Disquiet Junto Project 0308: Giving Thanks

 Hey thank you! :smile:
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Not to brag but I’ve a lot to be grateful for. At least, that’s the conclusion I arrived at after contemplating who or what I should be thanking for the Junto this week.

Then last night I visit my friend Alicia Boyd’s Tumblr and liked her prose titled ‘Liberation Please’.

Today I experimented with how to make it sit on a few chords and quickly recorded this take.


Cheers everyone!
Light In The Darkness(disquiet0308)
Inspired by the light that keeps me sane when it’s dark, my beautiful blushing bride. A piece to comfort, relax or just think about what’s important and wonderful. Two instances of Yonac Kauldron, two of Micrologue and one of Yonac Kaspar. Arranged in Cubasis with some panning and light RoomWorks verb.



Gratitude is a quality that seems to have been imported from a long-ago and less complicated era in music. “Thank you for the days,” the Kinks sang in 1968, “those sacred days you gave me.”

Just a few years later, Alex Chilton took a moment to say “thank you, friends” while recording Big Star’s most harrowing work: “I wouldn’t be here if it wasn’t for you.”

Led Zeppelin, Sam & Dave, Aretha Franklin, Earth Wind & Fire and Etta James have all shown gratitude in song form. Even Styx, of all people, crossed linguistic boundaries with their weirdly bicultural 1982 expression of thanks. Our personal favorite is Sly & The Family Stone’s “Thank you (Falettinme Be Mice Elf Agin)” covered by Magazine.

Counting this offering, Suss Müsik has now participated in 46 Disquiet Junto projects. For several weeks we lurked, frankly intimidated by the quality of output among Junto contributors who demonstrated such wonderful gifts. What we found upon entering was a community of practice among like-minded devotees, a labour of love designed and executed with genuine affection.

“I no doubt deserved my enemies,” wrote the American poet Walt Whitman. “But I don’t believe I deserved my friends.” Like Alex Chilton, Suss Müsik chose this moment to reflect and give thanks to all of you who spearhead, sustain and support this wonderful collective.

For this piece, Suss Müsik started with a phased rotation of chorale samples, each 4-second bit distorted beyond recognition. (We don’t often use samples, but it’s difficult to assemble a full SATB choir on short notice. Also, the Suss Müsik studios are small and there’s only so much beer to go around).

From this phrase, a notation sequence was identified by ear and played on fake strings and piano. From there we built a typical Suss Müsik wall-of-sound using rejected bits from previous Junto projects: a CR-78 with homemade percussion here, a dollop of trumpet reverb and clumsy organ there. We knew when to stop.

The piece is titled Wengerlave by mashing the names Wenger and Lave, a pair of cognitive anthropologists who first proposed that domain knowledge improves when participants learn and share in groups.

To paraphrase the writer Anaïs Nin: each Junto member represents a world not possible until you arrived. Thank you, friends, falettinus be house elves agin.



Thanks for my family, thanks for my friends, thanks for music, and thanks for you. xo


wow! how do you have that tuned?


It has a D from a bass, then a D from a guitar, then A and E.

Been thinking I might try a kinda baritone ukulele next.

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Graceful chord changes with a touch of blues. :grinning:

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for my partner kayleigh
for putting up with my stress, rage, and snapping

melodica and ukelele samples



This is the beginning from my first solo public appearance in 1996 on Thanksgiving weekend with some 2017 treatment and editing. The full performance is at https://soundcloud.com/user-453495586/wishbone in case anyone cares.



Title says it all: “Half The Fun” and “Creole Love Call” vs Harmonizer, Buffer Shuffler, and FilterTaps.


Max (Roach) for Live

This turned out to be a combination of 0306 (music in motion) and 0308 (giving thanks). Sort of.


In any case, this track uses only found sounds from recent travels. Which I then filtered in Audacity and cut up and layered in Garageband, in some cases against some of their original grabs. Eventually, everything extended out to edge up against…(almost)…music… :slight_smile:


There’s a compositional prompt!

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I’m grateful for the inspiration, the deadline and the community. I thought I’d throw together a techno track to see how far I could get in a weekend after all the recent practice. Once again, I’d like more time with it but that’s the whole point. I’m grateful for the lessons I’m learning along the way.




Generally I feel very lucky, but it was hard to think of one person to thank. So I limited myself to musical things, and I would thank WL Altman who has helped me a lot with my music. (I would also thank Marc and Bernzilla who have also helped me a lot)