#29

Hi all,

On YouTube, I got to an interview with Duncan Smith, a member of the Wiradjuri, I contacted him and asked for permission to use his voice and the music from that interview and he granted it.

Further, I did what I usually do and a new song is born. I am not really sure if it has got something to do with the Haiku… the song got echoes and that’s about it.

original interview: https://www.youtube.com/watch?v=AWb3Ru9oGL4&t=345s

Have a nice day

F.

https://soundcloud.com/user-242143924/break-down-the-barriers

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#30

i used last week’s naviar track as a synth pad.
ran this through izotope vinyl and six string ambience
mastered in audition

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#31

Here is my contribution:

Recorded live improvisation on Lyra 4 synthesizer (https://somasynths.com/lyra-organismic-synthesizer/), no overdubs or cuts. The only effect used in Ableton Live was TransPan. Hope you like it!

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#32

In preparation for this piece, Suss Müsik took some time to research Wiradjuri history.

We learned how during the 1820s, war broke out between the Wiradjuri and white British colonists just west of Sydney. We learned about vigilante groups who were formed to roam the Bathurst plains, hunting down the Wiradjuri as if they were wild animals. And we read about a local homestead owner who poisoned the water hole from which the Wiradjuri took refuge.

Timothy Leary once said that all suffering is caused by being in the wrong place. Suss Müsik thinks that’s a crock. When consciously inflicted upon others with the cruelest of intentions, suffering is unavoidable — every place we go is the wrong place simply because someone doesn’t want us there.

“There is an elasticity in the human mind,” wrote Charles Caleb Colton, “which [is] capable of bearing much but will not show itself until a certain weight of affliction be put upon it.” Listening to traditional Wiradjuri music recalls ancestral spirits: the rhythm is insistent, a series of singular beats that grow in intensity during performance.

For this cinematic piece, Suss Müsik combined field recordings of water with the sounds of homemade percussion and looped echo effects. Pieces of wood were clacked together to create the nuance of rhythm, upon which various reed tones were played using an EWI device. Although the result is a little longer than anticipated, we felt it was important to let things breathe a bit during transitions.

The piece is titled Yindymarra, named after the Wiradjuri word for doing things with kindness and in good time. The image is the Wiradjuri symbol for “meeting place.”

Many thanks to Jason Richardson for opening this window to a part of history of which we were unfamiliar.

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#33

Little to tell about this one because I did something pretty traditional I guess… just a rhythm and some soft instruments… I recorded some sounds with a cymbal, a wah wah, a rain stick, a ‘thunder maker’ (tube spring drum) and I used a lot of tape echo and spring reverb

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#34

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#35

My contribution to Disquiet 295 and Naviar Haiku 190.

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#36

Bit late in the evening here but wanted to share this with the group…

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#37

The playlist is now rolling

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#38

Hi everyone!

And Ours Became No Ones(disquiet0295)-https://soundcloud.com/hypoidsound/and-ours-became-no-onesdisquiet0295
I have been thinking of a guitar centered piece lately, so when this prompt arrived I knew where I was going to start. Something about an Australian watering hole that feels familiar to me living around the American southwest. The arid landscape and scarcity of water and services feel so desolate, and reintroduce you to the importance of what really matters. The guitar fits this environment well, needing nothing more than a shoulder to hang from and hands to play. This is a sparse piece, fitting both my abilities and the feel of the subject. Dirge like in its pace but building with indignation. The three main characters, an acoustic, clean electric and angry loud electric guitar were recorded in GarageBand alongside the minimal acoustic drums. A nice minimal percussion from Korg Gadget was made and brought into Cubasis along with the guitars. I was fortunate to have the cicadas make an appearance just in time for this project, so they were recorded with the Zoom recorder and open the piece. The mixing, equalizing, effects and track automation were also pretty minimal with a small amount of verb for all and momentary delay on the acoustic. My music videos- https://www.youtube.com/channel/UCc_iQ5JFusPt9EIwKIZ5rew

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#39

Wow! Really nice piece and video, agreed on the ambience influenced guitar and sound :smiley: I was wondering how to incorporate a video this week, but that’s setting the bar high, really good stuff!

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#40

It is sad what happened in the past to the natives of Australia (and Canada). Unfortunately the same is happening in the present moment to the people of Tibet. The piece has some Tibetan music and chanting in it, and also someone trying to teach Tibetan to westerners. Hoping to transmit Tibetan Buddhism to future generations, lets not lose this amazing knowledge.

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#41

Been a while, only my second Disquiet Junto project this year! The plus side is that I’ve been busy making, releasing and performing work, spurred on by my past Junto contributions. Full circle?

This project brought up thoughts of my home country’s own negligence.
See:

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#42

I like how it’s both calming and unsettled, with that dizzying use of stereo.

It reminded me of lying in bushland on a hot day and not quite being able to relax.

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#43

Captures a sense of the echoes of violence. The depth of field is great, the way it moves to the fore at times.

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#44

Love the way this develops, from a trickle to that bold conclusion.

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#45

I like your approach. It’s good to hear from Wiradjuri people and the line about thousand of thousands of years reminds me that recent research suggest the Australian Aborigines are the oldest continuous human culture at around 65,000 years.

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#46

I like your research and musical interpretation. Yindyamarra is a wonderful term and one interpretation I’ve learned is that it’s about treating things with respect and recognising that in doing so you set the tone to be recognised.

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#47

For this week’s Disquiet Junto Project I began with an audio recording of the provided Haiku which I then sampled through a couple of instruments on Ableton Live.
I wanted to create something uncomfortable and disjointed. The voice played at different pitches and timings give the whole piece a sense of foreboding.

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#48

Very inspired interpretation. Love the “chance” aspect of setting up an instrument and letting things develop. Something like a Japanese string instrument, such as a koto, played by dropping pebbles on the strings.

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