Disquiet Junto Project 0333: Half Evil

Disquiet Junto Project 0333: Half Evil
Where numerology casts a shadow on musicology.

Step 1: This week’s project is the 333rd consecutive Junto project. That’s half of 666. Ponder the dark side.

Step 2: Record a piece of music that could be described as “half evil.”

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0333” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0333” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Please consider posting your track in the following discussion thread at llllllll.co.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, May 21, 2018. This project was posted in the evening, California time, on Thursday, May 17, 2018.

Length: The length of your track is up to you. A play on numbers is worth considering.

Title/Tag: When posting your track, please include “disquiet0333” 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 333rd weekly Disquiet Junto project (Disquiet Junto Project 0333: Half Evil / Where numerology casts a shadow on musicology) at:


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 photo associated with this project is by Tom Ahearn, used via Flickr and a Creative Commons license:




The project is now live.

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This is a different version of a 2016 track I composed after the US election, never found the nerve to finish it although I did mix and posted a lighter version last year. This one’s the original creepy one.

I recorded several bowed upright basses performing (in unison) variations on the same riff.
There’s a robotic groove loop created with voices heavily treated and over compressed.
Some radio voices can be heard in the background along with synth pads providing more texture.

This is my 303 track on Sound Cloud, there’s something about 3 this week.

Photo by John Noonan.

Dedicated to Glenn Branca




Here’s my track - One that starts off evil/scary and becomes jazzy halfway through… Miles Davis meets Penderecki/ John Corigliano. For full details how I arrived at doing the piece this way, check out the Soundcloud description. It’s exactly 3 mins 33 secs long…


I combined parts of Miles Davis’ Live-Evil album with the break from “Good Old Music” by Funkadelic, beefed up a little by a drum machine. I also gave Miles some dub echo.


Maybe a tad more than half evil.
Granular synthesis of a cello done in SuperCollider


The playlist is now live:


If 666 is the number of the beast (as proclaimed by Iron Maiden nearly four decades ago), then 333 is … what? The number of half a beast? What diabolical acts would half a devil be capable of doing? No, there must another formula at work.

Suss Müsik has been fighting technology lately. This might due to the fact that much of Suss Müsik’s recording equipment dates from the Paleolithic Era. “One persistent dark side of industrialization,” said Jaron Lanier “is that any skill, no matter how difficult to acquire, can become obsolete when the machines improve.” A computer is half a devil.

If Vladimir Nabokov were writing Bend Sinister today, the novel’s setting might be a dystopian landscape in which ethics are established by computers. “At every given level of world-time,” he wrote, “there [is] a certain computable amount of human consciousness distributed throughout the population.” In this futuristic scenario, we might imagine the moral code to be limited by the boundary of storage. Good behavior would be shared among millions as a precious commodity, passed from one person to another depending on available RAM and disk space.

Perhaps one becomes “half-evil” because there simply isn’t enough good to go around. By the same logic, however, it might be possible to suppress the half-evil from reaching full maturity. We can only hope.

For this creepy piece, Suss Müsik constructed an array of percussive, mechanical loops using two Moog synthesizers. These were rotated in half-measures while a prepared piano was recorded through two reverb pedals. The fake strings and pounding bass drum create the necessary dramatics, while two vocal tracks are refactored using the same Moog settings. The length of the piece is exactly 3’33”.

The piece is titled Padukgrad, named after the fictitious city in Nabokov’s novel. The image is taken from a t-shirt graphic designed by a friend of Suss Müsik.


RIP Glenn Branca. Nice tribute.


Lovely playlist already, although Suss Müsik is going to sleep with the lights on tonight.


I started this morning with a very light hearted patch. I then spent the day trying to warp it into a half-evil… thing? idk :drooling_face:

I look forward to hearing everyone’s contributions!

EDIT: patch notes :slight_smile:

Mangroves and Rings played percussion.
ER-301 granulated and pitch shifted some delayed grains.
Plaits acted as the main voice.
Elements became a noise source (for triggering grains), as well as a FM source for Plaits.
Just Friends making shapes, cycle-ing.
A parasitic Warps acted as tape delay.
Analog Heat… warmed?


Next week’s project will be a straight-up Branca tribute.


Hey great minds think alike! :smile:

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Hi All,

I couldn’t not contribute to a ‘half xxx’ brief, so here’s a spot of bass distortion, bass harmonics and other bass tapping and playing with tritones as the devil’s interval …

Have a great week!

h u :slight_smile:


I can’t agree more with the first part of the sentence. And yes, I’m hopeful half-evil can be suppressed before maturity.
Kill the bastard young!! (I say listening while to this week’s playlist in the background…)
We need a healing luminous and lovely junto soon Marc, to clean our ears 'n souls from all this evil :wink:
Something with rainbows and unicorns and kittens and Engelbert Humperdinck…



Decided a video was the thing for this one,

I’ve been consuming a lot of Shining like horror lately (American Gods (the book), The Terror (on AMC) and IT (both the movie and book)), so this challenge definitely spoke to me. The idea of nature as a setting for supernatural horror is my favorite kind of scary. Something that seems so pleasant and welcoming in the daylight is almost instantly terrifying at night. The music and video both start with natural sounds that are altered by electronics. The music is two instances of Madrona Labs Kaivo, played by hand in Bitwig with a heavy dash of Bitwig Reverb at the end of the chain. The video was taken by me in Phoenix Arizona, manipulated in Lumen.


I’ve been riffing on funky 12-bar blues since the Robot Junto and thought it might sound half evil with a drop D-tuned part accompanying it.


Hey all - this turned out to be one of my favorites in a while…

Per the prompt, I wanted something that felt like it was unsettled between good and evil. I’ve been experimenting a lot with large and odd (for me) intervals and trying to incorporate some modal thinking to get out of my usual ruts. That was where I began and how I found my electric piano line. The final variation felt like it pointed one way, while what comes after pointed another.

I’ve also been incessantly working with shortwave radio sounds and noise. I find that the noise is both a bit unsettling at first and also comforting once you really immerse yourself in it. The atmosphere it evokes for me, and the connotations of sounds emerging unbidden from the ether, felt right. Technically, there was some gating, compression, and distortion to complete the picture - and a bit of Teufelsberg Reverb, which is coincidentally resonant as well.