]>
I urge you all to Pre-order directly from the label - 12" & DL here: www.erasedtapes.com/store/index/ERATP082





]]> 1485977 no no Thu, 17 Mar 2016 11:37:27 +0100 2016-03-17T11:37:27+01:00 6:29 https://hearthis.at/audio-obscura-ib/jernbanebroen-over-limfjorden/ This track was recorded in October 2015 and features strings by the Sound Celestial Orchestra. ]]> This track was recorded in October 2015 and features strings by the Sound Celestial Orchestra. ]]> 1485978 no no Wed, 24 Feb 2016 13:29:24 +0100 2016-02-24T13:29:24+01:00 8:00 https://hearthis.at/audio-obscura-ib/super-tiny-sound-disquiet-junto-project-0215-tiny-rhythms/ I loaded them into drum racks on Ableton for this and later added a little synth to give the track sound anchor.

Disquiet Junto Project 0215: Tiny Rhythms
The Assignment: Make a short track with just pin-prick audio.

Step 1: This project will require you to have five super tiny sounds, the sonic equivalent of a pin dropping. Create, find, or record those five sounds.

Step 2: Create a short, rhythmic piece of music using only those five sounds. Don’t change the sounds at all. Just use them as they are. At the start of the track have each sound play once in succession, so the listener is aware of the sounds individually before the music proceeds.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> I loaded them into drum racks on Ableton for this and later added a little synth to give the track sound anchor.

Disquiet Junto Project 0215: Tiny Rhythms
The Assignment: Make a short track with just pin-prick audio.

Step 1: This project will require you to have five super tiny sounds, the sonic equivalent of a pin dropping. Create, find, or record those five sounds.

Step 2: Create a short, rhythmic piece of music using only those five sounds. Don’t change the sounds at all. Just use them as they are. At the start of the track have each sound play once in succession, so the listener is aware of the sounds individually before the music proceeds.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.]]> 1485979 no no Fri, 12 Feb 2016 20:56:23 +0100 2016-02-12T20:56:23+01:00 1:34 https://hearthis.at/audio-obscura-ib/inert-entropy-disquietjunto0213-complexsignatures/
I found this weeks Junto a real challenge. I heard the 3 lovely field recording which are a great source to work with and sample from but they were also quite dense and complete to my ears. So I thought I would strip them bare as much as I could and try to take very small pieces as the basis of the track. On Thursday night I downloaded them and cut them into very small fragments and started to add EQ and reverb etc to very small samples (many were less then a second). My idea was to try and make something with beats (which I would make out of the micro-samples I was processing). I also got a hunch that most people would try and do something ambient or drone based due to the source material (which listening the last few days to the other tracks seems to be the case). However I spent 4 hours Thursday night and felt I got nowhere with these little fragments. On Friday night I listened afresh and started to get the little fragments into some sort of order. I loaded up 4 drum racks in Ableton and played the samples through this. A few hours later and I had some workable beat sounds all from the source material. On Saturday daytime I was able to construct a track broadly along the lines of the brief. My track is 7 minutes and starts and ends the same way (the first 30 seconds or so is the same as the last 20 seconds or so) thus it is possible to loop it continuously without end.
Saturday night I did a quick and poor master and uploaded it to SC. The track is made up of the source samples which in the middle bits, alongside the beats I tried to bend into more musical forms. There is a tension to my ears between the natural sound in the original source and the technological sounds I tried to bend and force into a more recognisable musical form.

One last point; I had not heard of SETI before (a few days I might have suspected it was one an acronym for one those evil free trade agreements) but my personal view is that I am a bit ambivalent at best about the idea of the SETI Institute - looking at the state of the world I have serious moral issues with the money being spent on such ideas which the SETI institute promotes. You want to know the Universe and the intelligence within it, come down a peg or two and start with the bloody reality of the middle east and human ignorance?

---------------------------------
Disquiet Junto Project 0213: Complex Signatures
The Assignment: Combine three field recordings from artist Charles Lindsay to explore and express notions of perceived techno-organic intelligence.

This week’s project is being done in conjunction with the head of the Artist in Residence program at the SETI Institute. His name is Charles Lindsay, and he has provided us with three very different field recordings. Work completed for this project will be considered for employment in a future project of Charlie’s. Work won’t be used without the given participating musician’s permission.

Step 1: Consider what it is that Charlie is exploring in his work: “I’m thinking about evolution, entropy, sentience, and the complex signatures of intelligence: what microtonal soundtrack would best express the micro and the vast, the field and the matrix, what we call nature and what we call machine, in unity, as music or as sound?”

Step 2: Download the three tracks recorded by Charle that are in this playlist on SoundCloud. The first track was made on the Osa Peninsula in Costa Rica, rain-forest ambient sounds caught with a parabolic microphone at nightfall. The second was made with a hydrophone at dusk amid the Bunsby Islands in British Columbia. The third was made at the D-WAVE2 Quantum Computer at NASA Ames.

https://soundcloud.com/charlies-experiment/sets/disquiet-junto-complex-signatures

]]>
I found this weeks Junto a real challenge. I heard the 3 lovely field recording which are a great source to work with and sample from but they were also quite dense and complete to my ears. So I thought I would strip them bare as much as I could and try to take very small pieces as the basis of the track. On Thursday night I downloaded them and cut them into very small fragments and started to add EQ and reverb etc to very small samples (many were less then a second). My idea was to try and make something with beats (which I would make out of the micro-samples I was processing). I also got a hunch that most people would try and do something ambient or drone based due to the source material (which listening the last few days to the other tracks seems to be the case). However I spent 4 hours Thursday night and felt I got nowhere with these little fragments. On Friday night I listened afresh and started to get the little fragments into some sort of order. I loaded up 4 drum racks in Ableton and played the samples through this. A few hours later and I had some workable beat sounds all from the source material. On Saturday daytime I was able to construct a track broadly along the lines of the brief. My track is 7 minutes and starts and ends the same way (the first 30 seconds or so is the same as the last 20 seconds or so) thus it is possible to loop it continuously without end.
Saturday night I did a quick and poor master and uploaded it to SC. The track is made up of the source samples which in the middle bits, alongside the beats I tried to bend into more musical forms. There is a tension to my ears between the natural sound in the original source and the technological sounds I tried to bend and force into a more recognisable musical form.

One last point; I had not heard of SETI before (a few days I might have suspected it was one an acronym for one those evil free trade agreements) but my personal view is that I am a bit ambivalent at best about the idea of the SETI Institute - looking at the state of the world I have serious moral issues with the money being spent on such ideas which the SETI institute promotes. You want to know the Universe and the intelligence within it, come down a peg or two and start with the bloody reality of the middle east and human ignorance?

---------------------------------
Disquiet Junto Project 0213: Complex Signatures
The Assignment: Combine three field recordings from artist Charles Lindsay to explore and express notions of perceived techno-organic intelligence.

This week’s project is being done in conjunction with the head of the Artist in Residence program at the SETI Institute. His name is Charles Lindsay, and he has provided us with three very different field recordings. Work completed for this project will be considered for employment in a future project of Charlie’s. Work won’t be used without the given participating musician’s permission.

Step 1: Consider what it is that Charlie is exploring in his work: “I’m thinking about evolution, entropy, sentience, and the complex signatures of intelligence: what microtonal soundtrack would best express the micro and the vast, the field and the matrix, what we call nature and what we call machine, in unity, as music or as sound?”

Step 2: Download the three tracks recorded by Charle that are in this playlist on SoundCloud. The first track was made on the Osa Peninsula in Costa Rica, rain-forest ambient sounds caught with a parabolic microphone at nightfall. The second was made with a hydrophone at dusk amid the Bunsby Islands in British Columbia. The third was made at the D-WAVE2 Quantum Computer at NASA Ames.

https://soundcloud.com/charlies-experiment/sets/disquiet-junto-complex-signatures

]]> 1485980 no no Sat, 30 Jan 2016 23:18:50 +0100 2016-01-30T23:18:50+01:00 7:00 https://hearthis.at/audio-obscura-ib/notes-from-a-museum-part-2-featuring-michael-ridge/ This track features recording made on the day of both Michael Ridge and Neil aka Audio Obscura both playing the spring rack instrument, all beats and noises and other sound were added later. It was assembled and mixed by Neil December to January.
Photo taken by Michael of Neil playing the Spring Rack.
]]> This track features recording made on the day of both Michael Ridge and Neil aka Audio Obscura both playing the spring rack instrument, all beats and noises and other sound were added later. It was assembled and mixed by Neil December to January.
Photo taken by Michael of Neil playing the Spring Rack.
]]> 1485981 no no Thu, 28 Jan 2016 15:48:40 +0100 2016-01-28T15:48:40+01:00 6:01 https://hearthis.at/audio-obscura-ib/audio-obscura-featuring-michael-ridge-notes-from-a-museum-part-1/ It was recorded as part of the Build Your Own Tools exhibition at Norwich Castle Museum on December 14th where Michael was Artist in Residence and show casing his work. This track features recording made on the day of both Michael Ridge and Neil aka Audio Obscura both playing the instrument.
Photo taken by Michael of Neil playing the Spring Rack.
https://michaelridge.wordpress.com/2015/09/28/2755/ ]]> It was recorded as part of the Build Your Own Tools exhibition at Norwich Castle Museum on December 14th where Michael was Artist in Residence and show casing his work. This track features recording made on the day of both Michael Ridge and Neil aka Audio Obscura both playing the instrument.
Photo taken by Michael of Neil playing the Spring Rack.
https://michaelridge.wordpress.com/2015/09/28/2755/ ]]> 1485982 no no Wed, 20 Jan 2016 18:28:19 +0100 2016-01-20T18:28:19+01:00 5:40 https://hearthis.at/audio-obscura-ib/in-case-of-emergency-disquiet-junto-project-0210-ice-coda/ I did just that; the sounds here were created and manipulated from a 30 second recording I made of one ice cube being dropped and rattled in a glass. The 1st ten seconds or so is the original sound of the cube, I cut up the sample and looped bits adding various layers and effects and played around with it. Some is played on a synth to get more melodic and musical passages.

(full details of the challenge below)

Disquiet Junto Project 0210: Ice Coda

The Assignment: Record the sound of ice in a glass and make something of it.

Happy new year! This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, back in January 2012.

Step 1: Please record the sound of an ice cube rattling in a glass, and make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each year since has provided a fitting way to begin the new year. At the start of the fifth (!) year of the Disquiet Junto, it is a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Deadline: This project was posted in the early afternoon, California time, on Thursday, January 7, 2016, with a deadline of 11:59pm wherever you are on Monday, January 11, 2016.
]]> I did just that; the sounds here were created and manipulated from a 30 second recording I made of one ice cube being dropped and rattled in a glass. The 1st ten seconds or so is the original sound of the cube, I cut up the sample and looped bits adding various layers and effects and played around with it. Some is played on a synth to get more melodic and musical passages.

(full details of the challenge below)

Disquiet Junto Project 0210: Ice Coda

The Assignment: Record the sound of ice in a glass and make something of it.

Happy new year! This week’s project is as follows. It’s the same project we’ve begun each year with since the very first Junto project, back in January 2012.

Step 1: Please record the sound of an ice cube rattling in a glass, and make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Background: Longtime participants in, and observers of, the Disquiet Junto series will recognize this single-sentence assignment — “Please record the sound of an ice cube rattling in a glass, and make something of it” — as the very first Disquiet Junto project, the same one that launched the series back on the first Thursday of January 2012. Revisiting it at the start of each year since has provided a fitting way to begin the new year. At the start of the fifth (!) year of the Disquiet Junto, it is a tradition. A weekly project series can come to overemphasize novelty, and it’s helpful to revisit old projects as much as it is to engage with new ones. Also, by its very nature, the Disquiet Junto suggests itself as a fast pace: a four-day production window, a regular if not weekly habit. It can be beneficial to step back and see things from a longer perspective.

Deadline: This project was posted in the early afternoon, California time, on Thursday, January 7, 2016, with a deadline of 11:59pm wherever you are on Monday, January 11, 2016.
]]> 1485983 no no Fri, 08 Jan 2016 13:18:43 +0100 2016-01-08T13:18:43+01:00 3:33 https://hearthis.at/audio-obscura-ib/inside-the-greenhouse-the-sound-art-of-michael-ridge/ Many of the sounds that make up this track were made by Michael and exhibited in a greenhouse as part of the Norwich DIY record fair on 14th November 2015. On this day I went along to meet and look at Michael's work as I had been interested by his sounds and website. The greenhouse (as pictured on the day) displaying his work was in the venue of an old Church, now a community space. As Michael describes;

"Inside the greenhouse exhibition space was a 50 second external tape loop playing 50 one second samples from previous sound works dating from 2008-2013. In addition to the loop, an assortment of solo and collaborative cassette, sound works were on display.... (An) Electromagnetic Field Box was nestled behind the greenhouse space on several steps that would have led up to the church altar. A hand-made magnetic coil pick-up connected to a wireless microphone circuit was encased inside a wooden box. Visitors were instructed to activate and place any electronic device they had on top of the box; the coil picked up the electromagnetic activity and transmitted it to a nearby receiver and amplifier enabling them to hear the inner workings of their own device".

On that day I made various recordings in and around the greenhouse and also of the ambience of the wider space in the hall which had great acoustics. I also left my recording device on the Electromagnetic Field Box and recorded the devices internal workings which also made it into my piece. Later I edited these pieces and set about creating new loops out of these recordings. After a while I felt I had promising pieces and from here took these and constructed a track. The track takes the recordings I made on the day and over the first few minutes uses these and loops the sounds to build a whole new rhythmic section. Here I added some supplementary sounds and beats but most of the raw sound material and inspiration for this piece comes directly from Michael.

Michael is currently Artist in Residence at the Norwich castle and Museum (https://michaelridge.wordpress.com/2015/09/28/2755/)
Also check out his Soundcloud page for more sounds...https://soundcloud.com/mridge

]]> Many of the sounds that make up this track were made by Michael and exhibited in a greenhouse as part of the Norwich DIY record fair on 14th November 2015. On this day I went along to meet and look at Michael's work as I had been interested by his sounds and website. The greenhouse (as pictured on the day) displaying his work was in the venue of an old Church, now a community space. As Michael describes;

"Inside the greenhouse exhibition space was a 50 second external tape loop playing 50 one second samples from previous sound works dating from 2008-2013. In addition to the loop, an assortment of solo and collaborative cassette, sound works were on display.... (An) Electromagnetic Field Box was nestled behind the greenhouse space on several steps that would have led up to the church altar. A hand-made magnetic coil pick-up connected to a wireless microphone circuit was encased inside a wooden box. Visitors were instructed to activate and place any electronic device they had on top of the box; the coil picked up the electromagnetic activity and transmitted it to a nearby receiver and amplifier enabling them to hear the inner workings of their own device".

On that day I made various recordings in and around the greenhouse and also of the ambience of the wider space in the hall which had great acoustics. I also left my recording device on the Electromagnetic Field Box and recorded the devices internal workings which also made it into my piece. Later I edited these pieces and set about creating new loops out of these recordings. After a while I felt I had promising pieces and from here took these and constructed a track. The track takes the recordings I made on the day and over the first few minutes uses these and loops the sounds to build a whole new rhythmic section. Here I added some supplementary sounds and beats but most of the raw sound material and inspiration for this piece comes directly from Michael.

Michael is currently Artist in Residence at the Norwich castle and Museum (https://michaelridge.wordpress.com/2015/09/28/2755/)
Also check out his Soundcloud page for more sounds...https://soundcloud.com/mridge

]]> 1485984 no no Tue, 08 Dec 2015 22:39:46 +0100 2015-12-08T22:39:46+01:00 4:52 https://hearthis.at/audio-obscura-ib/beacon-beat-for-toaster/ I've not taken part in the Junto for a few weeks partly because I've not had an internet connection at home for a while and been too busy with other stuff, like finishing an album, child minding, feeling cold, weddings in London, life etc....
I happened to check my emails and seen this weeks challenge and loved the the track that makes the source for this weeks challenge. I've also been wanting to do a beaty sort of ambient house track for a while and it seemed a great moment to capture, also I knew I would have a few precious spare hours on Friday 27th November to make the play. And would be possible to connect to the internet again.

Disquiet Junto Project 0204: Under Beat
Add a foundational rhythm to an ambient foreground.

This week’s project is a complement to last week’s — but you can do this week’s project without having done, or even been aware of, last week’s. Last week we added a foreground to an underlying beat. This week we’re adding an underlying beat to a foreground.

Step 1: Listen to and download the track “Beacon, For Marissa” by Toaster:

https://soundcloud.com/toaster-1/beacon-for-marissa

Step 2: You’ll be adding a foundational, underlying rhythm — a beat, that is — to the track. The original is quite long, at over 17 minutes. You can certainly utilize the full piece, but it’s recommended that you select a segment of between 2 to 4 minutes.

Step 3: Please create a new track by adding a beat to the source audio from Step 2. (Do not change the source audio, other than perhaps fading in and out at the start and end, though you can use it as raw material for whatever beat you choose to add.)

Step 4: Upload your completed track from Step 3 to the Disquiet Junto group on SoundCloud.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the early afternoon, California time, on Thursday, November 26, 2015, with a deadline of 11:59pm wherever you are on Monday, November 30, 2015.

Length: The length is up to you. The original is just over 17 minutes, though you needn’t create something that long. A segment of between 2 to 4 minutes is recommended.
]]> I've not taken part in the Junto for a few weeks partly because I've not had an internet connection at home for a while and been too busy with other stuff, like finishing an album, child minding, feeling cold, weddings in London, life etc....
I happened to check my emails and seen this weeks challenge and loved the the track that makes the source for this weeks challenge. I've also been wanting to do a beaty sort of ambient house track for a while and it seemed a great moment to capture, also I knew I would have a few precious spare hours on Friday 27th November to make the play. And would be possible to connect to the internet again.

Disquiet Junto Project 0204: Under Beat
Add a foundational rhythm to an ambient foreground.

This week’s project is a complement to last week’s — but you can do this week’s project without having done, or even been aware of, last week’s. Last week we added a foreground to an underlying beat. This week we’re adding an underlying beat to a foreground.

Step 1: Listen to and download the track “Beacon, For Marissa” by Toaster:

https://soundcloud.com/toaster-1/beacon-for-marissa

Step 2: You’ll be adding a foundational, underlying rhythm — a beat, that is — to the track. The original is quite long, at over 17 minutes. You can certainly utilize the full piece, but it’s recommended that you select a segment of between 2 to 4 minutes.

Step 3: Please create a new track by adding a beat to the source audio from Step 2. (Do not change the source audio, other than perhaps fading in and out at the start and end, though you can use it as raw material for whatever beat you choose to add.)

Step 4: Upload your completed track from Step 3 to the Disquiet Junto group on SoundCloud.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the early afternoon, California time, on Thursday, November 26, 2015, with a deadline of 11:59pm wherever you are on Monday, November 30, 2015.

Length: The length is up to you. The original is just over 17 minutes, though you needn’t create something that long. A segment of between 2 to 4 minutes is recommended.
]]> 1485986 no no Fri, 27 Nov 2015 22:35:06 +0100 2015-11-27T22:35:06+01:00 9:45 https://hearthis.at/audio-obscura-ib/den-sorte-skole-no-fear-audio-obscura-remix/ A lot of what you hear in my remix is sampled from the original Den Sorte Skole track, I just made new loops of their existing material but added new beats and I resampled a library bass line and also played over some of the synth sounds. The vocal sample at the start "Hello, well it won't be long now..." which is from an Educational Record about the Decimalisation process of UK coinage in 1971. (https://en.wikipedia.org/wiki/Decimal_Day)

]]> A lot of what you hear in my remix is sampled from the original Den Sorte Skole track, I just made new loops of their existing material but added new beats and I resampled a library bass line and also played over some of the synth sounds. The vocal sample at the start "Hello, well it won't be long now..." which is from an Educational Record about the Decimalisation process of UK coinage in 1971. (https://en.wikipedia.org/wiki/Decimal_Day)

]]> 1485987 no no Fri, 06 Nov 2015 23:25:29 +0100 2015-11-06T23:25:29+01:00 6:48 https://hearthis.at/audio-obscura-ib/sonorous-object-b35-featuring-matty-skylab/
Pierre Schaeffer (1910-1995) was interested in getting past the binary of source and receiver. In a specifically aural context, this dichotomy refers to the entity generating the sound (or wherever it emerge) versus the body listening (and inevitably exercising interpretive faculties) on the sound. Schaeffer attempts to move beyond this opposition by looking at the sound as it is, disconnected from our presuppositions about its origins (and thus suspending our conclusions about its meaning). He developed the idea of the "sonorous object," which demands interpretation as a sound-in-itself, rather than as just a marker towards its source. Neither is the sonorous object part and parcel with the medium of its production, or even the subjective experience of hearing it - it is a describable sonic event.

Photo of Pierre Schaeffer from Wikipedia under Fair use License...
"L430xH465 jpg Schaeffer big-2eb70" by Source. Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:L430xH465_jpg_Schaeffer_big-2eb70.jpg#/media/File:L430xH465_jpg_Schaeffer_big-2eb70.jpg

The track also contains a sample of We Are Stardust 2 - By Matty Skylab
Original can be heard here...
(https://soundcloud.com/matty-skylab/we-are-stardust-2)
]]>
Pierre Schaeffer (1910-1995) was interested in getting past the binary of source and receiver. In a specifically aural context, this dichotomy refers to the entity generating the sound (or wherever it emerge) versus the body listening (and inevitably exercising interpretive faculties) on the sound. Schaeffer attempts to move beyond this opposition by looking at the sound as it is, disconnected from our presuppositions about its origins (and thus suspending our conclusions about its meaning). He developed the idea of the "sonorous object," which demands interpretation as a sound-in-itself, rather than as just a marker towards its source. Neither is the sonorous object part and parcel with the medium of its production, or even the subjective experience of hearing it - it is a describable sonic event.

Photo of Pierre Schaeffer from Wikipedia under Fair use License...
"L430xH465 jpg Schaeffer big-2eb70" by Source. Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:L430xH465_jpg_Schaeffer_big-2eb70.jpg#/media/File:L430xH465_jpg_Schaeffer_big-2eb70.jpg

The track also contains a sample of We Are Stardust 2 - By Matty Skylab
Original can be heard here...
(https://soundcloud.com/matty-skylab/we-are-stardust-2)
]]> 1485988 no no Thu, 29 Oct 2015 16:27:18 +0100 2015-10-29T16:27:18+01:00 6:58 https://hearthis.at/audio-obscura-ib/test-match-special-in-spacedisquiet0199-space-cricket/ (Make a field recording of a field recording in a spaceship.)

In 2009 I was part of a project which was never finished and did not see the light of day which was called "A day in the life of a space station". It was an ambient concept album of drifting tones, what we perceived to be a day on a space station. Thus I smiled when I read the disquiet email for 0199, I have lots of nice space ship-sounds I can bring to this project.

However I felt mischievous, as I often do when it come to Disquiet projects. As an Englishman I was always told that 'Crickets' (meaning an insect, should be called cicadas, whether this is correct or not I don't know but I stick with it). Cricket, on the other hand was a game, even a sport in some peoples eyes. So to envisage someone on a space ship or space station listening to a field recording of "rain and cricket", well I couldn't get the image of the spaceman listening to 'Test Match Special' - an iconic radio program with commentary of Test Cricket out of my head.

(A test match - International cricket match - can often last 5 days (https://en.wikipedia.org/wiki/Test_cricket) and the radio broadcasts last all day, the game is often seen as slow and unfolding.)
During the broadcast the commentators describe the action - or inaction and often add humorous or anecdotal narratives. Test Match Special is often known for its calm, relaxing quality and in England its often said to be something that sends you to sleep. It would be a nice thing to listen to if your lonely in space. (Oh and I never saw the film which was mentioned, so no idea what that is about) (see also: https://en.wikipedia.org/wiki/Test_Match_Special)

Also on the day I read the Disquiet email, 23rd October 2015, there happened to such a test match. England versus Pakistan in Dubai..... How could I not I thought!
I thus tuned into the radio and made a field recording of the broadcast - I actually recorded 2 hours but selected only 20 minutes - which is still a rather long track to upload. But when you consider the match lasts 5 days, 20 minutes is a small fraction!
So I set about making the track, I got out my old hard drive and found the "Day in the Life of a Space Station Project" and opened the files. There was some nice ghostly tones indeed. I then took the radio recording from this morning and spent a few hours messing about with it, layering the new and old pieces. And here we are!
Goodluck and thank you to those who read this far and listen to the piece in full.

(Note at 10 mins 18 seconds in the phone rings but I didn't answer it!)
------------------
More on this 199th Disquiet Junto project (“Make a field recording of a field recording in a spaceship”) at:

disquiet.com/2015/10/22/disquie…199-spacecrickets/

More on the Disquiet Junto at:

disquiet.com/junto/

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

disquiet.com/forums/]]> (Make a field recording of a field recording in a spaceship.)

In 2009 I was part of a project which was never finished and did not see the light of day which was called "A day in the life of a space station". It was an ambient concept album of drifting tones, what we perceived to be a day on a space station. Thus I smiled when I read the disquiet email for 0199, I have lots of nice space ship-sounds I can bring to this project.

However I felt mischievous, as I often do when it come to Disquiet projects. As an Englishman I was always told that 'Crickets' (meaning an insect, should be called cicadas, whether this is correct or not I don't know but I stick with it). Cricket, on the other hand was a game, even a sport in some peoples eyes. So to envisage someone on a space ship or space station listening to a field recording of "rain and cricket", well I couldn't get the image of the spaceman listening to 'Test Match Special' - an iconic radio program with commentary of Test Cricket out of my head.

(A test match - International cricket match - can often last 5 days (https://en.wikipedia.org/wiki/Test_cricket) and the radio broadcasts last all day, the game is often seen as slow and unfolding.)
During the broadcast the commentators describe the action - or inaction and often add humorous or anecdotal narratives. Test Match Special is often known for its calm, relaxing quality and in England its often said to be something that sends you to sleep. It would be a nice thing to listen to if your lonely in space. (Oh and I never saw the film which was mentioned, so no idea what that is about) (see also: https://en.wikipedia.org/wiki/Test_Match_Special)

Also on the day I read the Disquiet email, 23rd October 2015, there happened to such a test match. England versus Pakistan in Dubai..... How could I not I thought!
I thus tuned into the radio and made a field recording of the broadcast - I actually recorded 2 hours but selected only 20 minutes - which is still a rather long track to upload. But when you consider the match lasts 5 days, 20 minutes is a small fraction!
So I set about making the track, I got out my old hard drive and found the "Day in the Life of a Space Station Project" and opened the files. There was some nice ghostly tones indeed. I then took the radio recording from this morning and spent a few hours messing about with it, layering the new and old pieces. And here we are!
Goodluck and thank you to those who read this far and listen to the piece in full.

(Note at 10 mins 18 seconds in the phone rings but I didn't answer it!)
------------------
More on this 199th Disquiet Junto project (“Make a field recording of a field recording in a spaceship”) at:

disquiet.com/2015/10/22/disquie…199-spacecrickets/

More on the Disquiet Junto at:

disquiet.com/junto/

Join the Disquiet Junto at:

soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

disquiet.com/forums/]]> 1485989 no no Fri, 23 Oct 2015 21:47:58 +0200 2015-10-23T21:47:58+02:00 20:00 https://hearthis.at/audio-obscura-ib/tayploops-sodditty-audio-obscura-remix/ The original is here / hear
https://soundcloud.com/tapeloops/sod-did

Its made by tay_ploops aka Jessica Gabriel and is made only of voice loops. I only used the original download and no other sounds, just editing (mega cut up techniques) and a few effects. ]]> The original is here / hear
https://soundcloud.com/tapeloops/sod-did

Its made by tay_ploops aka Jessica Gabriel and is made only of voice loops. I only used the original download and no other sounds, just editing (mega cut up techniques) and a few effects. ]]> 1485990 no no Sat, 17 Oct 2015 22:36:36 +0200 2015-10-17T22:36:36+02:00 3:29 https://hearthis.at/audio-obscura-ib/disquiet-junto-project-0198-overture-remix-by-audio-obscura/
A very simple contribution from me this week.
I simply took 5 random bits from 5 tracks from Chris Zabriskie’s album Thoughtless and looped sections each of differing lengths. That was all. Total time taken to make and mix was about 30 mins!

This is part of Disquiet Junto 0198 - Overture Remix ...

Step 1: Download and listen to the five tracks of Chris Zabriskie’s album Thoughtless, available at this URL:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

Step 2: Cull a representative segment from each of the five tracks.

Step 3: Create an overture to the album by combining those segments into one standalone piece of music.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, October 15, 2015, with a deadline of 11:59pm wherever you are on Monday, October 19, 2015.

Length: The length of your finished work should be as long as you see fit.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0198-overtureremix” in the title of your track, and as a tag for your track.

Download: Due to the Creative Commons nature of the source material, you should use the following license for your work:

http://creativecommons.org/licenses/by/4.0/

More on this 198th Disquiet Junto project (“Create an overture for a full-length album”) at:

http://disquiet.com/2015/10/15/disquiet0198-overtureremix/

The source audio for this project is the album Thoughtless by Chris Zabriskie, more on which here:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]>
A very simple contribution from me this week.
I simply took 5 random bits from 5 tracks from Chris Zabriskie’s album Thoughtless and looped sections each of differing lengths. That was all. Total time taken to make and mix was about 30 mins!

This is part of Disquiet Junto 0198 - Overture Remix ...

Step 1: Download and listen to the five tracks of Chris Zabriskie’s album Thoughtless, available at this URL:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

Step 2: Cull a representative segment from each of the five tracks.

Step 3: Create an overture to the album by combining those segments into one standalone piece of music.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, October 15, 2015, with a deadline of 11:59pm wherever you are on Monday, October 19, 2015.

Length: The length of your finished work should be as long as you see fit.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0198-overtureremix” in the title of your track, and as a tag for your track.

Download: Due to the Creative Commons nature of the source material, you should use the following license for your work:

http://creativecommons.org/licenses/by/4.0/

More on this 198th Disquiet Junto project (“Create an overture for a full-length album”) at:

http://disquiet.com/2015/10/15/disquiet0198-overtureremix/

The source audio for this project is the album Thoughtless by Chris Zabriskie, more on which here:

http://freemusicarchive.org/music/Chris_Zabriskie/Thoughtless

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/]]> 1485991 no no Fri, 16 Oct 2015 12:57:07 +0200 2015-10-16T12:57:07+02:00 1:47 https://hearthis.at/audio-obscura-ib/early-0197-disquiet-junto-polyphony-audio-obscura/
I read the description of 0197 Junto Challenge and looked at the article in the link, I also heard the modern recording of the track which I sampled but there is little of it left or that recognisable save for a few drifting tones of vocals. I made up the track around this and decided to add beats and rhythmic elements which are made up in part by the recording I sampled. It took 2 hours from start to finish, a bit of a rush by my book but happy all the same


Sight-read newly uncovered choral music from the 10th century.

Step 1: Perhaps you’ve read the news about a newly uncovered piece of music, dating back to the 10th century, that is believed to be the earliest known piece of polyphonic music. You can check it out here:

http://www.cam.ac.uk/research/news/earliest-known-piece-of-polyphonic-music-discovered

Step 2: Review the notation in the article (and pictured on this project page on Disquiet.com).

Step 3: Record your own interpretation of the music. (You don’t have to sing it.)

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
]]>
I read the description of 0197 Junto Challenge and looked at the article in the link, I also heard the modern recording of the track which I sampled but there is little of it left or that recognisable save for a few drifting tones of vocals. I made up the track around this and decided to add beats and rhythmic elements which are made up in part by the recording I sampled. It took 2 hours from start to finish, a bit of a rush by my book but happy all the same


Sight-read newly uncovered choral music from the 10th century.

Step 1: Perhaps you’ve read the news about a newly uncovered piece of music, dating back to the 10th century, that is believed to be the earliest known piece of polyphonic music. You can check it out here:

http://www.cam.ac.uk/research/news/earliest-known-piece-of-polyphonic-music-discovered

Step 2: Review the notation in the article (and pictured on this project page on Disquiet.com).

Step 3: Record your own interpretation of the music. (You don’t have to sing it.)

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
]]> 1485992 no no Fri, 09 Oct 2015 15:26:47 +0200 2015-10-09T15:26:47+02:00 2:48 https://hearthis.at/audio-obscura-ib/what-is-the-right-thing-to-do/ 1485993 no no Thu, 08 Oct 2015 14:48:14 +0200 2015-10-08T14:48:14+02:00 4:41 https://hearthis.at/audio-obscura-ib/deaf-blind-people-making-time-to-deconstruct-a-clock-audio-obscura-remix/ All Deaf Blind People tracks have the stipulation that they should be exactly 2 minutes long. I took the basic 2 minute track and didn't change too much initially (the first minute and a half or so are essentially the same) but then I added layers and created loops from the original sounds and built it up beyond the two minutes and its now over 5 minutes long. Fairly early on I felt mischievous though and wanted to make something way more commercial then either my own style and clearly more mainstream than the minimal underpinnings of deaf blind people. I hope they approve!]]> All Deaf Blind People tracks have the stipulation that they should be exactly 2 minutes long. I took the basic 2 minute track and didn't change too much initially (the first minute and a half or so are essentially the same) but then I added layers and created loops from the original sounds and built it up beyond the two minutes and its now over 5 minutes long. Fairly early on I felt mischievous though and wanted to make something way more commercial then either my own style and clearly more mainstream than the minimal underpinnings of deaf blind people. I hope they approve!]]> 1485994 no no Tue, 29 Sep 2015 10:08:47 +0200 2015-09-29T10:08:47+02:00 5:44 https://hearthis.at/audio-obscura-ib/mahler-in-the-21st-century/ It is a mash up of sorts, random bits of Mahler's symphonies are played back, filtered through effects and delays.
80% of what you hear was recorded in one take as part of a studio jam;
All Orchestral sounds are sampled and manipulated in real time by https://soundcloud.com/the-norfolk-fjords (note not all these sounds are by Mahler but most are)
All other sounds, beats etc are by Audio Obscura.
Editing and mix by Audio Obscura. ]]> It is a mash up of sorts, random bits of Mahler's symphonies are played back, filtered through effects and delays.
80% of what you hear was recorded in one take as part of a studio jam;
All Orchestral sounds are sampled and manipulated in real time by https://soundcloud.com/the-norfolk-fjords (note not all these sounds are by Mahler but most are)
All other sounds, beats etc are by Audio Obscura.
Editing and mix by Audio Obscura. ]]> 1485995 no no Fri, 18 Sep 2015 22:32:14 +0200 2015-09-18T22:32:14+02:00 11:28 https://hearthis.at/audio-obscura-ib/at-peace-now-for-john-lambert-disquietjunto-0194-clockplay/ My cousin who died this week.

This track is part of the Disquiet Junto Project
Number 0194: Clock Play
instructions; "Record the sound of a clock and make something playful and sweet out of it."

The clock sound is from:
http://www.freesound.org/people/vedas/sounds/104487/

]]> My cousin who died this week.

This track is part of the Disquiet Junto Project
Number 0194: Clock Play
instructions; "Record the sound of a clock and make something playful and sweet out of it."

The clock sound is from:
http://www.freesound.org/people/vedas/sounds/104487/

]]> 1485996 no no Fri, 18 Sep 2015 15:46:27 +0200 2015-09-18T15:46:27+02:00 3:28 https://hearthis.at/audio-obscura-ib/ansturm-for-alma-mahler-collaboration-with-sound-celestial-orchestra-and-the-norfolk-fjords/ Part of a series of works loosely based around and/or inspired by composer Gustave Mahler. This work is a collaboration with the Sound Celestial Orchestra and The Norfolk Fjords and is a new piece of music composed by them but dedicated to Mahler's wife, Alma.
Strings by the Sound Celestial Orchestra.
Field Recording by The Norfolk Fjords.
Sonic tinkering, mixed by Audio Obscura
https://soundcloud.com/sound-celestial-orchestra
https://soundcloud.com/the-norfolk-fjords

]]> Part of a series of works loosely based around and/or inspired by composer Gustave Mahler. This work is a collaboration with the Sound Celestial Orchestra and The Norfolk Fjords and is a new piece of music composed by them but dedicated to Mahler's wife, Alma.
Strings by the Sound Celestial Orchestra.
Field Recording by The Norfolk Fjords.
Sonic tinkering, mixed by Audio Obscura
https://soundcloud.com/sound-celestial-orchestra
https://soundcloud.com/the-norfolk-fjords

]]> 1485997 no no Wed, 09 Sep 2015 13:11:00 +0200 2015-09-09T13:11:00+02:00 4:00 https://hearthis.at/audio-obscura-ib/mahler-in-kings-cross-collaboration-with-the-norfolk-fjords/ The field recordings around King Cross Station, London were recorded in the summer of 2013. At the time they had a free piano in the middle of station just near the eurostar check in area. People can play as they wait for trains.

There are two primary samples, both appearing with permission of the following artists;

Narration and guitar - Tay_ploops (Jessica Gabriel), Track: A Cyst Dance. This piece enters the track at 3.20
https://soundcloud.com/tapeloops
Violin and Sounds - Adam Cadell, Track: Jamestown. This piece enters the track at 3.39
https://soundcloud.com/adam-cadell-1

The strings that enter around 5.45 till the end of the track are performed by the Sound Celestial Orchestra https://soundcloud.com/sound-celestial-orchestra and are a re-scored take on the later parts of the Mahler 10th symphony. These parts of the Symphony were incomplete at the time of Mahlers death and these later pieces are controversial due to the fact there is no actual score by Mahler himself but only a few hundred bars of draft work by the composer.

Musicologist Deryck Cooke is credited for the resulting score of the complete Symphony, completed in the 1960s. This track is therefore itself a radical re-interpretation or re-composition of this Cooke piece. It was re-scored and recorded in a number of sessions between March-May 2015. The string instruments you here are all played into computers and are electronically altered manipulations. The strings were originally performed by members of the Song Celestial Orchestra and mixed and manipulated by The Norfolk Fjords and Audio Obscura.

The whole piece was realised and edited by The Norfolk Fjords with help and direction by Audio Obscura who played all other sounds. It is released under a creative commons license.
August 2015.
]]> The field recordings around King Cross Station, London were recorded in the summer of 2013. At the time they had a free piano in the middle of station just near the eurostar check in area. People can play as they wait for trains.

There are two primary samples, both appearing with permission of the following artists;

Narration and guitar - Tay_ploops (Jessica Gabriel), Track: A Cyst Dance. This piece enters the track at 3.20
https://soundcloud.com/tapeloops
Violin and Sounds - Adam Cadell, Track: Jamestown. This piece enters the track at 3.39
https://soundcloud.com/adam-cadell-1

The strings that enter around 5.45 till the end of the track are performed by the Sound Celestial Orchestra https://soundcloud.com/sound-celestial-orchestra and are a re-scored take on the later parts of the Mahler 10th symphony. These parts of the Symphony were incomplete at the time of Mahlers death and these later pieces are controversial due to the fact there is no actual score by Mahler himself but only a few hundred bars of draft work by the composer.

Musicologist Deryck Cooke is credited for the resulting score of the complete Symphony, completed in the 1960s. This track is therefore itself a radical re-interpretation or re-composition of this Cooke piece. It was re-scored and recorded in a number of sessions between March-May 2015. The string instruments you here are all played into computers and are electronically altered manipulations. The strings were originally performed by members of the Song Celestial Orchestra and mixed and manipulated by The Norfolk Fjords and Audio Obscura.

The whole piece was realised and edited by The Norfolk Fjords with help and direction by Audio Obscura who played all other sounds. It is released under a creative commons license.
August 2015.
]]> 1485998 no no Mon, 31 Aug 2015 15:03:47 +0200 2015-08-31T15:03:47+02:00 14:00 https://hearthis.at/audio-obscura-ib/0191-telephone-tyneside-disquietjunto0191held-chord/
This piece is part of Disquiet Junto Project 0191: Held Chord
"One chord to rule them all — on several instruments."

Held Chord - I interpreted this weeks challenge to play the same chord but in a number of different octaves. Each Chord is held. Not sure what others think of that? Maybe it was a slight bending of the rules - or at least stretching the interpretation a little. But I'm happy with it.
There are 14 channels playing here in total fading in and out. All synth strings; 4 Violins and 4 cellos. 1 channel is Alto Sax synth. The rest are a variety of noise and drone synths I made myself and a Loopmaster voice synth.

Disquiet Junto Project 0191: Held Chord
One chord to rule them all — on several instruments.

These are the steps:

Step 1: Choose a chord you can play on several instruments. You can choose any chord you’d like.

Step 2: Make recordings of yourself playing that just chord on several instruments.

Step 3: Edit those individual recordings into one long continuous track, in which the chord slowly (and smoothly as possible) changes from one instrument to the next. The complete length of the finished track should be about one minute.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 27, 2015, with a deadline of 11:59pm wherever you are on Monday, August 31, 2015.

Length: The length of your finished work should be approximately one minute.

]]>
This piece is part of Disquiet Junto Project 0191: Held Chord
"One chord to rule them all — on several instruments."

Held Chord - I interpreted this weeks challenge to play the same chord but in a number of different octaves. Each Chord is held. Not sure what others think of that? Maybe it was a slight bending of the rules - or at least stretching the interpretation a little. But I'm happy with it.
There are 14 channels playing here in total fading in and out. All synth strings; 4 Violins and 4 cellos. 1 channel is Alto Sax synth. The rest are a variety of noise and drone synths I made myself and a Loopmaster voice synth.

Disquiet Junto Project 0191: Held Chord
One chord to rule them all — on several instruments.

These are the steps:

Step 1: Choose a chord you can play on several instruments. You can choose any chord you’d like.

Step 2: Make recordings of yourself playing that just chord on several instruments.

Step 3: Edit those individual recordings into one long continuous track, in which the chord slowly (and smoothly as possible) changes from one instrument to the next. The complete length of the finished track should be about one minute.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 27, 2015, with a deadline of 11:59pm wherever you are on Monday, August 31, 2015.

Length: The length of your finished work should be approximately one minute.

]]> 1485999 no no Sun, 30 Aug 2015 14:22:24 +0200 2015-08-30T14:22:24+02:00 1:36 https://hearthis.at/audio-obscura-ib/disquiet0190-missedconnections-audio-obscura/ The direction for the project for this week was "Set two out-of-sync loops atop each other, and then add sonic glue."
I selected two source sounds from the earlier Disquiet project number 189; these are the Dave Dorgan track Guitar Loops and the Disquiet track Six string Bubbha. I created two continuous loops from these pieces (the 1st 6 and half seconds is the Dave Dorgan Loop only, the second loop enters here and both continue till the end of track when they fade out.)
Around 22 seconds into the track I have added 'the extra element' or sonic glue which the rules asked for. This is a solo Viola which plays a melody for much of the rest of the track and I think gives the track a nice central theme letting the loops create the background of sound. The Viola was played by my friend Neville Strongfeld of the Sound Celestial Orchestra and recorded on Friday morning 21st August. The track was created and mixed in about 3 hours via Ableton.

Disquiet Junto Project 0190: Missed Connections
Set two disjointed loops atop each other, and then add sonic glue.

Last week’s project involved using loops to accrue layers. This week’s project involves layering loops. You needn’t have participated in last week’s project to participate in this week’s.

These are the steps:

Step 1: Choose two tracks from last week’s Disquiet Junto project. Be sure to use tracks that include a license that allows for non-commercial reworking. If you’re not sure, either choose a different track, or inquire with the musician. the project is here:

https://soundcloud.com/disquiet/sets/disquiet0189-tonelayer

Step 2: From each of those two tracks, select one loop-able segment. Be sure the segments are of different lengths.

Step 3: Create a long string of each of the two loops from Step 2 by repeating them over and over. That is: make one long string of AAAAA… and make one long string of BBBBB…, where A and B are the two loops. (That is: Do not go ABABAB.)

Step 4: Layer the two tracks resulting from Step 3 for a single track of about one to two minutes in length.

Step 5: Add one element of your own to the result of Step 4 that serves to combine the two disparate loops into one composition.

Step 6: Record a document of these layered loops lasting approximately one to two minutes in length (longer is certainly fine).

Step 7: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 8: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 20, 2015, with a deadline of 11:59pm wherever you are on Monday, August 24, 2015.

]]> The direction for the project for this week was "Set two out-of-sync loops atop each other, and then add sonic glue."
I selected two source sounds from the earlier Disquiet project number 189; these are the Dave Dorgan track Guitar Loops and the Disquiet track Six string Bubbha. I created two continuous loops from these pieces (the 1st 6 and half seconds is the Dave Dorgan Loop only, the second loop enters here and both continue till the end of track when they fade out.)
Around 22 seconds into the track I have added 'the extra element' or sonic glue which the rules asked for. This is a solo Viola which plays a melody for much of the rest of the track and I think gives the track a nice central theme letting the loops create the background of sound. The Viola was played by my friend Neville Strongfeld of the Sound Celestial Orchestra and recorded on Friday morning 21st August. The track was created and mixed in about 3 hours via Ableton.

Disquiet Junto Project 0190: Missed Connections
Set two disjointed loops atop each other, and then add sonic glue.

Last week’s project involved using loops to accrue layers. This week’s project involves layering loops. You needn’t have participated in last week’s project to participate in this week’s.

These are the steps:

Step 1: Choose two tracks from last week’s Disquiet Junto project. Be sure to use tracks that include a license that allows for non-commercial reworking. If you’re not sure, either choose a different track, or inquire with the musician. the project is here:

https://soundcloud.com/disquiet/sets/disquiet0189-tonelayer

Step 2: From each of those two tracks, select one loop-able segment. Be sure the segments are of different lengths.

Step 3: Create a long string of each of the two loops from Step 2 by repeating them over and over. That is: make one long string of AAAAA… and make one long string of BBBBB…, where A and B are the two loops. (That is: Do not go ABABAB.)

Step 4: Layer the two tracks resulting from Step 3 for a single track of about one to two minutes in length.

Step 5: Add one element of your own to the result of Step 4 that serves to combine the two disparate loops into one composition.

Step 6: Record a document of these layered loops lasting approximately one to two minutes in length (longer is certainly fine).

Step 7: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 8: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This assignment was made in the afternoon, California time, on Thursday, August 20, 2015, with a deadline of 11:59pm wherever you are on Monday, August 24, 2015.

]]> 1486000 no no Fri, 21 Aug 2015 12:35:21 +0200 2015-08-21T12:35:21+02:00 2:12 https://hearthis.at/audio-obscura-ib/sonorous-object-b11/ 1486001 no no Fri, 14 Aug 2015 13:55:08 +0200 2015-08-14T13:55:08+02:00 4:37 https://hearthis.at/audio-obscura-ib/von-wegen-nocturne-audio-obscura-remix/ ]]> ]]> 1486002 no no Sat, 08 Aug 2015 22:24:26 +0200 2015-08-08T22:24:26+02:00 4:30 https://hearthis.at/audio-obscura-ib/XtG2VWR4/ 1486003 no no Sat, 01 Aug 2015 14:54:09 +0200 2015-08-01T14:54:09+02:00 4:40 https://hearthis.at/audio-obscura-ib/4yrqD6H7/ 1486004 no no Sat, 01 Aug 2015 14:32:41 +0200 2015-08-01T14:32:41+02:00 1:35 https://hearthis.at/audio-obscura-ib/tKfDQbjz/ 1486005 no no Mon, 27 Jul 2015 21:29:04 +0200 2015-07-27T21:29:04+02:00 3:20 https://hearthis.at/audio-obscura-ib/RGzNf364/ 1486006 no no Wed, 22 Jul 2015 16:06:53 +0200 2015-07-22T16:06:53+02:00 3:54 https://hearthis.at/audio-obscura-ib/v94Fm2nj/ The concept is falling into place as its unfolding. It started with moving house, me and the family have moved from London to Norfolk, UK. We went to see London one last time and went to the Agnes Martin Exhibition at Tate Modern gallery. It was an inspiring and almost revelatory in terms of understanding creativity. After seeing this I went home and composed a short piece on piano. This became the track I posted called _ I then did a few more and posted these _ _ and then _ _ _ and then decided I had to do ten in total. We then moved and I pack up my computer and musical gear and moved 120 miles up the road. I wrote the next two pieces in my head. Now we 6 out of 10 and have an idea of how to finish these. I'm working in a temporary place on an old desk but it works for me. I hope to have it all finished by end of July. ]]> The concept is falling into place as its unfolding. It started with moving house, me and the family have moved from London to Norfolk, UK. We went to see London one last time and went to the Agnes Martin Exhibition at Tate Modern gallery. It was an inspiring and almost revelatory in terms of understanding creativity. After seeing this I went home and composed a short piece on piano. This became the track I posted called _ I then did a few more and posted these _ _ and then _ _ _ and then decided I had to do ten in total. We then moved and I pack up my computer and musical gear and moved 120 miles up the road. I wrote the next two pieces in my head. Now we 6 out of 10 and have an idea of how to finish these. I'm working in a temporary place on an old desk but it works for me. I hope to have it all finished by end of July. ]]> 1486007 no no Sat, 18 Jul 2015 13:22:37 +0200 2015-07-18T13:22:37+02:00 2:00 https://hearthis.at/audio-obscura-ib/vxtgZR9y/ 1486008 no no Sun, 12 Jul 2015 13:53:57 +0200 2015-07-12T13:53:57+02:00 3:34 https://hearthis.at/audio-obscura-ib/b983yZxf/ This track is dedicated to the genius of Agnes Martin (1912-2004)]]> This track is dedicated to the genius of Agnes Martin (1912-2004)]]> 1486009 no no Wed, 08 Jul 2015 15:53:12 +0200 2015-07-08T15:53:12+02:00 2:30 https://hearthis.at/audio-obscura-ib/TjFkWNZn/ 1486010 no no Tue, 07 Jul 2015 11:28:55 +0200 2015-07-07T11:28:55+02:00 3:56 https://hearthis.at/audio-obscura-ib/ZkzwfjBQ/ 1486011 no no Sun, 05 Jul 2015 22:00:29 +0200 2015-07-05T22:00:29+02:00 2:07 https://hearthis.at/audio-obscura-ib/9QzygGW6/ 1486012 no no Thu, 02 Jul 2015 22:58:04 +0200 2015-07-02T22:58:04+02:00 2:14 https://hearthis.at/audio-obscura-ib/mark-dicker-dies-saturni-audio-obscura-remix/ ]]> ]]> 1486013 no no Thu, 25 Jun 2015 22:39:04 +0200 2015-06-25T22:39:04+02:00 6:43 https://hearthis.at/audio-obscura-ib/chairhouse-aska-wind-terpsichore-audio-obscura-remix/ The mission of Chairhouse "is to create gentle, calm, peaceful, beautiful, relaxing piano music... I set an aim of the number of upload track to 4,536."
As I write this there are 550 tracks uploaded and I think one new track is added each day. It is often my musical highlight of the day to hear a new Chairhouse track.

I asked Chairhouse a few months ago if I could remix one of these tracks and was told I could. I then worried I could not do this beautiful music the justice and respect it deserved. But then recently I heard track #534 - Aska Wind Terpsichore - and had an idea to develop the simple Piano piece. Thus my remix attempt started.
here is the link for the original track; https://soundcloud.com/chairhouse/aska-wind-terpsichore-534

For me the remix attempt is also filled with my own memories of Japan, I visited this country 10 years ago and had 3 wonderful weeks, studying, meeting people and visiting, Hiroshima, Kyoto, Nara, Osaka and Tokyo. ]]> The mission of Chairhouse "is to create gentle, calm, peaceful, beautiful, relaxing piano music... I set an aim of the number of upload track to 4,536."
As I write this there are 550 tracks uploaded and I think one new track is added each day. It is often my musical highlight of the day to hear a new Chairhouse track.

I asked Chairhouse a few months ago if I could remix one of these tracks and was told I could. I then worried I could not do this beautiful music the justice and respect it deserved. But then recently I heard track #534 - Aska Wind Terpsichore - and had an idea to develop the simple Piano piece. Thus my remix attempt started.
here is the link for the original track; https://soundcloud.com/chairhouse/aska-wind-terpsichore-534

For me the remix attempt is also filled with my own memories of Japan, I visited this country 10 years ago and had 3 wonderful weeks, studying, meeting people and visiting, Hiroshima, Kyoto, Nara, Osaka and Tokyo. ]]> 1486014 no no Fri, 19 Jun 2015 13:38:40 +0200 2015-06-19T13:38:40+02:00 4:10 https://hearthis.at/audio-obscura-ib/gravity/ 1486015 no no Sun, 14 Jun 2015 21:40:50 +0200 2015-06-14T21:40:50+02:00 3:16 https://hearthis.at/audio-obscura-ib/john-cage-piano-sonatas-re-composed/ 1486016 no no Tue, 09 Jun 2015 10:02:52 +0200 2015-06-09T10:02:52+02:00 4:40 https://hearthis.at/audio-obscura-ib/holly-herndon-chorus-audio-obscura-remix/ 1486017 no no Sun, 31 May 2015 14:13:32 +0200 2015-05-31T14:13:32+02:00 5:14 https://hearthis.at/audio-obscura-ib/matisse-hurt-free-album-download-on-bandcamp/ The title is a pun. I went to see the Cut-up pictures exhibition by Henri Matisse at the Tate in summer 2014. My son was also teething like crazy and in a lot of pain. I read somewhere how Picasso get annoyed at how good Matisse's cut-up work was but Matisse who could no longer hold a paintbrush said there was a lot of hurt that he couldn't paint anymore. This track is on an LP I made, released on Bandcamp, limited edition CD or free (pay what you want) download
https://audioobscura.bandcamp.com/releases]]> The title is a pun. I went to see the Cut-up pictures exhibition by Henri Matisse at the Tate in summer 2014. My son was also teething like crazy and in a lot of pain. I read somewhere how Picasso get annoyed at how good Matisse's cut-up work was but Matisse who could no longer hold a paintbrush said there was a lot of hurt that he couldn't paint anymore. This track is on an LP I made, released on Bandcamp, limited edition CD or free (pay what you want) download
https://audioobscura.bandcamp.com/releases]]> 1486018 no no Wed, 27 May 2015 21:32:48 +0200 2015-05-27T21:32:48+02:00 5:32 https://hearthis.at/audio-obscura-ib/ikue-mori-mozu2-audio-obscura-remix/ Ikue Mori is one of my favourite artists and I've listened to her new album a lot lately, I've always loved the experimental nature of her work and have wanted to make music like this for a long time. Enjoy.
(London - 17/05/2015.) ]]> Ikue Mori is one of my favourite artists and I've listened to her new album a lot lately, I've always loved the experimental nature of her work and have wanted to make music like this for a long time. Enjoy.
(London - 17/05/2015.) ]]> 1486019 no no Sun, 17 May 2015 11:43:03 +0200 2015-05-17T11:43:03+02:00 3:35 https://hearthis.at/audio-obscura-ib/the-thrill-of-being-sheltered-in-your-arms/ 1486020 no no Sat, 09 May 2015 13:35:24 +0200 2015-05-09T13:35:24+02:00 3:28 https://hearthis.at/audio-obscura-ib/first-steps-free-album-download-on-bandcamp/
Also limited edition CD £5.00 uk]]>
Also limited edition CD £5.00 uk]]> 1486021 no no Fri, 01 May 2015 21:28:33 +0200 2015-05-01T21:28:33+02:00 3:21 https://hearthis.at/audio-obscura-ib/digitonal-autumn-round-audio-obscura-remix/ 1486023 no no Thu, 16 Apr 2015 18:19:49 +0200 2015-04-16T18:19:49+02:00 6:22 https://hearthis.at/audio-obscura-ib/industrial-buddha-birth-of-death-audio-obscura-remix/ if death was born, then death will die." Chris Cummins.
Remix of the original by Audio Obscura April 2015. ]]> if death was born, then death will die." Chris Cummins.
Remix of the original by Audio Obscura April 2015. ]]> 1486024 no no Thu, 09 Apr 2015 21:41:22 +0200 2015-04-09T21:41:22+02:00 4:34 https://hearthis.at/audio-obscura-ib/memorable-equinox-solar-eclipse/
We went out for a walk, me, my partner and our son around the time of eclipse but the London sky was way to overcast, it was typical English grey skies but it did seem to got a touch darker and quieter. That was all. We then went about our day as planned.

Opening sound is a sample from Keepeeu 'Live at CIRCO MITALI' https://soundcloud.com/keepeeu
With thanks to him and his label B.Y.E https://soundcloud.com/b-y-e
]]>
We went out for a walk, me, my partner and our son around the time of eclipse but the London sky was way to overcast, it was typical English grey skies but it did seem to got a touch darker and quieter. That was all. We then went about our day as planned.

Opening sound is a sample from Keepeeu 'Live at CIRCO MITALI' https://soundcloud.com/keepeeu
With thanks to him and his label B.Y.E https://soundcloud.com/b-y-e
]]> 1486025 no no Fri, 20 Mar 2015 21:17:15 +0100 2015-03-20T21:17:15+01:00 5:18 https://hearthis.at/audio-obscura-ib/gymnopdie-no-3/ 1486026 no no Sun, 15 Mar 2015 11:31:56 +0100 2015-03-15T11:31:56+01:00 2:40 https://hearthis.at/audio-obscura-ib/gymnopdie-no-2/ 1486027 no no Sun, 08 Mar 2015 21:30:21 +0100 2015-03-08T21:30:21+01:00 2:03 https://hearthis.at/audio-obscura-ib/gymnopdie-no-1/ 1486028 no no Mon, 02 Mar 2015 22:41:56 +0100 2015-03-02T22:41:56+01:00 4:02 https://hearthis.at/audio-obscura-ib/prelude-to-the-afternoon-of-a-faun-after-debussy/ 1486029 no no Fri, 13 Feb 2015 16:27:31 +0100 2015-02-13T16:27:31+01:00 6:29 https://hearthis.at/audio-obscura-ib/sunken-cathedral-after-debussy/ The original piece you hear at the beginning was played by Graham C. Lindsay, at a recital in the Church of our lady and saint Catherine of Siena, in Bow, East London on 22nd February 2014, performed on solo piano. The initial idea was to take the solo piano recording and remix it. The first 20 seconds or so are of the original performance. The applause you here at the end is also from the original performance. What happens in between is my re-interpretation. ]]> The original piece you hear at the beginning was played by Graham C. Lindsay, at a recital in the Church of our lady and saint Catherine of Siena, in Bow, East London on 22nd February 2014, performed on solo piano. The initial idea was to take the solo piano recording and remix it. The first 20 seconds or so are of the original performance. The applause you here at the end is also from the original performance. What happens in between is my re-interpretation. ]]> 1486030 no no Wed, 04 Feb 2015 21:59:41 +0100 2015-02-04T21:59:41+01:00 6:06 https://hearthis.at/audio-obscura-ib/aphex-twin-aisatsana-audio-obscura-remix/ 1486031 no no Wed, 28 Jan 2015 20:48:27 +0100 2015-01-28T20:48:27+01:00 4:28 https://hearthis.at/audio-obscura-ib/khaki-green-gills-you-never-listen-audio-obscura-remix/ 1486032 no no Tue, 27 Jan 2015 19:14:13 +0100 2015-01-27T19:14:13+01:00 3:16 https://hearthis.at/audio-obscura-ib/sketch-of-a-tree-in-winter/ 1486033 no no Wed, 10 Dec 2014 22:34:20 +0100 2014-12-10T22:34:20+01:00 6:00 https://hearthis.at/audio-obscura-ib/asbjrn-tobiassen-bring-on-the-light-audio-obscura-remix/ 1486034 no no Wed, 03 Dec 2014 22:29:36 +0100 2014-12-03T22:29:36+01:00 4:40 https://hearthis.at/audio-obscura-ib/petra-hall-shattered-audio-obscura-remix/ 1486035 no no Wed, 26 Nov 2014 21:37:50 +0100 2014-11-26T21:37:50+01:00 4:29 https://hearthis.at/audio-obscura-ib/wilsons-hill/ Not long after my son was born I would spend many hour walking him around my local park in Hackney. I would often stand at the ridge of Wilsons Hill and look across the Lea Valley and Hackney Marshes. I thought about that place and the peace and stress of being a new father. I decided to make a piece of music to commemorate this place and this time in my life. ]]> Not long after my son was born I would spend many hour walking him around my local park in Hackney. I would often stand at the ridge of Wilsons Hill and look across the Lea Valley and Hackney Marshes. I thought about that place and the peace and stress of being a new father. I decided to make a piece of music to commemorate this place and this time in my life. ]]> 1486036 no no Tue, 11 Nov 2014 21:33:26 +0100 2014-11-11T21:33:26+01:00 6:29 https://hearthis.at/audio-obscura-ib/tindersticks-put-your-love-in-me-audio-obscura-remix/ 1486037 no no Sun, 19 Oct 2014 18:00:35 +0200 2014-10-19T18:00:35+02:00 11:00 https://hearthis.at/audio-obscura-ib/tindersticks-low-life-audio-obscura-remix/ 1486038 no no Sun, 19 Oct 2014 18:00:34 +0200 2014-10-19T18:00:34+02:00 7:04 https://hearthis.at/audio-obscura-ib/usoe-iridescent-audio-obscura-remix/ The voice sample in this track is poet Dylan Thomas introducing his poetry. ]]> The voice sample in this track is poet Dylan Thomas introducing his poetry. ]]> 1486039 no no Sun, 12 Oct 2014 14:41:20 +0200 2014-10-12T14:41:20+02:00 6:14 https://hearthis.at/audio-obscura-ib/memorable-equinox/ 1486040 no no Wed, 24 Sep 2014 00:26:53 +0200 2014-09-24T00:26:53+02:00 9:00 https://hearthis.at/audio-obscura-ib/silk-road/ 1486041 no no Sat, 06 Sep 2014 22:49:04 +0200 2014-09-06T22:49:04+02:00 5:48 https://hearthis.at/audio-obscura-ib/contradiction-and-distraction/ 1486042 no no Mon, 25 Aug 2014 12:17:05 +0200 2014-08-25T12:17:05+02:00 4:08 https://hearthis.at/audio-obscura-ib/spiegel-im-spiegel/ 1486044 no no Fri, 08 Aug 2014 11:19:24 +0200 2014-08-08T11:19:24+02:00 7:57 https://hearthis.at/audio-obscura-ib/play-time-with-arlo-friends/ 1486045 no no Tue, 05 Aug 2014 15:41:28 +0200 2014-08-05T15:41:28+02:00 4:07 https://hearthis.at/audio-obscura-ib/100-years-of-war-4th-august-1914-2014/ 1486046 no no Mon, 04 Aug 2014 21:58:00 +0200 2014-08-04T21:58:00+02:00 4:32 https://hearthis.at/audio-obscura-ib/manipulated-field-recording-guggenheim-bilbao-spain/ 1486047 no no Tue, 22 Jul 2014 20:07:25 +0200 2014-07-22T20:07:25+02:00 3:54 https://hearthis.at/audio-obscura-ib/piece-for-arlo-peace/ 1486048 no no Tue, 22 Jul 2014 17:29:42 +0200 2014-07-22T17:29:42+02:00 4:19