Disquiet Junto Project 0295: Disregard Echoes


#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:


#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.


#43

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


#44

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


#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.


#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.


#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.


#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.


#49


P o i s o n e d wa t e r h o l e
E D G# G D C#E D# BC G#E F# G D B E
D G#E D C#E D#G CB E F#G# D B E G
G#E D C#E D#G D F#G#E B E G D
E D#G D C# E G D B
D#G D C#E

V i o l e n t d i s r e g a r d e c h o e s
A#G# D B E C#G# D#G#G F#E F#C F#D# E D G D E G

k e e n l y f e l t t o d a y
A#E E C# B C# F E B G# G#D D#C C#
E E C#A# C#B E B G#F D G# C C#D#
E C#A#E B G#F E C#D#C
C#A#E E G#F E B


#50

https://soundcloud.com/vgmrmojo/greed-and-mother-nature-08-28-2017-disquiet-junto-0295

Disquiet Junto 0295 – Greed and Mother Earth

Downloaded the sound of a stream from Freesound. http://freesound.org/people/freedomfightervictor/sounds/387923/

Added some synth chords, a flute and a tom.

The synth is Analog Lab 2 and is using a multi instrument or a combination of two different presets.

The flute is a Mellotron sample ( sfz) within Sforzando.

The tom is a ettern from Xils Lab Stix drum synth.

All tracks mixed with Izotope Neutron Elements.

Reaper was the DAW.


#51

This poem and history has particular personal significance for me. The being a white man as part of a land that was so violently colonized has been part of my journey of knowing myself: the sadness and guilt and anger and activism and acceptance and hope and connection and clearing and love.

One of the strange ancestral parallels that have been for me: My great-grandmother lived in Narrandera, my grandmother grew up in the street that led to the town-camp for the local black fellas. My friend Kaleena Briggs’ family are also from that country too. In the early 2000’s I recorded her band Stiff Gins (https://www.facebook.com/stiffgins/) first album and accompanied them on their first international tour, both of us unaware that our families once lived near each other. I like to dream that our great-grandmothers might even have played together…

The ideas for this piece began with thinking of the wailing for the dead, then I began wailing through my sax so recorded that. That night we had a bonfire and I recorded it’s crackling, with the thought to slow it right down. The next night I put them together also manipulating some of the sax and adding delay’s (echos) and once the bed was made I wailed with my voice for four breaths.


#52

Something this project made me think about as well.


#53

FX mangling of two layers (one stretched, one sliced) of a midi composition made for this project. The original is not there anymore and barely echoes are heard. The haiku base organised the slicer locations (5 bars, 7 bars, 5 bars) of different slicings, then volume and crushing automation to represent the words (2, 3, 2), though a bit more arbitrary here. A rising tension to represent the loss and oppression of colonial practice, becoming a rage in the echoes.


#55

Night time link fix: