Disquiet Junto Project 0371: Concrete Ambience


Wallpaper makes me think of some pop, but also of ambient, in a kinder way. Some want the sonic wallpaper of a verdant field, while others may want the sound of a converted loft with concrete walls.
This is a stretched-out, slowed down recording of a down-tuned electric guitar played with the edge of a quarter.


Used my modular for this one. Some details. Two regular Nonlinearcircuits Sloth LFOs and a Jerkoff (what a name…) are important. I slowly feed the Jerkoff with a rising cv from a sawtooth LFO. The Jerkoff can act as a chaotic CVLFO…?! With the same slow rising cv I modulate a filter feed with a dry “wallpaper sound”. This track is one cycle of rising cv (triangle from LFO). Unedited sound. Just fade in and out. (I made a 20min version :stuck_out_tongue:https://youtu.be/ZxrAIcSGCpU)


this week I was given a beautiful old pedal organ. a friend called me and said that his church wanted to give it away and would I be interested in coming to have a look at it. so I took a trip to a small country town and there it was in the chapel. in perfect condition, not a mark on it, every note sounding…
it’s in my studio now
this is my first recording of it
a first take improvisation of a simple repeated rhythmic pattern with incremental harmonic changes
something like concrete wallpaper I guess…
(a photo of the organ in the church hall accompanies the track)


I imagine looking at a wall from a distance and deciding to meditate on it, its strength, its impermeability. I then walk closer to the wall and meditate. The wall has pock marks and scratches. The imperfections in the wall form patterns that I follow as I meditate. I move very close to the wall and see that it is actually wallpaper, and meditate on the smoothness until I awake.

Concrete Wallpaper was written for five Trombones, two Bass Trombones and Tuba.

The score is available at http://bit.ly/2UQWn0m



Concrete coloured wallpaper by JAB Anstoetz for an appartement in a gentrified area. Steady puls with digital stitches and analog warmth. Designer had interwoven the moaning and groaning of former tenants that had been chased away by the new owner of the house.

Picture: Rombe by JAB Anstoetz


I was at a loss for how to interpret this, so I figured I would go for a pun, and do a remix of Concrete Blonde. I chose their cover of “Everybody Knows” by Leonard Cohen, from the Pump Up The Volume soundtrack (a hilariously terrible 90s movie that I thought was very deep in high school.) I vocoded the track and edited it down to just the instances of the title phrase. Other samples include “God Make Me Funky” by the Headhunters, “Sugar Rum Cherry” by Duke Ellington, and “Temple Caves” by Mickey Hart. I also used a sample of my own improvisation on Animoog.


Concrete is all structure with very little aesthetic appeal. Wallpaper, on the other hand, is all visual aesthetics with no structure. What concrete and wallpaper have in common is they both crack. The cracks that emerge destroy the structural foundation of concrete and the visual appeal of wallpaper.

“For almost everyone, the word ‘structure’ evokes a strong visual of something that has been built,” wrote Mark Eberart in his book Why Things Break. “A civil engineer fashions designs from a palette of I-beams, reinforcing rod, and concrete … yet simply putting things together from the appropriate palette does not qualify one as an engineer.” You might be thinking this same rationale disqualifies Suss Müsik from having anything to do with musical composition. No argument here.

Anyway, Suss Müsik approached this project with the intent of exploring composition as a palette of sounds. The ‘concrete’ elements comprise a blocky phrase performed on strings and Moog synthesizer. The ‘wallpaper’ component is a nonstructural mess that has no beginning or end, requiring the buttress of a flat surface (percussion) in order to display its intent. The piece was performed live from two laptops and recorded quickly to 8-track, minus overdubbed percussion.

The piece is titled Synovial, named after the fluid that lubricates joints in the human body and allows us to crack our knuckles.


Wallpaper music to me is background music. Concrete, when applied to music is music from field recordings. Concrete Wallpaper music then would be ambient sounds made from field recordings.

Etudes aux Scrunchpaper may be too processed to be clearly concrete, and too dynamic to be strictly ambient, but I submit it for what it is… a remix of Pierre Schaffer’s classic study involving the sounds of iron horses.

First paulstretch, then editing (for length and to impose a new rhythm of sorts) and effecting in Pro Tools. Emphasized bass with EQ and subharmonic synth. Added a tiny bit of delay and forwards and backwards reverb to smooth and enhance.

My first disquiet piece, and perhaps not the last.


hello, and welcome to the team


Thanks! Nice to be part of it.


cool sounds, and words(story) :slight_smile:


I’ve sampled a video of my son playing a concrete xylophone that was outside the Questacon in Canberra (and used for a Junto project last year).

It came to mind to represent the concrete part of the project this week.

Then I decided, since wallpaper has a repetitive pattern, my track loops once and could do so again.

I was also thinking on how upbeat music encourages patrons to eat faster, so the speed would be perfect for a ramen place to keep customers turning over.

To keep it lively I’ve added a little delay.


Concrete ambience

Considering the nature of concrete, you would usually consider the finished product that is a hard, dense material. However, it starts as a slurry and sets but the finished material despite being hard and dense is prone to corrosion, granulating and crumbling.

This entry considers all of these properties of concrete, the difficulties in the creation of concrete wallpaper, how would you hang it? and what concrete wallpaper music sounds like.

I’ve created a live recording using the Joggle samplers (speed and gain controls) in Usine Sensomusic Hollyhock 3 to massively slow down a kick drum sample and two samples from my Kalipheno sample pack. I’ve processed them with Subvert, Fracture XT (Glitchmachines); SpecOps (Unfiltered Audio); Frostbite, Type A (AudioThing) and altered sampler and effect settings during the recording.

I’ve then added some mid/side processing in MuLab 7 using FabFilter Pro Q 3 and mastered using Magnetite (Black Rooster Audio), Stage (Fiedler Audio), Elevate (Newfangled Audio) and Youlean Loudness Meter.



Here is my piece of music. It’s a krell patch on eurorack. It goes through 2 different filters (one on the left and one on the right) and through 2 different reverbs (one on the left and one on the right).

I think that it describes pretty well the small irregularities of the surface of concrete.



When I think concrete I think Brutalism. In a vacuum, Brutalist structures are beautiful, especially in the later stages of their decay, but with social and political context Brutalist structures are anti-human. The closest analog to that in music is probably noise. So I listened to a bunch of Pedestrian Deposit then put together this patch!

Broadly, the patch consists of 3 parts, all heavily modulated. Mangled waves from the Cs-L and the Bateleur were spatialized with Nearness then piped into 2 parallel processing chains. Chain 1 is the Supercell with single grains being triggered by Marbles, and occasional bursts of grains from envelopes from Stages. Chain 2 is Morpheus into Chronoblob 2 in Ping-Pong mode. The mid and side signals were extracted by an LRMSMSLR and routed back into the FM inputs of the Cs-L.

After a few hours of tweaking, it was surprisingly well behaved! I got this recording on the first go without any major surprises.


Made with :kiss: @Elisa-room237 :kiss: in my apartment in Amsterdam Oost.

Concrete wallpaper conjures up an image of being stuck in a prison of my own making. I imagine sitting alone in a bare and cold room, with nothing to do but endlessly throw a ball against a wall and be trapped within my own thoughts.

We took quite a while to get to a satisfactory point, but I’m quite happy with the final outcome :slight_smile:
There isn’t really much movement in the sound as wallpaper tends to be static, but we added some jarring metallic noises in to increase the menacing feeling.

Recorded in Reaper and using Quanta granular synth VST, digitakt and 0-coast.


The idea made me consider identity. What is the real composition of the wall and why does it (or someone) want it to appear as something else? Am I covered in concrete wallpaper? Maybe I am. I am today, no doubt.

Ableton Live 10 one shots, loops, Korg Mono/Poly, Kaivo