Disquiet Junto Project 0294: Offline Status

bassel skype pic jpg

Disquiet Junto Project 0294: Offline Status
Pay tribute to the late Bassel Khartabil by turning his spoken words into music.

Note: Tracks from this project, and from previous Bassel-related Junto projects, may be played on the Over the Edge radio show on August 24th.

Step 1: This is the second of two consecutive projects we’re undertaking, following the news of Bassel Khartabil’s death. (If you’re new to the Junto, Bassel was an open-source coder who did a lot of work in CGI before being imprisoned in Syria. Word of his execution just recently became public. This is the sixth project we’ve done about him over the years.)

Step 2: Download the following short snippet of an audio file, just seven seconds, of Bassel speaking. In it you’ll hear his voice, as well as the lofi glory of mundane Internet communication, and some beeping inherent in everyday digital tools. You’ll use all this audio in your own track for this project. It’s on dropbox.com.

Step 3: Listen closely to Bassel’s voice and the other sounds that make up the file from Step 2.

Step 4: Record a piece of music that either begins with or ends with the full audio of Bassel’s voice. Use your own original instrumentation as well as elements extracted from the audio file as part of your composition to either extend from or lead up to the provided audio.

Five More Important Steps When Your Track Is Done:

Step 1: If your hosting platform allows for tags, be sure to include the project tag “disquiet0294” (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 llllllll.co 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, August 21, 2017. This project was posted in early evening, California time, on Thursday, August 17, 2017.

Length: Keep your piece to under two minutes.

Title/Tag: When posting your track, please include “disquiet0294” 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: For this project, please make sure 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). This is aligned with the license of the source audio, and with Bassel Khartabil’s work.

Linking: When posting the track online, please be sure to include this information, along with details of your source audio, including links to it:

More on this 294th weekly Disquiet Junto project — Offline Status: Pay tribute to the late Bassel Khartabil by turning his spoken words into music. — at:


Thanks to Niki Korth, Jon Phillips, and Barry Threw for encouraging this project. More on Bassel here:

More on the Disquiet Junto at:


Subscribe to project announcements here:


Project discussion takes place on llllllll.co:


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


The project is now live.



Starting with the provided audio, I began the piece with the full audio clip, unmodified except for some reverb. I then added some piano (envelope and filter tweaked make it a little interesting) and some rhythm constructed from the audio. The piano plays a chord shifting from major to minor, and is then accompanied by a bell that plays the root (G#) but shifts in timing via a loop with an odd-numbered length. Done in Ableton Live and “performed” by turning clips on and off and shifting scenes, rather than constructing it.

I really don’t have any idea why I called it “Darksnap,” it just sounds like Darksnap to me.



I just wanted to say Big thank you to Marc for posting about the Bassel compilation in email for this week’s project. For those who didn’t see it: I’m putting together a compilation of tracks from the various Junto projects inspired by Bassel, which will be released on Bandcamp with all proceeds going to either his family or a charity they nominate. This is being done in co-operation with Marc’s friends at “Free Bassel”. If you’re willing to let one of your tracks be used then please contact me via email: rupertlally@yahoo.com I cannot and will not, of course, use that I haven’t been given permission to use.
Btw. please if you do email me, include your Junto/Soundcloud Artist name as well as your real name, so I know which tracks are yours - I’ve had several emails already from folks who haven’t done this…

A huge thanks as well to all those who’ve already contacted me offering their tracks - I can’t thank you enough for your generosity!



This is my track. Its a sad little peace for a sad sad world.


May my sounds haunt the ones responsible for Bassel leaving!




Paying tribute…I do not know why, but Bassel Khartabil´s story - little as I know from his life - touches me deeply.
A good idea of Rupert Lally to release music from the related disquiet projects to help the family




The project playlist is now rolling:




Bassel Khartabil was an open-source coder who did a lot of work in CGI before being imprisoned in Syria. Word of his execution just recently became public.

  • Record a piece of music that either begins with or ends with the full audio of Bassel’s voice.

In listening to the clip the first thing I heard was something ticking in the background, which sounded ominous to me. I decided to use that element in the form of a single note on a xylophone to hold everything together, as it encapsulated the indifference of time.

The original idea contained many instruments but the more I narrowed things down the more it made sense. Three instruments work their own idea of the theme as they play alongside one another, stepping away to let the other offer its own take on things. His voice encapsulates the idea that although the theme is clearly distinguishable at times, when it is broken apart and played in retrograde it cannot be heard, as he could not see anyone.

This piece is written for Clarinet, Flute, Oboe and Xylophone.

The score is available at http://bit.ly/2wh6yD2


this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0294. in short, the requirement for this contribution was to pay tribute to the late Bassel Khartabil by turning his spoken words into music.

Bassel died during his imprisonment in syria and this piece is commemorating him, keeping his spirit alive. long live freedom!

tools of choice for this piece: a tiny eurorack modular synth, cassette tape loop, fieldrecoding. plus feedback and a pre-recorded snippet of Bassel’s voice. all mangled through ableton live.

listen carefully and enjoy…



First I record the beat from the two little noises at the beginning from the audio, after I scratched a bass from the audio, all that with samplr on IPad, played guitar and at the end the whole sample.


pulled the sample into protoplasm at different octaves then ran that through loop alienizer, ambience 0.1, podfarm2 with some delays, analog chorus, rotary drum + horn.
used the rhythmic start and gradually had the speech coming in so that it would sound kinda natural when it comes in clean at the end. fiddled with the delay levels throughout

didnt use any other sounds.


This past week was not an easy one in the US, nor in Barcelona (one of Suss Müsik’s favorite cities). We seem to exist today in a space between anticipation and the mundane. We fear that a catastrophe that may never occur will cause our demise, but the height of anxiety is in the waiting. As Richard Wright wrote in his classic novel Native Son: “There was but a long stretch of time that was very short, and then — the end.”

The sampled quote by Bassel Khartabil is a greeting followed quickly by an apology. “Hello I’m sorry,” sang Michael Stipe in the late 80’s. Suss Müsik imagines that most interactions contain at least some amount of regret for what might have been. We like to hope that times of crisis bring about a cycle of affirmation, but that’s not always how things work out. Bassel’s life was too short; the wait for his release took too long. Cruelly, both ended in a single event.

For this short piece, Suss Müsik interpreted Bassel’s vocal inflections as a form of notation. Early in the sampled recording, one can detect the plop plop that an Apple MacBook Pro makes when the sound volume is adjusted. We replicated this rhythm and used it to form base tempo. We then built upon this spine with bits of binaural cello and phased piano polyrhythms.

The piece is titled Fatra, which means “interval” in Arabic.


Hey All, I tried all sorts of stuff before landing on this. I thinks it needs a guitar or synth lead over it. If anybody would like to try I am happy to send the stems to you. I want to do more dancing this year so I wanted to be upbeat. Violence is never the answer, maybe an end, but never an answer. I think we all know what the answer is, we just forget most of the time.

Peace, Hugh


I Can’t See you
Performed by DD in Paris, France, August 18th 2017.
Solo electric guitar performance, using real time FX (only chorus, reverbs and delays) most notably some peculiars reverbs from my Line 6 pedal board (Particles, etc) and a very long Lexicon random hall (38sec)
No Synths, no overdubs.
A bit too long perhaps? But wanted to keep the mantra-like repetitive feel so here the whole performance.
The sentence I Can’t Hear You comes from Bassel’s spoken voice snippet and from some free (online) text-to-voice conversion tools.
Photo by Clem Onojeghuo



Some experiments working entirely from the source material to create a sense of the body and technology intertwined


This is a very strong set. It’s amazing how cohesive the playlist is from track to track, while still preserving the distinctive styles of the participants.