Chew Some Concrète Sounds (Disquiet Junto Project 0277)

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:

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.

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 “disquiet0277″ (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 this discussion thread at please consider posting your track.

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, April 24, 2017. This project was posted in the morning, California time, on Thursday, April 20, 2017.

Length: The length is entirely up to the participant.

Title/Tag: When posting your track, please include “disquiet0277″ in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

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

More on this 277th weekly Disquiet Junto project — “Chew Concrète: Make music inspired by C. Reider’s Chew Cinders album procedures” — at:

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on

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

Image associated with this project is adapted from Thomas Jung’s art for the cover of the album that inspired the project, C. Reider’s Chew Cinders:


Okey doke, the project is now live.

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this track is in three chunks. each chunk has 3 constituent parts.
the first chunk is 3 previous tracks of mine
second is 3 field recordings
third is 3 samples of classical instruments
i messed around with pitch but phasing rather than speed. each chunk processed with the same fx to fit together



Thanks, folks. The playlist is live:


I loaded my chunks of prerecorded sound into Reaktor’s ‘Graincube’ using four different clouds (categories): drum loops, bass guitar loops, synth melodies and various field recordings. These clouds were turned on / off manually as the recording progressed. The output was routed to three sends - DroneMaker, a long convolution reverb and an analog echo. I love the randomness of Graincube and the unexpected pitch / time / volume shifts it produces as well as the occasional, unexpected gaps of silence.

Ps. The track title’s an anagram of ‘musique concrète’ :slight_smile:


an old draisine, some guitars, my OP-1, an actor`s voice, worked out on cubasis with samplr on IPAD


I am looking forward to everyone’s entries this week. I will not be able to participate because of a family conflict. I am very familiar with musique concrète, as it was the only route I had to creating music after leaving college in 1974. Not a submission for this week but just a link to what I was doing back then I will offer, which is a 46 minute piece made with two tape recorders and various objects I had around the apartment.

Cheers -



Hi all,

For this Junto, I did exactly what Marc told us to do… so, no need to give further explanation

Original sounds(6 of them): 1(I forgot), 2(using a hammer), 3(the electricity meter saying that electricity is finished), 4(water running in a fish-tank), 5(truck driving backwards), 6(next number call)


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

Daniel Diaz: solo charango take. Recorded in Valeria Del Mar, Argentina, February 2016.
Treated, chopped, transposed, pitch and time shifted, edited and mixed in Paris, 21st April 2017.

Mr Reider did a god job very interesting approach.
This is part of a bunch of improvisations on Charango I recorded while travelling in Argentina last year. I couldn’t find a good destination/treatment/development for this particular fragment, and I started transposing (5th up, 8ve up, 5th down, etc) to see what happened. Abandoned a month ago, this assignment gave me the idea of un-mute all the tracks and try to structure that mess.
There are the same track (Charango) copied 7 times and transposed, feeding some delays that are also transposed.
The transposed tracks are sometimes plain transposition and others “keep duration” so the rhythmic parts are also playing games with each other. I added a synth soft pad to glue everything together.
Have a nice day,



Please note that I updated the next to last line of the instructions to credit Thomas Jung with the original album art.

There is a lovely moment beginning around the six-minute mark of “Chew Cinders 1” by C. Reider. What appears to be randomized white noise degrades softly into retreating tones, followed by the rumbling of a deep bass presence that explodes into blankets of industrial haze. The effect is both unsettling and restful, reminiscent of classic Zoviet France (for those unfamiliar, their album Shouting at the Ground is a good starting point and well worth your investigation).

“I believe in the future resolution of two states,” wrote the Surrealist André Breton. “Life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease[ing] to be perceived as contradiction.” Composers who work in such contexts remove sounds from their original source material, thus creating a dichotomy in which even the most experimental music can reside within the realm of familiarity.

For this weird piece, Suss Müsik adhered to a philosophy of “sharp attack, gentle decay” — an unfaithful reproduction of casually played instruments. You’ll hear washes of synth, glitchy electronics, the tinkle of a piano, the heavy drop of a microphone. Deeper listens may reveal the distorted whine of a saxophone, or perhaps the rumble that occurs when a Boss RV-3 pedal is pushed to capacity. A chopstick is tapped on a piece of paper to replicate a snappy drum snare; somehow the hum of a dehumidifier sounds like a choir. Plus there’s a guy talking. Instant dada.

The piece is titled Creideamh, a derivative of the Old irish word creitem meaning “to believe.” The image is a red baseball, torn in half, with a picture of Salvador Dali on its surface.


I liked the idea of playing with the Musique concrète genre as its been an inspiration over the years. I took a few pre-existing tracks of mine and set about manipulating them. I have been making field recordings and a film sountrack around the Thames Estuary near London for a while and it feels like the edgelands where London starts and stops have inspired this piece.

Primarily I used my recent work of field recording ‘A Grain of Sound’ as the main source but also added other tracks including bits of my recent Ekkofolk remix.

I then took various other bits of Audio - some Noise tape, a voice sample on commuting to London and some of my unfinished soundtrack work 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.

Piano sounds (plucked, scratched, and stroked) as well as the sounds of small metal and glass objects and the spring on a desk lamp played in Samplr using “Tape” and “Looper” modes. Many different playback speeds were used varying the pitch and time.

Recorded with a Zoom H5. Edited with Audacity.


When I went looking for field recordings, I only had to go back to late January.

Whip-cracking isn’t an Australia Day tradition as such, however it is part of the annual breakfast at Pioneer Park Museum. 2017 was my second time at the breakfast, which was the 30th for the Museum.

In addition to cracking displays by young Master Terrazas and Mr Bishop, there is a selection from the musical performance by Jeff Gardner, including Australian classics "Give me a home among the gum trees’ and the national anthem.

Ableton Live makes it easy to adjust pitch and timing but the instructions this week led me to try and confine myself to the re-pitch option, which links pitch and timing. From here I did adjust a couple of the loops but it was a good direction to get a quick direction.

I added electric bass and it kinda brings everything together a bit.

You can also find the video here on Facebook
and I’ve written a blog post here. Thanks


I liked C. Reider’s album quite a bit, and tried to emulate his collage method. I used several field recordings from London and Chennai and a loop left over on my Makenoise Phonogene to build the core of the piece. Recorded it to virtual tape on the OP-1, manipulated it with the Phonogene and Mutable Instruments Clouds, recorded to cassette tape, then back to the computer where I overlayed a few more London / Chennai recordings.

I’ve used these field recordings in a few pieces, including a live show in November 2016. I really love them. My favorite is a recording of a man in Chennai demonstrating a conch horn, slowed down a bunch it sounds like a whale. If I had more room in my luggage, I would have brought it home with me.

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Reign of Ash-

~Dark Ambient Noise~
Bits used:
Many field recordings
Guitar run through UR 22 Mk.II
Probably more fx than legally allowed


i mean, * this * - C. Reider’s album, this way of working - is very much up my strasse.

I did nothing even remotely clever, just idled some hours away cutting and hacking and speeding and slowing at various semi-recursive sequences made up of sounds that are near the top of my folders - birds from Monday gone, old film snippets, interminable drones - in Audacity. Ended up making something which seems to have some sort of over-riding and consistent structure which wasn’t my intention but perhaps tells you something of my aesthetic prejudices and what exactly certain software implicitly facilitates.


I used the audio from a phone video of my kids playing a marimba in the kids’ section of the Brooklyn Botanic Garden. I made the drums by taking a sample and distorting the hell out of it, then pitching it up and down. The pad came from some naive fumbling with Ableton’s Sampler instrument. Other textures and patterns come from my usual combination of looping, timestretching, filtering, microedits and the like.


I used two field recordings for this - both recorded with an iPhone. The first was various machines in an ER. The second was the crowd noise from an Orlando City MLS Soccer Match. The announcer was indicating what the stoppage time was.

The recordings were cut up, slowed down, sped up, and pitch was varied up or down up to a couple of octaves.

The image used here was taken by me at the new Orlando City Soccer Stadium (2017).